The story of a blossoming romance between a soldier and a country boy, crossed with a Thai folk legend about a shaman with shapeshifting abilities.
Love is the drug, a game for two and, in the otherworldly new Thai film ”Tropical Malady,” unabashedly strange. A fractured love story about the mystery and impossibility of desire, the film was directed by Apichatpong Weerasethakul, whose earlier feature ”Blissfully Yours” opened recently in New York. Perched between two worlds, two consciousnesses and two radically different storytelling traditions, this new feature, which will be screened today as part of the New York Film Festival, shows a young filmmaker pushing at the limits of cinematic narrative with grace and a certain amount of puckish willfulness. Continue reading
Hong Kong filmmaker Stanley Kwan directs this stunning supernatural melodrama about a passion, romance, and lost history. Fleur (Anita Mui) is a 1930s high-class courtesan who finds herself sucked into a doomed relationship with Twelfth Master Chan Chen-Pang (Leslie Cheung), the rakish scion of a prosperous business family that disapproves of their union. After a brief but intense courtship, the two resolve to be together in the afterworld by swallowing opium. Yet once there, Fleur discovers that she is alone. After waiting 50 years for her dearly beloved, she re-emerges in 1987 to place a personal ad. In the process, she enlists the aid of a pair of journalists: Yuen (Alex Man) and his feisty, occasionally jealous girlfriend Ah Chor (Emily Chu). Fleur learns that the Hong Kong she knew has by and large disappeared: the brothel where she worked was now a kindergarten. As she tells them of her love for Twelfth Master, the two journalists begin to find their relationship intensifying. As Fleur’s spirit grows weaker, their search continues until it yields results that are both sad and ironic. — Jonathan Crow @allmovieguide.com Continue reading
Terayama’s second feature recapitulates some of the main themes of Throw Away Your Books in more directly personal terms: it’s a film about a film-maker’s re-examination (and attempted revision) of his own childhood. His boyhood self is an unprepossessing lad who lives with his monstrous, widowed mother, fantasises about the desirable girl-next-door, and finds the visiting circus a touchstone for his dreams of escape. With passion, wit and a genuinely engaging charm, Terayama poses the burning question: Does murdering your mother constitute a true liberation? The autobiographical stance and the circus motif have evoked countless comparisons with Fellini, but they’re very wide of the mark: the film isn’t burdened with bombast or rhetoric, but it is rich in (authentically Japanese) poetry, and its modernist approach is challenging in the best and most accessible sense. Continue reading
Based on true incidents, this film revolves around three sories that unfold simultaneously. During two scorching August days, three different groups of people – thrown into the heat of the war – face different exoeriences due to circumstances beyond their control. They have to continue to exist in a society that is traumatized by nearly twenty years of war between the Sinhalese government forces, and the rebel movement from the Tamil community who are fighting for self-determination.
An eleven year old Muslim boy is struggling to keep his dog, while the family is uprooted by the rebels; a young woman, Chamari, is looking for her soldier husband who is missing in action, and a young soldier, Duminda, finds his sister among the working girls in a brothel. This film is about their quest for life…
“Ira Madiyama” or “August Sun” screened at the International Film Festival Rotterdam in 2004. Continue reading
March Comes in Like a Lion
Or, perhaps, love among the ruins. In present-day Tokyo, a waste land of tenements prey to decrepitude and demolition, ‘Ice’ (Yura) decides to collect Haruo (Cho), the young man she’s set her heart on, from the hospital where he’s being treated for amnesia. A little lie is needed to entice him back to the apartment she’s found for them: she tells him she’s his lover, neglecting to add that she’s also his sister. With no recollections to suggest otherwise, he goes along with her – but how long before his memory returns? With its long, static, carefully composed takes, taciturn script and tantalisingly ambivalent tone, Yazaki’s beautifully matter-of-fact study of incestuous longing is an engrossing, sexy and remarkably tender movie. Crucially, it eschews both easy judgments and fake sentimentality; indeed, there’s a droll, deadpan humour at work, most noticeably in the frequent sight gags. At the same time, however, the evocative use of metaphors ensures that the general air of detachment makes not for a dry, academic exercise, but a poetic tale of a fragile, blossoming romance that’s finally both subtly subversive and, thanks to the charismatic central performances, deeply affecting. Continue reading
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
An imagined life of the prehistoric Japanese Queen Himiko, based loosely on a few mentions in Chinese chronicles. Himiko is presented as the head priestess of the Sun Goddess cult and a spirit medium. This cult later was used by the Japanese Imperial family as their claim to rule. Himiko is made queen when the king is killed, but lets the men around her rule. She is then deposed and killed because she lusts after her half-brother, who is more interested in Adahime, who supports the Earth Goddess. Continue reading