A month before he’s to marry Carmen, Antonio finds a photograph of a man with his arm on her shoulder. The photograph triggers jealousy: he questions Carmen, Carman’s friend Cinta, and his friend Luis who introduced him to Carmen. Cinta tells Antonio the man’s first name. Carmen tells him that the man meant nothing to her, and that the photograph was taken before she met Antonio. She loves Antonio and sets out to wipe the photograph from his mind through exuberant sex, but her ploy backfires and Antonio remains fixated. Slowly he finds out about the man, and about Carmen’s past. Will jealousy consume this couple or can they find a way to kill the green-eyed monster? Continue reading
An extremely captivating movie on how a little girl copes with her mother’s death. She withdraws from all the people around her, waiting for her mother to come back. She tries waiting, and when her mother still doesn’t appear, tries magic chants, praying to God, and then becoming a child of God, to have some power over Him. All to no avail. But then, when she is in despair, her mother does come back… Continue reading
This film focuses on ex-Foreign Legion officer, Galoup, as he recalls his once glorious life, leading troops in the Gulf of Djibouti. His existence there was happy, strict and regimented, but the arrival of a promising young recruit, Sentain, plants the seeds of jealousy in Galoup’s mind. He feels compelled to stop him from coming to the attention of the commandant who he admires, but who ignores him. Ultimately, his jealousy leads to the destruction of both Sentain and himself.
As developed by Danish directors Lars Von Trier and Thomas Vinterberg, Dogma 95’s so-called “Vow Of Chastity” places restrictions on filmmakers—use only handheld cameras, real locations, and available light while avoiding superficial action (weapons, murders, etc.) and genre pieces—for the ostensible purpose of a truer, more organic cinema. Critics anxious to dismiss the movement were silenced by Vinterberg’s entry, Dogma 1: The Celebration, a devastating black comedy made all the more powerful by its stripped-down, home-movie-like quality. But the Dogma tenets seem arbitrary in Dogma 3: Mifune, which follows the rules but misses the point, employing cruddy naturalism to pass off a contrived and deeply conventional story. Had Von Trier and Vinterberg thought to include the hooker-with-a-heart-of-gold or estranged-autistic-brother (a la Rain Man) under “superficial action,” director Søren Kragh-Jacobsen might have improvised something less predictable. On its own modest terms, however, Mifune is still a well-performed and mildly affecting provincial drama that shares Vinterberg’s interest in family, if not his wit and innovation. Continue reading
Based on the Short Story by: William Gibson
This film has got alot of mixed reactions. Some hate it, as they most likely expected alot more from a William Gibson adaptation with such a well known leading cast, others feel that it is an excellent science fiction movie that is getting an unncessary amount of criticism. Ill be honest I havent watched it yet, but scrolling through taking the screenshots i noticed that there is lots of Asia Argento titties…and they are spectacular. I’ll let you guys decide how good the film is for yourself. Continue reading
Review (Marcus Whitfield, Edinburgh University Film Society)
Ken Loach collaborates once again with Jim Allen, his partner for Days of Hope and
Hidden Agenda, on this moving story about the struggle between a group of young
political idealists fighting against the Franco regime during the Spanish Civil War. The
film received international acclaim not only for the outside perception of the British
writer and director but also for an undocumented part of Spanish history that dealt with
the ordinary men and women that took up the struggle. Continue reading
The movie … is filled with great weariness and sadness; the party has been over for a long time, and these old druggies, now approaching middle age, have been left behind. Because they were survivors, because they were more intelligent and honest than most, this is the thanks they get: They continue to work in the scene long after they should have been replaced by a new generation of losers.
This movie isn’t about plot, it’s about a style of life, and the difficulty of preserving self-respect and playing fair when your income depends on selling people stuff that will make them hate you. Continue reading