Reviews

Partly a love story that may never have taken place - partly a repetitive dream with opaque reality - but mostly an enigma with a labyrinth of dialogue and images. It's the comprehension of being comfortably perplexed. Last Year at Marienbad is one of cinema's most indefinable films. The film uses a group of well tailored prominent socialites and places them in Baroque château. The opening narrative repeatedly describes the setting and eventually gives way to its central characters – when a man and the woman who he claims to have met the prior year are brought together. Their ensuing discourse of a past encounter and their future paths is the central focus of the film.

In this myriad of dialogue and images – it may help for the viewer to know that several times throughout this film "Nim" is played. Nim is a strategical game based on a mathematical theory where players takes turns removing objects from a pile. Each move affects the decision to be made by the next player – reaction to action. Within this game there are a finite number of possible moves, and each successive move helps define the outcome. Traditionally the player to take the last object is the loser - but aptly - a variation of Nim exists where the player who takes the last object wins. The film applies this principle of binary mathematics to its characters and the exploration of possibilities within their relationship.

Last Year of Marienbad is puzzling film open to widespread speculation. Any claims of definement are purely conjecture - for this was Alain Resnais' intention. The film has exquisite cinematography and its accompanying music, while eerie, is somehow befitting of the narrative. Last Year at Marienbad is probably the most unique film to come from the French New Wave. It challenges the audience in ways few other films can. While some may dismiss the film as nothing more than slow paced nonsense, many others including myself consider Resnais' film a masterpiece.

Ali: Fear Eats the Soul is a film that intelligently blends social commentary with the lives of two individuals whose paths unexpectedly cross. Emmi Kurowski is an older widow who finds herself going through the motions of life without any meaningful relationships to share it with. To avoid a rain shower one afternoon she takes refuge inside a local bar and it's there where she meets Ali, a Morrocan mechanic who's much her junior. The two share a dance and their improbable relationship begins. What ensues is a union that sparks widespread aversion towards the couple and their resolve to overcome such animosity.

Fassbinder takes the cultural prejudice of a post war Germany and creates a film with universal appeal - one that is just as relevant in today's modern world as it was when it was made. He uses the central characters to depict the fears of not only themselves, but also of society in general. The pace he creates has a unique minimalistic quality and maintains an effortless flow throughout the entire film. Bridgette Mira's portrayal of the humble but enduring Emmi is outstanding and she anchors the film with great realism. A true understated classic of world cinema.

It's evident from the beautiful title sequence that Kwaidan vows to be much more than ordinary cinema. The film is comprised of four individual stories that share a common theme – a mesmerizing world where the living have apparitional experiences. The tales are derived from Japanese folklore and explore the battles between the internal soul and the outer spirit world. In each tale these two forces are uniquely brought together, producing a film that probes human existence.

Kwaidan is a remarkable film whose trance like imagery is both poetic and captivating. This film may very well have the best set designs ever created – they're truly spectacular. The brilliant use of colors, lighting, and sound are mixed seamlessly within each storyline. Director Masaki Kobayashi amazingly manages to use a tranquil narrative, yet at the same time inject intensity into each sequence. This treasure of world cinema should be experienced by all.

A Woman Under the Influence is an emotionally packed film that is centered around a capricious yet troubled housewife named Mabel. Mother to three young children and wife to her loving but volatile husband Nick, Mabel's mind is consumed with gaining acceptance and being reassured by those who surround her. Her psychological ability to keep up with normal everyday situations eventually reaches full capacity and she struggles to maintain emotional and mental competency.

Director Cassavetes intentionally chooses not to grant clemency to the viewer. Imagine walking in late to an opera that's in it's third act – that almost seems like what Cassavetes does to the audience – introducing his depiction of a distressed family while they're in mid flight. Gena Rowlands' portrayal of the likable but frail Mabel is nothing short of incredible, and Peter Falk gives an equally remarkable performance as Mabel's husband Nick. This film is not for the weak-hearted nor for those seeking traditional entertainment. It's distinctive approach to such an emotional journey will undoubtedly impede many viewer's enjoyment - but for those who appreciate unique cinema and realism, it doesn't get much better than this.

"For wherever the sun rises and sets… in the city's turmoil or under the open sky on the farm… life is much the same; sometimes bitter, sometimes sweet."

Legendary German expressionist F.W. Murnau brought his incredible talents to America and perfected the art of silent cinema with his film Sunrise: A Song of Two Humans. This classic from the late silent era is a story of a farmer, his wife, and a temptress from the city. Murnau takes a simple plot line and creates a film with great depth and passion. The film itself is beautifully acted and emotionally charged, but it's Murnau's direction and his cinematographers, Karl Struss and Charles Rosher, that make this one of cinema's most acclaimed treasures. It's brilliant use of composition, lighting, tracking shots, overlapping exposures, and long takes are nothing short of astounding. This is indeed a masterpiece.

