(8609,1591,3,1,0,'69.120.114.47',1199692380,1,0,1,1,1,1,'hengcs','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','(originally posted 2-3 years ago, 04-21-2005 09:32 AM)\r\n\r\n(1) Regarding the opening sequences, I think several scenes have been edited out (from the 400 min) such that the contrast of their youth with their latter life is less apparent, and hence it may feel less compelling ... \r\n\r\nIn fact, after the first 20 min, I was still wondering should I have driven 1 hour (and returned another 1 hour) just to catch the movie ... and have I made a grave mistake by purchasing Part 2 tickets in advance (even before watching Part 1) ... \r\n\r\nFortunately, I stayed till the end of Part 1 and I really like Part 2 ... ha ha ha ... maybe Asians and Latinos prefer melodrama ... hee hee ... just take a look at our daily night TV drama and you will understand ... ha ha ha ...\r\n\r\nBut what really caught me was: \r\n\r\nTHERE IS SO MUCH SUBTLETY in the way they depict characters! \r\n\r\n-- I actually like it and prefer it over explaining everything to the audience ...\r\n\r\n-- In a way, the movie has hinted at why they behave as such ... I do not think it is necessary to explicitly state a lot of things ... \r\n\r\n-- In other words, I may be able to try offer some plausible explanations to your qualms about the movie ... but there will be tons of spoilers in order to corroborate the discussion ...\r\ne.g., your 1st critic on Matteo\r\ne.g., your 2nd critic on Guilia ... \r\n\r\nHowever, I would like to believe that:\r\n\r\n-- Given a 400 min movie (and filmed in about 24 weeks), it is nearly impossible to be flawless and totally high key throughout ... different audience are bound to be unhappy about certain aspects of the movie ... be it plot, characterization, technical, or other aspects ...','47b7792030c5f6088c53200ffa03a2d8',0,'','0yTw9EV3',1,0,'',0,0,0),(8610,1591,3,1,0,'69.120.114.47',1199692620,1,0,1,1,1,1,'hengcs','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','(originally posted by arsaib4 in another board 04-26-2005 12:37 AM)\r\n\r\nI\'m also a little surprised with the kind of reviews The Best of Youth has garnered but am not disturbed by them. A 6-hr film doing well critically, and, from what I\'ve heard, commercially - at least at theaters bold enough to program it - is fine by me. I think some of our critics haven\'t been able to distinguish its \"made-for-tv\" aspects from the overall sense of grandeur it presents spanning many decades. Marco Tullio Giordana\'s latest film is in-competition at Cannes this year.\r\n\r\nI don\'t think too many people consider Don\'t Move a \"masterpiece.\" I don\'t either but I certainly liked it a lot more than you did. Time permitting, will write more about it.\r\n\r\nThe Keys to the House (the official American title) did disappear quickly after opening here in December. Lions Gate will release it on DVD on June 28th.','b3ca41f55c2db53a6d2fcea7873c3770',0,'','Y6Ry5WVX',1,0,'',0,0,0),(8611,1591,3,1,0,'69.120.114.47',1199692860,1,0,1,1,1,1,'hengcs','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','I have subsequently watched the other two films ...\r\nMy thoughts have been or will be in the respective film threads\r\n\r\nBy the way, I think I recall that Dont Move was a subsitution for the other film Private for Italy\'s submission to Oscar (all becos of the language issues).','3d5a5e08540c8eac6e887c00b3c93537',0,'','a2L8zZeV',1,0,'',0,0,0),(8612,1591,3,1,0,'69.120.114.47',1199699640,1,0,1,1,1,1,'arsaib4','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','Thanks for reminding me about another review I never got around to! Anyway, it seems odd that all of a sudden you\'ve updated the thread nearly 3 years later with these old posts. Did you watch this film again recently by any chance?','a2c2191587c12643afb81d579d84cd13',0,'','FNwHc971',1,0,'',0,0,0),(8613,1591,3,1,0,'69.120.114.47',1199699880,1,0,1,1,1,1,'wpqx','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','This reminds me that I never did see the film. The screening was over two days and cost a pretty penny so I waited for DVD and well I have no excuse after that. Just hard to find the time to sit through a 6 hour film (similar but larger reason why I still haven\'t seen Heimat).','bd0232ba27e9ad44fa97e34df5d8f5b6',0,'','E0uvr8kG',1,0,'',0,0,0),(8614,1591,3,1,0,'69.120.114.47',1199877780,1,0,1,1,1,1,'hengcs','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','Quote arsaib4, \"Thanks for reminding me about another review I never got around to! Anyway, it seems odd that all of a sudden you\'ve updated the thread nearly 3 years later with these old posts. Did you watch this film again recently by any chance?\"\r\n\r\nunfortunately nope, i wouldnt mind though ...\r\nbut i have a pipeline of movies i have wanted to watch or write abt which i have no time ... sigh\r\n\r\nthen why?!\r\nbecos I was reading a new blog by SFS ...\r\nsgfilmsoc.blogspot.com/20...-2007.html\r\n\r\nhee hee','cd23cb1502a41ee1657a1ac6ffe163b8',0,'','WwU2khHV',1,0,'',0,0,0),(8615,1591,3,1,0,'69.120.114.47',1201500000,1,0,1,1,1,1,'wpqx','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','Well I finally got around to watching the film today (was very pleased to find it in my local library). An astonishing film pretty much from start to finish encompassing so much of modern history yet remaining personal. I suppose I can change what I\'ve been saying about modern Italian cinema.','860b96fc15bc55f172b837445661aed4',0,'','wvfKEas0',1,0,'',0,0,0),(8616,1591,3,1,0,'69.120.114.47',1201508160,1,0,1,1,1,1,'hengcs','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','I am glad you like the film too.','273871cd802e6dda3292608a9d8a3889',0,'','S9UPts4u',1,0,'',0,0,0),(8617,1591,3,1,0,'69.120.114.47',1201508940,1,0,1,1,1,1,'wpqx','Re: La Meglio Giovent (The Best Of Youth) (2003) (Italy)','You\'d figured I\'d have more to say after watching it for six hours, but apparently not. Was this originally made for TV? I thought perhaps someone was just ambitious enough to make a six hour film. The cinematography was excellent as well and this never \"looked\" like a TV movie.','37569e6db101b854a7053879f7f2d4dd',0,'','gtnejEyS',1,0,'',0,0,0),(8618,1592,3,1,0,'69.120.114.47',1170084060,1,0,1,1,1,1,'hengcs','The Last King of Scotland (UK) (2006)','Director: Kevin Macdonald\r\nCast: Forest Whitaker, James McAvoy\r\n\r\nhmmm ... cant seem to locate it in the index, no one has watched?\r\n\r\nConclusion:\r\nhmmm ... recommended ...','1b44b91623f5b165767cba84d5ec775a',0,'','P6xerAol',1,0,'',0,0,0),(8619,1592,3,1,0,'69.120.114.47',1170509220,1,0,1,1,1,1,'hengcs','Re: The Last King of Scotland (UK) (2006)','i have just read justin\'s review on Gnral Idi Amin Dada: Autoportrait (1974) (Barbet Schroeder)\r\n\r\nwww.sgfilm.com/forum/view...php?t=4511','62714bc97ed9655d74845e80ac687fb6',0,'','sQ6lG7gK',1,0,'',0,0,0),(8620,1592,3,1,0,'69.120.114.47',1199756340,1,0,1,1,1,1,'wpqx','Re: The Last King of Scotland (UK) (2006)','I would be quite happy if a film shot in Africa by whites for once didn\'t decide to use color filters. Kevin Macdonald (best known for several documentaries) employs the cliche tactic that a hand held camera must make it seem like non-fiction. All too many films have been made in recent years about Africa and somehow they all seem to say the same thing, that all Africans are crazy lunatics that need the great rational white man to keep them in line. However I guess the \"real\" Africa that you may find in African made films isn\'t cinematic enough for mainstream tastes. This film was far too formulaic and condescending to really enjoy, but next to Blood Diamond this looks like Citizen Kane. I would say Forrest Whitaker\'s performance is great, but he almost appears as a supporting player in his own story. So yet again a tale of Africa and Africans is seen through the eyes of a white man (Hotel Rwanda was the closest thing to an exception). I miss the old Africa of movies where white men just shot tigers and lions.','2b1e781229ad4e02370947c39c2eebb2',0,'','GMjxTQvL',1,0,'',0,0,0),(8621,1593,3,1,0,'69.120.114.47',1199693520,1,0,1,1,1,1,'hengcs','Something Like Happiness (Stest) (Czech Republic) (2005)','\r\n\r\nDirector: Bohdan Slma\r\nCast: Tatiana Vilhelmov, Pavel Liska, Anna Geislerov\r\n\r\nThis film was Czech Republic\'s submission to Oscar 2006.\r\n\r\nSynopsis\r\n\r\nMy Thoughts\r\n\r\nConclusion\r\n\r\nWILL WRITE BY TOMORROW ... GONNA DO SOME IMPT WORK ...','ea2ef78fdde8d4f6274357096a16c505',0,'','A7maZu9V',1,0,'',0,0,0),(8622,1594,3,1,0,'69.120.114.47',1198411260,1,0,1,1,1,1,'hengcs','I Served the King of England (2007) (Czech Republic)','\r\n\r\nDirector: Jir Menzel\r\nCast: Ivan Barnev, Oldrich Kaiser, Julia Jentsch, Martin Huba\r\n\r\nThe film is representing Czech Republic for Oscar 2008\r\nIt also garnered the FIPRESCI Prize at Berlin International Film Festival 2007\r\n\r\nSynopsis\r\nBased on the novel by Bohumil Hrabal, it traces the life of Dite from a supposedly \"low class\" waiter to a supposedly \"much desired\" millionaire, only to be hit by a \"reversal of fortune\" ... \r\n\r\nMy Thoughts\r\n\r\nTwo things caught me ...\r\n\r\n(i) THE STYLE\r\n\r\n-- It really feels like watching some of those old silent films again, except in color ... hee hee ... There are scenes that will remind you of some other films, so go spot them ...\r\n\r\n(ii) THE HUMOR/WIT/LINES ...\r\n\r\n-- Paradox of life ... that luck/fortune always come at his most unlucky/unfortunate moments ...\r\n\r\n-- Irony of life ... although many aspire to be a millionaire, but when the protagonist finally gets all the money that he wants and be a millionaire, it is not a life that many would want ...\r\n\r\n-- Many more ... about politics, about money, about survival, about s**, about entertainment, etc ... It is about man, It is about woman ... In general, it is all about the human race ...\r\n\r\nConclusion\r\nRecommended, mainly for its style and sense of humor/wit. However, handling humor is always tricky, as some people might feel offended.','c3d6260efa88bb3b223b2cc2087edc80',0,'','sDUR7gCH',1,0,'',0,0,0),(8623,1594,3,1,0,'69.120.114.47',1198614180,1,0,1,1,1,1,'arsaib4','Re: I Served the King of England (2007) (Czech Republic)','I believe this is the first feature Menzel has made since 1994. But if you\'d like to see more from him, Closely Watched Trains (1966) would be an ideal place to start.','196807586acfb3b6e58b02abc0c5ebc5',0,'','miEWBMX6',1,0,'',0,0,0),(8624,1594,3,1,0,'69.120.114.47',1199453220,1,0,1,1,1,1,'hengcs','Re: I Served the King of England (2007) (Czech Republic)','thnks for recommending\r\nwill try to catch it','8fed230a25a8ca58000c5e415de7c932',0,'','9VoDBiTU',1,0,'',0,0,0),(8625,1595,3,1,0,'69.120.114.47',1192763280,1,0,1,1,1,1,'arsaib4','David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','[From TIFF \'07]\r\n\r\n\r\n\r\nI was hoping that wpqx would, as they say, \"take care\" of Eastern Promises, the latest from Canadian master David Cronenberg, but hes seemingly very busy. My situation currently isnt much better, which is the primary reason why Ive decided to simply add a few notes instead of a traditional review. \r\n\r\n*As was the case with A History of Violence (2005), Eastern Promises didnt derive from the beautiful mind of Cronenberg. And the original script -- about Eastern European human trafficking -- by British scribe Steven Knight (Dirty Pretty Things [2002]) was initially intended for BBC television. Needless to say, however, quite a few changes were made once Cronenberg came on board. \r\n\r\n*The aforementioned Stephen Frears effort and Eastern Promises are both situated in London and deal with clandestine subcultures. In the latter, its prominently groups of \"Russian\" expats who have pursued radically different lifestyles from one another in their new homeland. \"When you have a culture thats embedded in another, theres a constant tension between the two,\" Cronenberg recently stated. \"In the U.S. the melting pot was supposed to mean you come and you absorb American values. But in Canada and England the idea of multiculturalism was something else. At its worst its you come and you live there, but you live in a little ghetto of your own culture that you brought with you. I suppose thats happening in the States with the Spanish language. Can multiculturalism really work? I dont know, but its an interesting study.\"\r\n\r\n*In both A History of Violence and Eastern Promises, Viggo Mortensens character compass remains in transition, though ambiguously so. (Here, he plays Nikolai Luzhin, a chauffeur/fixer for a crime family.) Ostensibly, the new film is so simple and generic that it could pass for a Christmas story (with a miracle, et al.). So, as Jim Hoberman of The Village Voice has pondered: \"Is our Nikolai an angel, or has Anna [Naomi Watts; a half-Russian midwife who comes upon the personal diary of a young victim] made a deal with the devil?\" With that in mind, the final moments of the film subtly impart another tragedy, one whose casualty also has a tendency to mark the travails.\r\n\r\n*Mortensens commitment to the project and his character alone deserves recognition. He reportedly went to Russia for research -- \"My goal was to make sure my character had a particular class, an ethnic and geographical background. I worked really hard on translating the slang and getting the body language right\" (Mortensen) -- even though the film is wholly set in the U.K. Vincent Cassel, who plays the violent and sexually insecure son of a crime boss, is equally effective (hes also the catalyst for the films homoerotic subtext); for once its good to see this very capable actor not embarrassing himself in an international production.\r\n\r\n*Cronenbergs career-long fascination with the human body certainly makes its presence felt. In Eastern Promises, Mortensens \"identity\" in inscribed on his skin, and, depending on the situation, both serves as a protective armor and an irrevocable blemish. (The much-discussed fight sequence in a Russian bathhouse [where \"you can see (the other mans) tattoos] truly needs to be seen to be believed.) \r\n\r\n*The well-lit domestic sequences involving Anna, her mother, and her ex-KGB uncle (Jerzy Skolimowski) may not play very smoothly but are quite revealing, nonetheless. While the reasoning behind Annas dedication to a newborn is made fairly explicit, what isnt perhaps is her disposition. In one of the scenes, her uncles off-the-cuff remark about interracial couples is followed by another more politically correct one, but in this process we do learn a little about Anna, and after also taking in her wardrobe and other accessories, we could possibly deduce that shes a tad more defiant than your average midwife. Not surprising, then, that her interest in Nikolai is obvious from the very beginning, and it\'s not simply due to his association with the family hes employed by.\r\n\r\nWhen its all said and done, A History of Violence may have a longer life span than Eastern Promises -- but that shouldnt necessarily be taken as a negative. The former simply wrestles with larger, more pertinent issues. The latter also isnt helped by the fact that its setting is neutral, which makes its politics rather quaint in comparison. But once again, Cronenberg has been triumphant in subverting seemingly innocuous material.\r\n\r\nGrade: B+\r\n_______________________\r\n\r\n*The film had its World Premiere at Toronto; it won the fest\'s People\'s Choice Award.\r\n\r\n*Related: David Cronenberg THREAD.','ef050376c969a1a02009621716395fbf',0,'','RsNUbadg',1,0,'',0,0,0),(8626,1595,3,1,0,'69.120.114.47',1198479960,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','The DVD from Universal comes out on December 26. Two short featurettes -- Secrets and Stories and Marked for Life -- are included as extras. (A perfect holiday movie for the entire family. )','fa09b30a8a1eebc81b81a0e42f04cce8',0,'','fwZhNJP0',1,0,'',0,0,0),(8627,1595,3,1,0,'69.120.114.47',1198480980,1,0,1,1,1,1,'wpqx','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','I\'m most certainly looking forward to it.','669b9efa7b378af562ba768220887bdd',0,'','8YiSnmCX',1,0,'',0,0,0),(8628,1595,3,1,0,'69.120.114.47',1198934700,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','Review: \r\n\r\nWhen Nikolai (Viggo Mortensen) stands bare and initiated in front of an unsavoury conclave of old men, his heavily tattooed physique and scarred form disclose a imperative of duty and an identity given in a city that holds none. The arcane nature of Nikolais shadowy being brings about lines of honour and undead servitude, a testimony of corruption through an examination of physical transformations and the concept of the self. The disfigurement of the frame also wretches the spirit as David Cronenberg typically queries the relationship between the body and soul. The question emerges: Who are these men that feed on others? The vampiric cabal feasts on the citys death and its overwhelming despair, and only those who have truly revoked humanity are inducted into their sphere. \r\n\r\nIn Cronenbergs masterful Eastern Promises, London is presented as a teeming hive of ethnic and ethical tensions fueled by the cultural isolation of its displaced immigrants. The turmoil beneath its temperate exterior is palpable; a rumple felt only when a corpse is thrown into the Thames as another surfaces, bringing with it a cache of buried secrets. Russian blood is spilt simultaneously, the last of which brings a dead teenage prostitutes newborn to midwife Annas (Naomi Watts) care as an intermittent narration from the dead girls diary reveals a quaint concept of sympathy that is only shown to only those that deserve it. \r\n\r\nFrom hamburgers to caviar, Cronenberg crosses the same themes and inquiries that he explored in A History of Violence, intriguingly casting the stupendously virile Mortensen and then incisively inflicting the same sorrow on the fractured personalities and tortured moralities of his taciturn characters. Slick and severe with a lurking mood of insinuating hostility behind every corner, the one thing scarier than the presence of evil is the absence of anything at all. The cold void left behind in all-American family mans Tom Wells as he finally sat down at the dinner table is transported to the grunge of inner city London, where Nikolai waits as a driver (among other things) outside a tranquil Trans-Siberian restaurant, a swanky shroud for its venal cults within. With a wry and cynical sense of humour, Nikolai is deadly aware of the world he operates in and he traverses it with a brutal intelligence. Mortensens angular features and sturdy physicality once again serve to accentuate these moral ambiguities and add to the edge of his fascinating character in a completely ravishing performance of technique and control. \r\n\r\nCronenberg retains the clinically intense sensibilities of violence and its acceptance from his previous film and ups the ante here with even more memorable set pieces. Injecting the incongruent melodrama of the screenplay from Steven Knight (writer of another London-based migr themed, Dirty Pretty Things) with fluidity and verve, Cronenberg puts physical vulnerabilities before emotional ones. Even through the flourishes of explicit violence, he maintains an aloof velocity of motion and precision that while rigidly formal in its explosive rage, also surveys its images with ambivalent guile. He takes the mobster genre and removes the romanticism of unspoken brotherhood and strained lines of its cryptic inner world by focusing on its various characters seemingly stoic responses to their environment and their own perpetual criminality by constantly stripping away to reveal more instances of truth. \r\n\r\nThe father-son combo that rounds off Nikolais nucleus in the vory v zakone (the Russian mafia) is the uncompromising godfather, Semyon (a strong performance by Armin Mueller-Stahl) who controls his family with fear rather than respect, and Semyons volatile progeny Kirill (Vincent Cassel). Both prominently entwined in its backstory of modern flesh trafficking together with Watts underappreciated tidal waves of guilt and complexities that relate to the newborn and the untranslated document of suffering that binds them together. But Nikolai emerges as Cronenbergs sincerest preoccupation, a study of a man guarded with surreptitious anguish whose only reprieve from Cronenbergs contemplation of personal horror is a penultimate shot that is as blistering a shot of familial guardianship as you are likely to find anywhere in his oeuvre.','ea4becef9d434b6b2ef0e27fdbc91543',0,'','VJvdM7UQ',1,0,'',0,0,0),(8629,1595,3,1,0,'69.120.114.47',1199051700,1,0,1,1,1,1,'R6dw6C','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','Your reviews display both a point of view that is very different from mine, arsaib and justin. But that\'s why it was fascinating to read them in peace. I watched it this morning and what impressed me most (I have to confess that I were a little bit tired) was the complete but subtle turn of Cronenberg from a life-long lasting series of \"guilty\" films to a work that evokes an elegy for pure innocence in the characters. Cronenberg deflorated the self-confidence and the Instinct within human sense so much over almost three decades and now, he faces with the total opposite. But he didn\'t get completely rid of his popular trademarks and the physics of his earlier films changed to a gambling with sensual surfaces and arrangements of people with their environment (at least, in some remarkable Scenes). The whole film was so magnificently sublime but in a very specific way that was mostly far from a study about human behaviour patterns (is this word correct?) and more spiritual but yet, also very naturalistic without being realistic. Ah, it\'s difficult to get it clear when you\'re tired. But yes, it\'s a marvellous piece of Cinema and indeed one of the most remarkable films of 2007. And almost all of the actors where absolutely stunning - maybe except of Naomie Watts who\'s been better in the past. \"Eastern Promises\" is most interesting in the context of Cronenberg\'s whole Oeuvre but less interesting as a stand-alone film, imo. (23 out of 25)\r\n\r\nBy the way, a funny anecdote: Armin Mller-Stahl dubbed himself in the (surprisingly good) German version and each time when his character Semyon raises his voice (especially in the scene where he\'s angry about the murder his son commited), he didn\'t really manage to keep the russian accent and starts to speak German fluently without any accent.','15129df70818529438e7259d996b1908',0,'','skWx0Fl3',1,0,'',0,0,0),(8630,1595,3,1,0,'69.120.114.47',1199053680,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','This is great \r\n\r\nAn acquaintance of mine has also shared his changing perceptions on Cronenberg recently by saying he\'s lost his edge and is now being led around by Big Central Themes and is basically cruising on his reputation. I disagree with him of course, but I don\'t know if I would say he\'s subtly turned into a more pensive purveyor of gentle humanness. I found evidence of this in The Fly when he allowed the sadness of the human core be stated. Perhaps its always been there. Or perhaps the fact he\'s worked on 2 similar films now by source materials other than his own has indeed given him more to flesh out.','0f7d19a602abb206c9d37b9b6ce30528',0,'','Fs7YrEDH',1,0,'',0,0,0),(8631,1595,3,1,0,'69.120.114.47',1199083980,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','\"An acquaintance of mine has also shared his changing perceptions on Cronenberg recently by saying he\'s lost his edge and is now being led around by Big Central Themes and is basically cruising on his reputation.