(9843,1737,3,1,0,'69.120.114.47',1143750240,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - Jidaigeki','Kedamono no ken - Sword of the Beast (1965) - Hideo Gosha\r\n\r\nSometimes you watch a samurai film and think how very easily it could be made into a Western. Sword of the Beast most likely would have wound up a Hollywood Western if it had come out a few years before. As it is, we can just watch it and draw our own comparissons, and wonder how Clint Eastwood, Randolph Scott, Joel McCrea, or anyone else might have handled the role.\r\n\r\nThe story is simple like so many Jidaigeki stories are. We begin in the middle of action, a common staple of most Westerns as well. Gennosuke (Mikijro Hara) is on the run and he is hiding in a field. He is found out and the blood starts pouring. He kills his pursuers, steals a horse, and vows to run forever. We see who is after him, and instead of a usual bounty hunting samurai, we see a somewhat timid samurai and his fiance. These are his two main pursuers, they want this man for what he did to the woman\'s father (who was the leader of his clan). It is vital to the story that it takes place in the mid 19th century. This is a modern samurai tale, much like Peckinpah\'s Westerns all seemed to take place at the end of the frontier. This way of life is changing rapidly, Gennosuke knows it, but the counsellor whom he kills is stubbornly unaware.\r\n\r\nSo the chase continues, there are female assassins, prostitutes, and of course a slew of gold prospectors. Now this last hunt for gold is enough to make it ring a familiar bell to nearly any Hollywood Western, and if you look at the time it is set in, the great San Fransisco gold rush was occuring almost simultaneously. Well Gennosuke finds a man who helps him out, but is intent on panning for gold, only he wants a bodyguard. Well if he\'s going to run for the rest of his life, he might as well get some money. So now we have our second major plot break. The film is pretty equally divided into the time before the mountain, and the time on it. With this great mountain which is illegal to pan on, you know that it is the end of the line, likewise what pursued samurai won\'t eventually have his pursuers catch up with him? \r\n\r\nHere\'s where the story develops those wonderfully complex relationships between good and evil, brilliantly realized in the Mann-Stewart Westerns. There are no real bad guys amongst the major characters, only groups and ideas are bad. Clans are bad, unquestioning loyalty to them is bad, but people aren\'t. People do what they think is best, even if others can\'t agree. Gennosuke is guilty of murder, but he believed it was the only way to get his reforms, which we\'re led to believe are likely to go through in the wake of his actions. He is a victim however, and the people out to get him have their motives, even if the old bastard probably deserved to die. Even the young couple panning for their clan on the mountain have their reasons. It is one of the most powerful moments in group mentality when the man chooses to protect his (clan\'s) gold over his wife\'s life. He rationalizes it, and inhuman as it may sound you can\'t help but see his point. It is the nature of him being a \"beast\" that explains the title. Gennosuke becomes a beast, someone who\'s sole purpose is survival. He kills when he has to and has no more conscience than a wild animal. It is only on the mountain, and with the help of the people he meets that he is able to vindicate himself and truly become human again.\r\n\r\nGrade A','ec951141784f12d3eccaec38abcb0314',0,'','B61nYLhA',1,0,'',0,0,0),(9844,1737,3,1,0,'69.120.114.47',1145854200,1,0,1,1,1,1,'A','Re: Japanese Journals - Jidaigeki','Saw \"Samurai Rebellion\" recently, and I think it\'s a masterpiece. The other film by Kobayashi I\'ve seen \"Kwaidan\", was nowhere as good. A truly humanist film, if I might say so.\r\nHaven\'t seen hara-Kiri. Would you mind writing a few lines about it wpqx?','4ff7669bfbcb472b8006ebb950fc5339',0,'','AT7SWzfw',1,0,'',0,0,0),(9845,1737,3,1,0,'69.120.114.47',1145902320,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - Jidaigeki','It\'s been a while, but it has much in common with Samurai Rebellion. It deals primarily with honor, but again with most of these films it isn\'t always what it shows, but how it shows it. It has been a couple years since I\'ve seen it, but I was quite blown away by it at the time, and just from the little I can remember would still vote it as Kobayashi\'s best. The focal point of the film is the honorable notion of suicide, but it takes a much more humanist approach to it, similar to the \"overwhelming will to live\" displayed in Ichikawa\'s Fires on the Plain.\r\n\r\nI did watch Samurai Spy a few weeks ago, but unfortunately its plot is far too complicated to get much written about it. It comes off much more as a film noir than a samurai picture or western.','da8694f8430a1d3aca53076dd4a18a3a',0,'','8vHoD4kV',1,0,'',0,0,0),(9846,1737,3,1,0,'69.120.114.47',1146431220,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - Jidaigeki','Kiru aka Kill! (1968) - Kihachi Okamoto\r\n\r\nA weak drifter enters a barren town, burnt to the ground, streets abandoned, and everywhere is a howling wind. He hasn\'t eaten for five days and has been walking because he hears there might be a job for a ronin. He has one dream, and that\'s to become a samurai, he\'s sold his land for swords, but in the meantime he\'ll be happy with a bite to eat. This is how we see Tabata (Etsushi Takahashi). He runs into another man with a similar motive, except he was looking to join the yakuza\'s, who up until two months ago were rooted in the village.\r\nThey encounter a samurai and each go their own way, but of course they wind up intersecting paths throughout. Tabata is the first person we see and we naturally assume he\'ll be the focus of the story, but as it progresses and more characters are introduced it becomes Genta (Tatsuya Nakadai) who becomes the most important. He is a vagrant, and is quickly dismissed by the samurai who feel too proud and superior to him. However Genta is a former samurai and he quit because he was sick of the way samuari lived their life. This is possibly the first film that really attacks the ideology of a samurai. Sure other films have debated unquestioning obedience and misguided honor, but this is the first film that deliberately says being a samurai isn\'t honorable, it isn\'t something you should strive for, and that the myths of these men are undeserving.\r\nIt is a myth-debunking film just as Unforgiven worked on the same level for the Western. Whereas that film made killing a much more emotional task than other Westerns, this film focuses more on the samurai as heroes. Here they aren\'t, they are people who are quick to be betrayed, and frequently for no good reason. If one person stands in the way, send 7 men to kill him, and then kill the 7 so that they can\'t rebel. When you first hear of the 7 hiding out on the hill you suddenly get visions of a brilliant stand off and a triumph for the gallant warriors in the way of Kurosawa\'s Seven Samurai, however these men on the hill aren\'t quite as heroic. They are fine as long as there are no women, but when the leader\'s fiance comes to them, and the men find liqour, their fortune begins to change. The focus isn\'t even on them. Genta is helping them for strange reasons. He was loyal to his samurai cause once before, and it disgusted him, so by helping these men who don\'t even ask for his help, he\'s repaying a debt from a long time ago. It is a buddhist interpretation of karma, and this good deed can help to cover his tracks for his previous weakness.\r\nAll Genta did in the past however was do as he was told. He only questioned the ethics of it when it was too late. The samurai here are in horrible shape and have no unity whatsoever. A group of trainee\'s are sent to the mountain with the promise of becoming samurai if they kill the seven men, but at the same time their boss sends 30 men with guns and bows up there. The trained archers and riflemen don\'t even care who they shoot, the lives of these farmers/peasants turned ronin are worthless, like a yakuza it isn\'t worth more than a worm. They wind up killing two of their own men for just being in a line of fire, which is more damage than they do to the men holding up in the mountain.\r\nAlong the way Tabata begins to question his own quest, he has figured that perhaps being a samurai isn\'t all he thought it would be, but he\'s had the dream for too long to just instantly abandon it. He does some soul searching, and when he finally comes to Genta\'s aid you have a feeling that he\'s certainly on the right path, making the ending of the film one somewhat comical as well as appropriate.\r\n\r\nGrade B-','74b82f1c211cfd9ab1f032147e044a0e',0,'','dFb4ywfH',1,0,'',0,0,0),(9847,1737,3,1,0,'69.120.114.47',1146477600,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Jidaigeki','wpqx, you\'ve put me to shame with the number and quality of your reviews on this thread, thanks for your input especially since you\'ve discussed a number of films I knew nothing about. \r\n\r\nCheers Trev.','d0eacf392fd51bb8d60d5d084c524039',0,'','BDygf0KH',1,0,'',0,0,0),(9848,1737,3,1,0,'69.120.114.47',1146506460,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - Jidaigeki','Thank the Criterion Collection. They put out a four film boxed set of \"Rebel Samurai\" films, each of which were new to me, and Samurai Rebellion was the only one I had even heard of. I do wish I could have written a more proper review for Samurai Spy though, damn interesting film, but very complicated.','f9f8d6a656b523c2294237c80614898f',0,'','6UcglQD7',1,0,'',0,0,0),(9849,1738,3,1,0,'69.120.114.47',1175354460,1,0,1,1,1,1,'hengcs','Love and Honor (Bushi no Ichibun) (2006) (Japan)','Oh yes, I was delighted to see the poster of this when I went to the movies today ...\r\n\r\nYes. I will write a review on this ...\r\nIt opens in Singapore 14 Apr','fa98b40396f594231f4a9db707d337ec',0,'','evk4AQdr',1,0,'',0,0,0),(9850,1738,3,1,0,'69.120.114.47',1176399000,1,0,1,1,1,1,'hengcs','Re: Love and Honor (Bushi no Ichibun) (2006) (Japan)','Director: Yoji Yamada\r\nCast: Takuya Kimura, Rei Dan, Takashi Sasano\r\n\r\nThe film made its debut as the opening film for Tokyo International Film Festival 2006, and was screened in Berlin Film Festival 2007.\r\n\r\nIt is the 3rd film by Yoji Yamada based on Shuhei Fujisawa\'s novels \r\n- The Twilight Samurai (2002)\r\n- The Hidden Blade (2004)\r\n- Love and Honor (2007)\r\n\r\nIt was nominated for several awards in Japan Academy Award 2006\r\n\r\nThe official website (in Japanese)\r\nsee\r\nhttp://www.ichibun.jp/\r\n\r\nBased on the novel by Shuhei Fujisawa, the film introduces us to yet another \"job\" of some Samurai. Shinnojo Mimura (Takuya Kimura) is a food taster. It is not as \"glamorous\" a job as one would like to think, so he has his dreams -- of teaching martial arts to children, regardless of class and status (a subtle theme in the film, besides love and honor). Predictably, something will go wrong. Indeed. He is poisoned, and on recovery, he loses his eyesight. What does that spell of a proud and young Samurai? What will become of his family (basically him and his wife)? What will become of his status and his future?\r\n\r\nAlthough I have never understood why many people are mad over Takuya Kimura (he has been voted favorite actor for Japan\'s TV drama for many years; he is also a singer in SMAP), I have to admit that he carried his role rather well. Most audience could not help but laugh/chuckle at the many humorous moments/lines delivered by him. You have to credit the Japanese for this. Unlike many \"slapsticks\" jokes we are accustomed to (esp. films that sell themselves as comedies), the several funny moments are so \"down to earth\". We are laughing at scenes/people we are so familiar with ... so often around us in our daily life.\r\n\r\nI thought another actor that deserves mention (seldom read about him in most reviews) is the housekeeper. He does not try too hard to be funny or comical. Yet, he is one of the characters that will always make the audience laugh ... * clap *\r\n\r\nCompared to other mainstream movies, the pace is not too fast. So, one has to be patient when watching it ... savoring it slowly ... But do not worry, the music always sounds at the right time to stir our emotions ...\r\n\r\nIf I could change one thing, it would be the ENDING ...\r\n\r\n* MAJOR SPOILER *\r\n\r\nI know it is based on a novel. BUT frankly (and naughtily), if I were the director, I would not have opted for such a \"merry\" ending ... Instead, I would have adopted a much sadder ending. As all the audience were rooting for the reunion of the couple, I would rather choose to dismay the audience by having an unknown kitchen girl entering ... and have all the audience feel the loss ... something gone is gone forever ... or alternatively, I would depict the kitchen girl\'s back without revealing her real identity ... making the audience wonder whether she is indeed the wife or someone else ... and the audience simply have to leave the theater with that sense of loss and uncertainty ... hee hee\r\n\r\n* END OF MAJOR SPOILER *\r\n\r\nConclusion\r\nRecommended. Despite its simple plot (and at times, predictability), I actually enjoyed the film. It does not try to be too \"artistic (which is often confounded with being too \"cryptic\" or too \"multi-layered\" or open to too many \"interpretations\"). Instead, I thought it got its point across reasonably well. At least at the end, we feel for the characters ...\r\n\r\n\r\nPS: At the Tokyo International Film Festival, Yamada explained the difficulty he faced in translating the Japanese title ... \"ichibun\" ... \"The word describes hope, love, dream, dignity and all of the basic value in human\'s life. My staff later told me that \'love and honor\' is the right expression.\"','9f27a181405a32559f1f9f28d4e4fca1',0,'','eNdpYFRD',1,0,'',0,0,0),(9851,1738,3,1,0,'69.120.114.47',1176401100,1,0,1,1,1,1,'hengcs','Re: Love and Honor (Bushi no Ichibun) (2006) (Japan)','By the way, \r\nI was searching the index for our \"old\" reviews on\r\n- The Twilight Samurai (2002)\r\n- The Hidden Blade (2004)\r\n\r\ncouldn\'t locate them ...\r\nhmmm ... \r\nguess they were gone during that major \"incident\" ... sigh','5d3f63315fb221d145280cf09bc92464',0,'','U02pY8e3',1,0,'',0,0,0),(9852,1738,3,1,0,'69.120.114.47',1176426900,1,0,1,1,1,1,'arsaib4','Re: Love and Honor (Bushi no Ichibun) (2006) (Japan)','Yeah, I did write something on The Twilight Samurai which I wasn\'t able to save in time.\r\n\r\nBtw, I\'m looking forward to Yamada\'s latest.','c4f971ac5822f38915edb9bcf2d01911',0,'','N7EL5Ufb',1,0,'',0,0,0),(9853,1738,3,1,0,'69.120.114.47',1176744480,1,0,1,1,1,1,'trevor826','Re: Love and Honor (Bushi no Ichibun) (2006) (Japan)','I did start a comparative review between the first two, I\'ll have to dredge it up and try to finish it before Love and Honor is released here.\r\n\r\nCheers Trev.','b2d32c5896d896d7a410c57516ecd6c6',0,'','esvP34Bb',1,0,'',0,0,0),(9854,1738,3,1,0,'69.120.114.47',1176862740,1,0,1,1,1,1,'arsaib4','Re: Love and Honor (Bushi no Ichibun) (2006) (Japan)','Various English subtitled Japanese editions of the film are scheduled to be released by Shochiku Home Video on June 1st.','a5a39508d9bf7e0ad181c6c32aacdca8',0,'','XMEZQKts',1,0,'',0,0,0),(9855,1739,3,1,0,'69.120.114.47',1144138020,1,0,1,1,1,1,'arsaib4','Cate Shortlands Somersault (Australia / 2004)','[Note: This review was originally posted online on Nov 18, 05.]\r\n\r\n______________________\r\n*A 2006 U.S. Release* \r\n\r\nCompelling coming-of-age films are hard to come by these days, so when one does, it should be recognized and rewarded appropriately. Winner of 13 Australian Academy Awards, Somersault not only offers a complex and thoughtful look at the burgeoning sexuality of its protagonist, but its debutante director Cate Shortlands unique and sensitive vision also transcends the film formally. Heidi (Abbie Cornish), our protagonist, is an attractive 16-year-old who runs away from home after getting caught kissing her mothers boyfriend. She ends up in a small ski-resort town, where she decides to use her sexuality as a means for discovering herself. It isnt long, however, that Heidi catches the eye of the local twenty-something Casanova, Joe (Sam Worthington), whos also experiencing an identity crisis. Initially, Heidi only represents the latest sexual escapade for Joe, but as she settles in the surroundings, he gradually discovers the invaluable effect shes had on him.\r\n\r\nWhile the film is mostly seen from the point-of-view of Heidi, and rightfully so, the attention Shortland grants to Joe is noteworthy. Often, in these types of films, one finds the filmmaker simply circling around the protagonist, ultimately ending up with nothing to say. But in Somersault, this key secondary character is allowed a preeminent dimension thats even obscured from Heidi. Working with DP Robert Humphreys, Shortlands metaphorical excursions to depict her protagonists inner processes initially resemble Claire Denis trajectories from Friday Night (2003), but as her canvas is forced to expand with Heidis physical and emotional conquests, the new landscape almost certainly brings Lynne Ramsay to mind. Thats not to say that Shortland doesnt eventually find her own unique path -- she certainly does, only losing ground occasionally. But none of that wouldve mattered if it wasnt for the brilliant performances of Cornish and Worthington. Cornish, especially, conveys the emotional fragility of her character in a very tactile manner. \r\n\r\nGrade: A-\r\n_________________________\r\n\r\n*SOMERSAULT premiered at the Cannes Film Festival (Un Certain Regard) in 2004. Magnolia Pictures will distribute the film in the U.S. starting on April 14th.\r\n\r\n*The film is available on DVD in the U.K.','109ba6a139db3b2fffd8c648c2c3a623',0,'','jmzCnwD9',1,0,'',0,0,0),(9856,1739,3,1,0,'69.120.114.47',1144139340,1,0,1,1,1,1,'Anasazie','Re: Cate Shortlands Somersault (Australia / 2004)','Somersault is an awful film. \r\n\r\n13 AFI awards mean nothing when you look at the nominees list and see what kind of rubbish the film was up against. \r\n\r\nThe music is airy fairy and dull, the visual (blue!) style is unoriginal, tacky and lacking in depth. Cate Shortland\'s made some fantastic short films, but as with another great Aussie hope Ivan Sen, her first foray into feature film-making is emotionally and socially immature, not to mention grossly under-written. \r\n\r\nShe consistently cuts away from scenes before they\'re fully realised, i assume as an attempt at some kind of elusive \"euro\" feel, but the finished product is really quite naive in the ways of modern art cinema. She needs to sit down and watch some proper films before her next foray into the world of yet more irrelevant Aussie celluloid waste.\r\n\r\nCornish however, is an absolute revelation and the only reason i sat through the whole thing.','93d888feef17950deccc8b25fbfd18ce',0,'','Ta3n79WA',1,0,'',0,0,0),(9857,1739,3,1,0,'69.120.114.47',1144140480,1,0,1,1,1,1,'arsaib4','Re: Cate Shortlands Somersault (Australia / 2004)','Well, I couldn\'t disagree more. The music and her visual compositions were meant to complement the protagonist\'s thought process and they did that quite well. \r\n\r\nAs for editing, I thought, if anything, the film needed a bit more of it. Cornish will be a star very soon. But other than that, we\'re certainly on a different wavelength here.','e143d88868ad01c18446f0227be1be0c',0,'','dEjeJ867',1,0,'',0,0,0),(9858,1739,3,1,0,'69.120.114.47',1144141140,1,0,1,1,1,1,'Anasazie','Re: Cate Shortlands Somersault (Australia / 2004)','As always. \r\n\r\nJust because a cliched visual style is meant to complement a character\'s thought process doesn\'t mean it\'s working, doesn\'t mean it\'s not plain to see and really quite didactic. It\'s great that you can see all the things that a film-maker has tried to express, and frankly this one was so obvious who couldn\'t? but that doesn\'t mean any of it\'s working. \r\n\r\nThe film doesn\'t need more editing, it needs more thought, it needs more writing, as with so many Australian films that get pushed into production before they\'re ready.','1368d041b786fda7bb362d6f418186c9',0,'','3ns9ymgv',1,0,'',0,0,0),(9859,1739,3,1,0,'69.120.114.47',1144203360,1,0,1,1,1,1,'trevor826','Re: Cate Shortlands Somersault (Australia / 2004)','I must admit I have good memories of Somersault, I am about to reaquaint myself with it as I\'ve just managed to purchase the dvd at a very reasonable price.\r\n\r\nCheers Trev.','2b12065cd1be6760c93572bf906fd8f6',0,'','ZeR31CwP',1,0,'',0,0,0),(9860,1739,3,1,0,'69.120.114.47',1175901000,1,0,1,1,1,1,'wpqx','Re: Cate Shortlands Somersault (Australia / 2004)','Again with what has become a love it or hate it film debate here I find myself in the middle, althoug leaning more towards arsaib\'s viewpoint. I mean there are a lot of stock characters in here, and the coming of age film seems to be a choice between serious soul searching, or comedy. Perhaps this film could have used some comic relief, as it overwhelmingly was very bleak, which was only accentuated by the landscape. We\'re all in agreement about the star\'s performance here however. I couldn\'t help labelling Heidi as a total whore early on in the film, and each time she went out, I kept thinking \"oh boy the next cut is going to show them having sex\", and I didn\'t want to see that, which might seem surprising coming from me. I just didn\'t want this character to be wandering through bedrooms. In all I think its an accomplishment, and the world needs more female directors that\'s for damn sure, I just hope we can get a more concerted effort next time around.','bc389a302050f013b293d95c4a3838ce',0,'','g4MraT52',1,0,'',0,0,0),(9861,1739,3,1,0,'69.120.114.47',1176428640,1,0,1,1,1,1,'arsaib4','Re: Cate Shortlands Somersault (Australia / 2004)','I\'m glad you watched and liked Somersault. Shortland\'s follow-up was The Silence, a two-part made-for-television crime-drama which I missed last year in Toronto (I was later told however that it primarily garnered a spot due to her debut feature). And, yes, we could certainly use some young and talented female directors, especially from the English-speaking world.','90c3ca98c73f22155798fd78056d09d3',0,'','ftDQ9HxC',1,0,'',0,0,0),(9862,1740,3,1,0,'69.120.114.47',1117880160,1,0,1,1,1,1,'arsaib4','Eric Rohmer\'s Triple Agent (France / 2004)','\r\n\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nBy situating Triple Agent in Paris during the 1930\'s, Eric Rohmer has given his film an aura of uncertainly from the very start. Indeed, a newsreel informs us early on that the Leftist government in France now has the popular vote, and it also become apparent from subsequent clips that the Bolshevik Russians and the Nazi Germans are threats to their solidarity, while Fascism continues to spread across much of Europe. \r\n\r\nSerge Renko plays Fiodor, an ex-general from the White Russian army who\'s now living in exile, and seemingly working for their veteran association in Paris. His beautiful Greek wife, Arsino (Katerina Didaskalu), is an artist -- a painter who mostly works at home. While the domestic sequences at the beginning cogently display the affection the pair have for each other, it also becomes known that Fiodor is more than what hes letting on, while his wife is either truly unaware of his reality or her demeanor is simply pretentious. During a dinner conversation with his nephew (also in exile but driving a Taxi in Paris), Fiodor opens up a bit and gives off an odd detail or two about his work as an anti-Red etc., and in general comes off as \"very informative\" as his nephew puts it. Arsino becomes unhappy about not being aware of the details beforehand and confronts Fiodor, but he brilliantly yet vaguely explains the nature of his work and how he has to \"lie\" in order to keep everyone off balance, something he doesn\'t want to do to her. She continues to suspect and even starts to perceive him as a Nazi until a bigger shock comes: he informs her that hes joining the Red Army as a general!\r\n\r\nIn Triple Agent, Eric Rohmer has woven a deceptive tale around words and the way theyre spoken. Fiodor\'s exhaustive details time-and-time-again make others so convinced about his knowledge that they don\'t bother with their own investigation about the \"facts.\" Conspicuously though, Arsino somehow remains with him step-by-step. Dont be fooled by the films title and expect a car chase and a shootout; most of the film takes place inside a room and it\'s hard to blame an 84-year old filmmaker. However, the mise-en-scne is perfect and the artistically inclined will get much pleasure out of the omnipresence of art and literature, not to mention the lengthy discussions involving various artists. Serge Renko is a Russian actor, and Katerina Didaskalu, who is in fact Greek, give flawless performances, and their original dialect and mannerisms add much to it.\r\n\r\nWhat happens to Fiodor and who does he turn out to be? Was Arsino involved from the start or was she just standing in for the audience? Well, for that you need to see the film. Here, Rohmer has also concocted a brilliant epilogue which is at once simple and profound.\r\n\r\nGrade: A-\r\n____________________________\r\n\r\n*TRIPLE AGENT premiered at the Berlin Film Festival in 2004. It also played at NYFF later that year. Unfortunately, the film didn\'t receive theatrical distribution in the U.S. but it is now available on DVD.\r\n\r\n*In the U.K., the film was released by Artificial-Eye.\r\n______________________________\r\n\r\n[Edit]Added Grade/DVD info','e646bd87b73afcbbf978b8ef118955ad',0,'','K6orb2tw',1,0,'',0,0,0),(9863,1740,3,1,0,'69.120.114.47',1144904940,1,0,1,1,1,1,'Anasazie','Re: Eric Rohmer\'s Triple Agent (France / 2004)','Excellent, thanks for the comments. I had a ticket to the film at the local film festival a couple of years ago, but missed out for personal reasons.\r\n\r\nHow much is retailing for in the good ole US of A? Would you say it\'s worth importing?','3fadecda7849a61b0db3762d90d6c2f2',0,'','9sVehXHT',1,0,'',0,0,0),(9864,1740,3,1,0,'69.120.114.47',1144909440,1,0,1,1,1,1,'arsaib4','Re: Eric Rohmer\'s Triple Agent (France / 2004)','Thanks. Sorry to hear that you missed it on the big-screen. \r\n\r\nIt\'s available here for around $20, a little more for you guys though. Not certain if you\'re an ebay shopper because I\'m sure you can find some deals there. In terms of both aesthetic and narrative, Triple Agent is a bit more \"austere\" than what Rohmer is usually associated with, so I think that has to be kept in mind before anyone goes for it.','bcf7d4cd62f1bd3aa57b45f656571a01',0,'','r85upq3k',1,0,'',0,0,0),(9865,1740,3,1,0,'69.120.114.47',1145342700,1,0,1,1,1,1,'Anasazie','Re: Eric Rohmer\'s Triple Agent (France / 2004)','That\'s good advice, i\'ll bear that in mind. I might way a year or so and see if it gets shown here on an imported print. I\'ve just missed both his most recent films and i\'m itching for some new Rohmer.','b885178e966bc938a0bed28a59613097',0,'','oZSpQz1M',1,0,'',0,0,0),(9866,1740,3,1,0,'69.120.114.47',1176364380,1,0,1,1,1,1,'wpqx','Re: Eric Rohmer\'s Triple Agent (France / 2004)','Ah damn it, once again I watched a movie and clearly did not pay enough attention to it, because I have no idea what happened in this film. I don\'t think it was meant to be complicated, I just didn\'t pay enough attention to it.','c7d7c147e003b0f4d61dcc7d3d180f95',0,'','UFakh6Jy',1,0,'',0,0,0),(9867,1740,3,1,0,'69.120.114.47',1176370980,1,0,1,1,1,1,'arsaib4','Re: Eric Rohmer\'s Triple Agent (France / 2004)','Recently at the Nuri Bilge Ceylan retrospective, I wasn\'t able to pay proper attention to Clouds of May, his longest and most leisurely-paced effort thus far. Perhaps the fact that I had already seen it earlier had something to do with it, I\'m not sure, but it happens. Do give Triple Agent another try. No, it\'s not complicated, as you\'ll discover, but it could be deceptive at times, much like its cunning protagonist.','36f40042cb1988a459405ec08d9c5c28',0,'','nl1tJZz7',1,0,'',0,0,0),(9868,1741,3,1,0,'69.120.114.47',1176132480,1,0,1,1,1,1,'justindeimen','20 Centimeters (2005) (Spain)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nThe structural framework of the decidedly bittersweet 20 centimetres and its embellished story form takes a slight tumble in lieu of writer-director Ramn Salazars audacious dreamscape each time Marieta (Monica Cervera), his narcoleptic transvestite prostitute rescinds into a reverie of lavish proportions. Even as subplots are left in the backburner and secondary characters fail to flesh out, there is still a distinct sense that its oddly themed musical numbers is the films real headliner, with Cerveras ballsy performance running a close second. \r\n\r\nBrazenly referential, it cheekily cribs off Bollywood, old-school Broadway musical extravaganzas and 80s pop chic, which for the best part of Marietas expressive subconscious actually turns out rather fabulous. Then theres even Salazars particularly bold self-reflexive flamboyancy that winks to the inevitable comparisons to his thematic cousin in Almodvar. The energy that these musical numbers bring to the film contrasts the fairly sombre narrative that threatens to bring Marietas colourful proceedings crashing right down to earth. Morose enough for us to question whether her eventful, show-stopping scenes are a regressive retreat into fantastical stardom or just merely flights of fancy that occurs each time her narcolepsy acts up, which really should not be played up for tepid laughs considering what she does for a living. \r\n\r\nLife altering decisions abound for the high-strung Marieta as she unexpectedly meets hunky grocer, Raul (Pablo Puyol) who finds both Marieta and her 20 centimeters of dangling flesh ravishing. The nascent romance poses a problem for Marietas hopes for the gender reassignment surgery. If the subplots revolving around Marieta were a juggling act, then the transsexual angst brought to the fore by Rauls sudden appearance is its most slippery club. It becomes an awkward two-headed hybrid structure when it starts to raise questions about sexuality atop of sensuality that tonally fails to complement the kitschy tunes that veer in and out of the story. \r\n\r\nSalazar admirably does not involve himself too much in the social conditions that the conventionally sincere Marieta and her motley crew of neighbours reside in. Every one of Marietas acquaintances and friends are characters in the truest sense of the word. Minorities on the wayside and freaks to all but themselves, Salazar lovingly observes them through heavily tinted lenses. He makes the dysfunction, function through them with ease, each with a backstory if explored, would be undoubtedly as interesting as his Marietas is. But if anything, Salazars supreme accomplishment would be cementing Cervera as the star of his production.','9a16665ccc24e6580fc8428d3dfdcf64',0,'','rDloVAkx',1,0,'',0,0,0),(9869,1742,3,1,0,'69.120.114.47',1175999760,1,0,1,1,1,1,'justindeimen','The Red Cockatoo (2006) (Germany)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nA threesome wrought with political ideals form a tenuous foundation for The Red Cockatoo. A probable and precarious romance assimilate, like most of the denizens of its 1961 Dresden setting, with the growing need of youths to channel their rebelliousness into the politicised East German milieu. A playful, quasi-melodrama (by way of a tepid love triangle) that is pasteurised of its more mundane issues of tedious moralisation, the film unsuccessfully attempts to juggle its pervasive politicking with the personal growth of the young and idealistic Siggi (Max Riemelt).\r\n\r\nRiemelt, best known from yet another politically charged German period, Napola, is astonishingly well versed in naivety especially seen in Siggis earnest bewilderment of a life suddenly faced with uncertainty and disassociation. Wide-eyed and with just a certain measure of tremulous need for purpose, Siggi gets to work as a painter for sets in a theatre with the hope of going to art school. A casual stroll in a park forces him into a premature encounter with the GDRs police force that leads to the first meeting of the films triumvirate in proscribed scribe, Luise (Jessica Schwarz) who delivers him to the titular locale, a local dance club called The Red Cockatoo. Siggi meets Luises flippant, boorish husband, Wolle (Ronald Zehrfeld), the final complication in the ternary.\r\n\r\nAs a primary location, the club hopefully symbolises the youthful, underground rebellion that gathers in its Bohemia. Notoriously, and defiantly rebukes the political upheavals and impending construction of the Berlin Wall by playing West Germanys music, a practice sternly disapproved of by the GDR. Despite the occasional sense that Siggis escalating involvement into the 60s zeitgeist of political demonstration is nothing more than an act of emotional compensation when his feelings for Luise starts to deepen, it does eventually gather itself with a cursory insight into the strength of character that the eras youthful protesters once possessed.\r\n\r\nThe essentially redeeming poignancy of the film, and perhaps its emotional slant is more psychological than political. The Red Cockatoo is fundamentally construed as a comedy, but an oddly ineffectual one since it never does quite figure out how to balance its characters emotional outputs of anger, disenchantment, lust and impetuses. A close and possibly apt comparison would be the producers own Good Bye, Lenin! that confidently tackled the similar tropes of Germany\'s East-West miasma with heart, humour and a deft understanding of human needs and drives. Something that was lost throughout this films proceedings.','92cbf5790425300c6688ec5c17662c5f',0,'','2KMt1cEZ',1,0,'',0,0,0),(9870,1742,3,1,0,'69.120.114.47',1176081540,1,0,1,1,1,1,'hengcs','Re: The Red Cockatoo (2006) (Germany)','Hey,\r\nI watched it during last year\'s German Film Fest.\r\n\r\nI enjoyed the music, and the cast.\r\nBut to some extent, it feels a bit long occasionally ...\r\nNonetheless, worth watching.','8ff0ca3fff3d9b1eb1ce5ba49f7d42ee',0,'','bsDoTEcP',1,0,'',0,0,0),(9871,1743,3,1,0,'69.120.114.47',1150333560,1,0,1,1,1,1,'wpqx','The Proposition (2005) - John Hillcoat','There seem to be two kinds of westerns. Those that evoke the west as a lost time and a simpler life and those that show just how far we\'ve come. The first type use evocative landscapes, beautiful scenery, and make you long to be out in the great wild. The other make you thankful for indoor plumbing, air conditioning, and anything green. John Hillcoat\'s The Proposition is an extreme case of the second. His vision of the west makes the Australian outback look like the armpit of the world. A land where everything is covered in dirt, there is no grass, no running water, and everyone is in bad need of a shave and a bath. Flies and insencts are visible in every shot, and they hang around the living just as abundantly as corpses. \r\n\r\nIt\'s Christmas time, but in the Southern Hemisphere it\'s in the heat of summer. This desert looks like it never gets cool regardless. This in many ways is an anti Christmas film. One that instead of celebrating the joy of family and a warm fireplace and new fallen snow, its about a warped sense of family, and a dry area where the one rare rainfall produces nothing but puddles full of mud. Captain Stanley (Ray Winstone) is trying to be a Christian pillar of society. A British man sent to Australia to help control what is essentially a lawless society. He is contrasted by Charlie Burns (Guy Pearce), who seems an immoral criminal with no home. The casting helps to separate them further. Winstone being a blond, heavyset man, and Pearce skinny with long dark hair. If it wasn\'t enough, the Burns brothers are Irish by descent, making them naturally seem enemies to the British Mr. and Mrs. Stanley.\r\n\r\nCaptain Stanley however isn\'t too far removed from them, and the longer the film progresses the more we see how he and Charlie are the most similar characters in the story. They each have a sense of justice, and they each realize that Arthur (Danny Huston) is the real criminal and the one that needs to be weeded out of society. Charlie loathes his brother for the bad name he has given all of them, and the horrible example he set not only for himself but also for their younger brother Mikey (Richard Wilson). Charlie knows that Mikey is only in jail because of Arthur, and he\'ll be hanged in exchange. Stanley has a sense of moral responsibility when he resists allowing the simpleton Mikey to be whipped. His punishment is quite excessive being 100 lashes, and as we see, he nearly dies before they even get to 40. Each of these men hate the land that they call their home but there on two different sides of the fence. Not surprising that a white picket fence is used to block off Stanley\'s home, even though it sits out in the middle of nowhere, with only one scarce tree in the horizon.\r\n\r\nMrs. Stanley (Emily Watson) is the one member of society who doesn\'t seem to be crawling through troughs of mud. Her character is representational. She is a typical woman in one that is supposed to be virginal and free of sin. She is the most out of place in this society, but she remains clean and free of dirt even when riding into town. The only other person who seems capable of grooming is the town\'s constable who is too out of touch with the world to really know what\'s good for it. Both of these characters are lambs and they have no business in this barren and awful wilderness. The only difference is, that the Constable is ruthless and represents the well fed politician eager to make the criminals suffer without paying any heed to the method or mode of punishment. His is a selfish quest, and in his world there is no code of ethics. Captain Stanley fights by rules, and for this there is some level of respect between him and Charlie.\r\n\r\nThe film and the music were written by Nick Cave and its one of the most desolate westerns yet realized. The film has some wonderful cinematic moments and some great work by its lead actors, most notably Guy Pearce who gets through most of the film with barely a word of dialogue. Although he has a name, he is much more evocative of the quiet anti-heroes of Leone, and you can only hope that he does what\'s morally right in the end.\r\n\r\nGrade B +','6375ea2facdee9e884f19a4b6b828cd1',0,'','vQl879ga',1,0,'',0,0,0),(9872,1743,3,1,0,'69.120.114.47',1150390500,1,0,1,1,1,1,'A','Re: The Proposition (2005) - John Hillcoat','I think it premiered at the Berlin Film Festival this year, but I didn\'t watch it because I thought it might get a wider release. Seems like this is happening.\r\nWhat caught my attention were some interesting screenshots of the scenery, and the supposedly bleak view the film is taking. Would be interesting to see another australian historical film, so maybe I\'ll watch this in the future. So far I have only seen one comparable australian film to wpqx\'s description. Mad Dog Morgan (197 with Dennis Hopper in the lead role. A great film.','b49bef7862d20693159e21cd0a473f01',0,'','pUc6GyAg',1,0,'',0,0,0),(9873,1743,3,1,0,'69.120.114.47',1151293620,1,0,1,1,1,1,'gratefultiger','Re: The Proposition (2005) - John Hillcoat','Try \"The Chant Of Jimmie Blacksmith\" for a real gritty OZ film,\r\nAlso \"The Boys\" & of course \"Wake In Fright\" (Aka Outback)these 3 films blow Mad Dog Morgan out of the water!\r\nCheck Them out,very surprised u haven\'t seen \"Jimmie Blacksmith\" it\'s a bona fide classic. Cheers Chas fom OZ\r\nPS looking forward to seeing The Proposition,even my daughter has so i had better move!','db3a17141889bfc7447a6845c631f3ad',0,'','3mdB9hJt',1,0,'',0,0,0),(9874,1743,3,1,0,'69.120.114.47',1151296200,1,0,1,1,1,1,'wpqx','Re: The Proposition (2005) - John Hillcoat','Chant of Jimmie Blacksmith has been on my must see list for at least four years now, but its not a particularly easy film to find in the US, as a matter of fact its impossible.','ba55681276145250aad71f39779a3de9',0,'','qdFp0hf8',1,0,'',0,0,0),(9875,1743,3,1,0,'69.120.114.47',1151422740,1,0,1,1,1,1,'A','Re: The Proposition (2005) - John Hillcoat','Same here in Germany. But I\'ve seen The Boys couple of years ago on TV. Good film, but nothing exceptional (as is Mad Dog Morgan, imo ) I like Toni Collette, and the film is really gritty. Reminded me a bit of my favorite aussie film Romper Stomper','34c8945f65bef13d2432ecc6ef0c721c',0,'','L4AMqK8j',1,0,'',0,0,0),(9876,1743,3,1,0,'69.120.114.47',1175763480,1,0,1,1,1,1,'arsaib4','Re: The Proposition (2005) - John Hillcoat','\"The film has some wonderful cinematic moments and some great work by its lead actors, most notably Guy Pearce who gets through most of the film with barely a word of dialogue.\"\r\n\r\nPearce was good and I\'d say that the lack of dialogue had something to do with it. I thought the screenplay overall was rather weak. The peripheral presence of morality contradicted the characters\' actions; Cave would\'ve better off eschewing it altogether in this \"armpit of the world.\" While you\'re right about the characters being symbolistic (after all, The Proposition, like any other recent Western, is \"revisionist\") they also felt hollow and uninteresting. I was curious about Arthur because the film tried to build him up in the early going, but the result was a miscast Danny Huston and his empty laugh; Winstone might\'ve been better suited for that role. 2005\'s The Three Burials of Melquiades Estrada had an inherintly flawed premise, but it was well-executed by Jones. I\'d say that the opposite is true for Hillcoat\'s film.','2cce5286ad8b35221d6f91b44a5d1c6f',0,'','RyEQKMaP',1,0,'',0,0,0),(9877,1743,3,1,0,'69.120.114.47',1175763720,1,0,1,1,1,1,'wpqx','Re: The Proposition (2005) - John Hillcoat','I enjoyed it, but wouldn\'t necessarily force people to watch it, much of the film is hard to watch just because of its bitter nature.','d874a037b1f3609ec7d5adae75e5e91b',0,'','tJEN7arh',1,0,'',0,0,0),(9878,1744,3,1,0,'69.120.114.47',1175511420,1,0,1,1,1,1,'trevor826','20 Fingers (2004/Iran)','Moved from Middle Eastern Magic thread.\r\n\r\n20 Fingers (2004)\r\n\r\nDirected by Mania Akbari, dedicated to Abbas Kiarostami \r\n\r\nStarring Mania Akbari, Bijan Daneshmand \r\n\r\nMania Akbari, best known as the actress in Abbas Kiarostami\'s \"Ten\" wrote, directed and starred in this film which is a series of seven conversations between a man and a woman. In each section Bijan Daneshmand plays the part of the man, he also produced the film.\r\n\r\nEach of the conversations deals with a different topic that raises differences between men and women, 1 or 2 are issues which are more prominent within a Muslim or other strict religious society but the majority are universal.\r\n\r\nThe first section caused the film to be banned in Iran, a woman\'s virginity is forcibly taken by her fianc, why? because in his words \"I had to be sure\" that she was a virgin. Immediately you are thrown into a society where the majority of women are treated as second class citizens, checked to ensure their virginity is intact before marriage because the loss of it is a source of deep family shame. The woman worries how she will explain the bloody stain to her family while the man appears pretty blas about the whole incident.\r\n\r\nEach section picks up a different issue - petty jealousy and attention seeking, abortion and the importance of having a son to carry on the family line, infidelity, what it would be like to be the opposite sex and even lesbianism. The conversations are natural and frank, you feel as though you are eavesdropping on the couples. Apart from one of the sections, the conversations all occur in moving vehicles representing the journeys couples embark on together through life.\r\n\r\nThe chapters are well filmed and special note must be made on the third part which was filmed in busy traffic in Tehran, the couple start of on a motorbike with a young child, because they keep arguing the wife and child disembark from the bike and get a lift from a passing car, the husband on his bike forces the car to pull over, the wife and child exit and after another argument they all ride off on the bike again. Doesn\'t sound too impressive till you realise it was all done in a single take, no cutting or editing and in real traffic, very skilled film making.\r\n\r\nAs already noted, a lot of these issues are universal but probably more emphasised because of the strict religious background, it is common around the world that a man who puts it about is a stud and is held in esteem by his peers while a woman who does the same is a tart or slut, not only in the eyes of men but of other women as well, something isn\'t quite right with that ideology.\r\n\r\nAs far as the title goes, I had assumed before seeing the film that the \"20 Fingers\" referred to the couples, 2 hands each, 20 fingers between them. During the film we\'re told through one of the conversations that it refers to a remark the woman\'s Grandmother had made along the lines of \"The 20 fingers represented the number of men a woman could sleep with and still be regarded as a woman, any more than 20 and she would be regarded as a prostitute, I was taken aback at this because 20 is a hell of a lot for a man or woman.\r\n\r\nThis is very brave film-making and hopefully we will see more from Mania Akbari, Recommended viewing. \r\n\r\nCheers Trev\r\n\r\nBBFC not rated but probably 15 - adult themes.','39cb97c6da46f6ac5d8298a4587b0c63',0,'','Dfeb25M8',1,0,'',0,0,0),(9879,1744,3,1,0,'69.120.114.47',1175566200,1,0,1,1,1,1,'arsaib4','Re: 20 Fingers (2004/Iran)','Thanks for starting this thread, Trevor.\r\n\r\n[My comments originally posted on 03/04/05]\r\n\r\nThe controversial debut feature from 30-year old Mania Akbari (the attractive star of Kiarostami\'s Ten) could easily have been titled \"Seven.\" This episodic film (containing seven vignettes) portrays the burgeoning relationship between a husband (Bijan Daneshmand) and wife (Ms. Akbari herself) as they discuss many issues important to them and to the society they live in. The conversations, which mostly take place inside a moving object (after all the film is dedicated to Mr. Kiarostami), range from such issues as intimacy, abortion, jealously, extra-marital affairs, etc. Each episode slowly gains momentum as Akbari zooms in, catching every nuance and gesture. Long traveling shots through the streets of Tehran are simply mesmerizing, but what truly stands out is the dialogue: every word uttered has a hidden danger lurking behind it. A sensational debut!','d5e6eae1bfe7738bf90f584a9156c297',0,'','7kUVFZMn',1,0,'',0,0,0),(9880,1744,3,1,0,'69.120.114.47',1175567040,1,0,1,1,1,1,'arsaib4','Re: 20 Fingers (2004/Iran)','[an exchange on 05/14/05]\r\n\r\narsaib4 on trevor826\r\n\r\nThe chapters are well filmed and special note must be made on the third part which was filmed in busy traffic in Tehran, the couple start of on a motorbike with a young child, because they keep arguing the wife and child disembark from the bike and get a lift from a passing car, the husband on his bike forces the car to pull over, the wife and child exit and after another argument they all ride off on the bike again. Doesnt sound too impressive till you realize it was all done in a single take, no cutting or editing and in real traffic, very skilled film making.\r\n\r\nI\'d like to see a behind-the-scenes doc. for that part and how it was accomplished. I\'m still in awe of it.\r\n\r\nThe 20 fingers represented the number of men a woman could sleep with and still be regarded as a woman, any more than 20 and she would be regarded as a prostitute. I was taken aback at this because 20 is a hell of a lot for a man or woman.\r\n\r\nI thought that was meant to be taken as metaphorical than anything else. In the manner it was said made it clear to me, but I could be wrong.\r\n\r\nAt the screening, Mania Akbari said that she initially wanted each vignette to be played upon a different couple, but changed her mind after the first one. I found that interesting.\r\n\r\nWhat did you make of the opening shot?\r\n____________________\r\n\r\ntrevor826 on arsaib4\r\n\r\nI thought that was meant to be taken as metaphorical than anything else. In the manner it was said made it clear to me, but I could be wrong.\r\n\r\n20 Fingers came on the last of 4 long nights of Iranian cinema and documentaries, it is a tremendous piece of cinema especially when you consider it is the first feature film directed by Mania Akbari. I think you\'re right that the remark re \"20 Fingers\" was metaphorical but my excuse for taking it literally is that I was knackered and on the tail end of a feast of great films from Iran.\r\n\r\nWhat did you make of the opening shot?\r\n\r\nThe simplest explanation of the first shot is \"nostalgia\", happily remenising for the lost innocence and playfulness of childhood and the moment of it passing, the voice of her mother echoing in her mind as a distant memory, these times of innocence and playing games were brought up a few times during the film.\r\n\r\nAt the screening, Mania Akbari said that she initially wanted each vignette to be played upon a different couple, but changed her mind after the first one. I found that interesting.\r\n\r\nI am going to try and watch each section in a time order to see if it fits as one couple or as I originally thought, several different couples. Mania was at the screening! why don\'t I get that sort of luck?\r\n\r\nI\'d like to see a behind-the-scenes doc. for that part and how it was accomplished. I\'m still in awe of it.\r\n\r\nBefore the film there was a short interview with Mania which also had clips showing the filming of the third section, Mania said they tried it 5 times until she was happy with the result, it looks even more chaotic from behind the scenes and hopefully there will be good \"making of\" docs on the DVD when it\'s released.\r\n\r\nThere have been many films covering the psychological battle of the sexes but I found this one fresh and enthralling.\r\n\r\n_______________________\r\n\r\narsaib4 on trevor826\r\n\r\nThe simplest explanation of the first shot is \"nostalgia\", happily remenising for the lost innocence and playfulness of childhood and the moment of it passing, the voice of her mother echoing in her mind as a distant memory, these times of innocence and playing games were brought up a few times during the film.\r\n\r\nIt can certainly be discussed in detail, but that may require revealing of certain plot points. I thought the scene also had some sexual connotations.\r\n\r\nI am going to try and watch each section in a time order to see if it fits as one couple or as I originally thought, several different couples. Mania was at the screening! why don\'t I get that sort of luck?\r\n\r\nI believe you\'ll come to the conclusion that we simply visited the same couple at various stages of their life. I\'d also like to see the film again, but I doubt that will happen, certainly not on the big screen.\r\n\r\nBefore the film there was a short interview with Mania which also had clips showing the filming of the third section, Mania said they tried it 5 times until she was happy with the result, it looks even more chaotic from behind the scenes and hopefully there will be good \"making of\" docs on the DVD when it\'s released.\r\n\r\nI\'m not surprised that it took them a while to get it right. Hopefully, the film will become available on DVD in the U.K because I don\'t see that happening here.','fc4a6d38f41e2d69982092f25b5c286c',0,'','SHuzCX2U',1,0,'',0,0,0),(9881,1744,3,1,0,'69.120.114.47',1175568120,1,0,1,1,1,1,'arsaib4','Re: 20 Fingers (2004/Iran)','\r\n\r\nWell, thanks to Facets Multimedia, 20 Fingers is now available on DVD in the U.S. I\'m told that there are no extra features on the disc. \r\n\r\nI\'ll definitely be watching it again soon; I\'d really like to sort out whether the film featured the same 2 actors as \"different couples\" or not.','582b05757cba7c331b72cfe73b4b8d41',0,'','bK4QCvtw',1,0,'',0,0,0),(9882,1744,3,1,0,'69.120.114.47',1175596560,1,0,1,1,1,1,'trevor826','Re: 20 Fingers (2004/Iran)','Great to see it\'s finally getting a well deserved dvd release though I would have thought there would be extras in some form, interviews or behind the scenes. I\'m surprised that Artificial Eye or any of the UK distributors have failed to pick 20 Fingers up but the U.S. release may prompt some action. \r\n\r\nCheers Trev.','83a0c9b3108dbfc8aa3969b358b0351e',0,'','BjGd6Uzx',1,0,'',0,0,0),(9883,1745,3,1,0,'69.120.114.47',1175576520,1,0,1,1,1,1,'hengcs','Someone To Run With (Mishehu Larutz Ito) (2006) (Israel)','Director: Oded Davidoff \r\nCast: Bar Belfer, Yonatan Bar-Or\r\n\r\nSynopsis:\r\n\r\nMy 1 cent worth:\r\n\r\nConclusion:\r\nHighly recommended. I actually enjoyed the film, maybe even more so than Nina\'s Tragedies (despite its many awards) and Things Behind the Sun (with its very well written complex characters in a family of five). The latter two are great works, but I think \"Someone to Run With\" can really bridge the gap between audience who are adults and teenagers, and mainstream and art film goers ...\r\n\r\n\r\nPS: As usual, do NOT read reviews/synopsis that may give away why the girl is doing what she is doing ... it kind of spoil the surprise element in the film ...\r\n\r\n\r\nTitbits:\r\n(i) An interview with the director (Oded Davidoff) and (screenwriter) Noah Stollman at the Miami International Film Festival.\r\nclick\r\nwww.fest21.com/video/dire...ith_israel\r\n\r\n(ii) The theme song (but hey, the movie has many more great songs)\r\nclick\r\nvideo.google.com/videopla...9880689137','939ed3f5891736e944c97ff5e0faa845',0,'','bdfilEWB',1,0,'',0,0,0),(9884,1746,3,1,0,'69.120.114.47',1175435460,1,0,1,1,1,1,'trevor826','The Page Turner La Tourneuse de pages (France / 2006)','The Page Turner La Tourneuse de pages (France / 2006)\r\n\r\nDirected by Denis Dercourt\r\n\r\nStarring Dborah Franois (LEnfant), Catherine Frot (Trilogy: One, Two, Three)\r\n\r\nRevenge is a dish best served cold.\r\n\r\nMlanie Prouvost, a gifted child pianist fails an exam due to the inattentiveness of one of her judges, renowned concert pianist Ariane Fouchcourt (Catherine Frot) who thinks nothing of signing autographs for fans rather than giving her full attention to the matter in hand. The failure obviously has a devastating effect on the young Mlanie, after returning home, she locks the piano and never plays it again. \r\n\r\nYears later Melanie (Dborah Franois) accepts the post of baby sitter at her wealthy employers house, once there she realises its also the home of Ariane, now an anxiety ridden character after a recent car accident, increasingly desperate to prove herself as the star she once was. Mlanie ingratiates herself into the household and becomes particularly indispensable to Ariane herself, her musical knowledge making her perfect in the role of page-turner, she also becomes her friend and confidante.\r\n\r\nWhy would she willingly go to all this effort for somebody she still harbours a deep resentment towards? For a sweet, calculating and ice cold revenge! To take from Ariane what she feels has been stolen from her. The retribution doesnt begin and end with the proposed ruination of Arianes musical career, no; Mlanie Prouvost is taking this all the way, the total annihilation of every aspect of Ariane Fouchcourts life!\r\n\r\nExcellent performances from the two leads in this simmering tale of brooding, obsessive albeit suppressed resentment, a palpable tension is gradually built by the interplay of the characters and the finale is all the more potent for its lack of disclosure. A subtle thriller that could sit quite happily with the works of Chabrol and a performance from Dborah Franois that is reminiscent of a young Isabelle Huppert. \r\n\r\nAlong with the great performances, the camerawork is never less than interesting and the editing is suitably taut. Exquisite soundtrack and highly enjoyable musical performances throughout. The film does suffer slightly from one highly theatrical and implausable moment of violence but is never the less a suspenseful drama that is definitely worth seeing..\r\n\r\nI first saw this on its far too limited theatrical release and now have the dvd from Artificial Eye but havent had the time to check out the extras yet which mostly consist of a making of and interviews, more on these later.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15.','c0d973a3012cd8aab19d3f68db06144a',0,'','0ywWnrPg',1,0,'',0,0,0),(9885,1747,3,1,0,'69.120.114.47',1175290800,1,0,1,1,1,1,'wpqx','Mother and Son (1997) - Aleksandr Sokurov','After the credits appears a painting. A mother and her son are lying on a bed. The mother under covers and the son leaning over her. Soon this painting comes to life and the son begins to speak, but we can\'t even see his mouth moving. Soon enough it strikes us that this isn\'t a painting, that his mouth is moving, and that woman under the covers too shows some signs of life. This is the nature of Sokurov\'s highly praised Mother and Son. A film so painterly, so exquisite in its beauty that you have a hard time telling whether or not its a film or photographing paintings. This first long shot sets up the whole tone of the film. The painterly image, the rounded angles, the slight mist in the house, the peaceful dialogue between the film\'s only two characters, and the pacing of the shots. \r\n\r\nSokurov alternates between static close ups, gentle panning shots, and extreme long shots. The son finds himself engulfed in his surroundings. A mere speck in the landscape, a dwarf next to the forest, looking out over a vast sea and what is a barely discernable sailboat. He is overwhelmed by his surroundings. Alone in this landscape with his dying mother, who he can\'t bear to lose but can\'t bear to keep alive. He is the effortlessly self sacrificing son, and one who seems motivated by a primal genetic code above anything. The mother feels sorry for him, and at the same time the son calls his mother \"My little one\". There maternal roles have been reversed. She can\'t fathom how he could so devotedly care for her, but this is simply life in reverse. The mother had once fed, walked, and nurtured her defenseless infant son, and now it is his turn, and despite the burden, I believe that this son is grateful for the opportunity to repay his mother this immeasurable debt.\r\n\r\nSokurov cast Aleksei Ananishnov and Gudrun Geyer as his two leads, and neither had ever acted before. He wants his characters to be universal, the scene acted out could be anywhere at any time. Amidst this overbearing landscape they are alone. The son even tells his mother \"Let\'s live without people.\" He is forever trying to justify to his mother that she is not an inconvenience, and that she is not causing him unnecessary problems. This is why he is only able to cry when he is alone in nature, standing next to a tree, just as he stood his mother against a tree earlier. When he returns and finds his mother deceased he is crying not just for the loss, but partially for his own guilt in being away during that final moment. The soundtrack is extremely interesting at this point. Nearly the entire film is completely silent with just the sounds of nature in the background. However when the son is crying in the woods we faintly here the sound of a woman singing in the background, which I assumed was the voice of his mother, remembered from an earlier time. Therefore when we hear her voice out here, we can assume that it is her spirit passing on, and temporarily through him.\r\n\r\nThrough the use of characteristic long takes, wide angle lenses, and stained glass Sokurov and cinematographer Aleksei Fyodorov have created an elemental tapestry of nature. A film that seems like it could come from an 18th century novel, as much as from the cinematic heritage of Tarkovsky. However Tarkovsky was never this elemental. I wonder if any other Russian filmmaker can make a film so primal, so simple, yet so haunting. Nothing happens, and even when there is a death, we don\'t see it, and the son doesn\'t dwell on it. This is an intimate portrait of two loved ones who are simultaneously engulfed in each other. The mother\'s last hours and the sacrifice of a caring son. Rarely can we see something more universal in film as well, I wonder sometimes if this entire film could have been made without dialogue, I\'m not sure if anything would have been lost.','903776a675101b9c5c9499a51b6f8833',0,'','xq3UlSEu',1,0,'',0,0,0),(9886,1748,3,1,0,'69.120.114.47',1174731000,1,0,1,1,1,1,'arsaib4','Danis Tanovic\'s L\'Enfer (France-Ita-Jap-Bel / 2005)','[From TIFF \'05 / Originally posted in the fest thread on 09/21/05]\r\n\r\n\r\n\r\nBefore his untimely death in 1996, the late, great Polish filmmaker Krzysztof Kieslowski (The Three Color trilogy [1993-94]) was working on screenplays for another trilogy with his longtime screenwriter Krzysztof Piesiewicz. Based on Dantes \"The Divine Comedy,\" the three appropriately titled works -- \"Heaven,\" \"Hell\" and \"Purgatory\" -- were meant to be directed by up-and-coming European filmmakers. German director Tom Tykwer took a stab at the first one in his English Language effort Heaven (2002), generating mixed results. But now, with L\'Enfer (Hell), a riveting and deeply affecting drama which displays the sort of allegorical and psychological depth Kieslowski was known for, Bosnia and Herzegovinian Danis Tanovic, a Cannes and Academy award-winner for his debut feature No Mans Land (2001), has shown that he\'s up to the difficult task. \r\n\r\nTanovic has approached and delivered this material as an homage to Kieslowski, which is one way -- and it looks like the proper way -- to approach his writing. A Kieslowskian sequence early on in the film establishes the nature of the impending tragedy the three female protagonists, all sisters, are linked with. Then, by employing an episodic yet intricately linked structure, Tanovic fast forwards several years to firmly establish their estranged Parisian worlds. \r\n\r\nCline (Karin Viard) is one of them and is usually seen on the road visiting a mysterious-looking woman at an old folks home somewhere in the country. This demure individual curls inwards everytime someone tries to approach her. But she oddly gets interested in a handsome young man (Guillaume Canet) who she thinks is stalking her. Sophie (Emmanuelle Bart) is convinced that her husband (Jacques Gamblin) is cheating on her. But we feel an even deeper sense of desperation and loss through this unstable and troubled mother of two. Anne (Marie Gillain), the youngest of the three, is also having problems establishing a connection with the world around her. She is hopelessly in love with her history professor (Jacques Perrin), a much older man who is the father of her best friend.\r\n\r\nWhile it sears with intensity throughout, LEnfer reaches a feverish high when Tanovic allegorically juxtaposes the proceedings with a reading of Euripides\' \"Medea\" at a key moment in the film. But that\'s not his only bold move here. A nod towards traditional values in Kieslowski\'s films -- which pondered family dynamics, destiny and fate, chance and coincidence, a lack of ultimate faith, etc. -- is another, and one which may not get resolute approval from certain factions of the increasingly liberal audience. \r\n\r\nTanovic isnt Kieslowski, may never be, but some of his visual choices are astounding in their richness: from a downtrodden Bart mirthlessly watching a bee drowning in liquid to an overhead shot of Gillain running out to catch her lover and finding herself standing on a game of chance, Tanovic seems to be in full control.\r\n\r\nInterwoven among the pathos and the drama are flashes of humor, not surprisingly from a filmmaker who made No Mans Land. One involves the great Jean Rochefort who makes a special appearance. And speaking of special appearance, the old woman featured in The Three Colors trilogy is back, but shes still having some trouble throwing a bottle in the recycling bin, a display Tanovic conjures up a perfect sequence for. His main cast is uniformly brilliant, especially Bart whos asked to quietly simmer in her ghost-like appearance. One of the her best scenes occurs in a hotel corridor where she incessantly whirls around in search of her husband; Tanovics use of mirrors (another Kieslowski trait) makes it that much more powerful. Strong musical choices (many performed by the director himself) also add much to the proceedings.