Metropolis references abound. Also it has a good deal of nudity and ending suggests that Android was conceived as prequel to Blade Runner or could be seen as one. For a Kinski whoring himself for a paycheck movie, this is pretty decent actually.
Thursday, April 14, 2011
She's Alive!
Android (1982) - Lipstadt
Kinski gets the top billing as a renegade scientist Dr. Daniel. But he's in the film about 30 minutes total. It's about a horny android named Max (credited as Himself) who is Dr. Daniel's assistant. When a trio of fugitives land in their remote space lab, Max makes an autonomous decision to take them in, largely because one of the fugitives is an alluring female, Maggie (Brie Howard). Dr. Daniel is mad but soon changes his mind when he too sees Maggie. The logic according to the mad doctor is, he needs a sexual stimulation from a female for his masterpiece, the perfect woman android Cassandra 3000 (Kendra Kirchner).
Metropolis references abound. Also it has a good deal of nudity and ending suggests that Android was conceived as prequel to Blade Runner or could be seen as one. For a Kinski whoring himself for a paycheck movie, this is pretty decent actually.
Metropolis references abound. Also it has a good deal of nudity and ending suggests that Android was conceived as prequel to Blade Runner or could be seen as one. For a Kinski whoring himself for a paycheck movie, this is pretty decent actually.
Women in Black
Women Without Men (2009) - Neshat
I've been an admirer of the works of the Iranian born visual artist, Shirin Neshat. Her use of Persian calligraphy and black & white images to convey the disparity and distance between the sexes in the Islamic world is truly beautiful and enigmatic. I've been wanting to see Women Without Men, her first narrative feature, ever since it came out.
Falling somewhere between an allegory and a straight historical narrative account of 1953 Iran, when CIA backed military coup reinstated the Shah, Women Without Men tells the entwined story of 4 women. Fakhri (Arita Shahrzad), a middle aged wife of a verbally abusive military general decides to leave Tehran and buy an orchard in the countryside. This beautiful orchard becomes a haven for Zarin (Orsolya Tóth), a prostitute whose clients become melded into one faceless monster, Munis (Shabnam Toloui), a politically aware unmarried woman, held prisoner in her own house by her strict brother and her friend Faezeh (Pegah Ferydoni), who's hopelessly in love with Munis's brother.
The magic realism of the source material befits well with Neshat's style. Visually, the film has some very powerful moments, especially concerning Munis who throws herself from the rooftop to escape her predicament and being resurrected.
Neshat's unsentimental treatment of these women is a bit too cold and detached to be emotionally resonant, but nevertheless, her powerful images leave indelible mark you can't easily shake off.
Falling somewhere between an allegory and a straight historical narrative account of 1953 Iran, when CIA backed military coup reinstated the Shah, Women Without Men tells the entwined story of 4 women. Fakhri (Arita Shahrzad), a middle aged wife of a verbally abusive military general decides to leave Tehran and buy an orchard in the countryside. This beautiful orchard becomes a haven for Zarin (Orsolya Tóth), a prostitute whose clients become melded into one faceless monster, Munis (Shabnam Toloui), a politically aware unmarried woman, held prisoner in her own house by her strict brother and her friend Faezeh (Pegah Ferydoni), who's hopelessly in love with Munis's brother.
The magic realism of the source material befits well with Neshat's style. Visually, the film has some very powerful moments, especially concerning Munis who throws herself from the rooftop to escape her predicament and being resurrected.
Neshat's unsentimental treatment of these women is a bit too cold and detached to be emotionally resonant, but nevertheless, her powerful images leave indelible mark you can't easily shake off.
Saturday, April 9, 2011
Manifest Destiny in Smaller Scale
Meek's Cutoff (2010) - Reichardt
I bet Kelly Reichardt has had several infuriating experiences sitting in the passenger's seat of a car driven by male drivers who suffered from 'never-ask-for-directions-when-lost' syndrome and been wanted to make a movie about it. This slight anti-western takes place in Oregon Trail in 1845. Three ox-carts driven pioneer families- the Tetherows (Will Patton, Michelle Williams), the religiously inclined Whites (Shirley Henderson, Will Huff) and the young Gatelys (Paul Dano, Zoe Kazan) with a blowhard guide named Meek (the great Bruce Greenwood, buried in stringy hair & beard and sounding like beetlejuice) get lost in the arid surroundings.
Stephen Meek is a quintessential foolhardy outdoorsman- arrogant, irrational and full of vanity. Soon the band picks up on Meek's bullshit, especially Emily Tetherow. She lets her displeasure known. He then asks her opinion on his philosophy about man and woman: "Woman is chaos and man is destruction." Emily answers with "I'll have to think about it." Whether Reichardt believes this to be true or not, in the end, it's Emily who becomes in charge of their destiny.
The drinking water is running low and the pioneers start dumping family heirlooms to lighten the load. The tension amongst them doesn't actually materialize until they capture a spying Peyote Indian (a violent savage, according to Meek). Meek wants to kill the savage right away but the Tetherows want to keep him alive since he might lead them to where the fresh water is. Gately girl (Kazan) takes the role of 'the one that goes crazy in the wilderness'. Ok, this being Reichardt movie, known for her minimalist aesthetics, nothing on the screen is too dramatic. Even Emily (with her bonnet tightly around her head, covering her facial expression most of the time- reminding me of a burqa on Muslim women) doesn't stand out much from the subservient the other two girls. Everything is understated.
Meek's Cutoff is a frontiers movie with a tinge of Aguirre. It's just a less dramatic take on manifest destiny. If Aguirre would register at 10 on the dramatic scale, Meek's Cutoff would be at about 0.5. But with good ensemble cast and beautiful yet pragmatic, mostly static cinematography and great tension creating soundtrack by Jeff Grace, the film is a quietly engrossing experience that doesn't provide you with an easy way out.
Stephen Meek is a quintessential foolhardy outdoorsman- arrogant, irrational and full of vanity. Soon the band picks up on Meek's bullshit, especially Emily Tetherow. She lets her displeasure known. He then asks her opinion on his philosophy about man and woman: "Woman is chaos and man is destruction." Emily answers with "I'll have to think about it." Whether Reichardt believes this to be true or not, in the end, it's Emily who becomes in charge of their destiny.
The drinking water is running low and the pioneers start dumping family heirlooms to lighten the load. The tension amongst them doesn't actually materialize until they capture a spying Peyote Indian (a violent savage, according to Meek). Meek wants to kill the savage right away but the Tetherows want to keep him alive since he might lead them to where the fresh water is. Gately girl (Kazan) takes the role of 'the one that goes crazy in the wilderness'. Ok, this being Reichardt movie, known for her minimalist aesthetics, nothing on the screen is too dramatic. Even Emily (with her bonnet tightly around her head, covering her facial expression most of the time- reminding me of a burqa on Muslim women) doesn't stand out much from the subservient the other two girls. Everything is understated.
Meek's Cutoff is a frontiers movie with a tinge of Aguirre. It's just a less dramatic take on manifest destiny. If Aguirre would register at 10 on the dramatic scale, Meek's Cutoff would be at about 0.5. But with good ensemble cast and beautiful yet pragmatic, mostly static cinematography and great tension creating soundtrack by Jeff Grace, the film is a quietly engrossing experience that doesn't provide you with an easy way out.
Moving Life
Still Life (2006) - Jia
The Three Gorges Dam, the largest man-made project in human history, has become a symbol of China's ambition to be a global superpower where some sacrifices are regarded as inevitable. Sound of hammering and sentimental pop ballads always in the background, Still Life's new urban development against picturesque mountains is nothing but still. It concerns two relationships being tested - the human cost of changing times. However small and trivial, Jia applies communal activities to connect people, dividing the film in to separate chapters - Cigarettes, Liquor, Tea and Toffee.
Unlike some of my peers, I was never wowed by Jia's films. I'm still not 100 percent convinced that Jia is a great director. Still Life, another one of his carefully composed, thoughtful narrative/doc hybrid on changing times in China, is very good indeed. Jia regular Zhao Tao's story of a wife of a workaholic is not really necessary and leaves the film somewhat asymmetrical.
My main gripe with him has always been his too polished style which betrays the subjects he's documenting. Same with this film. I like 24 City a little better.
My 24 City Review
Unlike some of my peers, I was never wowed by Jia's films. I'm still not 100 percent convinced that Jia is a great director. Still Life, another one of his carefully composed, thoughtful narrative/doc hybrid on changing times in China, is very good indeed. Jia regular Zhao Tao's story of a wife of a workaholic is not really necessary and leaves the film somewhat asymmetrical.
My main gripe with him has always been his too polished style which betrays the subjects he's documenting. Same with this film. I like 24 City a little better.