\"\r\n\r\nI don\'t see such implication anywhere in R6dw6C\'s post (or in mine, for that matter).\r\n\r\n________________\r\n\r\n\"Your reviews display both a point of view that is very different from mine, arsaib and justin.\"\r\n\r\nAnd to me our point-of-views seem pretty much the same. Despite the fact that \"masterful\" is an adjective I associate with A History of Violence, not Eastern Promises, as it\'s obvious from my post/grade, I do admire the latter quite a bit.\r\n\r\n\"But he didn\'t get completely rid of his popular trademarks and the physics of his earlier films changed to a gambling with sensual surfaces and arrangements of people with their environment.\"\r\n\r\nGood point. Cronenberg\'s oeuvre was fresh in my mind while I reviewed A History of Violence but that unfortunately wasn\'t the case here. If one looks closely enough at the likes of Scanners and Videodrome, his fascination with isolated communities and subcultures does make its mark.\r\n\r\n\"And almost all of the actors were absolutely stunning - maybe except of Naomi Watts who\'s been better in the past.\"\r\n\r\nPerhaps. Her character was relatively straightforward when compared to that of Mortensen\'s or even Cassel\'s.\r\n\r\n\"Eastern Promises\" is most interesting in the context of Cronenberg\'s whole Oeuvre but less interesting as a stand-alone film, imo.\"\r\n\r\nInteresting. I find it difficult now to consider the two as separate entities. In fact, that may be virtually impossible to do.','527b461353f9ae39ec032e415beb305a',0,'','US3gV8PA',1,0,'',0,0,0),(8632,1595,3,1,0,'69.120.114.47',1199087340,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','I don\'t see such implication anywhere in \'s post (or in mine, for that matter).\r\n\r\narsaib, what implication would that be? I was merely sharing with R6dw6C a differing point of view that someone recently shared with me. I thought it was apropos to point out that with Eastern Promises, another long time admirer of Cronenberg has also noticed something different about him, his approaches and possibly his themes.','ff56f902f30fcf566342966a435f67fa',0,'','y1an6YoC',1,0,'',0,0,0),(8633,1595,3,1,0,'69.120.114.47',1199087820,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','\"An acquaintance of mine has also shared his changing perceptions on Cronenberg...\"\r\n\r\nThat could throw one off a bit.','6d3804cc689c152f14aded8be91571e8',0,'','WV32Zajg',1,0,'',0,0,0),(8634,1595,3,1,0,'69.120.114.47',1199088540,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','It could. But I personally thought R6dw6C was sharing his changing perceptions of Cronenberg as well.','e22593abc3a3394d0844b880291a5329',0,'','3sHWufvP',1,0,'',0,0,0),(8635,1595,3,1,0,'69.120.114.47',1199144820,1,0,1,1,1,1,'R6dw6C','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','\"A History of violence\" and \"Eastern Promises\" certainly forced many to rethink about their access to Cronenberg and that\'s what I also felt while watching \"Eastern Promises\" after \"A history of Violence\" was a personal let-down for me two years ago - and as I hadn\'t seen anything by Cronenberg before, that probably was no surprise (a rewatch would be necessary, I guess). So, it maybe isn\'t merely a change of perception but the opening of a new horizon which has already been there [in Cronenbergs previous films] but took a time until now to be opened. \r\n\r\nThat\'s probably what you meant, Justin, wasn\'t it? \r\n\r\nIn my opionion, \"Eastern Promises\" has a lot in common with \"Videodrome\" and \"eXistenZ\" (and it only a coincidence that those two films are very similar). Because - as I stated before - \"Eastern Promises\" seems to be a     reconciliation after a whole bunch of films which deflorated the wanted innocence of mankind (innocence in several ways, not only sexual and religious, though this seems obvious at the first sight) and now, in this film, Cronenberg finally agreed to learn how to understand this aspiration. That\'s maybe the reason why (to me) the only strong difference between his last two films and the earlier ones seems to be within the style and the narration.\r\n\r\nAnd to me our point-of-views seem pretty much the same. Despite the fact that \"masterful\" is an adjective I associate with A History of Violence, not Eastern Promises, as it\'s obvious from my post/grade, I do admire the latter quite a bit.\r\n\r\nWell, maybe I misunderstood your review a bit, arsaib. It\'s difficult to read quality reviews in english and understand everything without a dictionary. It\'s all a matter of the formulation and the tone. Now, that I\'ve seen many of Cronenberg\'s films within the last two years and appreciate \"Easter Promises\" that much, I\'ll maybe agree with you about the \"masterful\" AHOV when I see it again.\r\n\r\nGood point. Cronenberg\'s oeuvre was fresh in my mind while I reviewed A History of Violence but that unfortunately wasn\'t the case here. If one looks closely enough at the likes of Scanners and Videodrome, his fascination with isolated communities and subcultures does make its mark.\r\n\r\nI agree. But beside that (\"isolated communities and subcultures\") don\'t you think that Cronenberg even kept some of his early surrealism/symbolism which makes the disappointed comments from \"Cronenberg-Fans\" even more strange? The kitchen talk between Watts and Mller-Stahl or Mortensens forced sex with the Ukrainian Girl had a total otherworldly and surreal note, especially the first one. Naomi Watts being the virgin lamb (her naivety in that [not only that!] scene is so over-the-top that it has to be intentional) and Mller-Stahl the Uncle wolf. Certainly a simple metaphor but it can be developed further and further - a movie about aspired innocence which cannot be reached by returning only to a profane lifestyle certainly wins by using such fabulous symbolism.\r\n\r\nPerhaps. Her character was relatively straightforward when compared to that of Mortensen\'s or even Cassel\'s.\r\n\r\nThe more I thought about her character and the mentioned scene with her and Mller-Stahl, the more her acting enhances in retrospect. Her dubbing voice was a bit weaker compared to the other actors, though. That always an unpleasant fact to incorporate nowadays...(over here, of course).\r\n\r\nInteresting. I find it difficult now to consider the two as separate entities. In fact, that may be virtually impossible to do.\r\n\r\nA stand-alone film and a Cronenberg-Film as two separate entities? If you meant that, I totally agree, though I\'d love to read \"Written and Directed by David Cronenberg\" in the credits of his next film. Too bad that I couldn\'t utilize \"A history of Violence\" while recepting (and reviewing [in German]) this one, your high appreciation for it evokes new interest. \r\n\r\n@ Justin again:\r\n\r\nProbably, we\'re talking of the same things.','cf9c3e8d1d303e2382d07aa2860201e3',0,'','sb7T0YKB',1,0,'',0,0,0),(8636,1595,3,1,0,'69.120.114.47',1199168520,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','I\'m glad you replied in detail. So, to sum up your stance, you don\'t think that Cronenberg has lost his edge and is now relying on his reputation but you are now perceiving him in a new light due to the knowledge you\'ve gained since you initially explored him. Is that about right? \r\n\r\nEastern Promises\" seems to be a propriation after a whole bunch of films which deflorated the wanted innocence of mankind...\r\n\r\nThat\'s an interesting point but you need to use a different word in order for it to be understood correctly. Thanks.\r\n\r\nThe kitchen talk between Watts and Mller-Stahl or Mortensens forced sex with the Ukrainian Girl had a total otherworldly and surreal note, especially the first one.\r\n\r\nI\'ll give you the first one. That\'s why I mentioned the lighting which sort of unhinges the netherworldy tone the film was awashed in. \r\n\r\nwpqx is also a big fan of AHOV. But, ahem, I\'m still waiting to read his thoughts on EP.','eab86bd02eef525111a80a562e1295b7',0,'','QWju5a9c',1,0,'',0,0,0),(8637,1595,3,1,0,'69.120.114.47',1199170320,1,0,1,1,1,1,'R6dw6C','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','I\'m glad you replied in detail. So, to sum up your stance, you don\'t think that Cronenberg has lost his edge and is now relying on his reputation but you are now perceiving him in a new light due to the knowledge you\'ve gained since you initially explored him. Is that about right?\r\n\r\nYes, that\'s it.\r\n\r\nThat\'s an interesting point but you need to use a different word in order for it to be understood correctly. Thanks.\r\n\r\nA, where are you, what does \"Vershnung\" means in english? \r\n\r\nCould \"reconciliation\" be correct? Maybe, even \"deliverance\" could be an adequate word for Cronenberg\'s turn (maybe, he already made this turn with AHOV but if so, I couldn\'t recognize it two years ago, of course).\r\n\r\nI\'ll give you the first one. That\'s why I mentioned the lighting which sort of unhinges the netherworldy tone the film was awashed in.\r\n\r\nThat\'s a great note, arsaib. Without the most violent scenes (I have to mention that the violence in EP really disgusted me a lot more than any film I\'ve seen within the last few months), the film could might be even some sort of fairy tale (which, in opposite, wasn\'t true with most of Cronenbergs earlier works except of maybe \"Naked Lunch\").\r\n\r\nBtw, I forgot to add what really flawed the film most: It is far too plot-driven. But maybe, this is only an early impression out of a small disappointment that Cronenberg preferred a very linear and, in a way, conventional narration here. Perhaps, it\'ll seem more suitable within a second viewing.\r\n\r\nwpqx is also a big fan of AHOV. But, ahem, I\'m still waiting to read his thoughts on EP.\r\n\r\nOh, he already pointed out that he regrets missing it, so he probably (and hopefully) won\'t wait too long for the DVD I\'m also looking forward to read a few more comments on \"EP\" here. Can\'t imagine what A may think about it (if he ever sees it;-).','62c6cb17b82f06922baf59231f507c56',0,'','k5nEwVa3',1,0,'',0,0,0),(8638,1595,3,1,0,'69.120.114.47',1199182380,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','\"A History of violence\" and \"Eastern Promises\" certainly forced many to rethink about their access to Cronenberg and that\'s what I also felt while watching \"Eastern Promises\" after \"A history of Violence\" was a personal let-down for me two years ago - and as I hadn\'t seen anything by Cronenberg before, that probably was no surprise (a rewatch would be necessary, I guess). So, it maybe isn\'t merely a change of perception but the opening of a new horizon which has already been there [in Cronenbergs previous films] but took a time until now to be opened.\r\n\r\nYes, I think it\'s fair to say a new horizon from which we can appreciate this fabulous director is the best way to sum it up. Unfortunately, I\'ve talked to others who would prefer an old school Cronenberg despite noticing these subtleties you pointed out, which leads me to my next point.\r\n\r\nI\'m glad you replied in detail. So, to sum up your stance, you don\'t think that Cronenberg has lost his edge and is now relying on his reputation but you are now perceiving him in a new light due to the knowledge you\'ve gained since you initially explored him. Is that about right?\r\n\r\narsaib, I\'m a bit bemused that you think that\'s what I extrapolated from his initial post when it\'s plainly clear that I was just conveying someone else\'s opinion about Cronenberg and Eastern Promises in contrast to R6dw6C\'s own observations.\r\n\r\nBtw, I forgot to add what really flawed the film most: It is far too plot-driven. But maybe, this is only an early impression out of a small disappointment that Cronenberg preferred a very linear and, in a way, conventional narration here. Perhaps, it\'ll seem more suitable within a second viewing.\r\n\r\nI might have to agree with you there, though I was not really bothered by it as I watched the film but only when thinking back about the inpetuses driving the characters. There\'s a significant scene at the end that I think drove home the point of corruption (of the more profound sort, I\'d imagine) a bit too far into the ground.','927db99fce361b151722fe340108b082',0,'','mofQYiHx',1,0,'',0,0,0),(8639,1595,3,1,0,'69.120.114.47',1199182740,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','No, it wasn\'t \"plainly clear.\" I believe we\'ve already gone over this once.','a5a12cb852b2859faeecec54bef5c79e',0,'','e8GhavRq',1,0,'',0,0,0),(8640,1595,3,1,0,'69.120.114.47',1199183160,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','Perhaps I was just responding to the presumptuousness that might have been in your post that followed mine to R6dw6C\'s. This was my post:\r\n\r\nAn acquaintance of mine has also shared his changing perceptions on Cronenberg recently by saying he\'s lost his edge and is now being led around by Big Central Themes and is basically cruising on his reputation. I disagree with him of course, but I don\'t know if I would say he\'s subtly turned into a more pensive purveyor of gentle humanness. I found evidence of this in The Fly when he allowed the sadness of the human core be stated. Perhaps its always been there. Or perhaps the fact he\'s worked on 2 similar films now by source materials other than his own has indeed given him more to flesh out.\r\n\r\nAnd I think it was pretty clear when I added: \"I disagree with him of course\" after I paraphrased the aforementioned acquaintance\'s (and subsequently disagreed with) different point of view from the rest of us in the context of furthering a discussion on the \"changing perceptions on Cronenberg\".','c024d16e16f933c78b751b2d4fa6baae',0,'','LHSbi2Eo',1,0,'',0,0,0),(8641,1595,3,1,0,'69.120.114.47',1199221920,1,0,1,1,1,1,'R6dw6C','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','Yes, I think it\'s fair to say a new horizon from which we can appreciate this fabulous director is the best way to sum it up. Unfortunately, I\'ve talked to others who would prefer an old school Cronenberg despite noticing these subtleties you pointed out, which leads me to my next point.\r\n\r\nWell, I tend to prefer Cronenberg\'s elder films as well (\"Videodrome\" is probably my personal favourite - but also 2002\'s \"Spider\") because in my opinion, \"Eastern Promises\" is sometimes a bit too plain, let\'s say, apparently. It\'s still quite subtle, but the intangible (hopefully, that\'s the right word), unconscious, \"disembodied\" things that were given more space in his early works, has now decreased a bit. It all seems a bit more \"conscious\" and material (less spiritual and esoteric) which can be interpreted both as a fortune or a disadvantage (I\'m somewhere in between).\r\n\r\nThere\'s a significant scene at the end that I think drove home the point of corruption (of the more profound sort, I\'d imagine) a bit too far into the ground.\r\n\r\nYes, I think, I understand what you mean. That was a bit awkward.\r\n\r\nI might have to agree with you there, though I was not really bothered by it as I watched the film but only when thinking back about the inpetuses driving the characters.\r\n\r\nMe neither, it was more an aftertaste that came up when I started to write a review (yes, unfortunately in German again).\r\n\r\n@ arsaib & Justin:\r\n\r\nOf course, I won\'t participate in your personal argument.','aaa4556436c046fa2d620fb1e8f2e86c',0,'','j1ckBaFb',1,0,'',0,0,0),(8642,1595,3,1,0,'69.120.114.47',1199355060,1,0,1,1,1,1,'justindeimen','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','Well, I tend to prefer Cronenberg\'s elder films as well (\"Videodrome\" is probably my personal favourite - but also 2002\'s \"Spider\" because in my opinion, \"Eastern Promises\" is sometimes a bit too plain, let\'s say, apparently. It\'s still quite subtle, but the intangible (hopefully, that\'s the right word), unconscious, \"disembodied\" things that were given more space in his early works, has now decreased a bit. It all seems a bit more \"conscious\" and material (less spiritual and esoteric) which can be interpreted both as a fortune or a disadvantage (I\'m somewhere in between).\r\n\r\nDo you mean Cronenberg\'s previous preoccupation with all things physical compared to his recent film\'s exploration of the mind/soul - if you mean the intangibles that is? \r\n\r\n@ arsaib & Justin:\r\n\r\nOf course, I won\'t participate in your personal argument.\r\n\r\nI would hope this isn\'t a personal argument, but I understand that it\'s sometimes easy to fall into that category when all we have are keyboards and late nights to converse about personal things like cinema. But if it does feel like an argument to anyone, I sincerely apologise to arsaib for making a perfectly good topic turn uncomfortable.','14b3d7a1bb9847ff08cf6a67365943c5',0,'','r7FdcY1X',1,0,'',0,0,0),(8643,1595,3,1,0,'69.120.114.47',1199431800,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','No apologies necessary. Such minor misunderstandings do occasionally occur in online discussions. But thanks for your concern.','7b0eabc63194244f66f005d773f2d360',0,'','NWX7qcPx',1,0,'',0,0,0),(8644,1595,3,1,0,'69.120.114.47',1199452680,1,0,1,1,1,1,'hengcs','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','A History of Violence \r\n\r\nA few questions I still remember/ask ...\r\n-- what is truly past and what is truly present? should one be burdened by the past or even the future? should one be judged by the past or the future? \r\n-- what is hero and what is devil? by what yardsticks and by whose standards?\r\n\r\nEastern Promises\r\n\r\n(i) I particularly like the beginning which is gripping. Also, I like the way the two seemingly separate stories are subsequently weaved. However, I do not exactly like two scenes/plot ... \r\n* MAJOR SPOILER *\r\n-- the police, on knowing that they are going to criminalize the head for having s** with the minor, does NOT actually protect the last evidence (i.e., the baby)\r\n-- that Viggo manages to convince Vincent (so \"easily\") NOT to drown the baby \r\n* END OF MAJOR SPOILER *\r\n\r\n(ii) Cast\r\n-- Viggo steals several scenes ... * clap *\r\n-- Although Vincent Cassel is not as overwhelming, I have to admit that I didnt realize it was him initially ... ha ha \r\n-- Naomi, to \"like\" her (for being a nice gal) or \"hate\" her (for being so \"naive\"?! ...