\r\n\r\nKieslowskis cinema was filled with moments that asked questions, the kind open to be interpreted in different ways. Tanovic ultimately is able to find such instance in LEnfer. But whether the film has the moral and metaphysical depth to sustain and reward repeatedly, like most of the efforts from the master do, remains to be seen. Though it\'s likely that Kieslowski would\'ve been satisfied with the results.\r\n\r\n_________________________\r\n\r\n*L\'ENFER had its World Premiere at TIFF \'05. As far as I know, no U.S. distributor at this point.\r\n\r\n*Now available on subtitled DVD in the U.K. (Momentum), as Trevor pointed out, and Hong Kong (Edko).','a5c03e04114d52da70f7116fccf8e9b4',0,'','TJBf5d8V',1,0,'',0,0,0),(9887,1748,3,1,0,'69.120.114.47',1175168940,1,0,1,1,1,1,'trevor826','Re: Danis Tanovic\'s L\'Enfer (France-Ita-Jap-Bel / 2005)','Excellent review of one of the best films I\'ve seen this year arsaib4, I will be adding my own thoughts soon and needless to say they will be pretty positive. \r\n\r\nI will be watching it again before I finish my notes as I\'ve just got hold of the dvd, I can add comments re: extras, video/audio quality etc.\r\n\r\nCheers Trev.','1e07b1ff618f1a5cc9fbbf0b25802c85',0,'','5uMVXz6f',1,0,'',0,0,0),(9888,1748,3,1,0,'69.120.114.47',1175241960,1,0,1,1,1,1,'arsaib4','Re: Danis Tanovic\'s L\'Enfer (France-Ita-Jap-Bel / 2005)','Thanks, Trevor! Looking forward to your review and the DVD info.','f3dd0a2183bd58434af8a9ba1f13109f',0,'','Ed2915kc',1,0,'',0,0,0),(9889,1749,3,1,0,'69.120.114.47',1164985860,1,0,1,1,1,1,'trevor826','Pan\'s Labyrinth (2006) (Spain)','Pan\'s Labyrinth (2006) El Laberinto del Fauno\r\n\r\nDirected by Guillermo del Toro\r\n\r\nStarring Ivana Baquero, Sergi Lpez, Maribel Verd\r\n\r\nWith an atmosphere and indeed a subject matter very much akin to his earlier The Devils Backbone, Pan\'s Labyrinth has the feel of being almost a sister piece to the former. \r\n\r\nWhereas The Devils Backbone dealt with the final days of the Spanish civil war, this film transports us towards the end of WWII, 1944 to be precise around the time of D-Day.\r\n\r\nDespite Francos fascist state winning the civil war, resistance still continues albeit on a much smaller scale. Brutal squads of civil guards were formed to completely eliminate all opposition and in the case of this story are lead by the ruthless sadistic Captain Vidal (Sergi Lopez).\r\n\r\nThe hero of this tale is a 12 year old girl Ofelia, consummately played by Ivana Baquero, unfortunately for Ofelia, her mother is pregnant by and married to Captain Vidal. He is obsessed with bearing a son to carry on the family name and doesnt care at all about Ofelia. She and we the viewers are taken on a trip between a very cruel and barbaric reality and a fantasy, which can also be just as nasty and dangerous.\r\n\r\nThis fantasy / reality crossover cannot help but bring to mind tales such as Alice in Wonderland or The Wizard of Oz but del Toros world is far removed visually from either of these. Drawing upon characters from mythology and fairy tales, the characters have a style more reminiscent of those you would find in a Clive Barker tale or film.\r\n\r\nA multi layered tale, Pans Labyrinth can be read in several ways, you can if you wish to, take it completely at face value, taking the mythical, magical and monstrous as another form of reality that is only accessible to those who truly believe. On the other hand, you can accept it as the escapist fantasies and illusions of a young girl with a fertile imagination as she tries to cope with a very unpleasant reality.\r\n\r\nDigging deeper into the mythos, you can draw parallels between the creatures encountered and Francos Spain, the Government and the Catholic Church in particular are represented through Ofelias travails, the finale of the tale itself is open to interpretation but can be seen as Spain finally breaking free of the stranglehold of the fascist state.\r\n\r\nSo you have an imaginative fantasy, an allegory, or a cruel tale of the evil that men do, whichever way you take it, its an incredible piece of work. \r\n\r\nThankfully there is very little in the way of CGI, relying far more on old style effects which work beautifully, this wonderful film opens in the US in December and is thoroughly recommended.\r\n\r\nCheers Trev.','75107075237a6fb345e53be03dd6533c',0,'','f5BPavrd',1,0,'',0,0,0),(9890,1749,3,1,0,'69.120.114.47',1165057440,1,0,1,1,1,1,'arsaib4','Re: Pan\'s Labyrinth (2006) (Spain)','Good review, Trevor. I admire Guillermo del Toro quite a bit and I\'m looking forward to this film.','834d7e9dfa8d3c0f9a10b2738c0aac48',0,'','1fNWBZ03',1,0,'',0,0,0),(9891,1749,3,1,0,'69.120.114.47',1165073100,1,0,1,1,1,1,'trevor826','Re: Pan\'s Labyrinth (2006) (Spain)','Thanks arsaib4, I was going to write far more till I realised the film doesn\'t get released in the US till the end of December.\r\n\r\nIf there is anything to complain about, it\'s simply that the film could have been a bit longer with more time spent in the fantastical realm.\r\n\r\nUK official website - Pan\'s Labyrinth\r\n\r\nCheers Trev.','d3a761bf3c57cd5caef28174adae2fdd',0,'','yTpre4su',1,0,'',0,0,0),(9892,1749,3,1,0,'69.120.114.47',1167837720,1,0,1,1,1,1,'trevor826','Re: Pan\'s Labyrinth (2006) (Spain)','Has anyone else seen it yet? \r\n\r\nI was surprised that it was voted in at number eight by viewers in the BBC\'s Film 2006 top 10 of the year poll, mind you I was even more surprised that \"The Wind that Shakes the Barley\" was voted number two. Bond was number one b.t.w.\r\n\r\nCheers Trev.','02b43c5fce5b75ec21f0792c91327fb8',0,'','LY7ReiKd',1,0,'',0,0,0),(9893,1749,3,1,0,'69.120.114.47',1167838020,1,0,1,1,1,1,'justindeimen','Re: Pan\'s Labyrinth (2006) (Spain)','It was phenomenal. It really was. It\'s not the typical fantasy film that marketing would have you believe, but very much in the same vein as The Devil\'s Backbone. It\'s profoundly sad at times and absolutely horrific in others. I think this will go down as Del Toro\'s opus for a long time to come.','97511ce751292f20ef4099e302ea1f8c',0,'','gj1kFaib',1,0,'',0,0,0),(9894,1749,3,1,0,'69.120.114.47',1167899340,1,0,1,1,1,1,'hengcs','Re: Pan\'s Labyrinth (2006) (Spain)','it is opening in Singapore this week or next\r\ndefinitely on my to watch list\r\n\r\nBUT BUT BUT\r\noh no ......................................................................\r\nlatest news ... \r\nTHE DITRIBUTOR (NOT the censor board) has decided to feature the NC16 version (becos of teenagers box office?!) \r\n\r\nsigh sigh sigh\r\nwhat shld i do?\r\nskip the film?!\r\n\r\nhey justin, which version did you catch?\r\nif it is the NC16 ... is it still \"watchable\"?!','7e4002e6b6e8035d05462968254835aa',0,'','pKE5g0RX',1,0,'',0,0,0),(9895,1749,3,1,0,'69.120.114.47',1167906060,1,0,1,1,1,1,'justindeimen','Re: Pan\'s Labyrinth (2006) (Spain)','It presumably wasn\'t cut when I saw in California. I can think of the scenes that were cut, and for teens these days I think it\'s pretty mild.','935cf8ed42d7c056d027b058defdf822',0,'','e7zLoFnW',1,0,'',0,0,0),(9896,1749,3,1,0,'69.120.114.47',1167908400,1,0,1,1,1,1,'bamboomedia1','Re: Pan\'s Labyrinth (2006) (Spain)','I am looking forward to this one. It is going to be released in my state on Jan. 19th. I really hope I won\'t be watching a cut down version because that would really piss me off. I posted a link to an interview with the director of this film in the Directors forum. I read an article by Frank Darabont (The Shawshank Redemption) discussing this movie and I thought it was pretty cool. It\'s another look into what del Toro\'s director friends are saying about his effort here. Here is the link if you might want to read it.\r\n\r\nwww.deltorofilms.com/Deta...mentid=460','4c4472c335b0d882127b785e43a12489',0,'','tUz2nFw4',1,0,'',0,0,0),(9897,1749,3,1,0,'69.120.114.47',1167920400,1,0,1,1,1,1,'trevor826','Re: Pan\'s Labyrinth (2006) (Spain)','Thank\'s for the link, I can only hope that nobody becomes over-hyped about the film. I was lucky in that apart from the odd trailer, I knew next to nothing about Pan\'s Labyrinth. It is a \"must see\" in my book though and definitely one to be viewed on the big screen.\r\n\r\nCheers Trev.','d6ef5433b3c9164438e5792bc9aa5566',0,'','F3KWPE9w',1,0,'',0,0,0),(9898,1749,3,1,0,'69.120.114.47',1167964920,1,0,1,1,1,1,'A','Re: Pan\'s Labyrinth (2006) (Spain)','Hmm, Darabont`s writing actually piqued my interest. Before that I would have passed the film, as I haven`t seen anything by Del Toro yet, and he`s not a director I `m interested in. \r\nI think the \"old-fashioned, no MTV stuff\" line convinced me. \r\nI`ll lkeep an eye out for it.','8e4521073fc4fc52267b5d4340636459',0,'','oEB1pAhK',1,0,'',0,0,0),(9899,1749,3,1,0,'69.120.114.47',1167972180,1,0,1,1,1,1,'trevor826','Re: Pan\'s Labyrinth (2006) (Spain)','If it had been full of gimmicky effects I\'d have been first in line to berate it. What it does have is the heart, soul and mind of Del Toro, if he never made another film this would stand as his greatest cinematic achievement.\r\n\r\nCheers Trev.','c20c5a194973ebe50e979ba8c68d37d4',0,'','eVaHWDt1',1,0,'',0,0,0),(9900,1749,3,1,0,'69.120.114.47',1167973380,1,0,1,1,1,1,'A','Re: Pan\'s Labyrinth (2006) (Spain)','From reading your review and some others, I got the impression that this was somewhat of a Fantasy/Action film with a message - something I don`t really care about anymore since having to sit through the first two LotR movies at the cinema (some of the worst cinematic torture in my life). I`ll have to get over it eventually, and maybe Pan`s Labyrinth will do the task. I just hope it`s really slow old fashioned storytelling like indicated by Darabont, and there wont be any frightening or disturbing scenes (even stuff from The Cell (2000) is too much right now).','0db2d3777e2ff88aed522d3207ef3c67',0,'','5krnTtB4',1,0,'',0,0,0),(9901,1749,3,1,0,'69.120.114.47',1167980400,1,0,1,1,1,1,'trevor826','Re: Pan\'s Labyrinth (2006) (Spain)','I\'m sorry you got the wrong impression from my review though that\'s certainly how it was advertised (fantasy/adventure) here.\r\n\r\nBut..........I won\'t lie, some scenes are disturbing which is why it received a 15 rating in the UK.\r\n\r\nIn the end it\'s up to you but you\'ll be missing a film that has that little something that the majority dont, texture and depth.\r\n\r\nCheers Trev.','7b4dfd795729f95de46300a3c51aca7a',0,'','AWYkoPi8',1,0,'',0,0,0),(9902,1749,3,1,0,'69.120.114.47',1167988980,1,0,1,1,1,1,'bamboomedia1','Re: Pan\'s Labyrinth (2006) (Spain)','A I really think you should see this one. (I havent yet so I am only speaking of what I have read) I say this because fantasy/sci-fi peeps that love this particular genre are warned that this movie is only 30 percent fantasy and in actuality this is mostly a war time genre at its heart. It could be a surprisingly common ground for fans of both genres. I am going in to the experience as a lover of all sci-fi/fantasy but realizing that it could be a drama with sci-fi elements that only lend to the impact of the story. If this movie can find an audience with both supporters I think it could be a great thing. If you end up seeing it let me know. As far as disturbing scenes I think that it has a few from what Ive read. \r\n\r\nCan I ask why you dont really like disturbing scenes/imagery?','308c6431e41cfad5bd6d5a3340bde46a',0,'','VEyhZg0X',1,0,'',0,0,0),(9903,1749,3,1,0,'69.120.114.47',1167989220,1,0,1,1,1,1,'justindeimen','Re: Pan\'s Labyrinth (2006) (Spain)','As I\'ve seen it, I can say the gory scenes aren\'t that bad and it\'s far in between its heartfelt emotions. I\'d say the bulk of the movie isn\'t fantasy at all, just a few scenes here and there. I think the films biggest failing is that it didn\'t manage to convey the merging of the 2 worlds sveltely enough, often seeming like 2 different films altogether.','659d29ad8751774a20e407ff1f135571',0,'','yYVi09Bh',1,0,'',0,0,0),(9904,1749,3,1,0,'69.120.114.47',1167993420,1,0,1,1,1,1,'hengcs','Re: Pan\'s Labyrinth (2006) (Spain)','Quote bamboomedia1,\"If you end up seeing it let me know. As far as disturbing scenes I think that it has a few from what Ive read. ...\r\nCan I ask why you dont really like disturbing scenes/imagery?\"\r\n\r\n(i) definitely watching ... this weekend ... hope to see the unedited version sometime somewhen ...\r\n\r\n(ii) why i dont like disturbing scenes? well ... i am a very impressionable \"kid\" ... those scenes will keep rewinding and screened in me ... every thought of those scenes may send a shudder ... oh no ... why pay to suffer ... hiaks hiaks','114b28085f85345380a8d717fbc70483',0,'','6mPqRG9e',1,0,'',0,0,0),(9905,1749,3,1,0,'69.120.114.47',1168224300,1,0,1,1,1,1,'hengcs','Re: Pan\'s Labyrinth (2006) (Spain)','the film caught me by surprise ... it was not a fantasy indeed ... i also agree with earlier comments that it could be interpreted at diff layers ... wow ...\r\n\r\ni have also been thinking ... that if we were to remove ALL the fantasy scenes, would it come across as another average/above average film?! ... just wondering ... it is really the well integrated fantasy AND reality scenes that make the film great\r\n\r\ni shld also add that a lot of scenes \"screamed\" right at your face ... with the MANY brutal gun shots and torture scenes ... oh no ...\r\n\r\nconclusion\r\nhighly recommended ... i think most critics/art film goers would like it ... \r\n\r\nas for the marketing (more towards a fantasy), i think it might disappoint some teenagers ... i overheard some conversations by teenagers after the film ... like ... \"what is the moral of the story huh?\" ... \"do you understand the film?\" ... etc','277f5fc74b107d68fe67f3a8b808a22d',0,'','mxV3Wqh5',1,0,'',0,0,0),(9906,1749,3,1,0,'69.120.114.47',1168265160,1,0,1,1,1,1,'trevor826','Re: Pan\'s Labyrinth (2006) (Spain)','Without the fantasy elements you would have a dark despairing albeit pretty realistic historical/political drama. \r\n\r\nThe fantasy element is the key to the story as it is Ofelia\'s story and in Pan\'s Labyrinth, Ofelia is the living embodiement of Spain. Whereas the reality covers a short period, the fantasy can be seen as covering the whole period of Franco\'s rule right up to his death and beyond.\r\n\r\nThat\'s how I interpreted it anyway.\r\n\r\nCheers Trev.','9df0ef47efc53d9b10d0a3c1be0133d1',0,'','jb8W53BT',1,0,'',0,0,0),(9907,1749,3,1,0,'69.120.114.47',1168302720,1,0,1,1,1,1,'hengcs','Re: Pan\'s Labyrinth (2006) (Spain)','well, to me ... i think the film has so much more room/depth for interpretation, understanding ... and definitely thinking ... \r\n\r\nthere are so many interesting contrasts (all of which have rather subtle differences) ... as usual, we as audience may have credited the film with more interpretations than the director may have intended ... but frankly, i really could have corroborated all the following with so many examples (albeit spoilers) ...\r\n\r\n-- reality vs fantasy; trapped vs escapism; resignation vs dreams ... belief vs disbelief; trust vs distrust; obedience vs betrayal ... rest vs unrest; cruelty vs innocence; heartlessness vs kindness; complexity vs simplicity ... old vs young; tradition vs revolution ... a second chance ... the past, the present and the future (i.e., time) ... etc \r\n\r\nalthough i have many examples to corroborate the above ... i guess you pple will be able to do it too ...','fc2ed172d492e4b0eeef1179bc42bca9',0,'','6FVDasoh',1,0,'',0,0,0),(9908,1749,3,1,0,'69.120.114.47',1169074440,1,0,1,1,1,1,'A','Re: Pan\'s Labyrinth (2006) (Spain)','Actually I don\'t have anything at all against violence in movies, but the thought of surreal fantasy elements and brutality sometimes doesn\'t resonate too well with me at the moment. Maybe it has something to do that i suffer from insomnia for about two weeks now, and I don\'t want any bad dreams, when I\'m able to catch just a little rest. \r\nNo really, don\'t know what it is exactly, but the thought makes me cringe.\r\nI\'ll buy \"Devil\'s Backbone\" on DVD for 5 Euros though, and if I like it, I\'ll check out \"Pan\'s Labyrinth\".','ebd58064522dfc3fc166748cb01db54f',0,'','VRpzyuGQ',1,0,'',0,0,0),(9909,1749,3,1,0,'69.120.114.47',1169458560,1,0,1,1,1,1,'howardschumann(d)','Re: Pan\'s Labyrinth (2006) (Spain)','PANS LABYRINTH\r\n\r\nDirected by Guillermo del Toro (2006), 120 minutes\r\n\r\nGuillermo Del Toros Pans Labyrinth has been called a fairy tale, but it is one without the color, warmth, or wonder we normally associate with films of this type. Rather, it owes more to the Latin genre of magic realism, as it reflects the grim fantasies of a young child caught in the middle of a brutal conflict and her desperate longing for a world without pain. Set in Spain after Franco had emerged victorious in the Spanish Civil War, Nationalist troops and die hard resistance fighters continue the struggle in the Spanish countryside. As the film opens, Carmen (Ariadna Gil) and her daughter Ofelia, brilliantly performed by Ivana Baquero, are traveling to join Carmens new husband, Falangist Captain Vidal (Sergei Lopez) in his military headquarters. \r\n\r\nOfelia, a bright, imaginative girl of ten, carries with her books of fairy tales. Her father, a tailor, died a few years ago in the war, and her mother is pregnant with the baby the Captain believes will be his son. When they stop to rest, the little girl meets a buzzing dragonfly and believes it to be a fairy welcoming her to a magic realm. In a voice-over, we hear the story of an underground country where there are no lies and no pain, a metaphor perhaps for the thousands of Franco resisters who were forced to go underground. In this country, a young princess named Moanna is mourned after she leaves the realm to explore life on Earth and is blinded by the sun and dies. Her father, the King of the Underworld, however, has never given up hope that the princess will one day return in another incarnation. \r\n\r\nWhen Ofelia reaches the mill which has been converted into a military headquarters, she discovers an ancient stone labyrinth near her new home and meets seven-foot tall Pan, a half-man half-goat faun, (Doug Jones) who tells her that she is the princess who everyone in his kingdom has longed for. To return to her true home and be reunited with her father, however, she must complete three arduous tasks, revealed to her by touching the blank pages of large notebook. These include encountering a huge toad in the roots of an old fig tree and retrieving a key from his stomach, and searching for a dagger in a room guarded by another gruesome creature, the Pale Man, whose eyeballs are in the palm of his hands. The room is filled with delectable treats but Ofelia is sworn not to eat them. \r\n\r\nThe film shifts seamlessly between fantasy sequences and the armed conflict. Vidal is depicted as a soldier who takes pleasure in killing. In one scene, he sadistically beats a peasant to death with a bottle, suspecting him of being a rebel. His cruelty is not limited to rebels, however. When Carmen becomes sick during her difficult pregnancy, the girl hears her stepfather tell the doctor that if it comes to a choice between saving the mother or saving the baby, he wants him to save the baby. Amidst all the darkness, Ofelia develops a warm relationship with the housekeeper, Mercedes (Maribel Verdu), whom she later discovers sneaks out at night to bring messages, food, and medical supplies to the rebels. The Captain is merciless when he discovers Mercedes \"treason as well as that of Dr. Ferreiro (Alex Angulo) who refuses to obey Vidals orders. \r\n\r\nAs the world around her grows darker and her mother becomes sicker, Ofelia further retreats into her dream world. Soon she must make the most difficult choice any person can be asked to make. Pans Labyrinth is a strong and heartfelt film but it is a mostly gloomy affair and I yearned for some light and warmth to pervade the darkness, but the film does not go there except for a few brief moments. Del Toros work, however, is not about metaphysics or spirituality. It is a personal film about memory and, as both Ofelia and Vidal remember their fathers, del Toro wants the world to remember the sadistic nature of the Franco regime, the courage of those who stood up to its brutality, and the innocence his country lost forever. \r\n\r\nGRADE: B+','8d20fc1560dab17fcc9068d0f9d6594e',0,'','0U8jPNcs',1,0,'',0,0,0),(9910,1749,3,1,0,'69.120.114.47',1169556120,1,0,1,1,1,1,'wpqx','Re: Pan\'s Labyrinth (2006) (Spain)','Well I\'ve finally seen it. Now there were some fantastic elements of it, but my chief complaint is the cartoonish super villian of Captain Vidal. I know this is a fairy tale, so the bad have to be really bad, but with this grounded in a historical time frame, I thought you may as well have had Vidal being the monster that eats the children. His villiany as far too over the top and brought the film down a bit. The moments in the labyrinth were amazing, and I just hoped that the film was more if not entirely composed of those elements. Also stop reading if you haven\'t seen it, but the notion of the resistance fighters winning out is a little silly considering Franco\'s regime would last another several decades, but I guess you need some happy ending for the land above. I did like it but I\'m being nitpicking.','4713a72a4cab4f3cc84cfcda033f4305',0,'','sD1VGlEn',1,0,'',0,0,0),(9911,1749,3,1,0,'69.120.114.47',1173001200,1,0,1,1,1,1,'arsaib4','Re: Pan\'s Labyrinth (2006) (Spain)','Pan\'s Labyrinth is now available on a limited edition 2-Disc set from Korean distributor Taewon Ent. The film is English subtitled, the extras aren\'t. \r\n\r\nNext week, the film will be released on DVD in Spain (Warner) and the U.K. (Optimum). The moderately priced 2-Disc edition from Optimum contains loads of extra features.\r\n\r\nThe U.S. DVD from New Line is scheduled for the second week of May.','4f539265973fd9da0009c07f836240b1',0,'','PcLaBgzd',1,0,'',0,0,0),(9912,1749,3,1,0,'69.120.114.47',1202110200,1,0,1,1,1,1,'hengcs','Re: Pan\'s Labyrinth (2006) (Spain)','I have found another thread on Pan\'s Labyrinth ... \r\nbut I cannot seem to locate merge thread (but somehow after my lunch, i found the merge now) ... \r\nso here you go \r\n\r\nbamboomedia1 \r\nPan\'s Labyrinth (Laberinto del Fauno, El) Lead [-] \r\nPosts: 29 \r\n(18-Aug-06 09:11 PM) \r\nI\'m very excited to see this movie. I am a huge sci-fi/fantasy fan and this looks awesome. It is produced by Alfonso Cuaron and it is directed by Guillermo del Toro who directed The Devil\'s Backbone (Laberinto del Fauno, El) I haven\'t found a subtitled trailer but its worth watching anyway. Also, I\'ve read nothing but raves from people who have seen it already. They say it is an original/suspensful story and a visual masterpiece. \r\n\r\nView the trailer and tell me what you think: www.clubcultura.com/clubc...odelfauno/ \r\nIs it ok on this board to link to trailers and stuff? \r\n\r\narsaib4 Re: Pan\'s Labyrinth (Laberinto del Fauno, El) #1 [-] \r\nPosts: 3697 \r\n(18-Aug-06 10:48 PM) \r\n\r\nI\'m a big fan of Guillermo del Toro and his extraordinary imagination, which CGI could only enhance, not replace. Along with The Devil\'s Backbone, I also like Hellboy and Cronos quite a bit. Pan\'s Labyrinth played in-competition at Cannes and, like you said, it was received very well. \"Is it ok on this board to link to trailers and stuff?\" \r\n\r\nAbsolutely!','574fc4298c65ca1376e800c11058a045',0,'','uBNQP9yL',1,0,'',0,0,0),(9913,1749,3,1,0,'69.120.114.47',1210838940,1,0,1,1,1,1,'tzarine','Re: Pan\'s Labyrinth (2006) (Spain)','Did not like it at all. Fradulent, unidimensional, simplistic, heavy handed stuff, passable visuals. \r\n\r\nWickedly evil sadistic fascists francoites, golden noble rebels bathed in sunlight. All those bloody torture scenes were numbing. The fantasy world was all CGI & slime. I did enjoy seeing Maribel Verdu from Y tu Mama Tambien, even though her character was such a saint. The ending was telegraphed at the beginning. Pobre big-eyed Ofelia. \r\n\r\nSpirit of the Beehive by Erice did a child in Franco\'s Spain so much better.','3ae551770540b8091b226d4cc107202e',0,'','eVLGUJhu',1,0,'',0,0,0),(9914,1749,3,1,0,'69.120.114.47',1210839540,1,0,1,1,1,1,'wpqx','Re: Pan\'s Labyrinth (2006) (Spain)','Seems harsh but I think the fairy tale atmosphere lent itself to more cartoonish super villains. I\'ll agree Spirit of the Beehive was a better film, but very, very different.','73273f2c69adb4d4f95855bd1f0924fb',0,'','ryE7CvBk',1,0,'',0,0,0),(9915,1750,3,1,0,'69.120.114.47',1121903400,1,0,1,1,1,1,'arsaib4','Per Fly\'s The Inheritance (Denmark) (2003)','Many of the Danish films that have come out in recent years could be chastised for being excessively bleak. However, much like what the best of Iranian cinema has to offer, they represent viewpoints that arent normally considered, and they refuse to compromise their objectives. Per Flys award-winning The Inheritance (Arven) is one such film. It tackles various key issues such as social and familial responsibility, corporate politics, and most importantly, their effects on ones individuality. Christoffer (Ulrich Thomson, the brilliant Danish actor from The Celebration and Brothers) is a thriving restaurateur in Sweden who\'s living blissfully with his actress wife (Lisa Werlinder) until he receives the news that his father has died in Denmark, leaving him his nearly bankrupt steel factory. Now his overbearing mother (Ghita Norby) wants him to run the show much to the dismay of his wife, not to mention his brother-in-law who was part of the business. The Inheritance is the second of director Per Flys trilogy of films about the Danish social classes. His acclaimed debut feature, Bnken (\"The Bench\" [2001]), dealt with the concerns faced by the working class, and here Fly meticulously charts the struggles faced by a man whos been rich for generations as he heads this consuming task. The film\'s exteriors are formally elegant while a handheld DV and grainy stock is expertly employed for its interior sequences epitomizing Christoffers dilemmas. As the business gets back on its feet, his personal life deteriorates, ultimately resulting in what he suspected all along. There is a false note late in this otherwise remarkable film which won six Danish Academy Awards including Best Picture and Best Director, but Ulrich Thomsens brilliant portrayal of man deteriorating from within renders it meaningless.\r\n\r\n________________________\r\n\r\nTHE INHERITANCE was recently released in the U.S. on DVD by Homevision. A Danish DVD with subs is also available.','9191e261eb94fd36a29b0c609ee43dde',0,'','8m4ZFVoN',1,0,'',0,0,0),(9916,1750,3,1,0,'69.120.114.47',1128601500,1,0,1,1,1,1,'trevor826','Re: Per Fly\'s The Inheritance (Denmark) (2003)','Arven (2003) Inheritance\r\n\r\nDirected by Per Fly\r\n\r\nStarring Ulrich Thomsen (Festen, Brdre), Lisa Werlinder\r\n\r\nExcellent Danish drama built around a youngish man, Christoffer who gives up his freedom and life to take responsibility for his familys business after his fathers suicide.\r\n\r\nChristoffer has a fairly carefree life in Stockholm with his young actress wife Maria, he runs a successful restaurant and is relaxed and happy until the day he receives a phone call telling him of his fathers death. On returning home he is persuaded by his mother to take over running the family owned steel factory, much to the annoyance of Maria who wants to return to their home and lives. \r\n\r\nWhat follows is the disintegration and reconstruction of Christoffer (mainly instigated by his mother), he loses everything he cared about, Marie puts up with the change to their lives for two years (after which he had promised they would return to their previous lives) taking their newly born baby back to Stockholm with her. He loses lifelong friends and alienates members of his own family as he desperately tries to save the Company (his father had accumulated huge debts) and most importantly, he loses his lifestyle and freedom, in other words he loses himself. \r\n\r\nRemarried, though seemingly not for love, he takes a business trip to Stockholm and espies Marie with their young child, she hasnt changed, fresh, vibrant and happy to see him. He on the other hand has aged and become dour, they arrange for him to see her latest play then meet up afterwards. Is there hope for them, will they get back together, can he salvage anything of his former self?\r\n\r\nI loved the acting, very good and naturalistic, no melodramatics here. The camera work is exceptional too, half the time you feel as though youre spying voyeuristically on this man and his life. The matriarch of the family is the real power behind the Company and she does her fair bit to ensure that Christoffer stays home, a real battleaxe. The film ably demonstrates the price of responsibility and power on the human soul.\r\n\r\nDanish cinema has come on in leaps and bounds over the last few years (no small thanks to a certain Lars von Trier) and this excellent film is just one example of its growth in stature on the world stage, highly recommended.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15\r\n\r\nRegion 2 Pal dvd available from Swipe films, Region 1 ntsc dvd available from Home Vision.','cd69f1cf67ed07864e17786177447453',0,'','tnJZ5kAj',1,0,'',0,0,0),(9917,1750,3,1,0,'69.120.114.47',1174929840,1,0,1,1,1,1,'howardschumann(d)','Re: Per Fly\'s The Inheritance (Denmark) (2003)','THE INHERITANCE (Arven)\r\nDirected by Per Fly (2003), 117 minutes\r\n\r\nFor what is a man profited, if he shall gain the whole world, and lose his own soul? Matthew 16:26\r\n\r\nA well-to-do businessman arrives in Stockholm. On the surface he is self assured and in control, yet underneath he is a man experiencing a desperate emotional and spiritual crisis that threatens to take control of his life. Similar in theme to Laurent Cantets Time Out, Danish director Per Flys The Inheritance is a penetrating look at the humane cost of serving a soulless corporation out of duty and obligation. The second in a trilogy that deals with Danish life from different social levels, it is an absorbing drama of old wealth and modern capitalism that takes us into the soul of Christoffer (Ulrich Thomsen), the wealthy son of a prominent steel magnate. Reserved, almost reticent, Christoffer hides his feelings like a surprise birthday present, but when they are unwrapped they also unravel.\r\n\r\nIn a flashback to five years ago, we learn that he is a successful restaurateur in Sweden, happily married to Maria (Lisa Werlinder), a Shakespearean actress who is offered a contract for one year at the Royal Dramatic Theater. Christoffers life is turned upside down, however, when he learns that his father Aksel (Ulf Pilgaard), the owner of the Borch-Muller steel mill, has committed suicide after concealing the companys substantial debt. Like Michael Corleone in The Godfather, he is then forced to choose between his sense of loyalty to his family and his personal freedom when his imperious mother Annelise (Ghita Norby), showing no confidence in his brother-in-law Ulrik (Lars Brygmann), insists that he take over the leadership of the steelworks. \r\n\r\nMaria, unwilling to give up her career, pleads with him to refuse to lead the company, now almost bankrupt. Christoffer is hesitant and first agrees with his wife, but when he comes face to face with the companys employees, many of whom would have to be laid off, he capitulates and agrees to assume his fathers position. It is a turning point in his life. Though it never becomes clear where the truth lies, Christoffer hears from his associate Niels (Peter Steen) that Ulrik is spreading rumors to undermine the companys position with the bank. He is forced to fire Ulrik, precipitating a crisis with his sister Benedikte (Karina Skands) who remains steadfast in his support and refuses to have anything further to do with her brother. \r\n\r\nWhen Christoffer has to dismiss 200 workers until the company can get back on its feet, it begins to affect his personality. He refuses to talk about his work with Maria and becomes totally preoccupied with completing a merger with a prominent European steelworks company. Taken aback by the callousness apparently necessary to run the business, Maria is angered by her husbands reluctance to share his problems at work and by his mother, Annelise, who tells Christoffer not to talk about his emotions. If this sounds like an episode from Dynasty, it would only be partially true. For the most part, the characters and their motivations are too nuanced and complex for it to be considered as soap opera, though unfortunately the film lapses into melodrama near the end. \r\n\r\nThe Inheritance can be viewed on several levels: as a testament to what the modern day corporation has become, a machine that inevitably gobbles up ones humanity; as the story of a selfless individual, willing to sacrifice his own happiness for his familys business; or as the sad tale of a man who is more comfortable being in a dependent relationship with his mother than in fully assuming the adult responsibilities of marriage and emotional independence. Regardless of your interpretation, The Inheritance succeeds as a compelling character study of a man who, in the process of making hard choices in the business world, loses the things in his life that are the most precious, including his self respect.\r\n\r\nGRADE: B+','6cea6bf3b0996ec3b58dbdaf90e884f9',0,'','4BRuqkzS',1,0,'',0,0,0),(9918,1751,3,1,0,'69.120.114.47',1174886880,1,0,1,1,1,1,'hengcs','Nada Sou Sou (Tears For You) (Japan) (2006)','Director: Nobuhiro Doi\r\nCast: Satoshi Tsumabuki, Masami Nagasawa\r\n\r\nThe official site (with a number of spoilers)\r\nsee\r\nwww.festivefilms.com/sousou/\r\nor\r\nwww.nada-so.jp/intro.html\r\n\r\nSynopsis:\r\nIt tells of the bond and relationship between a brother and his \"sister\" who has come to stay with him to attend high school and subsequently college ... \r\n\r\nSelling points ...\r\n\r\n-- Both the actor (Satoshi Tsumabuki) and the actress (Masami Nagasawa ) were nominated for their leading roles at the Japanese Academy Awards 2007 ... yup, they really come across as typical young pple who are just next to you and i ... * clap *\r\n\r\n-- If you do not understand the lyrics of the very popular Japanese song \"Nada Sou Sou\" (also translated into Chinese song with a different set of lyrics) ... you will finally get to see a translation of the song at the end ... and predictably, most audience (ALL during the screening i attended) will stay till the end ... and to those who are NOT used to watching end credits ... THERE IS ONE MORE SCENE at the end (after ALL the end credits) ... \r\n\r\nPS: here\'s the song (without translation) at youtube ...\r\nwww.youtube.com/watch?v=V...ed&search=\r\n\r\n-- Another seldom mentioned person ... a well crafted supporting role with very little screen time ... but noteworthy ... i.e., the lady selling bean sprouts at the market ... most of the audience would remember her role ... it speaks of so many who have tide through the tough times ... \r\n\r\nWhat could be better ...\r\n\r\n-- Hmmm, if you are very accustomed to the earlier days of Japanese TV drama/or the recent craze over Korean TV drama, you will know what to expect ... so maybe the surprise level is not as high ... and the story might seem a bit \"familiar\" (e.g., brother & sister relationship, ill fated lovers from rich and poor family, cheated and conned by shrewd businessman, sickness and death, etc ...) \r\n\r\n-- You are not going to sob and sob ... but like many Japanese drama, there is always that tinge of sadness ... \r\n\r\nConclusion:\r\nCan watch ... as usual, with someone you like …','fbec35092bb8b8f21b559468dd615947',0,'','9BFxkmAc',1,0,'',0,0,0),(9919,1752,3,1,0,'69.120.114.47',1173465180,1,0,1,1,1,1,'justindeimen','Hula Girls (2006) (Japan)','Courtesy of MovieXclusive.com\r\n\r\nReview: \r\n\r\nWinning Best Film and Best Director at the Japan Academy Awards as well as being Japans official submission for the 2007 Oscars foreign film category, Korean director Lee Sang-ils Hula Girls has more charm than one can shake their tail feathers at and more mileage than one might expect from another story of underdogs railing against the establishment. The generational gaps and cultural reconfiguration and adaptability of the young are examined through humour and heartfelt observations in the true story of an ebbing factory town in the north of Japan called Joban, in 1965. \r\n\r\nThe trajectory of the story is predictably bittersweet, but doesnt veer into heavy soap or tedious social commentary to earn its stripes as a film with sufficient gravitas and consequence. It recalls such Japanese genre gems such as Swing Girls, Shall We Dance and Linda Linda Linda with the colourful and carefully tuned characters that weve come to expect and the late, great flourish in the climax showing all the hard work and strife endured being paid off in spades. Hula Girls earns its emotional output and goodwill with its characters. There are no villains but only circumstances to be braved and they level us through their actions, not their words. \r\n\r\nSanae (Eri Tokunaga) and Kimiko (Yu Aoi) are teenagers hoping to leave their oppressive environment see a chance of a way out, or at least a change of pace from a dreary life when the coal-mining town finds its lifeblood being siphoned away by the rising industry of oil. In order to stop the rot, a representative from the coal company supposes an idea to transform the chilly town of Joban into a tourist attraction by way of a Hawaiian cultural centre (remember, this is based on a true story) that inevitably draws criticisms and reproach from the town elders. The hula dance, critical to the success of the centre is cause for concern amongst the conservative townies. They have everything to lose by not acquiescing with the plan but what they arent prepared to give up are their convictions and principles, especially not in the face of a world defiantly changing beyond their control. \r\n\r\nWith the onus of the towns prospects set squarely on the bold few, they are coached by an apparently blas Madoka (Matsuyuki Yasuko) who finds herself in over her head with the motley crew of nave but determined young girls ready to take over the reins of leading their towns workforce. These girls are faced with decisions to uphold their families wishes or to do what they feel is right for the economically depressed town, despite the risks being taken. The film brings to light the role of sexism in small towns through its dramatic confrontations, where girls grow up to be wives and mothers instead of individuals with the same respect in the workforce as men. \r\n\r\nTheres a distinct sense of rebelliousness throughout the proceedings, especially when the girls finally grow into their own skin and shake their hips for the world to behold. The camera captures every titillating movement, relishing in the vindication of following their beliefs. The didactics of the script, without the lack of surprises and deviations finds itself with its own measure of vindication as well in its deftly executed simplicity when it recently won Lee the Best Screenplay category at the Japan Academy Awards.','27d503ab7d0f8e1f1211011a25aa95ad',0,'','Wo3CqQM4',1,0,'',0,0,0),(9920,1752,3,1,0,'69.120.114.47',1173509520,1,0,1,1,1,1,'hengcs','Re: Hula Girls (2006) (Japan)','Wow ... u managed to catch it at the preview?!\r\ncos I wanna buy the tickets ...\r\nbut \"first\" screening only next friday ...\r\nenvious ...\r\nbut, I will be watching ...','bad5daa31ce578b02ad41e08c3856314',0,'','0sewPT9b',1,0,'',0,0,0),(9921,1752,3,1,0,'69.120.114.47',1174109880,1,0,1,1,1,1,'justindeimen','Re: Hula Girls (2006) (Japan)','Yeah but apparently, they are going to have a general release in May so the Anniversary screening won\'t be temp.','e10fe5f6ce2372ded7393527167f4440',0,'','9bgFLXMJ',1,0,'',0,0,0),(9922,1752,3,1,0,'69.120.114.47',1174797060,1,0,1,1,1,1,'hengcs','Re: Hula Girls (2006) (Japan)','I have watched it yesterday too ...\r\n\r\nHmmm ... lots of mixed comments,\r\nthere are some things which I like, \r\nand there are some that I thought are rather \"typical\" of Japanese comedy ...\r\n\r\nWhat I like ...\r\n\r\n-- definitely the dance moves ... well, to many of us, they could probably even pass off as Hawaiin dancers ... \r\n\r\n-- not many talked abt her, but i would like to commend on the actress who acted as the mother ... hmmm ... a particular scene stood out ... the scene whereby she went to the dance school to deliver the parcel, and simply stood that, with \"mixed\" emotions ... not much expressions, but she could probably exude to the audience her full of mixed feelings ... * clap * ... and following that, her pulling of the cart, and her delivery of lines abt what she used to think ... simple supporting role, but very convincing ...\r\n\r\n-- rather subtle in some of the scenes (abt feelings/thoughts) etc ... and a bit \"philosophical\" near the end ... \r\n\r\n-- inspired by real events, i thought the last 1 hour was pretty good ... now you ask, why dont i say so much abt the beginning?!\r\n\r\nWhat I thought could be better?\r\n\r\n-- Hmmm, the front portion was okay to me (not great, but not too bad either) ... why?! ... i thought it took on the stereotypes of many typical Japanese comedies ... with some rather exaggerated expressions (forgive me), with some predictable \"roles\" (abt the various dancers), and to some extent, a bit similar to those \"underdog\" stories ...\r\n\r\n-- in contrast to some paras above, some scenes are not too subtle, and rather obvious/exaggerated/predictable ...\r\n\r\nConclusion:\r\nRecommended ... but frankly, I prefer the second half to the first half ... is it really the Best Film from Japan last year, let me watched a few more and tell you ...','20928493544173008f76defe8d791b6a',0,'','7mad3AgH',1,0,'',0,0,0),(9923,1752,3,1,0,'69.120.114.47',1174884240,1,0,1,1,1,1,'hengcs','Re: Hula Girls (2006) (Japan)','I forgot to add ... there are 2 other scenes I like\r\n\r\n(i) Near the end, whereby the girls were abt to rush up the train, the main protagonist chose to stand still ... and then, she started to ... * no spoilers * ... i thought it was really a very well scripted screen ...\r\n\r\n(ii) by the way, despite my having been to Hawaii before, and watched them dance ... this is the first time I knew there is so much meaning to each movement ... wow ...','f093fc1d8af436af2602dbafec32b245',0,'','wGWR9H3B',1,0,'',0,0,0),(9924,1753,3,1,0,'69.120.114.47',1153769580,1,0,1,1,1,1,'trevor826','13 (Tzameti) (France / Georgia)','13 (Tzameti) (2005) \r\n\r\nDirected by Gla Babluani\r\n\r\nStarring George Babluani\r\n\r\nShot effectively in stark black and white with a slightly rough (at times almost amateurish) feel. Tzameti is a symbolic representaion of mans desire for violence. The thrill of the kill, the buzz of participating in something completely outside of the law where life is cheap and fortunes can be made or lost in a matter of seconds.\r\n\r\nSbastien, a young immigrant earns money from odd jobs. While repairing a roof on a house he overhears a conversation, an old man is awaiting a letter, although no information is given its quite obvious that it will lead to a day or twos work for a great deal of money. There are also other interested parties as far as this letter is concerned. Everyday as soon as the postman has delivered the mail someone takes and checks through it hoping to find the letter.\r\n\r\nOn the day it finally arrives the old man is first to the box, he takes it straight into his house and runs a bath while preparing to dope himself up. Unfortunately he overdoses and dies in the bath; the letter is blown out of the house and lands with Sbastiens tools. Aware of the old mans death and the chance of a quick buck he hides the letter and decides to follow the instructions within it.\r\n\r\nThe first half of the film plays out like a spy or crime drama, the instructions include train tickets, hotel bookings, and a telephone call leads to a further trail. Its obvious that whatever the job is, it is highly illegal, maybe drug smuggling, people traffiking, spying etc but the draw of the money and maybe even the thrill of heading into something completely unknown is too much for Sbastien to ignore.\r\n\r\nWithin a very short space of time he finds out exactly what hes let himself in for, and for all the wanting in the world theres no backing out. Along with twelve other men he takes his place in a circle, each is handed a revolver with one bullet loaded, raising their arms they spin the barrels, aim the pistols at the head of the next in line and wait. A bulb in the centre of the room will light and as per instructions, each man will pull the trigger.\r\n\r\nA terrific sense of tension rises and falls constantly during the second part of the film, as each man prepares for the next round of this civilised murder, bored rich men lay hundreds of thousands of euros on the outcome. In between bouts the surviving dropouts and dregs of society drink themselves into a stupor or drug themselves up knowing that within a few minutes they could be joining the mounting pile of corpses.\r\n\r\nRich and poor, greed rules each one, the businessmen with their wagers, the would-be murderers hoping to survive and take the winner\'s payout. Morality doesnt exist in this atmosphere and for the men like Sbastien, only the prize money, which will help his family greatly and the fear of his own ignominious death keep him going.\r\n\r\nTzameti has won six awards at film festivals including Sundance, the roughness and budget constraints actually help the overall mood, the black and white works marvellously as well, I really couldnt imagine watching it in colour. Tzameti has a timeless feel and is an excellent directorial debut. \r\n\r\nRecommended especially if you can catch it in the cinema, it does lose impact on second viewing but thats no real surprise with this type of film. If this has piqued your interest, try and see the original as it is already marked up for a re-make.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 15\r\n\r\nR2 dvd released by Revolver, extras include interviews with the director and lead actor.','67ff238becfd20f135848d5519e84a82',0,'','EwLBWjsb',1,0,'',0,0,0),(9925,1753,3,1,0,'69.120.114.47',1155282420,1,0,1,1,1,1,'arsaib4','Re: 13 (Tzameti) (France / Georgia)','Sorry, Trev, but it\'d be an understatement if I said that I strongly disliked 13 (Tzameti). The film\'s socio-political context, if it existed at all, superficially made the way for cheap thrills of Russian roulette whose result, if one has seen these things before, was a given no matter how sweaty the t-shirts of our protagonist got. The b&w cinematography which served the dilapidated milieu quite well deserved something slightly more significant. (If Babluani thinks that this is \"Bressonian\" then he should be forced to play the aforementioned game.) I\'m not surprised that an English-language remake is already in the process, reportedly with Babluani at the helm.','317a750a74f4e269d804b5b95dfc6cf8',0,'','zRjE9niW',1,0,'',0,0,0),(9926,1753,3,1,0,'69.120.114.47',1155295560,1,0,1,1,1,1,'trevor826','Re: 13 (Tzameti) (France / Georgia)','No need for apologies, it\'s always good to get a few varied opinions of films.\r\n\r\ncheap thrills of Russian roulette whose result, if one has seen these things before, was a given no matter how sweaty the t-shirts of our protagonist got \r\nYes this is unfortunately true, a tried and trusted formula, long in the tooth and unlikely to change in the future. There are ways around it but they require more thought and effort.\r\n\r\nThe b&w cinematography which served the dilapidated milieu quite well deserved something slightly more significant. (If Babluani thinks that this is \"Bressonian\" then he should be forced to play the aforementioned game)\r\n\r\nIf that is the case re Bresson, then I\'d have to wholeheartedly agree with your comment.\r\n\r\nI must say after seeing it the second time that I enjoyed the vagueness of the first half far more than the somewhat formulaic second half. I\'m just sorry that you obviously disliked it to such an extent. \r\n\r\nCheers Trev.','526f9343965d215ce06999239475d6d7',0,'','E6M3jS9J',1,0,'',0,0,0),(9927,1753,3,1,0,'69.120.114.47',1173820140,1,0,1,1,1,1,'justindeimen','Re: 13 (Tzameti) (France / Georgia)','I seem to agree with Trevor. I respond more to pure-cinema emotional outputs than I do to a tight script, incredible acting etc. and this does deliver in that respect. Try as I might, I can\'t think of another modern movie that has strained so much tension into me like this one has. It\'s just so damn foreboding from the first few frames that I can hardly believe it. \r\n\r\nAnyways, here\'s my take on it.\r\n\r\nCourtesy of MovieXclusive.com\r\n\r\nReview: \r\n\r\n13 Tzameti which won this year\'s Grand Jury Prize at Sundance for World Cinema (dramatic) is a wickedly gloomy neo-noir thriller that is borne out of a chilling premise and an irrefutably ominous style undertaken by its writer-director, Gela Babluani. In fact, it wouldnt be much of a stretch at all to postulate that the films style and direction is probably the films raison d\'tre. Already quite eager to stick his name into the pantheon of revered auteurdom with quite the auspicious start, Babluani, with a banzai of bravado manages to mastermind Hitchcockian measures of claustrophobic suspense in a luring and utterly fascinating feature debut that takes to task Frances socioeconomic disparities to the extreme. \r\n\r\nGiven that the key to its entire composition is its careful and precise direction and powerful tonal command, the act structure remains clear and simple throughout with the 3 standard acts of discovery, confrontation and resolution. It never validates its intentions as a work of deception by twisting and turning its narrative but instead takes the customary route of withholding vital information and carving out key sequences of exposition that carries the suspense from scene to scene and escalates the stakes from action to action. But despite its obvious narrative simplicity, 13 Tzameti is an incredible beast of a movie in its sheer veracity of spirit. It tells no lies in its discommoding mood and menacing tone, starting off as anxious as it ends. So much so that one has to tip his or her hat to Babluanis giddy verve of combining the films explosive sadism with the keen state of mind to philosophise it later. \r\n\r\nIn spite of the films clever conceptualisation of the underlying subtext, its hard not to appreciate its terms on a literal level. In no way would I dare to spoil any sort of surprise that the first act evidently wants to lead us to, but I will say that the second act holds on to its guns with tremendous force and the atmospheric tension that hinges off its ferocious drive to allegorise the haves and have-nots in modern France. Specifically, the exploitation of the immigrant populace (the director is a Georgian immigrant) and the desperate, criminal means undertaken by them in order to keep up in society. Then it goes further on to examine the individual in question. \r\n\r\nSebastien (Georges Babluani, the directors brother), a young roofer struggling to support his family is deprived of a vital payment from a household where something shady and potentially profitable is apparently being waited upon. The item arrives in a form of an envelope containing a train ticket and hotel details that through a confluence of events, winds up in the hands of our protagonist. Sebastien, in a fit of financial desperation and wide-eyed naivet follows the instructions that he once overheard and quickly finds himself in a whole heap of trouble. Now, on a level probing Sebastiens predicament, the film argues its case for existential reasoning through the fatalistic circumstances that he finds himself in. Driven by circumstances, he puts himself in a diabolical situation that seems to have been plucked right out of Kafkas mind, and is forced to be a pawn in a cynical game that ultimately comes down to fate and luck. \r\n\r\nKeeping with the eeriness of its disposition, 13 Tzameti has its share of distinctive accentuations in its countryside locale, intimidating faces and a creepy overlay of sounds to go along with Babluanis smoothly desolate, encompassing cinematography that is only heightened by his choice of stark visuals. Using a black-and-white canvas throughout the proceedings, it recalls an intensely grim, conscious nightmare that plasters over the hyper-realism of its brutality that while never explicit, also never fails to mask the impact of the viciousness that comes with humanitys venal nature.','d4c6805db2396d5ff429947f80bd424b',0,'','mboGVYyU',1,0,'',0,0,0),(9928,1753,3,1,0,'69.120.114.47',1174250340,1,0,1,1,1,1,'hengcs','Re: 13 (Tzameti) (France / Georgia)','Here\'s my take ...\r\n\r\nWhat i like ...\r\n\r\n-- Definitely how it ended ... How can you not like the last scene ... so intense, and yet so sad ... that look ... oh no ...\r\n\r\n-- Given that I have NOT read any synopsis before that, I actually enjoyed the film (that is, after the first 10 minutes or so) ... I thot it became \"exciting\" ONLY AFTER the letter arrived ... before that, I thot it was not very thrilling (albeit the soundtrack) ... the moment the wife looked suspiciously, i thot it became interesting ... however, most of us would think that the wife and the other guy in the car were \"bad people\" ... who would have guessed otherwise ...\r\n\r\nWhat could be better ...\r\n\r\n-- somehow, during the game, most audience would \"believe\" that the main protagonist would survive all the rounds (hence, losing the \"tension\" to some extent) ... if only the director had let him \"die\" ... hmmm ... and maybe someone else became the main protagonist ... hiaks hiaks ... to me, the ending still helped save my impression of the entire film ...\r\n\r\n-- hmmm, i thot the beginning 10 min or so werent exactly necessary ...\r\n\r\nWant to talk about?\r\n\r\n-- why did you think it is impt to film in black and white ... would the mood/essence be gone if it were filmed in color?\r\n\r\n\r\nConclusion:\r\nRecommended ...','2544ea8b56ff69dd34f5f9c2a75d8eb8',0,'','9ZClJ4os',1,0,'',0,0,0),(9929,1754,3,1,0,'69.120.114.47',1173763560,1,0,1,1,1,1,'howardschumann(d)','Linda Linda Linda','LINDA LINDA LINDA\r\nDirected by Nobuhiro Yamashita (2005), 114 minutes\r\n\r\nHaving just had a week filled with watching two Shakespearean tragedies, I was ready to be uplifted and found the perfect answer in Nobuhiro Yamashitas Linda Linda Linda. It is not only a feel-good movie, it is a feel-great movie that had the audience dancing in the aisles (figuratively, if not literally). Yamashita has managed to put together not only one of the best rock films but also one of the most truly honest films I have seen about what life is like for teenagers. It also has a very infectious song, Linda Linda Linda, arranged by former Smashing Pumpkin James Iha that will roll around forever inside your brain. The songs are not lip-synched but are actually performed by the talented actress musicians.\r\n\r\nThe plot is simple and can be summarized in a paragraph or two but the strength of the film is not in its story but in its quirky humor, natural conversations, great music, and the small moments that convey the roller coaster existence of high school life. Four girls attending Shibazaki High School in Japan want to compete at the annual Holly Rock Festival but things are not going their way. With less than three days before the competition, Moe (Shione Yukawa), the lead guitarist, has just broken two fingers in an accident and is unable to play. Two members, Kei (Yu Kashii) and Rinko (Takaya Mimura) have had a falling out and are not on speaking terms. \r\n\r\nKei (Yu Kashii) and Rinko (Takaya Mimura) have had a falling out over Rinkos attempt to recruit a boy to play in the band and are not on speaking terms. A patchwork solution is proposed where Kei decides to be the guitarist while Kyoko (Aki Maeda) moves to drums and Nozomi (Shiori Sekine) plays the bass. All that is left is to find a singer and a song, no small task. With days left to prepare, the girls agree to choose the first person who walks in the corridor in front of them. Since the first person was a boy, they decide to pass. They also pass on Rinko, a vocalist they used in a former band. \r\n\r\nSince Rinko doesnt want to sing the song theyve chosen, they pick the next girl walking by, a Korean exchange student named Son (Bae Du-na) who agrees to sing but without much knowledge of Japanese, rehearsals are a struggle to communicate. Calling themselves the Paran Maum, the girls have to sneak around the school and rehearse at night, often falling asleep on the floor. The pace of the film is slow and the girls face challenges but they are real life events, not movie problems. Kyoko is attracted to Kazuya (Katsuya Kobayashi) but needs to find the confidence to let him know. Kei must learn to work within the confines of a group and give up some control and Son has to become comfortable enough with the language to perform. \r\n\r\nWhile the story may sound like a teenage soap opera, Linda Linda Linda stays away from clich and the film is without contrived plot twists or dramatic confrontations with parents (who are mostly non-existent in the film). Along the way, however, there are some very endearing moments. One is Sons attempt to enter a karaoke club without buying a drink and her back and forth conversation with the attendant borders on the painfully hilarious. Another great scene is when a young boy tries to communicate in broken Korean to Son that he loves her but there is more than a language barrier. The acting in Linda Linda Linda is uniformly excellent, especially the performance of Bae Du-na who moves from being shy and inarticulate to front and center stage and sweeps you away with her great smile. The ending of the film is so perfect that I dare not give it away except to say that the feeling the film leaves you with is one of pure and simple joy.\r\n\r\nGRADE: A','0e0c08eb6c21ef290c376fc7a5ef43b8',0,'','W8XeZbEJ',1,0,'',0,0,0),(9930,1754,3,1,0,'69.120.114.47',1173769920,1,0,1,1,1,1,'arsaib4','Re: Linda Linda Linda','How did you get to see this film, Howard? Is it available on DVD?','3d3ad6fa184abe03c627cfab3ae871d1',0,'','uhl1s5Ty',1,0,'',0,0,0),(9931,1754,3,1,0,'69.120.114.47',1173772440,1,0,1,1,1,1,'howardschumann(d)','Re: Linda Linda Linda','No, the film will not be released on DVD in the US until May, I believe. I was lucky enough to catch a showing at the Vancouver International Film Centre.','67b474620c7c1760bb81597325d5a520',0,'','AgBbr8Ki',1,0,'',0,0,0),(9932,1754,3,1,0,'69.120.114.47',1173798660,1,0,1,1,1,1,'justindeimen','Re: Linda Linda Linda','I liked the detached point of view that was undertaken throughout as well as the strong framing. It\'s all encapsulated in the certain and unknown world of teenage girls. All roads lead to their music in the end, despite some attempts to integrate the boys into the story and the deadpan, almost stoic acting for this subject matter seems almost a novelity that in the end works most of the time.\r\n\r\nCatchy tunes at the end as well.','a1600559421e900f9464b300f42ec600',0,'','ZiQxz3uA',1,0,'',0,0,0),(9933,1754,3,1,0,'69.120.114.47',1173809640,1,0,1,1,1,1,'howardschumann(d)','Re: Linda Linda Linda','Very well put. Your comment shows a lot of insight. The whole thing is so understated that it makes the ending even more powerful.','2f6201e543b7748c213739d54f4dc23d',0,'','tn8TRv2g',1,0,'',0,0,0),(9934,1755,3,1,0,'69.120.114.47',1173238980,1,0,1,1,1,1,'justindeimen','The History Boys (UK) (2006)','Courtesy of MovieXclusive.com\r\n\r\nReview: \r\n\r\nSomewhere close to the end of the film with the denouement safely in sight, the observing and matriarchal character of Mrs. Lintott (Frances de la Tour), looks on with a certain measure of furious annoyance and adds: History is the commentary on the various and continuing incapabilities of men. And history is women following behind with the bucket. \r\n\r\nThe same very much applies to the strongly male attuned issues brought up in Nicholas Hytners film adaptation of the multi-award winning play by Alan Bennett that was fast-tracked to the big screen mere months after being well received in both the West End and Broadway. Assembling the principle cast of the stage play to reenlist in their respective roles, it seems an almost bare bones retake of the based in the 80s play given its inherent staginess and strong emphasis on dialogue with a sole consolation of having a smashing 80s era soundtrack that elicits more pathos than its classroom full of contentiously atypical teenagers could. \r\n\r\nIt does intend to deceive through flattery with the crackling voltage of faux bourgeois intellectualism that currents itself through the entire film, from the derisive snorts of its middle class potential Oxford/Cambridge applicants to the wistful whinging of pathetically impotent intellectuals meant to educate these gifted misfits. So the question remains despite the seductive goblets of quotable gems, can we trust the artfulness of art? \r\n\r\nArmed with transgressive innuendos and half-hearted epigrams, these students do more than just tease their male tutors: the rotund, flamboyant Hector (Richard Griffiths) who indulges their artistic sides with his unorthodox performance based lessons of 40s and 50s film reenactments and Irwin (a superbly understated Stephen Campbell Moore), the new school acquisition who preaches imagination over regurgitation, even through his rigidly sterile deportment. These students are inherently accepting and incredibly self-aware of each others predilections, flaws, strengths and the homoeroticism shared between them. But not all of its young actors get first billings in the film, let alone the overweight kid and the ethnic minorities. It centres itself on Dakin (Dominic Cooper), the insatiable ladies man, the sexually confused Posner (Samuel Barnett) and Rudge (Russell Tovey), the frustrated jock. \r\n\r\nThen again, a point can be made that the film is not so much about the students as it is about their conflicted and yet somewhat puerile teachers. These teachers see themselves through their students, and find themselves attracted to them because of it. Griffiths discreetly gay Hector commands the screen with his firm grip on the florid linguistics the dialogue offers up and sinks his teeth into his salty dialogue with obvious relish while the underappreciated Mrs. Lintott cements her place as the true heart and soul of the production, despite her abbreviated screen time and disapprovingly hang-dog exterior. \r\n\r\nWhen a seduction game ensues amidst the scrambling for undergraduate places in the coveted universities and true insecurities bubble to the surface, raising a few questions about the films subversive quantity of controversies. The differences of ideologies in education are examined through its differing teachers, with the students held up as a counterpoint to the dispute. When can emotions play a part in the alienating disposition of history? With an unsettlingly glib acceptance of sexual teacher-student relationships, were left to wonder at the games and impetuses behind it all was something lost in translation? Perhaps, these unctuous students and teachers are nothing but talking heads, espousing ideas and debatable causes instead of the real people they should have been.','65c3b352e2b753b03e902454e4fd4fed',0,'','vDLfy20m',1,0,'',0,0,0),(9935,1755,3,1,0,'69.120.114.47',1173318660,1,0,1,1,1,1,'hengcs','Re: The History Boys (UK) (2006)','Oh no ... only 3 stars from u ... (see moviexclusive.com)\r\nBut I guess I will still be watching if time permits ...','40cd0a0e694243f2355fc50d66055e70',0,'','yrvmxCYo',1,0,'',0,0,0),(9936,1756,3,1,0,'69.120.114.47',1155808320,1,0,1,1,1,1,'arsaib4','Ilya Khrzhanovskys 4 (Russia / 2005)','___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n***possible spoilers***\r\n\r\nThe opening shot of Russian filmmaker Ilya Khrzhanovskys 4 has been rightfully celebrated: a meticulously composed image, consisting of a quartet of wild dogs resting on a street during a winter night, is suddenly intruded upon by heavy machinery looking to demolish everything in its path, which quite possibly signifies the end of Russias post-Soviet malaise while insinuating the countrys growth towards \"re-industrialization.