In 1925 Romania, young Marie-Therese Von Debretsy refuses the flirtatious advances of her husband’s commanding officer. As a result, the cosmopolitan family is reassigned to a brutally bleak and dangerous outpost on the Bulgarian/Romanian frontier whereboth their relationship and humanity are severely tested. Continue reading
An outsider with libertarian ideas invades and corrupts a bourgeois family. Continue reading
Louis (Gaspard Ulliel) is a successful writer returning home after an absence of twelve years. The purpose of his visit is to announce his imminent death, though this being context-light we’re not granted much insight into the nature of the illness, why Louis left home, why elder brother Antoine (Vincent Cassel) is perpetually angry or anything much that would have helped us care about these people one way or another. Instead, we have Suzanne (Lea Seydoux ), his stoner sister, Antoine’s mousy and inarticulate, slightly spaced-out wife Catherine (Marion Cotillard) and Louis’ mother (Nathalie Baye), with blue eye shadow and a smoker’s laugh. Continue reading
As the lights dimmed a hand-drawn Totoro flashed up on screen. The friendly furry beast adorns Studio Ghibli’s familiar logo. Normally it has a sky-blue wash behind it. But in honour of Dutch animator Michael Dudok de Wit’s The Red Turtle, the studio’s first non-Japanese production, here it was bathed in red.
“If one day Studio Ghibli decides to produce an animator from outside the studio, it will be him,” was Miyazaki’s pronouncement after watching Dudok de Wit’s Oscar-winning animated short Father and Daughter. The eight-minute film has a lot of Ghibli-isms: it’s about loss; it tackles its melancholy subject with deceptively simple drawings; above all, it pays close attention to nature. Miyazaki, the lover of clouds, no doubt saw the many different and luminous ways Dudok de Wit sketched the sky using just sepia tones and recognised a kindred spirit. Continue reading
A movie actress taking up temporary residence in Washington D.C. has her troubles. The script for the movie she’s filming seems inadequate. Her ex, who is also the father of her adolescent daughter, Regan, neglects to call the girl on her birthday. And the attic has rats. Meanwhile, Father Karras, a priest and a psychiatrist, is losing his faith; and he’s dealing with a sick mother who needs medical care he hasn’t the money to provide. Another priest, the old and ailing Father Merrin, has just returned from Iraq with forebodings of evil. These three persons meet when the sweet and cheerful Regan turns foul-mouthed and violent. But her sickness is beyond the reach of a medical doctor or a psychiatrist. What Regan needs is an exorcist Continue reading
François (Philippe Merlaud) loves Anne (Marie Rivière), but he has doubts whether she loves him in return. His job, working nights at the post office, means he can’t see her as often as he’d like. One day, Anne is visited by her ex, airline pilot Christian (Matthieu Carrière), who tells her he is returning to his wife. Seeing Anne and Christian leave her apartment together, François becomes jealous and thinks that Anne is cheating on him. Then he sees Christian with a blonde woman and he begins to follow them… Continue reading
Film in four segments: “Colagem”, “Balanço”, “Bandeira Zero” and “Sexta-Feira da Paixão, Sábado de Aleluia”, having in common a strongly allegorical and gross protest tone in the approach of its subjects.
Acreditava-se àquela epoca que aliberação política deveria vir juntocom a liberação sexual. “Esporrarjatos de napalm”, a frase de PrataPalomares (André Faria Jr.)posteriormente repetida emCrônica de um industrial (LuizRosemberg Filho) simbolizavamais do que uma metáfora: oinstinto sexual vinha junto com opolítico, e a angústia surgia porque o gozo social era mais difícil do que o individual. No título do filme América” e “sexo”; e sua tentativa é justamente a de exorcizar sexualmente aquilo que não pode ser resolvido no Brasil de 1969, menos de seis meses depois da promulgação do AI-5, ou seja, a política. Continue reading