Werner Herzog's "Cave of Forgotten Dreams" is a deceptively simple documentary on the newly discovered Chauvet Cave in Southern France, a cave where experts have collectively agreed to be the epicenter of upper Paleolithic cave paintings and as the site of the oldest collection of cave paintings ever discovered (imagine the Burgess Shale version of prehistoric art). The film intercuts between expert interviews and terrific footage of the cave, emphasizing on the timelessness of the paintings with a touch of speleological analysis to put it into context. The cave is indeed a time capsule, offering a menagerie of prehistoric display of ice age biomass, depicted as art paintings or as skeletons enveloped in crystalline moulds that have manifested through time. Herzog cleverly creates new historicist readings on these pieces, pieces that essentially escape 'history', through anthropological studies done on specific pieces. One piece particularly amazed me, as it reveals its creation in a mind bending span of 5,000 years, initiated by a bear scratch and finished by an anthology of horses by a modern cave man. Also, Herzog emphasizes cultural importance of these art pieces, as they actually escape the concept of 'culture', through juxtaposing it with other pieces, such as Aboriginal art and an interesting focus on the Grecian Minotaur and the link of Venus and fertility – qualifying these pieces as 'culture' extrinsically. Although the 3D aspect of the film is not used along the discourse of Michael Bay, it is never gratuitous, as these pieces were intentionally created to fit the contours of the cave, and along with lighting, cleverly create the illusion of motion - with the 3D as an essential tool in displaying the intention of the artist. This is an excellent documentary that celebrates the genesis of humanity through art.
Reviews
14 Reviews
Persepolis
(2007)
Politics and identity are the film's driving force, although is smartly perfunctory in making each of them not the cause or the effect.
10 October 2008
Inspired from Marjane Satrapi's graphic novels, "Persepolis" is a cinematic tour de force. Beautifully conceived and written, it never pulls punches as it chronicles the adventures of its protagonist while being able to display certain truths that have never been produced in a more digestible fashion. Even if the film is in black and white, ideas nevertheless go though the entire spectrum, with emphasis on integrity, courage and character: virtues that usually suffer in an incarcerating environment.
Divided in three acts, film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. As opposed to this year's "Waltz with Bashir", an animated political documentary, "Persepolis" is definitely a production of fiction and does not frame reality verbatim, however it paints a picture to Satrapi's personal experiences as close as possible. Politics and identity are the film's driving force, although is smartly perfunctory in making each of them not the cause or the effect.
Each frame is beautiful to look at and has definitely gone above and beyond its comic book counterpart. Using hand drawn techniques and a sense of whimsy missing from mechanical mainstream animated features, "Persepolis" cements that story is essential as an axis in storytelling. With a mainly black and white palette, the picture is nevertheless colorful with its depiction of characters, all of them inspiring and definitely breaks taboos on a stereotypical view of Persian living.
To contrast the film and its graphic novel roots is made redundant by its production, as it's conscious to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, "Persepolis" follows a mainly flashback driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.
Nominated for an Academy Award for Best Animated Feature, "Persepolis" definitely establishes a lasting experience. It knows how to balance its political influence and its personality that it never becomes overbearing and driven by a vendetta. The film's universal appeal is exceptional as even if it goes through specifics about Iran's historical political development, narrative is still driven by its protagonist. And with a character like Marjane, who has been easily compared to Juno multiple times, she's definitely worth cheering for.
Divided in three acts, film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. As opposed to this year's "Waltz with Bashir", an animated political documentary, "Persepolis" is definitely a production of fiction and does not frame reality verbatim, however it paints a picture to Satrapi's personal experiences as close as possible. Politics and identity are the film's driving force, although is smartly perfunctory in making each of them not the cause or the effect.
Each frame is beautiful to look at and has definitely gone above and beyond its comic book counterpart. Using hand drawn techniques and a sense of whimsy missing from mechanical mainstream animated features, "Persepolis" cements that story is essential as an axis in storytelling. With a mainly black and white palette, the picture is nevertheless colorful with its depiction of characters, all of them inspiring and definitely breaks taboos on a stereotypical view of Persian living.
To contrast the film and its graphic novel roots is made redundant by its production, as it's conscious to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, "Persepolis" follows a mainly flashback driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.
Nominated for an Academy Award for Best Animated Feature, "Persepolis" definitely establishes a lasting experience. It knows how to balance its political influence and its personality that it never becomes overbearing and driven by a vendetta. The film's universal appeal is exceptional as even if it goes through specifics about Iran's historical political development, narrative is still driven by its protagonist. And with a character like Marjane, who has been easily compared to Juno multiple times, she's definitely worth cheering for.
Three Monkeys
(2008)
In competition at Cannes 2008, creates more intrigue rather than a cinematic full circle.
28 July 2008
Although ambitious and picture perfect, the feeling of exaggeration cannot be shaken from "Üç Maymun", a drama set in Turkey following the exploits and heartbreak of a nuclear family. Thwarted desires and desire-less characters are plenty; Nuri Bilge Ceylan helms the film that feels it has more style rather than substance. Could possibly be taken more as a meditative form of tragic cinema, it still cannot compare to the likes of Ki-duk Kim, also going for the same moody dialogue-less craving audience. In competition at Cannes 2008, creates more intrigue rather than a cinematic full circle.
Film follows a surname-less nuclear family as they come to grips with the paternal character, Eyüp (Yavoz Bingol), who goes to prison for 9 months with either altruistic or financial reasons in mind. He leaves his wife Hacer (Hatice Aslan), who clearly needs more than what her husband can deliver and son Ismail (Ritaf Sungar), an overgrown teenager who cannot find any sort of direction in life, eventually leading himself to lethargy and apathy. Characters are definitely flawed and are interesting, however delivery of the family on celluloid still seem to be somewhat lacking.
Technically, the film triumphs as it conveys more towards the plot than the characters. Cinematographer Gőkhan Tiryaki paints the image with a dull rusty palette perfectly mirroring the doom and depression the characters wear on their sleeves. Also, by the camera angles itself, film clearly wants its audience to be as disjointed to the characters as possible making them feel more voyeuristic rather than empathetic. Certain scenes filled with dramatic desperation are filmed behind the bushes, both making moments like that intensely private but nevertheless distant.
As with the stylish overcast weather this universe is subjected to, the film is intensely meditative as it strictly confines these characters to themselves through limitations of the spoken word. Almost half of the film is indulged in shots that are introspective and deeply personal. It works to an extent as it diverts the thinking to the audience, although picture doesn't really have much to allow the audience to chew on. Like the sky, filled with clouds desperate to rain, audiences will be left wanting to connect with these characters. It does rain, although it only pour before the end credits. A point of liminal, it doesn't make it clear though on what's there to be liminal about.
Picture's ace is Hacer. Played with much desperation by Hatice Aslan, she remains the only character with an overwhelming desire to be happy. Character takes the opportunity to explore happiness whilst her husband is away. But, the thing is, this source of pleasure is normally deemed as unorthodox even if it gives her a reason for being. Once this source of contentment is stripped off, clear anxiety strikes her as she borderlines the bathetic. Indeed a flawed character, she still becomes the reference point to the masculine characters who desire something more tangible.
"Üç maymun" is a cinematic experience that gets richer in retrospect. Definitely not a form of transient entertainment, it caters to a specific audience devotedly. However, feeling of an overstretched plot on a surrealist setting can be a hindrance to full appreciation. It also feels rather indulgent. Extended shots could have been excised, taking with it the impression of a pretentious, not a nirvana-driven, production.
