An aged, prosperous and above any suspicion, bourgeois by the nickname ‘The Master’, lives isolated in a luxurious beachfront villa with his teenage daughter who he has kept well protected from the mischief of the outside world. Behind the façade of the vigorous art lover, however, he prospers by illegally trading antiquities in the black market and a loan sharking. The ‘Master’ has two henchmen to do his ‘dirty work’, Hermes and John. Both will commit a fatal mistake: while Hermes falls for the daughter of his ‘Master’, John is obsessed with a prostitute. Both will pay a heavy price for being ‘sentimentalists’…
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NYFF perennial Hong Sang-soo’s latest may be his wittiest—and his most deeply felt—work to date. Toggling between the present and the past, reality and fiction, and divided into four chapters (and different points of view), Oki’s Movie recounts the amorous and artistic adventures of talented young director Jin-gu (Lee Sun-kyun), his middle-aged cinema instructor, Professor Song (Moon Sung-keun), and Oki (Jung Yumi), the woman who loves them both.
As “Pomp and Circumstance” wryly plays throughout, the protagonists nobly fumble their way through romance and work, culminating in Jin-gu’s disastrous post-screening Q&A. Hong’s eleventh feature is a comedy with tremendous emotional heft, concluding with a heartbreaking précis on the vagaries of the heart and the terrors of aging. Continue reading
Documentary filmmaker Frederick Wiseman goes behind the scenes at the National Gallery in a journey to the heart of a museum inhabited by masterpieces of Western art from the Middle Ages to the 19th century.
This three-hour epic has no voiceover, no score and no added sound effects. The nearest thing to music is the drone of the polishing machines at dawn. In a richly detailed, beautifully nuanced portrait of the gallery’s working life, we are guided gently from board meeting to retouching workshop, from gallery floor, to seminar room, from the difficult financial decisions facing the charity’s executives to visitors’ awed appreciation of the exhibitions.
Combining a vivid sense of how vast the gallery’s many activities are with an eye for droll observational detail, the film reveals how the gallery works and its relations with its staff, public and paintings. Continue reading
A group of girls and boys in their twenties settle in a country house that seems completely isolated from civilization. One of them writes a novel while the others try to become a gang and prepare a robbery; some fall in love, or seem to be, or believe (or say) they are in love. But these two, three, ten plot lines unfold from what the characters hide or just don’t know, connecting the writing of the novel and the forming of the gang, and the past of two of the characters with that of the house, and of those who perhaps were the two most bitter enemies of nineteenth century Argentine history… With a sense of humor and play that is both the character’s and the film’s, Todos mienten superimposes plot lines as if it were a tapestry from which a part is constantly hidden, revealing it later and changing its meaning, by means of a complot of specialists in pretense that asks the audience to become an accomplice. Brilliant, vital, with an extraordinary depuration and economy of film resources that makes systematic long takes not seem like a prison, but the result of a necessity, Todos mienten is the joy of cinema in its purest form. –BAFICI Continue reading
The fair-haired Paul (Edouard Dermithe) engages in a snowball fight with several other boys outside his school, and is knocked out by a snowball tossed by the bully Dargelos (Renée Cosima). Far from being upset, Paul obsesses over Dargelos.
Bedridden, Paul is cared for by his domineering sister Elisabeth (Nicole Stéphane). Elisabeth acts angry and put-upon as nursemaid to the petulant, whiny Paul, but her attitude changes with the arrival of Agathe (Cosima), a boarder who comes to live with Paul and Elisabeth and threatens to break the siblings apart because of her attraction to Paul. The jealous Elisabeth begins manipulating both Paul and Agathe, along with Paul’s chum Gérard (Jacques Bernard), to make sure the status quo is maintained. But even the supremely confident Elisabeth can’t predict what her machinations will drive the others to do. Continue reading
A huge, run-down apartment in Berlin Mitte. Two women and a man, rehearsals for a movie about love and sex, that will never be shot. Acting and reality mingle into a dangerous melange. Berlin is the shelter, love is impossible, flesh is the law.
Director Nina Bader wants to shoot a film about love and sex and invites her actor-friends Hans and Marie for screen tests for a couple of days. For Nina love is not necessarily a matter of emotion – she is rather looking for an authentic depiction of sex. The intimate collaboration turns into experiments with film, love and bodies and finally has an impact on the private relationships between the three of them. It seems that the boundaries between acting and reality begin to disappear. Continue reading
A mysterious visitor (Kentucker Audley) spends the night at an apartment belonging to a young engaged couple (Sophia Takal and Lawrence Michael Levine) and their friend (Kate Lyn Sheil.) Over the course of the night and the following day he sleeps with all three roommates and then disappears, leading to conversations about God, life and filmmaking.
Starring: Sophia Takal, Lawrence Michael Levine, Kate Lyn Sheil, Kentucker Audley, Joe Swanberg Continue reading