Arthouse

Carlos Reygadas – Stellet Licht aka Silent Light (2007)

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The Carlos Reygadas guide to cinema:

The film is everything: “I’m not pursuing ‘a career’, or trying to make a point like Godard, who had these ideas of cinema and wanted to prove them through his films. His films are just essays trying to prove a preconceived theory, and that’s why I don’t like them very much. I feel films have to be pure – projections of vision and feelings, rather than make references to things outside of them. For me, they have to be spheres: self-containing.”

Make cinema for adults: “I’ve never understood all those children’s films about animals that talk and little animated spoons. When they ask me what I think of Harry Potter and Lord of the Rings, I always say, ‘I don’t understand them, they’re for children.’ And when I was a child, I didn’t understand films for adults and now I don’t understand films for children. I don’t understand why so many people understand films for children.” … Read More »

Moacyr Góes – O Homem Que Desafiou o Diabo (2007)

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José Araújo, an attractive, happy traveling salesman, arrives at the little town of Jardim dos Caiacós where he meets “Turco,” owner of the grocery and Dualiba’s father, a virgin forty-year-old woman. Excited at the pretty woman, Zé Araújo does what nobody else had ever dared to do. Dualiba tell her daddy what happened, and he looks for Zé Araújo to make an irrefutable proposal: marry his daughter. Years later, apparently resigned to his fate, Zé Araújo discovers he’s the joke in town. Unexpectedly, there’s a change from an attractive traveling salesman into a fearless Ojuara, who rides into the Northeatern Brazilian backlands to fight for the unprotected along a journey full of adventures and love conquers Read More »

Lars von Trier – Idioterne AKA The Idiots (1998)

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“Now Lars von Trier, one of Dogma’s founders, has used these techniques to produce a two-hour, semi-pornographic Mentos commercial.” – A.O. Scott, The New York Times

Lars von Trier is, to me, one of the most consistently intriguing media figures of the last few years. He’s so determined to carve a niche for himself in film history that he seems to be guaranteed one, at very least, due to his grandstanding. Critical reception to this self-proclaimed genius is certainly mixed. It’s not surprising that he is usually able to alienate a good portion of his audience before they even view his film. Others, like Scott, seem unable to get a concrete grasp on what they’re watching. For my money, the film is a masterpiece. Combined with his other 2000 U.S. release, Dancer in the Dark, von Trier has proven his self-proclamations of cinematic genius to be true. Read More »

Per Blom – Is-slottet aka Ice Palace (1987)

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Description: Set in a rural community in the 1930s Norway. 12-year-old Unn moves to a small village to live with her aunt after her unmarried mother dies, where she makes a new friend, the 11-year-old Siss. One day she admits to have secret and indecent fantasies about her new girlfriend, and admits to her that she is afraid she will not be let into heaven whe she dies.

On the following day Unn pauses beside an enchantingly beautiful frozen waterfall. To her it is an “ice palace.” She enters the shining castle and begins to wander through it’s beautiful crystalline chambers. Unfortunately she becomes hopelessly lost. The ice then begins to melt, and though she makes a valiant effort to make it through the icy water to the entrance, she fails and perishes from cold and exhaustion. Her friend’s name is the final word uttered from her freezing lips.

Based upon the novel by the Norwegian author Tarjei Vesaas, and considered a classic of Norwegian literature.
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Marco Bellocchio – Il Diavolo in corpo AKA Devil in the Flesh [+Extras] (1986)

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Description: An Italian high school student becomes infatuated with a woman he sees outside his class window. Her fiancée is in jail for being involved in a radical movement, and she spends much time in court providing moral support. At first she resists the student’s advances, but eventually begins an affair with him. Their situation is condemned by her family and his father, who is the woman’s psychologist. Read More »

Philippe Garrel – Sauvage Innocence AKA Wild Innocence (2001)

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A man creating a cautionary tale about drug abuse finds himself and his lover drawn into the deadly web of heroin in this drama. Francois Mauge (Mehdi Behaj Kacem) is a filmmaker who is still dealing with the death of his wife, a well-known model and actress who succumbed to drugs. Determined to make a statement about his loss through his work, Francois decides to direct a film about a woman struggling with addiction called “Wild Innocence,” and casts an attractive young actress named Lucie (Julia Faure) in the leading role. Francois soon falls for Lucie and they become lovers, but Francois loses financing for his project, and in order to continue filming, he approaches a less-than-scrupulous financier, Chas (Michel Subor), who was friends with Francois’ late wife. Chas offers to back the movie, but under one condition — Francois has to help him smuggle a large quantity of heroin into France. As if this ugly irony were not enough, Lucie develops a curiosity about drugs while researching her role, and tries snorting heroin; before long, she’s devolved into a full-blown addict. Philippe Garrel’s film was inspired in part by his romance with Nico, the noted model, musician, and actress who herself developed a very serious drug habit during the course of their relationship. Read More »

Philippe Garrel – Marie pour mémoire AKA Marie for Memory (1967)

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Quote:

Parallel lives of two couples destined to suicide, one, and unhappiness, the other.

Description:
Marie pour mémoire is the first feautre film of Philippe Garrel, he shot it when he was 19 years old. The movie won the Grand Prix at the Hyères young cinema festival in April 1968.

It is a story of two adolescents, Marie and Jésus who love each other and wants to live together. Their parents refuse this idea. Marie and Jésus get hurt under the order of a police-society.

Philippe Garrel said about this film: “Marie describes the trauma of the new generation.” Read More »