Film follows a surname-less nuclear family as they come to grips with the paternal character, Eyüp (Yavoz Bingol), who goes to prison for 9 months with either altruistic or financial reasons in mind. He leaves his wife Hacer (Hatice Aslan), who clearly needs more than what her husband can deliver and son Ismail (Ritaf Sungar), an overgrown teenager who cannot find any sort of direction in life, eventually leading himself to lethargy and apathy. Characters are definitely flawed and are interesting, however delivery of the family on celluloid still seem to be somewhat lacking.
Technically, the film triumphs as it conveys more towards the plot than the characters. Cinematographer Gőkhan Tiryaki paints the image with a dull rusty palette perfectly mirroring the doom and depression the characters wear on their sleeves. Also, by the camera angles itself, film clearly wants its audience to be as disjointed to the characters as possible making them feel more voyeuristic rather than empathetic. Certain scenes filled with dramatic desperation are filmed behind the bushes, both making moments like that intensely private but nevertheless distant.
As with the stylish overcast weather this universe is subjected to, the film is intensely meditative as it strictly confines these characters to themselves through limitations of the spoken word. Almost half of the film is indulged in shots that are introspective and deeply personal. It works to an extent as it diverts the thinking to the audience, although picture doesn't really have much to allow the audience to chew on. Like the sky, filled with clouds desperate to rain, audiences will be left wanting to connect with these characters. It does rain, although it only pour before the end credits. A point of liminal, it doesn't make it clear though on what's there to be liminal about.
Picture's ace is Hacer. Played with much desperation by Hatice Aslan, she remains the only character with an overwhelming desire to be happy. Character takes the opportunity to explore happiness whilst her husband is away. But, the thing is, this source of pleasure is normally deemed as unorthodox even if it gives her a reason for being. Once this source of contentment is stripped off, clear anxiety strikes her as she borderlines the bathetic. Indeed a flawed character, she still becomes the reference point to the masculine characters who desire something more tangible.
"Üç maymun" is a cinematic experience that gets richer in retrospect. Definitely not a form of transient entertainment, it caters to a specific audience devotedly. However, feeling of an overstretched plot on a surrealist setting can be a hindrance to full appreciation. It also feels rather indulgent. Extended shots could have been excised, taking with it the impression of a pretentious, not a nirvana-driven, production.
No Country for Old Men
(2007)
Both works, the book and the movie, are definitely not a convenient form of entertainment as they make their audiences work for it. And if they do, it's cathartic.
28 July 2008
Warning: Spoilers
With literary and cinematic accolades under its buckle, "No Country for Old Men" is a fascinating renovation on the western genre. With westerns habitually, they are predisposed to scrutinize various circumstances that authenticate the protagonist's sense of right and wrong. In this parable, it pioneers a character, Anton Chirguh, as an icon of the lack of ethics, that it simply twists everything out of proportion, shaking everything on its way. Both works, the book and the movie, are categorically not a convenient form of entertainment as they make their audiences work for it. And if they do, it's cathartic.
Set in 1980's Texas, a retired welder named Llewelyn Moss inadvertently stumbles upon a drug trade gone wrong. He finds a satchel full of bills, totaling to about 2 million dollars -- enough temptation for him to keep it. Trouble is, people who own the money wants it back fast, employing a hit man named Anton Chirguh, a character whose morality is close to zero and even uses virtue as an excuse to keep on his violent rampage. Sheriff Ed Tom Bell, an old timer and last on a generation of county sheriffs is on the case. With a labyrinthine con lined with unjustifiable violence, this shakes his notion of goodness to the very core.
Written by Cormac McCarthy, the novel definitely has this trademark fashion that may require a lot of effort to value. Each chapter starts with a stream of consciousness from Bell, nostalgic about his time as a Sheriff, when times and circumstances were comprehendible to him. The way that McCarthy writes for the rest of the novel is pretty similar to writing a script as he skimps on description and focuses on dialogue. He definitely has an amazing eye on tongue and this style instantly raises the sense of urgency the novel exudes even if some scenes span days between them.
With that, the Coen Brothers have easily loyally adapted the book to the screen. They were able to capture the essence of the novel within a 2 hour run time. Special kudos on the casting too as it is quite impossible to see other thespians hovering over these characters. Anton Chirguh is personified brilliantly by Javier Bardem, Oscar award and weird haircut in tow. With the first half of the film almost a carbon copy of the novella, the second half is where the Coens start to take liberty. They have reduced the Carson Wells (Woody Harrelson) character and even almost immediately eliminated the female hitchhiker Moss met by subbing her with another motel customer seducing him with alcohol. Both decisions were pretty smart, as I could imagine how they could have easily slowed down the pacing of the movie. However, there were some ideas instantly detached from the film and I guess this will be left for the book readers to discover.
In the novel, a scene between Moss and the female hitchhiker becomes a standout. At a diner, both characters chatter about the past and how it eventually catches up. Moss laments about the illusion of starting over and its futility. This was a pretty poignant scene as it highlight's Moss' regret and how he acknowledges that what he did can't be undone. On the other hand, in the film, the conversation between Chirguh and Carla Jean seem to not loose its luster. The scene basically highlights Chirguh's motivation for murder: to preserve his image as a character that doesn't hesitate.
"No Country for Old Men" is definitely an intriguing story of morality. It teases its audience of hopelessness by making the last sheriff of a long line of county sheriffs quit in the face of an Anton Chirguh. But then, it leaves the audience with a small glimmer of hope by reminding them that Chirguh is still indeed human and can expire, punctured by his own bone. Both works are very compelling and can exist without each other. At its surface, it seems like a celebration of violence however it gets richer with time and will further reveal what it's really celebrating about.
Set in 1980's Texas, a retired welder named Llewelyn Moss inadvertently stumbles upon a drug trade gone wrong. He finds a satchel full of bills, totaling to about 2 million dollars -- enough temptation for him to keep it. Trouble is, people who own the money wants it back fast, employing a hit man named Anton Chirguh, a character whose morality is close to zero and even uses virtue as an excuse to keep on his violent rampage. Sheriff Ed Tom Bell, an old timer and last on a generation of county sheriffs is on the case. With a labyrinthine con lined with unjustifiable violence, this shakes his notion of goodness to the very core.
Written by Cormac McCarthy, the novel definitely has this trademark fashion that may require a lot of effort to value. Each chapter starts with a stream of consciousness from Bell, nostalgic about his time as a Sheriff, when times and circumstances were comprehendible to him. The way that McCarthy writes for the rest of the novel is pretty similar to writing a script as he skimps on description and focuses on dialogue. He definitely has an amazing eye on tongue and this style instantly raises the sense of urgency the novel exudes even if some scenes span days between them.
With that, the Coen Brothers have easily loyally adapted the book to the screen. They were able to capture the essence of the novel within a 2 hour run time. Special kudos on the casting too as it is quite impossible to see other thespians hovering over these characters. Anton Chirguh is personified brilliantly by Javier Bardem, Oscar award and weird haircut in tow. With the first half of the film almost a carbon copy of the novella, the second half is where the Coens start to take liberty. They have reduced the Carson Wells (Woody Harrelson) character and even almost immediately eliminated the female hitchhiker Moss met by subbing her with another motel customer seducing him with alcohol. Both decisions were pretty smart, as I could imagine how they could have easily slowed down the pacing of the movie. However, there were some ideas instantly detached from the film and I guess this will be left for the book readers to discover.