My 24 City Review
Thursday, April 7, 2011
God-given Talent
Andrei Rublev (1966) - Tarkovsky
Andrei Rublev works on two fronts. It works as an expansive Russian historical epic and it works as a contemplation on the god-given talent. Spanning three plus hours in 7 episodes, Rublev plays out like a good thick Russian novel. The famous monk is both the subject and spectator coming in and out of focus.
From the balloon ride that opens the film to Rublev standing dazed in the pillaged church with the snow falling to color part at the end, Rublev is a visually stunning film.
It's the young bell caster part at the end that really packs the punch. The reckless young man challenges himself in a grand scale. This spectacle tickles now old and reclusive Rublev who has given up painting. You don't acquire talent. You either have it or don't. If you do, you will be the subject of envy and jealousy and might pay dearly for it. But it's your duty not to waste it.
Andrei Rublev works on two fronts. It works as an expansive Russian historical epic and it works as a contemplation on the god-given talent. Spanning three plus hours in 7 episodes, Rublev plays out like a good thick Russian novel. The famous monk is both the subject and spectator coming in and out of focus.
From the balloon ride that opens the film to Rublev standing dazed in the pillaged church with the snow falling to color part at the end, Rublev is a visually stunning film.
It's the young bell caster part at the end that really packs the punch. The reckless young man challenges himself in a grand scale. This spectacle tickles now old and reclusive Rublev who has given up painting. You don't acquire talent. You either have it or don't. If you do, you will be the subject of envy and jealousy and might pay dearly for it. But it's your duty not to waste it.
Wednesday, April 6, 2011
Lust for God II
Thérèse (1986) - Cavalier
Filmmaking that is as pure as its subject, Alain Cavalier tells the short life of Thérèse Martin, a young Carmelite nun who was canonized after her death and known for her writing. The film starts with Thérèse frantically trying to get into the convent because she can't wait to be wed (to Jesus) even though everyone says she's too young. She takes the matters all the way up to the pope.
Carefully framed and lighted, every frame in Thérèse resembles Rembrandt paintings. Catherine Mouchet's portrayal of clear eyed young girl who devotes herself to god with never wavering enthusiasm and warmth is totally convincing. Just as it becomes apparent that Thérèse is dying of tuberculosis, that her faith in afterlife is wavering, the film ends quietly, without any clear answers.
Cavalier doesn't seem to be interested in making Thérèse a religious propaganda or psychoanalyzing his subject. But he makes you wonder that if true devotion is only possible when you are young. Ignorance is bliss? An old nun tells Thérèse, "Don't worry, it's the first 30 years that's hard." Cavalier doesn't judge the little nun. He just presents her short existence matter of factly and there is a lot of beauty in it.
Filmmaking that is as pure as its subject, Alain Cavalier tells the short life of Thérèse Martin, a young Carmelite nun who was canonized after her death and known for her writing. The film starts with Thérèse frantically trying to get into the convent because she can't wait to be wed (to Jesus) even though everyone says she's too young. She takes the matters all the way up to the pope.
Carefully framed and lighted, every frame in Thérèse resembles Rembrandt paintings. Catherine Mouchet's portrayal of clear eyed young girl who devotes herself to god with never wavering enthusiasm and warmth is totally convincing. Just as it becomes apparent that Thérèse is dying of tuberculosis, that her faith in afterlife is wavering, the film ends quietly, without any clear answers.
Cavalier doesn't seem to be interested in making Thérèse a religious propaganda or psychoanalyzing his subject. But he makes you wonder that if true devotion is only possible when you are young. Ignorance is bliss? An old nun tells Thérèse, "Don't worry, it's the first 30 years that's hard." Cavalier doesn't judge the little nun. He just presents her short existence matter of factly and there is a lot of beauty in it.
Monday, April 4, 2011
Lust for God
The Devils (1971) - Russell
Heavily censored and outright banned in many countries upon its release, Ken Russell's The Devils tells a story of witchery and political intrigue in the plague ridden 17th century France in true Ken Russell fashion - operatic, vulgar and very very entertaining.
Father Grandier (Oliver Reed) of city state Loudun becomes the leader against the Cardinal (and King Louis XIII's consort) who wants to consolidate power in all of France in order to suppress protestant revolts. Well regarded and loved by many women (including all the nuns at the local convent), Grandier is a very vain man. Mother Jeanne (Vanessa Redgrave), a deformed nun in charge of the local convent is sexually obsessed with Grandier. The news of his secret marriage tips her over the edge and into madness. Other nuns follow suit. Baron Loubardemont, under the cardinal's order to demolish Loudun takes this opportunity to carry out despicable exorcism (forced enema among others) on the nuns in their religious/sexual frenzy and therefore accusing Grandier of bewitching the lustful nuns. It all culminates to the raping of the statue of Jesus in the convent by naked crazy nuns and Grandier burning at the stake.
While poking fun at the organized religion and its faithfuls, Russell's bombastic filmmaking can be too much at times (especially crazy zoom-in/out shots in the orgy scene). Derek Jarman's set design - white tiled Loudun and David Watkins's hot-lights-in-your-face cinematography heighten the craziness. But it's Reed's performance (of his career) as a complex man of god that gives the film its gravitas. And orchestrating this much madness is an achievement in itself.
Heavily censored and outright banned in many countries upon its release, Ken Russell's The Devils tells a story of witchery and political intrigue in the plague ridden 17th century France in true Ken Russell fashion - operatic, vulgar and very very entertaining.
Father Grandier (Oliver Reed) of city state Loudun becomes the leader against the Cardinal (and King Louis XIII's consort) who wants to consolidate power in all of France in order to suppress protestant revolts. Well regarded and loved by many women (including all the nuns at the local convent), Grandier is a very vain man. Mother Jeanne (Vanessa Redgrave), a deformed nun in charge of the local convent is sexually obsessed with Grandier. The news of his secret marriage tips her over the edge and into madness. Other nuns follow suit. Baron Loubardemont, under the cardinal's order to demolish Loudun takes this opportunity to carry out despicable exorcism (forced enema among others) on the nuns in their religious/sexual frenzy and therefore accusing Grandier of bewitching the lustful nuns. It all culminates to the raping of the statue of Jesus in the convent by naked crazy nuns and Grandier burning at the stake.
While poking fun at the organized religion and its faithfuls, Russell's bombastic filmmaking can be too much at times (especially crazy zoom-in/out shots in the orgy scene). Derek Jarman's set design - white tiled Loudun and David Watkins's hot-lights-in-your-face cinematography heighten the craziness. But it's Reed's performance (of his career) as a complex man of god that gives the film its gravitas. And orchestrating this much madness is an achievement in itself.
Sunday, April 3, 2011
Homage to No Reason
Rubber (2010) - Dupieux
A nebbish looking man with many binoculars dangling from his neck nervously waits in the middle of the desert. There are empty wooden chairs on the dusty road behind him. A police patrol car pulls up, painstakingly knocking down every single one of the chairs. From the trunk of the car, a sheriff emerges and points out that there are no reasons behind many of the great movies. "In Steven Spielberg's E.T., why is the extra terrestrial's color brown? No reason." and so on.
Rubber is about a tire with psychokinetic power. It blows up people's head. It beckons the question why anybody would watch a movie about a tire with psychokinetic power. If all the spectators are dead, they (actors) can all go home. But we watch, hoping something would happen. And it does- heads blow up, a pretty girl takes a shower in a desolate motel room, more heads blow up, and so on.
It's like a funny idea stretched to an hour and twenty minutes. Too self aware and jokey to be a true cult classic, Rubber is a fun little movie perfect for a lazy Saturday afternoon.
*This would make a great double feature with The Red Balloon.
A nebbish looking man with many binoculars dangling from his neck nervously waits in the middle of the desert. There are empty wooden chairs on the dusty road behind him. A police patrol car pulls up, painstakingly knocking down every single one of the chairs. From the trunk of the car, a sheriff emerges and points out that there are no reasons behind many of the great movies. "In Steven Spielberg's E.T., why is the extra terrestrial's color brown? No reason." and so on.
Rubber is about a tire with psychokinetic power. It blows up people's head. It beckons the question why anybody would watch a movie about a tire with psychokinetic power. If all the spectators are dead, they (actors) can all go home. But we watch, hoping something would happen. And it does- heads blow up, a pretty girl takes a shower in a desolate motel room, more heads blow up, and so on.
It's like a funny idea stretched to an hour and twenty minutes. Too self aware and jokey to be a true cult classic, Rubber is a fun little movie perfect for a lazy Saturday afternoon.
*This would make a great double feature with The Red Balloon.
Friday, April 1, 2011
Crowded House
The Haunting (1963) - Wise
Robert Wise makes a G-rated film scary with the camera angle, movement, sound and tight editing. It's the usual setup- a paranormal studies in a haunted mansion, 3 chosen people, pounding at the door in the middle of the night, cold spots, etc. But it's so effectively creepy.
