Kemal Kayankaya, a private detective, was hired by a Turkish women, Ilter, to search for his husband, Amend, who has been missing since the death of her father, Vassif. Unknownst to him, he was about to unravel the secrets of his client’s family, as well as their various dealings with the underworld and the police. Moreover, being a Turk raised in a German foster family, he has also begun to understand and accept his own ethnicity. Continue reading
…even after a number of viewings, I’m still not sure if what I have seen is a kind of high Euro-modernist masterpiece about race, culture, urban rage and alienated identity – or a perversely opaque and frustrating essay in enigma, a labyrinth of blind alleys, in which putative solutions are forbiddingly walled off. It is a film which gestures at the literal incomprehensibility of experience, how it resists encirclement and extends beyond the perimeters of perception and interpretation. The mood of Code Unknown is moreover often fractious, crackling with unease and ill-humour, and yet this is a movie whose images and personae linger in the mind, and which can deliver dazzlingly generous, compassionate insights…
Peter Bradshaw, The Guardian Continue reading
Interlocking episodes and a bemused, deadpan vision shape the Chinese film ”Rain Clouds Over Wushan,” which is directed with quirky promise and dry precision by Zhang Ming. Mr. Zhang echoes Jim Jarmusch with his bare, quotidian settings and with characters whose quiet desperation can give way to surprising flashes of tenderness and sly, tacit wit. The film’s manner is impressively measured, but its progress can be very desultory. Events progress slowly, accompanied by pointedly mundane detail. The actors are often in the grip of stylized anomie. Continue reading
Les Rendez-vous de Paris [Rendez-vous in Paris] is a 1995 portmanteau French film directed by Éric Rohmer.
Three loosely connected variations on the theme of the lover’s rendezvous in Paris. The three episodes are titled “Le Rendez-vous de 7 heures” (The Rendezvous of 7 hours), in which a student discovers her boyfriend is two-timing her, “Les Bancs de Paris” (The Benches of Paris), in which an unnamed woman has a series of meetings in parks with a handsome literature teacher from the suburbs, and “Mere et enfant 1907″ (Mother and Child 1907), which takes its title from a Picasso painting, and centres on an artist who is attracted by a stranger. The three stories of the film are linked by a girl singing in the streets to an accordion accompaniment – a homage to René Clair’s Sous les toits de Paris.
Hisayasu Sato’s THE BEDROOM is a bold, yet flawed film which manages to create an utter sense of depersonalization and loneliness, while still telling a great story. The visuals are great; blue and red light coat the bodies of the comatose girls of The Sleeping Room while giant TVs with constant static decorate the background. Sato’s spare use of music also helps to create tension in the film; the soundtrack features immense buildup that never actually climax, keeping the viewer aurally on edge. Despite the fact that the film may seem confusing at first, if the viewer is willing to actively watch the film and engage with the way Sato is telling his story, the viewer will be rewarded at the end. Continue reading
Plot Outline: A young country girl comes to town and works in a brothel in order to help her fiance get the money to start his own business. “Paprika” is the name given to her by the madam. Continue reading
Reviewed by Tom Dawson
21 July 2005
Made nearly a decade ago when Rohmer was already in his mid-seventies, A Summer’s Tale is a beautiful and bittersweet romantic comedy from the evergreen French writer/director. Part of the filmmaker’s Tales Of The Four Seasons series, it unfolds over several weeks at the Brittany resort of Dinard, where the vacationing student Gaspard (Melvil Poupard) finds himself torn between three appealing young women: ethnologist Margot (Amanda Langlet), her forthright pal Solene (Gwenaelle Simon), and his supposed girlfriend Lena (Aurelia Nolin). Continue reading