\" But at what cost and at whose expense are just a couple among numerous fascinating queries showcased by the filmmaker in his unique and groundbreaking debut feature. \r\n\r\nIn 4, nothing is what it seems, a quandary certainly prevalent at the heart of the films bravura, masterfully-shot 30-minute scene which serves as the centerpiece of the first half. An otherwise empty Moscow bar at way past midnight is livened up by three strangers -- Marina (Marina Vovchenko), Volodia (Sergey Shnurov) and Oleg (Yury Laguta), who had been individually introduced to us earlier -- as they amuse one another with false stories involving their professions, not leaving many stones unturned. Their mostly relaxed, Linklater-esque discussion segues into such topics as secret human cloning projects, Kremlins extracurriculars, Chinas rise, etc. -- all tangentially indicative of Russias \"postmodern\" turmoil (which Khrzhanovsky attempts to exploit at every turn). \r\n\r\nThe second half, which primarily focuses on Marina, begins with her physical journey through dilapidated rural landscape, bringing to mind Bla Tarr\'s Damnation (1988) and Stntang (1994), especially the former due to Khrzhanovsky\'s emphasis on a rich, industrially ambient sound-design. Her destination turns out to be a Stalker-esque village -- Khrzhanovsky also evoked Solaris [1972] in an earlier sequence shot from a car\'s dashboard -- teeming with \"babushkas,\" who are in mourning due to the death of Marina\'s sister Zoya. (At the village, we do however get to witness Marinas two other siblings who appear to be identical-twins.) Before Zoyas death, this godforsaken place was being run from selling dolls made out of masticated bread (the kind Svankmajer would love to own), which she used to mold in a manner to give each one a distinctive trait. \r\n\r\n4, for which the Moscow-born Khrzhanovsky worked with radical, controversial Russian scribe Vladimir Sorokin, whose novel \"Blue Lard\" reportedly featured Khrushchev and Stalin in compromising situations, is part of Russias recent Necrorealist movement, mostly featuring underground works that have been described as sef-consciously inflammatory who feast upon the putrefying corpse of the Soviet state. No wonder that in the film while the old hags are busy belting out a patriotic, Stalin-era number (cant remember if that was before or after they exposed and started playing with their mammary glands), Khrzhanovsky abruptly cuts to Volodia slaving away in a prison with countless others, not long before theyre sent to fight in a war in order to \"atone for their sins.\" Also, the doll factorys dispirited young head (and Zoyas boyfriend) is usually seen walking around in a drunken haze, constantly cursing \"metal scum\" for their putrid, marginalized existence. (4, an official Russian production, was banned upon its initial release in Russia; the authorities demanded major cuts to the film.)\r\n\r\nThe numerological significance of the title is never quite made explicit by Khrzhanovsky, though he constantly brings it to attention both visually and narratively. \"It was never sacred in any culture\'s history Four!,\" one of his characters once muses, ultimately referring to the first Russian incubator to successfully propagate \"doubles.\" \"Its the number the world rests on.\" But that never takes away from the directors visionary stylistic tics, encompassing a range usually only witnessed in masterworks.\r\n\r\nWinner of the \"Tiger\" (Best Film) and \"The Golden Cactus\" (Theo van Gogh\'s in-memorium for maverick filmmakers) awards at the 2005 Rotterdam Film Festival, 4 is a challenging and uncompromising effort, but unlike, for example, Carlos Reygadas Battle in Heaven (2005), a film 4 shares certain aesthetical traits with, it respects its audience which eventually becomes an inviting aspect to say the least. Indeed, and very much like an Apichatpong Weerasethakul parable, Khrzhanovskys film is partially willing to reveal its taxonomies upon being asked the pertinent questions. No wonder the experience is at once exhilarating and exhausting, which is what cinema should more often strive to provide.\r\n\r\nGrade: A-\r\n_____________________\r\n\r\n*4 premiered at the 2005 Rotterdam Film Festival. The film was released in the U.S. earlier this year by Leisure Time Features.\r\n\r\n*Available on DVD in the U.K. (ICA). The Russian DVD of the film also features English subs. \r\n_____________________','f3794e6e58c4ad44f27a98fb3f09317e',0,'','nv9sXM5F',1,0,'',0,0,0),(9937,1756,3,1,0,'69.120.114.47',1155815520,1,0,1,1,1,1,'trevor826','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','Thanks for your marvelous review and I\'m glad you\'ve had the chance to see it. You have managed to include some wonderful terminology some of which is completely new to me \"Necrorealist movement\" for one which is a wonderfully descriptive term. \r\n\r\nIt has been a while since I\'ve seen 4 but I do remember the number constantly figuring throughout the film, to list even a few of the times would neccessitate spoilers which I\'m glad to say are virtually non-existent in your review.\r\n\r\nThis film unfortunately didn\'t get a theatrical release here but I would definitely reccomend 4 (Chetyre) to everyone as an interesting albeit at times slightly disturbing look at post communist Russia.\r\n\r\nOne point that is clearly raised, for the people who\'ve lived long lives under a state that virtually controls their whole lives basically making them institutionalised, even a modicum amount of freedom is too much for them to cope with. They simply have no idea how to deal with it. \r\n\r\nCheers Trev.','b32b91e68e5d3e421dcd8fcab34bac1a',0,'','vZyxeEDW',1,0,'',0,0,0),(9938,1756,3,1,0,'69.120.114.47',1155875880,1,0,1,1,1,1,'A','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','Great to see that you get such controversial films released in The US and UK (at least on DVD). I\'m still waiting for it to appear in Germany, but the reviews I\'ve read so far were all positive, so I\'ll just cross my fingers.\r\nI think the director said in an interview that every shot of the film always had four elements in it. Quite a task, if you try not to get annoying with this. \r\nArsaib, you mention the film being banned in Russia. Do you have more information about it? I\'d like to know how long this ban lasted, what the official explanation for it was, and if anything was cut or changed from the original version.','4aa7c4a824c67b4ba1d549096095d34b',0,'','g9RcvmfX',1,0,'',0,0,0),(9939,1756,3,1,0,'69.120.114.47',1155881160,1,0,1,1,1,1,'arsaib4','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','Films such as 4 almost inspire you write about them, so it was fun. Usually it\'s difficult to come up with anything, at least in my case.\r\n\r\nNecrorealism, which apparently began in the early 1980\'s, deals with, to put it simply, \"the mutual contamination of life and death,\" and it has been manifested in all art forms, not just film.\r\n\r\n\"One point that is clearly raised, for the people who\'ve lived long lives under a state that virtually controls their whole lives basically making them institutionalised, even a modicum amount of freedom is too much for them to cope with. They simply have no idea how to deal with it. \"\r\n\r\nTrue. The same could be said about the subjects in Manderlay \r\n\r\nA: I don\'t have further info regarding the ban. But the official Russian DVD which I mentioned does contain the full feature w/out cuts.','b83c82c45fa52f6f0710ac53577cf99f',0,'','wSBo3D5l',1,0,'',0,0,0),(9940,1756,3,1,0,'69.120.114.47',1155906900,1,0,1,1,1,1,'trevor826','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','I haven\'t seen Manderlay yet, I will catch it soon though.\r\n\r\nI\'ll have to investigate the topic of \"Necrorealism\", was it mainly based in Russia or is it more of a Worldwide movement?\r\n\r\nCheers Trev.','6129cb1438c11a087a3aa9912a2189cc',0,'','Qu4EdaqC',1,0,'',0,0,0),(9941,1756,3,1,0,'69.120.114.47',1156010580,1,0,1,1,1,1,'justindeimen','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','Thanks for the review!\r\n\r\nI\'m getting the DVD in soon and I can\'t wait to check this out. I imported in while not knowing much of the plot or its buzz, just for a thrill I suppose. Now I\'m quite sure this risk will be paying off. I\'m only unsure if the UK DVD I\'m getting has hardcoded subs or not.','976e4c994856bfdb3a3ecc145691ad95',0,'','stWjo1Lb',1,0,'',0,0,0),(9942,1756,3,1,0,'69.120.114.47',1156019760,1,0,1,1,1,1,'arsaib4','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','\"I\'ll have to investigate the topic of \"Necrorealism\", was it mainly based in Russia or is it more of a Worldwide movement?\"\r\n\r\nSo far I\'ve only come across it being referenced as a Russian movement which began in the Leningrad art scene. Sokurov\'s former student, experimental filmmaker Yevgeniy Yufit, was one of its founders. More Info.\r\n\r\nI believe the UK DVD has burnt-in subs.','af5815f20514b6beccffa59758382c22',0,'','kKaHtVUA',1,0,'',0,0,0),(9943,1756,3,1,0,'69.120.114.47',1156091520,1,0,1,1,1,1,'trevor826','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','I believe the UK DVD has burnt-in subs.\r\n\r\nUnfortunately yes it does. Also thanks for the info and link arsaib4.\r\n\r\nCheers Trev.','dcc21998a6b41f036105fd607d7ba8b6',0,'','0N63UX5w',1,0,'',0,0,0),(9944,1756,3,1,0,'69.120.114.47',1168343340,1,0,1,1,1,1,'wpqx','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','Well the film came out about two weeks ago on DVD here in the US, and I\'ve had to wait this long to be able to get a copy. Parts of the film were quite baffling to me, and the whole \"plot\" contained in the second half of the film was a complete mystery to me. Thanks to arsaib\'s review I was able to at least comprehend some of what I was viewing, but things don\'t exactly connect in nice linear packages here. There are a lot of things I liked about the film, including almost all of the shot choices, but the film didn\'t really come together for me. Not sure what I was expecting.','a46f065ad8a9a9e1ea3b382bf66afe0d',0,'','j2WV6XNr',1,0,'',0,0,0),(9945,1756,3,1,0,'69.120.114.47',1168425840,1,0,1,1,1,1,'arsaib4','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','I\'m very encouraged by the fact that you saw the film and were able to get something out of it. You\'re right, not everything comes together perfectly, but that just may have been the intention, especially considering the subject matter. Since it made quite an impression on me the first time, I went back to the film soon after I saw it. If I hadn\'t done that, I probably wouldn\'t have been able to review it. I\'m looking forward to Khrzhanovsky\'s upcoming projects.','a9a973229ebd77b580406ee54a948f01',0,'','3BSVRgrl',1,0,'',0,0,0),(9946,1756,3,1,0,'69.120.114.47',1173178620,1,0,1,1,1,1,'arsaib4','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','wpqx: were there any extra features on the DVD you watched?','68dd67ee5eb4fe465cadabf59559003e',0,'','ewKz0PNi',1,0,'',0,0,0),(9947,1756,3,1,0,'69.120.114.47',1173188400,1,0,1,1,1,1,'wpqx','Re: Ilya Khrzhanovskys 4 (Russia / 2005)','I honestly don\'t remember. I saw the American DVD of it, but I didn\'t watch any special features if they were included.','37aa5c4d6b5aab4166650a24cb4533ee',0,'','qkHFeglE',1,0,'',0,0,0),(9948,1757,3,1,0,'69.120.114.47',1173073500,1,0,1,1,1,1,'hengcs','Notes On A Scandal (UK) (2006)','Director: Richard Eyre\r\nCast: Judi Dench, Cate Blanchett\r\n\r\nHmmm, I am surprised I couldnt find a thread on it. Has anyone else reviewed it (maybe in the Last Seen Movie Thread?!)\r\n\r\nAnyway, I thought it was a simple story that was \"told compellingly\" by the two actresses, and the music score ... \r\nIn particular, the voice over by Judi Dench is \"haunting\" ... Not having the read the book, I am not sure if the movie was faithful, did a better or worse job than it ...\r\n\r\nI thought it was a great film because at the end, despite knowing the criminal offense committed, most audience would likely pity Cate (to some extent) ... as for Judi Dench, though one can easily typecast her as the villain, one could not help but \"occasionally\" sympathize with/pity her ...\r\n\r\nSo, I say ... recommended','2e4fc14510c9c5820d58d15d800e2a2d',0,'','kpgWHmy7',1,0,'',0,0,0),(9949,1758,3,1,0,'69.120.114.47',1166097000,1,0,1,1,1,1,'hengcs','Shang Cheng (Confession of Pain) (2006) (Hong Kong)','\r\n\r\nDirector: Andrew Lau Wai Keung, Alan Mak Siu Fai\r\nCast: Tony Leung Chiu Wai, Takeshi Kaneshiro, Xu jing Lei, Shu Qi\r\n\r\nAnother highly anticipated film by many Chinese this december \r\n\r\nThe official site is\r\nhttp://www.confessionofpain.com/\r\n\r\nHere\'s the trailer (with English subtitles) ...\r\nhttp://www.youtube.com/watch?v=oktYVmpD64s','e5de8ab342af0e6acf7dbe7149f09389',0,'','mZ3Kw0je',1,0,'',0,0,0),(9950,1758,3,1,0,'69.120.114.47',1166882700,1,0,1,1,1,1,'hengcs','Re: Shang Cheng (Confession of Pain) (2006) (Hong Kong)','My thoughts ...\r\n\r\n(i) Philosophy on sadness/life? \r\n\r\nAlthough framed as a \"crime story\", the film is more interested in philosophizing and characterization ... so, please look deeper than \"who is guilty? ... or what actually happened? ...\"\r\n\r\nFor those who are not aware, the Chinese title translates to \"Hurt\" and \"City\" ... highlighting the fact that all of us must have been hurt by the city sometime somewhen in our life ... many times, we cannot possibly get over these sorrows/events ... \r\n\r\nSo, the film deals with how the various characters try to overcome their misery ... should we drink ourself drunk? ... should we seek the truth? ... should we seek vengeance? ... etc ... \r\n\r\n... maybe at the end, we would realize that whatever we have lost, we have already gained it back unknowingly, only to be destroyed by ourselves again ...\r\n\r\n... maybe at the end, we thought we would do this and that ... but when it really happened ... we might not ... reality is so unpredictable ... etc\r\n\r\n(ii) The entire cast has to be credited ... but I would like to commend on Tony Leong ... wow ... would he get a Best Actor Award in next year\'s Golden Horse? ... He is intense ... \r\n\r\nAs for Takeshi and Xu Jing Lei, they are both great actors who have been given tough roles ... so, watch and tell me how many points you give them ...\r\n\r\nThere are also great scenes by the supportinmg cast ... esp. Chapman To ... and to some extent, Shu Qi ... but I guess the humor might be better in Cantonese ...\r\n\r\n(iii) finally, the soundtrack/music/songs ... to keep the pacing, the soundtrack has an impt role ... likewise, to stir your emtions, a few of the songs really sounded at the correct momemts ...\r\n\r\n\r\nConclusion:\r\nHighly recommended ... in particular, i have to commend on Tony Leong ... wow ... would he get a Best Actor Award in next year\'s Golden Horse? ... if you are a mainstream audience, it has a nice plot to engage you (although it is initially slow, it gets better) ... so, please AVOID reading too many reviews with spoilers, it kind of spoil the fun (if any) ... and if you are a more pensive person, it has some impt messages abt sadness/life ...\r\n\r\n\r\nPS: Is it another Infernal Affairs? No ... it is actually VERY DIFFERENT ...','b08a1dfc01c30078f22ee35d85055b88',0,'','JmZUST6q',1,0,'',0,0,0),(9951,1758,3,1,0,'69.120.114.47',1167810540,1,0,1,1,1,1,'A','Re: Shang Cheng (Confession of Pain) (2006) (Hong Kong)','Thanks for the post hengcs. I have watched the trailer and it looks like an interesting action-comedy Drama. I have been completely out of touch with Hongkong productions of the last three years, and need to catch up. Seeing some actors and actresses I like together on screen could help to revive my interest. My last visit to a Film Festival geared towards Hong Kong has been at least two years ago, and although I saw mainly mainstream productions, I have fond memories of it. The Filmindustry in Hong Kong used to be so alive during the 90s, but while it seemed that it might run out of gas for a couple of years afterwards, I have the feeling it is struggling for a comeback. \r\nHopefully. \r\n\r\nAnd if nothing works, I still have some Shaw Brothers films on DVD that I haven`t seen yet.','10f482c04374d4fd451dc6f04b31ad5d',0,'','rJnfaKcB',1,0,'',0,0,0),(9952,1758,3,1,0,'69.120.114.47',1172912160,1,0,1,1,1,1,'hengcs','Re: Shang Cheng (Confession of Pain) (2006) (Hong Kong)','\"latest\" news ...\r\n\r\nHong Kong cop thriller \"Confessions of Pain\" starring Tony Leung and Takeshi Kaneshiro will be remade by Hollywood. William Monahan, who won the Academy Award for best adapted screenplay for writing \"Departed,\" will adapt \"Pain\" and executive produce. \r\n\r\n\"The Departed\" will likely star Leonardo DiCaprio in it.\r\nwow ...','d0766ccd39e31e810325885ee9ea6972',0,'','7fkF0h2C',1,0,'',0,0,0),(9953,1759,3,1,0,'69.120.114.47',1171769100,1,0,1,1,1,1,'jcdavies','Hooray for Bollywood!','Some clips from classic musicals\r\n\r\nwww.youtube.com/watch?v=ZMzoP3hytl8 \r\n\r\n(a pity the next one isn\'t on the big screen, for all the background set details) \r\n\r\nwww.youtube.com/watch?v=mjdEkTWTFhQ \r\n\r\nwww.youtube.com/watch?v=y...ed&search= \r\n\r\nwww.youtube.com/watch?v=A...ed&search= \r\n\r\nwww.youtube.com/watch?v=PXmB6f6GcTY\r\n\r\nanother that needs a big screen: \r\n\r\nwww.youtube.com/watch?v=I-Cv3oLEi2o \r\n\r\nwww.youtube.com/watch?v=8UkEcMxjGO8','4c8901d817a8be799c1a7433ad45f32d',0,'','kCl3tq2N',1,0,'',0,0,0),(9954,1760,3,1,0,'69.120.114.47',1172637660,1,0,1,1,1,1,'peppajaa','Ali: Fear Eats the Soul','At first sight, \'Fear Eats the Soul\' is a small, simple romantic film. But look closer and you\'ll see it is so much more, it is a comment on subliminal prejudices and selfishness. It shows what a film can do, even if its budget is tiny, if it only believes in the power of its story. This is a Rainer Werner Fassbinder film that takes place in mid-1970 Munich. A 50-ish woman and a younger Moroccan man fall in love. Watch out for the agism, racism, tauntings, distrust, etc. Through it all the two try to rise above all this garbage, especially Emmi, the woman, played by Brigitte Mira with such grace and wisdom. \r\n\r\nApparently Fassbinder was a fan of Douglas Sirk, American director of the 1940s/50s, and this was Fassbinder\'s homage to Sirk\'s film of the 50s All That Heaven Allows.\r\n\r\nPeppa','aeabe63a07afdf087904a1b367089151',0,'','eK807jx3',1,0,'',0,0,0),(9955,1761,3,1,0,'69.120.114.47',1147780500,1,0,1,1,1,1,'hengcs','The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','\r\n\r\nDirector: Amir Muhammad\r\n\r\nSynopsis\r\nIt is \"supposedly\" a documentary/film about the life of Chin Peng, leader of the Malayan Communist Party (MCP).\r\n\r\nMy thoughts ...\r\n\r\n-- Without reading any reviews/news prior to watching, I guess I was UNPREPARED for the approach. I did not watch it at the Singapore International Film Festival. \r\n\r\nHowever, its premier at the Berlin Film Festival 2006 and some reviews at sgfilm.com prompted me to watch when it was released for \"normal\" screening at The PictureHouse.\r\n\r\n-- Unlike many \"serious\" documentaries, it took various unorthodox approach ...\r\ne.g., the \"supposed\" last communist was NEVER shown ... in pictures or video or anything ... except in text ...\r\ne.g., there are little (if any at all) archival pictures/clips/etc except for the last peace talk (where the dialogues are \"mimicked\" based on transcripts) ...\r\n\r\n-- Audience are gonna leave the film with MIXED opinions. At the end, some might feel they have \"lived\" through those time and places while others might wonder if they have really learned much about \"The Last Communist\" (i.e., his personality, his thoughts, his motivation, etc ...). So, go watch and decide for yourself ... \r\n\r\n-- Anyway, regarding the approach\r\n\r\n... the director tries to make the audience \"live\" through those times through interviews with current residents in those places (e.g., Sitiawan, Bidor, Taiping, Ipoh and Betong etc) or some who have survived those times ...\r\n\r\n... also, he has several \"musical\" numbers which kind of pay tribute to earlier 1940s TV ads (but also kind of satirizes) ... again, decide for yourself ...\r\n\r\nConclusion\r\nA very \"different/unorthodox\" approach towards documentary.\r\nI am not sure if everyone likes it (in terms of \"style\"). \r\nAs usual, I guess some will like the \"style\" while others will frown upon it.\r\n\r\n* Disclaimer: \r\nThe following is simply an article from the director\'s weblog ...\r\nit does NOT in any way reflect the board member\'s opinion ... \r\n\r\nGiven the diversity in world culture, religion, beliefs, etc ...\r\nplease be respectful of every country\'s decision if you feel like commenting on the article ... * \r\n\r\n(from the director\'s weblog)\r\n\r\nWhy is Lelaki Komunis Terakhir banned in Malaysia?\r\nsee\r\nhttp://lastcommunist.blogspot.com/2006/05/why-is-lelaki-komunis-terakhir-banned.html','cc66034ab7373b0eed3029fd2dcf5af6',0,'','ZpSXlgUy',1,0,'',0,0,0),(9956,1761,3,1,0,'69.120.114.47',1160987220,1,0,1,1,1,1,'hengcs','Re: The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','Hi,\r\nI recall arsaib4 enquiring abt the DVD ...\r\n\r\nthis is the official distributor in Singapore\r\nsee\r\nwww.comstar.sg/recommende...e_no=00268\r\n\r\nmaybe you could email them to ask if they do online sales ...','057531998ce62e0a3bf50694ac87d709',0,'','nN4mDuHV',1,0,'',0,0,0),(9957,1761,3,1,0,'69.120.114.47',1161479100,1,0,1,1,1,1,'arsaib4','Re: The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','Thanks for the info, hengcs. I did email the distributor a few weeks ago, but due to certain issues regarding territorial rights I was told that the film can\'t be made available to overseas buyers. Looks like I\'ll just have to contact the director.','eab33d01eb6463236d45b1362ed7a48d',0,'','79tXB2PH',1,0,'',0,0,0),(9958,1761,3,1,0,'69.120.114.47',1172231340,1,0,1,1,1,1,'hengcs','Re: The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','\"Village People Radio Show\"\r\nby the same director\r\n\r\nIt was featured in this year\'s Berlin Film Festival\r\nwww.berlinale.de/en/progr...d=20072846\r\n\r\nMalaysia bans film on former communists living in Thailand\r\nread\r\nwww.iht.com/articles/ap/2...ie-Ban.php','8b463585e86db01848359ec288e75ecc',0,'','aoet5KvJ',1,0,'',0,0,0),(9959,1761,3,1,0,'69.120.114.47',1205904480,1,0,1,1,1,1,'hengcs','Re: The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','Hi arsaib4 \r\n\r\nif you are still keen \r\nclick \r\nhttp://www.moviexclusive.com/estore/index.php?productID=187 \r\n\r\nanyway, i am not sure if you will like the film ...','a4788f0347474a627c7bc01a5cdd04f4',0,'','CBGqPas2',1,0,'',0,0,0),(9960,1761,3,1,0,'69.120.114.47',1205990880,1,0,1,1,1,1,'A','Re: The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','It also seems to be available at Amazon.com now. \r\n\r\nI\'ve read some of the articles regarding this film, and his last project. Too bad I didn\'t see any of them at the Berlin Film Festival, where I had the opportunity. I\'m also thinking about importing one or both of the films. You make \"The Last Communist\" sound very interesting hengcs! thanks a lot. And it was a great idea to include the link to the blog posting about the censorship issue in Malaysia. Extremely interesting reading material. I always like to know about approaches to censorship in different countries, and I\'m also quite ignorant when it comes to the history of Malaya et al. (sad to say I don\'t even know much about Singapore or Malaysia today). These two films do sound like insightful exercises in dealing with the past, and as I come from a country that used to be a \"communist\" dictatorship, most issues of political and personal freedom do capture my attention on an intellectual and emotional level. \r\n\r\nAs I read that \"The Last Communist\" has sold very good on the local black market, I\'d like to know a bit more about this. Could you explain a bit how these black markets work, if you have any knowledge about this, or direct me to some internet pages that discuss this issue? And I\'d also like to know how the people in Malaysia or Singapore reacted who saw the film. \r\n\r\nAnd what is your opinion on the first film (and if you\'ve already seen it the second film), now that some time has passed? \r\n\r\nAnd have you contacted the director, arsaib? If so, what does he say about the possibility of his film getting an international DVD release? \r\n\r\nI know, I\'m a bit curious today.','d5048d29d0e44cea9634647d505c5e71',0,'','8PmGMDAa',1,0,'',0,0,0),(9961,1761,3,1,0,'69.120.114.47',1206000480,1,0,1,1,1,1,'hengcs','Re: The Last Communist (Lelaki Komunis Terakhir) 2006 (Malaysia)','(1) since it is on amazon, maybe it is considered an international release, hee hee \r\nclick \r\nhttp://www.amazon.com/THE-LAST-COMMUNIST/dp/B000N6UHFE \r\n\r\n(2) in case you think i highly recommend the film, read again ... hee hee ... i was cautious with my phrasing (becos i like to be encouraging and nice to directors/films) ... if i really like the film a lot, i would say HIGHLY RECOMMEND ... ha ha ... since you want my very frank opinion, i would say ... i was kind of \"upset\" that NOT enuf was mentioned/informed abt the person/backgrd etc ... in other words, if you go watching with zero knowledge about the history and hope to be very enlightened abt the person/events after watching, you would be disappointed ... however, if you want to know abt \"life\" in general during that period, maybe you will gain something out of it ... \r\n\r\n(3) black market ... in local context, it usually refers to the fact that since it cannot be shown commercially, people simply try to get the \"pirated/illegal\" dvds to watch ... like any other countries, the locals would usually know where to get the \"prirated/illegal\" dvds ... governments would usually try to catch them, but just like any other countries, you can never totally eradicate crimes/piracy etc ... i think same with china ... in the past, a lot of films may be banned, yet the Chinese have their means and ways to watch those films ... \r\n\r\n(4) local reaction to the film?! very frankly and humbly, i doubt many have watched ... i would say only the die hard art film goers might have watched ... i think opinions differ ... \r\nclick here (for some local, maybe a few foreigners\' views) \r\nhttp://www.sgfilm.com/forum/viewtopic.php?t=1810&postdays=0&postorder=asc&highlight=last+communist&start=0&sid=57d9faaaa4b6d773b56d8edc2867fa3b \r\n\r\nSince you are so interested, I also help you surf some things from internet \r\n\r\n(5) The Last Communist \r\n-- The blog \r\nhttp://lastcommunist.blogspot.com/ \r\n-- wikipedia \r\nhttp://en.wikipedia.org/wiki/The_Last_Communist \r\n-- NYtimes article \r\nhttp://www.nytimes.com/2006/07/09/movies/09lim.html \r\n-- Twitch \r\nhttp://twitchfilm.net/archives/006310.html \r\n\r\n(6) Village People Radio Show \r\n-- HKIFF \r\nhttp://hkiff-mx.blogspot.com/2007/03/review-village-people-radio-show-apa.html \r\n-- moviexclusive \r\nhttp://www.moviexclusive.com/review/villagepeopleradioshow/villagepeopleradioshow.htm \r\n-- another review \r\nhttp://apersistentvision.blogspot.com/2007/05/village-people-radio-show-apa-khabar.html \r\n\r\nrgds','c16c26742099b1cb1280b491c3fadd30',0,'','NUYnXfTL',1,0,'',0,0,0),(9962,1762,3,1,0,'69.120.114.47',1171295940,1,0,1,1,1,1,'justindeimen','Protege (2007) (Hong Kong)','title corrected by admin \r\n\r\nCourtesy of MovieXclusive.com \r\n\r\nReview: \r\n\r\nDespite the films obvious allusions to the Infernal Affairs trilogy, Protg does stand on its own merit for the most part. The blurred lines of good and bad are still fuzzy and Andy Lau is still the charming rogue. But even with an overwrought and overstated script, Protg has its fair share of grandstanding that still ends up being fun and I dare say, quite astute. Theres no ambiguity surrounding the films overarching message. It does not take both sides eventually, something that plagues many crime dramas when they succumb to wanton idolisation of crime syndicates and drug cartels. If writer-director, Derek Yees sleeve is read correctly, his stance is simple and non-negotiable drug trafficking is evil. \r\n\r\nAs one of Asias most bankable leads, Andy Lau adds another notch to his mantle following Battle of Wits. A strong performance as an aging drug lord in Protg follows his turn as a Mozi warrior. Despite being a starring vehicle for young gun Daniel Wu, Andy Laus presence is a prime factor in the duos key scenes together as teacher and protg. The narrative is uncomplicated (but proceeds with an in media res beginning), as it introduces to us a victim of the heroin (the drug of choice in this film) industry, Jane (Zhang Jing Chu) who feeds into the vein of apparent determinism regarding the rampant use of drugs amongst the poverty stricken, perpetuating a cycle that is as senseless as it is damning. Indeed, Protg tentatively inquires early on if the slight distraction of drug use is worse than the emptiness and constant temptations felt by those living in the grimy shadows of societys margins. \r\n\r\nFurther amplifying the resemblance to Infernal Affairs, Wu plays an undercover agent, Nick whos 8 years deep into his role as a high-ranking member of one of Hong Kongs top drug cartels and next in line to take over from the ill Kwan (Lau). Expectedly, this quandary is one Nick cant seem to get out off considering the relationships he has built and the uncertainty that awaits him after his sojourn with the evident enemy. In truth, Nicks instrumental in the organisations continued reign, which just further adds on to the guilt hes not ready to face. Thrown in the mix is Nicks burgeoning relationship with Jane that through a warped sense of morality begins to change their attitudes towards the narcotics their lives have become entrenched in. And despite the strong ancillary cast that also includes Louis Koo and Anita Yuen, they feature in inflated means-to-an-end cameos that are satisfactory but never really make an impression. But the core cast of Lau, Wu and Zhang hold strong throughout the film. \r\n\r\nThe film takes noticeable pride in elucidating the progression of drug trafficking from its very bottom rung to the middlemen and finally to the benefits of the higher echelons. There are trips through Thailands poppy fields all the way to the network of mules and the distribution network it utilises to ensnare potential addicts. Therein lies a relatively comprehensive expos on drug production that does not feel antiseptic and alienating. Theres no denying that Yees research does play a strong and influential part in the films overall success.','94c28dd2a32bf6e1a84c4333003e8620',0,'','iMD7vG0L',1,0,'',0,0,0),(9963,1762,3,1,0,'69.120.114.47',1171535580,1,0,1,1,1,1,'hengcs','Re: Protege (2007) (Hong Kong)','Hey,\r\nI have actually watched this during the preview ...\r\n\r\nI will share my 1 cent worth after lunar new year ...','5cd4ab60728d21f7184778ff674ca72d',0,'','DPFSZxjN',1,0,'',0,0,0),(9964,1763,3,1,0,'69.120.114.47',1169803020,1,0,1,1,1,1,'wpqx','Little Birds (2005) - Takeharu Watai','Well we\'ve seen an awful lot of Iraq. From the stories the news pumps out, to even some insightful and provacative films from troops perspectives. However I don\'t recall a film about the conflict from the perspective of the Iraqi people. Leave it to a Japanese man to get into the thick of things. Watai, an award winning reporter, puts a face on the war, and its an Iraqi face. With his own camera, he starts interviewing people before the war, during the conflict, and after the \"war\" was supposedly over. \r\n\r\nThe scenes shot during the bombing of Baghdad are absolutely rivitting. Watai\'s camera focuses on the victims, particularly the children, and the subtitle for the film is \"How Many Children Have You Killed?\" The main thrust of the film focuses\' on Ali Saqban, who lost three of his four children in one day. It is implied that perhaps without the US tanks blocking the road to the hospital he may have been able to save at least one of them. The finger is deliberately placed on the US soldiers, and at time it may even seem one sided. Even when there are people cheering the end of Hussein\'s reign, it is usually largely photographed and part of a media mess, perhaps explaining how certain images get out.\r\n\r\nSaqban is really a tragic figure, losing four of his family members during the Iraq-Iran war in 1987. The plus side of his story is that one of his daughters did survive, and a year after this film was made, he and his wife had another child. It doesn\'t compensate for his loss, but life has gone on, and they still have some fear of going out. Most of the people have no desire to have US troops there. Some acknowledge the end of Hussein, but want their own country back. Perhaps the truest line comes from a little girl who had a piece of shrapnel in her eye. Watai asks her why the US is there and she says \"I think they want our oil. They want to colonize us.\" Odd how the young have no filter, and say what we\'ve all been suspecting.\r\n\r\n   It is through Saqban that we can see how the Iraqis would be so hostile to our occupation, even vowing to kill an American soldier if he sees one. The war itself was an international media circus; with even a few Japanese soldiers are part of the mighty coalition. Watai is stressing perhaps again that no one cares about Iraq until the white influence has come into it, again relaying the American egoist attitude that they are better than the rest of the world, and naturally everyone would like to be like us. As a news piece Id say this is very effective; however as a feature film this may not work as well as a traditional war documentary. However thanks to Watai we have something of a neutral perspective, someone filming this who is neither Iraqi or a soldier, and certainly not American.\r\n\r\nAs of today, Watai\'s film has no distribution in the US. In fact Watai himself was present at the screening I attended, and he said that it was the first time the picture was shown in the US. He is taking it around the country personally, and I hope that more people, particularly the \"right\" people get a chance to see this.','8793f9094651cb3714c604052f6add4b',0,'','zqs5D8FE',1,0,'',0,0,0),(9965,1763,3,1,0,'69.120.114.47',1169804460,1,0,1,1,1,1,'arsaib4','Re: Little Birds (2005) - Takeharu Watai','Will keep an eye out for this one. Does it have a website?','d3a64f5802f695b155348d59bc644f4c',0,'','melU8gN1',1,0,'',0,0,0),(9966,1763,3,1,0,'69.120.114.47',1169809800,1,0,1,1,1,1,'wpqx','Re: Little Birds (2005) - Takeharu Watai','I just found out the film is available as a Region 2 DVD\r\n\r\nwww.hkflix.com/xq/asp/fil...etails.htm','980fb4155de4a645f1a36e3d236e538f',0,'','sYdtT2Lq',1,0,'',0,0,0),(9967,1763,3,1,0,'69.120.114.47',1171020480,1,0,1,1,1,1,'arsaib4','Re: Little Birds (2005) - Takeharu Watai','I wish a cheaper HK version of the DVD was available...','6c274076ead9432256832fc0012d7fa8',0,'','tyJleNQx',1,0,'',0,0,0),(9968,1764,3,1,0,'69.120.114.47',1170709260,1,0,1,1,1,1,'howardschumann(d)','Far Side of the Moon','THE FAR SIDE OF THE MOON (La Face cache de la lune)\r\nDirected by Robert Lepage (2003) 105 minutes \r\n\r\nTo search expectantly for a radio signal from an extraterrestrial source is probably as culture-bound as to search the galaxy for a good Italian restaurant Terence McKenna\r\n\r\nUnlike the ancient notion that the moon is a mirror of the Earths surface, modern space exploration and satellite imagery have revealed that the moon is a large cratered rock with the far side permanently turned away from the Earth. In Quebecois director Robert Lepages film Far Side of the Moon, the moons far side serves as a metaphor for the divide that separates two brothers, each with a different sexual orientation. Based on a one-man stage play by Mr. Lepage, it is both a history of mans exploration of the surface of the moon and the inner exploration of two individuals who are trying to put their life in order after the death of their mother (Anne-Marie Cadieux). \r\n\r\nShot in fifteen days in digital video using dissolves and CGI, the film creates a dazzling confluence of reality and fantasy that moves effortlessly between past and present utilizing delightful, surreal effects that form a bridge between the Earth and the cosmos. Philippe looks at the window of a washing machine and sees the vastness of space, a trip into the stomach of a pregnant mother turns a fetus into a tiny astronaut connected to his craft, the stacking of bottles in a restaurant becomes the launching of a space mission, and a man walking on snow becomes an explorer on the moon. The two brothers, Philippe and Andr, are performed in a dual role by the director. Philippe is an unhappy dreamer with no relationship and no profession. \r\n\r\nHe works as a telephone solicitor for the Montreal newspaper Le Soleil but is clearly distracted and makes personal calls to his ex-girlfriend (Cline Bonnier) and his brother that cause his employer consternation. His younger brother Andr, a gay man, is a weatherman for the local television station and maintains an ongoing relationship with Carl (Marco Poulin). More carefree than Philippe, he is preoccupied with disposing of his mothers possessions. Philippe is a perennial student who, at age forty, is still seeking approval for his Doctoral dissertation which argues that mans desire to explore space is built, not on discovering the mystery and wonder of the universe, but on his own narcissism - his act of self-projection. \r\n\r\nWhen Philippes thesis is again rejected by his Doctoral committee, however, he seeks other avenues for recognition but they lead only to humiliation. He is treated rudely by guards when he wants to give a copy of his paper to former Russian cosmonaut Alexi Leonov; is thrown out of a late night bar for being loud and drunk; has an embarrassing meeting with Carl at a sauna, and when he receives an invitation to present his paper at a symposium in Moscow, ridiculously forgets to adjust his watch to local time and faces an empty theater. Finally given a chance to showcase his creative talent when he is accepted as a participant in a SETI project to collect home videos to send into space, he limits his film to showing his apartment while rambling about his life and his video lacks poetry or self awareness. \r\n\r\nAs Philippes life becomes increasingly dysfunctional, and his estrangement with Andr more pronounced, a suddenly discovered secret brings the two brothers together. Like the scarred far side of the moon, their lives have sustained repeated impacts which they have kept well hidden. Now that their scars are revealed, a huge burden has been lifted, and, with the aid of CGI, Philippes weightless body can ascend into space. Far Side of the Moon is entertaining and highly imaginative and I would recommend it, yet there is little emotion in the film and, for all its transcendental motifs, I found it to be lacking a sense of the mystery and wonder of either outer or inner space.\r\n\r\nGRADE: B+\r\n\r\nA battered heart can rest a bit,\r\na weary soul can gently heal;\r\na tattered mind can reconcile\r\nand to the quiet darkness yield.\r\nThere I can hide in Nirvana\'s womb,\r\non the far side of the moon.\r\nJoyce P. Hale','84147ffed69d5d3d1720426c04e2eca9',0,'','B9lcCk1v',1,0,'',0,0,0),(9969,1765,3,1,0,'69.120.114.47',1131547380,1,0,1,1,1,1,'hengcs','His Brother (Son Frere) (2003) (France)','\r\nDirector: Patrice Chereau \r\nCast: Bruno Todeschini, Eric Caravaca \r\n\r\nIn the Berlin International Film Festival 2003, it garnered the Silver Berlin Bear for Best Director . \r\n\r\nWell, I guess some of you have already watched the film. So, I will leave the synopsis and main review to you … hiaks hiaks … \r\n\r\nMy thoughts: \r\n-- It describes human relationship very well! Wow … and not just among brothers, but also between partners, but also between children and parents, etc … \r\n-- It is thought provoking … \r\ne.g., is it obligation, sympathy, compassion or acceptance? \r\n-- Some gripping scenes \r\ni.e., the confrontation at the beach \r\ni.e., the father and mother scene \r\ni.e., the preparation for surgery scene \r\netc \r\n-- Great performance from the main cast! \r\n;)\r\n\r\nA question to all who have watched the film \r\n-- apart from contrast, is there really any objective in jumping to and fro (several times) in terms of time frame? \r\n-- do you think the impact or effect will be lost if it were told linearly? Please explain. \r\nI ask because I think the effect will not lost … \r\n\r\nConclusion: \r\nI highly recommend it. \r\n;)','c5e9e6950a26f63778c1bf4e8ffe9c73',0,'','k7PR8FNH',1,0,'',0,0,0),(9970,1765,3,1,0,'69.120.114.47',1131942360,1,0,1,1,1,1,'A','Re: His Brother (Son Frere) (2003) (France)','Was imo by far the best film from 2003. But I need to see it again, two years is quite a time for an evolving cineaste. \r\n\r\nRegarding your question, I think the effect would be lost very much. The device is used so the viewer gets to know the troubled relationship better as the film unfolds. So our feelings towards the protagonists can be reflected upon in a new light each time. The MAIN focus is on the last days before death, and only through these flashbacks can, imo the dramatic effect be kept to the fullest. It is like a kaleidoscope with a center but the emotions and colors changing with every new insight.','9e4b615cbd7876a8651b55d64386b725',0,'','jHZFcY8r',1,0,'',0,0,0),(9971,1765,3,1,0,'69.120.114.47',1131956220,1,0,1,1,1,1,'arsaib4','Re: His Brother (Son Frere) (2003) (France)','It is like a kaleidoscope with a center but the emotions and colors changing with every new insight. \r\n\r\nThat\'s very well said. And those emotions never felt false. \r\n\r\nI had this film #5 on my Best of 2004 list (it got a theatrical release in the U.S. in 2004).','074750af2c06aa69536b245e224a8be0',0,'','J75MRrA1',1,0,'',0,0,0),(9972,1765,3,1,0,'69.120.114.47',1170709140,1,0,1,1,1,1,'howardschumann(d)','Re: His Brother (Son Frere) (2003) (France)','SON FRRE (His Brother)\r\nDirected by Patrice Chereau (2003) 88 minutes \r\n\r\nFrench director Patrice Chereaus Son Frre is an almost unbearably intimate story about the disconnect between two brothers that, like The Death of Mr. Lazarescu, provides a clinical dissection of the sterility of hospitals and their failure to confront the human dimension of illness. Based on the Philippe Besson novel, \"Son Frre,\" the film centers on the relationship between two brothers, one gay, the other straight. Luc (Eric Caravaca) is a gay man who has been estranged from his older brother Thomas (Bruno Todeschini), a graphic artist, though they live close to each other in Paris. Though there is little back story, the suggestion is that their relationship was sabotaged by homophobia.\r\n\r\nWhen Thomas calls Luc on his cell phone to tell him that he is suffering from a potentially fatal blood disorder, Luc goes to the hospital to be with him, cutting off his relationship with his lover Vincent (Sylvain Jacques). Luc, at first resentful, tells his brother that the only reason he is there is because he was asked and his feelings of betrayal are evident. Neither their father (Fred Ulysse) nor their mother (Antoinette Moya) offer any comfort, only exacerbating the situation by telling Luc that they wish it would have been him instead of Thomas. Thomas girlfriend Claire (Nathalie Boutefeu) is also of little help, feeling powerless to offer Thomas much assistance.\r\n\r\nThomas platelet count continues to drop and, as the possibility of a fatal hemorrhage increases, the doctors decide to remove his spleen but it does not produce the desired result. The film shifts between scenes at the hospital and ones at Lucs house near the seaside, cutting backwards and forwards in time. Despite inter-titles that identify the month in which the sequence is taking place, however, the chronology is confusing. As the illness progresses and the toll of hospital corridors, waiting rooms, and invasive procedures multiply, fatigue and inevitability sets in as the brothers struggle to reawaken some of their previous intimacy. \r\n\r\nLuc shares a touching anecdote from their childhood about how Thomas saved him from school bullies and when his brother seems ready to give up, Luc rubs his back searching for some meaningful way of connecting. When they finally proclaim their love for one another, however, the cycle of resignation and despair has already gone too far to be reversed and Luc seems to passively accept its inevitability. In one of the films most affecting scenes, we watch the excruciatingly slow and painstaking removal of all Thomas body hair with an electric shaver in preparation for his operation by cheery, smiling technicians. \r\n\r\nAnother moving scene, perhaps the most emotional in the entire film, is the casual meeting between Luc and a 19-year old patient (Robinson Stevenin) in the hospital hallway. The patient is distraught about the possibility of another major surgery and Luc instinctively reaches out to embrace him. On the whole, however, Son Frre is not an overtly emotional experience. To its credit, it studiously avoids displays of sentiment or peak dramatic moments but its affect can be flat and distancing. We long for a breakthrough or some catharsis that will bring release from all the bleakness, but Chereau does not offer any and Son Frre leaves us only with a feeling of sadness and a sober reflection on any damaged relationships of our own.\r\n\r\nGRADE: B+','997ef109ce4c3db0325f8796867fe1ad',0,'','y40t5Quf',1,0,'',0,0,0);
INSERT INTO `phpbb_posts` VALUES (9973,1766,3,1,0,'69.120.114.47',1170092880,1,0,1,1,1,1,'A','Last Resort (UK / 2000)','\r\nLasst Resort \r\n(Pawel Pawlikowski / UK / 2000)\r\n\r\n\r\n\r\nIn the cinema I am working at we have a meeting place where most of our regular staff gets together every monday evening. Although I haven\'t been around for very long yet, I have come to enjoy these gatherings immensly. As you might imagine yourself, the discussions are primarily concerned with movies we are or will be showing, the number of visitors and our financial situation, as well as numerous other film related topics which are discussed with more or less fervor - depending on the raconteur and the situation. Of course there is also some private talk, and when I finally arrive at the meeting - as usual coming from a long day at university and at least thirty minutes late - I tend to lean back comfortably and listen to the casual talk around me - that is if my bad conscience doesn\'t lead me to add a necessary comment of my own every now and then.\r\nWe are lucky to have some distributors sending us their newest releases from time to time on DVD for taking into consideration (no we are not the Academy), and some four or five weeks ago, when we got a package from a small but important cinema in Berlin (I still have a free pass for one of their showings there, and I intend to use it the next time I visit my former residence/hometown), the title on the printed frontcover of one of the DVDs piqued my curiosity. I remembered that I had missed the theatrical screaning of Pawlikowski\'s last film My Summer of Love (2004) on a couple of occasions, at first out of disinterest, then out of neglect and in the end the right opportunity for it just didn\'t arise. But as that particular cinema also has an important cinema distribution sector which has brought amongst others Kore-eda\'s \"Maborosi\" (1995) and more recently Jean-Luc Godard\'s Notre Musique (2004) to the German screens, I decided immediately to give it a try. Pawlikowski deserved a first chance after the glowing reviews I had read of his latest effort, and somehow I also found Last Resort appealing as a title. I recalled reading an article on it not too long ago,but because I had already forgotten everything about it, I\'m sure my subconscious did the choosing for me. The only problem was I didn\'t have a DVD player, or more correctly any device on which I could have watched it. So I decided to wait a bit longer until an opportunity would present itself to me.\r\nA couple of weeks later, and here I am typing on my brand new laptop (which will cost me a considerable amount of money in the future, btw), so I am finally able to snatch a glimpse at Pawlikowski\'s earlier effort - and just in time, as I had already seen an advirtisement for a screening in february at another cinema in the neighboring town. As my busy colleagues hadn\'t yet had the time to review the movie, I snatched it quickly off the table - alongside two documentaries which had accompanied it on its journey through the german mail delivery system - and promised to do so myself.\r\n\r\nWell, here I am at five o\'clock in the morning after my first viewing of it, awaiting yet another long and laborious day at the University, and I still haven\'t written a proper line on the quality of the film itself. Although I would like to finish this petty review right here and now, as I am longing for the comfort of my matress, I have decided to finally do my duty and release you from my unnecessarily long and selfindulgent introduction to this article by starting to talk about the movie.\r\n\r\nPawel Pawlikowski, who I assume is not an englishman by birth, has made a film about a woman and her son who are temporarily stuck in a little town in the UK which bears the trademark of an autobiographical experience. The woman, a hopeless romantic, has just arrived from Russia to visit her fianc in London when she has to discover that he obviously doesn\'t give a @#%$ about her. Although she is merely an illustrator of children\'s books, the authorities accept her helpless claim to be a political refugee and send the two foreigners into the title\'s \"Last Resort\", where some of the people seeking asylum in the UK are gathered until their fates have been decided. In Tanyas case this means a period of several months, which turns out to be much shorter as well as more pleasant than she and the viewer would have expected. What follows is a cautious love story and a social study which will in the end lead to an acceptance of life and its accidents, without ignoring the difficult lessons you have to learn from your previous deeds.\r\nDirector Pawlikowski shows his ability to observe as well as reflect on the characters and their situation, and to reveal them to us through the power of the cinematic image.\r\nWithout passing a definite judgment, his criticism of the prevalent society and its structures is still very evident. But what he is most interested in is clearly the people and the emotional landscapes which lie within them. Combining the disillusioned and lonely characters with the harsh and uninviting countryside, we are nevertheless witnesses to the unfolding of a more promising perspective for the future, as Tanya gradually finds the emotional stability she had previously been missing. Illustrating this is the sea as a metaphor for the possibilities but also limitations in life, presented as a comforting and stabilizing phenomenon as well as the ultimate border. In this film, it can be crossed, and tanya will escape at the end from the restricted area with her son and the man who has put the trust into her (played charmingly by Paddy Considine). By this time she will also have found enough inner strangth inside herself to carry on with life, and the crossing of the sea can thus also be seen as a rite of passage. A foreshadowing of this event happens early in the film, when the attentive camera frames her symbolically in front of a yacht which can be seen through a window behind her back. Finally, she will also be travelling on the same transportation device on which she had arrived right at the beginning of the film. Only this time there will be light.\r\n\r\nOverall, the film can be seen as a section out of a road movie. The rhythm of the film is very even, with a hand held camera which remains observant and patient most of the time. Although the situations are dramatic, we are treated to them from a light distance and the characters seem to \"act\" less than could be expected. \"de-dramatizing\" most of the situations, inner dialogues and their expression through glances and gestures are more important to Pawlikowski than the plot itself, which proves to be a successful strategy, as he is also relying on brisk editing and fast observations on the verge of various moments. The film retains its calm through the assured direction and structuring of each situation within the context of the whole. This also further enhances the presence of the remarkable actors, with newcomer Artyom Strelnikov almost upstaging Paddy Considine. But the center and star of the film is Dina Korzun (probably best remembered for her part in Valeri Todorovsky\'s \"Country of the Deaf\" (1998) ) who portrays her role with a quiet beauty and fragility that adds a lot to it.\r\nDrenched in a blue-filtered light, we are treated to a constant repetition of similar actions in the course of a couple of days, while the story is almost telling itself. Pawlikowski knows how to keep our attention, and he rarely stumbles over a scene or a movement, having the self-assuredness of one who knows what he is doing and is aware of his abilities as well as his limitations. During a running time of 73 minutes he proves to be a talented filmmaker who has accomplished a fine film. If I\'m exaggerating a bit, I would call it an honest fairy tale. One of those which will leave you a bit wiser at the end while reaffirming your faith in human beings and the opportunities of life. Which is quite something, if you think of it.\r\n\r\n___________________________________________________\r\n\r\nThe film is available on DVD from UK distributor Artificial Eye.','4fc7f12c98ab840ca0eafa9cc0232dd4',0,'','vxeMldHW',1,0,'',0,0,0),(9974,1766,3,1,0,'69.120.114.47',1170122100,1,0,1,1,1,1,'jcdavies','Re: Last Resort (UK / 2000)','This was one of the more promising British debuts of recent years; there\'s an overall integrity to the style and content, and i was pleased that in such a xenophobic anti-asylum environment as has existed in Britain for far too long now (some papers here are obsessed with front page scapegoating), here was a film with a sympathetic but not too sentimentalised or manipulative view of refugees and asylum seekers. I agree Dina Korzun was excellent (and all the better for my wife being called Dinah). I also found it grounded in reality, a concern for proper characterisation, an eye for landscape, a certain understated sense of poetry, humanity and optimism- pretty much as you say in your review! \r\n\r\nI thought My Summer of Love was a small step backwards.','b17e75d4ef8d3114e4634092dfdbe3a6',0,'','WNhwmAZj',1,0,'',0,0,0),(9975,1766,3,1,0,'69.120.114.47',1170122340,1,0,1,1,1,1,'jcdavies','Re: Last Resort (UK / 2000)','Pawlikowski\'s top 10 for the last Sight and Sound poll:\r\n\r\nAshes and Diamonds\r\nA Blonde in Love\r\nCul de Sac\r\nDays of Heaven\r\nLa Dolce Vita\r\nDo you Remember Dolly Bell?\r\nMirror\r\nOne Flew over the Cuckoo\'s Nest\r\nSome Like it Hot\r\nTaxi Driver\r\n\r\nof these Dolly Bell may be least famous but i would certainly recommend it.','99425c4656336058116a29e0cfec0c2f',0,'','Nc2Kq7vw',1,0,'',0,0,0),(9976,1766,3,1,0,'69.120.114.47',1170140040,1,0,1,1,1,1,'arsaib4','Re: Last Resort (UK / 2000)','Dina Korzun\'s performance in Forty Shades of Blue, an Amerindie practically seen by no one here, is just as tender and affecting. I\'m a fan of both of the previous two features from the Polish-born Pawlikowski. I remember noticing a whiff of Loach in Last Resort.','ad72f7961edb0b17fd2be75386bf52ed',0,'','cTiemBJl',1,0,'',0,0,0),(9977,1766,3,1,0,'69.120.114.47',1170441840,1,0,1,1,1,1,'A','Re: Last Resort (UK / 2000)','Am not familiar with Loach, so I can\'t comment on the whiff \r\nSo far it\'s one feature for both of them...but it seems Pawlikowski is as honestly interested in people and their fates as Loach. \r\nInteresting Top Ten list by Pawlikowski. Haven\'t seen everything on it yet, but \"Do you remember Dolly Bell?\" (1981) is definitely recommended. Kusturica\'s first feature feels sometimes like a Czech New Wave movie, and it is probably the most sober film we will get from him.','6185628bfb81df61016871fe53a594dc',0,'','Zw09h4CM',1,0,'',0,0,0),(9978,1766,3,1,0,'69.120.114.47',1170443460,1,0,1,1,1,1,'jcdavies','Re: Last Resort (UK / 2000)','When Father was away on Business is also surprisingly restrained compared wth Kusturica\'s later irritating excesses, and maybe even better than Dolly Bell.','d8e0149dda263c5c998bd3dd0ecd5336',0,'','jU5xZGBM',1,0,'',0,0,0),(9979,1766,3,1,0,'69.120.114.47',1170451740,1,0,1,1,1,1,'A','Re: Last Resort (UK / 2000)','Compared to \"Black Cat White Cat\" (1998) it might be more restrained, but I\'d actually say it is already 100% crazy Kusturica. The excess many find irritating (e.g. \"Underground\" (1995)) is imo an even harsher response to and critique of the difficult political situation at the time of the film\'s making. After \"Underground\", I think Kusturica definitely needed a break from the serious topics of his last three films (kind of like Kitano making \"Zatoichi\" (2003) after \"Dolls\" (2002) and \"Brother\" (2000)). I haven\'t seen Kusturica\'s latest effort, but if I\'d list his other films in order of preference, it would be:\r\n\r\n1. Arizona Dream (1993)\r\n2. Underground (1995)\r\n3. When Father Was Away on Business (1985)\r\n4. Do You Remember Dolly Bell? (1981)\r\n5. Time of the Gypsies (1988) \r\n6. Black Cat, White Cat (1998) \r\n7. Super 8 Stories (2001) \r\n\r\nThe first three are arguably masterpieces.','4569ba69de37d864a8f3ab06dde728b0',0,'','rUJub7ft',1,0,'',0,0,0),(9980,1767,3,1,0,'69.120.114.47',1161586500,1,0,1,1,1,1,'hengcs','Death Note 1 and 2 (2006) (Japan)','Director: Shusuke Kaneko\r\nCast: Tatsuya Fujiwara, Kenichi Matsuyama, Asaka Seto, Yu Kashii, Shigeki Hosokawa, Erika Toda \r\n\r\nA box office hit in Asia ...\r\n\r\nI have just watched it ... but let me get back to my work ...','e34c40d3fd826538609fe3d122543ee5',0,'','s3Gi4cNY',1,0,'',0,0,0),(9981,1767,3,1,0,'69.120.114.47',1161598860,1,0,1,1,1,1,'trevor826','Re: Death Note 1 and 2 (2006) (Japan)','I have just watched it ... but let me get back to my work ...\r\n\r\nDoes that mean it wasn\'t worth talking about or just that you\'re very busy at the moment, either way I hope you will write more.\r\n\r\nCheers Trev.','9725178a08bcb72df06d7c95efdc00f6',0,'','q8QF4LM7',1,0,'',0,0,0),(9982,1767,3,1,0,'69.120.114.47',1161682140,1,0,1,1,1,1,'hengcs','Re: Death Note 1 and 2 (2006) (Japan)','i will write something ... i just need time ... \r\nha ha ha ...','61fed81e6563949121b237903324f117',0,'','w8PomVkr',1,0,'',0,0,0),(9983,1767,3,1,0,'69.120.114.47',1167801120,1,0,1,1,1,1,'A','Re: Death Note 1 and 2 (2006) (Japan)','So what is the movie like. \r\nAnother average Japanese horror film?','10889c91555ac8c27c292669f6278c49',0,'','eJHdKLvP',1,0,'',0,0,0),(9984,1767,3,1,0,'69.120.114.47',1167801480,1,0,1,1,1,1,'trevor826','Re: Death Note 1 and 2 (2006) (Japan)','All I know is that it\'s another manga adaptation that\'s also been re-worked as an anime. Haven\'t seen either but hopefully hengcs will fill us in with more info.\r\n\r\nCheers Trev.','7568d5ad28ee1234c385fcf84a38aff9',0,'','YsxQe69m',1,0,'',0,0,0),(9985,1767,3,1,0,'69.120.114.47',1167822420,1,0,1,1,1,1,'hengcs','Re: Death Note 1 and 2 (2006) (Japan)','Much better than \"horror\"\r\nsomehow, i am not a fan of horror films ...\r\nwhy pay to scare yourself? ha ha ha\r\n\r\nI have watched BOTH Death Note 1 and 2 ...\r\nSingapore theaters have this nice gimmick ... called the Death Note Marathon ... where you watch both films ...\r\n\r\nAnyway, BOTH are pretty good, some like 1 better while others like 2 better ... ok ok ... i write more ...\r\n\r\nby the way, the movie was a NICE departure frm the comic ... such that even if you know the comic, you are still \"anticipating\" what happens in the movie ...\r\n\r\nin essence, it is a rather \"battle of wits\" (as audience wonder what would happen next and who would outwit who) ... plus \"very philosophical\" (typical abt japanese films ) ... kind of movie ...','6ad491c03f6c4ccbca78de0ae35a0bf6',0,'','SPeTLBhp',1,0,'',0,0,0),(9986,1767,3,1,0,'69.120.114.47',1170434460,1,0,1,1,1,1,'hengcs','Re: Death Note 1 and 2 (2006) (Japan)','Death Note 1\r\n\r\nSynopsis:\r\nAdapted from the Japanese manga, the film opened with Light (the main protagonist), a top student studying Law (and believes in justice) chancing upon a notebook, whereby he subsequently knows can kill people simply with their names written in it ... as many \"criminals\" escaped loopholes of the law are being subsequently acted upon by Light, many Japanese begin to be followers of Light (without knowing who he actually is ...) ... The movie challenges the limitation of law and the power to exercise justice on others ... As the views divide, the police also begins attempting to track who is Light ... the BATTLE OF WITS begin ... who will win?\r\n\r\nWhat is commendable ...\r\n\r\n-- Somehow, I believe present audience wish to be \"surprised\" by the plot/script. This is even more so in a cat and mouse story ... throughout, the audience are drawn into guessing whether the main protagonist will be able to escape from the tracking by the police ... even the last scene was a very witty scene ... \r\n\r\n-- To me, the philosophical issues in discussion are also interesting. Especially so in the beginning, the main protagonist seems righteous/assertive of his acts ( as he punishes criminals who have managed to escape the loopholes in law/court sentences) ... However, who are we to decide whether these people are really guilty? ...\r\n\r\n-- Likewise, when the story proceeds (i.e., when Light is being tracked) ... the audience is again made to wonder ... are the police right in trying to prosecute a man who helps to eradicate those who abuse the loopholes of law ... versus ... whether the main protagonist is abusing his power (when all he is trying to do is to prevent the police from tracking him and subsequently let the \"imperfect law\" reigns again ...\r\n\r\nWhat could be better ...\r\n\r\n-- Although there are a number of surprises, I have to admit that the debatable \"misuse\" of power is not unexpected ... although the script writers do try to make it less obvious initially, many audience would tend to side with the police as the story goes on ...\r\n\r\n-- Also, some lines may come across as being deliberate in trying to philosophize or make the audience think ...\r\n\r\nConclusion:\r\nHighly Recommended ... As the film seems to target at primarily mainstream audience, I have to admit that the battle of wits is rather engaging ... and you do wonder who will win and who will lose ... As for those who wish to see some depth in the script/theme, there are at least some philosophical issues to ponder over ...\r\n\r\n\r\nPS: Will write Death Note 2 if I have the time next week ... no promise ...','f52f05fe7445d925a8ae43a79d2f34ab',0,'','yZQe7ogE',1,0,'',0,0,0),(9987,1768,3,1,0,'69.120.114.47',1134034860,1,0,1,1,1,1,'hengcs','Perhaps Love (Ru Guo Ai) (2005) (Hong Kong)','\r\n\r\nDirector: Peter Chan\r\nCast: Takeshi Kaneshiro, Zhou Xun, Jacky Cheung, Ji Jin-Hee\r\n\r\nIt was the closing film at Venice Film Festival \r\nIt is Hong Kongs submission to Oscar 2006 \r\nThe official website\r\nclick\r\n\r\nThe film is a movie within a movie, relating a triangular love that parallels the actors real lives \r\n\r\nMy thoughts \r\n-- The two main leads (Takeshi Kaneshiro and Zhou Xun) are excellent \r\n\r\ne.g., the teardrop by Takeshi Kaneshiro in the pool wow, tearing in water!\r\n(NOTEWORTHY: it is not computer generated it is real!)