\r\n\r\n(iii) It makes you think about human ... they are always complicated ... they struggle between right and wrong ... they struggle between family/friends and outsiders ... they struggle between survival/life and death ...\r\netc\r\n\r\nConclusion\r\nHighly recommended (already to a few friends). Why? Although it boasts of artistic merits, many of my friends who are more story driven/violence driven (ha ha) will find the story compelling ... until maybe near the end?!','3aff54284d60f0ea957f9d5f14091868',0,'','EkruUxHo',1,0,'',0,0,0),(8645,1595,3,1,0,'69.120.114.47',1202298660,1,0,1,1,1,1,'wpqx','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','Well it seemed like there was some devil doing everything in their power to prevent me from seeing the film. The week of its exclusive premiere I found myself working. Then I opted to see it in Springfield with the same person I saw History of Violence with but being from out of town we were unable to find the theater. So once poverty crept up I figured DVD would be the place for me. Well after about 7 weeks to the day it finally came in. Facets carries five copies of it and I *$$! you not I asked every time I went in there (which is about four days a week). However despite the built up anticipation and frustration it wasn\'t like I waited for years in this case. I found that the film rather expertly picked up where AHOV left off. After catching a little of AHOV on cable awhile back I started to think that that particular film might be one for the ages, one that gets better with age. Eastern Promises might be that as well. Cronenberg was exposing something larger in AHOV, something that spoke about America and its violent inclinations. Here violence is looked at in a different light. The question isn\'t whether violence is ever justified, but is it necessary? Mortensen\'s character almost takes a pacifist standpoint attacking pretty much only when attacked. Throughout the film he\'s the mediator, and few films have such a subtle but believable character arch. This isn\'t a film that has a great reveal that disrupts the narrative, because it is believable. When we first meet him he looks creepy and a little intimidating. However the relationship is set up to lead us to \"hope\" he\'s not quite a bad guy. \r\n\r\nThe cast is great as an ensemble and it is interesting how someone from France, Germany, Poland, and England could all believably play Russians. I know nothing about the real Russian underworld so I can\'t comment on their research but human trafficking is just as prevalent here. There was a strip club close by that got busted awhile back for bringing in a bunch of Eastern Europeans and keeping them in squalid conditions, so clearly that problem isn\'t exactly exclusive to England. With Watts I felt a great deal of compassion for her character. I didn\'t think her attraction to Vigo was instant, in fact I thought she was rather put off by him, much the same way we were. She seemed creeped out a little and untrustworthy when he offered her a ride, but with a great deal of subtlety it seemed believable that she would warm up to him. I love the gradual nature of the whole film, because nothing really \"explodes\" here, it simply builds gradually, layering in a subtle way. \r\n\r\nPart of me is hoping Cronenberg will start writing again, because as great as this and AHOV might be I still think his best work came when he was at least co-scripting his films. Not to say that he didn\'t have a great deal of control over this project and didn\'t take some liberties with the script, but it doesn\'t seem wholly like one of his creations.','83f414cb65857887642b04dc6d0096a9',0,'','SfodzhmN',1,0,'',0,0,0),(8646,1595,3,1,0,'69.120.114.47',1208985180,1,0,1,1,1,1,'jcdavies','Re: David Cronenberg\'s Eastern Promises (U.K.-Can-U.S. / 2007)','I\'m not sure about loss of edge, as i\'ve not been the biggest fan of his earlier films, though it does seem he\'s moved towards the mainstream. History of Violence disappointed me, but i did enjoy this one- brooding atmosphere and surprising international cast- Cassel?- (with noticeable and not clearly reasoned changes between Russian and English dialogue). Mortenson gives a strong performance, seems gifted with accents and languages (miklosk would be able to say), and the attempted murder in the Turkish bath is dramatic, Naomi Watts is likeable and believable but perhaps there\'s less depth to her character than in some of her other major roles (eg Mulholland Dr)?','eecd4f457ca5a774bb1e6ba8270426dd',0,'','o5YADkeJ',1,0,'',0,0,0),(8647,1596,3,1,0,'69.120.114.47',1118624520,1,0,1,1,1,1,'trevor826','Good Morning, Night - Buongiorno, notte (2003)','Good Morning, Night - Buongiorno, notte (2003) \r\n\r\nReleased on region 2 DVD - Artificial Eye.\r\n\r\nJust a little info about the film, this is a kidnapping drama based on a real incident, a point that was driven home to me as I was watching the film, \"Aldo Moro\" and \"The Red Brigade\" took me back to my youth, they meant little to me then partly because of my age and because it happened in Italy.\r\n\r\nYou don\'t need to know or be interested in the historical context of the film as it works well as it stands, you follow the story sharing the feelings and thoughts of the only female of the group of kidnappers, Chiara as her mind twists and turns as the all too palpable levels of tension and futility rise. We are given insight to her true feelings through a number of dreams she has during the film, although you are unaware these are dream sequences until reality slaps you in the face. An extremely good drama, well devised, constructed and edited. \r\n\r\nAn excellent transfer of the best modern Italian film I\'ve seen for quite a while. Sound options allow for stereo and 5.1 surround although you don\'t get much use from the rear speakers, mainly quiet ambient noise and the odd burst of Pink Floyd.\r\n\r\nSubtitles are removable and are clear and sharp.\r\n\r\nAs far as extras go, there\'s a trailer for the film, a filmography for the director Marco Bellocchio and a very enlightening 40+ minute documentary covering the making of and giving some historical background to the film.\r\n\r\nA warning though, during the documentary you do see vintage film of executions, they may be old but they are still shocking.\r\n\r\nCheers Trev.','f9201e93c3bb6d78ff0b34243f220601',0,'','CN5ZuLhX',1,0,'',0,0,0),(8648,1596,3,1,0,'69.120.114.47',1118710140,1,0,1,1,1,1,'arsaib4','Re: Good Morning, Night - Buongiorno, notte (2003)','\"You don\'t need to know or be interested in the historical context of the film as it works well as it stands, you follow the story sharing the feelings and thoughts of the only female of the group of kidnappers, Chiara as her mind twists and turns as the all too palpable levels of tension and futility rise. We are given insight to her true feelings through a number of dreams she has during the film, although you are unaware these are dream sequences until reality slaps you in the face. An extremely good drama, well devised, constructed and edited. \"\r\n\r\nWell said! But I\'m sure there are a few who prefer to be spoon-fed, instead of using the web or the library on their own for something useful. It\'s a wonderful film and I\'m looking forward to its release in the U.S.\r\n\r\n______________\r\n[12/20/07 - Last Film Seen thread]\r\n\r\nA: \"I liked Buongiorno, notte, but if it hadn\'t been for Bellocchio\'s \"magic realism\" at the end, my appreciation of the film would be much lower. If you don\'t watch it as a character study, there is little else to recommend it. I don\'t think you absolutely need to know about the political background to appreciate the film. On the other hand, the first time one hears Pink Floyd on the screen, it isn\'t bad if you have a broader knowledge of politics (and films) in the 20th century. I was so emotionally moved during this scene, that I started to cry, which was a big surprise, as the moment in the movie almost seemed to come out of nowhere. One of the best and most powerful scenes I have seen in any film this year. \"\r\n\r\narsaib4: \"Floyd\'s \"The Great Gig\" and \"Shine On Your Crazy Diamond\" crystallized the pain, the fear, the anxiety of the era and, as I\'m sure I\'ve said before, Bellocchio adroitly managed them along with the other pieces. That was an emotional moment, A, and it also made me feel part of a larger scheme of things -- very unique. The fact that Bellocchio doesn\'t take away our power to dream, no matter how harsh the reality, was a hopeful sign, a sign of growth. As for the rest, his preoccupations were there -- the group\'s familial dynamics were especially quite fascinating to me. And his formalism, which doesn\'t get enough attention, was simply exquisite: Bellocchio\'s trademark play with light symbolized the contradictory ideologies and goals, all the more appropriate considering Good Morning, Night could qualify as a chamber drama.\"\r\n____________\r\n[Edit]Added 12/20','386ca84e5e5550930994c3bc31e71d53',0,'','ov8Am075',1,0,'',0,0,0),(8649,1596,3,1,0,'69.120.114.47',1198614840,1,0,1,1,1,1,'R6dw6C','Re: Good Morning, Night - Buongiorno, notte (2003)','I watched \"Buongiorno, Notte\" in the theater one day ago (and as Italian Cinema is one of my special interests of high importance, I couldn\'t miss it) and it took my breath away. If a film handles with political history in a political way, it very often ends up as precocious and dry intellectual mathematics but Bellocchio\'s film is a whole different thing to recept. A wonderful quote by German filmmaker Roland Klick came to my mind about humanistic reduction in cinema - I shall post it within the next days (as well as the first DVD-Index which I intended to give to you as some sort of Christmas gift ) and that cinema should move away social critism and politics to look at the process in the people themselves - because it\'s the motor of it all. Though the film gave it all an additional spiritual dimension, this was certainly the thing that impressed me most because Belloccio substituted all the usual impressions of similar films through the individual state and its strength. If I will ever be a filmmaker as I intend to, the consequence of that point of view would definitely be one of my prior \"rules\". Not to mention the amazing formalism which was, in way, really vivid and relaxed. And the use of the soundtrack, not only of the Pink Floyd piece but also that choir... It gave me the chills...Overall, possibly the last addition of my 2007\'s favourites (still awaiting \"Eastern Promises\"). The only thing that flawed the film really was the fact that of those five (or six?) protagonists, the only one who feels with Moro and regret the deed, is the only woman. Certainly. Women are more emotional than men. That was a bit patriarchal and annoying, imo. Even though the script moves around Chiara\'s (Maya Sansa) Character very deferently. And maybe, some cliches weren\'t bypassed cleverly enough but in the small, artificial universe in Bellocchio created in this flat, such faults aren\'t too obvious between characters moving like their own ghosts around each other - without being alienated in a common way. (22 out of 25 - 9/10)\r\n\r\nIt isn\'t necessary to know much about the historical / political background but I would\'ve been grateful if so.\r\n\r\nEDIT: Thanks for moving the thread, arsaib. Now, all posts are together and I realize that my post (and reception fo the film) has much in common with yours.','9b5ef9236cf3fbc2f671f15c9cfc008f',0,'','MT1o3vNl',1,0,'',0,0,0),(8650,1597,3,1,0,'69.120.114.47',1198326300,1,0,1,1,1,1,'hengcs','Vitus (2006) (Switzerland)','\r\n\r\nDirector: Fredi M. Murer\r\nCast: Teo Gheorghiu, Fabrizio Borsani, Julika Jenkins, Urs Jucker, Bruno Ganz \r\n\r\nThe film represented Switzerland in Oscar 2007.\r\n\r\nThe official website\r\nclick\r\nhttp://www.sonyclassics.com/vitus/\r\n\r\nSynopsis\r\nThis film is about a child prodigy, Vitus, whose parents have high hopes and aspirations of him. They want him to become a great pianist. But like many of these stories, is this in tune with what the child really wants? And often, how does the child fit into a society where he matures much faster than his peers?\r\n\r\nMy Thoughts\r\n\r\n-- For me, the better portion has to be the second half. While the first half boasts of some symbolisms and build up, it fails to \"delight\". It comes across as a story that we have so frequently heard about, and most likely, we can predict what will happen next ... is it gonna end with yet another predictably uplifting, triumphant realisation?!\r\n\r\n-- What I thought are the saving grace are these three components:\r\n\r\n(i) The grandfather. He carried his role so well that it really reminds us of some grandfathers that we have come across. His eccentricity and his words of wisdom (wisdom that confers with age?) make the film a worthy watch. His letter at the end also touches all the right chords and message ...\r\n\r\n(ii) The director and scriptwriters are very conscientious of peppering the film with symbolisms, similarities or analogies.\r\ne.g., listening, hearing, frequency, music, etc \r\ne.g., flying, fleeing, freedom, etc \r\nAlso, they deal with the important question of parents versus child, family and love, dreams versus reality, growing up and fitting into society, etc ... In the film, there are a few nice lines that are delivered ...\r\n\r\n(iii) The two actors for Vitus (at age 6 and 12) are great pianists. So, if you are a lover of classical music, you will like what they have played ... and be amazed ... Yup, young talents do exist among us ...\r\n\r\n\r\nConclusion\r\nI am not sure whether people will find the story entirely credible. Nope, I am not refering to the credibility of child prodigy, but the part whereby the kid earned great amount of money in stocks and shares. Beyond this, it is a nice film about dreams, family and love.','21753cac3c8534943f600dcb14b26c18',0,'','uXA1oDiy',1,0,'',0,0,0),(8651,1598,3,1,0,'69.120.114.47',1197615600,1,0,1,1,1,1,'hengcs','The Warlords (Tou Ming Zhuang) (2007) (Hong Kong)','\r\n\r\nDirector: Peter Chan\r\nCast: Jet Li, Andy Lau, Takeshi Kaneshiro, Xu Jinglei\r\n\r\nThe official website (with English)\r\nclick\r\nhttp://www.warlordsthemovie.com/\r\n\r\nSynopsis\r\nThe film is inspired by Cheh Chang 1973\'s film \"Ci Ma\"\r\nclick\r\nhttp://www.imdb.com/title/tt0069881/\r\n\r\nSuperficially speaking, it is a film about how three men got to become sworn brothers, and how subsequent events led to challenges and tension in their relationship ... \r\n\r\nMy thoughts\r\n\r\n-- In the beginning, I was kind of worried that the film might end up being one of those big budgeted films that had strived to impress with big battle scenes, grandiosity of scale or outrageous costumes, but with little plot. Fortunately, it did not. This time, the director and its crew aimed at realism and authenticity. Hence, the audience only sees predominantly brown, black, gray and dull colors (costumes and sets). While the fights are still impressive, they are more realistic. So, do not worry that there is any over the top choreography of fanciful flying or darting on water. \r\n\r\nBut what really grip are the plot and the characters \r\n\r\nTHE PLOT \r\n\r\n-- Initially, I was wondering how to craft this should I craft it like the way I analyzed 4:30 so that all my arguments are corroborated, but at the expense of many spoilers or should I just hint at all its possibilities but let the readers figure them out after they have watched the film After some thoughts, I opted for the latter. This is because part of the accolades goes to the plot and it is better to leave many events untold \r\n\r\n-- On the surface, it is a simple but nonetheless heart wrenching film about three men (two were bandits and one was a fallen general) who became sworn brothers. Predictably, numerous events would happen subsequently to challenge their bond many of which would be depressing, but at the same time thought provoking.\r\n\r\nOne of the lines said it well \r\nIn the present world, dying is not difficult, living is!\r\n\r\nWhat maketh a man? And to know the answer, one may ask what the three brothers represent in terms of a man\'s qualities i.e. Is it loyalty? trust? wit? courage? ambitions? ideals? belief? faith? passion? or love (not only romance)? etc\r\n\r\nBetween right and wrong, the line is often thin \r\nBetween good and evil, the line is thin too \r\nBetween realism and idealism, there are many tradeoffs \r\n\r\nWhat is important? is it the self? brothers? spouse? family? or the people? \r\nWhat constitute bravery? and what constitute stupidity/gullibility?\r\nWhat constitute sacrifices? and what constitute scheming/evil? \r\n\r\nWhat is war and peace about?\r\nWhat is bond and love about?\r\n\r\nPS: And if you manage to analyze the film from these aspects, you would find that it is a great film belying its simple plot \r\n\r\nTHE CHARACTERS \r\n\r\n(i) Jet Li \r\n- Unlike earlier films which mainly showcase his martial arts, his character is more complex this time. At the end, although it is easy for many audiences to dismiss and dislike him, claiming that he seeks personal aspirations and gains, it is not easy to convince oneself (but one HAVE TO) that Jet Li actually personifies many modern individuals, who are torn between personal and people, realism and idealism, etc if one is willing to scrutinize, one may not fault him entirely in other words, if you were in his shoe, what would you have done in those situations? Are you sure matters would have become better if you have opted otherwise? It is easy to claim he has done wrong on various occasions, but it is hard to claim that the alternative would be wise hence, I think the plot and characterization is great \r\n\r\n(ii) Andy Lau\r\n- Ok, many are going to laud him for his performance this time. And if nothing goes wrong, he should be one of the four in next years Golden Horse Award, vying for the Best Actor Award. But just a minute, one cannot deny that part of the charm goes to the fact that his role is such a likeable character even with its flaws At the end of the film, many of the audiences would be in tears over this tragic hero But on second thoughts, have you ever wondered, would his benevolence and bravery have worked in those situations to turn things around?\r\n\r\n(iii) Takeshi Kaneshiro\r\n- I want to credit him for a number of scenes and discredit the director/writer for three particular scenes \r\n\r\n* I try to minimize the possible spoiler * \r\n\r\nHe had the right expression at two scenes\r\n\r\n(i) When Jet and Andy were in tension, arguing over the criminal act of various teens, to kill or to spare them Takeshi was decisive with the correct expressions and stole the scene ... \r\n\r\n(ii) When Takeshi witnessed the betrayal, and his eyes met those of Jet great \r\n\r\n* End of possible spoilers * \r\n\r\nBut I thought three scenes spoil it (is it the director or scriptwriter or his fault?! Or all are to blame to some extent)\r\n\r\n* MAJOR spoilers * \r\n\r\n(a) Based on the lines delivered at the end, Takeshi should have committed suicide ... Somehow, it just did not seem correct to end the way it did \r\n\r\n(b) Takeshis line \"Eldest brother is always right\" somehow was not well executed ... we know the director/scriptwriter is trying to portray his simplicity/gullibility but the execution was bad why?! Many audiences laughed (though it was not meant to be comical). The line somehow sounded stupid I would rather have a voice over by Takeshi (like the beginning of the film) whereby he narrated in the correct emotions, something to the extent of \"At that time, I felt that eldest brother was right (optional) Maybe I still think so?!\" or something akin to that ... It would have touched more rather than sounded comical \r\n\r\n(c) In one of the earlier battle scenes, Takeshi had chopped off the head of the leader and showed it to everyone ... Somehow, I felt that his expressions were not correct (or not precise to convince his emotions). Making things worse, when the camera panned to those of Jet and Andy (maybe it was easier for them) their expressions stood out much better So, it contrasted and make Takeshis expression less than perfect \r\n\r\n* end of MAJOR spoiler * \r\n\r\n(iv) Xu Jinglei\r\n-- The only female character ... Although she only had supporting roles, I think there was a lot of subtlety ... She managed to convey/convince/confuse what a woman really wants?! a womans dilemma?! A womans pursuit of dreams versus happiness often, it is NOT simple ... between rationality and emotions, between the mind and the heart, often it is difficult ... I particularly like the scene with Jet and Xu in the trench * very well executed *\r\n\r\n(v) Guo Xiaodong\r\n-- He is the Suzhou leader ...