Reviews

The story of an orphan girl, brought up in naive, rustic innocence by an elderly relative, who is suddenly exposed to the brutality, greed and deceptiveness of the outside world, when her grandmother dies.

Notwithstanding her healthy distrust of all strangers, which her upbringing instilled in her, it is not long before a cunning racketeer finds her weak point, that temptation which she cannot resist, that weakness, different as it may be, that each of us has, and brings her into his power.

What follows is a depiction of her cruel descent into the depths of moral decay, as she becomes a collaborator in a system of exploitation, unbridled lust, vanity, and greed, in which she and other victims are always the losers. But throughout this struggle, there remains in her the seed of defiance, and a spark of resistance, a stubborn obstinacy that will not give in. It is this conflict between fundamental principle and the expedience of giving in to material advantage that forms the core of the film. The irreconcilable contradiction between eternal values, and short term gratification.

A difficult and demanding film to watch, that is however very well made, intense, and memorable.

Chronicle of a tribe's struggle for survival in a climatically harsh part of Iran, meditating on the four seasons of the year, and how they are experienced by people who depend directly on nature for their survival. Stunning landscape photography and portrayal of colour make up for some gaps in the story.

Movingly sensitive portrayal of the momentary contacts of those who cannot, or may not, commit themselves to a relationship, the emotionally dispossessed who yearn for some kind of compassion and closeness. Realistically filmed on the streets of Teheran, it is a ponderous, deliberate film, that requires sensitivity and contemplation from the viewer.

In some ways the film is fragmentary, and it is difficult to understand exactly what the circumstances of the protagonists are, there is a lot that is not shown, only vaguely alluded to, but that kind of enigmatic mystery is integral to such fleeting and fragile encounters, and it lends further authenticity to a film that rings absolutely true.

Rather than trying to work out exactly how things fit together, I just observed the gracefully accomplished photography, the symbols of time passing and the barriers between people, and let myself sense the slightly melancholy atmosphere the film evokes, the foreshadowing of life to be plodded or ground away to the sound of an empty bus labouring along its route.

A stark, minimalist study of the disposability of the individual in the industrial age. De-dramatised to focus on only the absolutely essential, the film shows an existence defined by a railway track, which is the source of sustenance, but at the same time the cause of virtual exile to the monotonous alienation of being responsible for one single routinised function. It is almost the only link to the outside world, yet it has isolated the individual from any kind of organic link with natural production or broader humanity.

A restrained, quiet film, in which nothing is touched up or beautified, that will reward the patient viewer.

Interesting study of gender politics, when a woman is unexpectedly promoted at work, and the effect that it has on her marriage, and her colleagues at work, where many, particularly the men, see her merely as a symbol, without real authority or competence.

Whereas many Iranian films are so powerful because of the subtle and understated way in which they make their point, (the films "Still Life" and "One more Day" being wonderful examples), this film does the opposite (in my opinion to its detriment) by loudly, repeatedly and brashly, over-emphasising confrontation and labouring on the obvious.

The story is threaded around a corruption scandal which takes a number of rather improbable turns, but for those who like some action in a film, it adds a pleasant level of escapist entertainment.

An absorbing (although repetitive and rather didactic) analysis of exploitation and despair in a situation where there is no way forward or up, where the attempts to make yourself feel better by violating and putting down whoever is below you seems to be the only option. But even here, in this desolate wasteland of lost dreams and no future, that does not work, and reaching out to something or someone to comfort and share with, a simple act of charity, gives some reward, even if it just makes the present bearable by reviving memories of the past.

Although there is little actual on screen violence, this is a harsh and brutal film about the small mindedness of oppression (politically and personally) that does not make for easy entertainment. Clearly based on a play, with a small cast, a broader more expansive relation to the general social and political environment would possibly have helped the film to reach a wider audience.

For a made for TV crime thriller this is a remarkably complex and subtle film, in fact I would have to say that it is not in the first instance a crime movie at all, but rather an absorbing study of cultural alienation and personal isolation.

Also a commentary on the moral and political degeneration of the world, it tells the story of an African man who came to the then (East) German Democratic Republic where he was trained as an engineer to return home and develop his own country. In the subsequent political upheavals things changed, and third world refugees like him are now at the mercy of greedy syndicates who smuggle in those who want to escape the political and economic turmoil of their home countries for the "Promised Land" of Europe, where they are exploited for (illegal) cheap labour.

Politically persecuted in his home country, he can no longer return for fear of torture and execution, and is making a last ditch attempt for political asylum, while at the same time attempting to smuggle in his two children, an action which would destroy his chance for asylum if discovered.

