A 2012 Chilean drama film directed by Pablo Larraín. The film is based on the unpublished play El Plebiscito, written by Antonio Skármeta. Mexican actor Gael García Bernal plays René, an in-demand advertising man working in Chile in the late 1980s. The historical moment the film captures is when advertising tactics came to be widely used in political campaigns. The campaign in question was the historic 1988 plebiscite of the Chilean citizenry over whether general Augusto Pinochet should have another 8-year term as President.
At the 85th Academy Awards the film was nominated for the Best Foreign Language Film Oscar. Continue reading
Boldly blending personal and political histories, intercutting its fast-moving fictional scenes with documentary footage, this sort of sequel to Alexandria – Why? follows the fortunes of Chahine’s charismatic film-maker hero and alter ego, forced to review his past and learn to love himself by a critical open-heart operation. The occasionally clumsy central conceit – Yehia/Chahine standing trial for his life during surgery – is amply offset by the energy and style of this indulgent, exuberant, and immensely likeable self-portrait. Continue reading
At the Belgrade army hospital, casualties of Bosnian civil war are treated. In the hospital they remember their youth and the war. Two young boys, Halil, a Muslim, and Milan, a Serb, have grown up together near a deserted tunnel linking the Yugoslav cities of Belgrade and Zagreb. They never dare go inside, as they believe an ogre resides there. Twelve years later, during the Bosnian civil war, Milan, who is trapped in the tunnel with his troop, and Halil, find themselves on opposing sides, fatefully heading toward confrontation. Continue reading
There is a good theory that explains why Agnes Varda’s Jane B. for Agnes V. was never officially distributed in the United States. Apparently, the few distributors that saw it after Varda completed it in 1988 concluded that it was too abstract and therefore too risky to sign. So until recently, it had been screened only a few times at festivals and retrospectives.
Having just viewed Jane B. for Agnes V. for the first time ever, I can agree that it is different. It is a fluid experimental project that matches the audacity of Jean-Luc Godard’s early films and the quiet elegance of Eric Rohmer’s best films, but feels distinctively modern. There is a side of it that easily could have been envisioned by the late Chantal Akerman as well. There was a script for it, but once Varda started shooting the film evolved and actually expanded in different directions. (Le Petit Amout aka Kung-Fu Master! emerged as a natural continuation of this expansion). Continue reading
First feature film directed by Alex Anwandter and based on a true story.
You’ll never be alone tells the story of Juan, a withdrawn manager at a mannequin factory who after his teenage gay son suffers a violent attack, struggles between paying his son’s exorbitant medical bills and his last attempt at becoming partners with his boss. As he runs into dead-ends and unexpected betrayals, he’ll discover the world he knew was already waiting to be violent with him too.
Teddy special jury prize ensures “Alone” has embraced by the queer film circuit to critical acclaim. Continue reading
Damien lives with his mother Marianne, a doctor, while his father is on a tour of duty abroad. He is bullied by Thomas, whose mother is ill. The boys find themselves living together when Marianne invites Thomas to come and stay with them. Continue reading
Following his pair of despairing urban studies, A Zed and Two Noughts and The Belly of an Architect, director Peter Greenaway turned to the sardonic countryside of The Draughtsman’s Contract for another tongue-in-cheek murder yarn, Drowning by Numbers. Easily his most playful film in every sense of the term, this tricky and often charming film boasts some of his wittiest dialogue and makes for an ideal introduction for newcomers compared to his more experimental works. Continue reading