Jean-François Stévenin – Double messieurs AKA Double gentlemen (1986)

dfGC27 Jean François Stévenin   Double messieurs AKA Double gentlemen (1986)

29f7c043f76a2bde437fd0d52a185152 Jean François Stévenin   Double messieurs AKA Double gentlemen (1986)

Quote:
In a routine look at what it means to finally leave adolescence behind — even in one’s mature years — this series of mood swings and sequences focuses on two grown men. Francois (Jean Francois Stevenin, the director) and Leo (Yves Alonso) are old friends, and at one point they decide to go out and search for one of their childhood buddies, the brunt of several of their practical jokes. In true form, the men opt for playing yet another practical joke on their friend, but their plans backfire when his wife Helene (Carole Bouquet) comes into the picture instead. Her presence forces them to reconsider their shenanigans in a new light. Continue reading

Jean-François Stévenin – Le Passe-montagne AKA Mountain Pass (1978)

SySeex Jean François Stévenin   Le Passe montagne AKA Mountain Pass (1978)

29f7c043f76a2bde437fd0d52a185152 Jean François Stévenin   Le Passe montagne AKA Mountain Pass (1978)

PLOT DESCRIPTION
This film marks the directorial debut of actor Jean-François Stevenin. Serge (Stevenin) is a dweller in the French provinces who happens upon Georges (Jacques Villeret), a Parisian motorist in distress. Serge arranges for the car to be taken to a nearby garage. Georges’ friends, who were with him in the car, have continued their journeys. Because of that, Serge takes Georges under his wings while he waits for his car to be repaired, and they tour the countryside and party with the local revelers. Nothing much is said between them, but it is clear that they have become friends Continue reading

Nicolás Pereda – El palacio (2013)

xPE2EZ Nicolás Pereda   El palacio (2013)

29f7c043f76a2bde437fd0d52a185152 Nicolás Pereda   El palacio (2013)

Pereda’s films pass through a transitional period; Los mejores temas was probably a conscious farewell to a filmic representation system while Matar extraños turned out to be an enigmatic first test; El palacio is a new attempt at renovation, an experiment. These last two films show a novel element —the shifting of the family and domestic spheres to a public and political space. Whereas Matar extraños used revolution as its focal concept, in this enigmatic film the microphysics of power is the permeating idea.
The opening wide shot is brilliant; the 17 women who appear in this film are washing their teeth at the same time. Among this group there are little girls, young and old women, and they are not at a bathroom but at a patio filled with large sinks. Their activity unites them, though their experiences and, eventually, their functions differ. Where are they? For several minutes the only thing we will see are the diverse cleaning-related actions performed by these women. Everything happens in an old house, without any indication of its location. Abstraction and routine. Pereda is capable of filming someone hanging clothes to dry or making a bed as if those were aesthetic events.
A donkey wonders around and imposes a comical tone for a moment; but a donkey is an animal used for servitude. And the title of the film mentions a palace.
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Pavel Jurácek & Jan Schmidt – Postava k podpirani Aka Joseph Kilian­ (1965)

7xpdXB Pavel Jurácek & Jan Schmidt   Postava k podpirani Aka Joseph Kilian­ (1965)

29f7c043f76a2bde437fd0d52a185152 Pavel Jurácek & Jan Schmidt   Postava k podpirani Aka Joseph Kilian­ (1965)

Quote:
A year after Franz Kafka’s work had been translated from German into his native Czech, this experimental feature was full of Kafka’s tone and style. The story is about Harold, an isolated figure in an overwhelming world of totalitarian bureaucracy. Harold tries to find the elusive Joseph Kilian, an old acquaintance, in Prague. When Harold stumbles across a state-run cat-lending store, he impulsively rents a feline for the day. Later, he attempts to return the cat and finds that the store no longer exists. Now with a furry companion, Harold continues his search for Kilian. Written and directed by Pavel Juracek, this 40 minute film effectively aims its allegorical shots at personality cults and the absurdities of a totalitarian regime. × Continue reading

Michael Haneke – Code inconnu AKA Code Unknown (2000)

6FVtOK Michael Haneke   Code inconnu AKA Code Unknown (2000)

29f7c043f76a2bde437fd0d52a185152 Michael Haneke   Code inconnu AKA Code Unknown (2000)

Quote:
…even after a number of viewings, I’m still not sure if what I have seen is a kind of high Euro-modernist masterpiece about race, culture, urban rage and alienated identity – or a perversely opaque and frustrating essay in enigma, a labyrinth of blind alleys, in which putative solutions are forbiddingly walled off. It is a film which gestures at the literal incomprehensibility of experience, how it resists encirclement and extends beyond the perimeters of perception and interpretation. The mood of Code Unknown is moreover often fractious, crackling with unease and ill-humour, and yet this is a movie whose images and personae linger in the mind, and which can deliver dazzlingly generous, compassionate insights…
Peter Bradshaw, The Guardian Continue reading

pixel Michael Haneke   Code inconnu AKA Code Unknown (2000)