The Wild Child is a film that resurfaces the true story of a young boy who is found living wild along the French countryside. The boy is like an animal in the sense he is untamed, self reliant, has a fear of humans, bares no clothing, and is accustomed to the elements of nature. The film begins with the capturing the eleven year old boy and his subsequent introduction to the civilized world. The child's fascinating story makes newspaper headlines in 1798 and among the many Parisians whose interest is sparked is that of a doctor played by Truffaut himself. Interested in studying the boy and discovering his potential, the doctor takes the young ruffian into his own home and begins a methodical series of learning experiments.

Truffaut uses this remarkable story and creates a wonderful film set in the late eighteenth century. He also avoids the all too common trap of over dramatizing a film set in this era and simply concentrates on the subject matter at hand – the discovery of a wild youth and his introduction into civilized world. The film is beautifully shot and Truffaut's simplistic narrative keeps the viewer's attention at all times. Although one of Truffaut's most unique films, The Wild Child is not quite a masterpiece, but has much merit and is definitely worth viewing.

Herzog returns to the beautiful yet merciless Amazonian jungles and creates a film of epic proportions. In this turn of the century tale the Amazon beckons and Brian Sweeney Fitzacarraldo answers it's call. Fitzcarraldo has a dream to build a great opera house and his eccentric nature will not allow that dream to go unfulfilled. After failed attempts to build a Peruvian railroad line, he then directs his efforts to the production of ice. Scoffed by the local rubber barons who tag Fitzcarraldo as the conquistador of the useless, his beautiful girlfriend Molly convinces him the only way he can gain the capital needed to bring his dream to fruition is to harvest rubber himself. Despite the scarcity of available land, the lack of reliable labor, and the threat of native indians, Fitzcarraldo accepts the daunting challenge and our story begins.

Herzog painfully spared no expense to create authenticity and his results are among the greatest of engineering feats ever achieved on filmed. The viewer can't help but marvel at his efforts and the suspense created. This monumental epic boasts wonderful performances, amazing locations, and a gripping storyline that stays with the audience long after viewing. A true classic of world cinema.

This enigmatic drama is a story of a young woman who confronts her ambitions and insecurities head on. The film starts with Yella accepting a new job and moving to the more modernized western part of the country. With hopes for a better future, the life she leaves behind include her loving father, her obsessive husband, and the stability of a reality understood.

Christian Petzold uses a bold no frills approach to exhibit this thought provoking film. The narrative has a minimalistic quality which serves the film well, allowing the viewer to focus on the subtle yet compelling performance by actress Nina Hoss. Yella is an intelligently layered film and a triumph for modern day German cinema.

IF… is a film that penetrates the surface of student life at an English boarding school. Stout with tradition, the College House's rules are strict but simple: "work, play – but don't mix the two". While the younger pupils are primarily concerned with conformity, the film's narrative focuses on a small group of older students who's thoughts are more inclined towards existentialism and rebellion. Their "when do we live, that's what I want to know" attitudes are confronted by a pompous group of "whips", who's use of discipline is justified "for the good of the country".

This slowly engrossing film has a distinct English feel as it poses the topics of authority, tradition, conformity, individualism, and rebellion. Indicative of the late 60's, IF… is now a powerful retrospective - yet this bold production and it's revolutionary vision remain relevant in today's society.

Haneke captains another efficacious look into the human psyche with this compelling drama. His vessel of choice this time around is Isabelle Huppert and his voyage takes us far out into unchartered waters where most other captains fear to sail. Haneke leaves port and allows the passengers to gain understanding and appreciation for his vessel. She is small yet highly respected amongst her peers. Despite being built under assumingly harsh conditions her exterior is tough and she is built for the icy waters she frequents. Once our captain has sufficiently displayed the outer of his vessel and gained our respect, he then takes us below deck for a rare exhibit of the ship's viscera. What we see is distressing and unpleasant, however Hanke's ship has sailed and we are now headed for turbulent waters.

Huppert gives a brilliant performance as the piano teacher. She beautifully executes both the character's controlled exterior as well as her hauntingly troublesome interior. Haneke's direction is focused and he delivers an unyielding character study that's potent and believable. This voyage is not for the weak of heart. Many will find the subject matter disturbing, and rightfully so, but it would be difficult to deny this masterfully created film the merit it deserves. I almost rated this film ten stars instead of eight, but I have difficultly giving the highest marks to a film I never plan to see a second time.

"This is how it always ends - a little magic, a little smoke, something floating. We begin like this. It's not like the beginning - so take it easy. But it's important. Believe me."

Christoffer Boe's debut film is a mesmerizing love story that challenges the viewer to follow his ever changing storyline in a very unique way. Boe warns "it's not so complicated - there are four people - Aimee and I, August - we are married. Then there's Alex, the young photographer and his beautiful girlfriend Simone - they're not married. Alex and Aimee are going to meet."

Boe creatively injects himself into the role of August, an author. "They're all looking for love" and thus the story begins. The surrealism that follows is captivating. August continually plays with, or reconstructs the storyline, which in turn affects Alex - essentially transforming him into a free-falling bystander of his own life, leaving him to deal with the choices he himself didn't actually make - but after all, he's just a fictional character from August's writings.

This personal favorite of mine is a testament that creativity, beautiful camera work and editing, solid acting, and the right choice of music can overcome the budget restraints most debuting directors face. This stylish film will not disappoint. It is all film. It is all construction.