Stylishly photographed, in parts with an almost graphically contrasty effect, there are excellent performances from all the main characters representing a broad spectrum of people. The film opens one's mind to the predicament of a person who no longer has any place where he is safe and belongs, is cut off from his relatives, and has to put up with racial intolerance and prejudice, precariously manoeuvering on the margins of society. In essence it shows that the human decency, compassion and responsibility of ordinary people can make all the difference.

A rather unflattering depiction of rich first world tourists and business people (in this case Germans, but I think it would apply to anyone) stuck in a third world airport departure lounge due to a flight delay.

Slow, repetitive, and in many cases overstated, you do eventually get the feeling that you are also stuck somewhere , waiting for something to happen. The film does however make the point that even people from economically affluent and well organised countries remain at heart uncivilised and crude, and when left to themselves with nothing to do (and enough to drink), the thin veneer of civility and refinement will peel away and expose their barbarism.

There are a few good laughs, and film will appeal to people concerned about the unequal distribution of wealth between the rich "north" and the poor "south" of the globe, and the seedier aspects of exploitation such as "sex tourism", but overall the film lacks substance and interesting surprises.

A very carefully composed film, with a message so austere, stark and frankly honest that it could only have been filmed in black and white. If you want to have a fun night out with some easy 'feel-good' entertainment, see another film.

Set in a remote Yugoslavian village in 1948, when Tito broke away from Stalinist orthodoxy, the film does not in any way involve itself with the ideological differences between these political tendencies, it shows only the inherent treacherousness of political relationships.

From the opening scene, which slowly pans across a harsh and barren mountain range, to the accompaniment of a mournful chant, and then turns to the summary arrest of a peasant, before moving to a wedding procession making its way through the hills, it becomes clear that one is in for a disturbing and painful film. But the brilliance of the film lies in the fact that it does not degenerate into a series of blood soaked cliches. Instead it develops an atmosphere of impending tragedy, where the guests have to pretend that they are enjoying themselves, while the celebration is actually taking place in the darkening shadows cast by the harbingers of impending misfortune. The story, scenery, the rhythmic dancing and the haunting sound-track complement each other exceptionally well in a complex film that has many pauses and silences for reflection.

The political situation, and the wedding celebration are used as allegories to expose the ugly core of power, and the base instincts of 'humanity', and not only in a political sense. When one considers the horrendous civil war that was to overcome this country several decades after it was made, this film sounds a chillingly prophetic note of warning, with a relevance that transcends this specific situation.

Set in a remote village in the earlier years of the previous century, this is a sensitive and slow moving film very similar to Italian neo-realist films such as Ermanno Olmi's "Tree of Wooden Clogs". Filmed on location, and mostly with local rural people who are not professional actors, it documents (in a most convincing and authentic way) a time when Christian faith and ancient folklore intermingled in the the minds of peasants struggling to scrape a meagre living from the land, bearing their hardships and illnesses with a sufferant acceptance.

It documents a short period in the life of the village during which two funerals and two weddings take place, and it inter-cuts images from these events to emphasise the fragility of human life, how quickly beauty and pleasure pass, and how we are caught up in the pace, demands and pleasures of life, and only seldomly, often too late, have the time and inclination to reflect on what is really important.

One of the most contrived and superficial movies that I have seen for a long time. Despite my instincts, regarding other user comments and reviews, I saw this film, because the festival film I wanted to see was sold out.

I accept that audacious hedonism can be contrasted with moral zealousness, but does it have to be presented in such a simplistic and superficial way? This was like getting a synthetic cool drink, where a glass of matured wine would have been possible.

If you are a critical viewer, and want to see a film about non-conformists battling it out against the system they are caught up in, rather see "Before Night Falls". At least that film has some poetic and imaginative beauty (despite its, at times, un-palatable realism), and authenticity (it does allow Castro to speak for himself, no matter how much the footage has been cut and edited). And it forces you to think about the options, and their consequences.

Seems like this dumbfounding film has put me off chocolates for a while.

An interesting study of the effect of foreign occupation of a small country by a militarily and economically more powerful nation, in this case the de-facto occupation of South Korea by the US during the Korean war. In particular the observation of small details, and in themselves, perhaps insignificant incidents, are brought together with more significant events to show how almost every aspect of life, down to the most intimate and personal details, are affected by the unequal power relationship between the occupier and the subjugated people.

Except for the opening scene, almost all of the violence and atrocities are off screen, one observes, for example, the expressions on the faces of children turning from inquisitive curiosity to nauseous horror, but not the act that they witness itself. The war, as such, is never shown, but only referred to in title screens reporting some of the most significant events. We see a funeral, but not the killing. To me, this is a very interesting (and in a time where most films rub your nose in graphic and excessive violence, also unusual) technique, because it allows the film to make its point without having to depict what it is actually condemning.