In the novel, a scene between Moss and the female hitchhiker becomes a standout. At a diner, both characters chatter about the past and how it eventually catches up. Moss laments about the illusion of starting over and its futility. This was a pretty poignant scene as it highlight's Moss' regret and how he acknowledges that what he did can't be undone. On the other hand, in the film, the conversation between Chirguh and Carla Jean seem to not loose its luster. The scene basically highlights Chirguh's motivation for murder: to preserve his image as a character that doesn't hesitate.
"No Country for Old Men" is definitely an intriguing story of morality. It teases its audience of hopelessness by making the last sheriff of a long line of county sheriffs quit in the face of an Anton Chirguh. But then, it leaves the audience with a small glimmer of hope by reminding them that Chirguh is still indeed human and can expire, punctured by his own bone. Both works are very compelling and can exist without each other. At its surface, it seems like a celebration of violence however it gets richer with time and will further reveal what it's really celebrating about.
The Wave
(2008)
Straight forward filming will captivate audiences, along with a pleasing cast.
26 July 2008
"Die Welle" is an above average classroom drama with a political voice. Helmed by director Dennis Gansel, film is unforgiving in depicting the youth as a generation without anything to rebel about but loneliness, making them sensitive to any sort of illusion of belonging. Mostly a riveting affair, film lags in its second act as it jumps into Dawson's Creek. Film goes ashore into a memorable finale. Straight forward filming will captivate audiences, along with a pleasing cast.
Project week in a suburban high school entails them to study various forms of government and restriction. Rainer Wenger (Jürgen Vogel), an under-appreciated teacher finds a way in engaging his students. He cleverly manipulates his class to slap them out of apathy and disinterest with tiny minute changes which eventually builds up to a boil. Classroom scenes are stimulating as debates between the students are daring and engrossing writing mention controversial topics that are usually not spoken with lethargy. Film focuses on a group of smart people, highlighting further that what's bound to happen is even more tragic and rings a bell to what can happen out of celluloid..
Inspired by a 1960's social experiment in California documenting how easy it is to influence individuals, film looses track in its middle section as it begins to refocus on the individual lives of the students. Most characters seem to be run in the mill with general high school romance trouble, which would have been interesting but brings nothing new to the table. Stories work better as a collective rather than individuals, which further add to the intended effect. Some personalities shine though: students who never had any sense of belonging are indeed looked at with much heartbreak here as this false sense of security is embraced by them, motivating them to go a step further in preserving the society.
Finale is spellbinding as even if it diverts a lot from the actual experiment, it still proves as a necessity to further establish a point. Film parallels to the effect of Third Reich within its members and climax reminds audiences of the Bruno Ganz header "Der Untergang", as it clearly parallels the extent of loyalties that may arise in such occasions. From the get go, death of a character is imminent and even with its shock value, it justifies itself as beyond a plot device.
As an ensemble, the acting here is impermeable as they all deliver solid performances. Vogel especially convey solid work as the teacher. He brings gravity and his semi-bald haircut proves ominous. It's a shame that audiences lose connection to him midway though as he suddenly becomes the background to the melodrama.
German setting of the movie elevates the film's status. It creates this palpable undercurrent, that even with a country that already identifies itself as guilty; it still cannot escape the possibility of anarchy. Even if the picture becomes stern with its themes, it still is digestible to the mainstream. Word of mouth can secure a life outside the tills.
Project week in a suburban high school entails them to study various forms of government and restriction. Rainer Wenger (Jürgen Vogel), an under-appreciated teacher finds a way in engaging his students. He cleverly manipulates his class to slap them out of apathy and disinterest with tiny minute changes which eventually builds up to a boil. Classroom scenes are stimulating as debates between the students are daring and engrossing writing mention controversial topics that are usually not spoken with lethargy. Film focuses on a group of smart people, highlighting further that what's bound to happen is even more tragic and rings a bell to what can happen out of celluloid..
Inspired by a 1960's social experiment in California documenting how easy it is to influence individuals, film looses track in its middle section as it begins to refocus on the individual lives of the students. Most characters seem to be run in the mill with general high school romance trouble, which would have been interesting but brings nothing new to the table. Stories work better as a collective rather than individuals, which further add to the intended effect. Some personalities shine though: students who never had any sense of belonging are indeed looked at with much heartbreak here as this false sense of security is embraced by them, motivating them to go a step further in preserving the society.
Finale is spellbinding as even if it diverts a lot from the actual experiment, it still proves as a necessity to further establish a point. Film parallels to the effect of Third Reich within its members and climax reminds audiences of the Bruno Ganz header "Der Untergang", as it clearly parallels the extent of loyalties that may arise in such occasions. From the get go, death of a character is imminent and even with its shock value, it justifies itself as beyond a plot device.
As an ensemble, the acting here is impermeable as they all deliver solid performances. Vogel especially convey solid work as the teacher. He brings gravity and his semi-bald haircut proves ominous. It's a shame that audiences lose connection to him midway though as he suddenly becomes the background to the melodrama.
German setting of the movie elevates the film's status. It creates this palpable undercurrent, that even with a country that already identifies itself as guilty; it still cannot escape the possibility of anarchy. Even if the picture becomes stern with its themes, it still is digestible to the mainstream. Word of mouth can secure a life outside the tills.
The Song of Sparrows
(2008)
Undoubtedly contemplative and metaphorical, film guarantees a high replay value.
25 July 2008
Majid Majidi helms "Avaze Gonjeshk-ha", a film that laments on the influence of materialistic societies and elevates pastoral romanticism. Beautifully filmed and empathetically characterized, audiences will be enchanted by little pleasures delivered, eventually snowballing to something poetically charged. Run time might be excessive, but this might just prove as nitpicking. Script lacks any sort of cynicism, a positive, as the film is nostalgic to moments of innocence. Question is, did it even exist? Picture shows it did in Majidi's universe.
First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.
And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.
Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.
And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.
Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.
First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.
And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.
Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.
And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.
Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.
The Orphanage
(2007)
...The film's comparison... (to) older brother "El Fauno del Laberinto" is unwarranted..."El Orfanato" might be guilty of producing half-empty calories.
24 July 2008
Juan Antonio Bayona directs the above average ghost story "El Orfanato". Produced by creature-feature maestro Guillermo del Toro, picture derives a substantial amount from del Toro's previous work, specially its sense of dread and an ending that isn't far from the Oscar nominated "El Fauno del Laberinto". "El Orfanato" may not be as rich in themes and undertones as "Labertino", but audiences will be healthily rewarded by a horror story driven by plot and consequence.
Film focuses on Ofelia (Belen Rueda), a husband to Carlos (Fernando Cayo) and a mother to Simon (Roger Princep), as she ventures back to her old orphanage after being adopted an odd 30 years ago. Returning to start her own orphanage for special children, she slowly uncovers what happened to her friends (and discovers some more) when she left, and of course, complications arise when Simon disappears under mysterious circumstances. Film takes its time to tell the story and brazen enough to use suspense and not cheap frights to liven up the proceedings.
Directed with confidence, "El Orfanato" remains atmospheric until its very last shot. Bayona effortlessly steers clear from a run-in-the-mill horror story, but would rather line the film to movies like "The Others" and "The Shining", to tease the audience of the possible doom that may arise. This exercise pays dividends as tiny scenes from the first half of the movie eventually resurfaces at the last act to produce some truly sinister goings on. Creaky swing sets moving with the wind among others, further attribute to the what-might-be-out-there vibe the film possesses.