\r\nAnd before we end, because few people mentioned, I would like to say I like the Suzhou leader best even though he only appeared on screen for a few minutes, I thought what his character did was really worth commending * clap * ... \r\n\r\nConclusion\r\nHighly recommended. It will be another commercially successful film.','63306b4eedd2c1660de1128dd2bda217',0,'','YEcqNt1k',1,0,'',0,0,0),(8652,1599,3,1,0,'69.120.114.47',1166544840,1,0,1,1,1,1,'A','Windows on Monday (Germany / 2005)','\r\nMontag kommen die Fenster\r\n(Ulrich Khler / Germany / 2005)\r\n\r\n\r\n\r\nAre they dead?\r\nNo, they are just sleeping.\r\nI think they are dead.\r\n\r\nSometimes the beginning of a film already sums up everything that is going to follow. The first moments of Windows on Monday reveal to us the world through the eyes of a child. A hospital, patients resting in their beds, and the first line of dialogue spoken by young Charlotte. An innocent question, which is nevertheless emblematic for the whole movie. \r\nWhat is it here in Germany (and its not only Germany) that gives you the impression that some of the people have become the living dead when you are walking through town? That if youd try to talk to them they would probably keep on staring while realizing that they have lost the ability to speak. Something they probably havent noticed for a long time. That I am not alone in my perception of our present-day society, can be witnessed in numerous films by a new generation of German filmmakers whose films need to be seen. \r\n\r\nGermany 2005. A normal life, a normal couple. Nina works as a doctor, her husband seems to have quit his job. They have a bright young daughter and are building a new house. Money isnt the problem. She may be getting pregnant, though. \r\nSome movies need a second chance. When I watched Windows on Monday for the first time at the Berlinale in 2006, I was already a firm believer in the talents of Ulrich Khler, an emerging new talent, who already startled the movie world (or the ones who were paying attention) with his first feature-film in 2002. But although assured by the mastery of Khlers direction through a couple of rewatches of his masterpiece Bungalow and his earlier student film Rakete (1999) both available on an excellent subtitled DVD from the German quality label \"Filmgalerie 451\" I still wasnt prepared for the impact which Windows on Monday would have on me. Its not so much the possibility that Khler has changed his style (I think he hasnt) or that I didnt like the movie. Its simply the fact that you shouldnt watch certain films when you are depressed. As the film has finally been officially released into german cinemas, I decided that my initial reaction to it needed some balance. What can I say after Ive seen it again? The second viewing not only reaffirmed the qualities of the film, but was also a pleasant experience in itself. Next time I watch a film by Ulrich Khler it will hopefully be in a relaxed frame of mind.\r\n\r\nAlthough his films seem to be treading the surprise formula, the biggest surprise may be that nothing much seems to be happening. People come people go, they eat, they @#%$, they talk, and more than anything else they walk. Movement is the only constant in Khlers work, where everybody seems to be connected with everybody else, but even the characters arent able to decide what it is exactly, this unseen bond between people. In this way, Khler\'s cinema might be related to the mysteries of Jacques Rivette. The relations between people are the focus of the films, as well as the search for meaning in their lifes. The characters arent able to figure out what they want. Having only a vague idea of their dislikes they practice rebellion. But a rebellion that seems to be related more against the self. There is the sense of being trapped in something one doesnt understand, and the world has become unfamiliar as the usual strategies of perception seem to lose their absoluteness. \r\n\r\nWhat if we dont follow the rules anymore, what if we choose to ignore the structures of society? What if? Khler isnt interested in revolutions. His protagonists acts seem more as a reworking of a situation, opening up a parallel world because of an extra step which has been taken. When Nina leaves her family she simply does it. There are no grand gestures, no dramatic scenes in the usual sense. The spilling of blood happens between the images. Whats left is silence. Its hard to decipher emotions when a face appears motionless, the body only functioning in its basic routine. Still, there are moments when you notice a change, a slight adjustement to each singular situation. With the beginning of Khlers films, the movement has begun. \r\n\r\nThe camera keeps following the characters, observing them, and showing us what they are observing in return. But an explanation isnt given. Another act of rebellion, this time from the filmmaker himself. Ulrich Khler avoids simple explanations. His cinema is rational in the best sense, as he doesnt pretend to know more about the characters than they do themselves. As such, it is up to the viewer to decide - if he wants to decide at all that is. \r\n\r\nIf we ask what reality is, Khler maybe answers that it is something which happens and which we can change through our actions. But can we change ourselves? When the Windows arrive, they are the wrong ones. And as our characters follow a funeral, the question remains. \r\nDeath is not a solution.','35497429a778372e34e54a35ba2922d3',0,'','3nXYmr0y',1,0,'',0,0,0),(8653,1599,3,1,0,'69.120.114.47',1166609640,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','Good review, A. I remember this film from your Berlinale thread.\r\n\r\nI\'ve only yet browsed Quintn\'s piece on the film; I\'ll try to quote him soon.','a5e9b51bdecea2a9a3482d23c3cf16b4',0,'','PJmnX13k',1,0,'',0,0,0),(8654,1599,3,1,0,'69.120.114.47',1166636820,1,0,1,1,1,1,'A','Re: Windows on Monday (Germany / 2005)','That would be interesting. Did he write for Film Comment about it?\r\n\r\nWhen I saw it at the Berlinale I was really not in the right mood for it. Khler was present at the screening, but he didn\'t say much, and there were no questions from the public. I think they were all pretty much overwhelmed by the movie and didn\'t know what to ask. At least this was how I felt. \r\nBut the German filmcritic who was announcing the screening and talked to Khler afterwards was completely enthusiastic about it and about Khlers way of making films. She was paying him compliments all of the time, and she was so nervous, i thought she was either going to rape him on stage or get a nervous breakdown. \r\n\r\nYou should try to see Khler\'s work though. I think you will like it. And besides Angela Schanelec, I can\'t think of a more talented young German filmmaker working today. There is so much going on here the last couple of years, that it\'s really exciting to live in Germany and be able to watch all of those films at the Cinema. I\'ll try to write more regularly about it and give you more information. \r\nIf any of you want to know something about what\'s going on in germany, I\'ll do my best to answer your questions!\r\nAnd I need to write more for the two threads on German films we have.','97f322a676a0ecc958acd59779c840db',0,'','GX2yM89R',1,0,'',0,0,0),(8655,1599,3,1,0,'69.120.114.47',1168432800,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','\"Surfacing very slowly over the last few years, what can be legitimately called the New German Cinema is finally becoming an accepted reality. Young, predominantly Berlin-based filmmakers like Valeska Grisebach, Henner Winckler, Maren Ade, Angela Shanelac, and Christoph Hochhasler constitute more than a generational coincidence and less than a movement, but they are linked to each other and, as their films emerge and receive ever greater acceptance on the festival circuit and among domestic and foreign critics, they think of themselves as bound to change German cinema. Well-wrought and ariticulate, their films are far away from the Oberhausen generation, but even farther from the mainly commercial, sentimental, and exploitative output (with some notable exceptions in the experimental field) typical of German cinema in the last 20 years, most recently represented by Downfall and The Lives of Others.\r\n\r\nThe group is large enough to linked with someone like Christian Petzold on the conventional side (who serves as a kind of mentor to many in the group) or Romuald Karmakar on the more unpredictable front, but there is a family likeness in the films of the New German Cinema. The cleanness of the shots, the precise and careful camera movements, the natural restraint in the acting, the dryness of the storytelling, the silences, the ellipses, and ambiguities, the youth of the characters, the interest in exploring intimacy, and the uneasiness of individuals in society are common characteristics of almost every film in the group.\r\n\r\nBorn in 1969, Ulrich Khler is not only a good representative of the New German Cinema, but a very personal filmmaker, as already seen in Bungalow, his remarkable first feature and the film that indicated that something serious was going on in Germany. Khler has a knack for beauty, elegance, subtlety, and virtuoso shots. He also likes to play slightly perverse games withe the spectator, jumping ahead in the story and leaving some areas of the plot unexplained or unfinished (in Bungalow there is a strange sequence where the audience is not told whether or not two characters have had sex). But perversity goes a little further in Windows on Monday, his second film, and one of the year\'s most important.\"\r\n\r\nEduardo Antin (Quintn) - Cinemascope.','ac08e45ea882f0e6ba27c68b6c318c6e',0,'','fZ5PUnBE',1,0,'',0,0,0),(8656,1599,3,1,0,'69.120.114.47',1168940400,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','If Mr. Antin were to include such relatively young and extremely talented non-Berliners as Stefan Krohmer, Hans-Christian Schmid, Oskar Roehler, Fatih Akin, Achim von Borries, and numerious others, a conclusion then could\'ve easily been made that this \"new wave\" will engulf Europe (Cannes must catch on first) and the rest of the world in the upcoming years. After Argentina, it\'s Germany!','98d48d40c96204600c655ec254d12028',0,'','tM0YmvqX',1,0,'',0,0,0),(8657,1599,3,1,0,'69.120.114.47',1169074920,1,0,1,1,1,1,'A','Re: Windows on Monday (Germany / 2005)','Hehe. \r\n\r\nYes, Quintin also shouldn\'t dismiss all of the seemingly commercial, sentimental, and exploitative output. I think Olaf Moller would be on a different stand there. \r\nBut it\'s great that he has also instantly grasped the importance of Khler (like myself ).\r\nAnd I do think Germany is already the \"next\" Argentina (while I keep my fingers crossed that the quality of the films won\'t regress in the coming years).\r\n\r\nHave you seen something by Stefan Krohmer arsaib?','5bf41ec2bc3fd58b6aff9d098d581cd0',0,'','2vePZzat',1,0,'',0,0,0),(8658,1599,3,1,0,'69.120.114.47',1169117460,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','Mller has also stressed concern regarding the kind of support those zeitgeist-pandering middlebrow efforts have received. \r\n\r\nI recently watched Krohmer\'s promising second theatrical feature, Summer \'04.','4b3b296b6110ee290ba465b56d5aae1a',0,'','AWJm26kX',1,0,'',0,0,0),(8659,1599,3,1,0,'69.120.114.47',1169248380,1,0,1,1,1,1,'A','Re: Windows on Monday (Germany / 2005)','There seem to be many critical voices about \"Downfall\" or \"The Lives of Others\", but they are not as many as the supporting ones. I think it\'s more an issue of how they handle politics than anything else. But I haven\'t watched these two films yet (not really interested) so I probably shouldn\'t open my mouth too wide.\r\nNevertheless i thought Hirschbiegel\'s \"The Experiment\" (2000) to be a very good \"commercial\" effort. And it\'s abvious that films with a \"hot\" topic will get more viewers, than arthouse productions.\r\nWhat I find most troubling, is the lack of interest among critics for films by Schanelec, Khler and company. This year the attitude seems to have changed a bit -Griesebach\'s \"Longing\" for example received mostly glowing reviews - but I\'m not sure this will last.\r\n\r\nYes, I also thought \"Summer \'04) very promising, though a tad too \"constructed\" for my liking. Martina Gedeck was excellent though, and I love the very last scene. Hope to see it again sometime.','e1b4c9801a3ec42cf573ace7c1582496',0,'','HAi9k7Qr',1,0,'',0,0,0),(8660,1599,3,1,0,'69.120.114.47',1169286780,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','\"But I haven\'t watched these two films yet (not really interested) so I probably shouldn\'t open my mouth too wide.\"\r\n\r\nGood choice!\r\n\r\n\"Nevertheless i thought Hirschbiegel\'s \"The Experiment\" (2000) to be a very good \"commercial\" effort.\"\r\n\r\nAgreed. And if it had avoided the genre cliches during the later stages, it would\'ve been much more penetrating. Not surprisingly, Hirschbiegel is currently working on a Hollywood production, though one starring Nicole Kidman.\r\n\r\n\"What I find most troubling, is the lack of interest among critics for films by Schanelec, Khler and company. This year the attitude seems to have changed a bit, but I\'m not sure this will last (Griesebach\'s \"Longing\" for example received mostly glowing reviews).\"\r\n\r\nLonging has appeared on numerous international top ten lists. I look forward to watching it.','df207998839b6ccae264def2aa1a8031',0,'','LuNWZzkn',1,0,'',0,0,0),(8661,1599,3,1,0,'69.120.114.47',1170441960,1,0,1,1,1,1,'A','Re: Windows on Monday (Germany / 2005)','Quote:This year the attitude seems to have changed a bit -Griesebach\'s \"Longing\" for example received mostly glowing reviews - but I\'m not sure this will last.\r\nI\'ve changed the syntax of the sentence a bit. Now it makes more sense.\r\n\r\nI hope \"Longing\" gets distribution abroad. I\'d be interested in your opinion on it.','32d619cb21b737f0a11b36e0e9005d4e',0,'','4GLgNBfz',1,0,'',0,0,0),(8662,1599,3,1,0,'69.120.114.47',1196776980,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','Khler\'s Bungalow is now available on DVD in the U.S. I can\'t wait to see it!\r\n\r\nWindows on Monday and Longing, however, remain without any sort of distribution.','dd6406c841100a2e14c0875e9dfaea81',0,'','gdj9UFfa',1,0,'',0,0,0),(8663,1599,3,1,0,'69.120.114.47',1196841120,1,0,1,1,1,1,'A','Re: Windows on Monday (Germany / 2005)','I can\'t wait to read your opinion. \r\n\r\nYou know that I think it is one of the best films about Germany I have seen this decade (only Schanelec\'s sublime Marseille comes close).','9baeb0e26df9e26bb3bcbb327f7d6c51',0,'','mReJfY7K',1,0,'',0,0,0),(8664,1599,3,1,0,'69.120.114.47',1197362640,1,0,1,1,1,1,'hengcs','Re: Windows on Monday (Germany / 2005)','Quote A,\"There seem to be many critical voices about \"Downfall\" or \"The Lives of Others\", but they are not as many as the supporting ones. ... But I haven\'t watched these two films yet (not really interested) so I probably shouldn\'t open my mouth too wide. Nevertheless i thought Hirschbiegel\'s \"The Experiment\" (2000) to be a very good \"commercial\" effort.\"\r\n\r\nQuote arsaib4,\"\"But I haven\'t watched these two films yet (not really interested) so I probably shouldn\'t open my mouth too wide.\" Good choice! \"Nevertheless i thought Hirschbiegel\'s \"The Experiment\" (2000) to be a very good \"commercial\" effort.\" Agreed. And if it had avoided the genre cliches during the later stages, it would\'ve been much more penetrating.\"\r\n\r\nMy humble take\r\n\r\n\"The Lives of Others\" - the best film in 2006 (maybe becos i was willing to overlook the historical accuracy of it, but it really touches, a great film abt humanity)\r\n\r\n\"Downfall\" - i like it, a \"sincere\" piece of work, but it was NOT mind blowing ...\r\n\r\n\"The Experiment\" - the beginning was good, but the ending was bad ...','3e2a165dca921a0064392dc250dce910',0,'','JhvDszMG',1,0,'',0,0,0),(8665,1599,3,1,0,'69.120.114.47',1197454800,1,0,1,1,1,1,'arsaib4','Re: Windows on Monday (Germany / 2005)','Yes, you\'ve pronounced your love for The Lives of Others on a number of occasions already, but not everyone is on its overflowing bandwagon.','fc8d9444fb1814048254674232707441',0,'','fSKTc2Lr',1,0,'',0,0,0),(8666,1599,3,1,0,'69.120.114.47',1197578880,1,0,1,1,1,1,'A','Re: Windows on Monday (Germany / 2005)','Interesting. I loved the ending of Das Experiment (2000) most of all. It\'s been a while since I\'ve seen the film, though. Still nothing on the other two. When will I catch up?','6f133566159bfda2f457f5f37770b216',0,'','pQntCdim',1,0,'',0,0,0),(8667,1600,3,1,0,'69.120.114.47',1196645280,1,0,1,1,1,1,'R6dw6C','4 Months, 3 Weeks and 2 Days (Romania / 2007','Static camerawork, a strong focus on a limited number of protagonists, rare dialogue, no Soundtrack, dealing with an \"important\" theme, attemps to avoid everything that could seem lurid, natural acting, stylized images, etc., etc., etc.\r\nSeveral things you can expect from modern Arthouse cinema or, at least, things which are easy to associate with it. Cristian Mungius Palm d\'or-Winner \"4 luni, 3 saptamani si 2 zile\" is a perfect candidate with the bonus that it\'s a Romanian movie. Of course, It is also a matter of political correctness to distinguish a Romanian film - the poor country has to be kept in the minds of the crowd. And because of this nice, fair attitude (Attention, irony), Romania could receive its first international film award since a long.\r\n\r\nA close look on the film itself reveals, that there isn\'t really much that distinguish Mungiu\'s psychological experiment from the tons of european and oriental Arthouse-Films that appeared on the Screens of small cinemas withing the last few years. It feels more than just familiar from the very beginning. It\'s conventional, it\'s a bit pretentious (though I expected it to be worse) and it seems to be designed to fullfill the desires of critics, bourgeois Cineastes and, of course, A-Festival-Juries all around the world. In other words: I saw the film I expected to see. Not a compliment.\r\n\r\nAlmost the film I expected to see. Because, after all, there are a few important things that differents \"4 Months, 3 Weeks, 2 Days\" from other prestigious Arthouse-Films - and they are mainly about its narrative style (the psychological constructions and the whole complex, everything the film is about, are not new or innovative except of the story itself). Those static images - here, they REALLY are part of the concept (I could name dozens of films in which the camerawork is just static to be static): There are three extremely fascinating and brilliant moments in this film: When Otilia (a marvellous authentic Anamaria Marinca) is sitting near the bed in the Hotel room on which her friend, Gabriela lays in wait for the finalization of the abortion, there is almost no Dialogue between her and Gabriela. Yet, this scene contains one of the key moments when Otilia recognizes that the new, negative change in her life wasn\'t Gabriela\'s fault (her character is out of the focus) but her own. Not because she organised everything for the abortion but because she didn\'t insist Bebe, the man who performed the abortion - he wanted to be paid with sex and instead of refusing it, she suggested herself that her devotion would be the only solution for Gabriela\'s problem. It doesn\'t matter that Gabriela\'s own problem became even bigger after that - Bebe also demanded that payment from her. What does matter is her own weakness in a challenging moment - just in this significant moment, she - a strong, independent young woman - wasn\'t strong enough. Maybe a political analogy as Romania was still under the pressure of a strong communistic government, maybe not. In my opinion, the film isn\'t political.\r\n\r\nBack to the starting point: In this scene, Gabriela speaks to Otilia off screen, the camera remains on side-face on the smoking Otilia. Due to my limited english, I can assure it is hard to describe the things that are special and worthy about \"4 Months, 3 Weeks, 2 Days\" because they will be received by every viewer very instinctive and different - as there are only two of the famous three levels - the obvious, the subliminal and the hidden - may, many will miss the subliminal and without the subliminal, it is hard to catch and tie up the hidden. The way, how the protagonists are seperated - or combined - in one image, though they are almost never alone - is the most interesting thing. There is some sort of psychological rythmn and melody in which Otilia is responsible for the minor tones, Gabriela and Otilia\'s boyfriend Adi (Alexandru Potocean) for the blue, \"in between\"-chords and Bebe for some odd, dry major tones. Especially the latter is important as Bebe - though disaffected and full of hate - is far the most vivid and naive character who doesn\'t reflect about more than the most necessary things. And at least, he is more honest with himself than Otilia and Gabriela are. The most ironic scene of the film is his farewell: Finally, after the two girls proved to be fair and gave him his \"payment\", there is no need for him to distrust them any longer: He becomes nice and handsome. Of course, neither Otilia or Gabriela appreciate it.