Julie Harris is mousy, easily irritable Eleanor, wrecked with guilt in the death of her mother. Claire Bloom is sexy Theo and young Russ Tamblyn is Luke, the heir of the haunted mansion. There is a great lesbian sexual tension btwn Eleanor and Theo throughout. But the real star is Wise's direction. There are no "boo" moments or ghosts, but he creates the glum atmosphere with great skill that really gets under your skin. I remember watching the terrible CG ridden remake of this and how nothing worked. Wise, a veteran filmmaker, shows you what you can achieve a lot with little things.
Robert Wise makes a G-rated film scary with the camera angle, movement, sound and tight editing. It's the usual setup- a paranormal studies in a haunted mansion, 3 chosen people, pounding at the door in the middle of the night, cold spots, etc. But it's so effectively creepy.
Julie Harris is mousy, easily irritable Eleanor, wrecked with guilt in the death of her mother. Claire Bloom is sexy Theo and young Russ Tamblyn is Luke, the heir of the haunted mansion. There is a great lesbian sexual tension btwn Eleanor and Theo throughout. But the real star is Wise's direction. There are no "boo" moments or ghosts, but he creates the glum atmosphere with great skill that really gets under your skin. I remember watching the terrible CG ridden remake of this and how nothing worked. Wise, a veteran filmmaker, shows you what you can achieve a lot with little things.
Wednesday, March 30, 2011
Perfectly Round Red Floating Object (and its hypnotic power!)
Le Ballon Rouge (1956) - Lamorisse
It's so simple yet so captivating and beautiful. You can't simply look away from the perfectly round red balloon for a second. I won't even investigate as to how Lamorisse achieved wrangling the balloon. It's pure magic. Yeah, that's it.
Although I would recommend seeing this on the big screen, you can view its entire 34 minutes on youtube:
Part 1
Part 2
Part 3
It's so simple yet so captivating and beautiful. You can't simply look away from the perfectly round red balloon for a second. I won't even investigate as to how Lamorisse achieved wrangling the balloon. It's pure magic. Yeah, that's it.
Although I would recommend seeing this on the big screen, you can view its entire 34 minutes on youtube:
Part 1
Part 2
Part 3
Monday, March 28, 2011
Goliath killed his girlfriend?
Summer of Goliath (2010) - Pereda
The film starts with our unseen filmmaker interviewing bunch of kids in gorgeous close ups. Among them is Oscar, a handsome, sullen teenager. Everyone calls him Goliath because he is said to have killed his girlfriend. The details of Oscar's story from the testimonies are somewhat fuzzy. And so begins Summer of Goliath, a part documentary, part narrative, surveying the psycho-geography of fractured, violence ridden family lives in the small mountainous village in Mexico.
Summer of Goliath's a grittier Mexican version of Uncle Boonmee Who Can Recall His Past Lives. But it lacks humor and the spirituality of the Thai film. Nicolás Pereda takes the 'poetic' way to tell these impoverished people's lives where you are forced to live side by side with your mortal enemies, who have killed your loved ones.
Goliath's strength lies in the revealing interviews with its real village subjects. When it switches to the narrative side with Teresa Sanchez with her sad sack stories of woman being abandoned by her cheating husband for a younger woman, it falls apart. Her abandonment issue seems extremely trivial compared to the enrapturing beginning segment of the film.
With its 74 minutes running time, Summer of Goliath doesn't give you enough time to contemplate on what it means to be living in fear and anger, where drug wars and corruption are everyday occurrences. Still, with long takes and hand-held tracking shots and doc/narrative hybrid, Pereda seems to be cultivating his own voice.
The film starts with our unseen filmmaker interviewing bunch of kids in gorgeous close ups. Among them is Oscar, a handsome, sullen teenager. Everyone calls him Goliath because he is said to have killed his girlfriend. The details of Oscar's story from the testimonies are somewhat fuzzy. And so begins Summer of Goliath, a part documentary, part narrative, surveying the psycho-geography of fractured, violence ridden family lives in the small mountainous village in Mexico.
Summer of Goliath's a grittier Mexican version of Uncle Boonmee Who Can Recall His Past Lives. But it lacks humor and the spirituality of the Thai film. Nicolás Pereda takes the 'poetic' way to tell these impoverished people's lives where you are forced to live side by side with your mortal enemies, who have killed your loved ones.
Goliath's strength lies in the revealing interviews with its real village subjects. When it switches to the narrative side with Teresa Sanchez with her sad sack stories of woman being abandoned by her cheating husband for a younger woman, it falls apart. Her abandonment issue seems extremely trivial compared to the enrapturing beginning segment of the film.
With its 74 minutes running time, Summer of Goliath doesn't give you enough time to contemplate on what it means to be living in fear and anger, where drug wars and corruption are everyday occurrences. Still, with long takes and hand-held tracking shots and doc/narrative hybrid, Pereda seems to be cultivating his own voice.
Sunday, March 27, 2011
Circle of Violence - Broken Loudly
Incendies (2010) - Villeneuve
A mother's last wish sends her adult twins Jeanne and Simon to Lebanon to find their father and a brother they never knew existed. The story cuts back and forth btwn the present and Nawal Mawan (Lubna Azabal)'s harrowing story of how the country's civil war btwn Christian nationalists and Arabs in the 70s killed her Arab refugee lover and tore her world apart.
Resembling a Greek tragedy, this 'circle of violence must be broken' parable is too heavy-handed to be taken to the heart. Azabal's performance is amazing and there are some great photography work to speak of, including the Radiohead accompanied opening. I really wanted to see this more than anything else at this year's ND/NF. But for me it was a major disappointment.
A mother's last wish sends her adult twins Jeanne and Simon to Lebanon to find their father and a brother they never knew existed. The story cuts back and forth btwn the present and Nawal Mawan (Lubna Azabal)'s harrowing story of how the country's civil war btwn Christian nationalists and Arabs in the 70s killed her Arab refugee lover and tore her world apart.
Resembling a Greek tragedy, this 'circle of violence must be broken' parable is too heavy-handed to be taken to the heart. Azabal's performance is amazing and there are some great photography work to speak of, including the Radiohead accompanied opening. I really wanted to see this more than anything else at this year's ND/NF. But for me it was a major disappointment.
Price of Being Cool
The Social Network (2010) - Fincher
Fincher's at it again. He single-handedly banished consumerism from earth with his slick masterpiece Fight Club. With The Social Network, he destroys the idea of Being Cool with equally ultra cool dialog. He really has his fingers on the pulse of youth of today. Just how long he can keep up with these soulless reflection is anybody's guess.
Fincher's at it again. He single-handedly banished consumerism from earth with his slick masterpiece Fight Club. With The Social Network, he destroys the idea of Being Cool with equally ultra cool dialog. He really has his fingers on the pulse of youth of today. Just how long he can keep up with these soulless reflection is anybody's guess.
Friday, March 25, 2011
Raise your voice!
Microphone (2010) - Abdalla
Watching Microphone now, which is basically a love letter to Alexandria, is all the more poignant considering what's been happening in Egypt for the last few months. Director Ahmad Abdalla succeeds in capturing the essence of the youth culture in the Egypt's second largest, cosmopolitan port city. This film was first conceived as a documentary- shot on HD with a small mobile crew. Then it later evolved into a narrative starring the TV/film superstar Khaled Abol Naga (who also serves as a producer) while keeping the small scale filmmaking intact. It features some of the best underground musicians and graffiti artists the sun drenched bustling Mediterranean city can offer.
Khaled comes back after 7 years of living overseas. He finds that his old flame no longer wants him, his father non-communicative after his mother's death and himself not knowing what to do with his life. While working at an advertising firm and wandering around the city, he encounters many young street musicians, artists and tech-savvy skaters. Collecting underground music becomes an obsession for him. He teams up with the local college film students who have been working on their thesis project about the street culture, and tries to organize a show.
The music is outstanding, Abdalla gives an ample time to each real performers (notably Massar Egbari, Y-Crew, Mascara, Soot Fel Zahma and Nossair) to express their thoughts through their diverse musical forms - hip-hop, metal, rock, etc. Some music reflect their discontent of the government and some connect with the other theme of the movie - love and heartbreaks. The disjointed breakup scene of Khaled and Salma is present throughout the film.
As Khaled and crew work on going over the hurdle that National Art Council set up for them, it becomes apparent for all to see that the old folks who are in charge will always embrace the old and never give a chance to the young generation to voice their opinion- there is a funny bit where a weaselly art council member announces that he decided to go for a friend of Umm Kulthum (perhaps the best known traditional Egyptian singer, born in 1893) instead of Massar Egbari for one of the government sponsored concert.