When the main protagonist becomes desperate and seeks out a clairvoyant to help with the search, the movie effortlessly screams terror definitely one of the film's highlights. Basically begging for the audience to sit up and listen, it becomes a pivotal point in the story as it brings everything up to a boil and pushes the film to the worthy finale. Hints of skepticism from a police investigator and Carlos are especially welcome here.
Another movie that tries to erase the line between fantasy and reality, the film ends on a lighter note as we discover the function of the ghoulish apparitions. Del Toro needs to consider a patent with this technique as it is about one movie close to being cliché. It might even beg the question: what came first, the chicken or the egg? Gladly though, protagonist Ofelia is empathetic enough as the maternal figure, that an audience member weary of such ending would easily be forgiving. Final two scenes involving Carlos should definitely have been excised.
Wrapped in a more mainstream packaging even with a foreign language, "El Orfanato" delivers the goods as a ghost story. However, the film's comparison to the much more complicated, sophisticated and intelligent older brother "El Fauno del Laberinto" is unwarranted, as in contrast to that, "El Orfanato" might be guilty of producing half-empty calories. Nevertheless, the movie deserves attention as a well-crafted story about motherly instincts and its blurry altruistic boundaries.
Film focuses on Ofelia (Belen Rueda), a husband to Carlos (Fernando Cayo) and a mother to Simon (Roger Princep), as she ventures back to her old orphanage after being adopted an odd 30 years ago. Returning to start her own orphanage for special children, she slowly uncovers what happened to her friends (and discovers some more) when she left, and of course, complications arise when Simon disappears under mysterious circumstances. Film takes its time to tell the story and brazen enough to use suspense and not cheap frights to liven up the proceedings.
Directed with confidence, "El Orfanato" remains atmospheric until its very last shot. Bayona effortlessly steers clear from a run-in-the-mill horror story, but would rather line the film to movies like "The Others" and "The Shining", to tease the audience of the possible doom that may arise. This exercise pays dividends as tiny scenes from the first half of the movie eventually resurfaces at the last act to produce some truly sinister goings on. Creaky swing sets moving with the wind among others, further attribute to the what-might-be-out-there vibe the film possesses.
When the main protagonist becomes desperate and seeks out a clairvoyant to help with the search, the movie effortlessly screams terror definitely one of the film's highlights. Basically begging for the audience to sit up and listen, it becomes a pivotal point in the story as it brings everything up to a boil and pushes the film to the worthy finale. Hints of skepticism from a police investigator and Carlos are especially welcome here.
Another movie that tries to erase the line between fantasy and reality, the film ends on a lighter note as we discover the function of the ghoulish apparitions. Del Toro needs to consider a patent with this technique as it is about one movie close to being cliché. It might even beg the question: what came first, the chicken or the egg? Gladly though, protagonist Ofelia is empathetic enough as the maternal figure, that an audience member weary of such ending would easily be forgiving. Final two scenes involving Carlos should definitely have been excised.
Wrapped in a more mainstream packaging even with a foreign language, "El Orfanato" delivers the goods as a ghost story. However, the film's comparison to the much more complicated, sophisticated and intelligent older brother "El Fauno del Laberinto" is unwarranted, as in contrast to that, "El Orfanato" might be guilty of producing half-empty calories. Nevertheless, the movie deserves attention as a well-crafted story about motherly instincts and its blurry altruistic boundaries.
The Banishment
(2007)
From the outside, characters are clearly sophisticated enough and it is curious why connection never gets there.
24 July 2008
A respectable family drama with its style and lethargic editing its main drawback, "Izgnanie" will also definitely test the patient, even Andrei Zvyagintsev's most loyal of fans. Insecurity over the plot is palpable as film overextends its welcome with pondering and introspective filming that doesn't quite translate well on screen. Plot and cinematography, especially in the countryside, offer some solace to art house fans, however audience will wonder why it took too long to make the point.
Film follows a middle class family as they go to the pastoral countryside, presumably where the paternal character, Alex (Konstantin Lavronenko) grew up. Plot only advances approximately an hour in the picture as a reveal is introduced. Character and story development is sporadic, definitely welcome, as it reminds audience that they aren't watching paint dry. The final act in the film, a flashback, carries the meatier part of the movie as it emphasizes the tragedy that happens earlier. Adultery, abortion and family secrets are aplenty, however seen and are better executed before.
Best actor nod for Konstantin Lavronenko at Cannes 2007 is somewhat deserving. It is indeed a subtle performance, however doesn't hold a candle to other actors vying for the same gong.
With an abundance of establishing shots and transport moving in and out of frame, the film could have easily eliminated 30 minutes of its 2 and a half-hour running time. Anna Mass, the editor, has puzzled together a film that wallows in atmosphere and creates images that are borderline pseudo-cathartic. Such scenes include a 3-minute trailing shot of water flowing from a water source that stopped delivering hydration before. May have functioned as time change and indication of liminal moment, but overly indulgent nonetheless, as it feels that it's delivered as art for art's sake.
Adapted from a novel by William Saroyan, it is clear that translation is also a problem. With the production of the film being abject to the characters, audience is clearly not allowed into these personalities, only as observers. This abjectivity produces lack of engagement that a plot like this could easily flourish on. From the outside, characters are clearly sophisticated enough and it is curious why connection never gets there.
English title is marketed as "The Banishment" as it may signify a plethora of themes and undertones in the movie. It straight up refers to the family's eviction from their 'idealised' Eden in a midtown neighborhood (although clearly far from it as it is depicted as violent and drab), but also refers to the individual isolation of the characters from one another. They are all devoid of communication or any sort of outward emotional connection, except for hate, contempt and the chains of nuclear family. Film becomes a burning effigy to families that are only bonded because they have to.
What could have been a beautifully insightful movie on the danger of disregard of family bonds, film overachieves in being meditative to a fault: dragging its run time to way beyond its limits, diluting its intended purpose. The patient will find satisfaction but will still notice the film's over the top brooding by overstuffing it with non-consequential establishing shots, pretending to be worth more than it is.
Film follows a middle class family as they go to the pastoral countryside, presumably where the paternal character, Alex (Konstantin Lavronenko) grew up. Plot only advances approximately an hour in the picture as a reveal is introduced. Character and story development is sporadic, definitely welcome, as it reminds audience that they aren't watching paint dry. The final act in the film, a flashback, carries the meatier part of the movie as it emphasizes the tragedy that happens earlier. Adultery, abortion and family secrets are aplenty, however seen and are better executed before.
Best actor nod for Konstantin Lavronenko at Cannes 2007 is somewhat deserving. It is indeed a subtle performance, however doesn't hold a candle to other actors vying for the same gong.
With an abundance of establishing shots and transport moving in and out of frame, the film could have easily eliminated 30 minutes of its 2 and a half-hour running time. Anna Mass, the editor, has puzzled together a film that wallows in atmosphere and creates images that are borderline pseudo-cathartic. Such scenes include a 3-minute trailing shot of water flowing from a water source that stopped delivering hydration before. May have functioned as time change and indication of liminal moment, but overly indulgent nonetheless, as it feels that it's delivered as art for art's sake.
Adapted from a novel by William Saroyan, it is clear that translation is also a problem. With the production of the film being abject to the characters, audience is clearly not allowed into these personalities, only as observers. This abjectivity produces lack of engagement that a plot like this could easily flourish on. From the outside, characters are clearly sophisticated enough and it is curious why connection never gets there.