\r\n\r\nAnother remarkable scene is the big dinner of Adi\'s mother to which Otilia is involved. Whyle she left a bleeding Gabriela in the Hotel Room (of course, naturally bleeding because of the abortion), she sits nervously in the middle of a bunch of bourgeouis elder peoble talking about the most banal things in a very repressive, conversative and insulting way. The camera remains on this scenery for several minutes and nothing happens, even the conversations isn\'t important anymore. This scene is quite similar to the other scene I described above: Again, the most remarkable aspect is the interposition of a state, a state of the moment which slowly opens to a meta-level when the viewer begins to ignore all the babbling around Otilia, the whole scenery. The following, intimate conversation between Otilia and Adi is an important addition and completion of that sequence.\r\n\r\nOverall, \"4 Months, 3 Weeks and 2 Days\" surely is a fascinating and stimulating cinematic experience. But it is - imo - not a film that has the potential to grow a lot within a third, fourth or fifth viewing. There are too many films like this in existence already, there are too many films that dealt with the same matters in the same way, just in another language and on a different subject. I wish, it would have been more spiritual. It is challenging but not much of that, and it is honest but still too pretentious. I don\'t think that Cristian Mungiu made that film to win all those Awards but he obviously really wanted to make the film this way - but he sure made it with the image of 100 asking, shouting, smiling and crying critics deep in the back of his head, to make it clear: This film doesn\'t want to disappoint anybody (except maybe Mainstream-Audiences who would probably be bored to death) and so, it is absolutely not daring, experimental or innovative at all (There must be something wrong with a film that didn\'t motivate a few people to walk out of the theater, no matter for what reason). It wants everybody to be happy with it (I know, that sounds strange, maybe cynical in front of such a deeply serious subject), to be satisfied with it. I missed something without exactly knowing what - and somehow, I already (I watched it yesterday) remember it as a joint of breathtaking, inspiring and stand-alone scenes and not as a whole film. Maybe that\'s a bad sign, maybe not. Still, it probably is a new addition to my TOP 25 of 2007. By the way, the same is true with the slightly, but significantly better and truly amazing \"Import/Export\" by Ulrich Seidl (which I also would like to review but that would be even harder - I don\'t want to torture you all any longer) which I saw on the same day.\r\n\r\nRated 22 out of 25 with a tendency to 21. Watched in a local cinema in a German dubbed version (which was really poor, maybe it harmed the film a bit) and a wrong aspect ratio of approximately 1:2,00.\r\n\r\nSorry if you had a hard time to understand what I wrote! \r\n\r\n* I researched if there wasn\'t already a thread for this one in existence and couldn\'t find one - If I overlooked it, I\'m sorry.','4aea84bb7718b5251230fdcb5f8b0528',0,'','PHuBayj7',1,0,'',0,0,0),(8668,1600,3,1,0,'69.120.114.47',1197015540,1,0,1,1,1,1,'arsaib4','Re: 4 Months, 3 Weeks and 2 Days (Romania / 2007','A fascinating review, R6dw6C. \r\n\r\nYou may have a point regarding the current shift in the zeitgeist, which will, if it hasn\'t already, project good, solid films into something else, and in some cases unfortunately so. But then, this occurs just about everytime the \"New Wave\" mantle gets anointed.\r\n\r\nI haven\'t yet seen 4 luni, 3 saptamani si 2 zile, but I\'m looking forward to it. The reviews I\'ve read so far aren\'t unanimously positive. Some have even suggested that its Golden Palm was in a way for Cannes to level its previous blunder for not having the \"superior\" The Death of Mr. Lazarescu in competition. We\'ll see. (It\'s worth nothing that both films are shot by Oleg Mutu.) \r\n\r\nImport/Export is also high on my list of upcoming films.','b359c339e4006b26f65e9bfed20b5f11',0,'','a05xEUq8',1,0,'',0,0,0),(8669,1600,3,1,0,'69.120.114.47',1197278160,1,0,1,1,1,1,'R6dw6C','Re: 4 Months, 3 Weeks and 2 Days (Romania / 2007','Thank you very much for your respond, arsaib! \r\nI\'m glad you maybe took something with you from my review. I don\'t know if it makes sense - I only know that I would\'ve written a review of the same length but with much more substance and thoughts in it it it were in German - which means: more depth to do the film justice.\r\n\r\nI hope, a discussion about this subject is in your interest, I find it quite important:\r\n\r\nYou already exactly marked what I would call the great disadvantage of modern cinema:\r\n\r\nQuote:You may have a point regarding the current shift in the zeitgeist, which will, if it hasn\'t already, project good, solid films into something else, and in some cases unfortunately so. But then, this occurs just about everytime the \"New Wave\" mantle gets anointed.\r\n\r\nThat\'s the problem. I\'m probably not nearly as experienced as you are but in my opinion, It\'s not a pretentios conclusion to note that there were decades in which there were more different and original, experimental and unusual, daring and artful ways to express certain things in cinema. I think, Arthouse-Cinema (and I\'m sad that I feel a need of using this modern word - there were also times in which Arthouse and Mainstream / Entertainment and demand were not separated that strongly - it was just one thing, just cinema then!) nowadays is almost as uniformed as the Mainstream Cinema. The diversity of film languages has increased in a tragic way, I think. It\'s maybe a bit unfair to discuss this here (because there could be far worse examples than \"4 Months, 3 Weeks and 2 Days\"...). Today, everything depends on the little, subtle differences in Independent / Arthouse-Cinema (whatever you want to call it). The difference between films like Carlos Reygadas \"Battle in heaven\" and \"Climates\" (the one by Ceylan) is - or seems to be enormous but my feeling as a viewer was quite similar within both films (though they mostly deal with different subjects). And this happens more often with every film of \"this kind\" (I know that this sounds even more unfair and stupid - \"this kind\" - but hopefully, you understand what I want to say by that). Just a - maybe inadequate - example: Two films from 1966, Antonioni\'s \"Blow up\" and Vera Chytilov\'s \"Daisies\". Both films deal with the same subject (mostly) in my opinion. But they both don\'t deal with it in any way you would expect and both manage to surprise you by their language which adds a demand for a new and challenging development of new receptions - though they are mainly about the same thing(s)!\r\n\r\nI hope you don\'t judge me for this - but I want to be surprised and challenged by cinema, always, over and over again. the most horrible thing is a film that comes up as exactly what you expected it to be. For example, I knew almost nothing about the film this thread was originally dedicated to - but even the small expectations and suggestions I had were confirmed, all of them. Fortunately, there were more than that, but...\r\nI\'ve given up on talking about \"Entertainment\". If a movie wakes up my interest, it entertains me, if it doesn\'t manage to get my attention and my interest, it bores me. I\'m not looking for Entertainment, I\'m looking for interesting positions and point of views, for interesting and enriching, stimulating ways of expression. Cinema has to force the viewer to reflect on different points of view, about his understanding of art and his openness for that new ways of expression. From this perspective, commercial cinema is even more interesting than the work of an auteur - if there are thoughtful and mind-opening bits in an \"Entertainment\"-film, it will challenge more people to reflect than an \"Arthouse\"-Film (note the quotes!) which usually reaches mostly limited audiences. A film does not have to be \"useful\" but if it is, that\'s not bad at all. That\'s one of many reasons why I love Paul Verhoeven and Douglas Sirk - their films deliver thought-provoking impulses in a popular but also subtle as well as striking way and they are pure, honest and artificial cinema at the same time. Michelangelo Antonioni is one of my greates cinema-icons of all time - but his films aren\'t very popular, so this maybe is a slightly egoistic, individual \"joy\".Sorry for that excursus which maybe seems a bit egocentric to you but I only try to explain a difficult matter in a language that isn\'t my mother tongue. \r\n\r\nAfter all, I hope I could make myself clear without doing anybody a harm - misunderstandings are unfortunately a wide distributed phenomenon of web communication. \r\n\r\nQuote:Some have even suggested that its Golden Palm was in a way for Cannes to level its previous blunder for not having the \"superior\" The Death of Mr. Lazarescu in competition.\r\n\r\nCould be. Such awards unfortunately very often mean nothing as there are many reasons within the jury\'s decision which shouldn\'t influence it at all. And to give the Palm d\'or to a Romanian film sure is - no matter of intentional or unintenional - a sign of political correctness. Even if there were films which would\'ve deserved it more - they weren\'t from a \"forgotten\" country like Romania...\r\nThe last film which deserved that award was imo Van Sants amazing \"Elephant\" while the choice of \"The Wind that shakes the Barley\" last year was almost... well... at bit disproportional.\r\n\r\nQuote:Import/Export is also high on my list of upcoming films.\r\n\r\nI\'m almost sure you\'ll like it. Most people (A and Matalo Matango among others;-) thought it was quite unpleasant and hard to get through because of its aggressive display of horrible truths about social catastrophes but if we already know about those catastrophes, a depiction and acknowledge of them mustn\'t be unpleasant. To me, it was a really comfortable and congenial essay on the whole thing and I\'m most anxious to explore more by Seidl. He maybe is the only filmmaker in German language Cinema who manages to combine artificial and metaphorical form with realistic and pragmatic direction.','2ea2d57946473a6619bc99b9c94c4928',0,'','qxdZy87W',1,0,'',0,0,0),(8670,1600,3,1,0,'69.120.114.47',1197362040,1,0,1,1,1,1,'hengcs','Re: 4 Months, 3 Weeks and 2 Days (Romania / 2007','This is also on my to watch list.\r\n\r\nSomehow, I suspect it will be January or February (after the Oscar) before it is screened locally ... sigh ...','118b5a4267e936a63cdc7fe83b046eae',0,'','alVFK1bj',1,0,'',0,0,0),(8671,1600,3,1,0,'69.120.114.47',1197453600,1,0,1,1,1,1,'arsaib4','Re: 4 Months, 3 Weeks and 2 Days (Romania / 2007','Thanks for the kind words, R6dw6C\r\n\r\nNo, its not pretentious to note what you did, but those more different and original, experimental and unusual, daring and artful films were not always considered as such. In most cases, time has made them what they are right now. And the same applies to the films of today. A few decades from now, Im sure well come across individuals wholl look back at this time-period and admire all the great films it contains, and rightfully so, but well know that for every one of those films, there were countless others, lesser ones, which existed but they don\'t any more. And those same films were present back in the decades we currently admire so much. It could be argued however that they didnt garner as much attention as they do now. I believe films like Blow-Up and Daisies are out there right now, but theyll only blossom into their full potential with time. We can of course predict which films will make it and which wont but one can never know for certain. (You mentioned Climates, which is good enough, great enough, to belong somewhere in Antonionis oeuvre. On the other hand, I think Reygadas film is self-important [it pretends to be high art] and reductive.)\r\n\r\nIm not quite sure what you mean by, The diversity of film languages has increased in a tragic way. However, it does conjure up a few thoughts regarding the language we employ to discuss film. I think its fairly limited, especially when compared to our discourse pertaining to other art forms. Perhaps the reason why we have such a tendency to resort to facts. Its a work of art, someone says, and all hell breaks loose. Of course, some still believe that film isnt an art form, or at least not one which exists on the same level as others. They try to demean it by pitting it against others, one on one, even though its a synthesis of music, literature, painting, architecture, etc., and shouldnt be compared as such, I think.\r\n\r\n\"but I want to be surprised and challenged by cinema, always, over and over again. the most horrible thing is a film that comes up as exactly what you expected it to beCinema has to force the viewer to reflect on different points of view, about his understanding of art and his openness for that new ways of expression. From this perspective, commercial cinema is even more interesting than the work of an auteur...\" \r\n\r\nIm no longer interested in films that are worth watching or worth my time or belong to any of those other absurd tags. Id rather see something which ultimately falls flat on its face as long as it takes a stab at something. \r\n\r\nI believe it was Sarris who once wrote that we are far too close to the popular cinema of today to read it correctly. And I think that applies just as much, if not more so, right now as it did back in the 60s and 70s. I admire your regard for that kind of cinema. You are what Id call a true cinephile. Simply quoting from Truffaut and Hitchcock and watching Keaton on a constant loop isnt cinephilia, which is what the three stooges from The Dreamers thought they were indulging in. And instead of taking a detour to wallow in cine-nostalgia (for commercial reason, Im sure), Bertolucci shouldve gone much, much further in unpacking them and their counterparts in the moviegoing audience. \r\n\r\n\"The last film which deserved that award was imo Van Sants amazing \"Elephant\" while the choice of \"The Wind that shakes the Barley\" last year was almost... well... at bit disproportional.\"\r\n\r\nI agree.','11b61b534baeb03380a9edc50ec90bd3',0,'','e8DoCSKE',1,0,'',0,0,0),(8672,1600,3,1,0,'69.120.114.47',1197507780,1,0,1,1,1,1,'R6dw6C','Re: 4 Months, 3 Weeks and 2 Days (Romania / 2007','I\'ll respond to you later, arsaib. This is a very important and up-to-date topic and needs to be handled as care- and thoughtful as a baby (and brings foot-long postings to life...). \r\n\r\n@ hengcs:\r\n\r\nIf you\'d hear the Dub I watched the film with, you would be glad to wait for a subtitled version (they don\'t dub movies in Singapore, don\'t they?). Hope you\'ll add a comment when you see it after all!','d6acdba4afc861affe97a4d9b766573d',0,'','orMRUKG6',1,0,'',0,0,0),(8673,1600,3,1,0,'69.120.114.47',1197545940,1,0,1,1,1,1,'arsaib4','Re: 4 Months, 3 Weeks and 2 Days (Romania / 2007','For those in the U.S., 432 will begin its one week qualifying run for the Academy Awards on Dec 21st in LA. It is scheduled to open in NY on Jan 25th.','7b74ba887f8762d5ba6297ba5f75861b',0,'','hYfTlzyn',1,0,'',0,0,0),(8674,1601,3,1,0,'69.120.114.47',1119964800,1,0,1,1,1,1,'trevor826','Japanese Journals - Anime','Anime - a distinctive style of animated film that has its roots in Japanese comic books, immediately recognizable and characterized by heavily stylized backgrounds, sci-fi and fantasy themes, highly exaggerated facial expressions with limited facial movement, simulation of motion through varying the background behind a static character or other foreground element, and frequently, big-headed characters with child-like, large eyes; originally called \'Japanimation. (Definition)\r\n\r\nOK thats the definition out the way, anime is produced for every age group and covers virtually every subject matter, it is the animated form of Manga, (comic books) and can be childishly simplistic or amongst the most beautiful and stylish art youll ever see.\r\n\r\nIn this thread well cover films and series (at least the stand out ones), so from the imagination of some of Japans greatest animators lets take a journey through the world of anime. \r\n\r\nPlease feel free to add your own comments, reviews, and criticisms to this thread.\r\n\r\nINDEX in alphabetical order.\r\n\r\nClick on the film name to be taken straight to the comments.\r\n\r\nAngel\'s Egg - 1985 comments by A \r\n\r\nAppleseed - 1988\r\n\r\nAppleseed - 2004\r\n\r\nBarefoot Gen - 1983\r\n\r\nBrave Story - 2007 Thread started by hengcs.\r\n\r\nGhost in the Shell - 1995\r\n\r\nGhost in the Shell 2: Innocence - 2004 \r\n\r\nGhost in the Shell [Stand Alone Complex] - 2002 \r\n\r\nHaibane Renmie - 2002 Thread started by Howard Schumann.\r\n\r\nHowls Moving Castle - 2004 review from arsaib4\r\n\r\nHowls Moving Castle additional comment.\r\n\r\nI Can Hear the Sea - 1993\r\n\r\nLittle Norse Prince - 1968 \r\n\r\nMillennium Actress - 2001\r\n\r\nMind Game - 2004 \r\n\r\nMy Neighbour Totoro - 1988\r\n\r\nNausica of the Valley of the Winds - 1984 \r\n\r\nPaprika -2006 Thread started by Hengcs.\r\n\r\nThe Place Promised In Our Early Days - 2004 comments by hengcs.\r\n\r\nPorco Rosso - 1992\r\n\r\nPuni Puni Poemi - 2001\r\n\r\nSteamboy - 2004 review from arsaib4\r\n\r\nSteamboy - 2004 further comment.\r\n\r\nVoices of a Distant Star - 2003\r\n\r\nWhisper of the Heart - 1995\r\n\r\nStill to come list. \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','8bcf099c3cc297b939c6c5be2c63c973',0,'','n65faeNR',1,0,'',0,0,0),(8675,1601,3,1,0,'69.120.114.47',1119980940,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Tonari no Totoro (1988) My Neighbor Totoro\r\n\r\nDirected by Hayao Miyazaki\r\n\r\nWonderful film from the ever creative imagination of Miyazaki, two sisters, Satsuki and Mei (11 and 4 respectively) move to the countryside with their father to be close to the hospital where their mother is being treated. A huge tree towers over a forest near their new home and its not long before they venture into the forest and meet the Totoros, who are the guardian spirits of the forest. There follows a mixture of real and fantasy adventures with the sisters, the Totoros and a neko-bus (cat bus).\r\n\r\nNo words can express what a simplistic yet fabulous anime movie this is, the plot is nowhere near as complex as some of Miyazakis films but the artwork and originality shine out.\r\n\r\nThoroughly recommended for everyone and anyone, age is no barrier. A definite must see movie.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated - none yet but I cant imagine any reason why it wouldnt be U.','fe4bdc6fda6f97ed5636caaa93b6fd2b',0,'','HGX6lKt3',1,0,'',0,0,0),(8676,1601,3,1,0,'69.120.114.47',1120703820,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','\r\nAfter having seen Angel\'s Egg by one of my favorite current directors Mamoru Oshii, who\'s latest film was shown in Cannes last year, I was once again blown away.\r\nThis rarely seen masterpiece was released in 1985, and fastly aquired a cult following, though it still isn\'t properly aknowledged in film history, due to its lack of distribution and availability. I got to see a perfect quality fansub version which was shown here in Berlin last month in front of an audience consisting of about ten people, from which 5 left the viewing after a couple of minutes.\r\nSo what is so great about this unknown 70minute anime?\r\nIt is a story of a little girl guarding an egg who meets on our erth far in the future a man with a cross. They journey a bit together, meet some strange people hunting shadows of fishes, and that\'s about it, without giving away the final twist.\r\nDoesn\'t sound much?\r\nWell, it is one of the most personal films I\'ve ever seen, and one that doesn\'t exactly tell a story. We have a parable that is presented through associative montage, with minimal dialogue and maximum symbolism. The whole film is bathed in christian mythology, and even the little dialogue consits mostly of quotes from the bible. Sounds very slow and difficult to \"read\", but once you\'ve gotten into the right mood, (and that will happen fast or never) you are presented with an overwhelming portrait of Oshii\'s overcoming of a personal crisis. If it weren\'t for the animation we might be watching Bresson or even Dreyer, as the Faces and Eyes of the Characters tell us the most.\r\nHe made the film, after having lost his faith (he was a catholic previously) and it shows. A doomed atmosphere on a dead planet inhabited by strange machines and \"people\" that are caught in useless rituals. Everything seems to have ceased living and only appears to be \"there\" without purpose.\r\nBut at the end of the film we are witness to a spiritual rebirth and a new hope. The film begins with gods descent onto the earth, and ends with its ascent into heaven. In between we see a kind of death and rebirth of mankind. We have already all of Oshii\'s main themes he would later explore more deeply, and also a famous mirror-scene he would later use reversed in Ghost in the shell.