It's a bittersweet, elegiac film fluidly put together with the colorful, vibrant backdrop of Alexandria. It is a very portentous film, as the one of the characters in the movie says, "You move on, but live each day with a little bit of sadness."
Microphone plays as a part of ND/NF 2011, 3/29 8:30pm at MoMA and 3/31 6pm at FSLC. For more information and tickets, please click on ND/NF 2011 website here.
Watching Microphone now, which is basically a love letter to Alexandria, is all the more poignant considering what's been happening in Egypt for the last few months. Director Ahmad Abdalla succeeds in capturing the essence of the youth culture in the Egypt's second largest, cosmopolitan port city. This film was first conceived as a documentary- shot on HD with a small mobile crew. Then it later evolved into a narrative starring the TV/film superstar Khaled Abol Naga (who also serves as a producer) while keeping the small scale filmmaking intact. It features some of the best underground musicians and graffiti artists the sun drenched bustling Mediterranean city can offer.
Khaled comes back after 7 years of living overseas. He finds that his old flame no longer wants him, his father non-communicative after his mother's death and himself not knowing what to do with his life. While working at an advertising firm and wandering around the city, he encounters many young street musicians, artists and tech-savvy skaters. Collecting underground music becomes an obsession for him. He teams up with the local college film students who have been working on their thesis project about the street culture, and tries to organize a show.
The music is outstanding, Abdalla gives an ample time to each real performers (notably Massar Egbari, Y-Crew, Mascara, Soot Fel Zahma and Nossair) to express their thoughts through their diverse musical forms - hip-hop, metal, rock, etc. Some music reflect their discontent of the government and some connect with the other theme of the movie - love and heartbreaks. The disjointed breakup scene of Khaled and Salma is present throughout the film.
As Khaled and crew work on going over the hurdle that National Art Council set up for them, it becomes apparent for all to see that the old folks who are in charge will always embrace the old and never give a chance to the young generation to voice their opinion- there is a funny bit where a weaselly art council member announces that he decided to go for a friend of Umm Kulthum (perhaps the best known traditional Egyptian singer, born in 1893) instead of Massar Egbari for one of the government sponsored concert.
It's a bittersweet, elegiac film fluidly put together with the colorful, vibrant backdrop of Alexandria. It is a very portentous film, as the one of the characters in the movie says, "You move on, but live each day with a little bit of sadness."
Microphone plays as a part of ND/NF 2011, 3/29 8:30pm at MoMA and 3/31 6pm at FSLC. For more information and tickets, please click on ND/NF 2011 website here.
Minced Meat
The Set-up (1949) - Wise
An aging boxer, Bill 'Stoker' Thompson (Robert Ryan), who is always one punch away from...greatness, feels good today in Paradise City. It don't matter that his fight is not the top billing (it is the last fight of the day actually), that his manager is taking bribes from a gangster named Little Man for him to take a dive, or that his girlfriend is having a second thought about staying with the man who just might easily be turned in to a human hamburger. No, he feels he can take his young opponent, really.
The Set-up reminds me of this quote by Johnny Caspar in Miller's Crossing:
Robert Wise creates a smoke-filled, sleazy, unglamorous, two-bit boxing noir. Citizen Kane-esque cinematography by Milton Krasner is just marvelous to look at. Fight scenes are realistic and crazy intense, amateurish and not stylized at all- no wonder Scorsese is a big fan of this. Fun to see Stoker's mood changing one minute to another, as he witnesses the joy and misery in fellow meatballs battling it out where paying spectators chant "KILL HIM!" from all four corners of the ring. Ryan, looking like a hero from Bellows' painting, slogs through a hellish fight, then being subject to the fury of the gang. Just how much of this can a man take? A great tight noir.
An aging boxer, Bill 'Stoker' Thompson (Robert Ryan), who is always one punch away from...greatness, feels good today in Paradise City. It don't matter that his fight is not the top billing (it is the last fight of the day actually), that his manager is taking bribes from a gangster named Little Man for him to take a dive, or that his girlfriend is having a second thought about staying with the man who just might easily be turned in to a human hamburger. No, he feels he can take his young opponent, really.
The Set-up reminds me of this quote by Johnny Caspar in Miller's Crossing:
It's gettin' so a businessman can't expect no return from a fixed fight. Now, if you can't trust a fix, what can you trust?
Robert Wise creates a smoke-filled, sleazy, unglamorous, two-bit boxing noir. Citizen Kane-esque cinematography by Milton Krasner is just marvelous to look at. Fight scenes are realistic and crazy intense, amateurish and not stylized at all- no wonder Scorsese is a big fan of this. Fun to see Stoker's mood changing one minute to another, as he witnesses the joy and misery in fellow meatballs battling it out where paying spectators chant "KILL HIM!" from all four corners of the ring. Ryan, looking like a hero from Bellows' painting, slogs through a hellish fight, then being subject to the fury of the gang. Just how much of this can a man take? A great tight noir.
Tuesday, March 22, 2011
I, Clonius
Never Let Me Go (2010) - Romanek
This allegorical tale of clone farm where kids raise up to be organ donors in a quaint school setting concerns three friends - Ruth, Tommy and Kathy. From early on, they know their fates are sealed and that they are just going through motions until their time comes. But it doesn't stop them from hoping that there is some kind of deferment for couples who are really in love, if they can prove that they have souls. Even Kathy (Carey Mulligan), the wisest of the bunch buys into this last thread of hope.
It was Kazuo Ishiguro's appropriation of this hope with young love that really spoke to me when I read the book. And it's carried out beautifully here by Mulligan, Keira Knightley and Andrew Garfield. It is Garfield's performance as wide-eyed, vulnerable Tommy that really shines.
I had a lot of reservations seeing this Ishiguro adaptation, but am surprised how much it moved me. The little girl narration that annoyed me so much in the book is all but gone. Alex Garland's script reduces it to the bare essential of the book - pain of growing up where you learn that love is not enough to save you. Charlotte Rampling as a cold Headmistress and Sally Hawkins as a conscientious teacher in their small roles are also great. Only quibble I had with the film is giving the dates in the beginning, making the film squarely set in made-up land which was unnecessary.
This allegorical tale of clone farm where kids raise up to be organ donors in a quaint school setting concerns three friends - Ruth, Tommy and Kathy. From early on, they know their fates are sealed and that they are just going through motions until their time comes. But it doesn't stop them from hoping that there is some kind of deferment for couples who are really in love, if they can prove that they have souls. Even Kathy (Carey Mulligan), the wisest of the bunch buys into this last thread of hope.
It was Kazuo Ishiguro's appropriation of this hope with young love that really spoke to me when I read the book. And it's carried out beautifully here by Mulligan, Keira Knightley and Andrew Garfield. It is Garfield's performance as wide-eyed, vulnerable Tommy that really shines.
I had a lot of reservations seeing this Ishiguro adaptation, but am surprised how much it moved me. The little girl narration that annoyed me so much in the book is all but gone. Alex Garland's script reduces it to the bare essential of the book - pain of growing up where you learn that love is not enough to save you. Charlotte Rampling as a cold Headmistress and Sally Hawkins as a conscientious teacher in their small roles are also great. Only quibble I had with the film is giving the dates in the beginning, making the film squarely set in made-up land which was unnecessary.
Friday, March 18, 2011
Story of Oh: Revival of Madame Freedom at KAFFNY 2011
Madame Freedom (1956) - Han
Context is everything. Picture this, this film was made only three years after the end of the Korean War which devastated the country. The literal translation of the title- Madame Freedom doesn't really carry the sexual connotation of the Korean one. This domestic melodrama of a comely housewife of a stoic professor having (an) extramarital affair(s) has no nudity, not much sexual innuendo (unless you count skate waltz as one) and only some well orchestrated smooches, but this was the fifties in Korea! Scandalous!
Swooping dolly shots and crane shots are pretty impressive actually, comparable to any Japanese film in that era. there are some delicious dance numbers at the dance hall. Kim Jeong-rim's Mrs. Oh, with her wide face with tiny features is the typical Korean beauty and fits well in the role of conflicted naive woman of changing times. This simple morality tale was surprisingly progressive and quite good.
It's a pity because Madame Freedom showed the great potential of the Korean cinema to come (there are similarities with Japanese New Wave) in the 60s through 80s . If it wasn't for military government's censorship, the Korean cinema in that era could've produced world class cinema. Too bad.
*This was the KAFFNY 2011's Opening Night Selection with live score by DJ Spooky with cellist Okkyung Lee, violinist Sean Lee and electric violinist Eugene Park. Interesting experiment commissioned by Korean digital art center Nabi.
For more information, please check out KAFFNY website
Context is everything. Picture this, this film was made only three years after the end of the Korean War which devastated the country. The literal translation of the title- Madame Freedom doesn't really carry the sexual connotation of the Korean one. This domestic melodrama of a comely housewife of a stoic professor having (an) extramarital affair(s) has no nudity, not much sexual innuendo (unless you count skate waltz as one) and only some well orchestrated smooches, but this was the fifties in Korea! Scandalous!
