Mamo, an old and legendary Kurdish musician living in Iran, plans to give one final concert in Iraqi Kurdistan. After seven months of trying to get a permit and rounding up his ten sons, he sets out for the long and troublesome journey in a derelict bus, denying a recurring vision of his own death at half moon. Halfway the party halts at a small village to pick up female singer Hesho, which will only add to the difficulty of the undertaking, as it is forbidden for Iranian women to sing in public, let alone in the company of men. But Mamo is determined to carry through, if not for the gullible antics of the bus driver. Continue reading
Experimental filmmaker Bill Morrison created this non-narrative feature, which derives a large portion of its visual beauty from the physical nature of the film medium itself. Decasia is primarily compiled from a wealth of old and damaged footage, in which the scratches, scraped emulsion, bubbles, streaks, and decaying nitrate add an extra dimension of texture to a patchwork of images both extraordinary and mundane. Originally created as part of a multimedia environmental performance piece, with the film screened in tandem with a performance by a 55-piece ensemble, Decasia has also been screened in a version with recorded score, composed by avant garde percussionist Michael Gordon. Decasia was screened at the 2002 Sundance Film Festival.—-by Mark Deming
A film that starts like an odd documentary on ski resorts suddenly declares its subject to be aluminum. And it’s all downhill from there, evoking in chapters the history of capitalism in the 20th century, the death of the God Progress in the valleys of the Alps and the question of the relationship between State and Industry. All’s fair in love and snow.
Tsai Ming-Liang follows his trademark ‘pondering static camera’ (“Rebels of the Neon God”, “The River”, “The Hole” and “Vive L’Amour” ) with his fifth feature film, “What Time is it There?”. His unconventional style will deter many cinema goers who might envisage something more easily penetrable, perhaps requiring less speculation. In a pure minimalist vein, Tsai uses no music (aside from “The 400 Blows” theme played sparingly). There is no cinematographic panning shots… no camera movement for each take. Each scene is a single static shot. There are almost no close-ups. There are extremely long stretches without any dialogue. Hopefully, this does not send you running in the other direction because it is indeed a wonderful viewing experience touching upon many important modern emotional themes.
A family dislocated when small failings blow up into extravagant lies battles against the odds to stay together by covering up the truth… In order to avoid hardship and responsibilities that would otherwise be impossible to endure, the family chooses to ignore the truth, not to see, hear or talk about it. But does playing “Three Monkeys” invalidate the truth of its existence? (nbcfilm) Continue reading
Won the Best European short film Award in 2002
Description: The film follows two simultaneous story lines: one set in Rome, and one in Sarajevo, in 1994, the worst time of the war in Bosnia.
He was a writer. He thought he wrote about the future but it really was the past. In his novel, a mysterious train left for 2046 every once in a while. Everyone who went there had the same intention…..to recapture their lost memories. It was said that in 2046, nothing ever changed. Nobody knew for sure if it was true, because nobody who went there had ever come back- except for one. He was there. He chose to leave. He wanted to change. Continue reading