\r\nWhat can I say at two o\'clock in the morning?\r\nA spiritual film that isn\'t religious (though a little knowledge of christian mythology would help), and a must see for every anime fan. If you like Tarkovski, Dreyer, Bresson, you\'ll probably enjoy this one.','dbb84478fd95727e695bf4268005c226',0,'','kvXtwbc8',1,0,'',0,0,0),(8677,1601,3,1,0,'69.120.114.47',1120900680,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','HAYAO MIYAZAKI\'S HOWL\'S MOVING CASTLE \r\n\r\nThe first thing we see in Howl\'s Moving Castle (Hauru no ugoku shiro) is the castle itself, emerging from a maze of fog and haze. And we soon realize that its moving (hence the title -- see what I mean!). Anyway, as it comes into focus, it starts to resemble something youd expect Terry Gilliam or a young David Cronenberg to draw a sketch of, but it would be hard to imagine them having the audacity to make an animated film with it. Comprising of a front (or is it the back?) that kind of looks like a face; multiple layers and platforms with protruding windows; parts moving independently emitting gaseous contaminants with bells and whistles abound -- this microcosm of a weirdos idyllic castle is simply one of most indelible \"things\" youll see all year. \r\n\r\nIf you havent heard it by now, Howls Moving Castle is the latest opus from the Japanese anime and manga master Hayao Miyazaki. The director who has given us such films as My Neighbour Totoro, Kikis Delivery Service, Princess Mononoke , and in 2001 offered the awe-inspiring masterpiece, Spirited Away. Miyazaki, who found the now famous Studio Ghibli in 1985, is considered by many to be the greatest anime artist alive, although some Akira fans who have a certain affinity with the adult world offered by Katsuhiro tomo might disagree. The world Miyazaki usually takes us to is often kind of quiet (compared to other anime), two-dimensional, magical but not overly whimsical, containing beguiling characters that demand attention, and more often than not, the complications that arise are familiar to our adult world. \r\n\r\nHowls Moving Castle is set in 19th century Europe (I think). It mostly deals with Sophie, who we first see as a shy and plain young girl working at her familys hat store. Her first adventure occurs when she is harassed by a couple of soldiers only to be saved by a handsome young lad who turns out to be none other than Howl; on their way they also end up dodging blobs of black goo sent in by the \"Witch of the Waste.\" However, the witch eventually gets to Sophie, turning her into a 90-year-old woman, arched back et al. This predicament forces her to move away from town in order to seek help and she ends up in \"The Waste,\" a sort of no-mans land between warring kingdoms. Sophie is helped by a scarecrow who she refers to as \"turnip head\" (based on her least favorite vegetable -- shes old, remember?!) and this creature takes her to Howls castle where she introduces herself as a cleaning woman. \r\n\r\nUp till now, kids watching this film might be contemplating why there arent any amusing characters (other than the castle itself, of course), but that changes once we go inside this object. We first come across a talkative fire-demon named \"Calcifier\" who is responsible for running the show and knows it. We also meet a cunning youngster named \"Markl,\" Howls apprentice in wizardry, and these two bring much life to the proceedings. Howl turns out to be a very wanted wizard -- he\'s not just claimed by the \"Witch of the Waste\" and Sophie, but also by \"Madam Sullivan,\" his old master who wants his services in order to help her kingdom wage war. Howl also has a certain past which we gradually discover along with his inhibitions that help determine the choices he eventually makes. Sophie stays along, caring more for the others around her than the state she is in. \r\n\r\nAdapted from a children\'s novel by Diana Wynne Jones, an Englishwoman who studied under the likes of C.S. Lewis and J.R. Tolkein, Howls Moving Castle proclaims its anti-war stance from the very start. The idyllic town and countryside are often invaded by huge Victorian era war-machineries, carefully designed by the master thus in many ways rendering them as important as the castle, but employed by selfish individuals blinded by greed and power (sound familiar?). This is not surprising since WWII was a big part of Ms. Joness childhood, and now Miyazaki has updated her stance. Marco Mueller, director of the 2004 Venice Film Festival (where the film had its world premiere), called it \"the strongest anti-war statement we have in the entire festival\" thus slapping the faces of luminaries like Amos Gitai and Wim Wenders. While I admire Miyazakis stance, I do wonder if he laid it on a little too thick (we hear various musings, claiming \"lets stop this stupid war,\" not to mention some devastating war imagery) considering that its an animated film. But, Miyazaki is a strong believer and in an interview given to Newsweek; after being asked \"Were you surprised [Spirited Away] won an Oscar?,\" he said: \"Actually, your country had just started the war against Iraq, and I had a great deal of rage about that. So I felt some hesitation about the award. In fact, I had just started to make, so the film is profoundly affected by the war in Iraq.\" \r\n\r\nAfter watching the film for the second time (this time I paid so I paid more attention), some of the plot points that seemed perplexing initially felt more relaxed and attainable. Frankly, I would have loved the film even more if the castle itself was given more prominence. Some might say that they wouldve preferred some backstory with young Sophie, but if one is aware of Miyazakis habits, theyd realize that his characters remain a little mysterious to the very end. Also, the line between good and evil isnt clearly drawn and that enables them to take various shapes and forms. His visual compositions have never been better, and while his narrative (which he wraps up a little too quickly) may not have the metaphysical depth of some of his previous films, it remains enchanting all the way through. Some of the best moments are minor ones: whether it\'s Howl howling that he doesn\'t want to live if he isn\'t beautiful (after his hair-color gets screwed up) or a race on the stairs between Sophie and the witch. Howl\'s Moving Castle might be the best animated film youll get to see all year, but I wouldnt walk in expecting another Spirited Away. \r\n\r\nedited by admin \r\ntrevor\'s review \r\nclick \r\nhttp://foreignfilms.yuku.com/reply/3303/t/Japanese-Journals-Anime.html#reply-3303','5889ee0e2e3d55ec6b06741b71afba93',0,'','gtQ109jE',1,0,'',0,0,0),(8678,1601,3,1,0,'69.120.114.47',1121132340,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Umi ga Kikoeru (1993) I Can Hear the Sea aka Ocean Waves\r\n\r\nDirected by Tomomichi Mochizuki\r\n\r\nAfter watching this very well made for TV studio Ghibli film I had to wonder why? Why was it animated instead of live action which would probably have been more cost effective, there are no scenes out of the ordinary, no cute talking creatures or amazing acrobatic or indeed aerobatic routines!\r\n\r\nThe only reasoning I could think of, with animation the creator is in complete control and in the case of this film the small but significant ageing can be done in a natural way keeping the personalities looking and sounding right. Whatever the reason, Im glad it was done because this is a truthful and engrossing though simple story well told and nicely animated.\r\n\r\nThe story is about first love and friendship, its about growing up and the change between school and University, the awkward moments, the complexities of being a teenager and trying to do the right thing and not hurt those you care about. Its also about how the effect of things you have no control over can change you and the way you relate to others.\r\n\r\nA charming anime that will hopefully bring back good memories of school and of the value of friendship.\r\n\r\nRecommended viewing, good quality animation.\r\n\r\nCheers Trev.\r\n\r\nBBFC not rated but probably PG.','26b6446b659ffd38c08779731f9ceb27',0,'','VobGRAYD',1,0,'',0,0,0),(8679,1601,3,1,0,'69.120.114.47',1121484120,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Hoshi no koe (2003) Voices of a Distant Star\r\n\r\nDirected by Makoto Shinkai\r\n\r\nA stunning short anime written, directed and created by one man and his computer. \r\n\r\nAt only 25 minutes long you wouldnt expect very much but this simple tale of a boy and girl in love, being pulled further and further apart but still getting strength from each other is a delight.\r\n\r\nMikako dreams of going into space and given the opportunity, grabs it; Noboru her boyfriend stays on earth but feels lost without her. They continue to communicate by cell phone but as the distance gets greater the messages take longer to reach each other, by the time she arrives at Pluto her messages takes 6 months to get to Noboru and his life appears to be falling to pieces but things have a habit of getting worse and due to an interplanetary war they do, but will matters improve?\r\n\r\nA stylish anime although some of the 3D work stands out a bit too starkly against the traditional 2D animation, the greatest strength though are the characters and storyline, a simple but beautiful tale illustrating that love can cross all boundaries, even that of time, it also shows how not being close to the one you love can disrupt your life.\r\n\r\nIf this is anything to go by, Makoto Shinkai has a great future in anime ahead of him, as long as he keeps putting as much thought into the characters and story as he has with this.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG \r\n\r\nP.S Thanks hengcs, I got this after your recommendation.','350bcd9f181dec1c6442689da589a7d1',0,'','i6MBC2oU',1,0,'',0,0,0),(8680,1601,3,1,0,'69.120.114.47',1121738400,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','welcome\r\n\r\nIf only I still had my old review ...','87bf56816d7d81e95ea81a6628367014',0,'','3S0v81Bl',1,0,'',0,0,0),(8681,1601,3,1,0,'69.120.114.47',1122750000,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','STEAMBOY (2004) \r\n\r\nSteamboy belongs to a newly formed sub-genre of animation called \"steampunk.\" In this category, the films are usually situated in the past, but the ideas and the technology on display are anachronistic. Hayao Miyazakis Howls Moving Castle (2005) could be classified as such, but theres no doubt regarding Steamboy: the first feature length anime in nearly two decades from Katsuhiro tomo, the creator of the groundbreaking Akira (1988) . The film is set around the Great Exhibition of 1851 that took place in Victorian England. Early on were introduced to a young boy named Ray Steam (voiced by Anna Paquin) whose father Eddie (Alfred Molina) and grandfather Lloyd (Patrick Stewart) are away working on a secret project under the O\'Hara Foundation. Ray gets involved once he receives a \"steam ball\" from his grandfather along with a note that he needs to protect it under all circumstances. It isnt long, though, that hes being chased from his house in Manchester to London where he eventually discovers that his own father has schemed to use the powerful object for his sinister plans including a \"steam castle\" and a robotic army capable of destroying anything. Now, its up to Ray to contemplate whether to go along with his father or listen to his granddads rhetoric regarding strong nations merely inventing an ideological enemy in order to build powerful weapons (hmmm...). \r\n\r\nAnd much of the film is devoted to those issues. There are no amusing or strange characters like the ones one usually comes across in a Miyazaki film; theres also no love story of any kind -- basically, this is pure tomo, who is known for producing anime thats geared toward adults. Steamboy, which is the most expensive anime to date ($22 million), didnt do very well in Japan where it opened last year (perhaps people were expecting an even darker and somber tone). Nevertheless, the animation here is simply awe-inspiring. The mixture of 3D computer imagery and hand-drawn pieces produces a lavish, yet deeply intricate design which vividly brings the various monumental steel components to life. The anti-war stance is also handled in a more persuasive manner (as far as animated films go) than the latest Miyazaki effort. Having said that, as a whole its not as satisfying an experience as Howl\'s Moving Castle. The version of Steamboy which has made it to our shores is apparently cut, so that explains the sudden edits resulting in tonal inconsistencies. tomo has also devoted too much of the third act to various destruction sequences that become rather tiring after a while. Its largely a one note film which needed to reinvent itself more often that it actually does. Still, though, its as solid as steel. \r\n\r\n_________________________ \r\n\r\nedited by admin \r\n\r\n*trevor826\'s review.','819e0186e10211a3080764e5abaaadef',0,'','vjEn8mXG',1,0,'',0,0,0),(8682,1601,3,1,0,'69.120.114.47',1123265700,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Mimi wo Sumaseba (1995) Whisper of the Heart\r\n\r\nDirected by Yoshifumi Kondo\r\n\r\nSimilar in a way to Studio Ghiblis I Can Hear the Sea, both are far more reality based dramas than for example Spirited Away or Kikis Delivery Service. Shizuku Tsukishima is a 14-year-old girl who wants to be a writer when she grows up. Being a bit of a bookworm she is constantly taking books out from the library and notices that a lot of them have been taken out previously by the same person, Seiji Amasawa, intrigued she sets out to discover who he is only to realise hes a boy in the same year at her school.\r\n\r\nThat is only a little of the plot as it is actually a girls journey of self-discovery, first love and family. There are a couple of small fantasy sections but these are to do with a story she is writing and as such are more like dream sequences, unfortunately there are also several renditions of the song Country Road but at least one is slightly humorous.\r\n\r\nAn assured story with a subtle hint of young love and a very positive though down to earth plot.\r\n\r\nBeautifully animated as you would expect from Studio Ghibli, the nicely realised characters and interesting tale make this recommended viewing.\r\n\r\nI believe that \"The Cat Returns\" is a sequel to this but haven\'t seen it yet. \r\n\r\nCheers Trev\r\n\r\nBBFC not rated but definitely no more than a PG.','8c4e31fc9b0387cb3ee30cf1aedb4c49',0,'','qv9wDyUu',1,0,'',0,0,0),(8683,1601,3,1,0,'69.120.114.47',1123369800,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Hadashi no Gen (1983) Barefoot Gen\r\n\r\nDirected by Mori Masaki\r\n\r\nPlease be aware, these comments neccessitated including spoilers!\r\n\r\nAn anime set in Hiroshima in 1945, the character animation is rather crude but that doesnt prevent this from being an outstanding albeit very disturbing film.\r\n\r\nApparently this is based on an autobiographical account, and was written with the intention to show what it was like before, during and after the bomb in Hiroshima, it is an incredible story of survival under the harshest conditions and carries a message of humanity and hope. \r\n\r\nGen lives with his father, his heavily pregnant mother, older sister Keiko and younger brother Shinji, they are a close family and Gens father has sense to realise that Japan should finish the war by surrendering although of course this is seen by others as traitorous and cowardly. Days go by with the routines of planting wheat, going to school; Gen and Shinji are typical of any brothers, arguing with each other one minute, laughing together the next. A few false alarm air raids interrupt the flow of the daily routine every now and again but not enough to disrupt their lives too much.\r\n\r\nThen the day comes, what appears to be another false alarm turns into hell on earth as the atom bomb hits Hiroshima, what follows are some of the most graphically disturbing images youre ever likely to see, it wouldnt surprise me if James Cameron used these scenes as inspiration for the dream sequence at the start of Terminator 2 but these are far worse and far more painful, the full effects are shown as men, women and children are turned to ash and scattered to the breeze, my 16 year old son was absolutely gobsmacked, stunned into total silence!\r\n\r\nFollowing the explosion Gen runs to his familys home, he finds his mother desperately trying to free the others from the wreckage of the house as fires start burning all around, Shinji cries pitifully because of the heat as Gen joins in the rescue attempt but its too late, Gens father tells him to take his mother and get out while they can, he knows that he and the two children have no hope of escape and doesnt want to see the whole family die. Gen promises to look after his mother and has to literally drag her away from the flames before they like their trapped kin are burned alive. \r\n\r\nAll through the film a narrator is relaying historical data, times, dates etc and strangely (after all this is Japanese) he apportions as much if not more blame on the Japanese government as he does on America for the bombing, he blames the government even more for the following bomb on Nagasaki because they wouldnt even consider surrender despite the US warning that another bomb would be dropped. \r\n\r\nWhat follows then is the struggle for Gen, his mother and the new born sister to survive, Gens hair starts falling out and despite his and his mothers best efforts, the baby girl dies of malnutrition, death and disease surround them but they still have hope for a future, the human spirit can be an incredible thing at times.\r\n\r\nAs previously mentioned, there are many very disturbing images after the bomb has been dropped and despite the rather low BBFC certification I would advise caution. Despite the poor character animation this film comes very highly recommended for the story.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 12.','3c11f7a96471f36c5e8ea327ae6c8519',0,'','qRcLJQKf',1,0,'',0,0,0),(8684,1601,3,1,0,'69.120.114.47',1123415400,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','Hmmm ... I am not sure how to follow up the post (i.e., after the film) ...\r\nSo, I hope everyone is ok if I just post here ...\r\nI like the song, and it is always good to know what they are singing ...\r\n\r\nHowl\'s Moving Castle Theme Song\r\n-- Sekai no Yakusoku / The Promise of the World \r\nkaraoke.windain.net/lyric...usoku.html','6efe42cf254af46e153640c6c1f0a121',0,'','hrFlc6tq',1,0,'',0,0,0),(8685,1601,3,1,0,'69.120.114.47',1125256920,1,0,1,1,1,1,'Sara','Re: Japanese Journals - Anime','So what would be your top 5? (I\'ve only seen Spirited Away and Grave of the Fireflies - both were wonderful, though very different in tone.)\r\n\r\nSara','878ca5f6ad5e1293e5d6dacab7908e1f',0,'','nBPYovUj',1,0,'',0,0,0),(8686,1601,3,1,0,'69.120.114.47',1125258780,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','Besides the two you mentioned, my Top 5 would be:\r\n1. Ghost in the shell (Mamoru Oshi / 1995)\r\n2. Jin-Roh: The Wolf Brigade (Hiroyuki Okiura / 199 \r\n3. Princess Mononoke (Hayao Miyazaki / 1997)\r\n4. Angel`s Egg (Mamoru Oshi / 1985)\r\n5. Perfect Blue (Satoshi Kon / 1997)','2cde25161121c837cb2212042d96281b',0,'','j2q9AoXy',1,0,'',0,0,0),(8687,1601,3,1,0,'69.120.114.47',1125269100,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Grave of the Fireflies would definitely be there along with My Neighbour Totoro, Kiki\'s Delivery Service, End of Evangelion (but onlyfor those who\'ve seen the series), well that\'s 4 already, there are far too many great ones.\r\n\r\nNausicaa valley of the Winds \r\nAkira\r\nGhost in the Shell\r\nSpirited Away\r\nPerfect Blue\r\nPrincess Mononoke\r\n\r\nand more.\r\n\r\nI haven\'t seen Howl\'s Moving Castle or Steamboy and if you notice, most of the ones I\'ve listed haven\'t even been commented on yet. I am hoping that \"A\" will do a review or comment on Ghost in the Shell.\r\n\r\nCheers Trev.','6d30c115d8addc9ce436baf4fe3520d1',0,'','U4TPvwjo',1,0,'',0,0,0),(8688,1601,3,1,0,'69.120.114.47',1127361120,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Appurushdo (2004) Appleseed\r\n\r\nDirected by Shinji Aramaki\r\n\r\nAn anime film of a new generation with fully realised 3 dimensional backdrops, rendered on computers and cel shaded characters based on the movements and characteristics of live actors.\r\n\r\nFirst the good news, this is an improvement over the original Appleseed anime in every department, the landscapes, buildings etc are beautifully rendered while the cel shading for the characters is very stylistic. The action scenes are outstanding with terrific sound and visual effects. The story makes sense and is easy to follow (unlike the original) and all in all this is a positive step.