Swooping dolly shots and crane shots are pretty impressive actually, comparable to any Japanese film in that era. there are some delicious dance numbers at the dance hall. Kim Jeong-rim's Mrs. Oh, with her wide face with tiny features is the typical Korean beauty and fits well in the role of conflicted naive woman of changing times. This simple morality tale was surprisingly progressive and quite good.
It's a pity because Madame Freedom showed the great potential of the Korean cinema to come (there are similarities with Japanese New Wave) in the 60s through 80s . If it wasn't for military government's censorship, the Korean cinema in that era could've produced world class cinema. Too bad.
*This was the KAFFNY 2011's Opening Night Selection with live score by DJ Spooky with cellist Okkyung Lee, violinist Sean Lee and electric violinist Eugene Park. Interesting experiment commissioned by Korean digital art center Nabi.
For more information, please check out KAFFNY website
Thursday, March 17, 2011
Korean Diaspora: Dai sil Kim-Gibson Retrospective at KAFFNY 2011
KAFFNY 2011 is hosting the first retrospective of Dai sil Kim-Gibson, the pioneering Korean woman documentary filmmaker as a part of their 5th Annual film festival. Varied in length, 5 of her docs feature Korean experiences overseas. Anthropological, yet highly personal in her approach, her films always examine the human cost of such dislocations and give voices to the voiceless.
She will be at the panel discussion The LA Riots 19 Years Later at the festival with the acclaimed African American director and her frequent collaborator Charles Burnett (Killer of Sheep, To Sleep with Anger).
Both Sa-I-Gu and Wet Sand tell the aftermath of the LA Riots from Korean women's perspectives. Filmed ten years apart, these films re-examines the meaning of American Dream. The title Sa-I-Gu refers to the date (4/29) of the LA Riots in 1992, when much of the South Central LA was engulfed in flames after the acquittal of 4 white police officers whose beating of Rodney King was caught on tape. Many of the Korean businesses were burned to the ground while Bel-Air was protected by the National Guards. Filmed not long after the riot, Sa-I-Gu tells how the media portrayed the riots as borne out of Korean American vs. African American feud, totally ignoring decades of neglect in the poverty and violence stricken South Central. Many who were interviewed feel disillusioned about American Dream. If anything, Korean American community have become more class conscious.
Motherland finds Kim-Gibson in Cuba where there are healthy number of Korean-Cubans. During her stay with a retired Korean-Cuban female professor of Pedagogy, the matriarch of a large family and of the same age as Kim-Gibson, the filmmaker reflects on her own rootlessness, her increasing alienation from the US- her capitalist/imperialist adopted homeland.
Then there is Silence Broken/Korean Comfort Women. A searing documentary about Korean women's sexual servitude under Japanese army in WWII. With compelling interviews and testimonies, it tells how one woman came forward to break the silence after 60 years.
For more information and tickets, please visit Dai sil Kim-Gibson Retrospective at KAFFNY 2011
5th Annual Korean American Film Festival Preview
*Programmer of KAFFNY 2011 Hosik Kim in front of Chelsea Cinema on 23rd Street, Manhattan
In its fifth year, the 2011 Korean American Film Festival New York (KAFFNY) is bigger than ever. While mainly showcasing films that illustrate Korean American experiences, this year's program is as diverse as it is ambitious in its scope. Highlights include the first ever retrospective of Dai-sil Kim-Gibson - the pioneering Korean woman documentary filmmaker, Psychohydrography - a high-res 15,000 still image experimental film by Peter Bo Rappmund, Red Chapel - a Danish mock-doc comedy in North Korea, and The Boat - a Korean-Japanese co-production making its international premiere. There is an outstanding assortment of short films, too. For its opening night, they are reviving the Korean classic Madame Freedom (1956) with live music accompaniment by DJ Spooky. The festival runs March 17-20th.
For more information and tickets, please check out KAFFNY website
Wednesday, March 16, 2011
Not too fragile
Curling (2010) - Côté
Jean-François (Emmanuel Bilodeau), a shy middle aged divorcé and his twelve year-old bespectacled daughter, Julyvonne (Philoméne Bilodeau) arrive in the snow swept small town near Quebec. For some reason, JF is deathly afraid for his daughter's safety: he won't let her go to school or interact with anyone. Even when he is out working at a local motel and a bowling alley, he rather wants his daughter inside the house alone all day, studying by herself. Something must have happened prior. Julyvonne's mother is in jail. "The girl is retarded. There is nothing in her eyes!" yells the mother at JK in the visiting cell.
Treading somewhere between Fargo and The Sweet Hereafter, Curling is all about keeping in mind what's left out of its rather simple narrative while watching it. The film's full of loose threads that don't lead you anywhere. Our father and daughter keep to themselves with their blank faces, doing their daily routines, thus obliterating their rather scary surroundings.
Working under scruffy Kennedy, the owner of the bowling alley and Isabelle, his goth-girl cousin, JF/Moustache (as he is called because he dons a thick one), slowly lets his guard down and lets his daughter hang with the local crowd a bit. Julyvonne finds her own darker Alice in Wonderland-like adventure in the frozen forest near their house populated with a tiger and frozen dead bodies. Their actions are at times strange and unorthodox, but it's in their damaged stares that speaks volumes.
Unlike Fargo, which is a tightly written, ultimately soulless genre exercise, Curling, even with all the oddities, is much more humanistic. It demands audiences to invest in JF and Julyvonne's lives because you care for them by the end. The real life father-daughter team (Emmanuel and Philoméne Bilodeau) does an amazing job conveying their damaged characters' fear and resolve through their silences. The film's not all dread though. There are many humorous moments (including the curling fantasy scene) and unexpected tenderness throughout. Winner of the Best Director award at Locarno Film Festival 2010, Curling is written and directed by a French Canadian director Denis Côté. Anchored by the down-to-earth performances from his two leads, Côté skillfully balances the film from going too quirky or too dark. It's one of those films that will linger in your head for days.
Curling plays as a part of New Directors New Films series at MoMA and Film Society of Lincoln Center. For more information and tickets, please click on this link
Jean-François (Emmanuel Bilodeau), a shy middle aged divorcé and his twelve year-old bespectacled daughter, Julyvonne (Philoméne Bilodeau) arrive in the snow swept small town near Quebec. For some reason, JF is deathly afraid for his daughter's safety: he won't let her go to school or interact with anyone. Even when he is out working at a local motel and a bowling alley, he rather wants his daughter inside the house alone all day, studying by herself. Something must have happened prior. Julyvonne's mother is in jail. "The girl is retarded. There is nothing in her eyes!" yells the mother at JK in the visiting cell.
Treading somewhere between Fargo and The Sweet Hereafter, Curling is all about keeping in mind what's left out of its rather simple narrative while watching it. The film's full of loose threads that don't lead you anywhere. Our father and daughter keep to themselves with their blank faces, doing their daily routines, thus obliterating their rather scary surroundings.
Working under scruffy Kennedy, the owner of the bowling alley and Isabelle, his goth-girl cousin, JF/Moustache (as he is called because he dons a thick one), slowly lets his guard down and lets his daughter hang with the local crowd a bit. Julyvonne finds her own darker Alice in Wonderland-like adventure in the frozen forest near their house populated with a tiger and frozen dead bodies. Their actions are at times strange and unorthodox, but it's in their damaged stares that speaks volumes.
Unlike Fargo, which is a tightly written, ultimately soulless genre exercise, Curling, even with all the oddities, is much more humanistic. It demands audiences to invest in JF and Julyvonne's lives because you care for them by the end. The real life father-daughter team (Emmanuel and Philoméne Bilodeau) does an amazing job conveying their damaged characters' fear and resolve through their silences. The film's not all dread though. There are many humorous moments (including the curling fantasy scene) and unexpected tenderness throughout. Winner of the Best Director award at Locarno Film Festival 2010, Curling is written and directed by a French Canadian director Denis Côté. Anchored by the down-to-earth performances from his two leads, Côté skillfully balances the film from going too quirky or too dark. It's one of those films that will linger in your head for days.
Curling plays as a part of New Directors New Films series at MoMA and Film Society of Lincoln Center. For more information and tickets, please click on this link
Monday, March 14, 2011
Psychohydrography: Peter Bo Rappmund Interview
[Psychohydrography, a high-res, time-lapse HD project surveying the Los Angeles water system; from the Eastern Sierra Nevada to the LA river to the Pacific ocean, is truly one of a kind visual & aural experience. I had an opportunity to meet with its Director Peter Bo Rappmund who was in town for the Documentary Fortnight at the Museum of Modern Art screening back in February. ]
*Many thanks to Dave Kim at KAFFNY for arranging the interview:
Can you tell me a little about your background?
