PLOT SUMMARY :
Shy, withdrawn Francis spends his lonely days caring for his domineering invalid stepmother… until the arrival of beautiful Gloria, a new neighbor whose daily activities become the center of his life. However, he soon comes to suspect that she’s harboring a horrific secret, one that will change his life forever… Continue reading
Sayo and Keiji elope to New Zealand to get away from Keiji’s interfering mother. On their honeymoon they are free to express all their desires and passions, but just when it should be their happiest times, Keiji cannot make love and is accidentally drowned. As tradition dictates, Sayo must return to live with her mother-in-law. However, Sayo can only find a modicum of peace by returning to the New Zealand beach where Keiji drowned. NZ Videos Continue reading
There’s nothing so comforting as the florid straightforwardness of an Almodovar movie. “All About My Mother,” the Spanish director’s latest, is unapologetically passionate in the manner of his early movies like “Matador” and “Law of Desire,” and willfully unhinged like “Women on the Verge of a Nervous Breakdown.”
But “All About My Mother” cuts deeper than any of those movies. Like classic women’s pictures of the ’40s, it’s staunchly committed to the spirit of melodrama: There are tragic accidents that tear lives apart, impossible love affairs with dire consequences, people whose seemingly cold hearts reveal surprisingly warm recesses and, at the movie’s center, a man whose natural charisma spells trouble with a capital T.
And mostly, of course, “All About My Mother” is about the essential nature of motherhood — not the soft suburban American momhood in movies like “The Story of Us,” pictures where frazzled women are constantly dropping their kids off at soccer practice, their commitment to life’s chores like merit badges proving their love. In “All About My Mother,” a 38-year-old woman (Cecilia Roth) watches as her teenage son is hit by a car; when she runs to him and crouches over him in the rain, we see her sideways, tilted and blurry, from his fading point of view. Her red raincoat, which had seemed monumentally cheerful just moments before, is already a reproach, a useless remnant of what her life used to be. Continue reading
The history of Brazilian popular music in the 20th Century, focusing specially on the life and works of intriguing singer Mário Reis, a loner who, with his special way of singing – whispering and softly saying the words – in a time when singers with potent voices ruled, was in a way a forerunner of Bossa Nova style. Continue reading
“I saw this lovely documentary once, some ten years ago, and found it most rewarding. Its tone was dignified and understated, having a gently moving cumulative effect. The most salient impression I had of the film’s subjects was how expressive they were with their faces and bodies in revealing their emotions and thoughts. As a cinephile, I could not help but think of the vanished acting styles of silent cinema, of how so much had to be conveyed through purely visual means, and of how comparatively impoverished, from a visual viewpoint, so much modern cinema is. Rightly or wrongly, I perceived a more direct correspondence between feeling and expression in the people depicted in this film than is the norm among hearing people, and this suggested hidden treasures within these subjects’ lives that could be of benefit to us all. What has traditionally been seen as a handicap came to be seen as an inextricable, richly beautiful thread in the human tapestry, and this film must be conceded to be a masterpiece for showing us this truth.” Continue reading
From the New York Times review:
“In “Sankofa,” a contemporary African-American woman travels back in time and experiences slavery. Haile Gerima’s poetic and precisely detailed film takes its audience into its heroine’s life and mind as her moral sense is challenged and changed. No viewer can avoid the discomforting questions the film so eloquently raises.
The opening sequences, set and filmed in Ghana, are alternately seductive and off-putting. Among drums and chants, a voice invokes ancestral ghosts. “Spirit of the dead, rise up,” the voice says, “and claim your story.” The film’s title is a West African term meaning to reclaim the past in order to go forward, and “Sankofa” stumbles only in its depiction of the present. Continue reading
Description: This documentary by French director Jean-Pierre Limosin is the first Spanish edition of the renowned “Cinéma, de notre temps” series. In this episode, Abbas Kiarostami talks about his life and work. Summarising his approach to filmaking, Kiarostami said:
“A filmmaker has to be conscious about his responsibility. I always wish to remind the audience that they are watching a film. You see, it is very dangerous to make the audience more emotionally engaged than they need to be. In the darkness of the cinema, people are so innocent. It makes them feel that everything is closer and stronger. That is why we should not make them even more emotional: People need to think when they watch films, not to be robbed of their reason … I make half movies. The rest is up to the audience to create for themselves.” Continue reading