\r\n\r\nNow the not so good news, while the action scenes are riveting and astounding, the plot is a little too simplified, adapted and compressed from a long running manga, the double crossing and politics are taken to base level. You get the feeling that all the time and effort was put into the look of the film rather than developing a more complex story which is a shame because its basically ended up as mouth watering but vacuous eye candy that at times feels as though you should be playing it as a game instead of watching it.\r\n\r\nThe story picks up after a series of long wars have wiped out most of the human race; the plot follows one of the survivors, female soldier Deunan Knute. She is recruited to help protect a utopian society which is a mixture of humans and bioroids (clones) in a form of futuristic police force. Problems arise because of mans inability to trust each other and the bioroids in particular, the regular army forces plan a revolt that will oust the governors of the city and wipe out the clones. The plot twists and turns as you realise that most people have their own agenda and are busy double crossing each other with Deunan Knute caught in the middle unsure who to trust. \r\n\r\nIts only a shame that the plot is dealt with so lightly, films such as Ghost in the Shell and series like Evangelion prove that you can have more depth and still entertain the masses. Its not a failed experiment but it could and should have been so much more.\r\n\r\nSee it for it\'s visual styling (though hopefully this type of anime will never replace the hand drawn beauty of a Miyazaki film) but don\'t expect a deep storyline.\r\n\r\nCheers Trev.\r\n\r\nBBFC rating 12.','fd9c411ce54bf226808e132f9c9dbe46',0,'','2LyNh9XK',1,0,'',0,0,0),(8689,1601,3,1,0,'69.120.114.47',1127533920,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Appurushdo (1988) Appleseed\r\n\r\nDirected by Kazuyoshi Katayama\r\n\r\nAlthough this was made in 88 the storyline follows after (for the most part) the 2004 film, it has taken parts of the original manga and has tried to make a cohesive plot that ultimately fails to deliver.\r\n\r\nYou are dumped into the story without any idea of who the characters are, what their relationship is with each other and there is scant information as regards the history of the Utopian society that is Olympus. There is also little background as to what has happened to the rest of humanity, this may seem picky but all this info and a lot more was related in the later film.\r\n\r\nThe story itself is easy to follow (at least easy if youve seen the 2004 film) but for some strange reason, they changed the Bioroids clones, into Biodroids cybernetic creations. That is an important point of the story and makes a big difference to the overall mood.\r\n\r\nThe animation is poor, there is no excuse because films like the wonderful and beautiful My Neighbour Totoro were produced the same year. It looks and feels like a rush job and even the action scenes are lacking in any sort of dynamic, also because so little info is given about the characters, you get to the point where youre not bothered whether they succeed or fail in their quest. \r\n\r\nAs with the later film, too little time is given to plot development, the lack of background makes it even more obvious with this film, who, why, what? In the end it\'s more a case of who cares?\r\n\r\nFor the latter incarnation I said See it for it\'s visual styling (though hopefully this type of anime will never replace the hand drawn beauty of a Miyazaki film) but don\'t expect a deep storyline. Unfortunately I cant even say that much for this version.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15\r\n\r\nAvailable on Region 2 dvd from Palm Pictures/Manga in the UK.','a1a1256a8544177aa192f2e8dcfeb1af',0,'','WG3utbUL',1,0,'',0,0,0),(8690,1601,3,1,0,'69.120.114.47',1127844840,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Hauru no ugoku shiro (2004) Howl\'s Moving Castle\r\n\r\nDirected by Hayao Miyazaki\r\n\r\nA Miyazaki film adapted from the book written by Diana Wynne Jones, the plot has a very different feel to any other film from Miyazaki. There\'s not a huge amount I can add to arsaib4\'s comments and I\'m pretty much in agreement with him on the film so all I really want to do is try and encourage everyone to go and see it, preferably on the big screen.\r\n\r\nThe castle is brought to life beautifully and is a character in itself, it\'s breathtaking in its design like some large mismatched lumbering beast. It reminded me of Terry Gilliam\'s animations that he did for Monty Python, I was also reminded of the mad inventive designs of Heath Robinson.\r\n\r\nThe adventure is set in an imaginatively stylised mid to late 19th Century French/European town full of foot and horse troops and steam? powered vehicles. We meet the selfless heroine of the story Sophie, a young girl who has settled into a rut working at her familys millinery. She is rescued by a dashing stranger after being accosted by two soldiers, Sophie discovers that her saviour has some potent magical powers and is himself being tracked by strange blob like creatures.\r\n\r\nHer adventure begins in earnest after crossing paths with the Witch of the Waste; it was her creations that were tracking the stranger. The witch turns her into an old woman withered and hunched, forcing Sophie to leave her home and family to head out into the barren wasteland to try to find a remedy for the witches curse. \r\n\r\nA friendly scarecrow whom she helps leads her to Howl\'s Moving Castle, which is the last place she wants to go (because of all the rumours she\'s heard about Howl, kidnapping girls and eating their hearts). It turns out that Howl was her rescuer but is in need of rescue himself, the castle is in such a mess that Sophie takes on the job of cleaning it and looking after everyone.\r\n\r\nCalcifier, a fire demon literally powers the castle and provides some comic relief although there was a moment (at least in the dubbed version) where he goes a little too much into Robin Williams Genie from Aladdin territory. \r\n\r\nMeanwhile, a prince from a foreign land has disappeared and war has been declared, enormous flying machines bomb towns and villages on both sides with neither side gaining ground, there is a strong anti-war element to the film. The castle itself has a magical door with portals that open into wizard\'s shops in towns either side of the confrontation, so we witness the stupidity and effects of the war from both angles, another portal opens into the wasteland while another leads to somewhere that only Howl can access.\r\n\r\nThe story runs along at a good pace with quite a few interesting characters along the way until the final few minutes, it then feels as though everything is brought to a head and dealt with providing a happy ending for everyone far too swiftly. So if I have any complaints, it would be that it could have done with a little more time towards the end. \r\n\r\nThe animation is gorgeous as you would expect and the film gets a definite recommendation, this can\'t compare with Spirited Away or Kiki\'s Delivery Service but it is head and shoulders above most films you\'ll see whether animated or live action. For the best experience, try and catch it in the cinema, it\'s well worth it.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated U.','32703b640905843d4b44760a3a6d273b',0,'','ukAwfidS',1,0,'',0,0,0),(8691,1601,3,1,0,'69.120.114.47',1128427380,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Sennen joyu (2001) Millennium Actress\r\n\r\nDirected by Satoshi Kon\r\n\r\nWonderful anime covering 100 years of Japanese cinema and a 1,000 year period of Japanese history and future as well as uncovering the driving force behind the life of an invented actress Chiyoko Fujiwara.\r\n\r\nLove; unfulfilled love in particular can make or break someone, a minor accident involving Chiyoko and a stranger during her youth set events rolling that will affect the whole of her future. Her whole life is spent trying to find this mystery man who came into and out of her life so abruptly leaving a key in her care which he claims is very important.\r\n\r\nWe follow Chiyoko through her film career and life as she determines to find this stranger with whom she has become obsessed, along with her life, we follow the paths of those that criss-cross it. Anyone who has read Memoirs of a Geisha will recognise the character of the overbearingly jealous older actress who realises the spotlight has passed from her onto the new model. Even the documentary maker who is interviewing Chiyoko in her old age has his part in her past as he worked behind the scenes on several of her films and is aware of things that could have changed her life had she known about them.\r\n\r\nThis is an excellent anime and very different from Satoshi Kons other work, it covers several big subjects with broad strokes but pulls us in with its intimate look at life, love and the little things that can mean so much.\r\n\r\nThe only thing I\'m not happy with is the glorification of Japan\'s imperialistic (early 20th Century) past, still the British or Americans are hardly in any position to comment on this!\r\n\r\nAll in all a definite recommendation, an inventive storyline with good rewatch value.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG\r\n\r\nRegion 2 dvd available from Manga Entertainment.','51bc0c8ef2d4bc01eb7e310b018608aa',0,'','3gsGh4NW',1,0,'',0,0,0),(8692,1601,3,1,0,'69.120.114.47',1129756020,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Puni Puni Poemi (2001)\r\n\r\nDirector Shinichi Watanabe\r\n\r\nTwo-part spin off series from \"Excel Saga\", its pointless looking for a plot, this is just in your face, off its trolley all out comedy. A parody of several anime series and films including \"Excel Saga\", \"Evangelion\" (probably the most parodied series ever!) and \"Star Wars\" amongst others.\r\n\r\nIts short, its crude and often outrageous and its jam-packed full of anarchic humour, it speeds along at a terrifying pace taking no prisoners. You need to watch it several times just to catch the majority of the gags.\r\n\r\nThe art work is clean, the character designs are fine if cliched (which of course theyre meant to be) and it is just as entertaining whether watching it subtitled or dubbed (and just as manic).\r\n\r\nIf you enjoyed \"Excel Saga\", \"FLCL\" or any of the \"Burn Up\" series then you can pretty much guarantee youll like this, if your easily offended then steer clear. Apart from parodying particular series, this is also a satirical view of anime in general including the obligatory Fan Service shots, it also takes pot shots at Japanese culture and society most of which hit the mark but all done in good humour.\r\n\r\nRecommended for anyone who enjoys self deprecating humour or fans of any of the series previously listed.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 18 \r\n\r\nDVD available on R1 ntsc and R2 Pal from ADV films.','eb3e1b5e1e07cd3c238becb2d0110c1c',0,'','S0zDbAZv',1,0,'',0,0,0),(8693,1601,3,1,0,'69.120.114.47',1131382680,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Kkaku kidtai (1995) Ghost in the Shell\r\n\r\nDirected by Mamoru Oshii\r\n\r\n1995, a truly groundbreaking year for anime, on one hand you had a series that broke all the rules and set the standard for virtually every series that followed it, Neon Genesis Evangelion and you had this anime film, Ghost in the Shell a huge influence not only on other anime films but on film and \"Cyberpunk\" in general.\r\n\r\nWould the film The Matrix exist at all if it hadnt been for this film? I really doubt it, from the designs and visual imagery to the existentialism, philosophy and psychology, take 70% Ghost in the Shell and 20% Alice in Wonderland then throw in a little religion and bits and pieces from many classic Sci-fi films and you have The Matrix.\r\n\r\nBack to the film, the plot is pretty complex and at times difficult to hang on to but this film has such re-watch value, I know Ive seen it at least 10 times over the years. When it came out there was nothing else like it, CGI was used but was toned in to fit perfectly with the standard animation, and the physical dynamics are still breath taking. The script is deep at times and although it pertains to the characters and their circumstances, in some ways we have all felt the need to question ourselves and our place in the world.\r\n\r\nSet in the future, the film revolves around a team of Government agents (Section 9) trying to trace a hacker known as The Puppet Master who has been manipulating people by interacting with their brains through the net, the team led by Major Motoko Kusanagi are for the most part, Ghosts within a shell, human brains and souls within a partial or totally cyborg body. Fairly standard material you may think albeit pretty complex as the plot twists and turns. But (and for once a very positive but) its the depth of the characters and their discourse with each other, the reality of the world they exist in, the whole tone of the anime and the absolutely outstanding soundtrack that makes this still rank as a classic of anime and science fiction.\r\n\r\nI could go on for pages proclaiming my love for this film, instead Ill just say, watch it, soak in its atmosphere, get lost in the complexities of its plot and the intricacies of its central characters, appreciate the quality of the artwork and the soundtrack and you too will find a great deal to appreciate and enjoy.\r\n\r\nHighly recommended, a stunning piece of work.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15.','3148618f0d06142908f230645a0b6b39',0,'','NpJ5qPuC',1,0,'',0,0,0),(8694,1601,3,1,0,'69.120.114.47',1131650100,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Inosensu: Kkaku kidtai (2004) Ghost in the Shell 2: Innocence \r\n\r\nDirected by Mamoru Oshii\r\n\r\nAlthough this doesnt match up to the previous episode, this is still an outstanding piece of Cyberpunk anime. We have lost Major Motoko Kusanagi and this does affect the dynamics of the whole film. Bato, Motoko\'s partner from the first film is also virtually a cyborg with very little of his former self remaining, another Ghost within a man made shell. Along with the still mostly human Togusa, he is called in on a case where several robots, all of the same type and model have killed their owners. \r\n\r\nThe actual plot line is far easier to follow than the previous film and the title Innocence has a well-founded meaning. It turns out that the robots have been developed for one reason only, as sexual playthings so the investigation, which has far, more of a film noir feel to it, attempts to trace the manufacturers and find out what went wrong?\r\n\r\nBato and Togusa make a good pairing though Kusanagi is missed and not just by the audience, she is constantly brought up in conversation between our main protagonists and does have a part to play in the story. Again as with the first, deep philosophical and existential themes are raised although they dont feel quite as natural. \r\n\r\nThe artwork although beautiful is again inferior to the first film, even more use has been made of computer graphics but this time theyve been overdone and dont gel as well (although far better than Wonderful Days aka Sky Blue) a lot of the time the blending of 2D and 3D animation works well but a couple of times you wish they had spent a little time making the 3D work blend in more.\r\n\r\nThe character of Bato comes into his own though, a cynical tough nosed detective on the outside, its only when we are allowed a little window into his private life as he spends time with his dog, (a relationship that any dog owner would immediately recognise) that we see a different side to him. Its the little moments like these that make this special. Mamoru Oshii is obviously a dog owner and lover and it wouldnt surprise me if the basset hound animated in this was modelled on the one in Avalon. \r\n\r\nSo overall then, weaker than the first but still far more depth than the average anime. The same haunting traditional sounding theme music and a subtext concerning a darker aspect of Japanese society (or society in general). Strongly recommended especially if you can catch it in the cinema.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15','b4395e9487ba7cebcf209a4a5f804812',0,'','kbr18ZsG',1,0,'',0,0,0),(8695,1601,3,1,0,'69.120.114.47',1132786860,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','\r\nThe Place Promised In Our Early Days (Kumo no Mukou, Yakusoku no Basho) (2004) (Japan) \r\n\r\nDirector: Shinkai Makoto\r\n\r\nIt garnered the Best Animation Film for Mainichi Film Awards 2005\r\n\r\nYup, it is the director who did Voices of a Distant Star ...\r\n\r\n\r\nMy thoughts:\r\n-- Like most Japanese films, the film describes human relationships very well ... and it manages to let the audience feel for the characters by the end ... \r\n-- And like many Japanese films, there is always that melancholic mood amidst some humor ... the beginning lines have set the tone for the entire film ... \r\n-- Also, it is often philosophical ... about love, about friendship, about reality and dreams, about peace, about the world beyond and the world of the unknown, etc ...\r\n-- There are many scenes that look very beautiful ... go watch ... ... I especially like the one where all of them are in the water ...\r\n-- The song at the end was very nice and meaningful too ...\r\n-- They subtitled everything, including the signboards, notices, etc ... of course some people may find it unnecessary or too distracting ... but I find it okay ... Also, when more than one person is speaking at the same time, they had 2 rows of subtitles ... \"yellow\" and \"white\" ...\r\n\r\nWhat could be better ...\r\n-- Due to (i) the nonlinear narration and (ii) the fact that reality and dreams are intertwined, some audience may find it confusing initially ... but along the way, they should be able to figure it out ... \r\n-- The \"fading to dark\" transitions are plentiful such that the \"smoothness\" may feel less than perfect ... \r\n\r\nConclusion:\r\nWorth watching ...','286b3922cfb57f9c14b6cc97e8884974',0,'','PzMZAm4W',1,0,'',0,0,0),(8696,1601,3,1,0,'69.120.114.47',1132805520,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','\r\nMind Game (2004) (Japan)\r\n\r\nDirector: Yuasa Masaaki\r\n\r\nThe film garnered the Ofuji Noburo Award for Mainichi Film Awards for 2005. No synopsis is needed, just go watch the film ... hee hee\r\n\r\nMy thoughts:\r\n-- Most audience will leave the theater being amazed by the * highly imaginative * work ...\r\n\r\n-- The use of color is interesting too ... there are scenes with shades of only one color to those with multiple colors, which coincide/depict the moods of the characters ...\r\n-- There are many different styles in the film ... from rough drawings and collage to computer animation, rotoscoping and use of real faces, etc ...\r\n-- The pacing is good ...\r\n-- Overall, the film is rather philosophical ... about living life to the fullest ...\r\n\r\n\r\nWhat could be better ...\r\n-- Unfortunately, the songs were not translated ...\r\n-- As for the plot, one really have to watch till the end to fully understand ...\r\n\r\nConclusion:\r\nWow ... another very different animation ... recommended!\r\n\r\nBy the way, it is for mature audience!\r\n\r\nQuestion and Answer:\r\n(With the director ... gist, not in verbatim)\r\n\r\nQ: What motivates you to include real faces with the animation? Are the faces those of the dubbers? Are the animated characters modeled after the dubbers? \r\nA: I wanted to make the film feel real, so I included the real faces. Yes, you are right, they are the faces of the dubbers. No, I did not model the characters after the dubbers, but luckily they somehow fit in with the drawn characters ...\r\n\r\nQ: How many people and how much time was involved? \r\nA: Initially, I worked alone for about 4 months ... then later 5 people ... then 500 people for about two years ...\r\n\r\nQ: Who inspired you? And what was your favorite scene? \r\nA: (I am not sure if it was due to poor translation but he did not seem to answer the first question precisely ... he answered about directors being able to work freely) ... (for the second question) I like the mother asking the kid to drink the milk scene ...\r\n\r\nQ: Which character did you identify with? \r\nA: Ha ha ... although most directors tend to identify with the main character, I spent most effort on the Yakuza ... maybe due to age ... Anyway, I made the main character younger, about 20 odd ... but in the manga, he was 40 odd ...\r\n\r\nQ: How did the story come about? \r\nA: The story was based on a manga ... but I wanted more people to read it ... so I made it into a film\r\n\r\nQ: How did you get the budget to make the film? \r\nA: Well, it was from sponsors of DVDs and VCDs, etc ...\r\n\r\nQ: What are your present work/future plans? \r\nA: Well, I am now working on something for TV, but the story is not from manga ...