\r\ne.g., the teardrop by Zhou Xun from the swing near the end it dropped directly onto the middle of the camera \r\n(NOTEWORTHY: again, it is not computer generated )\r\nthere are other memorable scenes \r\ne.g., when Takeshi Kaneshiro and Zhou Xun are on the swing\r\ne.g., when Zhou Xun and Jacky Cheung are on the swing\r\ne.g., when Jacky discovers the forbidden love\r\ne.g., when Zhou listens to the tape \r\netc\r\n-- In terms of story telling, the opening sequence does a good job in introducing what the film is about life is real but life is also a stage despite the rather simple plot, the film does bring out the complexity of love what exactly is love however, this very factor may make some audience frown and fail to comprehend every single action/behavior of the three main characters (does he really love her or does she really love him or what ) but if you ponder properly, the feeling of love (and hate) is often complex is love worth remembering? is love worth waiting for? should love change over time? ... etc \r\n-- Technically, the art direction is commendable and the transition in and out of movie within movie is well edited some of the snow scene is nice and the costumes are great too \r\n\r\nWhat could be better \r\n-- Unfortunately (since it is marketed as a musical), I have to admit that I only like 2 out of the many songs so forgive me, I feel that the composer and lyricist could have provided more variations/dramatic mood to the songs/music instead, all the songs sound too similar in terms of tune and melody (maybe because the composer wanted a more consistent mood?!) as of now, the tune/melody are simply NOT captivating and catchy enough (like the Phantom of the Opera) so that audience will be immediately drawn in audio-ly nonetheless, I do qualify that the liking of songs/music can be personal and subjective Overall, I still commend all the three lead for singing their own songs! \r\n\r\nConclusion:\r\nRecommended esp. for casting/acting ... however, I would rather not sell it as a musical but a story about love and life quite humbly, I do wonder if the film would be even more captivating (and better paced) if it were told without the characters singing (but with many background theme songs instead) \r\n\r\nas to how the film will fare, whether the audience buy the feelings/longing of the characters is key ... if you feel for the characters, you will think it is very excellent ... if you don\'t feel for them, then you will think the pacing can pick up a bit ...','e70ee6a929b0026668eed19f8fa085ce',0,'','6zqFKl54',1,0,'',0,0,0),(9988,1768,3,1,0,'69.120.114.47',1135385160,1,0,1,1,1,1,'Unregistered(d)','Re: Perhaps Love (Ru Guo Ai) (2005) (Hong Kong)','Nice review!\r\nI love the movie and I agree with all you wrote.','cf4594020c0252ab35ce20002a487bc4',0,'','CYHFKbT9',1,0,'',0,0,0),(9989,1768,3,1,0,'69.120.114.47',1135408020,1,0,1,1,1,1,'hengcs','Re: Perhaps Love (Ru Guo Ai) (2005) (Hong Kong)','\r\nthnks and welcome to the board!','e3036c02c3061f0ffcd4472ef21fbd47',0,'','JNVvYMci',1,0,'',0,0,0),(9990,1768,3,1,0,'69.120.114.47',1170369180,1,0,1,1,1,1,'wpqx','Re: Perhaps Love (Ru Guo Ai) (2005) (Hong Kong)','Well if it weren\'t a musical I most likely wouldn\'t have seen it, or at least not when I did. The film is still unavailable here in the US, but I wonder if it weren\'t a musical if that would change. American audiences are apparently put off by foreign musicals. Emotionally I found the film very satisfying.','55b66cd1b3556aacd38438073a349014',0,'','UTMGE2k1',1,0,'',0,0,0),(9991,1768,3,1,0,'69.120.114.47',1170433860,1,0,1,1,1,1,'hengcs','Re: Perhaps Love (Ru Guo Ai) (2005) (Hong Kong)','\r\n\r\nThe following is originally posted by wpqx\r\n\r\nPerhaps Love (2005) - Peter Ho-Sun Chan\r\n\r\nA glorious Hong Kong musical that flashes back-forward and all over the place. This makes the film a little confusing just following who is who, being unfamiliar with nearly all of the performers here. With Christopher Doyle as the cinematographer, you can\'t be too surprised with the visual look of the picture. The music is a curiosity blending from actors singing to being a non-diegetic part of the soundtrack. An enjoyable film for sure, albeit a little melodramatic throughout, the strength of the performances carry it through. The film won the best picture prize in China, and is yet to receive any US distribution, but played at the Venice Film Festival.','044bfe8f3fcf1377207a5ae04bf66ef3',0,'','1JEMstZz',1,0,'',0,0,0),(9992,1769,3,1,0,'69.120.114.47',1169992860,1,0,1,1,1,1,'jcdavies','My beautiful evening with Isabelle Adjani...','I had heard reports of a BBC TV news item, on location of her latest film, that she had been attacked, badly hurt and scarred. \r\n\r\nLater that day, I was at an exhibition promoting Galicia in N.West Spain, and there she was beside me- not hurt at all, pretty as a picture. We got talking, relaxed, without shyness or the awkward distance of her celebrity, of my brief time in lovely Galicia, and of the year i\'d spent in France in the early 80\'s when she first came to my attention and i couldn\'t help taking a liking (One Deadly Summer, Deadly Run). We went outside for a stroll, now early evening, a warm breeze, the first stars emerging, up narrow cobbled streets, battlements, glimpses of the sea, her knee-length skirt swishing gently, and talked now of false rumours, the dangers of celebrity, from stalker and stranger alike. We went into a pleasantly intimate small caf, sharing a sofa; i could tell she liked me, knew i was genuine, and the feeling was mutual. She was softer and kinder than i\'d expected, no airs and graces. She gave me the lightest friendly + just slightly flirty little kiss; there was a rare connection between us. \r\n\r\nAnd then i awoke, it was this grey January morning in Wales, and my dog Bryn was wanting me to let him out for a wee. \r\n\r\n2 nights ago, straight from playing for Wales at Rugby and being sinbinned by the woman ref for questioning her integrity, i\'d spent the evening in a foyer with Harry Secombe, Peter Sellers (a fine cartoon artist i thought, judging from his quick sketch of Harry, though the two were gooning a bit much for my liking), Herbert Lom and Rod Steiger (signing autographs for poor schmucks pitifully impressed by and eager for fame); the five of us waiting to go in to see the next Pink Panther film. Some Marilyn Monroe wannabe, bleach-blonde and dressed as the part, had seemed to expect me to buy her a drink, just on the strength of my nonchalant \"hi Marilyn\"- too forward, not my type.','53d0a780468abdfd654a2a5f88aec4d3',0,'','35zYCbg1',1,0,'',0,0,0),(9993,1770,3,1,0,'69.120.114.47',1128976680,1,0,1,1,1,1,'howardschumann(d)','Cache by Haneke','CACHE (Hidden)\r\n\r\nDirected by Michael Haneke (2005)\r\n\r\nShown at the Vancouver Film Festival, Austrian director Michael Haneke\'s spine-tingling Hitchcock-like thriller, Cache is a metaphor for the denial of French responsibility for the treatment of Algerians in its colonial past and its current treatment of immigrants. The first five minutes of Cache shows a placid street scene outside of a suburban Parisian home with people coming and going long into the night. It is not until several minutes into the film, however, that we realize we are watching videotape sent by unknown persons to the family of Georges Laurent (Daniel Auteuil). The tape is wrapped in a drawing showing blood coming out of the side of the mouth of a young boy\r\n\r\nHaneke is masterful in showing the murk that is hidden beneath the outward calm of our comfortable middle-class lives, a recurring theme in many of his films. Here, Georges is the host of a literary TV talk show and his wife Anne (Juliet Binoche) works at a publishing house. Their complacent lives are filled with dinner parties, intellectual conversations, and general indifference to the outside world, a world that only intrudes when the TV news tries to get their diverted attention. Georges is disturbed by the tape, even more so than Anne, but he only contacts the police after a second tape shows up. Predictably, the police refuse to do anything unless the family is under direct attack. The mystery of who sent the tapes increases as Haneke builds an unrelenting atmosphere of imminent danger in a low-key manner without the use of foreboding music or Twilight Zone effects. \r\n\r\nAs nerves become frayed, tension erupts between husband and wife and explodes into acrimony when their twelve-year old son Pierrot (Lester Makedonsky), stays at a friend\'s house all night without letting them know, bringing up fears that he has been kidnapped by the stalkers. Soon, another tape reveals a stone farmhouse where Georges grew up and where his invalid mother still resides. His visit with his mother (Annie Girardot) brings back long buried memories and Georges is forced to confront a terrible secret hidden since he was six years old. He tells Anne that he has a hunch who is behind the threatening tapes but refuses to tell her who he is thinking of, prompting her to deplore the lack of trust in their relationship. \r\n\r\nHe visits an Algerian man named Majid (Maurice B$BqO(Bichou) whose parents worked for Georges\' family during the French colonial repression in Algeria in the 1960s but Majid, unruffled by the accusation, denies having anything to do with the tapes. The full extent of Georges\' treatment of Majid when they were both children slowly begins to emerge, however, leading to a shocking if somewhat elusive conclusion. Though the whodunit is actually less important than its implications, Cache is not a polemic or a political tome. It is a superbly crafted, entertaining, and challenging film that makes us painfully aware of the consequences of the lack of individual responsibility and creepy paranoia of modern life and of Western arrogance toward people considered inferior. It is Haneke\'s most accessible and enduring achievement.\r\n\r\nGRADE: A','c711da61a207023f2630eb74941a18c4',0,'','Ttl1pZDF',1,0,'',0,0,0),(9994,1770,3,1,0,'69.120.114.47',1129067580,1,0,1,1,1,1,'Sara','Re: Cache by Haneke','Thanks for your review, Howard.\r\n\r\nHaneke\'s The Piano Teacher is one of my favorite movies, with of course Isabelle Huppert at her very best.\r\n\r\nI am renting the Time of the Wolf (also with I. H.!) and hope to rent Code Unknown soon. Haneke is a fine director.\r\n\r\nI look forward to Cache coming out on DVD.\r\n\r\nSara','5f0f2b648bc6f1d3d6de595451a81db9',0,'','H36eNwRU',1,0,'',0,0,0),(9995,1770,3,1,0,'69.120.114.47',1129074060,1,0,1,1,1,1,'howardschumann(d)','Re: Cache by Haneke','He is also one of my favorite directors, though I can only take him in small doses. Thanks for your kind comment.','e6e9977cbc048a7acee46e49b4d4d3f0',0,'','UZPq63Hn',1,0,'',0,0,0),(9996,1770,3,1,0,'69.120.114.47',1129080540,1,0,1,1,1,1,'manicmo','Re: Cache by Haneke','Howard,\r\nYour summary is very well written, but I am frustrated by the last scene in Cache and would love some further comments and speculations..','7c9b3ea4656f8708c8da424be98a34ea',0,'','zAakWbjC',1,0,'',0,0,0),(9997,1770,3,1,0,'69.120.114.47',1129080960,1,0,1,1,1,1,'howardschumann(d)','Re: Cache by Haneke','SPOILERS\r\n\r\nThe last scene shows the two sons talking together in front of the high school. I don\'t think Haneke wants us to think about the tapes so literally as to imply that the sons collaborated on the videotapes. However, the younger generation\'s disgust makes sense on a metaphorical level (i.e. French-Algerian relations) and shows that there is hope for the next generation. I\'d prefer to see the final scene as obliquely as possible, and I think Haneke shoots it that way for this very reason. At first I thought that Haneke wanted us to believe that the boys were behind the tapes but now I feel that it\'s just too pat an explanation.','708557719c7111c52fbf2d88011b932c',0,'','kmr0XZH7',1,0,'',0,0,0),(9998,1770,3,1,0,'69.120.114.47',1129086420,1,0,1,1,1,1,'A','Re: Cache by Haneke','Haven`t seen the film yet, but Haneke hasn`t disappointed me with the films I saw by him. Code: Unknown is my favorite one, followed by \"La Pianiste\".\r\nAnd who can resist a dream cast with ma favorite french male and female actors. Juliette Binoche and Daniel Auteuil in one film...','4aa7c79d57526706ea8a98eb1baf7f77',0,'','lxjwz29u',1,0,'',0,0,0),(9999,1770,3,1,0,'69.120.114.47',1129086720,1,0,1,1,1,1,'howardschumann(d)','Re: Cache by Haneke','Hope you can see it soon but I\'m not sure if it has gotten distribution. Code Unknown is also one of my favorites.','101d394cc7d8b811c7d36d1b7e45ccc5',0,'','c2xGHZ1m',1,0,'',0,0,0),(10000,1770,3,1,0,'69.120.114.47',1129186740,1,0,1,1,1,1,'A','Re: Cache by Haneke','Just got the info today that \"Cache\" will be distributed throughout Germany in January 2006. Guess I\'ll have to wait a while.','2c7e1f5aec7be47a828073faee184d37',0,'','y564jVEa',1,0,'',0,0,0),(10001,1770,3,1,0,'69.120.114.47',1140536580,1,0,1,1,1,1,'hengcs','Re: Cache by Haneke','\r\nI have just watched it ...\r\nFor this one, I will definitely write something ...\r\n:P','270d3512a60430411d557ce748135dd3',0,'','d8rjUxoZ',1,0,'',0,0,0),(10002,1770,3,1,0,'69.120.114.47',1167193980,1,0,1,1,1,1,'wpqx','Re: Cache by Haneke','I\'m wondering why I never added any comments to this thread, considering I saw the film almost a year ago. My second Haneke film and infinitely better than The Piano Teacher, and I still seem to be the only person on earth who disliked the film. Cache was a much more compelling portrait, and I didn\'t take a great deal of care with the \"last shot\", even though I was forewarned that a clue was there. I thought this film was above a mystery notion of \"who did it\" and that was far from the point, and that final shot was only an afterthought for people demanding some sort of closure, without providing it in an obvious way. Seeing the film with a packed house in the music box, I can say that everyone\'s jaws dropped in one scene, and anyone who saw the film knows exactly what I\'m talking about. Its an odd sound to have everyone gasp at once.','8144f97c14b44d085603438759f83594',0,'','hNoCpBFc',1,0,'',0,0,0),(10003,1770,3,1,0,'69.120.114.47',1167225720,1,0,1,1,1,1,'madhuban','Re: Cache by Haneke','I am also wondering why I haven\'t written anything here! Cache is a breathtakingly dense film while being an exercise in formal economy. It gathers within its almost two-hour runtime the very contemporary and manifestly political concerns (explored in his other films) about surveillance society and its associated voyeurism (Funny Games, Benny\'s Video), race/power relations (Code Unknown), violence and its consumption (Funny Games, Piano Teacher) and the interrogation of film as a medium.\r\n\r\nI agree with wpqx about Cache not being a whodunnit. In fact, that question is perhaps the least important one to ask of a film that consistently averts narrative closure, while deliberately enticing the viewer to fill the gaps by misreading it as a whodunnit game. A highly self-referential film, Cache\'s eerie opening and closing shots defy the viewer by not providing the reverse shot and releasing the suspense/tension about the nature of the surveillance, whether human or spectral. Effectively it denies the viewer the relief and the reassurance of a narrative, whose bits and pieces can be stitched together coherently. As arsaib puts it (in his review of The Seventh Continent), \'there is special talent at work here\'. Haneke is growing on me and I need to revisit the ones I\'ve seen. I am yet to see The Seventh Continent and more, but most desperate to lay my hands on Haneke\'s take on Kafka, The Castle! \r\n\r\nM','84541b6dce513ad4fe73d1f40117911f',0,'','HTNhYfCV',1,0,'',0,0,0),(10004,1770,3,1,0,'69.120.114.47',1167233280,1,0,1,1,1,1,'trevor826','Re: Cache by Haneke','All I\'d like to mention is how I felt after seeing Cache/Hidden, forget the whodunnit, forget that one remarkable blooper with the shadow of the film camera, no this was far more personal. \r\n\r\nFrom a young age you do and say things which seem pretty innocuous at the time, whether telling white lies, teasing people or doing things that you know are wrong and maybe laying the blame on someone else. What the heck! what do all these little things amount to? Five minutes later it\'s forgotten, or is it?\r\n\r\nFor me, the cache, the hidden represent those little things done by us to others throughout our lifetimes, pushed out of sight and out of mind, meaningless and momentary. What we can\'t see is how these often tiny events affect the lives of the recipients, the little boy/girl teased because they had something slightly different about them, the person who received a punishment because of something you did, how much of a mark did it leave?\r\n\r\nI couldn\'t help but think way into my own past at people whose lives I may have affected and also back at people who affected mine.\r\n\r\nA few years ago I did a preliminary course before I could do another one to help set up my own business, as far as I knew I was in a room full of strangers till the names were read out. One name screamed out at me, a name I hadn\'t heard for probably 25+ years but straight away I found myself tensing up and searching the room for the person, 25+ years ago a local thug had made my younger brothers life hell until we turned the tables on him, I searched for this hard man and recognised his face, only to see a feeble man reduced by years of confinement and drugs to a mental wreck. Although after I felt pity for what he\'d become, I couldn\'t get over my initial rection.\r\n\r\nI would hate to think that I had affected anyone else in such a manner but will I ever really know, we each carry our own cache and if we\'re lucky they\'ll remain hidden. \r\n\r\nI\'d like to believe that it was at least partially Haneke\'s intention to make us look into our own individual cache.\r\n\r\nCheers Trev.','f8c49f6dc2ac7cdb6e0d6d943cfafab4',0,'','q1gPEhmw',1,0,'',0,0,0),(10005,1770,3,1,0,'69.120.114.47',1167960600,1,0,1,1,1,1,'A','Re: Cache by Haneke','I think what you write about Trevor is the main focus of the film. I also had such thoughts during the film, and I remember a lot of situations like the ones you described (though no 25+ years in my case ). I think that no thing is ever forgotten, neither by body nor mind. It only changes in relation to our lifes and the way we deal with it. \r\n\r\nI think I discussed the film with Anasazie on the Haneke threasd at the director`s board. That`s why there is also no comment by me.\r\n\r\nGoing by preference from the 5 Haneke films I`ve seen, it is right in the middle, suggesting that Haneke is one of the most significant filmmakers of our time.','084faf539d29f28afd8f926261c0d896',0,'','DnrtQfMZ',1,0,'',0,0,0),(10006,1770,3,1,0,'69.120.114.47',1168167480,1,0,1,1,1,1,'madhuban','Re: Cache by Haneke','Revisited The Piano Teacher yesterday and I totally agree about Haneke being one of the most outstanding filmmakers of our time. However, our widely different responses to Cache (and I believe, to all his other films) is an evidence of how much space Haneke leaves for the viewer to take away what he/she will from a film. \r\n\r\nM','e28777f21988cb2c08d96724ef09c47e',0,'','SMWGkEe1',1,0,'',0,0,0),(10007,1770,3,1,0,'69.120.114.47',1168174560,1,0,1,1,1,1,'arsaib4','Re: Cache by Haneke','Madhuban: have you seen Time of the Wolf? (Yup, here I go again. )','5dc23734e7f0667d851ad820f59a60c2',0,'','7XqJ460j',1,0,'',0,0,0),(10008,1770,3,1,0,'69.120.114.47',1168283340,1,0,1,1,1,1,'madhuban','Re: Cache by Haneke','Yes I have and loved it. I do think Haneke consistently works with the horror genre but inverts, internalises and intellectualises it to take it to another level altogether. One of the primary reasons why his films are so disturbing and unsettling is because they are structured as films with an absent centre, as it were. None of his films allow the viewer to rationalise horror, identify its source or establish a cause-effect relationship, which would have restored a semblance of order at the end. One is thrust in the middle of endless, subterranean violence (more potent because it lacks the familiar signs of violence) repeatedly and given absolutely no clues about why and how it came to be so. Haneke\'s is an aesthetic of assault, so erudite and so cerebral, that his films end up being the very opposite of the horrific - deeply humanist and life affirming. But, one needs to go through the assault to reach there. And the humanism does not emerge from some sort of belief in/message about an inherent human goodness, but from the space that he allows the viewer to ramble in. Haneke allows the viewer to bring the humanity into the films because he/she cannot dismiss Erika, in The Piano Teacher, as a freak or condemn the man (who fights with the Pole and saves Benny from self-immolation) in Time of the Wolf for his apparent racism. In an infinitely mediated world of representations (television is a recurrent motif in his films), the borderlines between all categories that ensure a rational order become indistinct, and collapse. We are both witness and victim, consumer and interpreter, listener and storyteller. However, the \"story\" that emerges, may or may not be Haneke\'s, and it is hardly surprising in the case of a director whose overwhelming concern has been the very notion of spectation.\r\n\r\nI am in a ranting mood with regard to Haneke, so please bear with me \r\n\r\nM','b713a2eb7ab69fdb9fb490c0dee5d785',0,'','FczNm1QE',1,0,'',0,0,0),(10009,1770,3,1,0,'69.120.114.47',1168328220,1,0,1,1,1,1,'arsaib4','Re: Cache by Haneke','Every frame of Time of the Wolf is pervaded by a sense of defiant hope which is meant to complement his characters\' inherent human struggles. It\'s one of Haneke\'s most subtle films, perhaps the reason why it remains relatively undervalued.','934eed889c32945c02a7bae801ae17b6',0,'','yQBw5CU1',1,0,'',0,0,0),(10010,1770,3,1,0,'69.120.114.47',1169074680,1,0,1,1,1,1,'A','Re: Cache by Haneke','Keep rambling madhuban, we appreciate it. \r\nYes, from the five Haneke films I have seen, \"Time of the Wolf\" was alongside \"The Castle\" his weakest for me. Though both still have some striking and beautiful moments.\r\nMy Favorites are \"Code Unknown\", followed by \"The Piano Teacher\", and \"Hidden\".\r\nNeed to check out his early stuff.','80f89df2cc1ca29bd970cb85dcab77a3',0,'','QBm3lqAw',1,0,'',0,0,0),(10011,1770,3,1,0,'69.120.114.47',1169077740,1,0,1,1,1,1,'wpqx','Re: Cache by Haneke','I believe I\'m still very clearly the weakest here when it comes to Haneke. I\'ve only seen 3, and have two more on DVD, so I\'ll get there.','f6b0cd942922b94345ef22e9447d98ce',0,'','9ncfVSGv',1,0,'',0,0,0),(10012,1771,3,1,0,'69.120.114.47',1148899500,1,0,1,1,1,1,'arsaib4','Patrice Chreau\'s Gabrielle (France / 2005)','[Note: Gabrielle was originally seen at the 2005 Toronto film festival; this review was posted in the appropriate festival thread on 09/19/05.]\r\n\r\n___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nThere arent many filmmakers in the world today who capture the human body as well as Patrice Chreau. His French compatriot Claire Denis would certainly qualify as one who does, but comparably, she is more keen on its rhythmic contortions than its structure, which is Chreau\'s speciality. His brooding and angular close-ups dont merely serve as stylistic tics, but also as channels to elicit the most unfeigned of emotions. And in order to accomplish this task, hes employed such specimens as Kerry Fox, Valeria Bruni Tedeschi, Bruno Todeschini, Vincent Perez, Pascal Greggory etc. in his films -- all lanky, physical performers, willing to expose themselves literally and metaphorically. Chreaus previous two features, Intimacy (2001) and Son Frre (2003) -- both remarkable and devastating in their own ways -- have provided him with ample opportunities. His silent, single take in the latter which involves Bruno Todeschinis body being shaved for an operation is one of the most heart-wrenching in modern cinema.\r\n\r\nChreau, along with being an actor and director of films, is also very closely involved with theater, a liaison that\'s quite apparent in his latest feature, Gabrielle, an intense and powerful chamber drama adapted from \"The Return,\" a short story by Polish-born British novelist Joseph Conrad. An extremely \"theatrical\" piece, Gabrielle requires much reading from the performers, while it\'s often punctuated by jarring intertitles and music, all on purpose for effect. \r\n\r\nSet in the early 20th-century Paris, the film opens with a monologue from Jean Hervey (Pascal Greggory), a successful publisher whos living a life of comfort and convenience with his intellectual wife Gabrielle (Isabelle Huppert). They throw lavish parties where the citys elite gather to gossip and muse about the current issues. And while that might not seem rational considering Jean\'s introverted personality, he\'s a man of habit who simply wants things to continue normally without any hassle, and that includes his loveless marriage.\r\n\r\nBut once he comes across a note written by Gabrielle, informing him that now there\'s another man in her life, Jeans ideal world is shattered. Not long thereafter, Gabrielle returns to him offering to play out her role in his life, which is what Jean has craved all along, but is now repulsed by it at the same time. The rest of the film brilliantly captures the changing mind-sets and emotions that Jean goes through, while often acknowledging that his wife knows him better than he does himself. \r\n\r\nOne could feel Chreau constantly pursuing the right tone and rhythm from the opening frame, and once he hits it, he expertly sustains it till the very end. Shot in scope by Eric Gautier, one of the great cinematographers in the world today, Gabrielle often switches between the most sensuous of color schemes and showdowy B&W, done to examine the shifting dynamics. (The shot which encapsulates the arrival of a gargoyle-esque Huppert early on in the film is harrowing in its intensity.) At first the \'scope format might seem like an odd choice for a claustrophobic piece, but Chreau\'s intent is quite possibly to accentuate the isolation of his characters in this dense, Kubrickian environment, which he accomplishes quite well.\r\n\r\nIn Conrad\'s short story, the female character is barely allotted a few lines, so Chreau, along with his writing partner Anne-Louise Trividic, has fleshed it out, giving the character a voice and substance. One particular sequence which enables us to see the issues from Gabrielle\'s perspective involves her speaking to her maid. Chreau has shot it from an oblique angle, capturing Huppert from just above her head as her face tilts. As Gabrielle exposes herself internally, the subtlety of Huppert\'s performance, along with Chreaus ability to envelop her emotions makes the scene one of the film\'s most riveting and memorable. \r\n\r\nIf you\'re willing to play a game of nuances and gestures, then you better have the performers to do so. The undervalued Pascal Greggory delivers a complex performance, while words wont do justice to yet another gem from Huppert, a stone always willing to be crafted in various ways. Gabrielle is a minor-masterpiece.\r\n\r\nGrade: A-\r\n_________________________\r\n\r\n*GABRIELLE premiered at the 2005 Venice Film Festival (in-competition), where Huppert won an unprecedented \"Special Award.\" The film will be distributed theatrically in the U.S. starting on June 12th (IFC Films).\r\n\r\n*The English subtitled French DVD (Pal/Region 1/2) is now available from Xploited Cinema. (The U.S DVD will be issued later this year.)','23afda71c9d0e7edfd5deb54b64028b8',0,'','ZuH82R43',1,0,'',0,0,0),(10013,1771,3,1,0,'69.120.114.47',1169024820,1,0,1,1,1,1,'wpqx','Re: Patrice Chreau\'s Gabrielle (France / 2005)','I finally got a chance to see it, and was quite impressed with Huppert\'s performance. I liked the style of it, but my only minor complaint was that the plot seemed somewhat one dimensional. It felt almost like one long scene and started to repeat.','538cef6f2db1279da038ce3cb8612052',0,'','SMzBjnxs',1,0,'',0,0,0),(10014,1771,3,1,0,'69.120.114.47',1169029380,1,0,1,1,1,1,'arsaib4','Re: Patrice Chreau\'s Gabrielle (France / 2005)','Gabrielle could feel that way. I don\'t think that you\'re the only one who\'s brought it up. The fact that I had read Conrad\'s short story prior to watching the film (I can\'t believe that it\'s already been nearly 16 months since I saw it) certainly helped matters; I knew what to expect in narrative terms, though I was pleasantly surprised by the additions made by Chreau and his partner. It was very unique to watch a film which truly did feel like a \"theatrical performance,\" though one for which I was more than willing to replace my eyes with Eric Gautier\'s.','2be4ed20e965d6b2de77043ea747730a',0,'','iQ6U3b8n',1,0,'',0,0,0),(10015,1772,3,1,0,'69.120.114.47',1167415800,1,0,1,1,1,1,'justindeimen','The Queen (2006)','Courtesy of MovieXclusive.com\r\n\r\nReview: \r\n\r\nStephen Frearss The Queen harkens back to the not so distant past when Britains politics were in the midst of a paradigm shift as a new Prime Minister was elected in a landslide victory, and back when Tony Blair was still liked by the British people to the extent of preferring him to the monarchy. But it primarily concerns itself with events of August 31, 1997 when the world stood still in front of news outlets with shock and disbelief as information poured through with the details of Princess Dianas passing. \r\n\r\nTheres an extremely humanistic centre in the films regal and exact conduct thats hard to ignore. This is especially true when the simmering mannerisms in its enclosed scenes threaten to create a void between the performers and audience. Fortunately, as many critics and opinion-makers have voiced, it is ultimately the cast that transcends the material and propels it to heights of emotional depth and compelling storytelling. Frears gently weaves in droll British cynicism with slices of historical footages in retelling the hours before and the weeks after Princess Dianas death. It has too much specious conjecture to be a docudrama but curiously enough, has too much political gravitas not to be. Theres a sense of a spell being cast on the audience when layers upon layers of enchantingly guile verisimilitude are strewn across the screen in its dialogue and conflicts, when personal conversations in corridors offer supposed insights into closely guarded relationships. \r\n\r\nIn a film whose crowning character keeps her nose in the air throughout with a dry wit and penetrating intelligence that comes from decades of political machination and staunch devotion to tradition, you begin to wonder what is going through Mirrens mind as she embodies the ruddy Queens heart and soul. She lays the heavy crown on her head while the film itself manages to show compassion towards the tough monarch, with Mirrens technical poise and confidence in her self-restraint performance leading the way for an almost definite blitz on every Lead Actress award shes a possible candidate for. \r\n\r\nIf anything, Mirrens Queen Elizabeth II is an anachronistic casualty. So is the family who has her ear in the Queen Mother (Sylvia Syms) and Prince Phillip (James Cromwell). They regard revolution and modernisation as nothing but dirty words uttered by those that dont really know any better. Our sympathies lie with the reigning Queen as shes torn between her pride and exerting her authority, exacerbating the widening disconnect between the monarchy and the new Tony Blair (Michael Sheen) government that unduly becomes a power struggle refereed by the press. With precisely crafted characters and the insights that come with it, the Queen is shown to be quietly disdainful of the populist views and the vantage that democracy has. She corrals herself in Balmoral Castle and the palace as she faces certain disparagement from the electorate. Also spurred on by the selfishly spurious and PR-savvy Prince Charles (Alex Jennings), Tony Blair desperately asks in his office at 10 Downing Street, Will someone save these people from themselves? \r\n\r\nIt is cheeky in highlighting Blairs formerly uphill status as the man with the main line into the peoples hearts and minds. In a telling and superlative scene, the film prophetically makes known how little has changed in the political landscape aside from its scapegoats. \r\n\r\nNow when will we have a film about that delightful Prince Phillip?','8cefb054bdb41efc41ab52d3ac994552',0,'','3ZckthJP',1,0,'',0,0,0),(10016,1772,3,1,0,'69.120.114.47',1167447480,1,0,1,1,1,1,'wpqx','Re: The Queen (2006)','Well I seem to be one of the few people who don\'t think this film is a masterpiece, or even very good. Its decent and no different from any other number of year end \"give me an Oscar\" films. I am partially blame cultural issues, as I feel that this film would be much truer to the British man\'s heart, but I felt nothing. I\'m not even particularly impressed with Mirren\'s universally acclaimed performance, yet the best actress cries are deafening.','b24d8fc5c377f23c947653ad2e75bfc7',0,'','kZLjw4mo',1,0,'',0,0,0),(10017,1772,3,1,0,'69.120.114.47',1167458040,1,0,1,1,1,1,'trevor826','Re: The Queen (2006)','I think the majority of the British audience for The Queen would be made up of women in their sixties, I don\'t know anyone who\'ll admit to seeing it and the film had quite a short run here.\r\n\r\nAs far as a lot of people are concerned, the Royal family are an expensive, high maintainance tourist attraction and that\'s it.\r\n\r\nCheers Trev.','f67a91ca05727776fd89a56b721d7f4c',0,'','YkcgXnoL',1,0,'',0,0,0),(10018,1772,3,1,0,'69.120.114.47',1167477240,1,0,1,1,1,1,'madhuban','Re: The Queen (2006)','As far as a lot of people are concerned, the Royal family are an expensive, high maintainance tourist attraction and that\'s it.\r\n\r\nThey help fill up pages for the tabloids. And, Harry\'s (or is it William?) exploits in the army seem to provide the Indian press with publishable news! \r\n\r\nM','fdb4bc00109b0e6e72b650712bf1ab9a',0,'','v46Fcoyb',1,0,'',0,0,0),(10019,1772,3,1,0,'69.120.114.47',1167480420,1,0,1,1,1,1,'justindeimen','Re: The Queen (2006)','I was pleasantly surprised that it wasn\'t full of itself or even took itself gravely.','e0c54eb1e547bacd8b170cfa46c554ac',0,'','qSjVY9va',1,0,'',0,0,0),(10020,1772,3,1,0,'69.120.114.47',1167963600,1,0,1,1,1,1,'A','Re: The Queen (2006)','Personally I am not at all interested in the topic or the film, and the few scenes I`ve seen from it encoureged me to stay away from it. The only thing that could prompt me to watch it is the fact that it`s directed by Stephen Frears, though that doesn`t mean much nowadays. \r\n\r\nI like Hellen Mirren very much, but there arent any actors on earth who can make me watch a film just because of them, and especially not when they are giving \"oscar-worthy\" performances.','817bbbf5954ff5bd05ad01dbdc632a5c',0,'','BmckogzN',1,0,'',0,0,0),(10021,1772,3,1,0,'69.120.114.47',1167981600,1,0,1,1,1,1,'hengcs','Re: The Queen (2006)','Hey, I have watched the film ...\r\n\r\n(1) although the movie may not be totally engaging ... i still think partial credits have to be given to the scriptwriter ... cos it is not a simple script to write ... given that many of the characters are still alive ... and the royal family as well as politics are involved ... and they have to tread cautiously between tragedy/humor ... and they try not to side too much with any side (is that ever possible?!) ... nearer the end of the film, i think there is a more conscientious effort to feel for the Royal family ...\r\n\r\nanyway, i thought there are a few great scenes ... and a few rather contrived/coerced scene ... \r\n\r\nsome great scenes \r\n\r\n* minor spoiler *\r\n\r\n-- when The Queen offered to place the bouquet of flowers on behalf of the small girl (for Princess Diana at the gate), but guess what the small girl bluntly declined, and for a moment, the audience feel how The Queen maybe felt (the whole world now \"hates\" her), but guess what ... the small girl suddenly uttered ... it is for you (The Queen) ... wow ...\r\n\r\n-- did you catch this ... there was one line (by The Queen) that hints at Tony Blair\'s recent drop in fate/popularity ... despite his popularity then ... hmmm ...\r\n\r\netc\r\n\r\n* end of spoiler *\r\n\r\n(2) With regards to the acting, I have to say that Helen Mirren is very controlled ... at least better than last year\'s Oscar node * nothing personal * to Reese Witherspoon ... so, in a way, I still think maybe she deserves it ...\r\n\r\n\r\nOverall, can watch ... above average ...','6d7a30b9a6c5df092522dfe3ccbd4c85',0,'','pd9KY3qL',1,0,'',0,0,0),(10022,1772,3,1,0,'69.120.114.47',1168942260,1,0,1,1,1,1,'hengcs','Re: The Queen (2006)','ha ha ... \r\ni was right abt the script ... \r\ncongrats to Golden Globe win ...\r\nsame to the actress ...','e9c3804a9ce9f460cbed89a9ee9e4847',0,'','9mMsHv3b',1,0,'',0,0,0),(10023,1772,3,1,0,'69.120.114.47',1168947240,1,0,1,1,1,1,'wpqx','Re: The Queen (2006)','bah humbug','3bd52d21b1de9db8505453f78e722681',0,'','eynGpBLr',1,0,'',0,0,0),(10024,1773,3,1,0,'69.120.114.47',1123885080,1,0,1,1,1,1,'trevor826','Japanese Journals - The Modern Cult Directors.','The films of Kitano, Tsukamoto & Miike. \r\n\r\nThe three best known of the cult film directors working in Japan today. Each has their own group of devotees but none are likely to ever make anything more than a dent amongst the mainstream audience, Kitano by choice, Tsukamoto and Miike because their style has limited appeal.\r\n\r\nTakeshi Kitano, film director, actor, aka Beat Takeshi, comedian, game show host, film director. A genuine workaholic, his films have ventured from cult through commercial to art-house and back again, he has a distinctive style, visual and aural rhythm play a very important part in his films and the symbolism of the sea and angels are concurrent along with his own paintings. Im sure his best is yet to come.\r\n\r\nShinya Tsukamoto, a totally unique director, writer, actor. From his first hit Tetsuo he has pushed the boundaries in terms of mutations of man and machine in a similar way to some of Cronenbergs work. Highly visual and franticly edited, his films are usually quite short at around the 70 minute mark but are packed with a tremendous amount of energy and pace, you can see elements of his editing style in films like Darren Aronofskys Pi and the Japanese film Electric Dragon 80,000V. \r\n\r\nTakashi Miike, 14 years as a director and 65 movies and series in the bag, the figures are staggering but the quality of his work varies so much and the majority of his films can become tediously repetitive. He appears to be a jobbing director, need a film done, need it fast, give it to Miike and he hasnt done anything that is his own, not yet at least. Amongst all the Yakuza flicks and Manga adaptations there are sparks of a good imaginative director with a quirky sense of humour but its likely that hell stay as he is, churning them out by the dozen with just the odd spark of distinction. \r\n\r\n\r\nPlease feel free to add your own comments, reviews and criticisms to this thread.\r\n\r\nINDEX\r\n\r\nKitano\r\n\r\nKikujiro - 1999\r\n\r\nZatoichi - 2003\r\n\r\nTsukamoto\r\n\r\nTetsuo the Ironman - 1988 \r\n\r\nTetsuo II: Body Hammer 1992 \r\n\r\nHiruko the Goblin - 1990\r\n\r\nVital - 2004\r\n\r\nMiike\r\n\r\nHappiness of the Katakuris - 2001 comments by wpqx \r\n\r\nBox - Three Extremes - 2004 comments by wpqx \r\n\r\nLey Lines - 1999 comments by wpqx \r\n\r\nAudition - 1999 comments by wpqx \r\n\r\nIzo - 2004 comments by wpqx \r\n\r\nThe Bird People in China - 1998 \r\n\r\nBig Bang Love, Juvenile A - 2005 Comments by A.\r\n\r\nFull Metal Yakuza - 1997 comments by wpqx \r\n\r\nStill to come list.\r\n\r\n\r\n\r\nFor other sections of Japanese Journals, please use the links\r\n\r\n1.General\r\n\r\n2. Kurosawa, Ozu & Mizoguchi - The Classics\r\n\r\n3. Kitano, Tsukamoto & Miike - The Modern Cult Directors\r\n\r\n4. Anime\r\n\r\n5. Horror & Ghost Stories\r\n\r\n6. Jidaigeki (Chambara)\r\n\r\nCheers Trev','6ae9a0eec0071b569686229dc0b9e673',0,'','aBhC0Xlp',1,0,'',0,0,0),(10025,1773,3,1,0,'69.120.114.47',1123961640,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Happiness of the Katakuris (2001)\r\n\r\nThere are some directors that can make anything make sense, and others that just baffle you. Miike\'s world is not self explanatory, you are constantly aware that this is a deliberately strange atmosphere. Katakuris takes this to a further extreme than Ichi the Killer. In this world people randomly bust into song, even more randomly then most musicals, and in mid-scene claymation takes over, with Miike occasionally substituting live action with it.\r\n\r\nThe basic story is of a family running a small motel that has one problem, everyone who stays there winds up dying. So like all screwball comedies, it is founded upon a lie upon a lie. Rather than report the dead, they decide to bury him. As the next corpse(s) mount the same treatment is handed out. Even when they decide to relocate to the country, their bad luck seems to follow them.\r\n\r\nWell as usual I get bored with plot, and the plot is somewhat secondary here. Some of the characters that inhabit the film are stranger than the next. From the obese man and his schoolgirl wife/girlfriend, to the man in the \"navy\" who knows where these guys come from. The acting is stylized, so it\'s hard to say if they\'re bad or just trying to be over the top. This debate is most prevelant with Naomi Nishida. She borders on irritating quite often, and when she meets her love (the deshevled Navy conman Kiyoshiro) she goes way over the top.\r\n\r\nThis may not be for all people, and I can\'t necessarily say the film is great, but it is interesting. Sometimes though that\'s all you want from a film, for it to be something different. Miike is a master at giving something different, and this fits the bill.\r\n\r\nbtw sorry for the lousy write up, just can\'t really put this into words','17e954acea32f2ed58f65440514ffc2b',0,'','UtbYsXqd',1,0,'',0,0,0),(10026,1773,3,1,0,'69.120.114.47',1123961700,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','last topic has been deleted, per your request','9b1584d0e22650103eb3c6cb69d3595a',0,'','mPd1YCHr',1,0,'',0,0,0),(10027,1773,3,1,0,'69.120.114.47',1124023860,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Just a few comments on \"The Happiness of the Katakuris\", it is an adaptation of the Korean film \"The Quiet Family - 1998\" but has been imaginatively enhanced with scenes that suddenly switch from live action to claymation and some really cheesy songs. The acting is hammy to the extreme, campy at times but this is true of the original as well it\'s just exagerated even more in \"HOTK\".\r\n\r\nThis is one of the better, certainly more entertaining Miike films. the storyline is pretty much the same as \"The Quiet Family\" but whereas the original made use of the DMZ between North and South Korea as a key point to the story \"HOTK\" has obviously had to find a different focus. \r\n\r\nOne of the cheesiest Japanese films I\'ve ever seen and a cult favourite.\r\n\r\nCheers Trev.','3cc2466e67461b45f0d4af33b225665b',0,'','QEmM5dVl',1,0,'',0,0,0),(10028,1773,3,1,0,'69.120.114.47',1124064840,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Tetsuo (1988 ) Tetsuo the Ironman\r\n\r\nDirected by Shinya Tsukamoto\r\n\r\nStarring Tomorowo Taguchi, Shinya Tsukamoto\r\n\r\nAn amazingly explosive debut feature, influenced by the likes of Bunuel/Dali (Un Chien Andalou), David Lynch (Eraserhead), David Cronenberg (The Fly, Videodrome etc) and Jan Svankmajer stop motion animation. Has influenced Darren Aronofsky (Pi) and dozens of other films, pop promos etc including his former mentor Sogo Ishiis Electric Dragon 80000V. \r\n\r\nThe story as such, a metal fetishist gets run over by a car, the driver and his girlfriend dump his near dead body and have sex. A few days later the driver starts mutating, jagged lumps of metal start appearing all over and protruding from his body, his penis turns into a large drill bit and gradually his whole body disappears under wires, pipes and assorted metal fragments. The fetishist returns, somehow he has managed to invade the drivers body and caused the transmutation, they battle it out until they are joined as one and decide to use their combined power to destroy the world.\r\n\r\nSounds daft? Yes but this strikingly bold, black and white staccato edited energy explosion is an amazingly surreal piece of film. Tsukamoto uses the transformations/mutations as a sexual expression as he sees each sexual encounter as something that transforms the participants. This type of symbolism is a common feature of all his films and are usually male/female although the last encounter in Tetsuo is between the two males ending in a combined mutation.\r\n\r\nYou want something truly different, give Tetsuo the Ironman a try, whether you like it or loathe it, youll never forget it.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 18','6563d196313763a4f6affb01bb12a692',0,'','5qyA7sFZ',1,0,'',0,0,0),(10029,1773,3,1,0,'69.120.114.47',1124198640,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Tetsuo II: Body Hammer (1992) \r\n\r\nDirected by Shinya Tsukamoto\r\n\r\nStarring Tomorowo Taguchi, Shinya Tsukamoto\r\n\r\nNot so much a sequel but like Evil Dead 2, more a bigger budget rewrite/remake of the original. It expands by developing backgrounds and reasoning for the central characters from Tetsuo the Ironman. A history is built between the original man and the fetishist giving them backgrounds and family. At times the film comes across as a pop promo especially the scenes involving a skinhead gang, all-macho weight lifting and sweaty skin. The plot is revolved around the kidnapping and killing of the mans son, this instigates a trail that leads to the final confrontation.\r\n\r\nA big difference is the use of a muted and drained colour palette, I must admit I preferred the black and white of the original and the far more fetishistic overview. It takes a while before we get into the Svankmajer style stop motion animation which thankfully, is retained from the previous film only then does it feel that you\'re watching a Tetsuo film.\r\n\r\nWhereas the original had a highly sexual basis to its nature, the remake aims at the way man made structures are displacing nature. Apart from Tetsuo\'s first transition upon seeing his mother accidentally shot by his father during a sexual act, the broader look at the encroachment of concrete and metal on society leads to a finale of destruction within and of the concrete jungle.\r\n\r\nOverall then a bold attempt at building on the original and one that many seem to prefer, given the choice though, Ill stick with the original, just the same as with the Evil Dead.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 18','30c2819c316e0ea03a9539a95e155597',0,'','Qqm5JM4k',1,0,'',0,0,0),(10030,1773,3,1,0,'69.120.114.47',1124417880,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Three Extremes (2004) - Takashi Miike, Fruit Chan, Park Chan-Wook\r\n\r\nWell although only one story was directed by Miike, this film certainly has cult status. In fact all films in the horror genre have a cult status. This is one of the most successful (creatively) omnibus films I have seen. The stories remain interesting, and although Fruit Chan\'s \"Dumplings\" doesn\'t quite measure up, the beginning and end of this film more than makes up for it.\r\n\r\nMiike gets the ball rolling, and like his other films, it is completely different. Say what you will about him, he\'s certainly versatile. His is without a doubt the creepiest of the stories, because nothing creeps me out more than little children, except maybe clowns, but that\'s another story. Miike shoots his story almost as a silent film. The dialogue is extremely sparse, and the first ten minutes of it are completely silent. He manages to shift times effectively, allowing just enough foreshadowing, and the proper backstory to come through. It begins in the future, goes to the present, winds up in the past, and finally gets back to the beginning again. It is all done with a highly hypnotic power as all well crafted films with a deliberate pace should be.\r\n\r\nChan\'s story I\'ve mentioned as being the weakest link, which might not mean it\'s bad. It has Christopher Doyle as a DP, so how bad could it be? It is a little unsettling at parts, the abortion will attest to that, and well the dumpings themselves are their own source of disgust. I do however believe that the film has no general horror appeal. It is more of a blood bath than anything creepy, or even frightening.\r\n\r\nWook\'s film is the golden egg of the bunch. Like a brilliantly exectuted Tales From the Crypt story, what Miike\'s film lacks in dialogue, this more than makes up for it. It is almost all talking, and has lots of those morality plays. It is the most thought provoking of the bunch, and gets to be somewhat confusing, as they all do in their little ways. I was enthralled with this, and Wook sets it up brilliantly. Allowing more to be revealled as time progresses. I loved how it started as a tale of a vampire, but we saw through a backwards tracking shot that it was a movie set, but how that same opening shot got replayed near the end. This is the best of the bunch, and sadly I\'ve still not seen Old Boy, but if this what Wook\'s work is like, then I most certainly am looking forward to it (even more than normal).\r\n\r\nCan\'t say the film is perfect, but Miike and and Wook are absolutely phenomenal for this outing.','d21c1e5c28f420d122b69f6bca98b3c7',0,'','ANM1DpeL',1,0,'',0,0,0),(10031,1773,3,1,0,'69.120.114.47',1124420580,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','We certainly have a difference of opinion on the different parts of \"Three Extremes\". I thought Fruit Chan\'s \"Dumplings\" was the best part (mind you I have seen the full feature length version) then Miikes \"Box\" which surprised me with its quality and I felt Chan-wook Park\'s segment \"Cut\" was the weakest simply because it became tangled up in itself.\r\n\r\nGreat to see a difference of opinion.\r\n\r\nCheers Trev.','bba7fc4e59472ea2c282b6b87c584551',0,'','kaNAtH50',1,0,'',0,0,0),(10032,1773,3,1,0,'69.120.114.47',1125120600,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Ley Lines (1999) - Takashi Miike\r\n\r\nWell another Miike film is in the books. This was the last installment in his Black Society Trilgoy, which I was completely unaware of. This is also one of the films (along with Audition) that helped to break Miike to a Western audience. Why you may ask, because Western audiences love crime. This film is all about the underworld and reckless youths. There are no clear victims here, because even the villians get their own medicine dished back to them. Likewise there aren\'t really any heroes here, everyone is flawed, and that\'s just what this story needs.\r\n\r\nUnfortunately because of the credits being in Japanese, and the online source about the film has no cast listed, I can\'t really tell you who\'s in it, or who played who. I also can\'t find the name of the cinematographer. This last point is more important to me. This film was shot wonderfully well. It embraces tracking shots throughout, following the characters as if you were trying to catch up to them, or following them down a seedy back alley.\r\n\r\nTo be expected from Miike the film is somewhat graphic, lots of violence. There is also nudity, and because of certain Japanese censorship rules, genitals are blocked out. Rather than make them pixilated as is usually the practice, Miike makes them appear electric, animating lighting over them, certainly gives it a new spin. Sex is of course going to come up here, because one of the main characters just happens to be a Chinese prostitute. She is the prime example of a victim/victimizer. She robs our trio of actors, but then returns to her apartment to be beaten by her pimp/boyfriend. Throughout the film she is beaten, but she manages to find some strength in the group from the country. Reluctantly she fits in.\r\n\r\nThe band of misfits of course attempts to make their own way in the underworld, selling glue at first. Then of course comes the \"big score\" a bank robbery where they\'re willing to shoot if necessary. I think our main character (who\'s name escapes me) is actually under the notion of death as romantic. Of course when he comes face to face with blood he realizes how wrong he was. It is this notion of the glamour of crime that attracts them. Once they have blood on their hands though, things seem different. Granted this is in no ways a morality play, and there is not a lot of contemplation here. You can only really see the reaction in the face of the actors that realization that \"I just took someone\'s life with this trigger\". Same can be said of our prostitute when she finally has a gun in her hand. There is that momentary shock, and then I think she takes to it, almost unleashing her hatred on the world, and in particular men. Murder is her retribution, with a gun it doesn\'t matter if a guy is stronger or bigger than her, she won\'t be abused.\r\n\r\nI can\'t say the film is particularly strong. It is somewhat conventional in Miike\'s world. I\'d like to see the other films in the trilogy to see how they compare, but ignorant as I am I don\'t even know what the other two films are. The cinematography alone though makes this film stand out, and in that regard it looks better than probably any Miike film. So if camera movement works for you, then you may just love this film. More Miike to come, so I\'m unofficially become the FF authority on him.','b9cfd94ad6a00c36d2e387ca298e09ff',0,'','TE5UZ2V8',1,0,'',0,0,0),(10033,1773,3,1,0,'69.120.114.47',1125150660,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','It\'s been a while since I\'ve seen Ley Lines but I\'ll add my comments in this box once I\'ve rewatched it.\r\n\r\nNihon kuroshakai (1999) Ley Lines\r\n\r\nOkay just a few notes in addition to wpqx\'s concise comments, as noted this is the third in the Black society trilogy the connection being they all feature characters who are \"Kuro Shakai\", that is Chinese or part Chinese living in Japan. At the start we see the two brothers who are Kuro Shakai as little boys being told by Japanese children to go back to China. The films are about outsiders, not just from the viewpoint of the law but from the viewpoint of society.\r\n\r\nThe other films in the trilogy are Shinjuku Triad Society and Rainy Dog and will be commented on at some future date. \r\n\r\nA few of the cast are Miike regulars, in particular Tomorowo Taguchi, Sho Aikawa and Riki Takeuchi, each has appeared in many of his films including the Dead or Alive trilogy. The cinematographer ( as wpqx noted \"This film was shot wonderfully well\") is Naosuke Imaizumi, amongst his other credits are Miike\'s \"The City of Last Souls\" and \"Shinjuku Triad Society\". \r\n\r\nThe brothers appear to have some sort of psychic connection at times of grave danger, there\'s a time where the eldest (and main protagonist) Ryuichi gets badly beaten, (his own fault) but somehow his brother seems to hear him though they\'re nowhere near each other and is able to find and help him. This link is made again towards the end of the film but this time in reverse.\r\n\r\nAnother thing that pops up in this film and a few others, not just Miike\'s is the connection between Japan and Brazil, I have no idea where it stems from but there is a definite affinity between the two nations, might be something worth looking into.\r\n\r\nI\'d say apart from the cinematography, this is pretty standard Miike fare, gangsters, pimps, prostitutes, crime and retribution although not usually by the hand of the law and a slightly introspective look at modern Japanese society.\r\n\r\nCheers Trev.','996cc85b123f6a9503191889699014d3',0,'','mJQsqoxY',1,0,'',0,0,0),(10034,1773,3,1,0,'69.120.114.47',1125157080,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','I have Izo and Audition too, and will be watching them in the near future, but the rest of his filmography is all yours.','9a273d5ece2a0eb2a6db5c84cded40db',0,'','TjYeRC4L',1,0,'',0,0,0),(10035,1773,3,1,0,'69.120.114.47',1125157860,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','I`m interested on your views on Izo. This may sure be one of the love it or hate it candidates. I thought it a mess, and couldn`t make too much sense of it, though I liked certain aspects.','24eb11eed3fcea54a068b5982447ab04',0,'','FLqZVijz',1,0,'',0,0,0),(10036,1773,3,1,0,'69.120.114.47',1125345060,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Still to come\r\n\r\nKITANO\r\n\r\nDolls\r\nHana-Bi\r\nBrother\r\nKids Return\r\n\r\nHopefully somebody else can cover Sonatine, Violent Cop, Boiling Point etc.\r\n\r\nTSUKAMOTO\r\n\r\nBullet Ballet\r\nA Snake of June\r\n\r\nMIIKE\r\n\r\nDead or Alive\r\nDOA 2\r\nCity of Lost Souls\r\nVisitor Q\r\n\r\nAnd more.','35b98e3847dab1e6b613ca0ee191f8c0',0,'','3CJ6nK5f',1,0,'',0,0,0),(10037,1773,3,1,0,'69.120.114.47',1125430200,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Audition (1999) - Takashi Miike\r\n\r\nWell another Miike for me. This is, along with Ichi the Killer his most notorious film. Audition holds the special place of being the first Miike film I had heard of, and that goes for many people. Told of the films disturbing imagery, creepy moments, and confusing structure, one can easily get expectations high. Perhaps this film would be better to go into blind, but well some films aren\'t possible to do that.\r\n\r\nThe problem with the film is the pacing. Although 115 minutes, it takes about 80 before anything unusual happens. This can force most people to lose interest by the time. I\'ll admit I was bored out of my mind as the \"plot\" was unravelling. We meet our lovable loser and watch as he \"auditions\" a potential wife. In the process we watch him bumbling about, criticize the plot he\'s after, although it certainly sounds like a US reality show. Then we see him being boring on a date, and being boring while thinking about his ideal woman. \r\n\r\nPerhaps it was the intention to make us bored. Isolate us from what\'s happening and give us a degree of sympathy for our main character, because his life is so boring. Either way it makes the majority of the film seem like a waste of time, or at least wasted on me. Things thankfully do start to change after a night in a hotel room, and well like most viewers it\'s hard not to scratch your head wondering what the hell is happening.\r\n\r\nThe story bounces around from dream to reality to back again so often that we begin to question everything that\'s going on. This I know was intentional. We\'re confused to the point, were we might even wonder if the entire thing (audition tapes included) wasn\'t part of some fantasy. Things get rolling and for us, it\'s all in good fun. I found myself sitting up in my seat towards the conclusion admiring the strange twists and turns, and only half heartedly trying to decipher what was real.\r\n\r\nI got thrown one too many curves, and just said to hell with it, and tried to enjoy the ride. That\'s the best advice I could give someone about this film. If looking for a horror film you will be disappointed. If you\'re looking for something strange and unique, you\'ll be bored for a while. If you just plow into the film without a care in your head, then you may just enjoy this film. It does get good, but in my case it seemed too little too late. Miike despite his mass cult appeal doesn\'t seem to me to be a very great filmmaker. Or perhaps somewhere amidst all those pictures he\'s made is a gem, or maybe considering his age, his best is yet to come. For my money though, that best film wouldn\'t be Audition, a film too muddled and messed up to be truly great.','b3aceb8fa9b56a8b39065371763be81a',0,'','TecGVBjQ',1,0,'',0,0,0),(10038,1773,3,1,0,'69.120.114.47',1125432540,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','It was also my first Miike, and my initial reaction was very similar to yours. Only that I (maybe) tried harder to make sense of it, and (after consutling some reviews, essays, etc.) it did! Well, I don`t remember it properly, as it has been some time (years?) ago, but let me assure you there is a point to it, and not just on the social commentary-side. My Next film was Graveyrd of Honor (one of my favorite films), and things went easier. Before watching the next one (Ichi) I gathered some informations, and it helped tremendeously appreciating the film.\r\nBut the last Miike film I saw, \"Izo\" left me wondering again...\r\n\r\nMaybe I should recommend you watch Blues Harp, or Dead or Alive 2, if you want something \"easier\" more conventional, but imo still pretty good.','050a2f2905b350a31c9ac5e78fc15125',0,'','1vDFLE4d',1,0,'',0,0,0),(10039,1773,3,1,0,'69.120.114.47',1125441000,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','There\'s one thing you have to remember about Miike as opposed to Kitano, Tsukamoto and many other directors. Miike is just that a director, he\'s never written or worked on anything that has originated from his own mind, sure he puts his stamp on a film but only as a director. \r\n\r\nAs an example, this is a quote from an interview, \" I make the movie which is offered to me, with somebody else\'s money,\" this is why out of these three directors, I always refer to Miike as a jobbing director knocking them out as quickly and cheaply as possible. \r\n\r\nThe source novel for Audition was written by Ryu Murakami perhaps better known to \"A\" as the writer and director of Tokyo Decadence. Ryu was apparently so pleased with the film adaptation of Audition that he wanted Miike to direct Coin Locker Babies but by the look of it, he won\'t get the chance to do it.\r\n\r\nFor a little more insight on Miike here\'s a link to an interview with him Miike interview with midnighteye.\r\n\r\nCheers Trev.','2c592542356d8fdd06dfd59d80df080b',0,'','HtjlmE0F',1,0,'',0,0,0),(10040,1773,3,1,0,'69.120.114.47',1126055880,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Kikujir no natsu (1999) Kikujiro \r\n\r\nDirected by Takeshi Kitano \r\n\r\nStarring Takeshi Kitano, Yusuke Sekiguchi\r\n\r\nA real oddball and playful buddy/road movie, Masao lives with his grandmother in Tokyo but desperately wants to see his mother who lives in another town. Kikujir is a cynical old yakuza (gang) member who through his wifes persuasion accompanies Masao on his journey.\r\n\r\nThe first thing Kikujiro does is to drag Masao to a bicycle racing track where he manages to lose almost all their money gambling, thus their adventure truly begins as they have to hitch their way to their destination. Along the way they meet a series of characters including Jugglers, a writer and two inept Hells Angels, Fatso and Baldy (as named by Kikujir) all of who help to amuse Masao and keep the story rolling along.\r\n\r\nAmong the delights are the Hells Angels made up as various sea creatures and melon bashing (a Japanese beach custom) with a difference. Kitanos signatures are present as usual, seashores, angels, physical and musical rhythm and his artwork. Each chapter has an introductory screen almost like a scrapbook giving a little preview of whats to come and the whole thing plays out almost like a Japanese Wizard of Oz but without any sentimentality or any form of redemption. Kikujiro starts the film as a cynical old fart and ends it exactly the same.\r\n\r\nVivid, colourful and energetic, this is a great movie and a fine introduction especially for youngsters to Japanese cinema, highly recommended.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 12\r\n\r\nNo R2 Pal DVD available, R1 & R3 ntsc available from several suppliers.','3dd31b586cb90aa41c54bc5c4d471f09',0,'','Tcsr0Gwe',1,0,'',0,0,0),(10041,1773,3,1,0,'69.120.114.47',1126544520,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Yokai Hanta - Hiruko (1990) Hiruko the Goblin \r\n\r\nDirected by Shinya Tsukamoto\r\n\r\nStarring Kenji Sawada, Masaki Kudou\r\n\r\nThis belongs with the likes of Evil Dead or Peter Jacksons early efforts, very low budget, some pretty bad acting and some good but some awful special effects.\r\n\r\nThe basic plot (once again adapted from a manga) involves the accidental freeing of an ancient demon from a large mound built specifically to contain it; of course theyve since built houses and a school on the mound! The demon/goblin takes the head of its first victim, (a schoolgirl of course) grows spiders legs then sneaks up on its other victims, entrances them by singing a slow repetitive song then makes them decapitate themselves.\r\n\r\nThe only way to stop it and its brethren from coming up from the pits of Hell and causing worldwide chaos is to trap it again within the mound. A young boy, a nutty archaeologist plus the school caretaker are the only ones capable of saving the world from Hiruko and the hosts of Hell.\r\n\r\nAt best this is daft, absurdly funny in parts and utterly disposable, the plot is very straightforward but the way its edited with jump cuts every few minutes or even seconds look very amateurish.