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Reviews
Anyangde guer (2001)
Unsentimental neo-realism with just a touch of mystery
This modern neo-realist pic by Wang Chao, former assistant to Chen Kaige, faithfully follows in the genre's credo (no professional actors used, ultra-long takes of banal activity, strong social commentary), but refuses to fall into the sentimentality trap and offers a touch more to ponder upon. Hapless unemployed man decides to take care of abandoned baby on the promise (made on a note attached to baby) of a monthly 200 yuan 'expense stipend' to be claimed by calling an anonymous phone number. While the plot, revealing itself on a very steady pace, contains some interesting twists and complications, the focus, gradually but increasingly more clearly, is on the characters, who become more and more known to us as the film progresses. While our hearts are tugged aplenty throughout, film clearly does not play the violin for any one character, instead placing each in the proper context of an overall unidentifiable malaise, unidentifiable precisely because it's so complete, so encapsulating. Even the line between good and bad becomes completely blurred, and, again, we are left with nothing but character.
Very ambiguous, almost abrupt, ending leads one to conclude that nothing's clear, nothing ever will be clear, that no one ever has full control over anything, which, ironically, offers the vaguest possibility of hope, something not hinted at throughout the film.
Zir-e noor-e maah (2001)
A meditation on life, religion & the true path
Like many Iranian films of late (and now, not-so-late), tells a simple story with simple characters resulting in some very complex questions about life, existence, morality. Though obviously dealing with an Islamic society (and, therefore, presumably asks questions about Islam), film can be viewed by a person of any faith (including those with none) and still resonate profoundly. Asks the essential question: if God exists, how can there be so much suffering on Earth? In typical meditative style, pic tries to tell a simple story, in as clear a manner as it can. Reminiscent of all the greats, including Bergman, Bunuel & Tarkovsky, in style as well as theme, also maintains sense of humor (where the Bunuel comparison truly comes alive-'Viridiana' & 'Los Olvidados' come to mind).
Ending may provide a bit too much closure, to an otherwise wonderfully open-ended point of view, but is satisfying nonetheless. Yet another great addition to a growing body of Iranian works which affirm the seventh art status of the medium.
The Luzhin Defence (2000)
An unimaginative formula film which remains largely on the surface
Period costumes and British accents do not necessarily a good film make. Ostensibly an 'art-house' pic, with circuit favorites John Turturro and Emily Watson, the film offers stock characters with not a hint of originality with a re-hashed 'Shine' storyline which never gets beneath the surface of predictable plot twists and tired faux drama. At some points, gets downright silly, as the chess metaphor fills in for everything from coitus to a life-debilitating disease. Both Turturro & Watson are wasted in their roles, each sometimes looking quite bored and clueless as to how to continue. Only bright spots come from the sometimes-lush scenery of Lake Como in Italy, but even that is underused. Ultimately harmless, nevertheless a thoroughly unoriginal experience.