English title is marketed as "The Banishment" as it may signify a plethora of themes and undertones in the movie. It straight up refers to the family's eviction from their 'idealised' Eden in a midtown neighborhood (although clearly far from it as it is depicted as violent and drab), but also refers to the individual isolation of the characters from one another. They are all devoid of communication or any sort of outward emotional connection, except for hate, contempt and the chains of nuclear family. Film becomes a burning effigy to families that are only bonded because they have to.
What could have been a beautifully insightful movie on the danger of disregard of family bonds, film overachieves in being meditative to a fault: dragging its run time to way beyond its limits, diluting its intended purpose. The patient will find satisfaction but will still notice the film's over the top brooding by overstuffing it with non-consequential establishing shots, pretending to be worth more than it is.
Elite Squad
(2007)
...Brilliantly fleshed out characters lifts the film from being trite after the 1000th gunshot.
24 July 2008
Kinetically filmed, "Tropa de Elite" reaches the dizzying heights of Fernando Meirelles' "Cidade de Deus", as not so much as a photocopy but more as a cinematic twin brother. Film focuses on the brutal, abet necessary foundations of Tropa de Elite, a one hundred strong company of men who swings into action when normal police gets held up themselves. Intense amount of corruption and violence is present here, however brilliantly fleshed out characters lifts the film from being trite after the 1000th gunshot.
The film being presented in two parts, we are indulged into an extended prologue to get acquainted with the protagonists: Captain Nascimento, feeling the stress as a 0-1, is on the lookout for a substitute between André Matias, a law student cum policeman struggling with his own identity and Neto, the ideal candidate as his replacement who's violent and relentless to a fault. Accompanied by a sometimes distracting voice over, the audience is given proper time to find themselves immersed in the narrative and characters. Even if the film's screenplay explodes every second of its almost 2-hour running time, personality development is not left on the back seat, to much relief.
Andre Ramiro's performance as André Matias is pitch perfect. Practically the film's moral backbone, he elucidates the distinction between pretending to know and knowing. The best scenes in the picture not involves scenes of brazen violent explosions but his rationalizing and character driven moments. The film uses his character to deter the judgmental audience from pretending to know but reminds them they know nothing.
Padilha is in control of the film until its very last shot; able to summon his own elite squad of cinematographers and sound technicians. The production values are top notch indeed, as the cinema also explodes with every bang and boom. Filmed in cinema verite, it gathers up inspiration from previous war-themed films from the tones and hues of the mentioned "Cidade de Deus" to Alfonso Cuaron's blood splatter on the screen technique from "Children of Men". With the sound and images pushing the audience to its nauseating edge, full immersion is delivered without breaking a sweat.
Comparison to "Cidade de Deus" should be complementary, as "Elite" tackles the impotent depiction of policemen by the former. In fact, it acts as its contemporary, acting as if it exists on the same universe. It demands merit in its own right though, as the film is well staged like its depiction of training the elite, making it an involving exercise, not seen since Kubrick's "Full Metal Jacket".
Immersive, hypnotic and engaging, "Tropa de Elite" guarantees Padilha to be noticed on a more mainstream circuit. Previously delivering "Onibus 174", also tackling the same themes of nurture and consequence as a catalyst to violence, he is able to comment on sensitive themes without being too preachy and also able to wrap it in a well produced package. Film is definitely an above average fare and is essential to be experienced on the big screen, just for its sound design alone.
The film being presented in two parts, we are indulged into an extended prologue to get acquainted with the protagonists: Captain Nascimento, feeling the stress as a 0-1, is on the lookout for a substitute between André Matias, a law student cum policeman struggling with his own identity and Neto, the ideal candidate as his replacement who's violent and relentless to a fault. Accompanied by a sometimes distracting voice over, the audience is given proper time to find themselves immersed in the narrative and characters. Even if the film's screenplay explodes every second of its almost 2-hour running time, personality development is not left on the back seat, to much relief.
Andre Ramiro's performance as André Matias is pitch perfect. Practically the film's moral backbone, he elucidates the distinction between pretending to know and knowing. The best scenes in the picture not involves scenes of brazen violent explosions but his rationalizing and character driven moments. The film uses his character to deter the judgmental audience from pretending to know but reminds them they know nothing.
Padilha is in control of the film until its very last shot; able to summon his own elite squad of cinematographers and sound technicians. The production values are top notch indeed, as the cinema also explodes with every bang and boom. Filmed in cinema verite, it gathers up inspiration from previous war-themed films from the tones and hues of the mentioned "Cidade de Deus" to Alfonso Cuaron's blood splatter on the screen technique from "Children of Men". With the sound and images pushing the audience to its nauseating edge, full immersion is delivered without breaking a sweat.
Comparison to "Cidade de Deus" should be complementary, as "Elite" tackles the impotent depiction of policemen by the former. In fact, it acts as its contemporary, acting as if it exists on the same universe. It demands merit in its own right though, as the film is well staged like its depiction of training the elite, making it an involving exercise, not seen since Kubrick's "Full Metal Jacket".
Immersive, hypnotic and engaging, "Tropa de Elite" guarantees Padilha to be noticed on a more mainstream circuit. Previously delivering "Onibus 174", also tackling the same themes of nurture and consequence as a catalyst to violence, he is able to comment on sensitive themes without being too preachy and also able to wrap it in a well produced package. Film is definitely an above average fare and is essential to be experienced on the big screen, just for its sound design alone.
Flight of the Red Balloon
(2007)
The film knows its audience and it caters to them loyally, however won't convert any non-believers.
24 July 2008
Art of a very high order, Hsiao-hsein Hao directs the Musee d'Orsay commissioned "The Flight of the Red Balloon", a stand-alone film paying homage to the Lamorisse's 1956 film favorite "The Red Balloon". Directed with class and elegance, although stumbles in indulgent overextended shots and pacing problems, it pays dividends to the patient as we are welcomed into a claustrophobic apartment inhabited by a mother and son struggling to come to grips with a marital separation. The film knows its audience and it caters to them loyally, however won't convert any non-believers.
Although not explicit, the sense of chaos is however present right from the point where we enter Suzanne and Simon's apartment in Paris. Clearly not in control of her marital and maternal situation, she drowns herself in work as a puppet show narrator where she can control the fantastic as opposed to her real and disorganized state. Enter Song, a film student who acts as Simon's surrogate as his mother deals with this transitional process.
The film's screenplay is as light as a helium balloon, we enter their micro-cosmos through Song, almost this film's allegory towards the original's red balloon as its voyeuristic anchor nonjudgmental and omnipresent. Although certain scenes clearly leads to nowhere, they are nonetheless welcome as it highlights the reality of the situation and also the characters' desire to reach back to normal. It is clear here, Suzanne desires a somewhat 'normal' family life: almost pleading for her eldest daughter to move back to Paris and for his ex-husband's friend/tenant to leave the property. A daughter of divorce, she knows it is imperative that a routine has to be established.
The way Hao films this, it has this odd certain detachment towards the characters, almost a "Wings of Desire" approach, static camera in tow. We see a single mother in despair but the audience isn't allowed to feel anything about it: almost factual. Binoche personifies Suzanne with a quiet dignity and pride that her devastation is disallowed to be brought to the surface, but of course, when things build up to a boil, we can sense her immediate discomfort and frustration.