\r\n\r\nFrom what I can find out, Tsukamoto made this film to help fund his own endeavours and it certainly doesnt belong with the rest of his canon. Dont go out of your way to see this but if youre looking for something light, silly and fairly entertaining this may just fit the bill. \r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15\r\n\r\nAvailable on DVD from Artsmagic.','4e988244d3ef54878add923fe567649b',0,'','YgmG1JCj',1,0,'',0,0,0),(10042,1773,3,1,0,'69.120.114.47',1127072100,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Izo (2004) - Takashi Miike \r\n\r\nWell the question one may ask is can senseless violence alone be the basis of a movie? Izo proves that it can\'t. For a long two hours we see the title character, a barbarian/demon get transported to various times and places always screaming and always killing. It gets boring extremely quickly. We notice the change in times, and wonder what the point of it is. Believing this is a seriously dense and complex film, we soon discover however that it isn\'t. The film is simply a parade of violence in different settings.\r\n\r\nMiike tries his best to keep the action somewhat interesting, and any possible way somebody can be killed with a sword occurs here. There are a few quiet passages, various musical interludes, and even a few silent film like passages. This isn\'t a senseless parade of violence like say an American movie with a thinly disguised plot might be. Instead this is senseless violence masked as an art film.\r\n\r\nI don\'t think that the man playing Izo was a particularly good choice. He neither seemed menacing, barbaric, or charismatic enough to pull this off. He irritated me, and I was eagerly awaiting somebody to finally send his body to hell, and wound up continually disappointed.\r\n\r\nThe point of this film may be that violence is senseless, so what better way to show that then fill a film completely with random killings that have nothing to do with anything. I honestly don\'t think anyone cares what the point is. The film could have done a lot more with his character, and I still have no idea exactly why he just wanders around killing people, perhaps a backstory a little history could have helped. If it sounds like I\'m bashing the film, it\'s because I am, this film is utterly pointless, and even the most passionate samurai fan will get bored out of his mind.','5508e6b4da35b1d8a3bfc31d37c4a73d',0,'','hRvX8G4z',1,0,'',0,0,0),(10043,1773,3,1,0,'69.120.114.47',1129594560,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Vital (2004)\r\n\r\nDirected by Shinya Tsukamoto\r\n\r\nStarring Tadanobu Asano, Nami Tsukamoto, Kazuyoshi Kushida\r\n\r\nFilm No4 in Tartan\'s Asia extreme tour 2005.\r\n\r\nHiroshi Takagi (Tadanobu Asano) wakes up in hospital after a car crash, his memory is gone but his parents take him home and hope for the best. Finding his old medical books he decides to enrol as a medical student, (his father is a doctor). During the training he has to do dissect a corpse, a young woman and suddenly memories come flooding back to him, but are they just memories?\r\n\r\nAs the dissection takes place Hiroshi starts behaving more and more strangely driving most of the other students away apart from a girl who obviously has a soft spot for him, she follows him around and literally throws herself at him but he\'s too self absorbed to take any notice. The flashbacks and visions get stronger and become more real to him than reality, meanwhile the dissection continues as every part of the body is cut away and examined for study purposes (the visual and aural effects for this procedure were outstanding). \r\n\r\nSounds macabre, depressing or gross but provided you can let yourself flow with it, its quite beautiful. Hiroshi slips from the present to the past and often into a higher plane of consciousness! \r\n\r\nTadanobu breezes through his role keeping his acting minimal but interesting, Kazuyoshi Kushida excels as the father of Hiroshis ex girlfriend. The directing and editing are superb (as Id expect) and Nami Tsukamoto (any relation?) is beautiful and I assume from her performance, a trained dancer. \r\n\r\nThe film asks many questions such as: How do we define love? What is waiting for us when we die? What is reality? And as one of the doctors asks, Where is the soul? \r\n\r\nProvided you can just absorb it, you will find plenty to appreciate in this strangely poetic and fate driven love story from Tsukamoto. I know I\'ve previously mentioned a similarity between the work of Tsukamoto and Cronenberg, one line in this film feels like a definite reference to Cronenberg\'s Crash!\r\n\r\nI loved it but have no doubt that it will not appeal to a great many people which is a shame.\r\n\r\nBBFC rated 15.\r\n\r\nCheers Trev.\r\n\r\n-------------------------------------------------------------\r\n\r\nDVD update.\r\n\r\nR2 Pal dvd available from Tartan Video.\r\n\r\nPicture quality - very good\r\nSound options and quality - good range with very good DTS track\r\n\r\nDVD extras include - \r\n\r\nDecent enough though fairly short making of.\r\n\r\nAn interesting interview with Tsukamoto going into the inspiration and his preparation for the film.\r\n\r\nGood detailed info on the construction of the cadavers for the film, gruesome but very interesting.\r\n\r\nMusic promo.\r\n\r\nA good hour + worth of extras as well as a commentary from Tom Mes from Midnight Eye.','6bccc5080e615a57ed1638dff1f7f4b8',0,'','lUJiq5uK',1,0,'',0,0,0),(10044,1773,3,1,0,'69.120.114.47',1131093360,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','Thanks for your review! Have been waiting for something new by Tsukamoto ever since his excellent \"Snake of june\" in 2002. Glad to hear the film is good.','33b0ebfb976b2ddfe1542b49d1cfed6b',0,'','EAPt0vFZ',1,0,'',0,0,0),(10045,1773,3,1,0,'69.120.114.47',1131095760,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - The Modern Cult Directors.','I\'m also anxiously awaiting this one. Looks like the DVD comes out in Dec.','4cc1523f55687c70433054e738a451af',0,'','yJMZH7Vi',1,0,'',0,0,0),(10046,1773,3,1,0,'69.120.114.47',1131161760,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','The worlds gone mad, Miike\'s gone Hollywood and for what? Another crappy Halloween film, I honestly don\'t think that Miike and Hollywood are compatible and although I\'ve described him as a jobbing director, I can\'t for the life of me understand why he\'d work on a franchise that should have been buried after John Carpenters original film.\r\n\r\nMiike - Halloween Retribution IMDB\r\n\r\nCheers Trev.','963ab22670ad2623fde6770c74d5fe02',0,'','ybn83sjt',1,0,'',0,0,0),(10047,1773,3,1,0,'69.120.114.47',1131164400,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','Wow, that sounds like reaLLY WEIRD STUFF. I can\'t believe my eyes... Miike and Hollywood???? What the @#%$! I hope he didn\'t sink so low on his own decision, but was bound by some evil contract or curse or whatever, maybe he had lots of gambling-debts and needed the money.\r\nHonestly i think this might turn out one of the worst movies ever. Or maybe it will be just mediocre, and forgotten soon. \r\nWho knows, I\'m perplexed.','0fcd40bcf84ae2d2c556faee7181dafd',0,'','SPysYWfw',1,0,'',0,0,0),(10048,1773,3,1,0,'69.120.114.47',1131168600,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','What\'s more amazing is that they\'re still making Halloween films, I mean Christ let it die, it\'s not like ANYBODY liked the last one, or 7 for that matter.','1984e0d629cede2eaea2d251e593b1b2',0,'','1WBmdPzE',1,0,'',0,0,0),(10049,1773,3,1,0,'69.120.114.47',1131223620,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - The Modern Cult Directors.','I\'m looking forward to it.','9883fd3dc8aed74190da934b2b253073',0,'','c7n819Uv',1,0,'',0,0,0),(10050,1773,3,1,0,'69.120.114.47',1139258700,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','The Bird People in China (199 Chgoku no chjin\r\n\r\nDirected by Takashi Miike\r\n\r\nStarring Masahiro Motoki (Shall we dansu?) Renji Ishibashi (DOA) Mako \r\n\r\nA film of two very distinctive halves, the first part being the journey.\r\n\r\nWada, a Japanese businessman is travelling to the Chinese province of Yun Nan to check out an area rich in Jade, at first he is stalked but then accompanied by a psychotic Yakuza, Ujiie. Wadas Company happens to be in debt to his gang and hes come to collect.\r\n\r\nThe first part of the journey is from plane to overpacked train, once off the train Wada contacts the man who will guide him on the next stage. This is also where Ujiie makes his bullish entrance; he comes across as a caricature of a \"Yakuza Heavy\" and provides some moments of comic relief. \r\n\r\nThey continue the journey in a dilapidated rickety van that starts falling apart until it eventually collapses, from there a comical looking truck is put into use, even more ramshackle than their previous transport, the handheld camera gives a good idea of how genuinely bumpy the ride is. Having reached a flooded river, they have to continue on foot.\r\n\r\nSome will scoff at this but whereas previously it felt like some sort of wacky race with the assortment of collapsing wrecks they had to use, now it feels more and more like a Japanese/Chinese Aguirre. From the arduous trekking up mountains totally at the mercy of nature to the journey by raft up river with a psycho in tow (there is the fantasy element of the raft being pulled by several large turtles).\r\n\r\nThe journey is full of incident and they eventually end up lost in the middle of nowhere, luckily they spot people in the distance who turn out to be from the village that has found the rich vein of Jade, thus their journey ends.\r\n\r\nThe second part, the village.\r\n\r\nSet high in the mountains, amidst breath taking scenery the travellers set up camp. They are intrigued on seeing a large group of children running around with wings on and even more intrigued on hearing the legend of Bird People. Ujiie in particular takes an interest in this legend and they watch the children being taught the movements by one of the young women from the village. There is something strange about her as well, despite the obvious fact that she is Chinese, she has blue eyes, along with which she sings a song that turns out to be in a form of English. All these strange mysteries, the simplicity of rural life and the heady atmosphere alter the reasoning of the Japanese, Ujiie in particular.\r\n\r\nThey are about to head back to Tokyo when Ujiie intentionally sabotages their transportation. He has found something that has given him purpose in his life apart from the idea of hurting other people. He wants to keep the land free from the industrialisation and development that would surely follow once they took news of the Jade back. Wada makes a deal with him that could guarantee peace for the village, they will attempt to fly following the training methods of legend, if they can fly, Ujiie will get his peace, if not, well theyll probably end up dead so no matter anyway.\r\n\r\nThe pacing of the journey is fun and frenetic unfortunately the same cant be said for the time spent in the village, the change in pace is too much and the second half of the film lags. The message of the film is obvious in the fact that we need to be more ecologically minded and not turn the mystery and beauty of the world into an industrial wasteland. \r\n\r\nA worthy effort, very different from the films that Miike is renowned for and just a shame that the pacing couldnt have been better, cutting 10-15 minutes off would have made a huge difference. So not a failure but not quite the success it could have been either.\r\n\r\nWorthy of a rental just to see a different side to Miikes work.\r\n\r\nCheers Trev.\r\n\r\nNo BBFC rating but probably 12.\r\n\r\nR1 ntsc dvd available from Artsmagic. Various R3 ntsc dvds available.','cbca19cf7d3746da7ff737353dc37065',0,'','6boP72ES',1,0,'',0,0,0),(10051,1773,3,1,0,'69.120.114.47',1139266260,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - The Modern Cult Directors.','Hi,\r\nI have watched this film quite some time ago ...\r\nWhat attracted me was really the poster ... hiaks hiaks ...\r\n\r\n\r\nI thought the initial humor was typical of many Japanese movies \r\n... Also, there are some exaggerated acting/expressions and maybe events \r\n... However, the story became more thought provoking in the second half ...','f1833e540f01f6be95d0d0867549ae38',0,'','YUtGneEy',1,0,'',0,0,0),(10052,1773,3,1,0,'69.120.114.47',1139278500,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','I\'ve got to be fair, the scenery around the village is some of the most outstandingly beautiful I\'ve seen, truly stunning.\r\n\r\nYou\'re right about the exagerated acting as well particularly from the Yakuza thug, this is typical especially for this type of character in Japanese cinema.\r\n\r\nCheers Trev.','5b0aad39b069642877a7a3ded38b318c',0,'','9L2hloSz',1,0,'',0,0,0),(10053,1773,3,1,0,'69.120.114.47',1140279480,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','Ok, since I just got to see one of Miike\'s latest films yesterday - you can never be sure which one exactly is his latest - and I have (again) 20 minutes left until the next screening, I thought I\'ll write down some lines. \r\n\r\n46 Oku nen no koi Big Bang Love, Juvenile A \r\n(2005 / Japan / Takashi Miike) \r\n\r\n\r\nMiike\'s \"Big Bang Love, Juvenile A\" was shown yesterday in the Panorama section for the last time at the Berlin Film Festival, and some audience members may have not been prepared for what was coming. This film isn\'t one of Miike\'s more inventive or stunning films, but one of his more compact and initially more coherent outings, though there is still plenty experimentation to awe the casual moviegoer.\r\nSet in an undefinable place and space it is a Parabel on the power of love and a reflection on current Japanese society. The original Japanese titel means literally translated \"460 Million Years of Love\" and refers to the time segment in which life has been developing in our solar system. As one may deduct from this title, what Miike does imo, is that he tries to identify life with love, meaning that the \"reason\" why man exists, the things that can in the end redeem him and make a life worthwhile - no matter how it has been lived - is love. Miike thus comments on a very spiritual level about the human existence, but places his inquiry like many times before in extreme conditions.\r\n\r\nTwo juvenile delinquents who have been charged for murder are being sent to prison, where almost the entire narrative (besides some flashbacks) takes place. They are Aryoshi Yun a seemingly fragile and timid youth, and Katzuki Shiro who at first glance appears to be very similar, but is more like the other side of a coin. Being very athletic and seemingly self-assured, he is nevertheless haunted by his past. Both guys are presented with homosexual undertones, but nothing is ever explicitly stated. If a love relationship or a deep friendship develops is up to the viewer, but both persons lives become intertwined in this fateful encounter. While the agressive Katsuki seems to protect Aryoshi it is Aryoshi who is at times presented as a christ-like figure and who in the end \"saves\" Katzuki\'s life through death. \r\nIn one of the most haunting scenes of the film (and believe me, the film has many), a blue ray of light emerges from a peeping-hole through which Aryoshi has been gazing out of the cell and pierces him right through the heart. This motive is repeated in two dream-like segments that show him holding his chest where at the place of his heart a trickle of blood is leaking out. In fact the whole film has a circling structure, with several key scenes being repeated from different angles throughout it. One device to make this structure plausible plot-wise, is the investigation of the murder of Katzuki as one layer of the film. The policemen assigned to this case question the prisoners and wardens numerous times to find out the truth. But the two main characters - and with them Miike - are also in search of the truth, though their journey leads to a destination which the mathemathical procedures of the judicial investigation could never produce. \r\nIt is in these interview-scenes that Miike\'s intentions first become obvious, when he doesn\'t give us a traditional questoning scene with the commited cop trying to find out the truth, but instead adresses the viewer directly. The interviewees are presented facing the camera in frontal position and answering the questions directly into it. A further intimacy between them and the viewer is established through the employment of superimposed intertitles that keep silently asking the investigators\' questions, thus further bluring the dividing line to the viewer and making us wonder where these questions are actually coming from, and what their exact aim could be. A questioning of the truth which in the end leads the viewer to assume an existential crisis. And Miike shows us that although the cops have filed the case, their results don\'t offer any satisfying answers. \r\n\r\nThe Film is beautifully photographed with an expressive color palette and a lighting that mostly keeps the backgrounds clouded in the deepest black. Maybe this was also due to production restraints, but Miike creates a virtue out of this enforced theatricality, finding a stylistic sureness that is impressive. In one scene (see screencap above) we are presented with a wide angle shot that shows us the prison from a bird\'s eye view, with the cells chalked on the ground, creating a claustrophobic image that isn\'t simply a reference to von Trier\'s recent usage of the same device, but stands in the films stylistics firmly on its own. In other scenes, Miike creates a surreal and dream-like atmosphere, when he shows us the two protagonists amidst a rocket launch pad or what appear to be two aztec pyramids. The use of fragmented space and time opens up places for the viewer to contemplate the films rich offerings. \r\nHopefully more people will be attracted to Miike\'s world, with this fascinating portrait of imprisonment, an imprisonment that is extended to all of society and can be only broken through the mind. It is in these moments of freedom that love is created.','a0ccb7b517f3a11d7e54140aab67cb49',0,'','Qtjawypi',1,0,'',0,0,0),(10054,1773,3,1,0,'69.120.114.47',1140402660,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - The Modern Cult Directors.','Well you\'re way ahead of the game with your comments A, IMDB has next to no info on it. Sounds intriguing, though it could be quite a while before we get the chance to see it. \r\n\r\nThank\'s for your comments so far.\r\n\r\nCheers Trev.','44f1ed6d89f99b223dd74c6c60bbec71',0,'','20cBTMA5',1,0,'',0,0,0),(10055,1773,3,1,0,'69.120.114.47',1140745560,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','Yes, i noticed that imdb doesn\'t have anything on it, though it is already supposed to come to Japanese theaters in March. Another example of imdb being unreliable on some films. I\'ve already had this problem with some older films that still aren\'t listed in imdb.','f94ba5a7dbe5996219a693a40eadd92d',0,'','UjfqRMdX',1,0,'',0,0,0),(10056,1773,3,1,0,'69.120.114.47',1155325800,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Full Metal Yakuza (1997) - Takashi Miike\r\n\r\nAh the good old ultra violent b-movie. To varying degrees these have been a staple of direct to video releases for the last couple of decades. At one point in time these movies actually thrived in theatrical showings. In Japan, the genre has always remained healthy, and helping to lead a new charge of quick, cheaply made and extremely gory films was Takashi Miike. His Full Metal Yakuza is a gangster version of Robocop with a sword, and I can somehow see that popping up on a movie poster.\r\n\r\nThe effects are cheap, crude, and often hilarious for these very reasons. With a title like Full Metal Yakuza, you can\'t really take it too seriously. There are constant dick references, even though members are of course pixilated. Size does seem to have an importance for the yakuza and nearly everyone else in the film. Even the mad scientist would be Frankenstein admits there\'s hardly a point in building a super being if he doesn\'t have the junk to match. Although one really wonders what good it would do a cyborg.\r\n\r\nNothing in the film is really grounded in reality. The politics of who killed who and why are completely irrelevant. Still the film does have a broader context for revenge than the utterly pointless yet equally violent Izo (2004). After all, if you were killed, wouldn\'t you want revenge? Sure his creator doesn\'t see the point, and wants his creation to be something of a super hero, but well we can\'t exactly rationalize against the crusade. Along the way a very pointless and comical love affair pops up between the cyborg and the mistress of a man he once killed as a human. Although no longer human, throughout the film, he struggles with an inability to surpress his emotions. This reliance on emotions serves as something of an achilles heel, and goes to prove a rather neanderthal point that in order to be a real man/hero, you can\'t have feelings.\r\n\r\nYou can\'t take a film like this seriously, and hopefully no one does. Its a fun, cheap, do-it-yourself type of film that rewards our childish id\'s with plenty of senseless violence. Sure there\'s no enlightening method behind the madness, but Miike the director makes enough use of various cinematic techniques to keep the film interesting through its ludicrous story.\r\n\r\nGrade C','16e3ddc30262af5669084b56cafdc77b',0,'','BhoAqNDH',1,0,'',0,0,0),(10057,1773,3,1,0,'69.120.114.47',1159926300,1,0,1,1,1,1,'bamboomedia1','Re: Japanese Journals - The Modern Cult Directors.','Masters of Horror: Imprint - Takashi Miike\r\n\r\nHas anyone seen this? It was released the other day on DVD but I couldn\'t find it at the rental store. I\'m kinda surprised that Showtime banned this movie. I thought that cable companies would pretty much show anything without the FCC breathing down their necks. Controversy aside, I think this might be good.','8c251ea252db50e5637808ee7f1dd87b',0,'','E6mAHs0f',1,0,'',0,0,0),(10058,1773,3,1,0,'69.120.114.47',1160885820,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','I watched Takeshis\' (2005) today, and wow I\'m not sure what the @#%$ I just watched. This movie was confusing as hell and I have no idea what it was about or what exactly happened.','a39ee0b9502e03e43d45e89e5dcd807f',0,'','ZxlK4nGB',1,0,'',0,0,0),(10059,1773,3,1,0,'69.120.114.47',1160889900,1,0,1,1,1,1,'A','Re: Japanese Journals - The Modern Cult Directors.','Seems like you\'re in good company. I haven\'t read anything but confusing accounts of this film. \r\nBut I\'d love to watch it nevertheless. It\'s a new film by Takeshi Kitano. I mean how can I NOT watch this. \r\nMaybe we will hear more (confusing) comments on it?','277c541bc55a73be27fc24bd19d3dd4a',0,'','Sb7gVGJ6',1,0,'',0,0,0),(10060,1773,3,1,0,'69.120.114.47',1160941080,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','I can\'t say its good or bad, just very, very perplexing. I\'m sure someone else here has seen it.','7ca9d4ca203fad4dd6a4efbd820f3266',0,'','rhjnPU6L',1,0,'',0,0,0),(10061,1773,3,1,0,'69.120.114.47',1164930840,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Silver (1999) - Takashi Miike\r\n\r\nLow budget, late night smut at its finest, this film combines all the elements of a low grade B-picture into one nice bundle. Who watches late night exploitation films? Clearly the answer is men, so what would men like to see? How about wrestling, good, so why not take it a step up and try female wrestling? Ok now we need some ass whooping. Well since we already got the female wrestlers, why not a female ass kicker? Ok good, now we\'re cooking, but what good is a female action star, in a B-movie no less if she isn\'t well endowed with a gravity defying chest? Alright who do they get, Atsuko Sakuraba, that\'ll do just nicely. Alright well how about a little s & m, a dominatrix, and a lot of karate? Consider it a deal, and the film gets made.\r\n\r\nWith a seemingly atrocious screenplay and a very, very, very thin plot Miike takes it upon himself to make this film worth watching. As if he\'s apologizing to people who may be watching the film against their own free will. So with a bountiful supply of clever shots little gags and a lighting scheme that remains unique throughout, Miike graciously makes up for his bile material. Like any of his films they are usually disastrously flawed, but worth watching nonetheless. Silver is no different. Since it was made in his earlier days (1999), the film still has a Miike trying to prove himself. \r\n\r\nThe film is entertaining I must say. I had no idea exactly what was going on aside from the very basic woman seeks revenge plot. Throughout the film new characters were thrown into the mix, gangs, alliances and very little explanation as to who was who and what the hell they had to do with anything. The \"love scene\" was so pointless and went on so long that I literally found myself falling asleep. The lighting in that particular scheme was what can only be called a Shannon Tweed purple. Even the set up for the scene is laughable. Jun on her birthday, after killing the dominatrix Nancy is celebrating with a man who I don\'t honestly remember where he fit into the film because he doesn\'t pop up afterwards. Miike shoots a closeup of her face where she simply says \"Make love to me\". I nearly chuckled at how pointless it was. You can imagine a producer saying \"We need a sex scene\", and that was the ingenious solution to how to get it in there.\r\n\r\nLike most of Miike\'s films (at least he several I\'ve seen) this one is of course style over substance. Revenge plots are always thin, but unless you\'re Park Chan Wook, then avoid them entirely. This film has neither the budget, nor the script to make a grade A picture. I still have a good 4 Miike films in the to watch pile, so perhaps god willing one of his films may actually elevate itself above mere clever trickery.\r\n\r\nGrade C+','16dc6952db790cf966ec361aa93586bd',0,'','Njis6tnP',1,0,'',0,0,0),(10062,1773,3,1,0,'69.120.114.47',1168216200,1,0,1,1,1,1,'justindeimen','Re: Japanese Journals - The Modern Cult Directors.','Here\'s my take. Doesn\'t deviate much from A\'s and I enjoyed it immensely. Obviously influenced by the more artistically inclined European directors and could sense a Fassbinder tone and a Felliniesque hyper realism in others.','e6d835a4951f4d13c2030ecdc3a5c88f',0,'','SaBpEjmX',1,0,'',0,0,0),(10063,1773,3,1,0,'69.120.114.47',1168693920,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - The Modern Cult Directors.','Big Bang Love, Juvenile A (2005 / Japan / Takashi Miike)\r\n\r\nMy take ...\r\nHey, initially I was full of hope, given that it is screened in one of our art film theatre, and it premiered in Berlin ... but becos i was too busy, i was unsure to watch or otherwise (cos some reviews on the web were less than positive) ... finally i gave it a try ... becos Japanese DVDs are way too expensive ...\r\n\r\nMy verdict is : \r\nWOW ... it was better than i expected ... the experimental style was very interesting ... ... in particular ...\r\n(i) the partial reality/partial stage like performance/set design ... \r\n(ii) the repeating sequences of narrative\r\n(iii) the initial dance ... what a pounding soundtrack ...\r\n(iv) AND most impt of all, like most Japanese film ... the PHILOSOPHICAL aspect of it ... and that means, a second watch is usually necessary ... \r\n\r\nAND if possible: a QUESTION and ANSWER session with the director would be better ... ... ha ha ha\r\n\r\nHi A, at the Berlin Film Festival, was there any interesting Q&A with the director?\r\n\r\nHi A and justin, what do you think is the significance of the butterfly? or any other worth discussing scene/things/style etc?\r\n\r\nas usual, i am less than thrilled by the space and heaven depiction ... but becos of its experimental style, it was ok, not jarring ...\r\n\r\nConclusion:\r\noverall, do give it a chance ... recommended','c62e213543f3549018bae0aef1238cfa',0,'','QWq4taKG',1,0,'',0,0,0),(10064,1773,3,1,0,'69.120.114.47',1208206680,1,0,1,1,1,1,'wpqx','Re: Japanese Journals - The Modern Cult Directors.','Dead or Alive (1999) - Takashi Miike \r\n\r\nOh lord. I\'m always curious to see a trilogy or a sequel made when a film has a very definite and final ending. I have the entire trilogy at my disposal and will get around to it shortly I hope. The first installment is all levels of routine plot depicting the age old conflict between criminal and cop. However with a feverish bag of tricks Miike makes the film anything but conventional. The opening is superb and well I\'m still scratching my head at the conclusion. However a few great gags make this film stand out above most of Miike\'s work and elevated above the genre.','17c6b99848befcd61f216472d895a06b',0,'','zkqY0wBP',1,0,'',0,0,0),(10065,1774,3,1,0,'69.120.114.47',1150071060,1,0,1,1,1,1,'A','Requiem (2006 / Germany / Hans-Christian Schmid)','Inner Demons are haunting 21 year old Michaela (Sandra Hller), but of what kind, at first nobody seems to be able to say. Having grown up in a small village in Southern Germany, she is accepted at university, and moves away from her family into her own appartment in a bigger city. But her past keeps coming back to her. The film concentrates on the short time-span between the departure of Michaela into a life of her own, and her final arrival back home, til the moment in which she completely surrenders herself to the will of others. The last image of the film shows her in what seemed to me a state of complete acceptance of her situation, and after a fade-out we are informed that she died shortly thereafter.\r\nThe past life the protagonist cant get rid of, is represented by the parents, religion, and her (home)community in general. From these main factors the mental illness that keeps bothering her seems to have resulted. Being referred to as epilepsy numerous times during the film, it nevertheless remains unclear what exactly is bothering her (my impression was of a developing schizophrenia). And from the characters almost no one really seems to care. \r\nAs far as the director is concerned, this topic seems rightly secondary, as the main focus is clearly the actions and reactions of Michaela and her surroundings to this problem. A seemingly objective sociological character study, an observational account which takes an individuals story that can subsequently be interpreted in a universal way, applicable to many varying topics and situations. An approach to filmmaking that has in recent years become very popular amongst younger German directors. \r\n\r\nWhere I saw director Hans-Christian Schmid sruggling in Requiem, was in his disinterest with the actual story he was filming, which is based on real accounts from the 70s. In my opinion, Schmid seemed to be exterminating his own inner demons, modelling the character of Michaela on (a) person(s) he may have known in the past. The weakness of his direction is thus a personal auteurist approach which is badly disguised, making the film resemble rather an experiment than a focused attempt. Sadly this experiment for most parts doesnt work out, as the film gets entangled in its own inconsistencies. An affective camerawork which tends to point out obtrusevily the unsubtle direction at some points, while its images become interchangable and the direction seems clueless at others. Same goes for Sandra Hller who has some very effective scenes, paired with others where she doesnt seem to get the character. Her face reminded me at times of Isabelle Huppert, and she certainly has a lot of screen presence. But the overall performance was too unbalanced to be completely successful. I wonder why Schmid hasnt given such a difficult role to a more professional actress. Looking at Isabelle Adjani in Andrzej Zulawskis Possession (1981) where she pulls off a more demanding role proves quite helpful in discerning some weaknesses in Requiem. The problem thus doesnt actually lie with Sandra Hller (who was rightfully praised) nor with the camerawork or any other technical department, but with the director himself. After the highpoint with Lichter in 2003, Schmid nevertheless seems on an interesting journey as a filmmaker, and I am curious to know which subject he will explore in his next film. I hope it will be more of a personal endeavor, rather than a (literal) adaptation. \r\nThe great things about Requiem are the few sequences where Schmid successfully blends the images with the 70s soundtrack, letting Hllers face and body tell us more than her words and the often forced dialogue ever could. Through tihis he is opening up space for reflection in scenes which are packed with emotion and detached at the same moment. For once the discrepancy works, and the perfect ending offers us one of the greatest moments you will be able to experience at the movies in 2006. But if we disregard the inspirational moments which are scattered throughout the film, the overall experience resembles more a half-hearted attempt at copying the Dardenne Brothers. Although, regarding all the critical praise from the media especially here in germany where the film was hailed as a masterpiece - it seems like Im pretty much alone with my evaluation. So you can start bashing me when you have seen the film for yourself.\r\n\r\nIn an effective twist at the end, the only person who is actually concerned about Michaela herself and not about his/her own problems with the situation is her former classmate who was first introduced as a very unlikable character with identity problems of her own. \r\nThe forces of good and evil are difficult to be separated, and when a person tries to erase a portion of her identity death can be a result. Martyrdom as the inability to reconcile the inner forces. But the opinions on this are surely going to differ.\r\n__________________________________________________\r\n\r\nThe film premiered in the competition of the 2006 Berlin Film Festival garnering a best actress award for Sandra Hller and the FIPRESCI Prize.\r\npersonal rating is 60 out of 100','8f131222db203e31cf874916056787d9',0,'','DA183wWX',1,0,'',0,0,0),(10066,1774,3,1,0,'69.120.114.47',1150093740,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','Thanks for the review, A. As you know, I\'m very interested in this film; hopefully, unlike previous Schmid\'s efforts, it\'ll receive some distribution in the U.S. I\'ve seen Possession, very unique to say the least, though it was ultimately unsatisfying, which is just about your reaction to Requiem. Yeah, Adjani, who I think won the Best Actress prize at Cannes for her role, was quite good. \r\n\r\nAny news on Requiem\'s DVD release?','b74743ee5c5802349dd3a673910f59ba',0,'','HeYxMtE5',1,0,'',0,0,0),(10067,1774,3,1,0,'69.120.114.47',1150389960,1,0,1,1,1,1,'A','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','I think Requiem has so far the biggest chances for international distribution, considering the awards and attention it got, and the (popular?) topic of exorcism (with which it actually deals only marginally).\r\nI\'m extremely fond of Possession, as it is imo one of the best depictions of traumatic relationships on screen. I especially love it how it depicts a totally altered perception of the world under extreme psychological strain. Very honest and true to life without merely replicating it, but adding a complete reflective process.\r\nAs for Requiem, there can\'t be any real comparison besides some very short acting scenes. Schmid seems to be nowhere the director Zulawski was, as he is imo far better with observing inner depictions in an \"impressionistic\" way, than with exposing them outwardly like Zulawski - a completely different approach to film.\r\nAnd Requiem has many problems with dialogue and character-confrontation when it doesn\'t rise over regular TV-fare in many moments (luckily, compared to most TV, the acting is far better!).\r\n\r\nI\'ll keep you informed on a DVD release that will at least surely be available here in Germany. But as of now, I have no information, otherwise I would have posted a link. Seems like some good habits are rubbing off on me','e19dccdc1454f85103d65d42e9b6b019',0,'','S8of7Ybl',1,0,'',0,0,0),(10068,1774,3,1,0,'69.120.114.47',1157347560,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','Just wanted to mention that Requiem now has a U.S. distributor: IFC Films. The film will open in limited engagements starting October 20th.','2301f6c0095c3e1e87a06fa7f266f4a1',0,'','Gtys57W2',1,0,'',0,0,0),(10069,1774,3,1,0,'69.120.114.47',1163157600,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','\"As far as the director is concerned, this topic seems rightly secondary, as the main focus is clearly the actions and reactions of Michaela and her surroundings to this problem. A seemingly objective sociological character study, an observational account which takes an individuals story that can subsequently be interpreted in a universal way, applicable to many varying topics and situations.\"\r\n\r\nThat\'s correct. I\'m not sure, then, why in your earlier comments you seemed unsatisfied with the lack of details regarding her illness. I think Requiem\'s attention to Michaela complex psychological behavior, and not just her \"physical\" illness, is one of its strong points. (I\'m also glad that Schmid didn\'t explicitly take religion and medicine to task, which is what we normally see in these sort of films.)\r\n\r\n\"The weakness of his direction is thus a personal auteurist approach which is badly disguised, making the film resemble rather an experiment than a focused attempt.\"\r\n\r\nWould you mind expanding on this a bit? Thanks.\r\n\r\n\"An affective camerawork which tends to point out obtrusevily the unsubtle direction at some points, while its images become interchangable and the direction seems clueless at others.\"\r\n\r\nI didn\'t had a problem with the hand-held camerawork; if anything it brought certain immediacy to the proceedings. And as I\'ve mentioned elsewhere, I was quite impressed by the economy of the screenplay and the editing. This subject matter is often approached in a sensational manner, but for the most part Requiem is an exception. (Last year\'s The Exorcism of Emily Rose was also based on this same actual 1976 case, but from the parts I\'ve seen on television, the presentation is blatantly heightened for mass-appeal.)\r\n\r\n\"The great things about Requiem are the few sequences where Schmid successfully blends the images with the 70s soundtrack, letting Hllers face and body tell us more than her words and the often forced dialogue ever could. Through tihis he is opening up space for reflection in scenes which are packed with emotion and detached at the same moment. For once the discrepancy works, and the perfect ending offers us one of the greatest moments you will be able to experience at the movies in 2006.\"\r\n\r\nI agree!','822fb873e3bc4c55cf08ea6716d04668',0,'','wYsio28z',1,0,'',0,0,0),(10070,1774,3,1,0,'69.120.114.47',1163472240,1,0,1,1,1,1,'A','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','I wasn\'t unsatisfied with the lack of details regarding her illness, and didn\'t want to give this impression. I tried to state it as a \"fact\". If there was something bothering me, it was the topic of exorsism, which wouldn\'t have been necessary in such an amount in this film. I realize that Requiem is based on actual events, and my statement may thus seem a bit absurd, but this leads to the second quote in your post. \r\nThe \"weakness\" of the direction was imo, that Schmid chose this story about exorcism when he was actually concerned with something else (this is my impression). I think he wasn\'t interested in the screenplay as it was (see the fantastic movie-moments I refer to at the end of my review and which you also quote - they are not from the original screenplay), but used it as a way with dealing with personal issues that concerned himself. BUT, and that is my objection, he went into a direction where he tried to disguise this halfheartedly (or subconsciously?) and was still entangled in the story and the real life events. Thus we have a situation, where a filmmaker isn\'t making 100% the film he wants to make, but he also doesn\'t deal 100% with the material he has. \r\nThere is imo no doubt about the talent of Schmid as a filmmaker. But I only hope that he will dare to express himself(!) more openly next time. \r\nIf I draw the parallel to Zulawski and his Possession again. Zulawski went through 4 years of divorce which was like hell to him in the late 70s, and I think this lead to an extremely honest and powerful film. Schmid maybe hasn\'t the self-esteem yet, to expose himself in a similar way on the screen. \r\nBut this is exactly what I expect from the best filmmakers. To present their ideas or their experiences as \"honestly\" as possible, (in their own ways of course). Examples for this are Hitchcock (Vertigo), Kubrick (Barry Lyndon), Chaplin (City Lights, Limelight), and of course Jean Eustache.\r\nI mention all of these great directors, because I think Schmid has a lot of potential. He just needs to take more risks. I think this is something which still seperates him from other young german mavericks like Ulrich Khler. But his last film Lichter, and the fact that Requiem contains so far the best and most powerful moments in in his filmmaking career is already a sign that he is imo moving in the \"right\" direction. \r\n\r\nThe camerawork was too much \"to the point\" for me very often. It didn\'t just register or show certain inner changes in the characters but pointed them out (that was my impression of course). I don\'t like it, when I realize what a character is thinking or going through in a certain moment because the film has been succesfull in hinting at it and making me complete the picture, only to get it accentuated at the end of such a moment through a close-up of a face or some other \"obvious\" device in the context of the film. I would even prefer a narrator who would recapitulate what was already shown than to get it \"summed up\" a second time through the visuals. \r\nMaybe it\'s just me, but I\'m always disappointed when a film further develops the characters in a subtle way, and then again \"shows\" us the result at the end of such a sequence. I feel like the filmmaker hasn\'t enough faith in (or patience with)his audience in such situations. \r\n\r\nAfter reading it again, I think the sentence you quote is a bit of a mess (again, you must excuse my english). Maybe I should have formulated it something like this: \r\n\"An affective camerawork tends often to point out obtrusevily the initially subtle characterizations of the protagonists making the direction appear insecure at some points and destroying the momentum and the rhythm of a scene. And there is also a problem that the images become interchangable and the direction seems clueless at other moments, when Schmid doesn\'t know if he should focus on what he wants to tell, or what the screenplay is about.\"\r\nI liked the editing, but it didn\'t always go well with the camera in moments like these.\r\n\r\nThe screenplay was a bit of a real problem though. I didn\'t have problems with its concept (and its economy) per se, but the dialogue often kept bothering me. I thought it was at times unconvincing and forced, and didn\'t fit with the visual style Schmid tried to evoke. In the end this is of course the \"fault\" of the director (if things don\'t work he has to change them). Nevertheless the screenplay as it appeared to have been was the film\'s biggest weakness in my opinion. \r\n\r\nA short anecdote on this: \r\nA couple of weeks after I had seen the film, I met a friend who started talking about the film. She didn\'t like it, because she thought the screenplay was worth . The scenarist had been a fellow student of hers at university, and had written it in those times. She said that she was amazed that Hans-Christian Schmid had chosen it for his film. I thought her assesmet might have been a bit personal - due to the circumstances - but I agreed that while I liked the film, I also didn\'t like the screenplay. \r\n\r\nThere are of course a lot of exploitive and sensationalist attempts at cashing in on the topic of exorcism, but I knew that \"Requiem\" would be beyond such concerns, considering Schmid\'s respectful and restrained approach to everything he had done before. \r\nI\'m also glad that Schmid didn\'t go after religion and medicine in a direct way. In the context of the film and his filmmaking the attacks on it were very effective the way they were presented. \r\n\r\nWhow, just wanted to make a short reply, and have ended up writing a bit more. But I\'ll have to finish, as I need to get home.','8d1472206b10bd918753a1d89fc6c6ee',0,'','y79MKgBT',1,0,'',0,0,0),(10071,1774,3,1,0,'69.120.114.47',1163987880,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','Thanks for your thoughts.\r\n\r\n\"The \"weakness\" of the direction was imo, that Schmid chose this story about exorcism when he was actually concerned with something else (this is my impression). I think he wasn\'t interested in the screenplay as it was (see the fantastic movie-moments I refer to at the end of my review and which you also quote - they are not from the original screenplay), but used it as a way with dealing with personal issues that concerned himself. BUT, and that is my objection, he went into a direction where he tried to disguise this halfheartedly (or subconsciously?) and was still entangled in the story and the real life events.\"\r\n\r\nThis, needless to say, is complete and utter supposition on your part. I know that you partially agree with that, but your remarks could easily be construed as personal accusations rather than criticism of the film. Unless, of course, if you have any real evidence to support your claims.','e9333a56f14ec0343ebd8f2728c4684d',0,'','ld1Uv2Aa',1,0,'',0,0,0),(10072,1774,3,1,0,'69.120.114.47',1164001500,1,0,1,1,1,1,'hengcs','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','Hi,\r\nI have watched it in the recent German Film Fest ... just kind of too busy to add more comments ... but in a few words, I thought the film was good ... though kind of scary (as in i seldom like to watch \"horror\" film) ...','aba6786ac7cf2f11da8c3d7d0e53d82c',0,'','AC01qnZt',1,0,'',0,0,0),(10073,1774,3,1,0,'69.120.114.47',1164301800,1,0,1,1,1,1,'A','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','@arsaib.\r\nYes, this is just a personal problem I have with the film, and i wasn\'t able to find anything that would support my claim. If I get the opportunity to speak with Schmid in the future I\'ll ask him whether this was the case. \r\n\r\nSpeaking about not being \"personal\" enough, I found this the only problem in Ulrich Khler\'s most recent film \"Windows on Monday\". At the screening I attended he said that the film was an experiment of sorts, because he doesn\'t have the experience of the situations presented in the film,and that he was inspired by observing patterns of behaviour by friends and talking to people of his generation. He wanted to put such persons under extreme circumstances and see what happens. Watching the film often feels like this, but I felt a lack of \"authenticity\". \r\n\r\nIf I talk about Carlos Reygadas \"Battle in Heaven\" for example, I feel that the director himself is part of the experience he is describing, and isn\'t talking about anything outside of himself, no matter how absurd and grotesque (and stylized) many of the scenes might be.\r\n\r\nSomehow I always need this \"speaking from the heart\" for a film to be great.\r\nThat\'s also something which makes a huge difference between Vertigo and Shadow of a doubt for me.\r\nThough this happens in an \"artistic\" fashion, with Vertigo I feel as though Hitchcock is sitting in front of me and spilling out his heart, while Shadow of a doubt or even more so The trouble with harry shows me someone performing a prestidigitation and having a lot of fun, which isn\'t a bad thing, though i don\'t find it anywhere as inspiring.\r\n\r\nI know this is highly subjective, and people react in different ways towards different things. But this is as good as I can express it at the moment.','83f3614060998ac6804291db6e3c164d',0,'','hFb3dp9g',1,0,'',0,0,0),(10074,1774,3,1,0,'69.120.114.47',1164301980,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','That\'s more than good enough. I\'m glad I asked.','fdd46b1ec8de64fefcd434bd7b7497a4',0,'','aHSpZEmz',1,0,'',0,0,0),(10075,1774,3,1,0,'69.120.114.47',1164415260,1,0,1,1,1,1,'A','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','The DVD of Requiem has finally been released in Germany, but the bad news for everyone on this board is probably that it has only german subtitles for the hearing impaired. I am still amazed by the fact that so many german DVD\'s (even by well-known companies like X-Filme with a potentially large clientele) are released without german subs. In this regard, we proove to be as ignorant as the French and the japanese. \r\nThe DVD includes an audiocommentaryx, interviews with cast and crew, a making of, and other specials, but they are also not subtitled in english.\r\n\r\nMaybe some foreign company will also release it in the future...','a15603dfc8b0a216280a825c306cb917',0,'','fdZDJ5Vh',1,0,'',0,0,0),(10076,1774,3,1,0,'69.120.114.47',1164457800,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','Thanks for the info. It is disappointing, however, that there are no subs. The U.S. DVD from IFC Films will probably come out early next year; I\'ll update the thread when an official release date becomes available.\r\n\r\nHave you delved into the extra features yet? Anything interesting there?','696923e36eb73a34795d276aebc1cc65',0,'','eHRbT5hg',1,0,'',0,0,0),(10077,1774,3,1,0,'69.120.114.47',1167802920,1,0,1,1,1,1,'A','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','No, I haven`t rented the DVD myself, because I wasnt curious enough about the production. When I rewatch the movie, Ill tell you about the extras.','4e1c9076bf82fa67c2500d9190b457c5',0,'','alomHxNS',1,0,'',0,0,0),(10078,1774,3,1,0,'69.120.114.47',1168694160,1,0,1,1,1,1,'arsaib4','Re: Requiem (2006 / Germany / Hans-Christian Schmid)','The U.S. DVD of Requiem is scheduled to be released on March 6th.','fd3121e63a960e0231a436db37b0361b',0,'','E7DHlNSk',1,0,'',0,0,0),(10079,1775,3,1,0,'69.120.114.47',1133164320,1,0,1,1,1,1,'hengcs','L\' Enfant (The Child) (2005) (Belgium/France)','\r\nDirector: Jean-Pierre Dardenne, Luc Dardenne\r\nCast: Jrmie Renier, Dborah Franois\r\n\r\nThe official website\r\nsee\r\nwww.sonyclassics.com/thechild/\r\n\r\nAt Cannes International Film Festival 2005, it won the Golden Palm .','c6d0deb31d89e0e82ae07cd65df89966',0,'','DQVio8bN',1,0,'',0,0,0),(10080,1775,3,1,0,'69.120.114.47',1143895500,1,0,1,1,1,1,'arsaib4','Re: L\' Enfant (The Child) (2005) (Belgium/France)','[Note: L\'Enfant was originally seen at the 2005 Toronto film festival, and this review was posted late last year in the appropriate festival thre\r\n\r\n__________________\r\n* A 2006 U.S. release* \r\n\r\nIt was bound to happen sooner or later. The expectations for LEnfant (\"The Child\"), the latest film by the Belgian masters Jean-Pierre and Luc Dardenne, were perhaps too high; but, after all, their previous three features -- La Promesse (1996), Rosetta (1999), The Son (2002) -- happen to be some of the best films to have come out in recent years, and their latest only inflamed its anticipation by winning the Palme d\'Or at the 2005 Cannes film festival. For most filmmakers, a film like LEnfant would probably be considered an achievement, but it\'s a minor disappointment coming from the Dardennes.\r\n\r\nThe duo got the idea for the film while they were working on The Son. They watched a seemingly destitute young woman push a pram up a street a few times, while wondering what her current situation would be like and where is the childs father?! Unfortunately, their focus in the film shifts rather abruptly to the young man to whom the woman belongs to, and for long stretches shes virtually absent. Our protagonist named Bruno -- a child-like mendicant and the leader of a couple of petty thieves -- is played by Jrmie Renier, the young star of La Promesse. He\'s recently had a kid with his similarly puerile and homeless girlfriend Sonia (Dborah Franois). Always looking to make an extra buck, he decides to sell the kid on the black market, later telling Sonia that they could always have another. But circumstances ultimately cause him to face the realities in his life.\r\n\r\nUndoubtedly, LEnfant is the most audience friendly film the Dardennes have made so far. And if this film helps raise their profile while bringing some attention to their previous work, then it should be considered successful. However, it doesnt compare well with their other films. The narrative itself isnt particularly compelling; and for the first time the filmmakers allow a pat resolution, one which wouldnt surprise many. Other than the late chase sequence, which is derivative of one from Rosetta, most others that lead up to it lack thrust and tension, abilities that have made the Dardennes masters of tone and structure. The point that they might be trying to channel through numerous instances where we simply watch Bruno wait for one thing or another is that his (non)actions dictate his thought process, not the other way around, but at the end of the day hes not as interesting a character, emotionally or psychologically, as one would like him to be.\r\n\r\nBut no matter what, it\'s not surprising to see that the Dardennes do care, and that comes across in their thoroughly realistic, humanistic portrayals -- even though, at times its difficult to comprehend the fact that someone like Sonia would be with Bruno. (It wouldve been much more interesting if the focus was on an earlier stage of their relationship or perhaps on Sonias life before she ended up on the streets.) Still, for what it is, LEnfant showcases hard life in modern Europe (once again the film was shot in the Dardennes grim industrial hometown of Seraing) without resorting to clichs, melodrama, or other trivial elements.\r\n\r\nGrade: B-\r\n________________________\r\n\r\n*L\'ENFANT has been a part of a number of festivals since its premiere at Cannes. It opened in the U.S. on March 24th with very good reviews. Hopefully, the film\'s distributor, Sony Classics, will give it a chance by allowing it to grow on its own.','23358e393850251dbb5c06d1b284604b',0,'','0RiyHu9g',1,0,'',0,0,0),(10081,1775,3,1,0,'69.120.114.47',1143954660,1,0,1,1,1,1,'hengcs','Re: L\' Enfant (The Child) (2005) (Belgium/France)','\r\n\r\nDirector: Jean-Pierre Dardenne, Luc Dardenne\r\nCast: Jrmie Renier, Dborah Franois\r\n\r\nIt garnered the Best Film in Cannes Film Festival 2005 .\r\n\r\nWell, I watched four of their films in a fringe festival recently .... guess it? La Promesse, Rosetta, Le Fils, and L\'Enfant ... it was kind of a retro on films by the directors ...\r\n\r\nMy thoughts ...\r\n\r\n-- What I definitely like and have to establish as the first point ... hee hee ... the great performance by the two lead! ... how can one not feel the chemistry between the two? ... they really feel like a young couple ... who are so in love ... and yet became upset ... but still liking each other ... and finally ... * for you to watch the film *\r\n\r\nI thought Jrmie Renier carried his role very well in La Promesse, and he was even better this time ... I can\'t recall if I have watched films by Dborah Franois, but she was good too ...\r\n\r\n-- Although I have always prefered films without an ending ... I have to say that this film feels very \"complete\" ... and I actually like it ... \r\n\r\n-- apart from the performance, it is rather \"meticulous\" about the admirable human spirit (about love, trust and bond)\r\n\r\n(i) rather obvious \r\n... the love and bond between the two leads is so well delivered \r\n(whether before or after the incident)\r\n... the love between mother and son \r\n(NOTE: i am talking about the two mothers and the two sons) \r\n\r\n(ii) less obvious (because the audience are possibly upset with the man)\r\n... actually, there is also love between the father and the son ... \r\n(when he tries to remove his jacket so tactfully without disturbing the baby)\r\n(and when he places him so gently down on his jacket)\r\n(or maybe when he repairs the pram ...)\r\n(or maybe or could it be ... although unexplained ... maybe he really thinks the baby will have a better life with the foster parents rather than him?!) \r\n* but i am NOT defending that it is right *\r\n\r\n(iii) rather obvious \r\n... trust between the man and the kid \r\n(not once, but a few times)\r\n\r\n(iv) less obvious\r\n... trust between the man and the buying party\r\n(not once, but twice)\r\n\r\netc etc etc\r\n\r\n-- Regarding the plot ... i know of many who may find it too simplistic ... either because of its simplicity or resolution or completeness ... I must say that part of the blame should go to ALL the publicity, the synopsis and trailers ... they all have kind of given the essential surprises/uncertainty away ... in fact, if one were to go without knowing anything about the film, there could be numerous surprises ...\r\n\r\n* possible major spoilers *\r\n\r\n-- Actually, the first \"surprise\" (which is no more) has to be the fact that he really did sell the baby away ... audience who went to watch the film without knowing will still be upsettingly surprised ...\r\n\r\nFortunately, there are still other surprises/uncertainty for me ... \r\n\r\n(1) When he first sold the baby by leaving him in a quiet room, I was like ... oh no ... how could he trust the other party, he would lose the baby and NOT get any money ... \r\n;(\r\n\r\n(2) Also, when he tried to get the money back by returning the money and phone, I was like ... oh no ... he would lose NOT only the money and phone, but the baby as well ... oh no ... it is going to be a very very very sad film ...\r\n\r\n(3) Near the end ... When he finally appeared at the station and asked to see the boy ... I was like ... oh no ... but at the same time, VERY GLAD and VERY PROUD of his decision ... wow ... what a man of his words ...\r\n\r\n(4) Backtrack ... Also, when the kid was caught ... oh no ...\r\n\r\n(5) In fact, when he followed the woman initially, I thought that might be the robbery, but nothing happened ...\r\n\r\n* end of spoilers *\r\n\r\nWell, I still think it would have been more unpredictable and suspenseful if one went without knowing anything ...\r\n\r\n\r\nConclusion\r\nFrankly, I really like the film ...\r\nhighly recommended ...\r\n\r\n-- one shld go watch for the performance and also, the admirable human spirit (about trust and love) ... see my justification above ... not only is it an art film, it is also commercial enough ...\r\n\r\n- maybe i like it slightly less than La Promesse \r\n(which i really like, maybe because it was the first film I watched that was made by the directors)\r\n\r\n- i know many will hate me for saying this ... but I like it better than Rosetta \r\n(which I like for two things, i.e., the acting and the \"betrayal\" (which was the main surprise))\r\n(which I dont like for two things, i.e., the fishing scenes and the stomach ache scenes)','7a53e27b02a4a64e9a8e1f994eaa6a42',0,'','yRgUb7j1',1,0,'',0,0,0),(10082,1775,3,1,0,'69.120.114.47',1143965160,1,0,1,1,1,1,'arsaib4','Re: L\' Enfant (The Child) (2005) (Belgium/France)','\"I must say that part of the blame should go to ALL the publicity, the synopsis and trailers ... they all have kind of given the essential surprises/uncertainty away.\"\r\n\r\nI recently watched the American trailer and I have to say that you\'re right. While establishing the main predicament should not be considered a spoiler (that\'s what the film is about), going any further than that could be harmful. Many have mentioned a certain Bresson film in their reviews which can also lead the viewers to make a few prejudgements.','a4427f68ec64ce9533d22d6b0a39c2a4',0,'','vfzxGJC9',1,0,'',0,0,0),(10083,1775,3,1,0,'69.120.114.47',1144564020,1,0,1,1,1,1,'arsaib4','Re: L\' Enfant (The Child) (2005) (Belgium/France)','The French DVD is being released on April 20th. It will feature English subtitles!','2a969bdc016f69f2cbb35993c700c62c',0,'','82NivtlA',1,0,'',0,0,0),(10084,1775,3,1,0,'69.120.114.47',1145211300,1,0,1,1,1,1,'howardschumann(d)','Re: L\' Enfant (The Child) (2005) (Belgium/France)','L\'ENFANT (The Child)\r\n\r\nDirected by Jean and Luc Dardenne (2005)\r\n\r\nUnlike some contemporary films that depict unethical behavior as \"cool\" and without consequence, the films of Jean and Luc Dardenne display a moral center and consequences for people\'s actions. Their latest effort, L\'Enfant (The Child), winner of the Palme D\'Or at the 2005 Cannes Film Festival, is a fully realized, powerful work of art that brings back Jeremie Renier, ten years after his impressive debut in La Promesse. Set in an industrial city in eastern Belgium, L\'Enfant is shot with the unmistakable Dardenne trademarks: a shaky hand-held camera, natural sounds with no background music, a concern for the underclass that globalization left behind, and a gritty and realistic look and feel. \r\n\r\nBruno (Ranier) and his girlfriend Sonia (Deborah Francois) live on the margins. He is a low-level thief, panhandler, and slacker who refuses to work and can only support his girlfriend by illegal means. It is clear that he loves Sonia but only in a playful, childlike way, not in a manner that recognizes adult responsibility. He lives for the moment rather than in the moment, pursuing instant gratification without thinking of how his actions may affect others. When she comes home from the hospital after giving birth to a baby boy she names Jimmy, she finds that Bruno has sublet her apartment in order to buy a jazzy windbreaker with stripes. With no apartment to go home to, the two are forced to huddle together on a cold embankment. \r\n\r\nWhile Sonia waits in a long line for her unemployment check, Bruno, acting on a tip from a fence, impulsively decides on his own to sell Jimmy to a criminally connected adoption agency without thinking about how Sonia will react. When he tells her almost matter-of-factly what he did, she collapses and is rushed to the hospital. Bruno, showing remorse, tries to rescind the deal and retrieve Jimmy but is in over his head with a ruthless gang that demands he pay them a small fortune to compensate for their losses. Bruno begs Sonia to take him back and forgive him but she refuses. The more he tries to put his life in order, the deeper it sinks into chaos and, in a daring chase sequence, his reckless actions endanger the life of Steve (Jeremie Seard), his fourteen-year-old artful dodger. \r\n\r\nThe Dardennes do not tell us how to feel about Bruno and we are left to sort out our own reactions. A movie is not a court of justice,\" says Jean-Pierre Dardenne. \"We try to make it so that the viewer feels many things about Bruno. When you see him selling the child, you think, \'No, this can\'t be, this is impossible.\' But then the more you see him, the more you realize he\'s not just a bastard. You are forced to try to understand the character.\" Like the Dardenne\'s earlier films, the power of L\'Enfant is cumulative. As Bruno evolves and we become more aware of his vulnerability, our capacity for forgiveness is challenged and the film prompts us to grow along with the character. In an ending that is unique and painfully touching, L\'Enfant achieves a rare authenticity.\r\n\r\nGRADE: A','c17e255fc6e2d46c9d377533b455e68c',0,'','JcTZ9XAk',1,0,'',0,0,0),(10085,1775,3,1,0,'69.120.114.47',1145343660,1,0,1,1,1,1,'Anasazie','Re: L\' Enfant (The Child) (2005) (Belgium/France)','Great review Howard, i wanted to write one in answer to Arsaib\'s unfavourable misunderstanding, but i saw the film almost a year ago and wouldn\'t have done it justice from memory. You\'ve hit the nail on the head and i hope your words encourage others to check the film out. The Dardennes are delivering fresh, astute, thought provoking work and L\'Enfant is just as important as Le Fils and Rosetta. Unfortunately i haven\'t seen La Promesse yet.