A woman who works for a non-governmental organization (NGO) forms a special relationship with a young boy in war-torn Chechnya.
Cannes Film Festival 2014 Nominated Palme d’Or Continue reading
A young woman excuse his father’s funeral to find a neighbor rather charming , and try to understand why she interrupted the love relationship began with him a few months earlier. They end and replay the scene where his cop prevented their history started. They try it , wrestle , grapple , while approaching . They rub , bump against each other and have fun to talk with as fancy as gravity , and into a struggle more and more physical. They will eventually bind to each other during daily sessions that look like a game. Beyond their verbal sparring , the confrontation becomes a necessity to try to find a curious ritual that they can not escape .dropoff window Gradually, obviously it will take something frees them so that these struggles are finally became a real struggle for love. Continue reading
Synopsis by Dan Pavlides
Six directors combined efforts for this 1967 documentary, a searing anti-American indictment of U.S. involvement in Vietnam. Alain Resnais, William Klein, Joris Ivens, Agnes Varda, Claude Lelouch, and Jean-Luc Goddard all direct segments. They are quick to point out that the U.S. is radically divided about their country’s policy to stop the threat of communism. Continue reading
Cannes 2014: Timbuktu review – searing fundamentalist drama
By Peter Bradshaw
Abderrahmane Sissako’s passionate and visually beautiful film Timbuktu is a cry from the heart – with all the more moral authority for being expressed with such grace and such care. It is a portrait of the country of his childhood, the west African state of Mali, and in particular the city of Timbuktu, whose rich and humane traditions are being trampled, as Sissako sees it, by fanatical jihadis, often from outside the country. The story revolves around the death of a cow, affectionately named “GPS” – an appropriate symbol for a country that has lost its way. Continue reading
The existential questions Albert Camus raises in his short story “The Guest” translate exceptionally well to the Western genre in “Far From Men,” which stars Viggo Mortensen as a colonial schoolteacher tasked with transporting an Arab farmer accused of killing his cousin to trial. While the film isn’t as tense as “3:10 to Yuma,” nor energetic enough to overcome its niche status, writer-director David Oelhoffen’s idea of approaching this potent two-hander as an Algeria-set horse opera proves as inspired as it is unexpected. By treating the story’s epic High Plateau vistas the way John Ford did Monument Valley, Oelhoffen amplifies the moral concerns facing characters living just beyond the reach of civilization and law. Continue reading
This movie is about a sculptor who loves “making” statues and paintings of young nudes. He becomes obsessed with the daughter (Laura) of a friend, whom he knew a long time ago. He manages to get her mother to take pictures of her for him to use in making a sculpture of her body. Laura develops a crush on him (as did her mother) and after he is blinded, offers to help him finish the statue that he started by posing for him herself. He’s able to finish the clay sculpture by using his hands to feel along her body. They both get caught up in the moment and she becomes a women.
Those who argue about the plot or dialogue have missed the point of a David Hamilton movie. They simply don’t get it. At any rate, there are a few story plots intertwined in this movie if you can pick them out.
From American Film Institute Catalog 1961-1970: “In the early morning hours after a Peruvian carnival, a young woman named Adriana lies naked and exhausted on a lonely stretch of beach, the final resting place for dying gulls from the nearby Guano Islands. The night before, Adriana left her sadomasochistic millionaire husband and came to the beach with four costumed revelers with whom she hoped to find sexual fulfillment. Tormented by nymphomania, and knowing that her husband and his chauffeur-bodyguard will soon come for her, Adriana dresses herself and wanders into a beachside brothel owned by Madame Fernande. At first Adriana gives herself to the madame and offers to work for her as a prostitute but then changes her mind and returns to the beach. Remembering her agreement that the chauffeur could kill her if she ever succumbed again to her sickness, she attempts to drown herself, but she is rescued by Rainier, a poet and self-confessed failure, who runs a beach cafe that no one frequents. While they make love, Rainier implies that they could be each other’s salvation. His suggestions are interrupted, however, by the arrival of the chauffeur and the whisky-sodden husband, who have come to carry out the agreed-upon ritualized execution. Rainier intervenes and is knocked unconscious; a young Indian boy called Alejo, who has been following Adriana, leaps out from a hiding place and plunges a knife into the chauffeur. Ignoring the others, Adriana wanders off alone as her husband picks up the dead chauffeur’s cap and hands it to Rainier, who accepts it. As the two men set off after Adriana, the young boy races headlong into the sea”SPOILER Continue reading