Desciption from the Criterion version:
Germany in the autumn of 1957. Lola (BarbaraSukowa), a seductive cabaret singer and prostitute, exults in her power as a temptress of men, but she wants out–she wants money, property, and love. Pitting a corrupt building contractor (Mario Adorf) against the new straight-arrow building commissioner (Armin Mueller-Stahl), Lola launches an outrageous plan to elevate herself in a world where everything, and everyone, is for sale. Shot in childlike candy colors, Fassbinder’s homage to Josef von Sternberg’s classic The Blue Angel stands as a satiric tribute to capitalism. Continue reading
In 2 or 3 Things I Know About Her (2 ou 3 choses que je sais d’elle), Jean-Luc Godard beckons us ever closer, whispering in our ears as narrator. About what? Money, sex, fashion, the city, love, language, war: in a word, everything. Among the legendary French filmmaker’s finest achievements, the film takes as its ostensible subject the daily life of Juliette Janson (Marina Vlady), a housewife from the Paris suburbs who prostitutes herself for extra money. Yet this is only a template for Godard to spin off into provocative philosophical tangents and gorgeous images. 2 or 3 Things I Know About Her is perhaps Godard’s most revelatory look at consumer culture, shot in ravishing widescreen color by Raoul Coutard. (Criterion) Continue reading
Marock is the 2005 Moroccan film by the female Muslim director Laila Marrakchi. The movie was very controversial as it deals with a Muslim/Jewish love between two high school mates, Rita and Youri. The film was 2006’s most successful film in Morocco, scoring more than 3 million dirhams at the Moroccan box-office, according to TelQuel.
The film was shown in Moroccan cinemas without being edited or censored. The title Marock is a play on words based on the French name of Morocco Maroc and Rock as in Rock’n Roll.
The universal language of youthful rebellion takes center stage in director Laïla Marrakchi’s tale of a Moroccan Muslim teen who falls for a handsome and progressive-minded Jewish boy. High school is drawing to a close for 17-year-old Rita (Morjana Alaoui) and her carefree friends, and as the footloose girls pound the pavement of Casablanca’s Anfa district, it seems that their summer of fun is already well under way. When Rita meets fun-loving Youri (Matthieu Boujenah) and the pair hit it off, her liberal Muslim family’s open-minds soon begin to close when they discover that their daughter’s new boyfriend is Jewish. Continue reading
Oriental Elegy (1996). Visually impressionistic, atmospherically dense, and narratively opaque, Oriental Elegy is the surreal journey of a displaced spirit (Aleksandr Sokurov) as he wanders in the interminable darkness through the temporal landscape of a quaint and isolated feudal-era fishing village. Guided by a series of faintly illuminated rooms, the wandering spirit comes upon ancient souls who take on physical forms as they recount their personal stories of daily existence, loss, and tragedy in the peasant community. Intrigued by his initial visit to a curiously distracted elderly woman, the spirit returns to her home in order to ask a fundamental question – “What is happiness?” – an existential query that is innocently answered with innate humility and accepted unknowingness. Through abstractly textured imagery and indelibly hypnotic dreamscapes, Sokurov composes a metaphoric, sensual, and evocative tone poem on a soul’s search for enlightenment and the essential survival of human consciousness. Continue reading
Plot / Synopsis
A socially inept middle-aged man is confronted with an unexpected guest even more clueless than himself in this comedy. Bob is a film critic from the Netherlands who loves and understands the movies but doesn’t have the same knack with the real world, especially the opposite sex. Bob is deeply infatuated with a woman who works at the popcorn counter of his favorite movie theater, but while she sometimes flirts with him, he’s too nervous to follow through. Bob decides he needs to be more bold if he wants to win his dream girl, but just as he’s gathering his courage to lure her back to his apartment, he suddenly finds himself entertaining an unexpected guest. Duska is an even geekier movie buff Bob met at a film festival in Russia , and he’s decided to take him up on his offer to let him stay at his flat if he’s ever in town. While Duska is cramping the style Bob is trying to develop, the larger problem is that his new houseguest seems to be planning a long-term visit and Bob doesn’t know how to get rid of him. Continue reading
„By the middle of the 70s, partly due to television, Hungarian films had lost much of their audience. The allure of disguised social criticism – one of the secret reasons why Hungarian films were so successful at foreign festivals – started to wear off. After 1968 social criticism became pointless. The first director to open up towards the audience (along with Zoltán Fábri) was Pál Sándor. Mourning the loss of left-wing ideals of freedom he recreated the illusion of a past community. The audience responded to his grotesque, nostalgic tone and the stories where the emphasis was always placed on the microclimate of human relationships. His “retro-films” were rich in self-irony. He never analysed and never criticised, he just told a story, created a poignant atmosphere and passionate characters. (Szeressétek Odor Emíliát – Love Emilia! 1968, Régi idők focija – Football of The Good Old Days 1973, Herkulesfürdői emlék – A Strange Role 1976, Szabadíts meg a gonosztól – Deliver Us from Evil 1978). Continue reading
MEANWHILE concerns Joe Fulton, a man who can do anything from fixing your sink to arranging international financing for a construction project. He produces online advertising and he’s written a big fat novel. He’s also a pretty good drummer. But success eludes him. For Joe can’t keep himself from fixing other people’s problems. His own ambitions are constantly interrupted by his willingness and ability to go out of his way for others. Continue reading