\r\n\r\nThanks for taking the words out of my fingers.','6bdce6d53670fb36e06df9e5ede06bdb',0,'','uAMCUrX6',1,0,'',0,0,0),(10086,1775,3,1,0,'69.120.114.47',1145347200,1,0,1,1,1,1,'howardschumann(d)','Re: L\' Enfant (The Child) (2005) (Belgium/France)','Thanks for your kind comment. I think it is an excellent film and one that stays in the mind.','45e4c5ccf6dd179e24c818eee2e11912',0,'','5SrvxCAK',1,0,'',0,0,0),(10087,1775,3,1,0,'69.120.114.47',1168428660,1,0,1,1,1,1,'wpqx','Re: L\' Enfant (The Child) (2005) (Belgium/France)','I just watched the film and although not very overwhelmed I\'d say I far preferred it to La Promesse. Bruno is morally reprehensible. Everything he does is selfish, and I mean everything. Even turning himself in, he does in my opinion to escape the thugs who intend to collect the additional money he owes them, and to avoid a harsh winter and avoid the trouble of searching for food. I was slightly upset when Sonia cried with him, or even visited him for that matter, but oh well. A good film, no doubt, but at times almost too simplistic and detached for me.','707b7323ac7bf21d0c750d4bb00f86f5',0,'','ZkqUH3Jt',1,0,'',0,0,0),(10088,1776,3,1,0,'69.120.114.47',1126159260,1,0,1,1,1,1,'hengcs','Be With Me (2005) (Singapore)','\r\nDirector: Eric Khoo\r\nCast: Theresa Chan, Chiew Sung Ching, Seet Keng Yew, Lynn Poh, Samantha Tan, Ezann Lee\r\n\r\nThe film opened the 37me Slection Quinzaine des Ralisateurs (i.e., 37th Selection Directors\' Fortnight) at Cannes Film Festival 2005.\r\n\r\nThe official website is here ...\r\nwww.zhaowei.com/bewithme.html\r\nThe trailer is here ... \r\nwww.shaw.com.sg/upload/be...withme.mov\r\n\r\nThe film, inspired by the story of Theresa Chan, a blind-and-deaf woman, is a tapestry of 3 stories ... \r\n-- \"Meant To Be\" features the love and loneliness of a shopkeeper (in my humble opinion, the best of the 3)\r\n-- \"Finding Love\" relates the one sided love of a fat and under-achieving man \r\n-- \"So In Love\" depicts the love between two teenage girls ...\r\n\r\nWhat really binds the stories together is not its tangentially related characters, but its underlying theme. In a way, all 3 stories depict the quest for love, and the feeling of despair ... but the horrible feelings seem rather insignificant as to what \"real\" sorrow is ... and even if one feels that all is lost, the film seems to suggest that all is not the end ... there is hope in life ... and there is redemption ... and destiny/fate is so unpredictable ...\r\n\r\nOn its own, 2 of the 3 stories might be kind of \"familiar\" and \"nothing new\" ... but strung together with the common theme and message, the film had a different flavor (talking about flavor ... there are quite a number of scenes on food and eating ... how Singaporean ... ha ha ha ...)\r\n\r\nA few thought provoking lines include ... \r\n\"I cannot see and hear the beautiful things in life ... BUT, I also do not see and hear the ugly things ...\"\r\n\"\'Love disappears only when you do not understand what it means ...\"\r\n\r\nMy suggestion on the technicality of subtitles \r\n-- the subtitles (in white) should be bordered with black. against the occasional bright background, some subtitles are quite difficult to read ... \r\n-- the good thing is, the film does subtitle for those who are not familiar with SMS abbrievations ...\r\n\r\nConclusion:\r\nAlthough I recommend the film, I am not sure if I would credit the film more to its partially \"real\" story than to the craft of film making ... Also, one may have to stay till the end of the film before really appreciating why the film deserves a watch ... \r\n\r\nTo all those who intend to watch the film, you have to appreciate a film with few dialogues, and be patient with much \"reading\" (from the typewriter, computer, SMS, letters, and subtitles).','c9bbc6669c18806f944396dd588b7342',0,'','kCxrbgaR',1,0,'',0,0,0),(10089,1776,3,1,0,'69.120.114.47',1168173120,1,0,1,1,1,1,'arsaib4','Re: Be With Me (2005) (Singapore)','I was slightly disappointed with this Khoo effort. Only Theresa Chan\'s fact-based story had any resonance; the other two (or three, if you prefer) almost felt banal and irrelevant by comparison. Their protagonists were walking clichs who seemed to have been plucked from Amerindiedom, where the \"affected\" have a tendency to run into each other -- which in this case happens quite literally. Also, Khoo\'s shot selection and editing left something to be desired, especially for a film which was supposed to rely on a certain pace and rhythm (Tsai was certainly an influence). Perhaps the best move Khoo made was to bring Chan in near the end. She\'s truly inspirational.','c803f29b2621332415abee8ffe9cecbe',0,'','ZkE0aTeb',1,0,'',0,0,0),(10090,1776,3,1,0,'69.120.114.47',1168223760,1,0,1,1,1,1,'hengcs','Re: Be With Me (2005) (Singapore)','it seems like you agree with my earlier statement\r\nthat is ...\r\nOn its own, 2 of the 3 stories might be kind of \"familiar\" and \"nothing new\"\r\n\r\nso, where did you catch it?','c6d4759007fdb88d75ba382d693ebfd8',0,'','QepK3x25',1,0,'',0,0,0),(10091,1776,3,1,0,'69.120.114.47',1168227000,1,0,1,1,1,1,'arsaib4','Re: Be With Me (2005) (Singapore)','Overall, your review is a bit more positive (at least it comes across as so) but that statement is appropriate, I think. Though you point out that those stories wouldn\'t work on their own. To me they didn\'t really coalesce with Chan\'s either.\r\n\r\nI watched it on U.S. DVD.','548c6fbd746fe3b3a104cf93430a8bf0',0,'','50eDLzSd',1,0,'',0,0,0),(10092,1776,3,1,0,'69.120.114.47',1168241580,1,0,1,1,1,1,'hengcs','Re: Be With Me (2005) (Singapore)','ha ha ... \r\n\r\ni have to be \"slightly more positive\" becos \r\n(i) there are too few singaporean films in the market ... so, i have to be more encouraging ... otherwise, they will die off ...\r\n(ii) but also, in general, i tend to be \"rather kind\" by trying to see \"some good\" (albeit minor) in some overall lousy films ... after all, it is noteworthy that for every \"lousy\" film, there are always some individuals who adore it ... so, i try to brainstorm some plausible reasons ...\r\ne.g., for this film, its invitation to be the opening film at Cannes Director\'s night might be a reason to do so ...\r\n\r\noh no ... hope u dont hate me for wasting your money/time in buying/renting the DVD ... oh no ... hurry ... escape ... \r\n\r\nactually, i only thought that the Theresa Chan\'s story helped save the film ... that is why i wrote recommended, rather than highly recommended ... hiaks hiaks ...\r\n\r\nin case ur review repels all others from this film ... \r\nto those who have NOT watched, i would say ... maybe give it a chance, even if u dont like the film, there is at least a lesson/message to be taken away ...','bd9a9cbdffb3c2c8365f9b56f6c4fcbe',0,'','x6510S9F',1,0,'',0,0,0),(10093,1776,3,1,0,'69.120.114.47',1168249980,1,0,1,1,1,1,'arsaib4','Re: Be With Me (2005) (Singapore)','No, don\'t worry. \r\n\r\nActually one of the critics I admire -- Manohla Dargis of The NY Times -- spoke highly of the film from Cannes \'05, and so besides your take that was another reason why I decided to watch it.\r\n\r\n\"I only thought that the Theresa Chan\'s story helped save the film... there is at least a lesson/message to be taken away\"\r\n\r\nI agree!','fb23fad1a1fbaeae9ecadbe1f68ae855',0,'','Rxq7Fzwo',1,0,'',0,0,0),(10094,1777,3,1,0,'69.120.114.47',1163072700,1,0,1,1,1,1,'arsaib4','Fatih Akin x 2: Head-On & Crossing the Bridge','[This wonderful film was reviewed and discussed in length last year by many members of this site. Unfortunately, that thread was among the ones that got deleted. Here\'s my old post.]\r\n\r\nHEAD-ON (Germany-Tur / 2004)\r\n\r\n\r\n\r\nWinner of the Golden Bear at the 2004 Berlin film festival, Head-On (Gegen die Wand), is a German-Turkish co-production directed by Fatih Akin, a German-Turk himself. The film depicts the struggles of second generation immigrants in their social and cultural surroundings, while theyre also under pressure to remain faithful to the values of their forefathers.\r\n\r\n\"Gegen die Wand,\" the German title of the film literally translates as \"Against the Wall, which is where we find our aging protagonist, Cahit (Birol nel), a second generation Turkish immigrant living in Germany. We first see an acrimonious Cahit at an arena after a concert, picking up empty and broken bottles who resemble his own state in many ways. Later on that night, after being thrown out of a bar, he decides to end it all by smashing his car against a brick wall. But this is just the beginning of his journey. After escaping his suicide attempt with just a neck fracture, he ends up meeting Sibel (Sibel Kekilli), a barely legal nymphet who is also at the hospital for similar reasons. Sibel hails from a strict Muslim-family who want her to marry a Turkish man, but since she has grown up in a much different environment, she wants to have as much freedom as possible. After finding out that the person sitting across from her at the hospital is named Cahit, she blurts out, \"Are you Turkish? Marry me.\" A baffled Cahit responds: \"I like guys,\" but that doesnt prevent her from explaining her situation and what she requires of Cahit.\r\n\r\nWhile it takes another suicide attempt from Sibel to convince Cahit of her intentions, he agrees and they end up getting married -- and, for the most part, go about their own ways, as promised. Sibel gets the freedom to sleep with who she wants, whenever she wants, and Cahit continues with his mostly physical relationship with a hairdresser. However, slowly but surely Cahit starts seeing the value of a proper domestic life as things start to change around him. He now has someone who cooks, cleans, and most importantly, cares for him and thus he starts falling for his \"wife.\" For her he is nothing more than a good friend who has saved her life and she simply feels obligated to do her part.\r\n\r\nThe wide spectrum of emotions that persist early on in the film probably wont look out of place in a Bollywood potboiler, though thats where the film starts to generate its raw and impulsive power. But Akin also punctuates (and grounds) his narrative by having Romany band of Selim Sesler -- featuring Idil Uner as vocalist -- perform traditional Turkish songs in front of a picture-perfect view of Istanbul. \"That\'s like a Brechtian element,\" the director stated, who was also influenced by the various structural acts in classic Greek plays. Homage aside, this is a stroke of genius from Akin as those musical numbers represent an emotional and psychological bridge for the characters and for the changing moods of the film itself. They continually become more somber in nature, much like the film.\r\n\r\nAny culturally hybrid effort needs to institute an understanding of its roots, which Head-On accomplishes quite well. And while doing so, the film serves a sharp rejoinder to the cultural politics displayed by Manoel de Oliveiras A Talking Picture (2003), which blamed the death of Western arts and culture on the fundamental powers from the \"East.\" Here, Akin seems to suggest that the abuse of freedoms easily accessible in the \"West\" in the form of drugs, sex, alcohol, etc. can make a person just as hollow as fundamentalism. And he doesnt shy from critiquing the machismo and the no-holds-barred attitude Turkish men are known for. Such behavior in the film ends up reopening many wounds that were starting to heal.\r\n\r\nBut it shouldnt be forgotten that other filmmakers and artists in the recent past have tackled the issues surrounding the political and cultural landscape in Europe, even though in some case they havent done so as successfully as Head-On, and in others their aesthetic was too extreme to be appreciated. (Though a few of the films seem to be championing visions of the new \"unified\" Europe and its cultural acceptance, while failing to mention the rabid nationalism and the recent rise of ethnic and religious violence in Northern Europe: Dutch filmmaker Theo van Gogh was brutally murdered recently by an Islamic fundamentalist because he made a few pertinent and poignant films about the Islamic culture.)\r\n\r\nAkin was inspired by Alejandro Gonzlez Irritu\'s Amores Perros (2000) (and Guillermo Arriaga, who wrote the Mexican film, is a huge fan of Head-On). The extensive hand-held camera work, fast-paced editing, grainy and saturated film stock, etc. provide the evidence, which adds to the proceedings in both cases. And if Head-On also contains some tonal inconsistencies like the Mexican film, thats primarily because its also emotionally forefront, and not shy about dealing with the issues it so painfully introduces. Perhaps the reason why there\'s an air of truth about it. \r\n\r\nAnd once the film gathers momentum, the experience it provides is hard to shake. Both Birol nel and Sibel Kekilli turn in great performances. Especially Ms. Kekilli because the only work she had done before was in X-rated films. So its somewhat ironic that late in the film Akin has her character standing in front of a mirror with Cahit, cleansed in more ways than one. While attempting to save each other, they\'ve saved themselves. But Akin\'s film takes place in a real-world where people don\'t necessarily end up living happily ever after.\r\n\r\n________________________\r\n\r\n*Along with the Golden Bear, HEAD-ON also won the FIPRESCI prize at the 2004 Berlinale. More acclaim followed in the form of a Best European Film award and a host of prizes from the German academy.\r\n\r\n*Available on DVD in the U.S. (Strand Releasing) / U.K. (Soda Pictures).','6768932e64ea75fb9a73f26d7de8f986',0,'','YQjqkd40',1,0,'',0,0,0),(10095,1777,3,1,0,'69.120.114.47',1163074260,1,0,1,1,1,1,'arsaib4','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','CROSSING THE BRIDGE: THE SOUND OF ISTANBUL (Germany-Tur / 2005)\r\n\r\n___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nThe notion of hybridity appears to be a key element in the work of filmmaker Fatih Akin. If his Golden Bear winning effort, Head-On (2004), emanated from the ruins that resulted from a moral, emotional and historical collision between the \"East\" and the \"West,\" then his follow-up, Crossing The Bridge: The Sound Of Istanbul, a musical homage to the great city of Istanbul, revisits the remnants to seize and galvanize the excess charge, and to see if the two sides are differentiable at all.\r\n\r\nThe idea of shooting a documentary about the citys varied music scene originated while Akin was working on Head-On. His composer, Alexander Hacke, the bass player from the legendary West-Berlin industrial band \"Einstrzende Neubauten,\" came to Istanbul to record the Romany choral compositions under the guidance of master clarinetist Selim Sesler, and developed a unique bond with the music and the artists. Akin decided to send Hacke, who he rightfully sees as a bit like \"the Dude\" from the The Big Lebowski (1998), back to Istanbul as a guide in order to facilitate the audiences exploration.\r\n\r\nEarly on, while roaming the streets of the Turkish cultural capital with his mobile recording devices, Hacke comes across such electronic, rock and hip-hop based bands as Baba Zula, Orient Expressions, Ceza, Duman and Replickas -- all, in one way or another, indebted to maverick rocker Erkin Koray, the first to play Turkish music while employing modern equipment. The rappers ideologically are much more Tupac than 50 Cents, and strive to have a positive political influence. The music gradually becomes more traditional (and political) as Hacke makes his way towards the outskirts of the city to interview more renowned artists. Kurdish singer Aynur laments the fact that \"non-Turkish\" music was banned during the 80s; her haunting dirge in a Turkish hammam expresses her anguish.\r\n\r\nBut ultimately its the Madonna of Turkish pop, Sezen Aksu, who brings the film full circle with her crooning of her famous song \"Memories of Istanbul,\" which serves in sharp contrast to an earlier number about the city by an eccentric DJ. And while doing so, it proves the fact that the city on the Bosporus is just as diverse as its music, which defies all definitions and boundaries.\r\n\r\nGrade: B+\r\n______________________\r\n\r\n*CROSSING THE BRIDGE: THE SOUND OF ISTANBUL premiered at the 2005 Cannes Film Festival (out-of-competition)\r\n\r\n*Available on DVD in the U.S. (Strand Releasing) / U.K. (Soda Pictures.)','997c464676b4ce1fd07eed6397bdcefb',0,'','N6Bt7jTQ',1,0,'',0,0,0),(10096,1777,3,1,0,'69.120.114.47',1167802260,1,0,1,1,1,1,'A','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','Just curious. \r\nWhat would your rating of \"Head-On\" be arsaib?','670f98cba00db76a1fabdce2079399b8',0,'','VuGvmXLz',1,0,'',0,0,0),(10097,1777,3,1,0,'69.120.114.47',1167824700,1,0,1,1,1,1,'arsaib4','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','The same: \"B+\". Head-On finished high on my secondary \'05 list.','f7a57b50cffe3dcb70d41a1649469d95',0,'','ZtHxYkEU',1,0,'',0,0,0),(10098,1777,3,1,0,'69.120.114.47',1167825060,1,0,1,1,1,1,'hengcs','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','I guess I like Head On much better ...\r\nUsed to have a review on that ...','f12467eb9b0e7770b45b1382dd4f0773',0,'','0Ld94iEq',1,0,'',0,0,0),(10099,1777,3,1,0,'69.120.114.47',1167882360,1,0,1,1,1,1,'A','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','Yeah, I also liked it better. It`s A- with me, and that means a lot (83 points to be exact). I watched it with some friends at the cinema and we were all blown away. A rewatch confirmed my positive reaction. \r\n\r\nA great thing comes at the end of the film during the credits, when Fatih Akin thanks especially Muhammad Ali, Bruce Lee and Prince and the Revolution! \r\nMy friends who were pretty tired of me raving about Bruce Lee and Prince all of the time (and being the only boxing fan) were in for a surprise - though I immediately thought of a certain person when Maceo Parker appeared in the film.','bde3569b1a678815be45c6b992bcbd76',0,'','85pbBRKW',1,0,'',0,0,0),(10100,1777,3,1,0,'69.120.114.47',1167905460,1,0,1,1,1,1,'arsaib4','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','I\'m like that teacher you didn\'t appreciate in high school because you were never quite given the grade you thought you deserved.','7fe93d4ccb629aca464eeb1314fb4faf',0,'','Vm6de2CP',1,0,'',0,0,0),(10101,1777,3,1,0,'69.120.114.47',1167929460,1,0,1,1,1,1,'A','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','Yes, I love this grade stuff, because they are so unpredictable, the same as in school. You never know what you get, or why exactly. And if you would take an exam again, you are likely to get a different grade. Too bad society takes this too seriously. \r\nLong live subjectivity!','2c151da3bfc3c6bb2096fd43a31020ce',0,'','gJUR3qtW',1,0,'',0,0,0),(10102,1777,3,1,0,'69.120.114.47',1167949260,1,0,1,1,1,1,'madhuban','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','I have seen his 1998 film, Short Sharp Shock and liked it a lot. Unfortunately, that\'s the only one I\'ve seen.','a084271ef3caa428160d8e5cf36fc2a7',0,'','JoRKEmfd',1,0,'',0,0,0),(10103,1777,3,1,0,'69.120.114.47',1167955740,1,0,1,1,1,1,'trevor826','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','Can\'t speak for Crossing the Bridge but Head-On was one of the stand-out films of 2005, totally absorbing from start to finish.\r\n\r\nI\'m sure I wrote a review on site but alas, t\'is no more.\r\n\r\nCheers Trev.','1ed2015c614043bed69231f26ac5e108',0,'','srXTBKwd',1,0,'',0,0,0),(10104,1777,3,1,0,'69.120.114.47',1167959640,1,0,1,1,1,1,'A','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','Yes, all our reviews and comments have been deleted. \r\n\r\n\"Short Sharp Shock\" (1997) is hid first feature film, and a very good one. I saw it a couple of years ago on TV and liked it, though it didn`t make the same impact on me as \"Head-On\". \r\nFatih Akin said that he considers \"Head-On\" to be his first \"real\" movie, with the three that preceeded it being a period of apprenticeship on his way to becoming a filmmaker. \r\nI don`t think the difference is this huge, but you should check it out for yourself.','7c721d5e0ac4f08dd02790fc45b4228c',0,'','Ucde8kY1',1,0,'',0,0,0),(10105,1777,3,1,0,'69.120.114.47',1168077300,1,0,1,1,1,1,'arsaib4','Re: Fatih Akin x 2: Head-On & Crossing the Bridge','I have seen Akin\'s second feature, In July, which was fair but not nearly as good as Head-On. Haven\'t seen either Short Sharp Rock or Solino.','15fe0aceb59774b9439bcdf310cdd3a9',0,'','dgjXl735',1,0,'',0,0,0),(10106,1778,3,1,0,'69.120.114.47',1164889560,1,0,1,1,1,1,'arsaib4','Aldo Garay\'s The Wait (Uruguay / 2002)','___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nThe series of images that play over the opening credits of Uruguayan filmmaker Aldo Garays The Wait (La Espera) bring a similar sequence from Lodge Kerrigans masterful Claire Dolan (1998) to mind. Much like that film, the shots of abstract architectural patterns -- in this case consisting of crowded or closed windows of what seems like an apartment building -- cued to ominous music exquisitely set the stage for the physical and emotional milieu of our protagonist.\r\n\r\nNaturalistically played by Vernica Perrotta (who also had a small part in Whisky [2004], the other recent Uruguayan release in the U.S.), she is a plaintive young Montevideo resident named Silvia who has been taking care of her sullen, bed-ridden mother (Elena Zuasti) for nearly a decade. Silvia was perhaps socially awkward to begin with, but this obligation has drawn her away from peers and co-workers, and has now created a gulf between her and her mother. But a spate of anonymous love letters end up arousing some hope within Silvia, and she starts to look forward to them after slaving away at a local textile factory all day. Meanwhile, she also strikes up a relationship with a young man but isn\'t sure how to deal with it considering the state of her mother. \r\n\r\nInspired by a Henry Trujillo novel called \"Torquator,\" The Wait is a morally and emotionally complex film which deals with its subject matter with as much subtlety as possible. Formally, Garay -- who was only 33 when the film premiered -- and his DP Diego Varela exhibit an Agns Godard-esque spatial sense around the characters, imbuing them and the film with a graceful and tender realism. In this 65-minute film, which was reportedly shot for only $70,000, Garay isnt quite able to do justice to the films third major character -- the duos equally morose middle-aged neighbor (Walter Reyno) whos perhaps connected with them in more ways than one -- but The Wait is an assured and economical effort promising a bright future for its director.\r\n\r\nGrade: B\r\n_________________________\r\n\r\n*The film made the rounds of mostly second and third tier festivals (San Sebastin, Bogota, Miami, etc.) back in \'02-\'03 before disappearing into oblivion. It has been partially brought back by U.S. DVD distributor Cinematica, which is associated with Facets.\r\n_________________________','109b0814ec64aeece9853da2018c6ffc',0,'','j0FSxtMz',1,0,'',0,0,0),(10107,1778,3,1,0,'69.120.114.47',1167807780,1,0,1,1,1,1,'A','Re: Aldo Garay\'s The Wait (Uruguay / 2002)','Hmm, it`s interesting to see such small pictures pop out on DVD every once in a while. In Germany you also have some labels who take a small risk with an unknown film every now and then. \r\nYou certainly make the film sound intriguing. \r\nDO you happen to know any other films from Uruguay. I was just wondering if anybody knew something about its filmindustry and history?','33f1ad3df13ddb56929b310ec62b0163',0,'','QuZtXgVy',1,0,'',0,0,0),(10108,1778,3,1,0,'69.120.114.47',1167826800,1,0,1,1,1,1,'arsaib4','Re: Aldo Garay\'s The Wait (Uruguay / 2002)','Uruguay never quite had a \"film industry\"; just the odd effort here and there. Though in recent years co-production opportunities have opened the door for aspiring filmmakers, and many films have been produced. Juan Pablo Rebella (who recently passed away) and Pablo Stoll\'s 25 Watts broke out on the international stage a few years back. Their recent effort, Whisky, which I mentioned in my review, also did very well. Aldo Garay, the director of The Wait, earlier assisted lvaro Buela (Una forma de bailar). Marcelo Bertalmo is another promising youngster. Older artists like Beatriz Flores Silva (En la puta vida) are still around.','0d1ab6a78d4807148d4b3488e7bf8a5f',0,'','PJxFgk3D',1,0,'',0,0,0),(10109,1778,3,1,0,'69.120.114.47',1167964200,1,0,1,1,1,1,'A','Re: Aldo Garay\'s The Wait (Uruguay / 2002)','So let`s hope more films from Uruguay will find their way to the other continents.\r\nMy first association with Uruguay is always football and not much more.','49970e5b086ddcecb229e8899af5a4bc',0,'','FTaNRyHW',1,0,'',0,0,0),(10110,1779,3,1,0,'69.120.114.47',1159338660,1,0,1,1,1,1,'arsaib4','Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nThe first of six Rohmers \"Moral Tales\"-inspired stories from the suburbs of Bucharest, The Death of Mr. Lazarescu (Moartea Domnului Lazarescu) is a riveting and awe-inspiringly realistic effort from Romanian director Cristi Puiu (Stuff and Dough [2001]). \r\n\r\nThe film accounts the final travails of Dante Remus Lazarescu (Ion Fiscuteanu), a nearly-63-year-old drunken widower who lives alone in a squalid, cat-infested apartment. A former engineer who once went under the knife due to a stomach ulcer, Lazarescu calls for an ambulance early on in the film after experiencing head and stomach aches. After a third call, made by his cautiously accommodating neighbor, help finally arrives in the shape of a caring middle-aged nurse, Mioara (Luminita Gheorghiu), who eventually ends up taking the grumpy-old-man with her for further diagnosis. \r\n\r\nShot hand-held, cinma-vrit style, the film continually grows in immediacy as -- for the next few hours -- a worsening Mr. Lazarescu is shuttled from one hospital to another due to a variety of contributing factors, such as his temper and personal hygiene, disagreeable and over-worked medical personnel, a deadly bus accident causing havoc in emergency facilities, etc. (In some ways, this film is a reflection of the fact that in the 15 years since the end of Nicolae Ceausescu\'s brutal rgime, Romania hasn\'t made much progress on the socio-economic front.)\r\n\r\nWhile the subject matter was ripe for it, the film never develops into an early-Haneke-esque excoriation of humanity; instead, with its vivid and complex individual portrayals, it becomes a palpably honest representation of it. Indeed, no matter how absurd certain situations threaten to become (thats where the film draws most of its black humor from), Puius tone thoroughly and efficiently remains grounded in realism. (The film certainly brings to mind the work of Frederick Wiseman, even though it features actors who mouth scripted lines of dialogue. While the presence of Cassavetes, Puius favorite filmmaker, is felt via the director\'s formal apparatus.)\r\n\r\nBy underplaying the push-pull dynamics of human emotions, Puiu tries to get to something deeper and more important: mortality. And as if the viewers didnt already have enough to mull over, Puiu adds another layer to the film in the form of allegorical character names -- Dante, Virgil, Beatrice, etc. -- though, like the rest of the proceedings, theyre rendered without exclamation points. But that won\'t stop me: The Death of Mr. Lazarescu is one of the best films of the year.\r\n\r\nGrade: A-\r\n_________________________\r\n\r\n*The film premiered at the 2005 Cannes Film Festival (Un Certain Regard). \r\n\r\n*Now available on DVD in the U.S. (Tartan). Extra Features include an informative interview with the filmmaker. Tartan\'s U.K. DVD will be released on October 23rd.','a6348edb85dca5f32d43be95066832ad',0,'','1wRUcJ5X',1,0,'',0,0,0),(10111,1779,3,1,0,'69.120.114.47',1160511840,1,0,1,1,1,1,'A','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','Ever since I read an euphoric article on the film in a german magazine last year, I\'ve wanted to see it. But no german distributor has picked it up, yet.','63fd2dece3320bb5fb3ae4d3975e1d64',0,'','k6gC9Vof',1,0,'',0,0,0),(10112,1779,3,1,0,'69.120.114.47',1162271940,1,0,1,1,1,1,'trevor826','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','All I can add is that I\'m in total agreement with arsaib4\'s comments, apart from that I can also say it brought back memories of when as an 18 year old I spent a while working in an A&E department in a hospital. Unfortunately for the national health in the UK it also brings up many recent revelations of ambulances turning up very late for emergency calls and elderly patients being left on trollies in hospital corridors, sometimes for 12 hrs+ due to a lack of bed spaces.\r\n\r\nGreat film, bleak but honest and a must see in my opinion. Not neccessarily one you would want to own but one you really should make the effort to see.\r\n\r\nCheers Trev. \r\n\r\nP.S. The running time approaches 2.5 hrs but I couldn\'t believe how the time just flew by, a positive sign by any standards.','7e5574def3ff62a4260aa6de5dc148d4',0,'','HBsbNPKJ',1,0,'',0,0,0),(10113,1779,3,1,0,'69.120.114.47',1162274100,1,0,1,1,1,1,'arsaib4','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','I\'m glad you liked it. I found it hard to believe that the hospital scenes were choreographed with actors; they felt so real. (While I haven\'t spent much time in hospitals as a patient, I\'m well familiar with the milieu because there are quite a few doctors in my family.) The film obviously presents an extreme case, but one that could still transpire anywhere.','7f1bbce79c9f7bef431dbe1c3896a312',0,'','AsEkwo1t',1,0,'',0,0,0),(10114,1779,3,1,0,'69.120.114.47',1165923660,1,0,1,1,1,1,'howardschumann(d)','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','THE DEATH OF MR. LAZARESCU (Moartea domnului Lazarescu)\r\n\r\nDirected by Cristi Puiu (2005)\r\n\r\nDante Remus Lazarescu (Ion Fiscuteanu), a 62-year old retired engineer, is brought to an emergency room by ambulance complaining of stomach and head pains. It is a night in which Bucharests hospitals are filled with survivors from a bus accident. Berated by haughty professionals for not taking good care of himself, Lazarescu is shunted from hospital to hospital as we watch his condition slowly deteriorate. Romanian director Cristi Puius Kafkaesque masterpiece, The Death of Mr. Lazarescu dramatizes the deplorable conditions in Bucharests emergency rooms where overworked and underpaid health care workers show callous indifference to their patients instead of concern and compassion. Filled with gallows humor and a profound awareness of the human condition, Lazarescu is one of the most affecting films of the year.\r\n\r\nSince his wife died eight years ago and his married daughter Bianca moved to Toronto, Canada, Lazarescu has lived alone in a small, dirty apartment in Bucharest, Romania. His only companions are three flea-bitten cats and a suspicious home grown brew called Mastropol. When he starts to feel pain in his stomach and his temples, he ascribes it to a reaction to the ulcer surgery he had fourteen years ago and takes aspirin and other painkillers such as Diclofenac but they only cause him to vomit. Seeking the help of neighbors Miki and Sandu Sterian (Dana Dogaru, Doru Ana), he gets only a lecture on his drinking habits, the smell of his apartment, and an offer to eat some leftover Moussaka. \r\n\r\nWhen he begins to vomit blood, however, he calls for an ambulance but it takes more than a half hour to arrive. Weakened by his illness, he falls into his bathtub. When 52-year old nurse Mioara Avram (Luminta Gheorghiu) finally shows up, her lack of personal concern is palpable. She too blames his illness on the alcohol she smells on his breath but, after examining him, suspects that he has colon cancer and asks the Sterians to accompany him to the hospital but both refuse. During the long night that follows, however, she remains with him and is the closest thing he has to a friend. Lazarescu is taken to a series of hospitals but is callously dismissed as an old drunk by doctors and hospital staff who are exhausted after a night of treating victims of the bus crash. \r\n\r\nOne young doctor asks him, Did I put the bottle in your hand, you pig? Another offers the idea that his liver is as big as the parliament house. When the patient tells a surgeon his head hurts, the surgeon gives the patient a pat on the head and exclaims: Good, it means you have one! The film has been called a black comedy but the situations we see are more absurd than comedic. Doctors and nurses chat about irrelevancies such as a cell phone that will not charge and argue with the paramedic who brought him as to priorities and who has the highest authority. \r\n\r\nAs the old man who the doctors arrogantly call pops is given one test after another, we are silent witnesses to his inevitable decline. We want to scream at the screen as Lazarescus gradually loses his ability to walk and to control his bladder but we know that his fate has been sealed. Finally at 4:00 am, after being prepped for surgery to relieve a blood clot on his brain, a surgery that should have taken place hours before, Lazarescu sinks into incoherence and finally unconsciousness. As he goes gently into that good night, we alone are left to rage against the dying of the light. Like the dying priest in Bernanos\' Diary of a Country Priest, we learn again what it means to be human and we know that the meek will inherit the earth.\r\n\r\nGRADE: A','d5eeadca348307c65b4b2b09d07311c8',0,'','pNFl5Z0t',1,0,'',0,0,0),(10115,1779,3,1,0,'69.120.114.47',1167357360,1,0,1,1,1,1,'wpqx','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','I once met someone who was Romanian by descent in an International Film Class. I scratched my head and finally gave up when she asked me for any good Romanian films she should check out. Looking at the history of this small nation, there really aren\'t a whole hell of a lot of noteworthy pictures to come from there. Puiu\'s film is perhaps the picture that will change that. A one film national cinema movement, The Death of Mr. Lazarescu has been popping up on film lists gallore this year, and the DVD has garnered enough attention on its own. The style of the film recalls so many comedy of beurocracy films from the past, and you can\'t help but feel frustrated at the red tape that never seems to end. I may not cite the film as a masterpiece, but as far as an introduction to Romanian cinema, I\'d consider myself lucky to start here.','c9a15d73165fa22556c595db32ece53a',0,'','fJKV7Pqb',1,0,'',0,0,0),(10116,1779,3,1,0,'69.120.114.47',1167391620,1,0,1,1,1,1,'arsaib4','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','Another Romanian film which has garnered some attention recently (I\'m being modest here, the film won the 2006 Camera d\'Or!) is Corneliu Porumboiu\'s 12:08 East of Bucharest. It\'s scheduled to be released in the U.S. next year.','d4455864f1428e5da9838104179a3cba',0,'','caq86H3Y',1,0,'',0,0,0),(10117,1779,3,1,0,'69.120.114.47',1167399600,1,0,1,1,1,1,'wpqx','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','I\'ll keep an eye out for it.','9f3c4b49a05c0008f8e3b15d8de37bee',0,'','T590akxb',1,0,'',0,0,0),(10118,1779,3,1,0,'69.120.114.47',1167963180,1,0,1,1,1,1,'A','Re: Cristi Puiu\'s The Death of Mr. Lazarescu (Romania / 2005)','Another good Romanian film is Visul lui Liviu \"Liviu`s Dream\" (2004), which I saw at the Berlin Film Festival and recently taped from TV. It`s a short by Corneliu Porumboiu (the one who has recently won a Camera d`or), clocking in at 40 minutes. \r\nAfter the Berlinale screening I thanked the director for his film, and told him that I was anticipating his next. He seemed genuinely pleased, as the reaction of the public to his film was lukewarm, and the discussion that followed the screening was pretty pointless. Many viewers where asking similar questions about what the film meant, and it was obvious that only few people are aware of what is going on in the former eastern bloc countries.\r\n\r\nBut still no Lazarescu for me, though I happen to know many Romanians.','629430e9a2330d97a068b9ec1cca2e02',0,'','6pbJAQN1',1,0,'',0,0,0),(10119,1780,3,1,0,'69.120.114.47',1124223600,1,0,1,1,1,1,'hengcs','Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','Director: Dennis Gansel \r\nCast: Max Riemelt, Tom Schilling ... \r\n\r\nIn Bavarian Film Awards 2005, it won the Best Direction (Regiepreis) ! \r\n\r\nThe English website is here ... \r\nFrom Singapore ... www.lhp.com.sg/napola/ \r\nFrom US ... www.comingofagemovies.com...rethefall/ \r\n\r\nHey, I am anticipating this film, are you? \r\nSomehow, I think this is the only German film that I know from this year ... are there any others? \r\n(strictly speaking, The Tunnel was from 2 years ago) \r\n\r\nHey A, do you think this will represent Germany for Oscar this year? Or are there better German films out there? Do recommend ...','493df49ccce88dac18554a8100fcad46',0,'','G7NTknBb',1,0,'',0,0,0),(10120,1780,3,1,0,'69.120.114.47',1124913360,1,0,1,1,1,1,'A','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','The critical response to this film was very negative, and although i haven`t seen the film from what I`ve read heard and seen of it, it falls in the trap of falling victim to Nazi esthetics when it actualy tried to denounce them.\r\nMore of a mainstream movie though it wasn`t successful in theaters in Germany. \r\nBut maybe the critics are wrong and the film is worth watching. But don`t count on me, i won`t give it a try.\r\n\r\nAs for good recent German films, I don`t know any at the moment, I can only strongly advise you to keep away from the film \"Allein\" by Thomas Durchschlag, which is a horrible mess, although it garnered some awards and positive reviews.\r\nIf you`re interested in good German films, I`ll soon start a thread on new german films (of the past 10 years) where I`ll review some great films.','dac6b7f231588916627d7300f33a2e44',0,'','fHYMWtBb',1,0,'',0,0,0),(10121,1780,3,1,0,'69.120.114.47',1125267720,1,0,1,1,1,1,'moviolaGMBH','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','www.moviexclusive.com/rev...napola.htm\r\n\r\nsgfilm.com/forum/viewtopi...11&start=0','ba05a7d9bfc1f543119ddde388138f09',0,'','iXEWCQmr',1,0,'',0,0,0),(10122,1780,3,1,0,'69.120.114.47',1125268260,1,0,1,1,1,1,'trevor826','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','I\'m certainly weak on knowlege of German films from the last 10 years apart from a few well known ones so I\'d be very interested if you start a thread up.\r\n\r\nCheers Trev.','9f3b2ba17c1fb162993991ee214bdeac',0,'','E6SR1ZDb',1,0,'',0,0,0),(10123,1780,3,1,0,'69.120.114.47',1125431880,1,0,1,1,1,1,'A','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','Sorry to say, that I`m busy at the moment, so it might take a while..., BUT it will come. \r\nI think the films will be unknown, so I`ll also try to check out Video/DVD availability.','a9f030212b6b08fed9e657c1d5e68e62',0,'','iy0Bt3vN',1,0,'',0,0,0),(10124,1780,3,1,0,'69.120.114.47',1125657480,1,0,1,1,1,1,'hengcs','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','Director: Dennis Gansel\r\nCast: Max Riemelt, Tom Schilling ...\r\n\r\nIn Bavarian Film Awards 2005, it won the Best Direction (Regiepreis) !\r\n\r\nWhat I like ...\r\n-- Definitely the performance of Max Riemelt\r\n-- The film also has some interesting drama ... ha ha ha\r\n-- A very nice winter scene ...\r\n\r\nWhat could be better ...\r\n-- The title might mislead one into thinking the film is about how the training school will train and transform these kids ... However, in this aspect, it is less than compelling because too much is left for the audience to infer and assume ... Instead, the film revolves more around the relationship of Friedrich Weimer and Albrecht Stein and the latter\'s family ... Pardon me, but I do not exactly like the too obvious contrast scripted into Albrecht\'s family (i.e. the antagonistic son and the unloving parents) ... the \"over\" explanation of this relationship was made starker by the terse depiction of Friedrich Weimer\'s family, which appeared in the beginning of the film ... but it was at least less contrived ... \r\n-- Oh no, I have an \"overdose\" of boxing films these few weeks ...\r\n\r\nConclusion:\r\nI find the film watchable and not boring ... the performance of Max Riemelt is commendable. However, in terms of plot, the film does not have sufficient propelling power ...','375d63e7401c8b8aac8b59f5e673810e',0,'','Pu8syD40',1,0,'',0,0,0),(10125,1780,3,1,0,'69.120.114.47',1167083580,1,0,1,1,1,1,'howardschumann(d)','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','BEFORE THE FALL (NaPolA)\r\n\r\nDirected by Dennis Hansel (2004)\r\n\r\nIn our sleep, pain which cannot forget falls drop by drop upon the heart until, in our despair, against our will, comes wisdom through the awful grace of God. Aeschylus\r\n\r\nInvolving rigorous physical activity and political indoctrination in total subservience to Hitler and his ideas of a German master race, Napolas (National-Political Institutes of Learning) were established with the purpose of training future political, business, and social leaders for the Thousand-Year Reich. In these schools, there was no room for debating opposing views or philosophical niceties like ends and means. The schools taught that only the strong survive. Anyone who showed any trace of independent thinking or sensitivity to human values were sadistically harassed and weeded out.\r\n\r\nBased on the recollections of his grandfather, Dennis Gansels Before the Fall (Napola Elite fr den Fhrer) is a riveting coming of age story about the training of one such Nazi elite in the Germany of 1942. The work transcends its limitations as a genre film to tackle a more universal theme - the struggle between external ideals and matters of inner conscience. Like Igor, the idealistic teenager in Dardennes La Promesse, Friedrich Weimer (Max Riemelt), a Nordic-looking, working class boxer must deal with issues of conscience in an environment that is anathema to the assertion of human values.\r\n\r\nFriedrich is only seventeen when he is approached after an amateur boxing match by a Nazi instructor at a Napola school. Seeking to salvage the athletic reputation of the school, he sees in Freidrich not only a boxing champion, but a blank slate that can be molded to fit the Nazi ideal. Friedrich, destined to follow his father as a factory laborer, sees the chance to both serve the fatherland and advance his own career and signs his own registration papers when his father refuses to agree. The boy is still very innocent but genuinely idealistic and possesses genuine warmth as shown in the scene in which he reassures his younger brother. Friederichs mind is open to the Nazi indoctrination not because he is without conscience but because he simply hasnt seen any reason to question the prevailing zeitgeist.\r\n\r\nFreiderichs limited world experience suddenly expands, however, when he meets two other classmates: Siegfried Gladen (Martin Goeres), a boy who has a bed-wetting problem ruthlessly exploited as weakness by his fellow cadets and their sadistic teachers, and Albrecht Stein (Tom Schilling), the son of Heinrich Stein (Justus Vob Dohnanyi), a hateful Nazi governor. Albrecht who has the dangerous idea that people should consult their own conscience before blindly following orders is a boy of sensitivity and poetry, the embodiment perhaps of the true German spirit of Goethe and Heine. His father is revolted, however, by the boys perceived weakness and humiliates him by insisting that he and Freidrich engage in a very uneven boxing match when he invites his friend to his home.\r\n\r\nAlbrecht begins to question the merciless Nazi training after he sees Freidrich deliver a blow to the head of a fighter when he is already down. He also recoils in horror and speaks out publicly after the cadets are marched out into the forest to track down and murder allegedly escaped Russian POWs, in reality unarmed Jewish children. This incident results in a break in the relationship of the two boys and a sudden but predictable tragedy that leads to Freidrichs realization of the true nature of the Nazi barbarity. Before the Fall is more than an accounting of the Nazis disregard for human values, a fact already well-established. It is a more profound statement of how people need to be educated to think for themselves and take a stand for what they believe to be right. Impeccably directed and beautifully performed, Before the Fall is one of the most powerful and disturbing films of recent memory.\r\n\r\nGRADE: A-','b018a02a874f207fb718fbea63ae252b',0,'','HMKAgVcv',1,0,'',0,0,0),(10126,1780,3,1,0,'69.120.114.47',1167115920,1,0,1,1,1,1,'hengcs','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','wow ... \r\nI am glad you like the film too ...','90171516ebcde293c21c14e1e9c18493',0,'','3z7ABjKo',1,0,'',0,0,0),(10127,1780,3,1,0,'69.120.114.47',1167177600,1,0,1,1,1,1,'howardschumann(d)','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','Loved it. By the way, I have read that the Russian POWs were in fact Jewish children. Did you see any Star of David or yellow arm bands on them to identify them as Jewish? How were they identified as Jewish children by the critics?','33747e31f6803ca47048c7215a80a1ff',0,'','6crY9pxk',1,0,'',0,0,0),(10128,1780,3,1,0,'69.120.114.47',1167289620,1,0,1,1,1,1,'hengcs','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','So sorry ... I have watched it too long ago ...\r\nI might need to watch a second time to recall ...','475a204f12521e8afc862b7b4f4c9a85',0,'','uy8DpfiU',1,0,'',0,0,0),(10129,1780,3,1,0,'69.120.114.47',1167960900,1,0,1,1,1,1,'A','Re: Napola - Hitler\'s Elite (aka Before The Fall) (2004) (Germany)','I guess I`ll have to check this out now, with such overwhelming support. \r\nDidn`t know that the film was based on actual events, either.','9cc041286b5a6f91b66e6130dbd64fb7',0,'','uVrvpHJg',1,0,'',0,0,0),(10130,1781,3,1,0,'69.120.114.47',1162302540,1,0,1,1,1,1,'trevor826','Heading South - Vers le sud (2005) (France/Canada)','Heading South - Vers le sud (2005)\r\n\r\nDirected by Laurent Cantet\r\n\r\nStarring Charlotte Rampling, Karen Young, Louise Portal, Mnothy Cesar\r\n\r\nA rather subdued and sombre romantic tragedy revolving around middle-aged women from the U.S. taking long breaks in Haiti to get a little attention and excitement from the young bucks there. \r\n\r\nNot ignorant of but definitely ignoring the poverty and pain of the Haitians the ladies, all well into their forties and fifties reside in a tropical paradise where every whim is attended to with the utmost politeness. Smiles and good manners hide the deep resentment and for some, shame felt at selling out to the Yankee dollar while their own people suffer under the regime of \"Baby Doc\".\r\n\r\nNo problem then, these pampered, rich but emotionally and sexually starved women pretend they\'re in some form of Garden of Delights, the young local men are more than happy to provide the attention and sexual favours knowing they will be well rewarded for their ministrations and exertions.\r\n\r\nProblems arise though when two of the ladies start a psychological tug of war for one of the boys, 18 year old Legba. Ellen has spent several months at the resort for the last six years and is seen as being akin to the queen, usually getting everything she wants. The pretender, Brenda who visited the Island three years previously with her then husband lays claim to Legba because during that first trip, she had taken advantage of him at the tender age of 15, in return she had her first orgasm at the age of 45.\r\n\r\nBrenda openly professes her affection; Ellen condemns her for believing she could be in love with the boy while secretly hiding her own deep affections.\r\n\r\nLegba on the other hand is starting to feel the strain of years of being just a plaything, sure the rewards are good but the building tension between the rivals for his affections plus trouble brewing with his friends and family all add to his growing resentment. On an island where a little trouble can lead to your permanent disappearance, it can be a strain just to survive and sure enough, trouble eventually catches up with Legba.\r\n\r\nThe performances are all very good as you would expect from the older cast, theres also a great first time showing from Mnothy Cesar as Legba. The tension and poverty of the locals is well represented as is the brutality of the police, placing small minded thugs in positions of minor power is a great way of keeping people subdued and under control. \r\n\r\nThe way the women use the local boys seems almost acceptable, yet if the position was reversed, middle aged men with young girls it would rightly cause an outcry, though of course unfortunately it does happen in a few parts of the world. \r\n\r\nAlthough the film doesn\'t cover the political climate to any major degree, that isn\'t really its intention anyway. It does convey a sense of reality that is full of subdued emotional strain and tension.\r\n\r\nA decent romantic tragedy with a strong cast and a sense of melancholy that ably captures a moment and place in time without any overwrought Hollywood histrionics.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 15\r\n\r\nR2 dvd released by Soda Pictures','6e4fca192663e36d54c7bdd8122d773e',0,'','lY3MBgRT',1,0,'',0,0,0),(10131,1781,3,1,0,'69.120.114.47',1166874060,1,0,1,1,1,1,'arsaib4','Re: Heading South - Vers le sud (2005) (France/Canada)','I\'m a little surprised that you didn\'t mention any of Cantet previous three films: Time Out, Human Resources and Les Sanguinaires. (The obvious reason would be that you simply haven\'t seen them, though that\'d also be a surprise.)\r\n\r\nI agree with you. It\'s a good, ambitious film which perhaps tries to tackle a few too many issues, but that\'s certainly preferable than suffering through yet another safe, middle-brow affair.\r\n\r\nHeading South was adapted from three short stories by Haitian-Canadian writer Dany Laferrire, which might be the cause of a certain unevenness in the script. But it starts strongly, with Cantet meticulously mapping out the emotional, physical, and psychological terrain. The way he showcases the bodies with all the desires they embody is almost Denis-like (who probably could\'ve made a masterpiece from this material).\r\n\r\n\"Although the film doesn\'t cover the political climate to any major degree, that isn\'t really its intention anyway.\"\r\n\r\nYou\'re right, local politics initially did remain in the background. Though they did play a role in the film\'s final, somewhat conventional thrid act. (Cantet made his point earlier, and quite poignantly so, by not allowing Legba to have a \"say,\" unlike the trio of white woman and the black restaurant owner.)\r\n\r\n\"The way the women use the local boys seems almost acceptable, yet if the position was reversed, middle aged men with young girls it would rightly cause an outcry, though of course unfortunately it does happen in a few parts of the world.\"\r\n\r\nYou mean locally (the outcry, that is)? Either way, black or white, men or women, it\'s always the poor who get taken advantage of.\r\n\r\n\"The performances are all very good as you would expect from the older cast, theres also a great first time showing from Mnothy Cesar as Legba.\"\r\n\r\nTrue.','0cf188e7fce9636760ce203ef1ac8e70',0,'','Je3p7iqd',1,0,'',0,0,0),(10132,1781,3,1,0,'69.120.114.47',1166900160,1,0,1,1,1,1,'trevor826','Re: Heading South - Vers le sud (2005) (France/Canada)','\"The way the women use the local boys seems almost acceptable, yet if the position was reversed, middle aged men with young girls it would rightly cause an outcry, though of course unfortunately it does happen in a few parts of the world.\"\r\n\r\nYou mean locally (the outcry, that is)? Either way, black or white, men or women, it\'s always the poor who get taken advantage of.\r\n\r\nAgreed but there\'s a climate where a young boy having a sexual experience with \"the older woman\" is almost seen as \"rite of passage\" and not as some sort of paedophilic act whereas if the roles were reversed...........\r\n\r\nI\'m a little surprised that you didn\'t mention any of Cantet previous three films: Time Out, Human Resources and Les Sanguinaires. (The obvious reason would be that you simply haven\'t seen them, though that\'d also be a surprise.)\r\n\r\nI have seen the first two, indeed I have the dvd\'s. There was no reason for not mentioning the previous films, It didn\'t really cross my mind but I\'ll write some notes next time I watch them.\r\n\r\nHeading South was adapted from three short stories by Haitian-Canadian writer Dany Laferrire, which might be the cause of a certain unevenness in the script. But it starts strongly, with Cantet meticulously mapping out the emotional, physical, and psychological terrain. The way he showcases the bodies with all the desires they embody is almost Denis-like (who probably could\'ve made a masterpiece from this material).\r\n\r\nTotally agree re Denis, also thank\'s for the info re Dany Laferrire. Did you see Heading South in the cinema or on dvd?\r\n\r\nCheers Trev.','0d74060e0bf78eb5f481327210d70ce0',0,'','r2XTsZtF',1,0,'',0,0,0),(10133,1781,3,1,0,'69.120.114.47',1166918640,1,0,1,1,1,1,'arsaib4','Re: Heading South - Vers le sud (2005) (France/Canada)','Heading South became available on DVD earlier this week through an online rental service. I believe it\'ll officially come out in the U.S. in February. Has it been released on DVD in the U.K.?','7259c7ad777f7d11284194c1fd4526a5',0,'','dYWrhAk4',1,0,'',0,0,0),(10134,1781,3,1,0,'69.120.114.47',1166968020,1,0,1,1,1,1,'trevor826','Re: Heading South - Vers le sud (2005) (France/Canada)','The UK dvd was released by Soda Pictures 23 Oct, a good transfer with 5.1 sound (a rarity for Soda). Extras include trailers, biographies and an image gallery. Needless to say it has found a place in my collection.\r\n\r\nCheers Trev.','fef4740f71b5d8e8706189c153457cda',0,'','t5hMFx6a',1,0,'',0,0,0),(10135,1781,3,1,0,'69.120.114.47',1167810720,1,0,1,1,1,1,'A','Re: Heading South - Vers le sud (2005) (France/Canada)','Since I have previously missed this thread (what with my not being able to keep up to date with our board for the last two months), I have copied my short comments on this remarkable film from the last Movie seen thread.\r\n\r\nQuote:Laurent Cantet\'s vers le sud (2005) was a very good emotional drama about the impossibility of a global perception in personal history. Set in the late 70s in haiti, it is an exploration of politics via their \"absence\" in the narrative of the film. The viewer has to fill out the blanks along with the female protagonists. Great structure, masterful directing, etc. Cantet is clearly one of the most gifted current french directors. Comparison with Robert Guediguain in the combination of personal and social history, though Cantet is as far as I can see superior in a lot of ways. Also a rare case of an completely honest film that doesn\'t try to ridicule anyone. In our \"postmodern\" age this may be hard to swallow for many viewers who think they can pass their judgement on a lot of things... Strongly recommended.\r\n72/100\r\n\r\nI have seen the film at the cinema, and I also loved the way it reversed the usual roles, making the viewer uncertain at times what is morally \"expected\" from him (as Trevor has pointed out). The film has a lot of \"problems\", although Cantet is such a capable director that he smoothens them over. But it could have been better if the picture had been a bit longer or a bit shorter. I did like the strong statement Cantet was making by keeping Legba silent. Another ambivalent move, as he denies him the right to speak, but at the same time allows him to keep his dignity. The psychology also sometimes stumbles, but it is played out on such a high level, that it is already rewarding if you only consider this part of the film. And Cantet is really a master when it comes to pulling the right strings for an emotional and honest scene. \r\n\r\nThe only other of his films I`ve seen, is his masterpiece \"Human Ressources\" from 1999. Seems like Cantet has to be careful to bite off only what he can chew, but the risks paid out this time.','c410ea92900373f9fe095672d33e79ba',0,'','GxK3EPRC',1,0,'',0,0,0),(10136,1781,3,1,0,'69.120.114.47',1167827880,1,0,1,1,1,1,'arsaib4','Re: Heading South - Vers le sud (2005) (France/Canada)','I hope you get the opportunity to watch Time Out. It\'s one of the better films French cinema has produced in recent years.','f124afba31c9143d044bf573f3a6d370',0,'','9mJWNpGQ',1,0,'',0,0,0),(10137,1781,3,1,0,'69.120.114.47',1167882600,1,0,1,1,1,1,'A','Re: Heading South - Vers le sud (2005) (France/Canada)','I absolutely loved \"Human Ressources\" and wanted to see \"Time Out\", but it looks like the film isn`t available in Germany yet. It`s on my to watch - list though.','3d49e605ca4e12ddf31d17001c46b9dc',0,'','iMfrVJ5C',1,0,'',0,0,0),(10138,1782,3,1,0,'69.120.114.47',1166127300,1,0,1,1,1,1,'justindeimen','Isolation (2006) (Ireland)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nPutting a fresh spin on mad cow disease and giving Al Gore more to think about with the term eco-horror, Billy OBriens quintessentially Irish mutant horror ick-fest in Isolation might just be part of the forefront of modern low-budget throwbacks to B-horror of the 70s and 80s but retaining the taut, eerie atmospheric qualities of earlier horror films. Unlike the last Irish horror splatter-fest that was distributed internationally in Boy Eats Girl, this film does not have a facetious tone of paying homage to classic horror. When its effective, it is highly disconcerting despite the fleeting inclination to inadvertently swing by with comedic overtones in its flimsy premise.\r\n\r\nIn a quiet, secluded farm in the foggy Irish moors, Dan Reilly (John Lynch) sells one of his last remaining cows to a stony geneticist (Marcel Iures) and his veterinary ex-girlfriend (Essie Davis) for pregnancy experiments commissioned by a large biotech firm. Even as Dan grows suspicious, he still has to contend with his property becoming a trailer park as a couple with a shady past squats on his farm. When he enlists the squatters help in delivering the calf from the experimented upon cow, they find that the newborn isnt exactly cut out for grazing.\r\n\r\nIt captures the titular sense of isolation with aplomb and does not deviate from the strong authentic environments that only serve to sharply tune the claustrophobic dread creeping over its characters. The sense of immediacy is heightened with a confident hand in the shaky-cam that hones in on the bleak mood perfectly. The performances, thankfully compliment its laudable production values and animatronics that were primarily financed by scrimping and saving aside from the government film grant. But its strongest suit is that despite the brief runtime and quick headway into the main story, OBrien gives a strong shake at defining his characters and the tenuous relationships they build whilst running from killer parasitic cattle.\r\n\r\nLions Gate Films usually has a keen eye for picking out small acclaimed independent films that usually churn out a decent profit in larger theatrical runs and this does not seem to be the exception. Billy OBriens feature debut is ostensibly a sci-fi horror with enough tropes of previous films where renegade experiments in the name of science go wrong. Not taking glee in its violence, it has something to say when the grim outlook of playing god becomes more than any scientist can handle. OBriens influence from creature-features like Alien and other mad-scientist films, together with his talent in manifesting tension with imaginative camera angles make Isolation a surprise treat for genre addicts.','eca077d5f2adcc96f9cdabb3e5c439fb',0,'','xKcjz0ed',1,0,'',0,0,0),(10139,1782,3,1,0,'69.120.114.47',1167809460,1,0,1,1,1,1,'A','Re: Isolation (2006) (Ireland)','How come you always stumble over so many foreign horror films Justin. You`re a horror fan, or you simply like reviewing them?\r\nI`m always positively surprised by your ability to write a lot of interestinga and positive things about a film even if you didn`t like it. Personally, I can usually only write if I like a film, or something about it inspires me to sit down and type a few lines. \r\nHow long do you take for your reviews, and do you rewrite them a lot? I`m simply curious.','2bc7532fa036c36e1f8fae0e6e9885b2',0,'','1E6g2zP5',1,0,'',0,0,0),(10140,1782,3,1,0,'69.120.114.47',1167838200,1,0,1,1,1,1,'justindeimen','Re: Isolation (2006) (Ireland)','Thanks A! I love horror, to me its the genre that I admire tremendously but that\'s not to say I seek them out, I just have an affinity for it.\r\n\r\nI suppose I need an outlet for any sort of opinions I have about a film. At times harder for me to write/talk about films I truly love.','8774ad7628cf04c3bf46b92beb20de64',0,'','ZM8Be7Yr',1,0,'',0,0,0),(10141,1783,3,1,0,'69.120.114.47',1120644000,1,0,1,1,1,1,'MikLosk','Manderlay (Lars von Trier, 2005) (Denmark)','Last von Trier\'s movie is the second part of his ambitious \"American thrylogy\" - thrylogy about the country where he has never been in. Like the first film of this series this one tells about the paradox that I\'d prefer to express with one sentence: \"Freedom is slavery\". It\'s clear why he decided to explore problems of modern society using the USA as a background: it\'s the brightest point of world society and democracy. We all saw in Dogville how terrible is reverse of our life concealed under dozens of rules and laws of modern society and how many monsters are concealed inside common \"law-obedient\" people.\r\n\r\nI don\'t want to discuss all political and social problems and contradictions that are considered by Lars because such exhaustive discussion took place when we all talked about Dogville.\r\n\r\nA couple of words about plot. Grace left Dogville after that fantastic destruction and decided to visit a small town Maderlay and extirpate slavery in it: it\'s populated with negroes, who don\'t know that slavery in the USA is over...\r\n\r\nManderlay is the sequel of Dogville. So, the former inherited main themes and formal technique of the latter. It\'s the main problem of the movie and simultaneously the main reason of possible success. The plot is quite predictable, the technique of minimal theatre may make some viewers be bored, etc... BUT! It has its charme. Trier\'s style, full of irony and black humour is incredible, his ability to tell an interesting and even breathtaking story (with using epatage and contradictions) is amazing (Trier\'s screenplays are never boring even if the film isn\'t directed by him like, say, Dear Wendy), actors\' performances are really outstanding (I should say that LvT is a great specialist on actors: they always do a very good job in his movies). Nonetheless, after brilliant and groundbreaking Dogville it looks like a pure repetition of old success. I think, most of viewers will be disappointed, though it\'s a good movie (one more paradox!) I hope his next project (after American thrylogy) won\'t be so self-repertory and boring. \r\n7/10','339d955852e2a84317702e84484cca50',0,'','BHiuEAT1',1,0,'',0,0,0),(10142,1783,3,1,0,'69.120.114.47',1120819260,1,0,1,1,1,1,'arsaib4','Re: Manderlay (Lars von Trier, 2005) (Denmark)','Good review, Mik. I haven\'t seen the film yet (it\'s scheduled for later this year here), but I like this part, \"Manderlay is the sequel of Dogville. So, the former inherited main themes and formal technique of the latter. It\'s the main problem of the movie and simultaneously the main reason of possible success.\" I\'ve read a few similar notes on the film. I\'m also looking forward to Dear Wendy.','4687471c1bc3b3998f8aeb16b85e0d34',0,'','QpVu7aiv',1,0,'',0,0,0),(10143,1783,3,1,0,'69.120.114.47',1120991100,1,0,1,1,1,1,'MikLosk','Re: Manderlay (Lars von Trier, 2005) (Denmark)','Thanks for kind comments, arsaib4!