What seems like a nonchalant Simon, he is clearly affected too, as he can't even distinguish his own family tree, to the effect that even the audience can be driven to confusion. He becomes distant to his own mother, finding solace through nostalgia with a long summer with his sister. He and Suzanne's relationship is also obviously affected, as most of the film, they indulge in small talk and when the mother desires for an eye to eye contact, he looks away.
The decision to film this in a calming atmosphere as opposed to the chaos in the characters' is a smart idea: it highlights the juxtaposition even more. As opposed to the Lamorisse classic, the maternal figure here is in focus. The film works within its parameters and Hao does not belittle its audience of course, only to those willing to be engulfed by it.
Although not explicit, the sense of chaos is however present right from the point where we enter Suzanne and Simon's apartment in Paris. Clearly not in control of her marital and maternal situation, she drowns herself in work as a puppet show narrator where she can control the fantastic as opposed to her real and disorganized state. Enter Song, a film student who acts as Simon's surrogate as his mother deals with this transitional process.
The film's screenplay is as light as a helium balloon, we enter their micro-cosmos through Song, almost this film's allegory towards the original's red balloon as its voyeuristic anchor nonjudgmental and omnipresent. Although certain scenes clearly leads to nowhere, they are nonetheless welcome as it highlights the reality of the situation and also the characters' desire to reach back to normal. It is clear here, Suzanne desires a somewhat 'normal' family life: almost pleading for her eldest daughter to move back to Paris and for his ex-husband's friend/tenant to leave the property. A daughter of divorce, she knows it is imperative that a routine has to be established.
The way Hao films this, it has this odd certain detachment towards the characters, almost a "Wings of Desire" approach, static camera in tow. We see a single mother in despair but the audience isn't allowed to feel anything about it: almost factual. Binoche personifies Suzanne with a quiet dignity and pride that her devastation is disallowed to be brought to the surface, but of course, when things build up to a boil, we can sense her immediate discomfort and frustration.
What seems like a nonchalant Simon, he is clearly affected too, as he can't even distinguish his own family tree, to the effect that even the audience can be driven to confusion. He becomes distant to his own mother, finding solace through nostalgia with a long summer with his sister. He and Suzanne's relationship is also obviously affected, as most of the film, they indulge in small talk and when the mother desires for an eye to eye contact, he looks away.
The decision to film this in a calming atmosphere as opposed to the chaos in the characters' is a smart idea: it highlights the juxtaposition even more. As opposed to the Lamorisse classic, the maternal figure here is in focus. The film works within its parameters and Hao does not belittle its audience of course, only to those willing to be engulfed by it.
Gomorrah
(2008)
With everything into consideration, film is too well choreographed that it becomes as intimidating as the organization that it exposes.
24 July 2008
Garners more respect than a spot on favorites list, "Gomorra" chronicles five seemingly disconnected stories with one thing in common: all are heavily influenced by a criminal organization run by the Camorras, an ominous mafia organization with a tight grip on Naples, Italy. Stylishly delivered, with extra kudos on editing and cinematography, Film will no doubt attract fans of the violent underworld, but might be disappointed by its verite approach, even if it perfectly captures reality, as such. Absolute antithesis to depiction from the American mafia, film is gritty and has zero entertainment value but in retrospect, picture was produced with such depressing intentions.
Multi plot film features more on characters attracted by the allure of the Camorras than the Camorras themselves. The five stories were plucked out from a novel by Roberto Saviano: the non-fiction that thrived on the best seller's list in Italy. Stories range from a coming of age teenager wanting to be identified with the mafia to a fresh university graduate looking for a promising vocation. Through varying levels of perspectives: from the violent eyed to the diplomatic, "Gomorra" stuns as it lists the organization's almost totalitarian control over the underbelly of Italy. It creates the impression of a country rotting from the inside out. With each story written by a different writer, what could have been an interconnection disaster is controlled well by director Matteo Garrone.
Ambitiously edited, fine balance between chaos and narrative is clearly defined by Marco Spoletini. First 40 minutes won't bode well for viewers looking for an easy diversion, as it is edited to confusion creating the illusion that the film started midway. Nonetheless, the stories do emerge, to great relief and from there on out, film would have established its style to a keen audience.
Cinematography, too is top notch. Marco Onorato paints Italy with a dull set of colors, resembling more of a third world purgatory rather than a honeymooner's travel brochure. Even Venice's bright reds and blues are muted with grey and brown with a hint of overexposure. Overall effect adds stupendously to the film as it gives it a sense of space and absolutely squashes any sense of hope an over-reader might derive.
Accuracy is greatly appreciated here. Film tries to blurry lines between dramatic film and documentary with impressive results. Details are all intact: dialogue is accurately more dialect derived, shooting locations seem extracted from a news clip and most thesping is done on dead-on accuracy by first timers.
With production values on stratospheric levels, film's overall intention is transparent: absolutely naught empathy is allowed, allowing audiences to soak in the moody atmosphere and simply co-exist with the protagonists clearly tested by circumstance. This will be its main predicament in garnering a more universal success as it asks a lot from an audience whose expectations might lean towards the slick of "Cidade de Deus".
With everything into consideration, film is too well choreographed that it becomes as intimidating as the organization that it exposes. Multiple plays won't be troublesome as every single detail here has a sense of subtext of tragedy unwilling to be diluted by repetition. However, might only be uncovered by fans willing to revisit.
Picture won the Grand Prize of the 2008 Cannes Film Festival.
Multi plot film features more on characters attracted by the allure of the Camorras than the Camorras themselves. The five stories were plucked out from a novel by Roberto Saviano: the non-fiction that thrived on the best seller's list in Italy. Stories range from a coming of age teenager wanting to be identified with the mafia to a fresh university graduate looking for a promising vocation. Through varying levels of perspectives: from the violent eyed to the diplomatic, "Gomorra" stuns as it lists the organization's almost totalitarian control over the underbelly of Italy. It creates the impression of a country rotting from the inside out. With each story written by a different writer, what could have been an interconnection disaster is controlled well by director Matteo Garrone.
Ambitiously edited, fine balance between chaos and narrative is clearly defined by Marco Spoletini. First 40 minutes won't bode well for viewers looking for an easy diversion, as it is edited to confusion creating the illusion that the film started midway. Nonetheless, the stories do emerge, to great relief and from there on out, film would have established its style to a keen audience.
Cinematography, too is top notch. Marco Onorato paints Italy with a dull set of colors, resembling more of a third world purgatory rather than a honeymooner's travel brochure. Even Venice's bright reds and blues are muted with grey and brown with a hint of overexposure. Overall effect adds stupendously to the film as it gives it a sense of space and absolutely squashes any sense of hope an over-reader might derive.
Accuracy is greatly appreciated here. Film tries to blurry lines between dramatic film and documentary with impressive results. Details are all intact: dialogue is accurately more dialect derived, shooting locations seem extracted from a news clip and most thesping is done on dead-on accuracy by first timers.
With production values on stratospheric levels, film's overall intention is transparent: absolutely naught empathy is allowed, allowing audiences to soak in the moody atmosphere and simply co-exist with the protagonists clearly tested by circumstance. This will be its main predicament in garnering a more universal success as it asks a lot from an audience whose expectations might lean towards the slick of "Cidade de Deus".
With everything into consideration, film is too well choreographed that it becomes as intimidating as the organization that it exposes. Multiple plays won't be troublesome as every single detail here has a sense of subtext of tragedy unwilling to be diluted by repetition. However, might only be uncovered by fans willing to revisit.
Picture won the Grand Prize of the 2008 Cannes Film Festival.