I am Korean American- my mom is Korean and my dad is of German descent. I lived all over the Western US: Wyoming, North Dakota, Texas, Arizona, Colorado and California. I did undergraduate studies at the University of Colorado and was originally learning business. I changed to film studies after discovering that Stan Brakhage was teaching there. I was at CU before and after he passed away. It felt like a time of transition in the film school. The South Park guys, who had also gone to school in Boulder, were becoming quite famous and most of my friends seemed to be interested in narrative filmmaking. Still, there was a small group of us who looked towards the avant-garde. I actually didn't do a film for a long time after getting my first degree. When I went back to school, I went for music. An adviser told me that I should check out CalArts (California Institute of the Arts). I eventually landed there and met many great people along the way. I ended up graduating with degrees in Music Composition and Film.
And that's where you made Psychohydrography?
Psychohydrography was my thesis project that I worked on for 2 years. I shot it mostly alone. Sometimes my wife would come out with me but mostly it was just me and my dog.
The Music and sound are an integral part of your film. How important was the music for this project?
Yeah, I did record the location sound and used it throughout. But the music at the end (the Pacific ocean segment) is where it all came together for me. I showed it to some people before it was finished and they really responded emotionally to that part with the music. So I decided to make the arc of the film with that ending and kind of worked back and changed the sound design. Visually it had more cohesion after I did the last part. I realized that I could tie together more with the sound and not rely so much on each image butting up against each other. I ended up telling what's going on through the sound.
There is certainly a rhythmic quality throughout. Can you tell me about the process?
I was shooting with a DSLR camera (Nikon D90) with an intervalometer attached to it. Whenever I wanted to change the speed of the timelapse, I could manipulate it with a button. It's definitely a time consuming process, and you have to be actively engaged the whole time. In creating the layout of the film, I went to Costco and developed the stills and would use these for something like a storyboard. The photos are like fashcards that I can flip through sequentially. Psychohydrography was originally closer to two hours, so it was a very big stack of photos. In terms of non time-based media, I also looked to a lot of photo books and comics to study sequencing.
You mentioned Stan Brakhage. Are there other filmmakers who influenced you?
Phil Solomon, Betzy Bromberg, Charlotte Pryce, Thom Andersen, they all had a big influence on me. Jack Chambers' Hart of London is one of my favorite films. Also, thanks to Phil Schrader's Transcendental Style in Film has been critical to one aspect of my filmmaking.
The film reminded me a lot of Ed Burtynsky's photographs and the documentary, Manufactured Landscapes.
Yes. I didn't get to see that film until I finished my own project. I appreciate a lot of Burtynsky's work.
It also reminded me of James Benning's work.
Yeah. I did show it to James Benning (who teaches at CalArts) and he had an interesting reaction to it at first. (laughs) I think he has very strong principles about filmmaking. And I can't imagine he would ever use time-lapse. The aesthetic of my flm doesn't involve the slick type of time-lapse, not like something you'd find in Baraka or Koyaanisqatsi. The timelapse goes with the theme of water and its transient nature. I'm sure you noticed the flicker watching the film. Each shot being comprised of many single frame images, there are inevitable aperture issues. I have the control to correct this, but sometimes I would leave it to instill a more organic feel.
Watching it on the big screen (MoMA screening) was such a striking experience. Where do you go from here? There will be Blu-ray DVDs made?
It's such a high-res image, it really doesn't do justice when it's compressed to DVD format. Blu-ray is better of course. It did play at some festivals and hopefully will get more chances to be seen on the big screen. It will also be playing in the Gallery setting (White Box Gallery, NY). It will be interesting to see how people react to it.
I hope it gets to play on the big screen more often. It needs to be seen that way.
PSYCHOHYDROGRAPHY preview 1080P from Peter Bo Rappmund on Vimeo.
KAFFNY 2011 opens this Thursday!!
Saturday, March 5, 2011
Un-American
The American (2010) - Corbijn
Anton Corbijn's film is as precise as its title character Jack/Edward(George Clooney), a weapon maker/assassin in Italy. There is a Once Upon a Time in the West on TV in Italian cafe where brooding Jack drinks his 'Cafe Americano'. It's quite clear Corbijn is paying tribute to its Ford - Kurosawa - Leone/Melville, West/East/West genre borrowing by masters. The American has a very un-American feel to it. It has the mood of Le Samurai and other yesteryear's fatalistic brooding noirs of 'I just died in your arms tonight' variety. Corbijn trades fedoras, raincoats and jazz clubs in for no nonsense, undeniably American George Clooney in a minimalistic quaint European city setting. There are some effectively tense scenes throughout. Unlike its ominous title, the film is a completely subtext-free genre exercise.
Anton Corbijn's film is as precise as its title character Jack/Edward(George Clooney), a weapon maker/assassin in Italy. There is a Once Upon a Time in the West on TV in Italian cafe where brooding Jack drinks his 'Cafe Americano'. It's quite clear Corbijn is paying tribute to its Ford - Kurosawa - Leone/Melville, West/East/West genre borrowing by masters. The American has a very un-American feel to it. It has the mood of Le Samurai and other yesteryear's fatalistic brooding noirs of 'I just died in your arms tonight' variety. Corbijn trades fedoras, raincoats and jazz clubs in for no nonsense, undeniably American George Clooney in a minimalistic quaint European city setting. There are some effectively tense scenes throughout. Unlike its ominous title, the film is a completely subtext-free genre exercise.
Thursday, March 3, 2011
View from the Hill
Putty Hill (2010) - Porterfield
Tempted by the trailer and Ebert's four star rating that I actually went and bought a ticket to see it in one of the worst, smallest theaters in NYC, Cinema Village (the film's 2 week theatrical run ends there tomorrow). What disappointment!
White-trash-teens-in-the-American-heartland genre has been hi-jacked by the likes of Harmony Korine and American Apparel ads (if there was one before that) and never got a chance to prove itself worthy until the last year's Winter's Bone (in btwn, there was the promising David Gordon Green but he realized he was just bullshitting and went on to be a successful mainstream comedy director). But Korine made an indelible stain on the white wall and many impressionable young emo film students followed his footsteps to achieve that ethereal, slightly naughty, last white hope- the hidden treasures of the poor whites' culture that would very much like to be passed as 'art'.
Family and friends are gathering for the funeral of Cory, a young man who died of drug overdose. The unseen director, or the 'outsider' is heard asking questions. When did you last see Cory. Where do you live now. How long have you been away... Shot unimaginatively threadbare on HD and criminally underexposed with natural non-acting and painfully mundane conversations, Putty Hill feels completely vacuous.
The main problem for me is this: why go on all the trouble exposing the emptiness of these people's lives if you really care about them? Why show that they lead sad, boring lives? What's the point of recording this ultimately fake grief/non grief? Being non-judgmental is one thing, mistaking naturalism as profundity could be a big waste of time for moviegoers.
One guy walked out in the middle of the screening and I had a strong urge to follow him to the exit but I didn't. There, I goofed again.
Tempted by the trailer and Ebert's four star rating that I actually went and bought a ticket to see it in one of the worst, smallest theaters in NYC, Cinema Village (the film's 2 week theatrical run ends there tomorrow). What disappointment!
White-trash-teens-in-the-American-heartland genre has been hi-jacked by the likes of Harmony Korine and American Apparel ads (if there was one before that) and never got a chance to prove itself worthy until the last year's Winter's Bone (in btwn, there was the promising David Gordon Green but he realized he was just bullshitting and went on to be a successful mainstream comedy director). But Korine made an indelible stain on the white wall and many impressionable young emo film students followed his footsteps to achieve that ethereal, slightly naughty, last white hope- the hidden treasures of the poor whites' culture that would very much like to be passed as 'art'.
Family and friends are gathering for the funeral of Cory, a young man who died of drug overdose. The unseen director, or the 'outsider' is heard asking questions. When did you last see Cory. Where do you live now. How long have you been away... Shot unimaginatively threadbare on HD and criminally underexposed with natural non-acting and painfully mundane conversations, Putty Hill feels completely vacuous.
The main problem for me is this: why go on all the trouble exposing the emptiness of these people's lives if you really care about them? Why show that they lead sad, boring lives? What's the point of recording this ultimately fake grief/non grief? Being non-judgmental is one thing, mistaking naturalism as profundity could be a big waste of time for moviegoers.
One guy walked out in the middle of the screening and I had a strong urge to follow him to the exit but I didn't. There, I goofed again.