\r\n\r\nOther reviews will be shorter (have no time to write a full research =)) and I\'ll post them in the thread about Moscow Festival. Thoughts on Dear Wendy is already there.','02b749707d1211f5322badb24066df9e',0,'','fL0ul1Z4',1,0,'',0,0,0),(10144,1783,3,1,0,'69.120.114.47',1120993440,1,0,1,1,1,1,'wpqx','Re: Manderlay (Lars von Trier, 2005) (Denmark)','Good or bad, he\'s always interesting, can\'t wait until this comes out here in the US.','dff9a329381cc285314171758c53f5f9',0,'','XDYSJKz6',1,0,'',0,0,0),(10145,1783,3,1,0,'69.120.114.47',1165410720,1,0,1,1,1,1,'wpqx','Re: Manderlay (Lars von Trier, 2005) (Denmark)','Took me ages to get to finally see it. Manderlay failed to capture me like Dogville did, but few films do. I think part of this is the altered cast. Willem Dafoe I can accept in exchange for James Caan, but Bryce Dallas Howard is a very poor substitute for Nicole Kidman. The film was good, and delivered its share of twists and melodrama, but part of the film (particularly the dust sequence) felt disturbingly predictable. I\'d say one of the more interesting films of the year but not without its flaws. Von Trier seems to delight in exposing the underbelly of America, but I feel he is missing something here.','75809dd8d21a7d14707188676d80220d',0,'','LzYMRdQa',1,0,'',0,0,0),(10146,1783,3,1,0,'69.120.114.47',1167809100,1,0,1,1,1,1,'A','Re: Manderlay (Lars von Trier, 2005) (Denmark)','For me this movie was also a let down after the magnificent Dogville (2004). I didn`t mind it repeating a similar formula, but this time the satire was too flat (von Trier is imho not good at comic timing) and as wpqx pointed out, a lot of the stuff that happened was very predictable. Overall this was a rather preachy effort, where I thought that von Trier should have listened better during history classes. \r\nA bit like the twin brother of Michael Moore`s Fahrenheit 9/11 (2004) it doesn`t have any revelations to offer, and pretends to be smarter thanit actually is.\r\nImo, overall a very mediocre and unbalanced effort that leaves much to be desired while at least offering enough food for thought.','f4251cf083606fb94697daf3ebe30a58',0,'','wQL7jDdu',1,0,'',0,0,0),(10147,1784,3,1,0,'69.120.114.47',1164141780,1,0,1,1,1,1,'howardschumann(d)','Suddenly (Tan de Repente)','SUDDENLY (Tan de Repente) \r\n\r\nDirected by Diego Lerman (2002)\r\n\r\nMarcia (Tatiana Saphir) is a heavy-set woman who is stuck in a dead-end job selling underwear in a lingerie shop that attracts few customers. Rejected by her fianc after a two-year courtship, she goes through the motions of living. Her world is turned upside down, however, when she is kidnapped at knife point by two sullen, ice-cold, look-alike lesbians named Mao (Carla Crespo) and Lenin (Veronica Hassan) who tell her how much they want to have sex with her. \r\n\r\nBased on the novel La Prueba by Argentine writer Cesar Aria, Deigo Lermans Suddenly is a fascinating examination of power struggles in relationships that takes us to unexpected places - suddenly. Filmed in 16mm black and white by cinematographers Diego del Piano and Luciano Zito and reminiscent of Jim Jarmuschs episodic style, Lermans first feature has, according to the director, contradictions reveling in contradictions. \r\n\r\nThe film contains moments of comedy but these are undercut by a mysteriously sinister air that keeps us guessing as to where the film is headed. Marcia is scared but does not attempt to run away and seems curious about their overtures. The tough young women highjack a taxi and drive Marcia to visit Lenins seventy-year old Aunt Blanca (Beatriz Thibaudin), who lives in Rosario, a seaside town near Buenos Aires with her two tenants, the shy Felipe (Marcos Ferrante), a Biology student and Delia (Maria Merlino), a painter and part-time teacher. Aunt Blanca in a fine performance by Thibaudin, is one of the few sympathetic characters in the film and her unconventional warmth allows Lenin to connect with the value of relationships.\r\n\r\nWhen Marcia tells Mao that she enjoyed being with her, she tells Marcia to shut up and go to sleep. Mao is an unpleasant bully who, after consummating her relationship with Marcia, neglects her and rudely shifts her interest to Felipe. Passive to the end, Marcia does not stand up for herself or try to leave. Felipe seems bewildered by the girls but supports Mao in a shoplifting spree without considering the ramifications. Suddenly is a strangely involving film that shows great promise by the director but the lesbian butch women are caricatures that detract from the films message, which after all is quite simple - when people are finished playing ego games with each other, what is left is love.\r\n\r\nGRADE: B+','0698ecd09197adf4e3571395c44fb378',0,'','xjBGQTrv',1,0,'',0,0,0),(10148,1784,3,1,0,'69.120.114.47',1167805740,1,0,1,1,1,1,'A','Re: Suddenly (Tan de Repente)','I saw this film at a film festival three years ago, and I also wasn`t as impressed by it as many others seemed to be.\r\nId agree with what you`ve written, but as I also have the film taped from TV, I`ll see what I think after a rewatch. \r\nThis is one of the rare Argentinian films I have seen, but definitely worthwhile.','e0ff70fb2c8c1db4342f0722229aa5bf',0,'','3zPQSYtF',1,0,'',0,0,0),(10149,1785,3,1,0,'69.120.114.47',1153406400,1,0,1,1,1,1,'hengcs','The White Masai (Die Weisse Massai) (2005) (Germany)','\r\n\r\nDirector: Hermine Huntgeburth\r\nCast: Nina Hoss, Jacky Ido\r\n\r\nI have watched it in April, so this is all that I can recall ...\r\nmaybe \"A\" (or someone who have watched it) can write more about it?! \r\nhee hee\r\n\r\nSynopsis\r\nBased on the autobiography of Corinne Hofmann, the film traces the relationship of a Swiss-German tourist, Carola and a Masai warrior Lemalian.\r\n\r\nMy thoughts and conclusion\r\n\r\n- The cinematography is great. \r\n\r\n- The actress portrays her role very well. You can see how she transforms over the film ...\r\n\r\n- My only qualm (if at all) is that the film is based on a book (which means it is from her perspective) ... hence, the ending of the film kind of fail to give us a better portrayal of \"BOTH sides\" of the story ... \r\n\r\nas of now, instead of thinking that their eventual breakup is due to \"cultural differences\" ... it appears more to the audience that the guy is \"at fault\" (starkly contrasted against the gal\'s diligence, perseverance, etc) ... please do NOT feel offended, but the last portion of the film may come across to many audience as the guy being \"over suspicious/ and jealous/and possessive\" ... \r\n\r\nBUT in case you misunderstand, let me qualify, only the two people involved know what actually happened ... maybe what is depicted is indeed the truth ... maybe it is from her perspective only ... maybe it is just some misunderstanding due to cultural differences ...\r\n\r\nWhatever is the case, I think the film at least highlights an important issue, that life is not simple ... often, realism sets in and competes with \"romanticism\" ...\r\n\r\nConclusion\r\nAbove average to recommended. \r\nFor those who have experiences with cross cultural relationships, the film may touch a chord.','0210dff8bd9c353d87177b26a77727b5',0,'','49tnxH8y',1,0,'',0,0,0),(10150,1785,3,1,0,'69.120.114.47',1153520520,1,0,1,1,1,1,'A','Re: The White Masai (Die Weisse Massai) (2005) (Germany)','Interesting that you have seen the film. I have not watched the film (and do not intend to), but this was probably the most succesfull domestic film here in Germany - the novel is also a bestseller. But all of the critics absolutely despised it, though some praised the main actress in the same breath, and wondered why she agreed to play in such drivel. So there was much controversy about it here in Germany, but sadly I can\'t point you to any articles, as they are all in German.\r\nNice to see that somebody liked it, and especially a foreigner.','cd72d0e0fd233e893fb161d7842fcb18',0,'','8dilWXN4',1,0,'',0,0,0),(10151,1785,3,1,0,'69.120.114.47',1153646820,1,0,1,1,1,1,'hengcs','Re: The White Masai (Die Weisse Massai) (2005) (Germany)','Quote A, \"So there was much controversy about it here in Germany, but sadly I can\'t point you to any articles, as they are all in German. Nice to see that somebody liked it, and especially a foreigner.\"\r\n\r\nI am not sure if I like it that much ... hiaks hiaks\r\nthat was why I wandered between \"above average\" to \"recommended\" ...\r\n\r\nI guess I was more forgiving because I assumed it was told from the perspective of the female protagonist ... and not from an objective story telling point of view ...\r\n\r\nI suspect there is controversy over ...\r\n(i) how the \"foreign culture\" is depicted (i.e., not too favorably) ... that was why in the end, she abandoned them ...\r\n(ii) everything seems more justifiable from her perspective and less reasonable involving the other culture ...\r\n\r\nSuch approach is often \"risky\" ...\r\n\r\nYet, the book (or film) is popular ... because ...\r\n(i) (I suspect) people are always keen to understand \"true stories\" about cross cultural relationship ...\r\n(ii) also, (I suspect) many women do find strength in the female protagonist ... i.e., how she overcame so much odds to survive and support her daughter ...','939065165c56cf207349e6a4940ee395',0,'','5mwkdBTR',1,0,'',0,0,0),(10152,1785,3,1,0,'69.120.114.47',1153695960,1,0,1,1,1,1,'A','Re: The White Masai (Die Weisse Massai) (2005) (Germany)','You are pretty right with your assertions. \r\nBut it\'s not that important since I haven\'t seen the film myself...\r\nInteresting to see which german films find their way to other countries, though.','c87310965783e1e1db3232d2ccaf4c6f',0,'','NwRshFDP',1,0,'',0,0,0),(10153,1785,3,1,0,'69.120.114.47',1162160400,1,0,1,1,1,1,'justindeimen','Re: The White Masai (Die Weisse Massai) (2005) (Germany)','Will post more when I can keep my eyes open (nothing to do with the movie, just really tired) but for now the lindering thoughts are that the protaganists are intriguing, thanks to the great performers in both roles.\r\n\r\nFantabulous visuals, very Constant Gardener in mixing the cultures through the AV. Would have liked a bit more insight into the relationship though.','4a2fc1bfcba413042ce1ee60b00498fa',0,'','bNvtGagR',1,0,'',0,0,0),(10154,1785,3,1,0,'69.120.114.47',1167801720,1,0,1,1,1,1,'A','Re: The White Masai (Die Weisse Massai) (2005) (Germany)','I got a few more recommendations by a couple of Slovenian friends to watch this movie. Seems that only the german critics didnt like it...\r\nNina Hoss, who plays the main part in the movie is actually one of the most promising german actresses. No wonder you liked the performances Justin.','4ca6ea650659e0c7fdc2862457522364',0,'','mDMP6eoT',1,0,'',0,0,0),(10155,1786,3,1,0,'69.120.114.47',1133043420,1,0,1,1,1,1,'Unregistered(d)','Battle in Heaven(Batalla en el cielo)','Latin America films seem on a roll at the moment. \" Y tu madre tambien\" \"Diary of a Motorcyclist\" etc.\r\n\r\nI\'ve just been to see \" Battle in Heaven\" by the Mexican director Carlos Reygadas. Yes, the first three minutes or so has oral sex that drew most of the publicity to the film but its a rather slow , plodding movie.And yet, it is one of those films that remains with you. It is said the director used mainly non actors but I don\'t know which were which.\r\nI\'d be interested in anyone elses opinion as I am sure there will be mixed emotions about this movie.','e9d923027bcd66b02b7e8efd4633661c',0,'','20ko5yjZ',1,0,'',0,0,0),(10156,1786,3,1,0,'69.120.114.47',1133047920,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','It\'s coming to Cardiff soon so I hope to get a chance to see it, I\'ll give my verdict then.\r\n\r\nCheers Trev.','7107c6dc88d3f782d32dfe600ff8e31d',0,'','1hZdmKrQ',1,0,'',0,0,0),(10157,1786,3,1,0,'69.120.114.47',1133921340,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Saw it today, I\'ll get my thoughts down soon. I can understand why there has been so much said about the initial scene but all I can say is that there were several females in the audience, from early 20\'s to OAP age, none of them walked out and in fact I can\'t remember anyone walking out before the credits had finished rolling.\r\n\r\nCheers Trev.','1dc0704491783f3f51fdbf803add4d2a',0,'','7GplKJzN',1,0,'',0,0,0),(10158,1786,3,1,0,'69.120.114.47',1134073860,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','I\'m certainly going to watch this when it comes to german cinemas. Still haven\'t seen Reygadas\' \"Japon\" which I missed on it\'s release, though. But \"Battle in Heaven\" really got much critical bashing. Read some thoughts on it in the september(?) issue of Film Comment, and my somebody really didn\'t like this movie \r\nLooking forward to your comments.','9e616c80af9f08bf6dd74f90fd0e9ccc',0,'','CKRJA3S4',1,0,'',0,0,0),(10159,1786,3,1,0,'69.120.114.47',1134119760,1,0,1,1,1,1,'arsaib4','Re: Battle in Heaven(Batalla en el cielo)','Are you sure it was Film Comment? I think it was Philipe Lopate you briefly covered it in the July/Aug Cannes issue and he was somewhat mixed.\r\n\r\nBattle in Heaven comes out in the U.S. early next year. Looking forward to it!','1e072673c5af317a9f5b20f40862f8b2',0,'','59YW4BVs',1,0,'',0,0,0),(10160,1786,3,1,0,'69.120.114.47',1134252000,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Batalla en el cielo (Mexico - 2005) Battle in Heaven\r\n\r\nDirected by Carlos Reygadas\r\n\r\nStarring Marcos Hernndez, Anapola Mushkadiz\r\n\r\nIts hard writing any sort of cohesive comments about a film as incohesive and inconsistent as this one so I\'ll try and keep it brief although I\'ve written a lot of jumbled up notes that may come into use for points of debate at some later date.\r\n\r\nThe opening scene has been discussed many times but still caught me out, the girl looks no older than about 14, quite disturbing. The tears from the girl, Ana are repeated by another character much later in the film. \r\n\r\nThere is good original use made of sound and vision, in one scene the two are intermingled, you hear what you see through a 360% turn and all other audio is cut out, very strange but very effective. A lot of the film is taken up with long slow pans from left to right and back again, taking in the normality and also the odd and at times slightly disturbing populace of the city.\r\n\r\nThere are quite a few interesting shots of Mexico City from strange angles, also a lot of panning shots of blank banal concrete buildings. The views outside of the city especially from the peak of a mist-covered hill were hauntingly beautiful.\r\n\r\nReligion plays an important part in the film and is ever present, climaxing in Marcos\'s attempt to find repentance amidst a vast array of pilgrims gathered for a religious festival. There are also several clichs including Marcoss confession, although he considers Ana as almost a friend and later a lover, in a conventional turn Ana the prostitute is used for confessional reasons in much the same way as a priest.\r\n\r\nNow down to the major issues.\r\n\r\nThe plot, an Army Generals chauffeur and his wife have kidnapped a baby, fair enough you might think, everyone knows theres a huge problem with kidnapping in several Latin American countries, but! Why on earth would anyone kidnap the baby of someone who is obviously worse off in almost every way than the kidnappers are, and who would kidnap the baby of a friend? Without this there is no film so I suppose we as the viewers have to accept that for whatever reason, it happened. \r\n\r\nWe dont see the kidnapping or the child, we only find out about it a little into the film when Carloss wife rings and tells him that the baby has died, this starts the chain of events rolling. \r\n\r\nThe acting (or lack of it) Ana was fine but Marcos and his wife, well let\'s just say Marcos is undoubtedly a good chauffeur, he just seemed totally blank and unbelievable when dealing with anything else, his wife was just very large, petty minded and downright scary. In fact as far as the kidnapping is concerned. I felt that the wife should have been the one filled with remorse and seeking redemption not Marcos, he seemed to be a puppet being continuously told what to do. \r\n\r\nSex. Yes the first scene is unsettling, but there are other moments, the animalistic humping between Marcos and his wife, like two great sweaty lumps of meat crashing together. Then there\'s Marcos (thankfully shown only from chest height) masturbating during a football match and repeating what the interviewed player has said? Another scene shows Marcos and Ana having sex, whats funny about this scene is even though the act is simulated, its quite obvious that Marcos has genuinely become aroused, the camera lingers on their bodies and genitalia as they lay on the bed side by side. The final scene of oral sex is obviously tied in with the initial scene.\r\n\r\nAs an experiment, it\'s interesting and certainly sticks in your mind but as a story that depends on a plot, it\'s pretty weak and nonsensical.\r\n\r\nWould I see it again, well I\'ve certainly been pondering that question myself and the answer is probably yes but I know (as with the majority of films) it caertainly won\'t have the same impact on the small screen.\r\n\r\nWould I recommend it? To the average movie-goer, no chance but to the members of this site, absolutely. In fact I hope a few of you do as I\'m sure it\'ll spark some discussion. \r\n\r\nAgain I apologise that these comments are a bit muddled but this is not an average film and is probably the most awkward I\'ve tried to comment on.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 18\r\n\r\nA dvd will be released sometime in the future by Tartan video.','eb618354ba928711ce90da4cd60b3db3',0,'','vSudxz18',1,0,'',0,0,0),(10161,1786,3,1,0,'69.120.114.47',1134256020,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Yes, it\'s the July/ August issue, I\'ve checked it. You\'re right, the the comments are mixed, though for me it still sounded more negative than positive. The bad one I must have read in a longer review. \r\nBut I must say Tevor\'s are the most \"positive\" comments on the film I\'ve read to date. :)\r\nStill, I\'m going to watch it, if I catch it somewhere.','967a0704f0cd04a9e612e2d4c7d43063',0,'','DqVMk1Rt',1,0,'',0,0,0),(10162,1786,3,1,0,'69.120.114.47',1134261060,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','I have omitted several plot points including a major spoiler from my comments as I didn\'t want to give too much away. \r\n\r\nNormally I like the use of non actors but I got the feeling that Marcos found great difficulty in actually getting into the right mind set for his role which would probably have been difficult even for an experienced actor. \r\n\r\nIt is an awkward film but as I said earlier, nobody left the screening, in fact everyone sat through the credits which is pretty unusual in itself.\r\n\r\nI\'d definitely recommend it to you A and arsaib4 along with a few others, I only wish I\'d had someone to discuss it with straight after the screening. \r\n\r\nCheers Trev.','e0427f8081c38b1770e29a4d8da58c66',0,'','xe2B670f',1,0,'',0,0,0),(10163,1786,3,1,0,'69.120.114.47',1134301260,1,0,1,1,1,1,'arsaib4','Re: Battle in Heaven(Batalla en el cielo)','An interesting review, Trev. I tried to see the film in Toronto but both of the screenings sold out pretty quickly. I wonder how many simply saw it for the lurid sex. Anyway, looking forward to discussing this one.','a10ce37febe78b36027b19aa8580f5bc',0,'','FyixqZmJ',1,0,'',0,0,0),(10164,1786,3,1,0,'69.120.114.47',1134311340,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','I\'d actually feel sorry for anyone who went because of the sex scenes because they only take up a tiny proportion of the film and apart from the disturbing initial scene (and maybe final shot) they are more likely to amuse or embarrass, not titillate in any way. \r\n\r\nImagine the hard work of sitting through a difficult film made up of mostly slow panning shots and a laborious weak plot just for a flash of flesh (not exactly attractive flesh either)!\r\n\r\nI\'m not religious but found the religious aspect of the film to be the most satisfying part, religious devotion has an incredible hold over peoples lives and the scenes of the pilgrims and of Marcos seeking redemption are by far the strongest in the whole film.\r\n\r\nI\'d say for anyone wanting a flesh fest, stick with any of the thousands of porn films out there, Battle in Heaven will be too much effort for you.\r\n\r\nCheers Trev.','17bcb714b79b34929708fb0565bb1b79',0,'','f7FHud4S',1,0,'',0,0,0),(10165,1786,3,1,0,'69.120.114.47',1136987940,1,0,1,1,1,1,'arsaib4','Re: Battle in Heaven(Batalla en el cielo)','French critic Frdric Bonnaud on Battle in Heaven. What do you think, Trev? Looks like you have some support.','e54b4ca81b39581825d2282d8658ab49',0,'','5kMYV7Dd',1,0,'',0,0,0),(10166,1786,3,1,0,'69.120.114.47',1136988480,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Sorry but I love this comment from the review - \"We still want to know why this pretty, young rich girl wants to suck off this fat, filthy guy!\" one viewermy mother no lesstold me.\r\n\r\nThe thought of watching this with my mother!\r\n\r\nI must be honest arsaib4, I\'ll be glad when you and others have had the chance to see and comment on it.\r\n\r\nCheers Trev','0f4b897fb6db64aa18b2ee486d71ae80',0,'','mECpbw20',1,0,'',0,0,0),(10167,1786,3,1,0,'69.120.114.47',1137017640,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Yes, I want to see some more 2005 lists! \r\nEspeially you Trev!','0ae22db290506ab71c5079898b45019c',0,'','Zx05tNaY',1,0,'',0,0,0),(10168,1786,3,1,0,'69.120.114.47',1138409460,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Battle in Heaven will get it\'s UK dvd release either Feb 20th or Mar 27, I think Feb is the most likely date.\r\n\r\nExtras will feature exclusive interviews with Carlos Reygadas & Anapola Mushkadiz.\r\n\r\nWhen is the US theatrical release?\r\n\r\nCheers Trev.','e87f3f1575d2508c033b1b9aee64015a',0,'','vZd4aE2z',1,0,'',0,0,0),(10169,1786,3,1,0,'69.120.114.47',1138419960,1,0,1,1,1,1,'arsaib4','Re: Battle in Heaven(Batalla en el cielo)','It\'s scheduled for Feb. 17th.','ef0d5e727e2801965f14cd89251a02b7',0,'','iry0UzQL',1,0,'',0,0,0),(10170,1786,3,1,0,'69.120.114.47',1144204620,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Dvd update:\r\n\r\nR2 Pal dvd is now available from Tartan video and the picture and sound quality are excellent. You will need a decent sound system to get the most from this (as with most modern films) and indeed one of the best aspects of the film is the way that sound is used.\r\n\r\nAs far as extras go there is a Tartan exclusive interview with the director Carlos Reygadas and one of the principal cast, Anapola Mushkadiz. \r\n\r\nThe interview covers various aspects of the film including Reygadas\'s inspiration, religion, Mexico and of course the sex scenes. \r\n\r\nTo the film itself. As a plot and/or character driven movie it\'s rankly amateurish to say the least.\r\n\r\nAs an essay on modern Mexico, class structure and religion it just about passes, where it does succeed is in its unique use of sound and vision. Whether that\'s enough is up to you, for me the jury\'s still out.\r\n\r\nCheers Trev.','7b9b90eb0261d588530cb6afe78cb3f0',0,'','ugrKJ8k5',1,0,'',0,0,0),(10171,1786,3,1,0,'69.120.114.47',1144218840,1,0,1,1,1,1,'arsaib4','Re: Battle in Heaven(Batalla en el cielo)','Thanks for the info, Trev. I\'m still waiting for this film. \r\n\r\nWas Reygadas\' interview helpful at all?','b910a61b203b75f65a07280ec9c6f725',0,'','xNvakFKG',1,0,'',0,0,0),(10172,1786,3,1,0,'69.120.114.47',1144241040,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','I\'ve watched the interview again and you don\'t really get anything from it that you won\'t get from the film itself. The main themes are obvious and the discussion frequently returns to the sex scenes.\r\n\r\nThere was an amusing anecdote discussing the sex scene between Marco and his screen wife, Reygadas had to seek permission from her real life husband (who happens to be a high ranking police official) he was more than obliging to let his wife appear in the scenes as long as Reygadas guaranteed it would be simulated. \r\n\r\nCheers Trev.','e63a658011a7ef10d4cae107fdcc7e44',0,'','ZXAVFwbP',1,0,'',0,0,0),(10173,1786,3,1,0,'69.120.114.47',1149787260,1,0,1,1,1,1,'hengcs','Re: Battle in Heaven(Batalla en el cielo)','\r\nOriginally posted by Howard Schumann on 5/29/06 10:55 am \r\n\r\nBATTLE IN HEAVEN (Battala en el Cielo)\r\n\r\nDirected by Carlos Reygadas (2005)\r\n\r\nSet in Mexico City, Carlos Reygadas\' provocative Battle in Heaven reflects the contradictions of the teeming megalopolis of 20 million, a beautiful city of stately old buildings and tree-lined suburbs, yet one in which 3,000 kidnappings take place each year with most perpetrators getting away with their crimes. In the film, a Catholic and a seemingly good man commits criminally perverse acts, a wealthy young woman engages in prostitution for fun, and a loving couple of limited means kidnap a baby for ransom from an equally poor family. Like French director Bruno Dumont, Reygadas\' cinema is predominantly physical and there is little dialogue, narrative thrust, or explanation of the contradictions. Portrayed by non-professional actors, the main characters, like Bressonian models, show little emotion, and the film often feels like a study of flawed humanity shot by an observer from another planet.\r\n\r\nMarco (Marcos Hernandez) has been a chauffeur for a General of the Army for fifteen years. His unnamed wife (Bertha Ruiz) hawks alarm clocks and pastry in a metro station. Both are middle-aged, unattractive, and overweight, the antithesis of Hollywood glamour. The film is framed by sexual acts, and explicitly realistic Dumont-like sex is sprinkled throughout, apparently designed to tweak our level of comfort rather than turn us on. As part of his job, Marcos chauffeurs the elite General\'s rebellious young daughter Ana (Anapola Mushkadiz) around town and he is the only one who knows about her secret life, turning tricks in a brothel. To clear the air and perhaps to receive some of her favors, Marcos admits to her that he and his wife kidnapped the baby of a friend and that the baby died accidentally. \r\n\r\nTranscending racial taboos and class differences, Ana agrees to have sex with her driver but tells him to turn himself in to the police. Persuaded by his wife, however, he decides to wait until after the procession of Catholics to the shrine of the Lady of Guadeloupe. In Battle in Heaven, the brilliant cinematography of Diego Martinez Vignatti conveys powerful images of beauty juxtaposed with scenes of ugliness. Marcos, deep in concentration while driving on a beautiful day, is cursed and spat upon in a scene of road rage, the music of Bach\'s elegant Concerto in D minor blares at a tawdry gas station, and a scene of touching farewell is suddenly marred by an unspeakable crime. \r\n\r\nUnique and disturbing, Battle in Heaven is full of shock and awe, but it is the awe that remains after the final credits. Amoral and violent, unfulfilled by sex, Marcos seeks redemption. In abject sin, hooded, crawling on his knees to the Basilica, he joins a group of marchers he once called \"a flock of sheep\" and, in the moment where pure light and pure darkness merge, we discover once again that grace is everywhere. \r\n\r\nGRADE: A-','40568e6390046137c38ec3b74c4db071',0,'','KSRE9bUc',1,0,'',0,0,0),(10174,1786,3,1,0,'69.120.114.47',1158532980,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Ok, first let me say that i don\'t intend to write a review on Reygadas\' \"Battle in Heaven\", as the film seemed to adress too many important issues in a complex way, so that I don\'t really feel up to the tasc. Similar to my not being able to review Godard\'s Notre Musique (2004). \r\nI mention this film, because I think they have much in common regarding their structure as well as being the two most explicitely political films I have seen this year. That said, I also think that Reygadas\' film is vastly superior to Godard\'s effort and also has a sense of humor which points to Godard\'s work from the late 60s. Now I love Godard\'s films, he is one of my favorite directors, but somehow I couldn\'t fall in with the praise of his latest, as it seemed too much in-the-face to me, and didn\'t have to say much new. Now the same could be said about Reygadas\' film, but I think that the execution is more multi-layered and succeeds in more aspects. \r\nAnyway, i don\'t particualrly want to start a discussion about these two films and directors, but through adressing them I generally wanted to state my opinion that Reygadas\' abilities as a filmmaker may be in the same league as Godard\'s (though of course he may have to prove this in the future).\r\n\r\nMy personal rating of Battle in Heaven corresponds with Howard\'s (88 out of 100, which is an A- in my book) and I also agree with everything he wrote. Besides that, I\'ll mention a few things, and maybe we can progress in our discussion like that.\r\n\r\nWhen the movie started with the blow-job and ana shedding a tear, i thought to myself that this film would be a let down. The beginning was very pathetic and not to my liking. But after the first 15 minutes which seemed a bit like an excercise for its own sake, everything fell into place, and the beginning revealed its qualities. At the end when we return to the blow-job, which imo hasn\'t a direct link to the story and serves more like a framing, Reygada\'s intentions have been made clear, and the victim/perpetrator dichotomy has been erased. You can call the ending cynical or nihilist, but I\'d call it realistic with a wicked sense of \"humor\", one that makes you choke because laughter doesn\'t offer any release out of the world depicted. \r\nWhat I like about the film, is the fact that it doesn\'t have a \"story\" at all, and anybody expecting a plot which will make sense will be disappointed throughout the film (maybe that was trevor\'s problem?). Imo, every scene in the film is allegorical and has a lot to say about the mexican society and the human condition in general as well as the cinema and its devices. Basically it is an attack on preconceived notions and false excuses, which also comes along with its own critique. It satirizes a lot of its own attemps at false consternation, when reality is always much more complex and unsettling than any personal point of view. Interesting enough none of the characters are depicted as good or bad, they simply just are, as reygadas seems to observe some \"models\" of people in mexican society. The two main actors also use their own names in the movie, which imo makes the point, that none of us is excepted in this critique (not even reygadas himself!)\r\n\r\nMy favorite scene in the movie is probably the surreal moment when Ana and Marco meet an old man on a wheelchair outside of the brothel/home who is being taken care of by a foreign(?) nurse. Only through glances and one english line there are so many things expressed in a short time period, that it becomes a stunning example of reygadas\' incredible abilities as a filmmaker. And this may actually be the single tongue-in-cheek meeting between marcos and his ever-present \"Boss\" who naturally is never revealed in the movie. Past, present and future completely merge in this scene. \r\n\r\nAnd one last thing. Finally a filmmaker who treats sound as equaly important and deceptive as the image. Another lesson learned from Godard. \r\n\r\nNow I\'m really interested in some of your opinions, especially arsaib\'s negative take. Maybe you were repulsed by what one could interpret as Reygadas\' distaste of the whole human race? Of course I wouldn\'t agree with that, as i think that some moments actually show not only concern for the people, but the director\'s love for his protagonists, even while he is condemning their actions. But maybe I didn\'t notice a couple of things.','7d05a1484275b70213f93c70a926e813',0,'','J74zPQsE',1,0,'',0,0,0),(10175,1786,3,1,0,'69.120.114.47',1160783100,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','So...\r\nHow about some discussion? \r\nI know it\'s been a while but come on folks. \r\nTrevor and arsaib don\'t like it. Howard does, and imo it\'s the second best film I\'ve seen this year (slightly better than Cache and The New World!). \r\nMaybe I should say something controversial...','f282313b44e1aca524c81818489ac6aa',0,'','mul01CKL',1,0,'',0,0,0),(10176,1786,3,1,0,'69.120.114.47',1160839260,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Maybe I should say something controversial...\r\n\r\nWhy not A, personally I didn\'t see it as a complete failure but I\'m still unsure as to what Carlos Reygadas was trying to say, even the interview I have offers very little.\r\n\r\nCheers Trev.','a6789543415857794024a83cf47ebc53',0,'','oFbC68Af',1,0,'',0,0,0),(10177,1786,3,1,0,'69.120.114.47',1160855940,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Well, what he\'s trying to say is probably \"just\" showing the desolate human landscape in Mexico, where people live in two directions which cannot easily be reconciled. The only hope lies in recognizing and facing this. And through this film the viewer might be able to come closer to this goal. After all, the problems presented are universal and not only restricted to Mexico.\r\nPart political pamhplet, documentary on everyday life, abstract allegorical play, and satire, connected through image and sound. It\'s simply cinema. \r\n\r\nBut I don\'t have anything controversial to add really. I think the film does enough of it','afcbed9ec47869f2fb149f06cbdda8a5',0,'','CP5aHnEw',1,0,'',0,0,0),(10178,1786,3,1,0,'69.120.114.47',1161852780,1,0,1,1,1,1,'arsaib4','Re: Battle in Heaven(Batalla en el cielo)','I\'m glad you didn\'t, A. But I\'m sure even if you would have, it wouldn\'t have been the sort of ignorance spewed forth by individuals who\'ve cornered extreme positions (both positive and negative) and can\'t quite comprehend the fact that most don\'t agree with them. \r\n\r\nI\'ll properly respond in a couple of months when you\'re \"back\" and, hopefully, I\'ve seen the film one more time (I\'m not looking forward to it but I\'ll do so for the sake of this.)','73a46a15eec3478f671e1cb8cfb7c598',0,'','ovyMYwrX',1,0,'',0,0,0),(10179,1786,3,1,0,'69.120.114.47',1161992220,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','This should provide a debate worth waiting for, don\'t keep us hanging on too long A.\r\n\r\nCheers Trev.\r\n\r\nIf you want I\'ll type up the dvd interview.','1053bab50bf580b67b1f72131fb9650c',0,'','QunaeK3H',1,0,'',0,0,0),(10180,1786,3,1,0,'69.120.114.47',1162171140,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Hmm, I typed a response to this thread, but ezboard threw me out. I\'ll try to recapitulate it.\r\n\r\nI recently read a short interview with Reygadas, where he was talking in rather modest terms about the beauty and despair of the people, and didn\'t want to see his film understood too much as a political allegory. i was a bit surprised. \r\nI\'d love to read the DVD interview though, if it isn\'t too much work Trev. \r\n\r\nAfter seeing the film for the first time, I wanted to rewatch it immediately, but since that, my enthusiasm has cooled down considerably. This doesn\'t concern the film\'s quality, but the fact that I find it hard to stomach. But I\'ve been bumping into it dozens of time since then, and a local theater here in Nurnberg will start screening it next week (it has gotten quite heavy distribution here in germany, maybe because of all the controversy surrounding it). I have met some cinephiles who intend to watch it at the big screen, and maybe I\'ll accompany them, so we will both have two viewings arsaib. \r\n(thanks for the kind words, btw.)\r\n\r\nIt seems like I\'ve gotten more sensitive when it comes to films lately. I had to break off a rewatch of pasolini\'s \"Salo\" this year when i was only halfway through the film. I admire it, but it was just too much.','6f9a820f06c5279d1507b3bdf3a5c61e',0,'','SwBXZVPW',1,0,'',0,0,0),(10181,1786,3,1,0,'69.120.114.47',1162173720,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','A, are you getting soft in your old age .\r\n\r\nWhatever will you feel the next time you see 1900? \r\n\r\nCheers Trev.','ee063f016e11c92d9e3ea965192b193f',0,'','KMDf29o0',1,0,'',0,0,0),(10182,1786,3,1,0,'69.120.114.47',1162227420,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Yes, my years are beginning to bother me - but as long as I don\'t need a walking stick. \r\n\r\nOh, I\'d love to watch 1900 again. It has just been released on DVD here in Germany, so I hope I\'ll get a chance in the next two years. I think I will love it.','31acefab6d63dcc3528376715cc7ef41',0,'','KRi93mqS',1,0,'',0,0,0),(10183,1786,3,1,0,'69.120.114.47',1167785580,1,0,1,1,1,1,'wpqx','Re: Battle in Heaven(Batalla en el cielo)','I watched the film and my only reaction was \"what\'s the big deal?\" I was expecting some great polarizing love it or hate it film and instead I\'m walking away passively content. The film didn\'t do anything for me good or bad, and seems a prime example of a picture getting the wrong kind of attention.','306d67ed5c458a13996c57adcb1acffc',0,'','HUR5LvEl',1,0,'',0,0,0),(10184,1786,3,1,0,'69.120.114.47',1167792000,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','Well, I watched it a second time at the cinema and loved it even more. Will be my number 2 pick for 2006. Imo its now a masterpiece.','2f3ec2b39864cde2b01aba6775bd5749',0,'','BeCHpao1',1,0,'',0,0,0),(10185,1786,3,1,0,'69.120.114.47',1167792240,1,0,1,1,1,1,'trevor826','Re: Battle in Heaven(Batalla en el cielo)','Sorry I forgot about trying to put something down about the interview on the dvd, I\'ll try and sort it soon.\r\n\r\nPassively content is not exactly the reaction I\'d expect from anyone regarding Battle in Heaven.\r\n\r\nCheers Trev.','4e5c7fb59e5f1b2aa4cdffaa5cdbd032',0,'','uBlzQfH4',1,0,'',0,0,0),(10186,1786,3,1,0,'69.120.114.47',1167795060,1,0,1,1,1,1,'A','Re: Battle in Heaven(Batalla en el cielo)','We all seem to have very differing reactions to this film, almost covering the whole spectrum it seems. Not a bad thing.','0413b644c4631e2623b137d0fb4853e8',0,'','3v9m47Ur',1,0,'',0,0,0),(10187,1787,3,1,0,'69.120.114.47',1167698820,1,0,1,1,1,1,'trevor826','Princess Raccoon (2005) (Japan)','Princess Raccoon (2005) Operetta Tanuki Goten\r\n\r\nDirected by Seijun Suzuki\r\n\r\nStarring Zhang Ziyi, J Odagiri, Hiroko Yakushimaru\r\n\r\nFirst things first, this is a film that youll either love or hate, I honestly dont think theres much middle ground here.\r\n\r\nFrantically edited, bursting with colour and filled with songs from start to finish with a mish-mash of styles ranging from opera to j-pop to rap and beyond. Cheaper than cheap special effects and gloriously, riotously lurid in every possible way\r\n\r\nThe actual plot comes straight of Shakespeare, Romeo and Juliet of course, add in a bit of Snow White but with a real Japanese twist. A human prince (J Odagiri) is banished from his homeland by his father who is completely obsessed with his own narcissism. Rescued by a raccoon princess, its not long before the pair fall in love despite the fact that man and raccoon cannot love each other and vice versa. Naturally the course of true love (particularly inter-species) doesnt run smoothly and death ensues, again and again and..\r\n\r\nThe majority of the film has a very theatrical feel, like watching a Kabuki show, loud brash and exaggerated. The odd bursts into the real world feel out of place but make use (as many Japanese films do) of the coastline. Though considering the simple but stylish artistic effects used throughout the rest of the film I dont really understand why they didnt use the same techniques for these sections.\r\n\r\nThe whole film has the depth of a pantomime but delves into Japanese myth and mystique, the raccoons as a species are not related in any way to the North American mammals, they are actually Tanuki or raccoon dogs. In Japanese mythology, the tanuki have the same magical properties as foxes, being able to transform their shape, even being able to appear in human form (these properties are also made use of in the Ghibli studio anime Pom Poko), the males are also noted for the rather large size of their testicles. It is in this human form that the prince falls for Princess Raccoon.\r\n\r\nThe tanuki are creatures who live with nature and lead a joyous existence but are always watchful of humans who are seen as a plague and a destructive force. Religion plays its part as well as the tanuki follow the traditional shinto buddhist beliefs while the humans show the influence of the West with a weird mix of Catholicism (which is used to summon evil) plus traditional beliefs. \r\n\r\nUnlike Memoirs of a Geisha, there was no outcry with the casting of Zhang Ziyi as the tanuki princess, there could be several reasons for this but certainly the fact that in this romp she plays a princess who was invited to join the tanuki clan from Cathay (China), plus of course, the biggest issue with Memoirs was that Chinese actresses were playing that most Japanese of traditions, the geisha.\r\n\r\nSo in summing up, if you enjoy the lurid side of Japanese culture as seen in Kabuki and often in anime, if you can laugh with sheer joy at the ludicrous and at times banal lyrics of the songs, if you appreciate artistry with very little purpose but with a deep appreciation of Japanese culture then you will almost certainly enjoy Princess Raccoon. If not then youd be better off steering well clear of this insane pastiche.\r\n\r\nPersonally, I loved it.\r\n\r\nCheers Trev\r\n\r\nBBFC rated PG.\r\n\r\nRegion 2 dvd released by Yume Pictures.\r\n\r\nThe transfer is great and extras include a fun making of doc and an exclusive UK interview with Seijun Suzuki, I was hoping the interview would have been about Princess Raccoon but it covers his career and work from his days with Shochiku and Nikkatsu upto present day, very interesting though.','5b11048f540d9127308bfb6cbd0bd786',0,'','QAvJXSVZ',1,0,'',0,0,0),(10188,1787,3,1,0,'69.120.114.47',1150382100,1,0,1,1,1,1,'trevor826','Re: Princess Raccoon (2005) (Japan)','They always get the best and greatest variety of films plus they have a great choice of many specialist cinemas. I am particularly annoyed though that the only cinema that will be screening Princess Racoon is the ICA in London, especially since a certain Seijun Suzuki will be in attendance at a special preview screening on June 29th. \r\n\r\nSo if you live in or near London, don\'t miss out on this very special exclusive screening.\r\n\r\nCheers Trev.','fcbf7aaa7c72f885ae3bf38ef49aee70',0,'','06eFrbWk',1,0,'',0,0,0),(10189,1787,3,1,0,'69.120.114.47',1150391820,1,0,1,1,1,1,'A','Re: Princess Raccoon (2005) (Japan)','I have very fond memories of my two-week stay in London when I was 18. And some great film-viewings are part of it. From the dozen films I saw, many have since become favorites. One memorable experience was watching Baise-moi in the cinema, because all the tickets for Amelie were sold out. Half of the people attending the screening walked out, and the rest were probably initially as shocked and clueless as myself. When I watched King Kong at the BFI on the other hand, this was one of a handful of film-experiences where absolutely the whole audience sat mesmerized and in awe before the screen. \r\nI didn\'t have the privilege of seeing and listening to Seijun Suzuki, though. \r\nBut as I remember the ticket prizes were at some venues ridiculously high.','ce037db7a286ec4d46d882505f0670d6',0,'','MYub6tBa',1,0,'',0,0,0),(10190,1787,3,1,0,'69.120.114.47',1150418520,1,0,1,1,1,1,'arsaib4','Re: Princess Raccoon (2005) (Japan)','That\'s encouraging to hear because a recent report indicated that Mr. Suzuki was very ill. Princess Raccoon is available on DVD with subs if anyone is interested. \r\n\r\nHow about Panahi\'s Offside, Trev? Is it playing in a theater near you?','dbc66d19e56f9cf529050c60e3ea0b91',0,'','se1KfMxF',1,0,'',0,0,0),(10191,1787,3,1,0,'69.120.114.47',1150569000,1,0,1,1,1,1,'trevor826','Re: Princess Raccoon (2005) (Japan)','No luck with Offside, I checked Artificial Eye\'s site and unfortunately Cardiff isn\'t on the list for screenings. \r\n\r\nI was hoping that at least it would get a chance in the Chapter but it\'s a no-show.\r\n\r\nCheers Trev.','8cf1d01afaf6d77c13235472b1a83d9d',0,'','BJmTkhnX',1,0,'',0,0,0),(10192,1787,3,1,0,'69.120.114.47',1162060920,1,0,1,1,1,1,'arsaib4','Re: Princess Raccoon (2005) (Japan)','Princess Raccoon is tentatively scheduled to appear on DVD in the U.S. later this year. (As Trevor pointed out in the DVD forum, the U.K. DVD from Yume Pictures, who also just released Suzuki\'s Pistol Opera, is now available.)','af7b65bc78ab53d15759c5c7fef4f784',0,'','aKM0J1Us',1,0,'',0,0,0),(10193,1787,3,1,0,'69.120.114.47',1163932260,1,0,1,1,1,1,'arsaib4','Re: Princess Raccoon (2005) (Japan)','The U.S. release date is Jan 16th.','0eaa9be51367c2c44eca736928c53430',0,'','Ad2iu03G',1,0,'',0,0,0),(10194,1787,3,1,0,'69.120.114.47',1167700320,1,0,1,1,1,1,'jcdavies','Re: Princess Raccoon (2005) (Japan)','Good one Trevor. From what you\'re saying about raccoon dog testicles, it\'s probably just as well it\'s a female in the film! And Zhang Ziyi is very welcome. I really liked the film too- my favourite by Suzuki in fact. It\'s a different style from his 60\'s gangster films- his also recent Pistol Opera has similar theatricality, interesting sets and colours, and equally odd. Worthwhile comparison with Kwaidan, though this is much more eccentric. More like Kwaidan meets Wayward Cloud gaudy musical numbers, and more besides. Should get a cult following, ssential viewing.','e7518d7db5970e8c14ce7849882541c1',0,'','45SJmHPu',1,0,'',0,0,0),(10195,1787,3,1,0,'69.120.114.47',1167791340,1,0,1,1,1,1,'trevor826','Re: Princess Raccoon (2005) (Japan)','Glad you also enjoyed it John, I haven\'t had the pleasure of seeing Pistol Opera but I believe it\'s getting a dvd release here soon. I liked your comparison, Kwaidan meets Wayward Cloud gaudy musical numbers. And I\'m sure it will become a cult film down the years, I just hope it\'s not the last we see from Suzuki.\r\n\r\nCheers Trev.','4311cb1ef12d4b62a45d08a61d795722',0,'','u9jib2SH',1,0,'',0,0,0),(10196,1787,3,1,0,'69.120.114.47',1167793920,1,0,1,1,1,1,'jcdavies','Re: Princess Raccoon (2005) (Japan)','By coincidence a friend at work saw this last night; she was following an earlier list i\'d given her of my recommended Japanese films. This morning it was \"i\'ve got a bone to pick with you....i couldn\'t make head or tail of it\" . I mentioned your comment about love or hate it and it was the riskiest on my list. Still, she was one of the very few ordinary people i\'ve come across (outside websites, film socs etc) who is not only very interested in Japanese films, but had actually heard of Mizoguchi- and had even seen Sansho-, so i\'m still very hopeful for her.','df5880f4762d033f715fc974976945ef',0,'','UL4AR3QZ',1,0,'',0,0,0),(10197,1787,3,1,0,'69.120.114.47',1205903280,1,0,1,1,1,1,'hengcs','Re: Princess Raccoon (2005) (Japan)','\r\n\r\ni have merged the two threads','6009567ffe8b84e3a1e0b89dc3cd674f',0,'','ZBgSXfAi',1,0,'',0,0,0),(10198,1787,3,1,0,'69.120.114.47',1205991780,1,0,1,1,1,1,'A','Re: Princess Raccoon (2005) (Japan)','This reminds me. I have to get that DVD release from Yume Pictures to see the interview with Suzuki. And of course I need to see more of his work (including \"Pistol Opera\" and \"Princess Raccoon\"). I\'m glad I\'ve arranged for two of his 60s films to be screened at our cinema in May. Looking forward to seeing them on the big screen. A great director indeed. And I love his cameo appearance in Sabu\'s \"Blessing Bell\". It\'s good to see such an old and experienced artist still being creative and getting the money to work. Seems like it\'s easier for aold masters to continue their careers in japan than it is in most other countries around the world.','e1fbec24d7c4f22756ad338df20ee0f5',0,'','FTzXY5C6',1,0,'',0,0,0),(10199,1788,3,1,0,'69.120.114.47',1143117000,1,0,1,1,1,1,'Johndav','Rosetta (Belgium, 1999)','ROSETTA\r\n\r\nDirectors: Luc and Jean-Pierre Dardenne\r\n\r\nCast: Emilie Dequenne, Fabrizio Rongione, Anne Yernaux, Olivier Gourmet\r\n\r\nBELGIUM/FRANCE. 1999. 91 Mins. COLOUR. Cert: U\r\n\r\n\"The heart that is low now will be at the full tomorrow\" (R.S.Thomas) \r\n\r\nThe award of the 1999 Cannes Palme d\'Or to Luc and Jean-Pierre Dardenne\'s \"Rosetta\" met with general surprise and confusion. Screened at the very end of competition, the film had slipped through a crowd of acclaimed rivals, unheralded and largely unnoticed.\r\n\r\nReminiscent of Bresson\'s \"Mouchette\", it concerns a teenage loner who lives in a run-down Belgian trailer park with an alcoholic mother, battles desperately to find work and is obliged to draw on her own resources to survive - emotionally and physically - a tough, bleak life. \r\n\r\nIn \"Rosetta\" the hand-held camera clings to the central character like an umbilical cord. Yet such is the film\'s rigorous authenticity and power that it breaks free of its constraints and soars. \r\n\r\nThis achievement owes much to the director\'s searching unsentimental honesty but more still to an outstanding, intensely concentrated performance from young Emilie Dequenne. Inhabiting her character in her breathing, her posture, in every minutest detail, Dequenne simply is Rosetta. Vulnerable, burdened and suspicious, but fiercely, at times ferociously, determined, she is a seemingly indomitable warrior with no trace of self-pity, charged with an extraordinary feral force. \r\n\r\nFrom its dramatic expressive opening, in which Rosetta\'s walk conveys a world of meaning, the film is endowed with scenes of memorable impact, most notably the near-drownings and the tender, reassuring repetitions with which Rosetta sends herself to sleep. \r\n\r\n\"Rosetta\" might even be said to justify Godard\'s famous statement that film is the truth twenty four times a second, and never more so than in its final moment. Mercilessly hounded by a young man whose friendship she had betrayed, Rosetta at last crumples in tearful, defeated exhaustion. By resolutely continuing to focus not on his reaction but on the girl herself, the Dardennes capture an expression which conveys a wonderful sense of compassion, acceptance and hope.','089c1ae3d905709f5f9ca8fb528bd970',0,'','8r72hfyA',1,0,'',0,0,0),(10200,1788,3,1,0,'69.120.114.47',1143130680,1,0,1,1,1,1,'hengcs','Re: Rosetta (Belgium, 1999)','Hey,\r\nguess what ... \r\n\r\nI have recently watched these films on the BIG SCREEN again ... hee hee ... \r\nI have wanted to write the reviews, but was simply too busy ...\r\n\r\n- L\'Enfant (2005) \r\n- Le Fils (2002) \r\n- Rosetta (1999)\r\n- La Promesse (1996)','440801a8b66fcabef73303b30cfa9b46',0,'','f5qpC9N3',1,0,'',0,0,0),(10201,1788,3,1,0,'69.120.114.47',1143172440,1,0,1,1,1,1,'arsaib4','Re: Rosetta (Belgium, 1999)','John, thanks for this and the other wonderful reviews you posted yesterday -- your take on Russian Ark deserves to be published!\r\n\r\nDid you know that in one of the early drafts Rosetta was supposed to die?! But the Dardennes later changed their minds thinking that the film might end up being too bleak. Good thing, I say.','2837f14d08ad727e0cc6fed021e9faa8',0,'','FCD038bu',1,0,'',0,0,0),(10202,1788,3,1,0,'69.120.114.47',1143214920,1,0,1,1,1,1,'Johndav','Re: Rosetta (Belgium, 1999)','Er, i must admit the reviews aren\'t new, in fact a couple were probably on the site before the problems + rebirth. And they were originally done for MovieMail (the UK\'s most reputable world cinema company)- but as i couldn\'t find them in the archives here i thought it wouldn\'t take much to add them. When i\'m finally properly settled in life i\'ll take up doing reviews regularly again. Oh yeah i really like the ending of Rosetta as it is, can\'t imagine the original plan would have been better. No doubt they had Mouchette in mind.','3a735063384075e245f35574c6705389',0,'','HpeNXUKC',1,0,'',0,0,0),(10203,1788,3,1,0,'69.120.114.47',1143217380,1,0,1,1,1,1,'trevor826','Re: Rosetta (Belgium, 1999)','Hi John, almost everything was lost from the site last year, your posts were totally wiped. Do you have other comments or reviews waiting in the wings? If so please bring em on.\r\n\r\nCheers Trev.','224ddb885ab7f5a52bd768ace8191c38',0,'','tVe4Tj7W',1,0,'',0,0,0),(10204,1788,3,1,0,'69.120.114.47',1143250020,1,0,1,1,1,1,'Johndav','Re: Rosetta (Belgium, 1999)','I\'ve just found that Rosetta is ranked #1 all-time film in a list by \"Art + Faith\", some sort of Christian organisation i presume. (Sansho the Bailiff was # 26, another pleasant surprise)!','e10a57acd28c3743dc416c2e9e58c883',0,'','DC59bvWo',1,0,'',0,0,0),(10205,1788,3,1,0,'69.120.114.47',1143713820,1,0,1,1,1,1,'hengcs','Re: Rosetta (Belgium, 1999)','hmmm ... before i comment on all the 4 films, may i ask about two \"repeated\" scenes that i see in Rosetta?!\r\n\r\n(1) was the stomach pain ever explained? i am okay if it was not ... but i wondered ...\r\n\r\n(2) why was she always \"fishing\"/and \"NOT really fishing\" with the bottle?!\r\n\r\n* possible spoiler *\r\n\r\nto me, the \"shocked\" scene was the betrayal ... \r\n\r\nSIGH SIGH SIGH ...','5ebec058c47b503a8ffdd79d2aa8baa0',0,'','a0TwPut8',1,0,'',0,0,0),(10206,1788,3,1,0,'69.120.114.47',1145853600,1,0,1,1,1,1,'A','Re: Rosetta (Belgium, 1999)','Yeah, I wouldn\'t have expected the betrayal either. \r\nThe film was a bit \"Disappointing\" to me, because after the phenomenal first 10 minutes the rest didn\'t seem as great. But the ending is fabulous again.\r\nI realy think the beginning is one of the best ever.\r\nAnd John, keep up the good work!','f34df9c10d2a2d73045a42e2f12dba62',0,'','u8NbmQdD',1,0,'',0,0,0),(10207,1788,3,1,0,'69.120.114.47',1167616740,1,0,1,1,1,1,'trevor826','Re: Rosetta (Belgium, 1999)','Well I\'m glad to say I\'ve ended my 2006 film viewing on a high having watched Rosetta, it\'s been a good while since I last saw it and found myself feeling sympathy, then empathy followed by shock and awe before the wonderful closure. \r\n\r\nBoth Rosetta and The Son are absolutely outstanding films that deserve to be highly recommended. Rosetta also reminded me of how pale films like Welsh drama \"A Way Of Life\" and Irish docu-drama \"Pavee Lackeen: The Traveller Girl\" are, certainly in comparison.\r\n\r\nExcellent review by the way John.\r\n\r\nCheers Trev.','92feaa68f9e0bb9e9d45624da32f45c9',0,'','yLU3oMDs',1,0,'',0,0,0),(10208,1788,3,1,0,'69.120.114.47',1167617940,1,0,1,1,1,1,'jcdavies','Re: Rosetta (Belgium, 1999)','I also really like L\'Enfant which has a similar, though more clearly expressed, sense of forgiveness and coming together after betrayal- which in the case of L\'Enfant is even more extreme. Little wonder the 2 films are admired by certain religious organisations, appear on spiritual lists. The Dardenne bros create a vivid believable reality, with rare non-judgmental and ultimately hopeful attitudes.','c70c6849e153edc64d10692be7ae5bdd',0,'','vjQHlFte',1,0,'',0,0,0),(10209,1788,3,1,0,'69.120.114.47',1167618180,1,0,1,1,1,1,'trevor826','Re: Rosetta (Belgium, 1999)','I need to re-watch L\'Enfant and La Promesse and will probably see both early next year.\r\n\r\nCheers Trev.','d1c74d1ac12accf92fea5beae65c2a03',0,'','3kHNPLCn',1,0,'',0,0,0),(10210,1788,3,1,0,'69.120.114.47',1167664380,1,0,1,1,1,1,'trevor826','Re: Rosetta (Belgium, 1999)','hmmm ... before i comment on all the 4 films, may i ask about two \"repeated\" scenes that i see in Rosetta?!\r\n\r\n(1) was the stomach pain ever explained? i am okay if it was not ... but i wondered ...\r\n\r\n(2) why was she always \"fishing\"/and \"NOT really fishing\" with the bottle?!\r\n\r\n1. The obvious answer to the stomach trouble which would also explain the heightened anxiety and emotional state of Rosetta is that she was suffering from period pains, her mother makes a comment referring to when she had the same sort of problem plus heat helps to relieve the worst of the pain. The film itself covers a very short time span so this could well provide the answer.\r\n\r\nI\'d be more than happy to be corrected on this.\r\n\r\n2. The fishing, the first time she checked the traps, all she\'d caught was a tiddler so she put it back in the water. The second time she\'d caught a bigger fish but was caught out when she heard the motorbike. Thinking it was the owner of the caravan park, she threw the trap and the fish into the water. Once she realised who it was, she tried to retrieve the trap.\r\n\r\nHope that sorts things out and looking forward to your comments hengcs.\r\n\r\nCheers Trev.','b5772333cee81d6865efebf9df4d5cfc',0,'','znN0Jjyb',1,0,'',0,0,0),(10211,1789,3,1,0,'69.120.114.47',1147509480,1,0,1,1,1,1,'hengcs','Isabella (Hong Kong) (2006)','\r\n\r\nDirector: Pang Ho Cheung\r\nCast: Chapman To, Isabella Leung\r\n\r\nThe music in the film garnered the Best Film Music in Berlin Film Festival 2006 \r\n\r\nThe official website (with English)\r\nsee\r\nhttp://www.isabellathemovie.com/\r\nNote: the synopsis in the official website may contain spoilers\r\n\r\nSynopsis\r\nI would suggest you do not read any (incl. the \"taglines\" on the posters) because all of them contain spoilers, and there are a few plot twists ... But if you insist, let me make it more subtle ... It tells of the relationship between a man (a cop in Macau, 1999, before its return to China) and the relationship with a girl he has a night with ...\r\n\r\nMy thoughts\r\n\r\n-- Well, if you like films that are mood driven (cf. Wong Kar Wai\'s movie) ... this is for you ... Its music is interesting (esp. for a Chinese film) because it has influences from both Cantonese and Portugese music/culture ... I like the music\r\n\r\n-- As for plot, it contains a few twists ... and a number of flashbacks ... but please do not go anticipating them ... that is why i hate to suggest that there are even plot twists ... cos that kind of spoil the \"fun\" ... also, the film is \"intercepted\" frequently with news excerpts about corrupt cops in Macau (in 1999) just before its return to China ... which is not unlike the main protagonist ... \r\n\r\nI thought the timing and plot is well thought of ...\r\ni.e., it is about loneliness and belonging ... the girl and the guy \"returning\" to a home ... and Macau\'s return to China ...\r\ni.e., it also captures the social issues rather well ... about corruption and prostitution, etc ...\r\n\r\nBUT, in case you dwell too much on other issues, the film is really about the relationships between the two main protagonists, and the complexity of human emotions ...\r\n\r\n-- As for the title Isabella, there are three possibilities ... \r\ntwo of which you will figure out in the film ... \r\nbut also, do you realize that the female actress is known as Isabella?! ... hee hee\r\n\r\n-- Finally, if you are one who goes for more well known cast ... \r\nthere are many cameo ... ha ha ha ...\r\ne.g., Shawn Yue, Anthony Wong, Josie Ho, etc \r\n\r\nConclusion\r\nRecommended. \r\n\r\nesp if you prefer a film where \"mood\" and music is more involving than plot driven ... more an artsy film rather than commercial film ...','17096f0d4ba9285038aba989bc18f92a',0,'','9c6VYtuN',1,0,'',0,0,0),(10212,1789,3,1,0,'69.120.114.47',1151407020,1,0,1,1,1,1,'trevor826','Re: Isabella (Hong Kong) (2006)','Thanks hengcs, this does look good. I took a quick look at the site and along with hengcs warnings regarding spoilers within the taglines and synopsis, it\'s probably also worth mentioning the trailer which may contain spoilers.\r\n\r\nAs to the music, a beautiful mournful \"fado\" song is played on the official site, it certainly gives an atmospheric mood that I would hope is sustained by the film itself.\r\n\r\nOne I\'ll definitely keep a watch on.\r\n\r\nCheers Trev.','8a2c771e9607c8a8fa4e0349b45dad04',0,'','3tRaqlDQ',1,0,'',0,0,0),(10213,1790,3,1,0,'69.120.114.47',1123795020,1,0,1,1,1,1,'hengcs','Secuestro Express (2004) (Venezuela)','Director: Jonathan Jakubowicz\r\nCast: Ma Maestro, Jean Paul Leroux, Carlos Julio Molina, Pedro Perez, Carlos Madera\r\n\r\nThe official website is here ...\r\nwww.miramax.com/secuestroexpress/\r\n\r\nShot on digital video, the film follows the abduction of a couple in Caracas ...\r\n-- The opening line is, \"Every 60 minutes, a person is abducted in Latin America ... and 70% of them do not survive the ordeal\"\r\n-- The ending message is, \"Half the world is dying of starvation, while half the world is dying of obesity ...\"\r\nSo, what kind of film do you expect ...\r\n\r\nWhat is good ...\r\n-- Well, the film actually gets better as it progresses ... with quite a number of twists and surprises ... which are rather aptly used ... to depict the harsh reality of society, the corruption in authority, the class division and economic inequalities, the relationship between people, etc ...\r\n\r\nWhat could be better ...\r\n-- Hmmm ... I would have ended the film differently, \r\ni.e., when she was in the van and the audience could decide what happened ... \r\n* if you have watched it, you will know what I mean *\r\n-- Although the director tries to humanize the kidnappers without romanticizing them, some people might still find the film too empathetic towards the kidnappers rather than the victims (which lacks sufficient depiction) ... \r\n\r\nConclusion:\r\n-- Quite a nice film \r\n... after watching the film, hopefully it does not deter you from visiting the country or Latin America \r\n... after all, I do believe that Venezuela and Latin America still have their beauty ...','a45eb106e4476b2aa7fa19bb1b52c51b',0,'','aqWEiAGP',1,0,'',0,0,0),(10214,1790,3,1,0,'69.120.114.47',1166368740,1,0,1,1,1,1,'trevor826','Re: Secuestro Express (2004) (Venezuela)','Pushed as the first Venezuelan feature film to recieve international distribution, I avoided seeing it in the cinema because I was expecting it to be too audience friendly but decided to catch it on dvd when they had 2 offers running concurrently in our local Blockbuster allowing me to rent 4 films for 5 GBP.\r\n\r\nIt is mainstream audience friendly and as such doesn\'t dig deep enough into how terrifying it must be to be kidnapped and held to ransom. The style comes across as \"City of God\" meets \"Trainspotting\", too sharp, too hip and lacking the depth of, for instance \"Good Morning, Night\".\r\n\r\nWhat it does do is illustrate the thin line between good and bad, showing that most of the time it\'s all a matter of perspective. There were a few too many coincidences in the storyline but thankfully and surprisingly the final denouement that I was expecting from early in the film did not come into fruition.\r\n\r\nGood use of Digital Video but strikingly unoriginal in its construction, Secuestro Express ends up as merely an average film flawed by cliches.\r\n\r\nCheers Trev.','79cc01824e0b53ea8aac9ac648fae81f',0,'','KisN3QJh',1,0,'',0,0,0),(10215,1790,3,1,0,'69.120.114.47',1167115980,1,0,1,1,1,1,'hengcs','Re: Secuestro Express (2004) (Venezuela)','I am still surprised you caught the film ...','1baff727e805b671887bc43a677d8c03',0,'','34jPnLJ0',1,0,'',0,0,0),(10216,1791,3,1,0,'69.120.114.47',1166016780,1,0,1,1,1,1,'trevor826','Help!... What film is this?','Maybe Madhuban or anyone who has knowledge of Indian cinema can answer this.\r\n\r\nI caught a small part of a film the other night, unfortunately missing the beginning then suffering a power cut so I only saw around 20-30 minutes of it.\r\n\r\nA couple of men stay at an old deserted mansion house having been caught out in a storm, one of them appears to recognise the house even though he\'s never been there before. After a few minor incidents that jog some sort of previous life memories, the story transports us back into the past where the same man is strolling through the countyside, about to take up the job of manager to the owner of the mansion. He suddenly bursts into song, singing about how beatiful and perfect nature is.\r\n\r\nAfter that he takes up residence and is introduced to the people who will be working under him, during his first evening there a mournful female voice sings to him, calling him to meet at the river.\r\n\r\nUnfortunately that\'s all I have, the film is black and white, could be from the 1960\'s, hopefully there\'s enough to jog someones memory as I\'d love to be able to see the whole film.\r\n\r\nCheers Trev.','669e605520f44f3a4d3a8bb98230581b',0,'','qP7MZzn6',1,0,'',0,0,0),(10217,1791,3,1,0,'69.120.114.47',1166037000,1,0,1,1,1,1,'A','Re: Help!... What film is this?','Doesn\'t ring any bells, I\'m clueless. \r\nHope you\'ll get the opportunity to watch it again.','9150a20b13167db6acdcbc278a4b2a7f',0,'','j8pTvcGg',1,0,'',0,0,0),(10218,1791,3,1,0,'69.120.114.47',1166313420,1,0,1,1,1,1,'madhuban','Re: Help!... What film is this?','@trevor\r\n\r\nSounds suspiciously like The Hungry Stones by Tapan Sinha (1960), an adaptation of a story by Rabindranath Tagore.\r\n\r\nM','65422adff31daefec38308cd3bb74618',0,'','89gZPnVr',1,0,'',0,0,0),(10219,1791,3,1,0,'69.120.114.47',1166365560,1,0,1,1,1,1,'trevor826','Re: Help!... What film is this?','Thank\'s Madhuban, I did a quick check on IMDB and was astounded at the lack of information apart from a rating of 10/10.