Adapted from Duras’ Abahn Sabana David.
Jaune le soleil est un film de Marguerite Duras sorti en 1972, adapté de son roman Abahn Sabana David.
Tout le film se passe dans une seule pièce où sont réunis les représentants des deux forces politiques et leur ennemi “le juif”. Un personnage féminin établit le dialogue entre ces individus et commente l’idéologie de chacun ; ceci jusqu’à la scène finale où chacun semble se rallier à une idée commune.
Note de tournage :
“Il faudrait que le film donne l’impression d’avoir été tourné sans électricité, que tout effet de lumière en soit complètement banni. Que tout le film baigne dans une lumière uniforme qui n’avantage aucun personnage. Que ce soit la même lumière pour tous. C’est un film sur la parole, l’image ici sert à porter la parole. .(…) Ici c’est la parole qui tient lieu de contact corporel, ainsi que les bruits, les cris des chiens, le bruit des mots….” Cahiers du cinéma n° 400 Octobre 1987 Continue reading
The original dvdr announce wrote:
This filmic exchange is based on two works that reflect on the way each director films, on the crew and the actors, on the way they see and make cinema. Albert Serra took the characters of Honor de Cavalleria and his regular team of collaborators to follow in the steps of Quixote. Lisandro Alonso returned to La Pampa province to film his work, for which he recalls Misael Saavedra, the lead of his first film, La Libertad. Continue reading
In this French tour-de-force a young student (Jacques Speisser) decides to have no more interaction with the world than is needed to minimally sustain life. His increasingly automaton-like behavior is coupled with a strange clarity of insight about the world around him. His inner musings as he wanders the luminous streets of Paris are narrated in the form of an unwritten diary by Ludmila Mikael. Continue reading
The time is the seventeenth century. The beggar Maryna Schuchová hides the Host in her scarf at the Communion. She admits to the parish priest Schmidt that she intended to give it to the midwife Groerová to heal her ailing cow. The young priest declares her a witch and convinces the Sumperk countess De Galle to summon the inquisitor Boblig from Edelstadt. This failed student of law sees the offer as a great opportunity. He uses torture and threats to force the women from the to testify to their meetings with the devil and learn by heart the lies he has made up for the inquisition tribunal. Boblig accuses the wealthy burghers of witchcraft as well, and so wants to seize their possessions.
— IMDb. Continue reading
Manhood-measuring contests — in every imaginable sense of the phrase — are taken to brazenly literal extremes in “Chevalier,” the long-awaited third feature from Greek multi-tasker Athina Rachel Tsangari. Markedly different in focus and emotional temperature from her 2010 breakthrough, “Attenberg,” this committedly deadpan comedy of manners, morals and men behaving weirdly boasts a contained conceit seemingly ripe for unfettered absurdism: On a luxury yacht in the Aegean Sea, six male acquaintances embark on a rigorous series of personal and physical challenges, mercilessly grading each other to determine who is “the Best in General.” That Tsangari resists escalating the conflict, counting on subtle political insinuations to emerge as these perplexing social Olympics wear on, will leave as many viewers enervated as amused, but it’s an expertly executed tease. Continue reading
Teenage siblings Nenette and Boni were raised apart as a result of their parents’ divorce. Their mother, who doted on her son Boni, has died. He works for an interesting couple as a pizza baker, and is surprised and enraged when his younger sister, having run away from boarding school, suddenly turns up. There’s a problem that they must confront. Continue reading
One could only enumerate the elements to let the film tell itself. And this is besides one possible purpose of Hanoun here. Just let things communicate between themselves without the coercition of usual continuums (space and time) and let’s see and feel what happens. Yet there are clues given, relations but they are separated when one could await a close editing and vice versa. There seems to have two worlds, cinematographic worlds I mean : B&W and colour and things circulate from one world to another, people too…
But let’s just enumerate