Tuesday, March 1, 2011
Notes on Uncle Boonmee
Uncle Boonmee Who Can Recall His Past Lives (2010) - Weerasethakul
A ghost, a monkey spirit with glowing red eyes and a talking catfish all inhabit Apichatpong Weerasethakul's latest film, Uncle Boonmee Who Can Recall His Past Lives. This disjointed and time transcending narrative follows Boonmee at his farm in the Northeastern region of Thailand, as he encounters the ghosts of his family and is himself serenely waiting to die from kidney failure.
With his usual languid pace and long takes, the famed Thai director weaves personal memories and a latent political commentary into a gentle contemporary folklore. With its deliberately low-tech filmmaking, Uncle Boonmee playfully alludes to the genre conventions of Thai TV melodramas which Weerasethakul recalls from his childhood. Memory is an essential theme in his films, informing the storyline as well as the director's creative process.
As a part of Weerasethakul's multi-platform art project, Primitive, the Thai-Lao region's tumultuous history figures into Uncle Boonmee and the collective memories of its people. The landscapes themselves are characters in his films; caves play a significant role, figuratively and metaphorically, in Uncle Boonmee as well as in Tropical Malady (2004), illustrating the process of reincarnation. Uncle Boonmee is expression of an artist whose ingrained Buddhist philosophy and formative experiences which have shaped him into who he is.
Uncle Boonmee Who Can Recall His Past Lives is independent filmmaking at its best, without gimmick or pretense. The recent accolades on the film reminds us that there still is room for such a personal filmmaking in this day and age and I'm grateful for it.
Read my interview with Apichatpong Weerasethakul
A ghost, a monkey spirit with glowing red eyes and a talking catfish all inhabit Apichatpong Weerasethakul's latest film, Uncle Boonmee Who Can Recall His Past Lives. This disjointed and time transcending narrative follows Boonmee at his farm in the Northeastern region of Thailand, as he encounters the ghosts of his family and is himself serenely waiting to die from kidney failure.
With his usual languid pace and long takes, the famed Thai director weaves personal memories and a latent political commentary into a gentle contemporary folklore. With its deliberately low-tech filmmaking, Uncle Boonmee playfully alludes to the genre conventions of Thai TV melodramas which Weerasethakul recalls from his childhood. Memory is an essential theme in his films, informing the storyline as well as the director's creative process.
As a part of Weerasethakul's multi-platform art project, Primitive, the Thai-Lao region's tumultuous history figures into Uncle Boonmee and the collective memories of its people. The landscapes themselves are characters in his films; caves play a significant role, figuratively and metaphorically, in Uncle Boonmee as well as in Tropical Malady (2004), illustrating the process of reincarnation. Uncle Boonmee is expression of an artist whose ingrained Buddhist philosophy and formative experiences which have shaped him into who he is.
Uncle Boonmee Who Can Recall His Past Lives is independent filmmaking at its best, without gimmick or pretense. The recent accolades on the film reminds us that there still is room for such a personal filmmaking in this day and age and I'm grateful for it.
Read my interview with Apichatpong Weerasethakul
Saturday, February 26, 2011
Cinema Reborn: Apichatpong Weerasethakul Interview
[Uncle Boonmee Who Can Recall His Past Lives, the latest from Apichatpong Weerasethakul, is a personal, gentle and playful contemplation of reincarnation and transmigration of souls. I got a chance to sit down for an interview (via skype) with the acclaimed Thai director about the film, art, censorship and Thai independent cinema. Despite some technical hiccups prior to our interview, his generosity and thoughtful responses impressed me a great deal.]
So Where are you right now?
I'm in Mexico City, at the museum where I'm doing installations for Primitive that opens this Saturday.
Uncle Boonmee is part of Primitive, a multi-platform art project that you've been working on for a while. Can you tell me how it came about?
It was right after Syndromes and a Century I began thinking about it. It's a survey of the northeastern Thailand where I grew up. After Syndrome, I wanted to go back to my roots, where I came from. So I started to travel around doing small art projects and I didn't even know what the final project would be like. But the traveling process through the region was very important to me. It gradually snowballed to what it is now.
I saw A Letter to Uncle Boonmee and Phantom of Nabua from Primitive. So they are all shot in places where you grew up?
Not exactly the same town, but in the same northeastern region near Thai-Lao border. Once a communist rebels' stronghold, the region holds important Thai history in my mind.
Is this an ongoing project that will go beyond Uncle Boonmee?
There is another project I'm planning to do in the same region but I need to differentiate the two. Primitive was about remembering the history of the region. The new one could be a fiction or a sculpture even. I don't know it yet.
Memories play an important role in your films and Uncle Boonmee is no exception. Reincarnation is also a common theme, mirrored in your notion of cinema being reborn. I'd like to know your take on the HD video revolution that is going on right now. This film was shot on Super 16mm?
Yes, Super 16. I am following the news very closely on digital technology. But Uncle Boonmee is, as you say, about memories of cinema that is either dying or transforming, so it had to be shot on film. For my installations projects, I shot them on video. Obviously video is much more spontaneous to capture something when staying with those teenagers for months. In terms of feature films, I don't think I'll use video just yet, because I don't think technology is there yet. The image quality of film is much better still. But we will see what kind of video cameras would be available in two or three years.
Some say that Uncle Boonmee is your action movie. It has ghosts, monkey spirits and a talking catfish...
Well, I'd say it's a very special action movie (laughs). That's fine by me, as long as it draws more audience to see the film. It's hard for me to judge how my work's going to be received. I view it differently when producers say, "oh this is going to be more accessible to audiences". In my mind, Uncle Boonmee is still similar kind of work I've always been doing. So it was quite a surprise for me that it had received better feedback and getting wider audience.
The whole time I was watching it, I was very taken by the glowing red eyes of the monkey spirits. Can you tell me how you achieved that, if you don't mind revealing the secret?
They are just simple LED lights. I wanted it to be low-tech. Just like the ghost (dead wife) scenes, where we used the old-fashioned mirror tricks. For the monkey scenes, we did a lot of tests. We didn't want it to look like a complete joke with a man in a monkey suit (laughs). I wanted to create that borderline in-between feeling.
Did winning the Palme d'Or make loosen Thai government censorship over Thai film industry at all?
Only for my film and not really changed for anyone else unfortunately. I think politically it was pretty bad for the Thai government at that time and they realized that they couldn't afford another controversy.
Was it released in Thailand?
Oh yeah. Thailand was the first country to get to see it. It was a big success!
So what's next?
I'm starting some art project on the Mekong River in the Thai-Lao region. It's about an ecological issue - how the constructions of dams in China, Laos and Thailand affect the livelihood of people there. There is also a short film (about 60-70 minutes) being done. It's called Mekong Motel. I am also raising money for a film by my editor (Lee Chatametikool), shooting in May. It's a co-production of Thai independent filmmakers, produced by me, Anocha (Anocha Suwichakornpong, director of Mundane History), and Aditya (Aditya Assarat, director of Wonderful Town).
There seems to be a healthy independent film movement in Thailand.
Hey, have you seen the poster for Uncle Boonmee's American Release?
Yes, of course. It's done by Chris Ware, no?
I've always been disappointed with the DVD covers of my films by Strand Releasing. So I wanted something different this time. I asked Marcus (Marcus Hu at Strand) if we could get a graphic designer for the poster. And first artist that popped into my head was Chris Ware. I love his work.
Uncle Boonmee Opens March 2 at Film Forum, NYC.
Click here for Animate Projects: Primitive
Thursday, February 24, 2011
Fever Dream
Tropical Malady (2006) - Weerasethakul
I fell asleep the first time watching this a while ago. I don't know, maybe it was its languid pacing. Maybe it was Summer heat. Or I might have been distracted that day. Since this film is the only one I haven't seen all the way through by one of my favorite directors, Apichatpong Weerasethakul, here I decided to try again. And it rewarded me handsomely.
What starts out as a little gay-soldier-in-the-jungle romance, Tropical Malady transforms itself in the midway into a hypnotic tale about transmigration of soul and love story unlike any other. Last half of the film- encounter with a ghost/tiger spirit, is mindblowingly beautiful. There are also many connections, themes one can find in other Weerasethakul's work here- memories, spirits, animism, nature... Organic, playful, gentle and breathtakingly gorgeous in its bare to the bone cinematography, it really reaffirms Mr. unpronounceable as one of the most original voices in contemporary cinema.
I fell asleep the first time watching this a while ago. I don't know, maybe it was its languid pacing. Maybe it was Summer heat. Or I might have been distracted that day. Since this film is the only one I haven't seen all the way through by one of my favorite directors, Apichatpong Weerasethakul, here I decided to try again. And it rewarded me handsomely.
What starts out as a little gay-soldier-in-the-jungle romance, Tropical Malady transforms itself in the midway into a hypnotic tale about transmigration of soul and love story unlike any other. Last half of the film- encounter with a ghost/tiger spirit, is mindblowingly beautiful. There are also many connections, themes one can find in other Weerasethakul's work here- memories, spirits, animism, nature... Organic, playful, gentle and breathtakingly gorgeous in its bare to the bone cinematography, it really reaffirms Mr. unpronounceable as one of the most original voices in contemporary cinema.