\r\n\r\nLooking on the internet in general there is such a lack of detailed information or maybe I\'m just looking in the wrong places. Hopefully I\'ll find a copy of it somewhere, I\'ll start with the library as they have a huge collection of Indian films.\r\n\r\nCheers Trev.','d97c42e1693b43c338253d0825175cee',0,'','ZkHFUaNr',1,0,'',0,0,0),(10220,1792,3,1,0,'69.120.114.47',1160817420,1,0,1,1,1,1,'justindeimen','The Anti-Extortion Woman / Minbo (1992 / Japan) (Juzo Itami)','Might shift this thread to Directors once I get ahold of the rest of Itami\'s oeuvre. A Taxing Woman 1 & 2 and Supermarket Woman, I might be able to get soon.\r\n\r\nReview:\r\n\r\nThe rumours go that the Japanese director Juzo Itami was attacked by the Yakuza due to the realistic and disrespectful portrayal of them in his 1992 comedy The Anti-Extortion Woman or more commonly known as Minbo. Realistic? I cant say for sure. But was it disrespectful? Absolutely. Itami crafted a niche for himself in the early 80s and late 90s with off-kilter comic gems that reveled in their absurdity and dealt with unusual subject matter, starting with his hit, Tampopo. This feature definitely extends that offbeat sense of humour coupled with his darkly tailored undercurrent of social criticism in a simple plot that unfortunately is neither biting nor potent enough to warrant its lengthy runtime and exaggerated mode.\r\n\r\nMinbo according to the attorney Mahiru Inoue (Nobuko Miyamoto) is slang, a truncated term for something that lawyers understand as the gentle art of extortion used by the Yakuza. Shes somewhat of an expert in these matters as we see in a promising first scene at the poolside in Hotel Europa, a first-rate hotel competing for the attention of foreign delegates. However, the hotels reputation is tarnished with the continued presence of the different Yakuza families who use the grounds as either meeting/exchange places, lounging areas or even to cheat the hoteliers out of some yen. The boardroom decides on taking action by assembling an Anti-Yakuza force from within but only manages a schmuck accountant and a meathead bellboy, both with plenty to learn about the world they live in. After an inspired introduction to both of them, the film gets down to the nitty-gritty of them failing to get rid of these foul-mouthed, shrewd gangsters. Well, this movie isnt called The Anti-Extortion Woman for nothing. And after about a dubious quarter of the film, we finally get to be truly acquainted with Miss Inoue, which really puts the opening scenes purpose into perspective.\r\n\r\nShes here for a reason and thats to help the hotel and in the process teach these men a thing or two about being men. The film is strongly attuned to its titular character with her presence alone driving the film forward in terms of its comedy and plot. She faces up to overly confident mob bosses and talks them down to the hilt with her legal expertise and well-prepared plans that rely on surveillance and the need to be vigil in the face of overwhelming threats. Its novelty wears thin after awhile though, when she uses the same strategies over and over again with the new gangsters that show up. However, it cant be understated that the films bulk of coherence lies with these scenes as she mentors the hotel into self-defending itself against these thugs.\r\n\r\nNobuko Miyamoto, Itamis wife is often cast in his films in a variety of roles. Her role as Inoue is by far the strongest in the cast that is usually prone to overacting and embarrassingly over-the-top theatrics that can actually be described as vaudevillian. She brings a deep sympathy and caring into her role as a confident but never hubristic seasoned attorney that specialises in Minbo. She never talks down to the dolts in the casts and is believable in her persuasiveness with the Yakuza and Itami wisely revolves an inert comedy around her pint-sized figure being surrounded by pompous, large men that inevitably fall to her knees. She even changes a massive shift in tone by coming up strong in an uneven denouement at the end, finally wising up everyone else to the virtues of being strong even in the face of hardship.\r\n\r\nRating: 3 out of 5','acbd7911ea93c666a0c4c2960710dfeb',0,'','0MxSl4TK',1,0,'',0,0,0),(10221,1792,3,1,0,'69.120.114.47',1160838600,1,0,1,1,1,1,'trevor826','Re: The Anti-Extortion Woman / Minbo (1992 / Japan) (Juzo Itami)','Looking forward to your comments on the other films listed, I have a video of Tampopo and will gladly add some comments for this \"Noodle Western\" soon. \r\n\r\nCheers Trev.','bb1a5247fdaf27e6c48e7d7d209ab935',0,'','3fToerWm',1,0,'',0,0,0),(10222,1792,3,1,0,'69.120.114.47',1164666540,1,0,1,1,1,1,'justindeimen','Re: The Anti-Extortion Woman / Minbo (1992 / Japan) (Juzo Itami)','Alrighty, I have just acquired A Taxing Woman 1 & 2, Supermarket Woman, Tampopo, Tales of a Golden Geisha (what a rare find!) and Marutai no onna.\r\n\r\nI think that should be enough to start a Directors thread for this underappreciated auteur, who crafted a certainly distinctive genre tempering of comedy and drama that is still being used in Japan till this day.','c4806ea2cc27488ee3aec3718ccc1917',0,'','Hc8t1QBR',1,0,'',0,0,0),(10223,1792,3,1,0,'69.120.114.47',1164982860,1,0,1,1,1,1,'justindeimen','Re: The Anti-Extortion Woman / Minbo (1992 / Japan) (Juzo Itami)','Alright the director\'s thread has been started here:\r\n\r\nJuzo Itami','ce6e6cdca561c8ae59ba25128926c96d',0,'','6kB1Hr5u',1,0,'',0,0,0),(10224,1793,3,1,0,'69.120.114.47',1148361600,1,0,1,1,1,1,'hengcs','Volver (2006) (Spain)','\r\n\r\n\r\nDirector: Pedro Almodvar\r\nCast: Penlope Cruz, Carmen Maura\r\n\r\nThe official site\r\nsee\r\nhttp://www.clubcultura.com/clubcine/clubcineastas/almodovar/volverlapelicula/index.html','cc795d24c9bd8917a7605e821a25daa0',0,'','vLikf43T',1,0,'',0,0,0),(10225,1793,3,1,0,'69.120.114.47',1148363940,1,0,1,1,1,1,'Anasazie','Re: Volver (2006) (Spain)','Yawn!!!! tired of the attention this guy gets. Undeserved.','a805207a53e31ca890dd11426d1e2095',0,'','fjn43QCi',1,0,'',0,0,0),(10226,1793,3,1,0,'69.120.114.47',1148365140,1,0,1,1,1,1,'hengcs','Re: Volver (2006) (Spain)','Hi\r\nMaybe we should be more objective.\r\nWait for the film, watch it and decide ...\r\n\r\nPS: \r\nThere are well known directors who produce great films \r\nThere are also unknown directors who produce great films \r\nThere are well known directors who produce lousy films \r\nThere are unknown directors who produce lousy films\r\n\r\nMy point is: \r\nGive every film a chance ... regardless of who directs it or how well/poor the director\'s previous films are ...','093de278f15bfc634818054d337b6a0c',0,'','bzkRYdPJ',1,0,'',0,0,0),(10227,1793,3,1,0,'69.120.114.47',1148367540,1,0,1,1,1,1,'Anasazie','Re: Volver (2006) (Spain)','If i did that, i\'d be forever watching films that are shite. You have to have some kind of filter system. I don\'t like Pedro\'s style and i think his work is wildly over-rated. Their are much better film-makers who don\'t get attention so i\'d rather give it to them.\r\n\r\nHell, i\'d be watching Ron Howard films if i had that reaction. It\'s like saying to someone they can\'t refuse to watch anymore Spielberg films even though they\'ve seen 10 and absolutely despised them all.','38d26362fe84880c6d664a36a501762b',0,'','g4nCmf8v',1,0,'',0,0,0),(10228,1793,3,1,0,'69.120.114.47',1148379300,1,0,1,1,1,1,'madhuban','Re: Volver (2006) (Spain)','For once I agree with Anasazie that this guy gets too much attention and is hugely over-rated. Nevertheless, I will watch the film when I get the chance. \r\n\r\nI was trying to think how miserable I\'d be if he walks away with the Palme D\'Or, but if Michael Moore could, having made a pamphlet, why grudge Pedro his over-the-top sentimentalism \r\n\r\nM','4861e6c1adb054999362e5a38295c89f',0,'','YN2kaJCS',1,0,'',0,0,0),(10229,1793,3,1,0,'69.120.114.47',1148385300,1,0,1,1,1,1,'A','Re: Volver (2006) (Spain)','Don\'t know if he\'s overrated..., and didn\'t he get more attention in the 80s?\r\nSo far I\'ve only seen three of his films. Hable con ella which I loved, La mala educatin which was acceptable, and Carne trmula which was,... hm, slightly above average? But at least it had Javier Bardem in a wheelchair. Maybe Almodvar was trying to overcome some teenage traumata with a fairytale ending, but corny as it is I like it.\r\nI must say that from the three films I have seen, subtle Almodvar is great, while kitchy and kinky Al isn\'t kitchy or kinky enough. But maybe with Volver he will return to his supposedly shriller 80s work.\r\nWhich films of his have you seen M?\r\n\r\nAnyway, the poster is really gorgeous - and it also makes Penelope Cruz look good (was never a fan of either her looks or her acting )\r\nBut, I\'ll probably watch it.\r\nNow if I could only get past my doubts that i won\'t be able to completely understand serbian subtitles, and watch two other Almodvars I have on DVD \r\n\r\nAnd I completely agree with hengcs. I try to give every film a chance - at least if I start watching it \r\nOf course you have to select what you are watching, but without watching a film you canimo give NO judgment to it, whatsoever. Who knows, maybe Ron Howard will make THE masterpiece of the new millenium with his next film? As the saying goes, art is in the end always \"self-sufficient\" in a way. The artist who initially produced it becomes marginal compared to the work itself. And thus the future holds innumerable possibilities... Ah what a wonderful (film)world lies ahead of us, nothing pre-determined and everything possible.','17a2dbf41cea6ae53cbdd0e779dff620',0,'','e9hKtdJW',1,0,'',0,0,0),(10230,1793,3,1,0,'69.120.114.47',1148391120,1,0,1,1,1,1,'madhuban','Re: Volver (2006) (Spain)','A, I agree with hengcs and you that every film ought to be seen before one makes up one\'s mind. That is the reason why I will definitely watch \"Volver\" inspite of my general indifference to Almodover\'s work. He might just surprise me! \r\n\r\nI\'ve seen \"Bad Education\", \"Talk to Her\", \"All About My Mother\", \"Live Flesh\", \"Tie Me Up! Tie Me Down!\", \"Women on the Verge of a Nervous Breakdown\" and \"Dark Habits\". So, I can\'t be blamed for being prejudiced to the point of refusing to see his films And, I\'ve wanted to see \"The Flower of My Secret\" for sometime. \r\n\r\nIt isn\'t true that I disliked the films altogether. I have probably enjoyed \"Dark Habits\" and \'Women on the Edge of a Nervous Breakdown\" the most. But, I do think that Pedro being described as one of the great living filmmakers is an exaggeration. Yes, he often makes aesthetically-pleasing entertaining films. But, I\'ve always wondered if there\'s more, and I\'ve missed it. Perhaps, I\'m disappointed because he promises to explore ambiguity, then gets muddled and gives it a comfortable resolution. For instance, I found the moral ambiguity of \"Talk To Her\" very badly handled in the last half hour just as \"Dark Habits\" tries to cover similar ground, but cannot hold a candle to \"Viridiana\". His dark humour isn\'t gritty enough, his kitsch is underdone, and his sensuality and wickedness simply flirt with the hemline of middle class sensibility. It was as if he\'d lost the plot and settled for the easiest escape route. \r\n\r\nI\'ve asked myself why I cannot swallow them as over-the-top melodramatic films. The answer I\'ve come up with is that they pose as \"arthouse\" films (I don\'t like to demarcate arthouse and mainstream, but in Pedro\'s case, he seems to me to consciously using elements of the non-mainstream with a purpose), have all the recognisable trappings, but are hollow at the core. All his films promise to take risks (and I can\'t help feeling that he thinks its fashionable to do so) and then fall short. It is this conscious aestheticisation (the rape scene in B&W for example) sticking out like a sore thumb, that looks fake and annoys me. Just my weird take maybe!\r\n\r\np.s. On a less serious note, do watch the clip from Kaurismaki\'s press conference and his straighfaced gag at the expense of Pedro www.festival-cannes.fr/fi...a=18368667 \r\nM','a98373eef86a380508f9732abc478466',0,'','Y9iX8cgT',1,0,'',0,0,0),(10231,1793,3,1,0,'69.120.114.47',1148451060,1,0,1,1,1,1,'arsaib4','Re: Volver (2006) (Spain)','\"Perhaps, I\'m disappointed because he promises to explore ambiguity, then gets muddled and gives it a comfortable resolution. For instance, I found the moral ambiguity of \"Talk To Her\" very badly handled in the last half...\"\r\n\r\nI, on the other hand, believe that the last half of Talk to Her is quite possibly the finest passage of his career. \"Nothing is simple.\" Almodvar answered the quandary himself. So I\'m not sure what made you think that it was a comfortable resolution.\r\n\r\nIs he one of the greatest living filmmakers? I\'m not sure, but that\'s quite relative. While I\'m glad that you normally don\'t distinguish between arthouse and mainstream, you are chiding his work because it crosses over. How many filmmakers today could say that about their films? Not many.','0ce83345679c15eccac5d4f0b1a42adc',0,'','ivcEM1eA',1,0,'',0,0,0),(10232,1793,3,1,0,'69.120.114.47',1148480100,1,0,1,1,1,1,'A','Re: Volver (2006) (Spain)','@ madhuban\r\n\r\nI must say that i agree with you on a lot of points. \r\nI don\'t think he\'s one of the great living filmmakers, and I also think that his \"daring\" exploration is usually not daring enough (for my tastes). But I wouldn\'t say he necessarily resolves to comfortable solutions. I totally agree with arsaib on what he wrote above regarding \"Talk to her\". I don\'t see anything simple about it, and it\'s deeply ambiguous. \r\nLet\'s see,... When Benigno nurses Alice, he has fallen in love with someone he doesn\'t know, and with whom he can deal in the only way known to him (as he has nursed his mother his whole life). But on the other hand you could say he obviously loves her for what she really is for her soul, not for her character, or the way she thinks or what she does. That\'s maybe what he has fallen in love with in the first place (he knew her before the accident). Of course one could also say that he can project everything he wants onto her, but from the way he treats her in the film I wouldn\'t assume this. He is the only one who seriously regards her as still living, and tries to talk with her in her own way. When he sleeps with her (I wouldn\'t call it rape) it\'s again very ambiguous. Besides the obvious intrusion et al, one could say that through his love for her he saves her, as she wakes up when she becomes pregnant. He is also the one who unites marko and her in the end, through his friendship and his death. Without it, the beautiful ending wouldn\'t have been possible. Though you might see the death of Benigno as an escape, the end nevertheless doesn\'t resolve anything. It just offers new hope. And Benigno is also a metaphor throughout the film for that. I wouldn\'t necessarily see he as a \"real\" character, but more of a guiding angel for all of the other people around him. He is like in a fairy-tale the catalyst for most of what happens, and his death might be not only the death of a character that is not needed anymore (plot-wise), but also the aknowledgment of Almodvar, that he is in fact too good for the \"real\" life that sets in again after the \"comatose interplay\". \r\nAnyway i adore the whole film. I\'ve seen it numerous times and could go marvelling over it on and on. \r\n\r\nQuote:His dark humour isn\'t gritty enough, his kitsch is underdone, and his sensuality and wickedness simply flirt with the hemline of middle class sensibility.\r\nI would mostly agree with this, but I don\'t think he is necessarily pondering to the \"arthouse\" circuit with it. It\'s maybe just the way he is. \r\nAgain I would repeat arsaib: \"While I\'m glad that you normally don\'t distinguish between arthouse and mainstream, you are chiding his work because it crosses over. How many filmmakers today could say that about their films? Not many.\"','fd44ae702cdb5e1f0c81e558fdc95795',0,'','NBUofVSZ',1,0,'',0,0,0),(10233,1793,3,1,0,'69.120.114.47',1148480700,1,0,1,1,1,1,'A','Re: Volver (2006) (Spain)','Thanks for the link to the conference with Aki. Man, I could listen to that guy talking for hours, he\'s really great. \r\nThat reminds me of the fact that I haven\'t seen more films by him than by Almodvar, though i prefer his style. I\'m really lazy when it comes to watching more than two or three films by a single director','c870ff08793d79219fb5cd0dc58a074b',0,'','eMUdhuWt',1,0,'',0,0,0),(10234,1793,3,1,0,'69.120.114.47',1148482200,1,0,1,1,1,1,'madhuban','Re: Volver (2006) (Spain)','@ arsaib\r\n\r\nDidn\'t you feel that the issue of rape (real or imagined) was handled with kid gloves, sentimentalised and kind of settled through an emotional compromise when it began to spin out of control? \r\n\r\nPer se, I like crossovers. For instance, I think Wong\'s films are essentially potboilers that are consciously overreaching the limits of the genre, with sterling results. My problem with Almodovar, perhaps, has been that I can\'t quite locate his films either as self-conscious soap that attempts to crossover to the other side, or \"arthouse\" that heavily borrows from soap! Even if I let go of the notion of location (given that we are all displaced in some way or the other), all I am left with is an extremely uneven pastiche that is unsure of its own objectives. I am willing to be convinced that there\'s more \r\n\r\n@ A\r\n\r\nI could also go on listening to him inventing these bizarre stories about tango being exported to Argentina from Finland or saying that he overlays dialogue with music to destroy the film, and all this without batting an eyelid! His articulations are like extensions of his films. His actors have begun talking like him too! \r\n\r\nM','07d8c470979cf8bd0fb70c18f02cb7b2',0,'','sYH3tXp5',1,0,'',0,0,0),(10235,1793,3,1,0,'69.120.114.47',1148539200,1,0,1,1,1,1,'arsaib4','Re: Volver (2006) (Spain)','Madhuban, I probably would\'ve agreed with you if, say, Beningo, who, as A pointed out, could be inferred as a guiding angel, somehow was allowed to escape the consequences of his act. (A said it wasn\'t rape, which I\'d probably disagree with, even though in hindsight it was what enabled Alicia to recover.) I think in Talk to Her, Almodvarian \"universe\" met the one we live in, with his characters having to deal with reality, whether it was injury or death caused by their profession, or simply the emotional anguish, which unlike his other films, wasn\'t substituted with a lesser pain. (I apologize if i didn\'t read your point correctly.)\r\n\r\nPerhaps there\'s an emotional wavelength which is required in order to relate to his work, I\'m not sure. Also, it\'s possible that one could read his films too seriously. (I must say that I\'m a little surprised by your reaction considering that you\'re a big Kusturica fan.) To be honest, I don\'t care much for Almodovar\'s early films; I saw flashes of brilliance in Live Flesh, and then All About of Mother was just masterful.','1c448d8db9f2650a6cc50e9b488deca2',0,'','wYK3PMgh',1,0,'',0,0,0),(10236,1793,3,1,0,'69.120.114.47',1148554260,1,0,1,1,1,1,'madhuban','Re: Volver (2006) (Spain)','How did I miss A\'s response! It certainly wasn\'t there when I replied to arsaib! Perhaps, it was being edited! \r\n\r\nThanks to this great debate, I am trying to think through my problems with Almodovar. I do believe that all films, however exciting or disappointing, deserve reflection. I\'m keen to revisit \"Talk To Her\" in the light of your arguments. It has been wonderful to have such engaged responses from you guys as food for thought. \r\n\r\n@ A and arsaib\r\n\r\nHe is like in a fairy-tale the catalyst for most of what happens, and his death might be not only the death of a character that is not needed anymore (plot-wise), but also the aknowledgment of Almodvar, that he is in fact too good for the \"real\" life that sets in again after the \"comatose interplay\".\r\n\r\nA, I like your reading of Benigno, but the trouble is that having one\'s sympathies with this ethereal character (and I feel Pedro does side with him inspite of himself) means that his role as a benign caregiver (inspite of the violence/rape) is reinforced. However, he is such a wreck of a person (complicated by the fact that one cannot gauge what the problem really is except that he thinks he is gay!), that it is difficult to sustain the force of this argument. At one level, the film seems to be saying that he does these things almost unconsciously/subconsciously (at least, he isn\'t aware in the same way that \"normal\" humans are), and on the other, gestures at the strength that even a \"subnormal\" person has the power to bestow in a comatose woman through his love and care! \r\n\r\nOne can, perhaps, read this tension as an exploration of ambiguity, of what it means to be \"normal\", but I felt that it was a structural confusion because he creates this fairy-tale-like character, makes him the benign caregiver with shades of the monster, humanises the monster through the resurrection of Alicia, and then leaves him to face the consequences of his monstrosity! If \"Talk To Her\" is a tale of the magic wand of the fairy being burnt up by the touch of the \"real\", where does this break happen in the film? And are we saying that in the world of the good fairy, rape is an act of love as long as it gives the comatose the gift of life? I\'d have been happier if Pedro pushed it that far, but he shrinks away from putting forward this outrageous statement and dealing with its consequences. His mostly realistic treatment throughout the rest of the film, would have made such a statement horribly incorrect politically. Benigno hovers between the fairy tale-ish and the realistic, and in the process becomes reduced to a half-articulated idea whose contours the film fails to explore. \r\n\r\nAnd, its best not to speak of why Lydia is there in the film at all, except indulging Pedro\'s fancy for bullfights, stereotypes (the film has one androgynous woman as a foil to the \"feminine\" one, and an effeminate man against the somewhat rugged, designer-beard sporting Marco) and arranging, in terms of the plot, for the coincidental meeting of his two male characters. What bugged me about the ending is that bloody dance sequence (much as I admire Pina Bausch\'s work) called \"Miracle of Life\" that hints at how Marco and Alicia will come together, after the monsters have been exorcised. Oh! what an utterly middle class resolution to have your least problematic man and woman come together to live happily ever after! \r\n\r\nOn a tangent...I\'m suddenly thinking of \"3-Iron\" at this point because it explores this moral grey zone, the act of breaking into without consent. Though Kim\'s task is a shade easier because he is not looking at violence perpetrated to the body (though the film is full of sexual imagery and in a sense the houses are treated like bodies), the fairy tale is so elegantly worked out that the films can dare to end by reinforcing the ambiguities rather than having to effect a resolution. Moreover, the sheer economy of the film adds to its power, and I think the scenes with the golf clubs are, perhaps, the most quietly violent (can\'t help the oxymoron!) sequences ever, requiring no raging bulls in a riot of colour or aestheticised B & W rape sequences. This is not to say at all that bulls and rapes are inherently offensive and, therefore, hurt my prudish sensibilities, but that it is important to consider what these images of violence bring to the film. I would like to believe that they are there for a purpose slightly more rigourous than their exotic, aesthetic or camp value. If one chooses an over-the-top vocabulary, one needs to match it with the necessary daring to carry it through, without suddenly pandering to middle class taste. Let me qualify that I have nothing against middle class cinema, but I do have a problem if it is made out to be cutting edge and radical. \r\n\r\narsaib, I admire Kusturica because he has consistently dared to be outrageous, and his work self-consciously lurks around the dangerous edges of the exotic without ever falling into that trap (though Zizek would claim that it does). Pedro, from what i\'ve seen so far, hasn\'t made me feel that way ever, and much of my chagrin emerges from the fact that there are these momentary flashes when he comes close to it, before lapsing back into an annoying, though somewhat lovable naivete.\r\n\r\np.s. Giving dear Pedro a break, Sorrentino\'s film sounds damn interesting! www.cineuropa.org/newsdet...ntID=64756\r\n\r\nM','fa4df499694f45e6af0a5950904cf113',0,'','nkhUluyZ',1,0,'',0,0,0),(10237,1793,3,1,0,'69.120.114.47',1148578200,1,0,1,1,1,1,'A','Re: Volver (2006) (Spain)','Maybe I was expressing myself too much \"in favor\" of Benigno\'d character. I must say that the first time I saw \"Hable con ella\" (as much as i already liked it) I was very disappointed with the ending, for most of the reasons madhuban mentioned. I thought the death of Benigno was an eays escape, the coming together of Marco (for me a totally unsypathetic guy, and the least interesting of them all) and Alicia in the end a pondering to middle class morale (the two most \"normal\" characters), etc. I would have liked to have seen everybody confronted with the facts of what has happened (mainly Alicia and Benigno meet face to face after all has happened, and see both react to it!).\r\nBut I failed to realize what the film was really about. The film is imo (after several viewings) essentially about Marco. Everything that is added is \"merely\" there to illuminate this person. He is given shape and insight through all the other people and his action with them. What takes in fact place is a transformation of Marco from beginning to end, parenthesized through the same situation in the theatre. Benigno is a kind of mirror of himself, showing him the opposites/possibilities of his own personality (that\'s also why the two get along, because imo they are very alike, but responding to their situations through differing acts of enclosure). Both are a-social characters who are not able to communicate to their environment properly, but Marco in the end is offered some hope (through everything that has happened). The ending imo is open, with bringing Alicia and Marco together not as a happy end, but as two people who have gone through a lot, but are not as much dislocated because of this, but have found a firmer place and sense of themselves. \r\nAlso i didn\'t want to excuse Benigno\'s rape, just wanted to say that imo it doesn\'t fit into the classical theme, as a) it isn\'t actually enforced on the victim (who is not merely unconscious, but clinically dead) thus making it more an act of necrophilia. But for Benigno she is alive, thus bringing it again \"closer\" to rape. The gay aspect is also very interesting, as Benigno is clearly shown in the b&w silent sequence (which is btw. my favorite of the film) to want to not only merge with Alicia, but through his definite entering into her body BECOME her. At once this can be seen as the ultimate expression of love or the ultimate expression of a person who is maybe not gay, but to be more precise who would like to be a woman (when we see him watching her at the beginning - she the opposite of him as self-assured, fulfillling her desires and wishes- she is somebody who may have led a life that Benigno would have wanted (to me there were overtones of Hitchcock as in all of Almodvar I\'ve seen). \r\nAlso Benigno is in fact faced with some consequences, when the staff finds out his doings. Loss of respect as a person, imprisonment, etc. In fact only Marco is in some ways supportive of him (not his act), not because he feels indebted to him as a friend, but because he can understand his motivations and his love for Alicia (as i said, both are very alive). Also in the end through the death of Benigno, it could be said that he has in fact become a part of Alicia, (because she is in a way all that is left of him, making Marco\'s newfound (?) fascination with her also something of a \"gay\" thing (but maybe I\'m overinterpreting here, as Marco hints at the fact that he wants to talk about everything with her!). \r\n\r\nWill check your link for Sorrentino later as it took all the time I have right now answering to your post .','9183ce0d0cacd806dda14cfd24fcb196',0,'','JZrteMqU',1,0,'',0,0,0),(10238,1793,3,1,0,'69.120.114.47',1148604180,1,0,1,1,1,1,'arsaib4','Re: Volver (2006) (Spain)','I hope hengcs didn\'t mind us taking over his Volver thread.','dc75fc56ded6283c23c99231b8f24006',0,'','72qTCa9W',1,0,'',0,0,0),(10239,1793,3,1,0,'69.120.114.47',1148620860,1,0,1,1,1,1,'hengcs','Re: Volver (2006) (Spain)','i am a very easy going person','e1516be02bc46f5fa6022d3bb6574232',0,'','hctsS9w7',1,0,'',0,0,0),(10240,1793,3,1,0,'69.120.114.47',1148688780,1,0,1,1,1,1,'arsaib4','Re: Volver (2006) (Spain)','So you\'re not like Kim Shunpei from Blood and Bones?! Just kidding, hengcs. (I watched the movie earlier today. )','8fdb5d30b7fb266e46bf4504de5424e8',0,'','z0sek6My',1,0,'',0,0,0),(10241,1793,3,1,0,'69.120.114.47',1157123100,1,0,1,1,1,1,'trevor826','Re: Volver (2006) (Spain)','I have seen Volver, and unfortunately due to problems noted elsewhere I am not able to give it the time it deserves for a decent review.\r\n\r\nIn some ways it\'s like a step backwards for him especially in terms of cast, Penlope Cruz, Carmen Maura & Lola Dueas have all been regular cast members in previous films. \r\n\r\nIn terms of story, it\'s a film that revolves around itself, history repeating between generations though with varying outcomes, I don\'t think Volver will alter anyones opinion but it is very enjoyable and at times a touch melodramatic. The one thing it does do is make you think the story is going in one direction then switch to another, during one part it looks like it\'s building up to some form of romance, but that\'s just left by the wayside. \r\n\r\nThe performances are as good as you would expect with such an ensemble and Penlope Cruz holds the attention throughout. There are a couple of beautifully composed scenes and very artistic shots, colour as usual is used to great effect and to be honest it\'s the sort of film that leaves you wanting more, I was surprised how quickly and easily the 2 hour running time slipped by.\r\n\r\nHaving read through the previous comments on this thread I must admit that there are some good points raised especially from the detractors, one thing I must say though, I have never seen Almodvar\'s films as \"art-house\", to me they are very typically Spanish with everything that entails. I do feel that Volver is somewhat subdued, particularly compared with some of his earlier films, it is lightweight considering several elements of the plotline but it is a well made and at times touching film. \r\n\r\nI give it my recommendation (for what that\'s worth), it may not convert people to his films but it will hopefully transport you away for a while and will certainly entertain you.\r\n\r\nNo doubt I\'ll write more once everything is sorted out with the P.C. and particularly when others have seen the film.\r\n\r\nCheers Trev.','08f4e55764b46134e5130698fb1a6abb',0,'','Qy2AmuVc',1,0,'',0,0,0),(10242,1793,3,1,0,'69.120.114.47',1157235660,1,0,1,1,1,1,'trevor826','Re: Volver (2006) (Spain)','I have to mention one scene in particular that has stuck in my mind, one of the sisters enters a room where a lot of female mourners are sitting dressed in black from head to toe, an aerial shot shows them swooping in on the sister like a murder of crows. The shot then switches to a side view and again, they are like scavengers feeding off carrion, swooping in and out in quick succession offering their commiserations.\r\n\r\nIt\'s only later on that the sisters find out that they have lived up to this depiction as crows, while putting on their mourning gowns and lamenting the dearly departed they have also been busy scavenging whatever they could from the house of the deceased. \r\n\r\nAn excellent use of symbolism from Almodvar and just one of many memorable moments from Volver.\r\n\r\nCheers Trev','8607c080c344c806405ce1950272ba68',0,'','5SKeCzju',1,0,'',0,0,0),(10243,1793,3,1,0,'69.120.114.47',1163951040,1,0,1,1,1,1,'wpqx','Re: Volver (2006) (Spain)','originally posted by Howard Schumann\r\n\r\nVolver\r\n\r\nDirected by Pedro Almosovar (2006)\r\n\r\nIf you are up for fart jokes, implausible plots, and convoluted melodrama, Pedro Almodovar\'s latest film Volver might be for you. Volver is lively entertainment with attractive songs, blazingly rich colors, and highly credible performances, but it is mostly style without substance and its worldview is limited to an idealization of women as eternal towers of strength, and men who are irrelevant pests. The film stars Penelope Cruz as Raimunda, a cleaner at Madrid airport, whose posterior properties are artificially enhanced to appeal, I guess, to a wider range of horny viewers.\r\n\r\nThe family has more secrets than the de Winters of Manderley. Raimunda\'s mother Irene (Carmen Maura) was burned to death in a house fire along with her husband but now she\'s baaaack to tie up some loose ends, looking like the friendliest ghost this side of Caspar. Irene returns ostensibly to care for her elderly sister Tia Paula (Chus Lampreave) and their neighbor Augustina (Blanco Portillo) whose mother also disappeared the day of the fire, but also wants to square things with Raimunda and her sister Sole (Lola Duenas), a hairdresser. It is uncertain, however, whether Irene is a playful corpse or a very much living mother who simply deserted her family four years ago.\r\n\r\nIf the circumstances of her parents\' death aren\'t dicey enough, there\'s more. Raimunda\'s ne\'er do well husband Paco (Antonio de la Torre) lusts for teenage daughter Paula (Yohana Cabo) who sticks the knife into him after he becomes overly friendly one afternoon. Raimunda, of course, does not report the incident to the police but says she\'ll take the blame and sticks hubby in the deep freeze while everyone just accepts the fact that he ran away for good (do not expect any investigation or justice, murders are quietly forgotten).\r\n\r\nPaula doesn\'t seem to be too troubled when told that Paco wasn\'t her real father anyway so why stew about it? She begs her mother to tell her the truth about her real father but Mom makes up a lame story and Paula buys it. Paula is a lovely girl but her character is as undeveloped as a packet of rice sticks and she fades from the picture before it is half way through. Tangential subplots like Raimunda launching a restaurant business with a series of lunches to a movie crew, and Augustina dying of cancer going on a reality television talk show all come to nothing and, as the plot becomes more and more unfocused, it is hard to care about any of it. While avoiding the self-indulgent outrages of La Mala Education, Volver offers few truly engaging moments.\r\n\r\nGRADE: C','39fdc05f0eea2c06058e53066bb86b35',0,'','PvTk9mcb',1,0,'',0,0,0),(10244,1793,3,1,0,'69.120.114.47',1164754320,1,0,1,1,1,1,'wpqx','Re: Volver (2006) (Spain)','I have avoided this thread until now because until last night, I hadn\'t seen the film. Little did I know that up until the last two posts no one was actually discussing the film. I found the film immensely entertaining, and a welcome departure from not only the overly somber and serious tone some of his more recent films have seen, but a welcome return to a more female dominated cast. It\'s nice to see Almodovar leave out homosexuals and transvestites, if for only one film. Cruz is great, and I found myself asking the same question her mother does \"Has your chest always been this big?\" Many good laughs from the crowd I saw the movie with (which was pretty good for 10:20pm on a Monday night).\r\n\r\nThe film is a little simpler than his previous efforts, and not in a bad way. Sure there are multiple plot threads, but they don\'t get overdone. In fact Almodovar leaves most of his threads unfinished and unresolved, such as the future with the restaurant, any investigation into Paco\'s disappearance, etc. However, do we really need it all explained? Well made, gorgeously composed, and in all one of the best films I\'ve seen all year. Admittedly I\'m far behind on films this year, so I\'m not basing it on a great deal, but I can easily see a top ten finish for this. \r\n\r\non a side note I saw a preview for Zhang Yimou\'s new Martial Arts epic, and it looks so deliciously over the top I almost burst into tears of joy.','608d29c0568f80cb5ba11b4d1b6580d1',0,'','BnoQ7es3',1,0,'',0,0,0),(10245,1793,3,1,0,'69.120.114.47',1164758040,1,0,1,1,1,1,'madhuban','Re: Volver (2006) (Spain)','With such polarised opinions on this one, I\'m really curious. Two weeks to go to agree with one or the other \r\n\r\nM','7fa3e2ab74e921a49bd6314b279aef32',0,'','6FCGZzjB',1,0,'',0,0,0),(10246,1793,3,1,0,'69.120.114.47',1164810780,1,0,1,1,1,1,'trevor826','Re: Volver (2006) (Spain)','I took it as an enjoyable albeit light satire on certain aspects of small town Spain, it does lack depth and leaves a tangle of unfinished threads but is at times beautifully composed. \r\n\r\nUnsatisfying in terms of resolvement or reality but a fair slice of escapist fare.\r\n\r\nI\'ll be able to check out the dvd soon so will be able to see how I feel after a second viewing.\r\n\r\nCheers Trev.','2467aa88de76068ac4176b8084a345bb',0,'','vfpyTLY0',1,0,'',0,0,0),(10247,1793,3,1,0,'69.120.114.47',1164949860,1,0,1,1,1,1,'arsaib4','Re: Volver (2006) (Spain)','\"on a side note I saw a preview for Zhang Yimou\'s new Martial Arts epic, and it looks so deliciously over the top I almost burst into tears of joy.\"\r\n\r\nI saw that, too, but instead of tears of joy, it nearly made me burst into hives. Ever since Yimou and his 5th gen. buddy, Chen Kaige, have sold out, they\'ve been practically dead to me. Now I only love Tian Zhuangzhuang.','e77fc18e5a8443fffa36c28b5aa8d3d3',0,'','TVyPmEMJ',1,0,'',0,0,0),(10248,1793,3,1,0,'69.120.114.47',1164950520,1,0,1,1,1,1,'wpqx','Re: Volver (2006) (Spain)','I just have found that Yimou seems to work better to me when his canvas is large. I was unimpressed with The Story of Qiu Ju even though he was still in his rebellious stage. After the slight disappointment with Riding Alone, I\'m excited about the ludicrously over the top film he has coming out, and with Gong Li back in the picture I\'d say its good. I\'ll admit though I miss his more daring days.\r\n\r\nHowever the thread is still about Almodovar, and I say thumbs up for Volver.','766d596f5b59fbe852aef6b006bb7546',0,'','jSLgVHrG',1,0,'',0,0,0),(10249,1793,3,1,0,'69.120.114.47',1164968400,1,0,1,1,1,1,'justindeimen','Re: Volver (2006) (Spain)','Volver was masterfully crafted in a self-contained, self-involved arena of emotions. It is in its essence, a less ambitious film which seems to be a shortcoming in the eyes of many Almodovar\'s staunch advocates.','f3690a98f569dddc20ef69c55b7f82f9',0,'','tPrLDZho',1,0,'',0,0,0),(10250,1793,3,1,0,'69.120.114.47',1164970080,1,0,1,1,1,1,'hengcs','Re: Volver (2006) (Spain)','Quote wpqx \"on a side note I saw a preview for Zhang Yimou\'s new Martial Arts epic, and it looks so deliciously over the top I almost burst into tears of joy.\"\r\n\r\nQuote arsaib4 \"I saw that, too, but instead of tears of joy, it nearly made me burst into hives. Ever since Yimou and his 5th gen. buddy, Chen Kaige, have sold out, they\'ve been practically dead to me. Now I only love Tian Zhuangzhuang.\"\r\n\r\nHi,\r\n\r\ni think u pple are talking abt this film\r\n\r\nHuang Jin Jia (Curse of The Golden Flower) (2006) (China/HK)\r\n\r\nYup ... many are eagerly awaiting this film','731ab831acc505c8758682d832547d53',0,'','vdwDqQbx',1,0,'',0,0,0),(10251,1793,3,1,0,'69.120.114.47',1164971280,1,0,1,1,1,1,'wpqx','Re: Volver (2006) (Spain)','That\'s the one','4144a4e3097cc896620dbfd08030492b',0,'','fkrnAFYL',1,0,'',0,0,0),(10252,1794,3,1,0,'69.120.114.47',1121933880,1,0,1,1,1,1,'hengcs','Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Director: Gianni Amelio\r\nCast: Kim Rossi Stuart, Andrea Rossi, Charlotte Rampling\r\n\r\nIn the Venice Film Festival 2004, it garnered the\r\n-- Pasinetti Award - Best Film \r\n-- Pasinetti Award - Best Actor (Kim Rossi Stuart) \r\n-- Sergio Trasatti Award - Gianni Amelio \r\n-- \'CinemAvvenire\' Award - Best Film \r\n\r\nExpectedly, this film was Italy\'s submission to the Oscar in 2005.\r\n\r\n\r\nWhat I like ...\r\n-- Definitely the entire cast, they carried their roles very well. In particular, Kim Rossi Stuart and Charlotte Rampling displayed very controlled performance.\r\n-- All the dialogues were so realistic, with a script that did not seek to be too melodramatic nor unbelievable. Instead, it told of very genuine thoughts and emotions ... \r\n\r\nYup, it had the potential to be very weepy ... but that was not the intent ... Instead, it tried to create mixed feelings in the audience (like the father) ... it had a mix of fun and upset ... it had a mix of hope and dismay ... it had a mix of serenity and anxiety ... etc \r\n-- There were a few very good scenes, \r\ne.g., ALL the conversations between the two adults\r\ne.g., the therapy scene \r\ne.g., the last scene with the father and the kid\r\n\r\nWhat may be problematic ...\r\n-- The trip to Norway was kind of lame ... Also, their choice of Germany over Italy for therapy was not well explained ...\r\n-- As the film was not events driven, some audience might get bored after a while ...\r\n-- Depending on individuals, some audience might also not feel much for the protagonists because the emotions were not uniformly sad throughout ...\r\n-- The female character was not fully developed nor \"ended\" ... \r\n-- Finally, although I did not think so, some might find the ending too abrupt ...\r\n\r\nConclusion:\r\nIf you like a film with realistic character study, go for it.\r\nIf you prefer plot over characters, then do not bother ...','c526cbabe3ba798c966642a668ae56e2',0,'','MsjeKY6i',1,0,'',0,0,0),(10253,1794,3,1,0,'69.120.114.47',1122945720,1,0,1,1,1,1,'A','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','I wanted to see this film last month, so I went to the cinema, but guess what - the copy had been lost while shipping. \r\nLuckily they had a smal Gianni Amelio retrospective at the time, so they showed Il ladro di bambini instead, which was great (it won Grand Jury Prize at Cannes 1992). \r\nAs it was my first introduction to Amelio\'s films, I\'m looking forward to this. And any new film with Charlotte Rampling is interesting I guess, the guy I talked with before the screening, who said he came to see the movie because he had read about Mrs. Rampling being in it, must have been disappointed.','d4865fc28fff055809837b15a2496e21',0,'','qAVoMC4F',1,0,'',0,0,0),(10254,1794,3,1,0,'69.120.114.47',1128044460,1,0,1,1,1,1,'trevor826','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Le Chiavi Di Casa (The Keys to the House - 2004 Italy)\r\n\r\nI think most of us find it hard to watch a film where one of the central characters is severely disabled, just as in real life were unsure how to deal with it. Strange considering how many of us are more than happy to sit through a film concerning somebody dying of a disease like cancer, personally I find that even more difficult to deal with in reality.\r\n\r\nI avoided this film in the cinema because I was concerned that it would be overloaded with sentimental melodramatics, playing the sympathy card, but Im glad to say that isnt the case. A simple tale of a father and his 15 year old son meeting and trying to connect for the first time since his birth, why the separation? Because the child is disabled? No, the truth comes out as the father opens up to the mother of a disabled girl receiving treatment in the same hospital, its because he associates his son with the loss of his partner who died during childbirth. \r\n\r\nGuilt is just one of the stumbling blocks between father and son, 15 years is a hell of a long time to make up for, the anxiety of trying to make a relationship, find some sort of connection and learn to deal with the disability is at times overwhelming. As for the son, hes not out to punish his father or even to accept him as his father. To the son hospital and his disability is a way of life, a normality and one thing he tries to emphasise to his father is that he doesnt need or want sympathy, he needs his independence and goes out of his way to show it.\r\n\r\nThe mother of the disabled girl is played brilliantly by Charlotte Rampling, uncompromisingly honest in a way Im sure many parents of disabled children feel but can never bring themselves to actually say, there is a section where the camera stays unflinchingly on her face, nothing is said, no gestures are made but you can feel the pain and burden that she has ceaselessly carried for so many years.\r\n\r\nThe end worried me, was this going to be a film of the fathers redemption, would there be this exaggerated heart warming/churning display of familial forgiveness? Thankfully no, it stayed as honest as the rest of the film.\r\n\r\nRecommended viewing, if you give it a miss, itll be your loss.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG\r\n\r\nR2 Pal dvd released by Artificial Eye in the UK.','9d25de5b0358f762856b27970d039a54',0,'','kDLlyjMK',1,0,'',0,0,0),(10255,1794,3,1,0,'69.120.114.47',1144260000,1,0,1,1,1,1,'howardschumann(d)','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','KEYS TO THE HOUSE (Le Chiavi di Casa)\r\n\r\nDirected by Gianni Amelio (2004)\r\n\r\n\"When we come to the last moment of this lifetime and we look back across it, the only thing that\'s going to matter is \'What is the quality of our love?\" - Richard Bach\r\n\r\nRaising children under normal circumstances requires patience, consistency, and lots of love. Raising a child with special needs requires even more of those attributes plus an infinite capacity to endure the pain of seeing your child suffer. Winner of the Best Picture Award at the 2004 Venice Film Festival, Keys to the House explores the path of a young father who abandoned his disabled son fifteen years ago and now seeks to redeem their relationship without fully comprehending what is expected of him. Loosely based on Giuseppe Pontiggia\'s 2000 novel Born Twice, Keys to the House is the latest film by Italian director Gianni Amelio (L\'America, Stolen Children) who is known for his deeply humane portraits of conflicting relationships between generations. \r\n\r\nGianni (Kim Rossi Stuart), an appliance worker in his mid-thirties, lives with his wife and young son in Milan, Italy. Fifteen years ago, he fathered a handicapped boy named Paolo (Andrea Rossi) with a teenage girlfriend who died during childbirth. At the request of the boy\'s uncle (Pierfrancesco Favino) who raised Paolo, Gianni meets his son for the first time en route to a Berlin hospital where the boy is scheduled to undergo a new round of testing at a hospital for handicapped children. Paolo, now a teenager, has physical and mental challenges resulting from childbirth trauma and walks with the aid of a cane. The father-son reunion is fraught with difficulties and many awkward moments. In spite of his difficulties, Paolo is bright, fun loving, and full of charm but has mood swings and erratic mental patterns. Gianni is hesitant at first, uncertain how to react to his unpredictable behavior and stumbles when trying to help him dress or assist him in going to the bathroom. \r\n\r\nPaolo, though trusting, views Gianni with some embarrassment and asks him to leave during some invasive hospital testing. At the hospital, Gianni meets another parent (Charlotte Rampling as Nicole) whose daughter Nadine (Alla Faerovich) is severely handicapped with Cerebral Palsy. Her empathy and wisdom help him come to terms with the guilt he feels for having abandoned his son and increases his awareness of the difficulties involved in raising a handicapped child. When the hospital therapists push Paolo to the point of exhaustion with their exacting regimen, Gianni instinctively removes him and takes him on a road trip to Norway in hopes of meeting a young girl Paolo knows only through an exchange of photos. On the journey back, Gianni comes face to face with the true requirements of his commitment to Paolo and the result is deeply moving. \r\n\r\nKeys to the House is an involving drama about the difficulties involved in taking responsibility for past mistakes and developing the inner strength to cope with the results. The acting is uniformly outstanding, especially that of Andrea Rossi, a young Italian actor with Muscular Dystrophy, who brings Paolo fully to life. Though some elements of the plot are puzzling, Keys to the House is not about plot but about feelings and relationships. It is a courageous film that sparkles with authenticity and tenderness. It avoids easy consolations and trite solutions, challenging us to confront our limitations, particularly our inability to always be the person our children need us to be. While Keys to the House may not be Amelio\'s best film, it is his most emotionally compelling and fully establishes him as being in the very front rank of contemporary directors.\r\n\r\nGRADE: A','36f36ca002e7adbc89a850e25917e88e',0,'','5MrHyzJG',1,0,'',0,0,0),(10256,1794,3,1,0,'69.120.114.47',1144260120,1,0,1,1,1,1,'howardschumann(d)','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','About the Norway sequence, it does seem a bit lame but Manohla Dargis speculated in the New York Times that he put it in because one of the production companies was Norwegian. It seems to me perhaps that the girl wasn\'t real and that they both knew it but used her picture as a reason to go on the road together and bond. Otherwise, it certainly is strange that they would not have known there was no school on Sunday or that they would not have waited another day.\r\n\r\nRegardless, it\'s a very lovely film.\r\n\r\nHoward','5b0d9d7d4849a766aaff3b3bcbbc4a30',0,'','0PAjXZEk',1,0,'',0,0,0),(10257,1794,3,1,0,'69.120.114.47',1144277100,1,0,1,1,1,1,'A','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Have deleted the other thread (by request ).\r\nAnd my own words also, as I noticed that I had almost exactly repeated, what I had typed in an earlier post (see above)','900b213c5f558900b32759ca290e9732',0,'','zxVRWAo4',1,0,'',0,0,0),(10258,1794,3,1,0,'69.120.114.47',1164836100,1,0,1,1,1,1,'A','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Don\'t have much to add to the comments, except that i agree with most that has been stated, and urge everybody to watch this film.\r\n\r\nAbout the Norway sequence. I found it wonderful, and it is one of my favorite scenes in the movie. I think that the girl was real, but that both didn\'t know where she lived and that Paolo didn\'t have any real contact to her. As was often the case with him, he didn\'t care much for the dividing line between fiction and reality, as we can see in his daydreams that take on a concrete shape and existence for him. The journey was purposefully made on a Sunday, and they just went to some shool there. Th point of it was imo, that Paolo tries something to come closer to his dreams/hopes without being rejected (Imagine a scene were he actually meets the teenage girl... probably wouldn\'t have helped his self-esteem). This journey and the rest of the scene can be seen as the breakthrough in the relationship of father and son, because the father enters and accepts the world of Paolo, while still trying to alter it. This journey will probably stay in Paolo\'s mind as a visit to his girlfriend, and meeting her isn\'t the point here (Paolo also doesn\'t want to meet her, and has no problems leaving again). They leave symbolically the cake for her.\r\nFor me this is the closest sequence to the \"magical realism\" (or even surrealism) you can find for example in Fellini. Contrasted with the confession-scene by Rampling at the train station this makes for a wide range of expression. \r\n\"Stolen Children\" (1992) is full of such \"absurd\" events, and one of the main reasons why I loved it.\r\n\r\nI know that I wrote earlier somewhere on the board that I\'m glad Le conseguenze dell\'amore (2004) won the David di Donatello in 2005, but after watching this film I have to change my opinion.','42b49315af9bcf2007ed7e90fc641900',0,'','2KFR3nGd',1,0,'',0,0,0),(10259,1794,3,1,0,'69.120.114.47',1164837000,1,0,1,1,1,1,'howardschumann(d)','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Thanks for your comment. It makes a lot of sense but it is a stretch for me to believe that they just went to any school. How would they know how to find just any school? Everything else you say about the incident is quite plausible and very insigthful, however.','399667efc1c5900ce59820709c446516',0,'','m3MQsq7F',1,0,'',0,0,0),(10260,1794,3,1,0,'69.120.114.47',1164916260,1,0,1,1,1,1,'A','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Well, every larger city has a school I think. Maybe they even went to the town were the \"girl-friend\" lived, and it was her school. I think this isn\'t important for what the film wants to tell, and it also makes the scene more fun. When \"Gianni\" goes \"to look for her\" and he is watching the biathlon team, I find the contrast between their speed and Paolo\'s handicap startling. We are also guessing all of the time if one of the girls might be her. \r\nThe \"girl-friend\" is an emblem for Paolo\'s desires and what will probably become a big problem when he gets older. I like the scene where Gianni comments on Paolo being a teenager and not a kid earlier in the film. Thus it\'s not important who the girl is, imo. \r\n\r\nWhat i also appreciate is the fact that the film\'s flawed protagonist has the same name as the director. I always appreciate these little touches (as well as the dedication at the beginning of the movie).','c67aa0dde6a00ea60902741c63667b5f',0,'','YT8dfNEx',1,0,'',0,0,0),(10261,1794,3,1,0,'69.120.114.47',1164920340,1,0,1,1,1,1,'howardschumann(d)','Re: Le Chiavi Di Casa (The Keys to the House) (2004) (Italy)','Very intelligent analysis. Thanks very much for providing a larger perspective.','58c28796e53e3141c17df5765e98c43f',0,'','qtMTuNhG',1,0,'',0,0,0),(10262,1795,3,1,0,'69.120.114.47',1164002280,1,0,1,1,1,1,'hengcs','Renaissance (2006) (France)','\r\n\r\nDirector: Christian Volckman\r\n\r\nThe animation won the Best Film in Annecy International Animated Film Festival 2006 !\r\n\r\nThe official website\r\nsee\r\nhttp://www.renaissance-lefilm.com/accueil.htm\r\n\r\nConclusion:\r\nHighly recommended ... for its visuals and a thrilling pace ...','8f59f288dedfe30e4bfd2c63e83a4d8f',0,'','fwGvTMlt',1,0,'',0,0,0),(10263,1795,3,1,0,'69.120.114.47',1164296340,1,0,1,1,1,1,'trevor826','Re: Renaissance (2006) (France)','I saw Renaissance a while back and was very impressed with the style, completely monochromatic barring one dash of colour. The story is very much in the \"film noir\" mould but obviously, like \"Ghost in the Shell 2 - Innocence\" or \"Blade Runner\", set in a futuristic world.\r\n\r\nIt is due for release on dvd in the UK next week but I just wonder how the graphic style will hold up on the small screen. I am looking forward to checking the dvd out, hopefully it\'ll accomodate some decent extras as well.\r\n\r\nCheers Trev.','eb6dbc006e5a25b48283163d05ff650a',0,'','nkExL4yU',1,0,'',0,0,0),(10264,1795,3,1,0,'69.120.114.47',1164699840,1,0,1,1,1,1,'hengcs','Re: Renaissance (2006) (France)','ha ... surprised u didnt post then ... ;PPP\r\n\r\nhey, wat happen to the guy who knew french? \r\narsaib4? have u watched?','501c43fb15251f0e5b269ac2e9569438',0,'','kDhKUCPG',1,0,'',0,0,0),(10265,1795,3,1,0,'69.120.114.47',1164707280,1,0,1,1,1,1,'arsaib4','Re: Renaissance (2006) (France)','No, haven\'t watched this one yet; had a chance at TIFF but I passed. Is it similar to Sin City?','708ca92185d2724e863617ffe481471b',0,'','CDfQ7kFH',1,0,'',0,0,0),(10266,1795,3,1,0,'69.120.114.47',1164722400,1,0,1,1,1,1,'trevor826','Re: Renaissance (2006) (France)','Nothing like Sin City, no comic book basis, far more traditional in its story telling. I have the dvd now so will write up on it within the next few days. As expected, it loses some of its grandeur on the small screen but not as badly as I was expecting.\r\n\r\nHengcs, I did mention it briefly in the last film seen thread but didn\'t follow it up. I would expect to see a HD and/or Blu-ray version released soon.\r\n\r\nCheers Trev.','5f55194273f45194714af925c8949643',0,'','0awgfSU4',1,0,'',0,0,0),(10267,1796,3,1,0,'69.120.114.47',1164663000,1,0,1,1,1,1,'howardschumann(d)','Mirage, a film from Macedonia','MIRAGE (Iluzija)\r\n\r\nDirected by Svetozar Ristovski (2004)\r\n\r\nBlessed is the lion which becomes man when consumed by man; and cursed is the man whom the lion consumes, and the lion becomes man. Jesus, Coptic Gospel of Thomas\r\n\r\nMarko Trifunofsky is a shy and sensitive twelve year old who is an easy target for school bullies and an abusive family but who comes alive when a teacher asks him to tryout for a poetry competition whose first prize is a trip to Paris. Macedonian director Svetozar Ristovskis provocative and disturbing Mirage should come with a Dante-like warning Abandon hope, all ye that enter here. We are informed at the beginning of the film that, according to Friedrich Nietzsche, hope is the worst of evils, for it prolongs the torments of man, but we are still not fully prepared for what is to come. Because we are so involved with the expressive young man, magnificently played by first-time actor Marko Kovacevic, the raising and dashing of his dreams is a truly riveting and heartbreaking experience. \r\n\r\nSet in Veles on the Vardar River, the calm, picturesque quality of the city belies the turmoil beneath the surface: anti-American rallies, labor disputes, a corrupt police force, and an educational system that barely functions. Marko lives at home but his family life is far from nurturing. His father Lazo (Vlado Jovanovski) is a drunk and a gambler who dominates his passive wife Angia (Elena Mosevska). Marko has to share a room with his angry sister Fanny (Slavica Manaskova) who has no time to be civil to anyone between her many sexual encounters. Unhappy at home and mercilessly taunted at school by a bunch of faceless conformist punks led by the conscience-less Levi (Martin Jovchevski), son of corrupt policeman Blashko (Dejan Acimovic), Markos only refuge is in an abandoned railroad car and in visits to the professors book-lined apartment. \r\n\r\nUnable to withstand the constant bullying and the pervasive atmosphere of corruption and criminality, Markos descent into hell becomes sadly predictable. Slowly, as the boy realizes that his teacher is as cowardly and hypocritical as the others and that his escape from the sewer of Veles is little more than a pipedream, he is incongruously transformed from a poetic and innocent child into a thief and violent delinquent under the tutelage of an ex-soldier named Paris (Nikola Djuricko) whom he meets (or imagines) in the train car. Paris tells him that in life one must either eat or be eaten. \r\n\r\nReminiscent of Mathieu Kassovitz\'s La Haine, Mirage is a harsh, uncompromising look at the lives of marginalized people in a region too few in the West pay attention to. It is not an easy film to watch, but it is powerfully realized and difficult to forget. If Ristovski (now living in Vancouver, Canada) has made Mirage to call attention to the fact that the region is a powder keg waiting to explode or to suggest that the Macedonians must move beyond hope into the realm of political action, he has succeeded but the pill tastes very bitter.\r\n\r\nGRADE: B+','8017ca6105b914d12691af1d7dbbb7c1',0,'','oyxmXfRq',1,0,'',0,0,0),(10268,1797,3,1,0,'69.120.114.47',1164141960,1,0,1,1,1,1,'howardschumann(d)','Virgin Stripped Bare by her Bachelors','VIRGIN STRIPPED BARE BY HER BACHELORS \r\n(Oh! Soo jung) \r\n\r\nDirected by Hong Sang-soo (2000)\r\n\r\nWealthy art gallery owner Jae-hoon (Jeong Bo-seok) waits in a hotel room to have sex with screenwriter Soo-jung (Lee Eun-ju). She phones, however, and claims to be running late and expresses some doubts about consummating their relationship. Later, the scene is replayed but from Soo-jungs point of view with a different result. With its title derived from a surreal artwork by Marcel Duchamp titled The Bride Stripped Bare by her Bachelors, Hong Sang-soos elliptical comedy drama A Virgin Stripped Bare by her Bachelors is a process of discovery for both the characters and the viewer. Whether the theme is viewed as the subjectivity of memory or how our perceptions change with each new event, Hong strips away the illusion from romantic love and allows us to see how ambivalent we all may be beyond our idealization. \r\n\r\nThe film is divided into five parts, each chapter introduced by enigmatic titles such as Perhaps Intention, Perhaps Coincidence, and Perhaps Accident, and separated by a fade to black, reminiscent of Jim Jarmuschs Stranger in Paradise. The first, third, and fifth parts take place in the present; the second and fourth parts show the history of the couple from their first encounter to the present and reflect the characters different perceptions/memories. The chapter Perhaps by Accident seems to describe Jae-hoon as one who believes that reality is controlled by fate. Perhaps Intention describes the assumptions of Soo-jung who makes her decisions based on her assessment of mens true motives and values, judging them by their actions not their words.\r\n\r\nFrom the outset, the films narrative appears to be linear as it traces a love triangle that develops between Jae-hoon, Soo-jung and Young-soo, an independent filmmaker. The characters are very real and their desires and frustrations are palpable. However, halfway through, the film begins to repeat episodes from earlier chapters which are dramatized from a different perspective and show slight variations in detail. The second chapter is a flashback to the couples first meeting. Filmmaker Young-soo (Moon Seong-keun) attends an exhibition at Jae-hoons art gallery with Soo-jung to gain some inspiration for the film they are working on. The two agree to have lunch with Jae-hoon, perhaps to persuade the wealthy gallery owner to provide some financial backing for the film. \r\n\r\nA few days later, when Jae-hoon meets Soo-jung at Kyongbokgoong Palace, he discovers that she has a pair of gloves that he accidentally left on a bench and believes the incident to be very much a coincidence. When the incident is dramatized the second time, however, it appears that Soo-jung has intentionally scheduled the film crew to meet on the Palace grounds because she knows that Jae-hoon goes there for lunch. Jae-hoon becomes attracted to Soo-jung and asks her to have sex with him and become her lover. She tells him that she will accept his offer but only when they go out for a drink. The sex scenes are erotic but not graphic and reveal the lovers emotional pain lying just beneath the surface. \r\n\r\nEnhanced by an exquisite original score by Ok Kil-sung and the striking black and white cinematography of Choi Yeong-taek, Virgin Stripped Bare by her Bachelors is a beautiful and thoughtful film whose concluding epiphany left me with a lovely glow. Sadly, however, the glow was short lived as I soon discovered that on the night of February 22, 2005, Lee Eun-ju committed suicide at her apartment only a few days after graduating from Dankook University. She was only 24 years old. The memory of her great performance in this outstanding film will long remain.\r\n\r\nGRADE: A','9f72707cb0871f1417e65e4ba749c8ad',0,'','x4a1KhBE',1,0,'',0,0,0),(10269,1797,3,1,0,'69.120.114.47',1164294600,1,0,1,1,1,1,'trevor826','Re: Virgin Stripped Bare by her Bachelors','Great review Howard as usual, it\'s one of many films I keep meaning to revisit.\r\n\r\nSadly, however, the glow was short lived as I soon discovered that on the night of February 22, 2005, Lee Eun-ju committed suicide at her apartment only a few days after graduating from Dankook University. She was only 24 years old. The memory of her great performance in this outstanding film will long remain.\r\n\r\nI remember the sad news of her very young death, she was without a doubt a very capable actress.\r\n\r\nCheers Trev.','34df30e2f5a41a1b4faacb8fc0cfab39',0,'','3lWobtCk',1,0,'',0,0,0),(10270,1797,3,1,0,'69.120.114.47',1164427380,1,0,1,1,1,1,'howardschumann(d)','Re: Virgin Stripped Bare by her Bachelors','Thanks. I knew nothing of her death until after the movie, so it definitely was a shock.','6264c736474710f700fdd2bed18af24c',0,'','nQhKERX4',1,0,'',0,0,0),