Chantal Akerman, Bernard Dubois, Philippe Garrel, Frederic Mitterand, Vincent Nordon, Philippe Venault
“Two young French filmmakers, Bernard Dubois and Philippe Venault, had the provocative idea of making a follow-up to the 1964 anthology film, Paris vu par, that became a manifesto for the emerging directors of the New Wave. Unfortunately, the unity of that movement is long gone, and this new project is wildly uneven, ranging from the brilliant (Chantal Akerman’s opening sketch, J’ai faim, j’ai froid, is an entire coming-of-age film compressed into 12 frenetic, hilarious, and ultimately touching minutes) to the intriguing (Philippe Garrel’s Rue Fontaine offers a rare Stateside opportunity to see the work of this acclaimed avant-gardist, whose work suggests a crossing of John Cassavetes with early German expressionism) to the mediocre (the segments by Dubois, Venault, and Frederic Mitterrand) to the unwatchable (Vincent Nordon’s Paris-Plage, certainly the longest 13 minutes in film history). A sad lesson emerges–that the French have no more new ideas than we do–but the Akerman itself is worth it all.” -Jonathan Rosenbaum Continue reading Chantal Akerman, Bernard Dubois, Philippe Garrel, Frederic Mitterand, Vincent Nordon, Philippe Venault – Paris vu par… vingt ans après (1984)
Director Chantal Akerman helmed this offbeat comedy about a mother and daughter who find themselves living together again for the first time in many years. Still reeling emotionally from the recent death of her husband, Catherine (Aurore Clément) has chosen to leave her old home and move in with her grown daughter, Charlotte (Sylvie Testud). While Charlotte is sympathetic, she’s something less than enthusiastic; her mother’s mood swings and the clutter of her collected belongings are cramping her home and her style, and when Catherine decides to revive her career as a piano teacher, the constant parade of youngsters bludgeoning the keyboard makes it all but impossible for Charlotte to complete her latest writing project. Catherine and Charlotte decide to look for more spacious living quarters, while Charlotte is also in search of her own office space. As a steady stream of prospective tenants check out their home, Charlotte makes friends with a pregnant woman looking for a new flat (Natacha Régnier), while her search for a space of her own brings Charlotte a relationship with a like-minded realtor (Jean-Pierre Marielle) and an unlikely collaborator in Michelle (Elsa Zylberstein), a poet who enjoys tinkering with Charlotte’s prose. Continue reading Chantal Akerman – Demain On Demenage aka Tomorrow We Move (2004)
Bouka is a gifted young teenager. He lives with his parents in a village and forms with them a solid family. His father gives him a traditional education close to nature. Unfortunately this happiness will be troubled by the brutal death of the father…Remained widow, the mother of Bouka will suffer the consequences of a relentless traditional principle. She become the new wife of the nephew of her late husband, Bouka doesn’t accepts this new condition of her mother. He suspects his stepfather to be involved in his father death. He stops to go to school and organize a gang in the forest. In this tormented atmosphere, he develops a mortal hate towards its new “father”… Continue reading Roger Gnoan M’Bala – Bouka (1988)
Jorge is the doctor in charge of the Haematology Department of a big hospital. One day he meets Clarisse, a patient suffering from advanced leukaemia, and falls in love with her. His struggle to save her inevitably fails in the end, and Jorge will now have to deal with a future of pointless routine and despair. Continue reading António de Macedo – Domingo à Tarde AKA Sunday Afternoon (1966)
Sang-Joon is a professor in the film department at a provincial university. He goes to Seoul to meet his senior, Young-Ho, who works as a film critic. Sang-Joon stays in a northern village in Seoul for 3 days. (IMDb) Continue reading Sang-soo Hong – Book chon bang hyang AKA The Day He Arrives (2011)
*Macedonian entry for the Best Foreign Language Film at the 83rd Academy Awards
Two nine-year-old girls report a flasher to the police even though they never saw him. Three filmmakers meet the only residents of a deserted village – an elderly brother and sister who have not spoken to each other in 16 years. Retired cleaning women are found raped and strangled in a small town.
The fiction slowly turns into a documentary.
Marking the return of Milcho Manchevski, ‘Mothers’ portrays all types: dedicated, neglectful, loving, absent. Through these women, Manchevski renders the faces of human tragedy and joy.
Employing an innovative structure, the three stories in ‘Mothers’ highlight the delicate relationships of truth and fiction, of drama and documentary. What is the nature of truth?
Directed with a keen eye for contemporary Macedonia, the film eschews neat narrative devices and pushes the viewer to confront their own definitions of filmic reality.
In a traditional structuralist manner, the structure of the film itself (two parts fiction and one part documentary) becomes part of its message. Continue reading Milcho Manchevski – Majki aka Mothers (2010)
Description: Paul, the narrator, has a rendezvous at noon on a sweltering Sunday. The person he has invited is none other than the great Portuguese poet Fernando Pessoa… who is no longer among the living. It leads to a whole series of encounters between living Lisboans… and phantoms of the past, as the barriers of conventional time fall away to allow the people of today and yesterday to meet and communicate. Continue reading Alain Tanner – Requiem (1998)