2001-2010

Rodolphe Marconi – Ceci est mon corps AKA This is my Body (2001)

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Antoine’s future is all mapped out. A student at France’s top business college, some day he’ll slip into his father’s shoes at the head of a booming company.

Antoine is brilliant, but he’s bored. As a game or a challenge, to prove to himself he’s not on a one-way street, he agrees to play the lead in a film in preparation. It’s a scandal. The more Antoine delves into the unknown, the more he finds himself alone, misunderstood, torn between the wounded love of his parents and his lady director’s voracious passion Read More »

Umit Unal – Gölgesizler AKA The Shadowless (2009)

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A barber working in Istanbul longs to be ‘both here and far, far away’. And one day, without warning, he takes himself off and disappears abruptly into the great far away. The barber settles in a far-flung village, and as chance would have it the one-time local barber, Jingle Nuri, vanished from the place years ago. The village is in the hands of the mukhtar, the elected local chief. So the new barber rents his shop and opens the doors for business. The village is not, however, the innocent village. The mukhtar finds himself dealing with one mysterious disappearance after another. Güvercin, the prettiest girl in the village, is now missing without trace. The mukhtar and his only armed man, the village guard, set about questioning everyone in the village. The mukhtar suspects Cennet’s son more than anyone else. And he beats the gentle dreamer with the soul of a poet to a pulp as he cross-examines him – which causes the boy to lose his mind. Read More »

Marco Righi – I giorni della vendemmia AKA Days of Harvest (2010)

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Quote:
1984. In the sultry, still sunny September of that Emilian rural district most soaked with catholicism and home-grown socialism, Elia, a teenager grown out of these horizons, lives with his parents: William, his father, who has got a strong ideological tendency to marxism, Maddalena, his mother, very prayerful, and his grandmother; with the ghost of his older brother Samuele, whos not coming back home since a whole year. It is harvest time in the small vineyard next to home, so the days of harvest begin and in order to give some help in the field arrives also Emilia, the nearly grown-up granddaugther of an old couple living in Elias same small town. The young woman decides to go back to her grandparents country town for a short time, to write her degree thesis and, in the meanwhile, to earn some money for a wee trip shes been planning for a while. Conceited and nonchalant, Emilia is a true revolution in the ordinary every day life of the provincial teenager but, in spite of everything… Read More »

Sam de Jong – Prins (2015)

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About:
It is summer in the estate on the edge of town that provides the location for Sam de Jong’s feature debut Prins. And it is hot. Any lad who has money here has got to be a wide boy. And if you are driving a Lamborghini you will definitely earn respect. The film’s young director unfolds his story with ease, infusing it with a good dose of irony and grotesque exaggeration. The boys hang out on the street, cracking pumpkin seeds, talking about motorbikes, Rolex watches and how to kiss a girl. One of them is 17-year-old Ayoub. He is head over heels in love with pretty Laura who may smile at him invitingly when she passes by, but later sends him packing with a withering look. Her boyfriend is one of the really tough guys. How on earth can Ayoub compete? He has hardly any money, shares a tiny room with his sister at home; his mother is careworn and his father lives on the streets. He has to do something. Cue the guy in the pastel-hued violet Lamborghini – a complete nut that everyone says you should just stay away from. It is going to be a long, nightmarish night for Ayoub. Read More »

Alex Gibney – The Human Behavior Experiments (2006)

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Most people never have to face the fact that at the right time and right place, they’re capable of anything,” says John Huston’s character, Noah Cross, in the movie Chinatown — dialogue that seems especially apt watching this engrossing docu collaboration to be simulcast by Sundance Channel and Court TV. Following up on their “First Amendment Project,” the cable nets tap filmmaker Alex Gibney (Enron: The Smartest Guys in the Room) to craft this thought-provoking examination of three controversial psychological studies whose chilling results still resonate today. Read More »

Frédérique Devaux & Michel Amarger – Cinexperimentaux #9: Stephen Dwoskin (2006-2010)

Stephen Dwoskin was born in New York in 1939 and began making independent shorts there in 1961. In 1964 he followed his research work to London where he settled and participated in the founding of the London Filmmaker’s Co-op. His experimental films, for which he himself does the camera work, play with ideas of desire, sexual and mental solitude and the passage of time. In his films he also explores representation in cinema, performances, personal impressions and his own physical handicap which has been a source of inspiration for him throughout his career. His sensitive and emancipating works have been the subject of various international presentations. Read More »

Myriam Mézières & Alain Tanner – Fleurs de sang AKA Flowers of Blood (2002)

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Again, it is a portrait of a woman and it gives us another glimpse of an exceptional figure. Mézières comes across as an outstanding actress, offering her body and her sufferings with a rare and profoundly moving abandon. Although the action of the film unfolds over five years, charting the development of a painful relationship between a mother and her daughter, the basic principle is to draw it all together rather than follow a psychological chronology. The relationship is apprehended as a single entity: the cracks are evident, but there is not too much emphasis on the process of disintegration. The story divides into two distinct time periods, first with mother and daughter together in the same bohemian setting, then separated by society, each facing her own choices and wanderings. However, the purpose of this time division is not so much to answer the predictable question “What will become of them?” in preparation of a pointless debate on “How can a girl live without her mother?” (and vice versa), as to show the metamorphosis of a single body, a dual mother-daughter identity, which is treated in the film less as a social couple going through ups and downs than as a single female figure with two faces. The beauty of the film lies in this constant blending of the two personalities, an on-going role-play in mother/daughter boundaries resulting in a disturbing tension between incestuous bond and transfer of identity. Read More »