Quote: Sometimes it’s easier to enter a work through the window than through the front door in order to catch it at its most intimate. The hypothesis of this interesting documentary is that the truth of Hervé Guibert the artist was that he was a thwarted film-maker.
In his well-researched film, Anthony Doncque retraces the genealogy of Guibert’s cinematic desire from his failed admission to IDHEC to the late phase of video journals accompanying his agony.
To create a film was Guibert’s obsession. In the 1980s, he wrote three film scripts, one of which, co-authored with Isabelle Adjani, would have turned into a film if the actress hadn’t suddenly vanished into thin air. Guibert commented on this betrayal in his book A l’ami qui ne m’a pas sauvé la vie. Adjani, in turn, talks (only off screen) about this failed project Continue reading →
Plot Synopsis Tamayo, a lovable girl, is taken care of by a prominent family. However, she is the love child of business tycoon and his lover but lives with him and his arranged wife’s family and granddaughter, Tsukiyo who hates Tamayo. Her crime lord father has arranged 3 android bodyguards to protect her. The first android is handsome & has great skills. The second has beast-like strength, and the third is less skillful. One day the father gets hospitalized and his will is found. The will says that he is leaving his fortune solely to Tamayo. When Tsukiyo knows this she plots to regain her inheritance. Continue reading →
Quote: Makimono is an Asian roll painting depicting a landscape. The subject of the film is the language of film itself, its mutability and its influence on the viewer’s vision and thinking. While the film gradually progresses the viewer is gently invited to reflect on the development of the film in its expressive potential. Continue reading →
First Film of Abbas Kairostami After Islamic Revolution in Iran. High School teacher asked 7 student to introduce guilty student, otherwise shay can’t come to class for a weak. After 3 days one of them come back to class and introduce the guilty student. so director ask some of positions and intellectuals in that time about ratting and betraying. Continue reading →
For over 20 years Sophie Calle’s work has taken the form of photographic installations and chronicles, whose structure and form reflect a narrative approach – both within themselves individually and, taken together, in terms of Calle’s own career. Born in Paris in 1953, Calle’s early work dates from a world trip in the 1970s that lasted seven years. During a stay in California in 1978 she took her first photographs – graves marked Father and Mother – with no professional intent, she simply had come upon something that ‘her father might like’. On her return to Paris she began tailing unknowns in the street as part of a conscious ‘drifting through the city’, recording the results in notebooks containing photographs and texts.
By the 1980s the emphasis had moved to her own feelings resulting in the construction of a set of rules and rituals intended to resolve certain personal difficulties. This was followed in the late ‘80s and ‘90s by a concentration on the concept of sight and more recently issues to do with the disappearance of people and things. Continue reading →
The story begins as an innocuous romantic triangle involving wealthy, spoiled Tippi Hedren, handsome Rod Taylor, and schoolteacher Suzanne Pleshette. The human story begins in a San Francisco pet shop and culminates at the home of Taylor’s mother (Jessica Tandy) at Bodega Bay, where the characters’ sense of security is slowly eroded by the curious behavior of the birds in the area. At first, it’s no more than a sea gull swooping down and pecking at Tippi’s head. Things take a truly ugly turn when hundreds of birds converge on a children’s party. There is never an explanation as to why the birds have run amok, but once the onslaught begins, there’s virtually no letup. Continue reading →