Monday, February 21, 2011
Proxy War
Summer Wars (2009) - Hosoda
Still haven't seen Social Network, but when it comes to internetz on the big screen, it fails miserably. What could be so exciting about people intensely hammering away at keyboard? The answer is obvious: it can only work in anime. And Mamoru Hosoda's Summer Wars answers with bright colors and cutesy style. In it, "Oz"- the network that is so vast and integral in our daily lives, when it gets hacked, the world is thrown into pandemonium. It's the Jinouchi Clan to save the world with the help of an emo programmer Kenji.
The digital animation of Oz and the avatars that inhabit the virtual world look very much like pop art sensation Takashi Murakami's work. Ah, circle of life, since Murakami's work totally rips off of anime. Also ironic is game of Hanafuda (Japanese card game) saving the day, since the game is socially and culturally looked down upon as crass, low brow entertainment. But behind the happy super fun exterior, Summer Wars actually has a story and a lesson in this internet age however slight it is. And I like that.
Still haven't seen Social Network, but when it comes to internetz on the big screen, it fails miserably. What could be so exciting about people intensely hammering away at keyboard? The answer is obvious: it can only work in anime. And Mamoru Hosoda's Summer Wars answers with bright colors and cutesy style. In it, "Oz"- the network that is so vast and integral in our daily lives, when it gets hacked, the world is thrown into pandemonium. It's the Jinouchi Clan to save the world with the help of an emo programmer Kenji.
The digital animation of Oz and the avatars that inhabit the virtual world look very much like pop art sensation Takashi Murakami's work. Ah, circle of life, since Murakami's work totally rips off of anime. Also ironic is game of Hanafuda (Japanese card game) saving the day, since the game is socially and culturally looked down upon as crass, low brow entertainment. But behind the happy super fun exterior, Summer Wars actually has a story and a lesson in this internet age however slight it is. And I like that.
The Knack
The Knack... and How to Get It (1965) - Lester
Richard Lester's playful sex romp from the 60s can be hard to understand sometimes. But it doesn't make the film any less fun. Michael Crawford is Colin, a Ron Weasley-like school teacher who doesn't have the knack. He tries to learn from his suave, motorcycle riding housemate Tolen the ways of seduction but fails because he just doesn't have it. Enter Nancy Jones (Rita Tushingham), a new arrival in town, looking helplessly for YWCA, ends up with Colin and another of his eccentric housemate Tom while they are out to get a gigantic bed frame for Colin (just in case he scores). The following scenes are reminiscence of Jules et Jim but sillier.
With sight gags and plenty of physical comedy and playfulness, it strongly reminds me of early Woody Allen films. Fun film.
Richard Lester's playful sex romp from the 60s can be hard to understand sometimes. But it doesn't make the film any less fun. Michael Crawford is Colin, a Ron Weasley-like school teacher who doesn't have the knack. He tries to learn from his suave, motorcycle riding housemate Tolen the ways of seduction but fails because he just doesn't have it. Enter Nancy Jones (Rita Tushingham), a new arrival in town, looking helplessly for YWCA, ends up with Colin and another of his eccentric housemate Tom while they are out to get a gigantic bed frame for Colin (just in case he scores). The following scenes are reminiscence of Jules et Jim but sillier.
With sight gags and plenty of physical comedy and playfulness, it strongly reminds me of early Woody Allen films. Fun film.
Wednesday, February 16, 2011
Crimes Don't See Colors
Odds Against Tomorrow (1959) - Wise
Robert Ryan is Earle Slater, a bigoted ex-convict and WWII vet who's been living off of his working girlfriend (Shelley Winters). Even though emasculated and aging, he still has the fire in him. Harry Belafonte is Johnny Ingram, a divorced vibraphonist with a massive gambling debt. Enter Dave (Ed Begley), an ex-cop trying to organize a heist in upstate NY. He puts a squeeze on the two so they have no choice but to go along with the "one last shot at the greatness" deal.
With a cool title sequence, rapid cuts, zoom-ins, extreme closeups, jazzy score and old New York scenery (including Central Park merry-go-round), there are a lot to love in Odds Against Tomorrow. It patiently spends 2/3rd of the film on the characters before the heist. It even pauses for Slater and Ingram to hang (albeit separately) in pastoral area looking all contemplative before the heist which, of course, goes horribly wrong.
Belafonte, a darker, edgier side of Sidney Poitier, is mesmerizing as a conflicted anti-hero, so as Ryan in his aging grizzly man persona. Gloria Grahame shows up as saucy next door neighbor of Slater and their scene together is deliciously explosive.
Moral of the story? As the last line of the film indicates, crimes don't see no colors.
Robert Ryan is Earle Slater, a bigoted ex-convict and WWII vet who's been living off of his working girlfriend (Shelley Winters). Even though emasculated and aging, he still has the fire in him. Harry Belafonte is Johnny Ingram, a divorced vibraphonist with a massive gambling debt. Enter Dave (Ed Begley), an ex-cop trying to organize a heist in upstate NY. He puts a squeeze on the two so they have no choice but to go along with the "one last shot at the greatness" deal.
With a cool title sequence, rapid cuts, zoom-ins, extreme closeups, jazzy score and old New York scenery (including Central Park merry-go-round), there are a lot to love in Odds Against Tomorrow. It patiently spends 2/3rd of the film on the characters before the heist. It even pauses for Slater and Ingram to hang (albeit separately) in pastoral area looking all contemplative before the heist which, of course, goes horribly wrong.
Belafonte, a darker, edgier side of Sidney Poitier, is mesmerizing as a conflicted anti-hero, so as Ryan in his aging grizzly man persona. Gloria Grahame shows up as saucy next door neighbor of Slater and their scene together is deliciously explosive.
Moral of the story? As the last line of the film indicates, crimes don't see no colors.
Monday, February 14, 2011
Family Business
We Are What We Are (2010) - Grau
The film starts with a disoriented old man dying in an urban shopping mall in modern day Mexico. Cops are called in when a mortician finds an undigested woman's middle finger in the old man's stomach.
It is difficult to review a film like We Are What We Are without revealing too much since much of the film's strength lies in keeping things under wraps. Let's just say it tells the disintegration of one of the most unusual families you will ever encounter and shows their determined, violent resolve to stay alive. Played with great urgency, acting in the film is excellent throughout. The anxious ridden family members are: Alfredo (Francisco Barreiro), the passive, sexually ambivalent older son. Julian (Alan Chávez), the hot-headed younger brother, their seductress sister Sabina (Paulina Gaitán of Sin Nombre) and their disapproving mom Patricia (played with gusto by Carmen Beato).
Director Jorge Michel Grau creates an amazingly suspenseful and assured first feature. It moves along briskly, not giving us enough time to think about its fuzzy details or logic. With the beautifully somber nighttime cinematography and effective sound design, it works like a good old-fashioned giallo with a grittier urban sprawl backdrop. I am partially in disagreement with We Are What We Are being sold as a cannibal movie. Just don't expect another Texas Chainsaw Massacre here. One can even draw the parallels between the family and the ancient Maya ritual involving human sacrifice. Watching the film is a visceral and tense experience. It is an inventive genre exercise done masterfully. Grau is a real talent and I can't wait to see what he will come up with next.
The film starts with a disoriented old man dying in an urban shopping mall in modern day Mexico. Cops are called in when a mortician finds an undigested woman's middle finger in the old man's stomach.
It is difficult to review a film like We Are What We Are without revealing too much since much of the film's strength lies in keeping things under wraps. Let's just say it tells the disintegration of one of the most unusual families you will ever encounter and shows their determined, violent resolve to stay alive. Played with great urgency, acting in the film is excellent throughout. The anxious ridden family members are: Alfredo (Francisco Barreiro), the passive, sexually ambivalent older son. Julian (Alan Chávez), the hot-headed younger brother, their seductress sister Sabina (Paulina Gaitán of Sin Nombre) and their disapproving mom Patricia (played with gusto by Carmen Beato).
Director Jorge Michel Grau creates an amazingly suspenseful and assured first feature. It moves along briskly, not giving us enough time to think about its fuzzy details or logic. With the beautifully somber nighttime cinematography and effective sound design, it works like a good old-fashioned giallo with a grittier urban sprawl backdrop. I am partially in disagreement with We Are What We Are being sold as a cannibal movie. Just don't expect another Texas Chainsaw Massacre here. One can even draw the parallels between the family and the ancient Maya ritual involving human sacrifice. Watching the film is a visceral and tense experience. It is an inventive genre exercise done masterfully. Grau is a real talent and I can't wait to see what he will come up with next.
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