REVIEW by Anji Milanovic (from plume-noire.com):
In Old, New, Borrowed and Blue director Natasha Arthy begins the film with a signed certificate of authenticity from the Dogma school. By the film’s end, however, it’s clear that she has taken the rules of Dogma and used them to make her own engaging film, instead of an exercise in philosophical experimentation.
Katrine (Sidse Babett Knudsen) is a few days from tying the knot to her dopey but affable fiance (Soren Byder). Her sister (Lotte Anderson) is locked up in a mental ward following a painful break up to Thomsen (Bjorn Kjellman), who abandoned her and took off to Africa. Enter Thomsen on Katrina’s doorstep and together they take off to prepare for Katrine’s wedding. Continue reading
“All These Women (Swedish: För att inte tala om alla dessa kvinnor), originally released as Now About These Women in the UK, is a 1964 Swedish comedy film directed by Ingmar Bergman. It is a parody of Fellini’s 8½. Along with Smiles of a Summer Night, the film is one of the few comedy films ever made by Bergman. It also was Bergman’s first film to be shot in colour.”
“The director, who also collaborated on the script, is labyrinthine in his approach to his story and his initial use of color. A tongue-in-cheek subtitle states that “any resemblance between this film and reality must be a mistake.” But it is abundantly clear that it is Mr. Bergman’s intention to be serious about the occasionally elusive points he is making.” Continue reading
It’s summer and Arnaud begins work for the family business, building garden sheds with his brother. Meeting under unusual circumstances, he becomes fascinated with the surly Madeleine.
Obsessed by survival and gripped by prophecies of doom, Madeleine determines to join an elite commando unit. Arnaud follows. As they begin at an army training camp, their bodies and emotions are put to the test.
An improbable mix of teen-movie, rom-com, and pre-apocalypse film, stretching the limits of each genre. Continue reading
A young Iranian woman fends for herself in America in spite of the wishes of her newfound friends after her husband is accidentally killed.
From the NY Times:
Before we are 15 minutes into ”The Suitors,” this dark satire reveals the dangers of slaughtering sheep in a bathtub. A quirky first feature written and directed by Ghasem Ebrahimian, who was born in Iran and who settled in the United States in the 1970’s, the film also takes a sharp, affectionate view of Iranian immigrants trying to merge their traditions with Manhattan living. Continue reading
Ivan Vasilyevich Changes Occupation
An unconventional comedy based on M. Bulgakov’s play, “Ivan Vassilevich,” when inventor, Timofeev builds a time machine, things go awry. Tsar Ivan the Terrible comes into the year 1973, while Ivan Bunsha, an apartment complex manager, and George Miloslavsky, a petty burglar, are transferred to 16th century Moscow accidentally. Continue reading
A gentle, bittersweet tragicomedy, Autumn Marathon is about a middle-aged translator, Andrei Buzykin (Oleg Basilashvili), whose almost pathological niceness has trapped him in a seemingly endless series of awkward situations: his inability to turn anyone down has left him juggling a wife and mistress, on top of vast amounts of additional work usually done as unpaid favours for friends and students that’s constantly interfering with his own projects to the point where his career is put at risk.
And because he can’t bear to hurt anyone, he’s always taking the easy way out – which invariably means constructing a vast edifice of lies that he can’t possibly keep track of, which has the equally inevitable side-effect of turning a fundamentally decent if weak-willed man into what looks like the epitome of a philandering boor. Half the time, his excuses are entirely genuine – he really did help his Danish friend Bill Hansen (Norbert Kuchinke) at a drying-out clinic, and stayed up all night with his less talented colleague Varvara (Galina Volchek) to help her on a difficult translation, but this counts for little when he’s so widely disbelieved. The title refers to his regular early morning jogging sessions with Bill – again, he’d much rather be doing something else, like staying in bed, but how can he possibly say no? Continue reading
Gillian Robespierre’s Obvious Child managed two great feats in one film: it announced Jenny Slate as a strong actor to watch and, more importantly, turned in a great romantic dramedy surrounding the topic of abortion. The film wasn’t a polemic or political diatribe, nor did it toss off the subject matter flippantly. Instead, Obvious Child addressed various aspects of love, modern adulthood, and the implications of parenthood and abortions with aplomb. As written by Robespierre, the film was as light and hilarious as could be expected while doing an impressive balancing act by being sensitive to the realistic decisions women face. It helped too that the cast turned in performances perfectly in keeping with the tone of the film: they were sad without being soul-wrenchingly sad and funny without being glib or quirky about it. But above all else, Slate’s performance and Robespierre’s film were pleasingly human.
-TinyMixTapes (#20 on their “Favorite 30 Films of 2014″ list) Continue reading