Let the Right One In
(2008)
Generally moody and calm on its almost 2 hour running time, audiences will be spellbound if not disinterested.
24 July 2008
Warning: Spoilers
Thematically rich "Låt Den Rätte Komma In" hits refresh on the vampire genre with an interesting outlook on character and its development. Casting is accurate although out, as even with the sinister events, performances are played with such convincing skill that its subtext is never overshadowed. Generally moody and calm on its almost 2 hour running time, audiences will be spellbound if not disinterested.
Film follows the empathetic and anemic looking Oskar (Kåre Hedebrant); desperate for friends and also revenge on bullies who mistreat him in school. Main protagonist eventually meets with the mysteriously charismatic Eli (Lina Leandersson) who slowly unravels herself as a character of the dark. Events transpire that further cements an unlikely friendship of sorts, leading to a very bloody finale. The film is no doubt not for the squeamish as even with the abundance of tender scenes between Oskar and Eli, violence is still undeniably present which is depicted in either a repulsive or comedic light.
Archaic monsters have always been an allegory towards a more imminent threat, like Romania's Dracula for Eastern Europeans immigrating to Western Europe, threatening the economy. In Tomas Alfredson's modern twist, Eli's fangs are treated as if it were of biological origins, which need a treatment that may pose morality questions. Her paternal figure becomes the film's tragic core as he emphasizes the depressing lengths he would go through to sustain Eli's thirst for blood. Although played as if he was paternal, further reveals later would show his function was to foreshadow the main protagonist's future removed from this micro cosmos.
Also interesting is Alfredson's play on the sexual identification of the creature. All femmes become fatales in one way or another, whilst male characters turn into almost bathetic who are never snapped out of a hypnotic spell. Also seen in Almodovar's "Hable Con Ella", technique adds a level of sophistication to the proceedings and further enriches their characterizations.
As with old Hollywood's Dracula, Eli is perfectly portrayed by Lina Leandersson as she not so much carry the entire film, but devours the role. Shiny eyes not seen since Puss in Boot's "Shrek", she gains easy support from audiences just from her look alone. Perfectly matched with Kåre Hedebrant, leads instantly become characters worth caring about, that even the murders that conspire become a necessity.
Set in Scandinavia, film reminds of "30 Days of Night" as it's filmed as if it never sees the sun and is forever winter. Of course, this works well with the illusion of having the main character as someone who would burst into flames if UV rays touches her skin. This, among others are the film's small touches that further cement the mythology on vampires and adds some more, even. Cats provide a darkly hilarious spin as the film reaches 30 minutes before the credits.
"Låt Den Rätte Komma In" is indeed an enjoyable intimate celebration of loneliness and the things that transpire from it. Setting it with a vamp angle further uplifts the thematical significance of the film, although even if they exist, picture doesn't pretend to be more than it actually is. Conceived with a specific audience in mind, the curious would also be rewarded. Film often reaches subliminal moments that will live long in the memory.
Film follows the empathetic and anemic looking Oskar (Kåre Hedebrant); desperate for friends and also revenge on bullies who mistreat him in school. Main protagonist eventually meets with the mysteriously charismatic Eli (Lina Leandersson) who slowly unravels herself as a character of the dark. Events transpire that further cements an unlikely friendship of sorts, leading to a very bloody finale. The film is no doubt not for the squeamish as even with the abundance of tender scenes between Oskar and Eli, violence is still undeniably present which is depicted in either a repulsive or comedic light.
Archaic monsters have always been an allegory towards a more imminent threat, like Romania's Dracula for Eastern Europeans immigrating to Western Europe, threatening the economy. In Tomas Alfredson's modern twist, Eli's fangs are treated as if it were of biological origins, which need a treatment that may pose morality questions. Her paternal figure becomes the film's tragic core as he emphasizes the depressing lengths he would go through to sustain Eli's thirst for blood. Although played as if he was paternal, further reveals later would show his function was to foreshadow the main protagonist's future removed from this micro cosmos.
Also interesting is Alfredson's play on the sexual identification of the creature. All femmes become fatales in one way or another, whilst male characters turn into almost bathetic who are never snapped out of a hypnotic spell. Also seen in Almodovar's "Hable Con Ella", technique adds a level of sophistication to the proceedings and further enriches their characterizations.
As with old Hollywood's Dracula, Eli is perfectly portrayed by Lina Leandersson as she not so much carry the entire film, but devours the role. Shiny eyes not seen since Puss in Boot's "Shrek", she gains easy support from audiences just from her look alone. Perfectly matched with Kåre Hedebrant, leads instantly become characters worth caring about, that even the murders that conspire become a necessity.
Set in Scandinavia, film reminds of "30 Days of Night" as it's filmed as if it never sees the sun and is forever winter. Of course, this works well with the illusion of having the main character as someone who would burst into flames if UV rays touches her skin. This, among others are the film's small touches that further cement the mythology on vampires and adds some more, even. Cats provide a darkly hilarious spin as the film reaches 30 minutes before the credits.
"Låt Den Rätte Komma In" is indeed an enjoyable intimate celebration of loneliness and the things that transpire from it. Setting it with a vamp angle further uplifts the thematical significance of the film, although even if they exist, picture doesn't pretend to be more than it actually is. Conceived with a specific audience in mind, the curious would also be rewarded. Film often reaches subliminal moments that will live long in the memory.
REC
(2007)
Will definitely have a fruitful life on home video, but watching it in communion with a fright hungry audience should still be the best medium.
24 July 2008
Already bound for an American remake, "Rec" is another film that uses the shaky handy-cam technique to great effect, as we follow an unassuming reporter enthusiastic on finding a story, only to discover she's become it. Will inspire nervous laughter from the audience to release tension earnestly produced by the film, "Rec" works as it eliminates any plot holes that may conspire, as far as zombie movies go. Will definitely have a fruitful life on home video, but watching it in communion with a fright hungry audience should still be the best medium.
Angela (Manuela Velasco) is an ambitious reporter stuck in making fluff pieces for late night television. While on a mundane assignment at the fire station, herself and a cameraman follows a keen set of firemen bound to help an old lady get out of her apartment. Trouble is, the old lady becomes the catalyst to this claustrophobic fright-fest. Character development isn't much as a necessity here as the film suggests. When it stops to create characters (more caricatures even), the film's pulse suddenly drops. Empathy is easily produced though as the first man-eater comes to surface.
More faithful to the shaky handy-cam genre than the recent blockbuster "Cloverfield", the film boasts its grassroots film making as a major part in producing a lot of tension. Everything is used to great effect here: limited frame of view, distortion of sound, the rewind button, the spotlight and the dreaded night-vision. And it owes it to that as the film easily creates suspense and anticipation.
George A. Romero, the director of the zombie classic "Dawn of the Dead", should be proud as with his film that judges on suburbia and commercialism, "Rec" is inspired to make a commentary of its own. Film raises serious topics of xenophobia, immigration (also seen in Almodovar's "Volver"), biological weapons and collateral damage. Nevertheless, even with such straight-faced ideas, they remain at the back burner well before all hell breaks loose. They remain a part of the plot but not as its driving force.
Final 20 minutes is the picture's strongest, as even with an extreme denouement, it still doesn't betray the audience. The origins are convincing in a universe where zombies exist. Imagery of religious piety and an untouched penthouse refreshes sense of paranoia seen when protagonists from "The Blair Witch Project" finally discovers the cabin. To contrast with that though, the audience is given a proper possible explanation through exposition, a scene that may feel a bit contrived but nevertheless feeds the main protagonist, Angela, something to chew on. The film doesn't explain because it has to, but it's because the character naturally does.
