The Giallo film reinvented as an experimental S&M-tinged fever dream, told through a combination of color-gelled cinematography and jump-cut photographs, infused with dark sensuality and perverse cruelty. The short films of the directors of Amer are technically rawer than that film, but they show what was to come in terms of themes based on giallo films and an abstract style, from the use of still frames like in Chris Marker’s La Jetee to harsh coloured lighting. They are worth seeing by themselves as a refining of their ideas into a fantastic debut feature film. Continue reading Hélène Cattet & Bruno Forzani – Chambre jaune (2002)
Director Chantal Akerman helmed this offbeat comedy about a mother and daughter who find themselves living together again for the first time in many years. Still reeling emotionally from the recent death of her husband, Catherine (Aurore Clément) has chosen to leave her old home and move in with her grown daughter, Charlotte (Sylvie Testud). While Charlotte is sympathetic, she’s something less than enthusiastic; her mother’s mood swings and the clutter of her collected belongings are cramping her home and her style, and when Catherine decides to revive her career as a piano teacher, the constant parade of youngsters bludgeoning the keyboard makes it all but impossible for Charlotte to complete her latest writing project. Catherine and Charlotte decide to look for more spacious living quarters, while Charlotte is also in search of her own office space. As a steady stream of prospective tenants check out their home, Charlotte makes friends with a pregnant woman looking for a new flat (Natacha Régnier), while her search for a space of her own brings Charlotte a relationship with a like-minded realtor (Jean-Pierre Marielle) and an unlikely collaborator in Michelle (Elsa Zylberstein), a poet who enjoys tinkering with Charlotte’s prose. Continue reading Chantal Akerman – Demain On Demenage aka Tomorrow We Move (2004)
Most societies consider incest to be the ultimate taboo. Yet, a strange phenomenon called ‘Genetic Sexual Attraction’ has been known to affect adults who meet long-lost blood relatives for the first time.
This program features several brother/sister couples (along with one mother/son couple) who’ve developed sexual relationships and insist on maintaining them in spite of pressure from society and, sometimes, criminal prosecution. Continue reading ? – Brothers and Sisters in Love – (2008)
Rosalind, the daughter of a banished duke, falls in love with Orlando at a wrestling match, but her usurping uncle, jealous of her popularity, banishes her from court. Disguised as a boy she seeks out her father and his friends in the Forest of Arden. Here she meets Orlando again and, under the guise of a young man, counsels him in the art of love.
Directed by Thea Sharrock
Designed by Dick Bird
Music composed by Stephen Warbeck
Choreographed by Fin Walker
Recorded live at Shakespeare’s Globe Theatre, London, in October 2009. Continue reading Thea Sharrock – ‘As You Like It’ at Shakespeare’s Globe Theatre (2010)
*Macedonian entry for the Best Foreign Language Film at the 83rd Academy Awards
Two nine-year-old girls report a flasher to the police even though they never saw him. Three filmmakers meet the only residents of a deserted village – an elderly brother and sister who have not spoken to each other in 16 years. Retired cleaning women are found raped and strangled in a small town.
The fiction slowly turns into a documentary.
Marking the return of Milcho Manchevski, ‘Mothers’ portrays all types: dedicated, neglectful, loving, absent. Through these women, Manchevski renders the faces of human tragedy and joy.
Employing an innovative structure, the three stories in ‘Mothers’ highlight the delicate relationships of truth and fiction, of drama and documentary. What is the nature of truth?
Directed with a keen eye for contemporary Macedonia, the film eschews neat narrative devices and pushes the viewer to confront their own definitions of filmic reality.
In a traditional structuralist manner, the structure of the film itself (two parts fiction and one part documentary) becomes part of its message. Continue reading Milcho Manchevski – Majki aka Mothers (2010)
‘ . . .the greatest living cinematic artist, the wisest, most transformative, most original agent provocateur at work in the fields of cinema? The short answer: sans doute. Godard is to his medium what Joyce, Stravinsky, Eliot, and Picasso were to theirs: rule-rewriting colossi after whom human expression would never be quite the same.’
The Village Voice
‘It’s possible to hate half or two-thirds of what Godard does – or find it incomprehensible – and still be shattered by his brilliance.’ Pauline Kael
Continue reading Jean-Luc Godard and Youssef Ishaghpour – Cinema: The Archaeology of Film and the Memory of a Century (2005)
A symphony in three movements. Things such as a Mediterranean cruise, numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday… Our Europe. At night, a sister and her younger brother have summoned their parents to appear before the court of their childhood. The children demand serious explanations of the themes of Liberty, Equality and Fraternity. Our humanities. Visits to six sites of true or false myths: Egypt, Palestine, Odessa, Hellas, Naples and Barcelona. (IMDb) Continue reading Jean-Luc Godard – Film socialisme AKA Socialism (2010)