Admittedly this technique, of only indirectly, or not at all, showing the cardinal incidents, and the overall tendency to view events from a distance (where you can't really recognize characters) made the film very difficult to follow. However once one constructs the sequence of events from the consequences that are shown, the effect is all the more compelling.

A melancholy road movie that reminded me most of the films of the Greek director Theo Angelopoulos, both in their subject matter and in the bleak tedium that the films go through to arrive at their conclusions. This film however lacks the intense aesthetic vision and images that make Angelopoulos' films such as `Suspended Step of the Stork' and `The Beekeeper' so memorable.

An isolated, depressed widower in search of meaning and redemption, and still trying to come to terms with the circumstances of his wife's death three years earlier, is gradually making his way towards her home town, in the desolate countryside near the Korean border, when his path crosses that of a dying company director (whose last wish is to go home to the same village to die) and his nurse. It is a grim tale of suffering and the cruelties of life. I think I missed out on a lot of the meaning of the film due to my limited knowledge of Asian culture and religion, but it still impressed me as a deep and moving film. Unfortunately the print I saw was of a rather bad quality (it seemed to have been originated on home processed 16mm, judging from the grain and colour variations), and I would recommend it only to the patient and those specifically interested in eastern ideas and thinking about moral values and the meaning of life.

This is an interesting and innovative film about a young student who believes that the spirit of an alien from another planet has gone back in time and taken over his body to infiltrate and study humanity, to find the reasons why our civilization is doomed to future destruction. He replicates the spirit of another alien in a girl that he meets, and together they use their video cameras to document modern urban Japanese society. While there are no great insights, there are some interesting observations about a materialistic and technology mad society that never seems to come to rest. Generally an easy film to watch, although the use of free camera movement is sometimes taken to extremes.

Having known someone who needed a kidney transplant, I was aware of the tremendous difficulty in finding a tissue matched donor organ. This film, which is about a heart transplant, brings out the desperation of the patient for whom there is no longer any other treatment option very clearly and realistically.

What I had not considered, and what this film made me aware of, is the extremely difficult position that the relatives of a deceased person are put in when they are requested to give permission for an organ donation. At this point they are already suffering from the shock and grief of having lost someone they loved, and this additional burden can test the limits of what they can bear.

This film is definitely not an "art" movie, but a very graphic and explicit documentation of what people experience under these circumstances. While modern medicine has brought with it many benefits (and I have seen the wonderful effect of a successful kidney transplant in real life), we still need to deal with our very human fears and prejudices.

I think that this is a most valuable film to see, as it confronts these issues in a very direct way, and may help to prepare one for the new moral and ethical responsibilities that technological advances have forced upon us.

This is a really well made film about the emotional deprivation experienced by institutionalised children, that is deeply sympathetic to both the problems and needs of the child, as well as the often difficult situations that social workers and other care givers find themselves in. In exploring the relationship between a young boy who refuses to accept the reality of his mother's death and a social worker who needs to keep her emotional distance and wants to preserve her own family life, this film brings into clear focus the kind of emotional love and security that most of us take for granted.

I really enjoyed this film. It starts off rather slowly, but it carefully weaves a web of trust and distrust, faithfulness and betrayal, hope and fear, in which nothing is predictable, as it tears away the superficial appearances of conformity and contentment. Every scene in the end contributes to an intense examination of a marriage, and the strengths and weaknesses of the partners, especially as seen from the perspective of the wife, Sara.

A middle aged teacher retires from his career, dedicates himself to his hobby, and embarks on a journey through Greece with his colony of bees in his lorry. Along the way he picks up a young woman hitch hiker, and a relationship develops between them that explores the depths of personal loneliness and and alienation.

Both Spiros and his young passenger have lost their perspective of the future - he is living in nostalgic reminiscence of the past, while the young girl's life is one of instant gratification, she seems to be aware of neither past nor future. Their inherent inner isolation expresses itself in a series of futile, almost savagely physical attempts at forming real contact with each other, that leaves the viewer with a harrowing picture of disturbed, painful existence.

This is a slow, carefully composed film, a sequence of memorable images, some visually beautiful, others showing the gritty harshness of life. There is a constant shifting between dreams and realities that leaves what actually happens shrouded in doubt, and a moody atmosphere of nostalgia that pervades the whole film.

An exceptional film that should not be missed by patient and observant people interested in the exploration of human feelings.

A fairly un-demanding road movie about a Sicilian migrant worker in Belgium, driving home, for the first time in many years, in his brand new car. Soon after leaving he is hi-jacked by a semi-delinquent young woman.

A slightly implausible, light hearted, family entertainment, type of film that cannot be compared to the thematically similar, but much more serious, artistic film by Theo Angelopolous, the Beekeeper. Still it is a well made film that offers interesting, though perhaps superficial, insights into the world of these, in some way, marginalised people.