Not for the faint of heart, "Rec" is another entry to the new wave of horror films established by the Blair Witch and further cemented by YouTube. The film garners an easy recommend as it delivers what it came to do: produce a lot of scares, further heightened by the sense of dread and tension intentionally delivered by the haphazard lensing.
Angela (Manuela Velasco) is an ambitious reporter stuck in making fluff pieces for late night television. While on a mundane assignment at the fire station, herself and a cameraman follows a keen set of firemen bound to help an old lady get out of her apartment. Trouble is, the old lady becomes the catalyst to this claustrophobic fright-fest. Character development isn't much as a necessity here as the film suggests. When it stops to create characters (more caricatures even), the film's pulse suddenly drops. Empathy is easily produced though as the first man-eater comes to surface.
More faithful to the shaky handy-cam genre than the recent blockbuster "Cloverfield", the film boasts its grassroots film making as a major part in producing a lot of tension. Everything is used to great effect here: limited frame of view, distortion of sound, the rewind button, the spotlight and the dreaded night-vision. And it owes it to that as the film easily creates suspense and anticipation.
George A. Romero, the director of the zombie classic "Dawn of the Dead", should be proud as with his film that judges on suburbia and commercialism, "Rec" is inspired to make a commentary of its own. Film raises serious topics of xenophobia, immigration (also seen in Almodovar's "Volver"), biological weapons and collateral damage. Nevertheless, even with such straight-faced ideas, they remain at the back burner well before all hell breaks loose. They remain a part of the plot but not as its driving force.
Final 20 minutes is the picture's strongest, as even with an extreme denouement, it still doesn't betray the audience. The origins are convincing in a universe where zombies exist. Imagery of religious piety and an untouched penthouse refreshes sense of paranoia seen when protagonists from "The Blair Witch Project" finally discovers the cabin. To contrast with that though, the audience is given a proper possible explanation through exposition, a scene that may feel a bit contrived but nevertheless feeds the main protagonist, Angela, something to chew on. The film doesn't explain because it has to, but it's because the character naturally does.
Not for the faint of heart, "Rec" is another entry to the new wave of horror films established by the Blair Witch and further cemented by YouTube. The film garners an easy recommend as it delivers what it came to do: produce a lot of scares, further heightened by the sense of dread and tension intentionally delivered by the haphazard lensing.
Funny Games
(2007)
Haneke recycles his brilliant directing from the original and with that; it is even more curious why this one has to be made in the first place.
24 July 2008
Michael Haneke is a cinematic terrorist: able to synthesize terror from original stories, bound as an assault to the humdrum of the middle class. On that note, it came as a surprise as he helms an almost shot-by-shot remake of his 1997 "Funny Games", a decade after its debut at Cannes. What may have looked good on paper as a proposed analysis to American violence, the new picture somehow dilutes the power of the original and along with it, emphasizes the story's purpose as sensationalist cinema.
As the film opens with a bird's eye view of a white family vehicle, we follow the lives of Ann, George and Georgie a fairly typical upper middle class family driving to their family holiday house, a small yacht in tow. What starts off as a pleasant drive accompanied by classical music, heavy metal music booms through the audiences' speakers as the opening credits roll, the family unaware of the torture the intense music heavily foreshadows. This opening sequence basically summarizes the whole ordeal. Antagonists Paul and Peter, picking up random houses and propose a dastardly game: that the homeowners wouldn't be alive when the clock strikes 12 hours later.
Watts uses the film to function as a medium to show off her acting muscles. And rightly so, as the maternal figure, Ann, practically begs for her life and if it weren't for the paternal character, the movie would be borderline misogynistic. To contrast with the original version, what used to be the Ulrich Mühe character has been reduced to an even more pathetic George (Roth), unable to defend his family after an initial blow to his shins by a 3-Iron. The family acquires empathy from the get-go, right when Peter comes in to ask for a couple of unthreatening couple of eggs, to the audience fault as this feeling of compassion will betray them later.
Creepily performed characters Paul and Peter, feature a refreshing disparity from the original version. With Peter still reduced to a sidekick, Paul comes off more as apathetic and bored, compared to the original's architect being more enthusiastic and engrossed to the agonizing proceedings. Here lie two ideas: both personifications of evil are still eerily effective even if contrasting and also possibly mirror Haneke's own eagerness to the material while filming. Of course, the latter being a personal interpretation.
Everything from the original is here: the excruciating long takes, the ingenious procedure of breaking the fourth wall, gruesome off-screen violence and the sense of hope and salvation thwarted by the revelation that the film is a self-conscious experiment. The only thing missing is the tension delivered by the unexpected from a Haneke film. And that's a big one.
It is fair to feel betrayed by the film once you discover its cruel twist. A moment of satisfaction by the audience is heart-wrenchingly twisted to themselves; as the movie's effectiveness depends on the spectators' desire to acquire a Hollywood ending. Reviewing a remake of a vastly superior original film, it is hard to separate them and I much yearn for the years when this remake is deemed ridiculous. Haneke recycles his brilliant directing from the original and with that; it is even more curious why this one has to be made in the first place.
As the film opens with a bird's eye view of a white family vehicle, we follow the lives of Ann, George and Georgie a fairly typical upper middle class family driving to their family holiday house, a small yacht in tow. What starts off as a pleasant drive accompanied by classical music, heavy metal music booms through the audiences' speakers as the opening credits roll, the family unaware of the torture the intense music heavily foreshadows. This opening sequence basically summarizes the whole ordeal. Antagonists Paul and Peter, picking up random houses and propose a dastardly game: that the homeowners wouldn't be alive when the clock strikes 12 hours later.
Watts uses the film to function as a medium to show off her acting muscles. And rightly so, as the maternal figure, Ann, practically begs for her life and if it weren't for the paternal character, the movie would be borderline misogynistic. To contrast with the original version, what used to be the Ulrich Mühe character has been reduced to an even more pathetic George (Roth), unable to defend his family after an initial blow to his shins by a 3-Iron. The family acquires empathy from the get-go, right when Peter comes in to ask for a couple of unthreatening couple of eggs, to the audience fault as this feeling of compassion will betray them later.
Creepily performed characters Paul and Peter, feature a refreshing disparity from the original version. With Peter still reduced to a sidekick, Paul comes off more as apathetic and bored, compared to the original's architect being more enthusiastic and engrossed to the agonizing proceedings. Here lie two ideas: both personifications of evil are still eerily effective even if contrasting and also possibly mirror Haneke's own eagerness to the material while filming. Of course, the latter being a personal interpretation.
Everything from the original is here: the excruciating long takes, the ingenious procedure of breaking the fourth wall, gruesome off-screen violence and the sense of hope and salvation thwarted by the revelation that the film is a self-conscious experiment. The only thing missing is the tension delivered by the unexpected from a Haneke film. And that's a big one.
It is fair to feel betrayed by the film once you discover its cruel twist. A moment of satisfaction by the audience is heart-wrenchingly twisted to themselves; as the movie's effectiveness depends on the spectators' desire to acquire a Hollywood ending. Reviewing a remake of a vastly superior original film, it is hard to separate them and I much yearn for the years when this remake is deemed ridiculous. Haneke recycles his brilliant directing from the original and with that; it is even more curious why this one has to be made in the first place.
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