\r\n\r\nthat\'s all','8eba6dddcc1fbddf13b6f4228e01f957',0,'','vg5MKt4x',1,0,'',0,0,0),(8697,1601,3,1,0,'69.120.114.47',1132843800,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Thank\'s for the comments hengcs, great to hear about new anime, I\'m looking forward to seeing both for very different reasons: \r\n\r\nThe Place Promised In Our Early Days because of the director, plus the plot line sounds very interesting. \r\n\r\nMind Game because it sounds very different which could work either way, I like the idea of works that are* highly imaginative *. \r\n\r\nCheers Trev.','e6c50bb2ae44ad909751236072eeaa0f',0,'','yMivaSr9',1,0,'',0,0,0),(8698,1601,3,1,0,'69.120.114.47',1136958780,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Little Norse Prince (196 Taiyo no oji: Horusu no daiboken\r\n\r\nDirected by Isao Takahata\r\n\r\nThis was a groundbreaking anime, the one that first connected the names of Isao Takahata and Hayao Miyazaki who of course went on to create Japans greatest anime house Studio Ghibli.\r\n\r\nThe actual story is fairly simple and follows the traditional Heros Quest, a young boy sets out on a journey with a series of quests at the end of which he will have grown physically, mentally and spiritually.\r\n\r\nSet in Scandinavia in the distant past, Horus and his companion Coro, (a bear cub) are harassed by a pack of wolves, the noise of whom wakes up an imaginatively designed slumbering rock giant who has his own thorny problem. Horus removes the thorn that turns out to be a powerful sword, unlike King Arthur, the sword doesnt bring instant power but it does push him towards his epic quest.\r\n\r\nHoruss father is critically ill but before he dies he tells Horus about their past and the evil demon that destroyed their home village. After giving his father a Viking style funeral, Horus sails Northwards to find his kin and to try to find and destroy the demon.\r\n\r\nFrom then on his adventures take him to the deceitful demon and a village that has more than its share of problems including a giant killer carp. Theres double crossing, a love interest who is far more than she appears and plotting a-plenty before a final confrontation with the demon that will decide the future of all humanity.\r\n\r\nThe standard of the animation and backdrops surprised me; they are fresh looking and are more modern in appearance than most anime from the 1980s, there is one scene when an enormous pack of wolves are attacking the village where a lot of static screens illustrate the action, I\'m not sure if these have been added since the initial release but you can understand that the scene would have been incredibly complex and time consuming to have rendered. The sound on the other hand is dated, a definite nostalgia trip but there are some fabulous creepy sound effects. \r\n\r\nAnother surprise was the number of songs during the film, not like Disney where anything and everything suddenly explodes into song for no apparent reason, these belong within the structure of the story, I cant remember seeing any other anime with so much singing in it.\r\n\r\nAlthough the original story was taken from a Japanese folk tale, it was given the Nordic touch to try and make it more saleable on the World market, I wonder how it would have looked if they had kept the original setting? Considered to be the first modern anime, certainly style-wise. The film failed on its release but became a cult hit (and rightly so). \r\n\r\nBoth directors have moved on in leaps and bounds since Little Norse Prince but this is a delightful and thoroughly recommended film, of course it also has historical significance for any anime fan. \r\n\r\nCheers Trev.\r\n\r\nBBFC rated U\r\n\r\nR2 Pal dvd available from Optimum Releasing.','84554e24f046050483161785890d331d',0,'','8oDWCX0n',1,0,'',0,0,0),(8699,1601,3,1,0,'69.120.114.47',1136987640,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','Thanks for the review. Will try to get the DVD.','b453228a499e6da7780dceaa7bc69f99',0,'','qXjY82wn',1,0,'',0,0,0),(8700,1601,3,1,0,'69.120.114.47',1137017220,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','Thanks indeed. Will watch it if i lay my hands on it.\r\nDo you know what was Miyazaki\'s creative input in this one?','05fa0f0bca1938888cde23a8de947240',0,'','q8aFZQPE',1,0,'',0,0,0),(8701,1601,3,1,0,'69.120.114.47',1137039420,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Miyazaki started off as one of many who did the in-between work, this involves doing a lot of sketches to fill in sections of movement for the principal animators. His work was so impressive that they created the position of chief animator and concept artist specifically for him.\r\n\r\nIf I had to say what I believe his major influence on the film was, it would be pure conjecture but I\'d say the design and animation of the rock giant and maybe the hero Horus. The giant would slip into any of his other films quite easily.\r\n\r\nCheers Trev.','817cf6b28632db5476e096b8ba4939b1',0,'','7sLSZVuC',1,0,'',0,0,0),(8702,1601,3,1,0,'69.120.114.47',1137127980,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','Thanks for the info','f9b308ae97f0574877cc3920a6e458eb',0,'','8Az4ok53',1,0,'',0,0,0),(8703,1601,3,1,0,'69.120.114.47',1137471420,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Nausica of the Valley of the Winds (1984) Kaze no tani no Naushika\r\n\r\nDirected by Hayao Miyazaki\r\n\r\nPre-dating Princess Mononoke by 13 years, this is Miyazakis first stab at an adventure where environmental issues are at the forefront. Set at some future date with the Earth decimated by mans disregard for nature and for himself. Nausicas world is a mixture of overgrown, dense and highly toxic jungles populated by mutated insects including the giant woodlouse like Ohms, vast desert like wastelands and a few small areas where the last vestiges of humanity cling precariously to life. \r\n\r\nNausica, princess of the Valley of the Winds is the vibrant eco friendly heroine who is desperately searching for a solution to the toxic jungles before they overgrow and sweep away the last survivors. While she is taking positive action, other societies who refuse to learn the lessons of the past are scheming to rid the earth of the jungles by their own means and to take control of everything.\r\n\r\nThis sweeping adventure takes us over, through and under the toxic jungles, which appear to be inspired by the artistic visions of Roger Dean, skimming over the desert wastelands and soaring up through vast electrical storms when the action is taken into the sky. The Valley of the Winds itself appears to be the one place on Earth where sanity still exists. Rather than looking to expand and occupy others lands and hold dominion over the other races, the people of the valley are intent on keeping the jungle at bay and living a life of self-dependency. \r\n\r\nAll this though comes to an end when a huge transport aircraft crashes into the valley leaving a sole survivor and a huge object of unknown origin. The peace that the people of the valley have known and enjoyed is over as a tug of war begins between the other states over possession of this strange and obviously incredibly powerful device. It will take a true hero/heroine to save the day, luckily for them, they have Nausica.\r\n\r\nNausicaa isn\'t some sort of super hero, she is fallible and all too human, becoming more than a little uncomfortable with some of her own rash actions and decisions. This adds something to the story giving the viewer the opportunity to empathise with her character. \r\n\r\nThe plot and artwork are more simplistic than any of Miyazakis recent films but that doesnt detract from this true classic of anime. The message is clear and the story literally flies along only dragging its heels slightly towards the end. Princess Mononoke may be more graphically complex but both are equally relevant in their ecological intentions. \r\n\r\nA top recommendation, quite suitable for most ages and a cgi free zone which makes the animation all the more impressive.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG\r\n\r\nR2 Pal dvd available from Optimum Releasing. R1 ntsc dvd available from Walt Disney Home Entertainment.','bc8cc0ba001f3dc196967906f2774ec9',0,'','UmtAJLE0',1,0,'',0,0,0),(8704,1601,3,1,0,'69.120.114.47',1138382700,1,0,1,1,1,1,'Johndav','Re: Japanese Journals - Anime','Well, i think Howl\'s Moving Castle is the most wonderful animation of all. Perhaps i was fortunately spared the Williams/Aladdin\'s genie similarity by watching a French version. And strange the 2 by Miyazaki i like most i saw in a foreign language (Totoro in Japanese). I didn\'t find the anti-war message overpowering, though it is powerful enough, and i\'m very impressed with Miyazaki\'s personality, idealism, commitment to humane, decent causes and making the world a better, more peaceful as well as charmingly imaginative place for children and adults alike. Not only a technical marvel, as we\'ve come to expect, this one thrilled and touched me emotionally. 3 days on, i still have a warm glow of contentment, + admiration for a director who now joins my pantheon. I\'d forgotten Wynne-Jones was born in England, but with her Welsh name and characters called Jenkins + Pendragon i naturally recalled Miyazaki\'s own visit to Wales, which influenced Laputa.','6061df5a140eb560da3abfe6c9cb812f',0,'','af5Xrm6A',1,0,'',0,0,0),(8705,1601,3,1,0,'69.120.114.47',1138660620,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Porco Rosso (1992) Kurenai no Buta \r\n\r\nDirected by Hayao Miyazaki\r\n\r\nYet another wonderfully crafted anime feature from the hand of Miyazaki, set in the 1930s in a fantastical setting yet tied to reality with the inclusion of the growth of fascism in Italy.\r\n\r\nPorco Rosso, formerly a handsome man has been cursed with the face of a pig, an ace flyer and bounty hunter, he spends his time defending ships and planes from a motley and humorous collection of flying pirates. \r\n\r\nBecause the pirates cannot defeat Porco they hire an egotistical American Ace (Curtis) to take care of it; he damages Porcos aircraft and believes hes killed him. Meanwhile Porco has been rescued with the remains of his plane and heads off to Milan to get it rebuilt. \r\n\r\nPorco is sexist, (in his own words, Every middle-aged man is a pig) he is appalled when he finds out his plane will be designed by a 17 year old girl (Fio) and built by women but has no choice in the matter. To his surprise it turns out to be better than ever. He heads home very quickly after finding out that the Italian government has a warrant for his arrest and the secret police are on his trail. Begrudgingly he takes Fio with him as she wants to ensure the plane works correctly. \r\n\r\nOnce back hes surrounded by the pirates who have discovered his secret hide-away and are after his blood, Fio manages to calm them down as long as Porco has a rematch with Curtis, as a side bet Fio will have to marry Curtis if Porco loses. \r\n\r\nWhat is the curse that has turned Porco from a man to a pig and how can it be broken? Will Fio end up married to Curtis and what is it that she and other women find so attractive about Porco? \r\n\r\nThats enough of the plot although its only skimming the surface, love, honour, trust and friendship all play a part in this charming tale. Set before WWII, the ugly rise of fascism is seen from gossip in the local shops and bars to militaristic parades and secret police in Italy. The flying scenes are wonderful which is just as well as they make up a large proportion of the film. In spite his features and despite his heroism Porco is humble and very down to earth, a no-nonsense nice guy who in no way see\'s himself as a hero.\r\n\r\nAn absolute recommendation, Miyazaki proves once again that he is a wonderful animator, creator and director. Great entertainment for any age, sit back and enjoy the ride. \r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG.\r\n\r\nR2 Pal dvd available from Optimum, R1 ntsc dvd available from Disney.','d86692abd2a57ca6d1251d50b6f7bd00',0,'','3RDYN2AC',1,0,'',0,0,0),(8706,1601,3,1,0,'69.120.114.47',1142347020,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','As well as movies there are many very good series including Neon Genesis Evangelion, Noir and Azumanga Daioh. I\'ve just bought all episodes of a series so before discussing others I thought this would be an ideal way to start.\r\n\r\nGhost in the Shell [Stand Alone Complex] \r\n\r\nGhost in the Shell - The timeline for the series is set before the two movies and includes all the major characters though a lack of knowledge of the films probably won\'t detract from the series. \r\n\r\n[Stand Alone Complex] - The series is made up of stand alone episodes and episodes that carry a more complex plot that runs through the whole series, slightly reminiscent of the way the \"X Files\" was constructed.\r\n\r\nI\'ll write additional notes as I watch the series but I\'ll just mention the dvd\'s. Each part (3-4 episodes) is contained on two discs, they are presented in anamorphic widescreen. The reason for two discs appears to be to provide the best in audio and visual quality. Disc one has English and Japanese stereo and dolby digital 5.1, it also contains most of the extras. The second disc is mainly set aside for DTS, although sound and vision aren\'t the most important aspects of any dvd, this is certainly what I would classify as a high quality product.\r\n\r\nVolume 1. \r\n\r\nFirst thing of note is the difference in the style of graphics and plot compared to the films, still very cyberpunk and very true to the characters. Each of the Stand Alone episodes has worked well so far considering the time constraints, one even had a homage to 60\'s French cinema. Only one Complex episode on disc one but it already looks like this will be a good series, certainly for fans of the films and/or Cyberpunk in general.\r\n\r\nVolume 2 expands on the Complex plot with a further two episodes in the hunt to find out the truth behind the Laughing Man, is there a genius hacker known as the laughing man or is it part of some much larger conspiracy, certainly complex and should develop well over the series. Two Stand Alone episodes that keep up the standard of the first ones, very well done so far.\r\n\r\nVolume 3 Both the Stand Alone and Complex episodes are excellent, the only time I can remember seeing so much initiative and inventiveness in an anime series was with Evangelion. The one thing a series can take time doing that the movies can\'t is expanding on the characters, delving into the pasts of Batou and Major Kusanagi with some surprising results. The series has improved as it\'s progressed and has so far been a very worthwhile purchase.\r\n\r\nI\'ve watched the complete series now and give it a definite recommendation for anyone into anime or cyberpunk, certainly for fans of the films. \r\n\r\nThe standalone episodes work very well and the complex will blow you away, very very good.\r\n\r\nOnce you get used to the more (neccessarily) simplistic visual design you will be drawn into the plot and characters.\r\n\r\nThe one thing I really missed from the films was the wonderful score by Kenji Kawai, but overall it gets a definite thumbs up.\r\n\r\nCheers Trev.','043c29c05692edc17ecd4e903c4974c1',0,'','ag6LEhmy',1,0,'',0,0,0),(8707,1601,3,1,0,'69.120.114.47',1143431100,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Still to come. \r\n\r\nAkira\r\nBarfoot Gen 2\r\nBlood, the Last Vampire\r\nBurn Up\r\nCastle of Cagliostro\r\nThe Cat Returns\r\nDragon Half\r\nGunbuster\r\nGunsmith Cats\r\nHis & Her Circumstances\r\nKiki\'s Delivery Service\r\nLaputa, Castle in the Sky\r\nMartian Successor Nadesico\r\nMemories\r\nMetropolis\r\nNeon Genesis Evangelion & Movies\r\nNinja Scroll\r\nNoir\r\nOnly Yesterday\r\nParanoia Agent\r\nPerfect Blue\r\nPrincess Mononoke\r\nRead or Die\r\nRiding Bean\r\nSakura Diaries\r\nSamurai X\r\nSerial Experiments Lain\r\nSpirited Away\r\nSpriggan\r\nTokyo Godfathers\r\n\r\nAnd more...........\r\n\r\nCheers Trev','f68b98704b03af92de2a7296f114b917',0,'','kpDKRZVS',1,0,'',0,0,0),(8708,1601,3,1,0,'69.120.114.47',1144031820,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Steamboy (2004) Suchmubi \r\n\r\nDirected by Katsuhiro tomo\r\n\r\nAn allegorical fable set in mid 19th Century Britain at the height of the industrial revolution, Steamboy is the story of Ray Steam, a young boy living in Manchester who receives an invention of unparalleled power from his Grandfather and is told to guard it with his life till he can present it to another inventor Robert Stephenson.\r\n\r\nShortly after receiving the package, men from the OHara foundation force their way into the house, they want the Steamball and dont care how they get it. Ray escapes on one of his own inventions only to be trailed by the men, they capture him after an exciting chase through the English countryside and a brush with a steam locomotive.\r\n\r\nThe next thing he knows, Ray is in London and housed within a giant steam castle, here he meets his father whom he had thought was dead. It is the time of the Great Exhibition and Ray discovers that his father has sold out to the OHara foundation. The castle which overlooks the Crystal Palace is a powerhouse of weaponry and is there to push sales of these to anyone, friend or foe as long as they can pay for them. \r\n\r\nHindered then helped by Miss Scarlett (the daughter of the president of the OHara foundation) Ray manages to retrieve the steamball and warn Robert Stephenson and the British police about the castle. A huge battle ensues within the heart of Victorian London between the British forces and the power of the Steamcastle.\r\n\r\nObviously historical details are a bit muddled in this tale, Manchester and London both look clean and pristine when in fact they were dirty and smog bound. Theres also a mixture of genuine and fantasy characters, George Stephenson was a famous British inventor who designed the first successful locomotive, The Rocket. Miss Scarlett in the story is blissfully ignorant of everything going on around her apart from her own desires, just like her namesake Scarlett OHara in Gone With the Wind. \r\n\r\nThe timing is also out for the Great Exhibition which pre-dates the setting of Steamboy by around 15 years but since the film is a fantasy, these minor discrepancies can be ignored. \r\n\r\nThe story represents the abuse of discovery and invention, if something is invented or discovered and can in anyway be used as a weapon, (in this case the steamball can be seen to symbolise the far more potent destructive force of nuclear power) then there is no doubt that it will be turned into a weapon, usually on the pretext of defensive measures. Of course if a weapon is invented, there will always be someone willing to sell it and not particularly concerned with who the customers are either.\r\n\r\nAs far as the animation is concerned, it is generally very good; a little too much use of cgi maybe, especially within the confines of the steamcastle but at least it has been toned to fit in with the more traditional animation. The character designs are also very good although I did have a problem with the only major female character, Miss Scarlett who had masculine features and looked like Ray Steam with a wig on.\r\n\r\nAnna Paquin voices Ray but her accent flits all over the place, the one thing it doesnt sound like is a Manchester accent. Another point is that although her voice passes for a boys most of the time, there are moments when it sounds far too feminine, a very inconsistent performance and one that unfortunately stands out for the wrong reasons. \r\n\r\nA decent adventure, though one that falls short of Miyazakis films or indeed tomos own classic Akira. Still recommended especially to anime fans.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG\r\n\r\nR2 Pal dvd available from Sony Pictures, standard edition contains the theatrical release of the film and English dub.\r\n\r\nDirector cut contains full length version and both English and Japanese dubs, it\'s also far more expensive.\r\n\r\nR1 ntsc dvd also available from Sony Pictures.','a17f33e52ff471a5d0b635db7e988ff6',0,'','DtzP1EjK',1,0,'',0,0,0),(8709,1601,3,1,0,'69.120.114.47',1144060140,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','Which version of Steamboy did you get to watch?','fa09c2e0e66cee5c16adcc99fba138f0',0,'','j0FVw2d1',1,0,'',0,0,0),(8710,1601,3,1,0,'69.120.114.47',1144076340,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','Since it hasn\'t been released theatrically (at least not here) I\'ve only seen the rental version which is the same as the theatrical cut. If I was going to purchase it I would go the extra and get the directors cut, not just for the longer film and Japanese soundtrack but it has been beautifully packaged with plenty of extra goodies.\r\n\r\nCheers Trev.','bc92b5af473cc424eca9194f948f94b1',0,'','NoLe8pFG',1,0,'',0,0,0),(8711,1601,3,1,0,'69.120.114.47',1145857980,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','I watched the longer version last year in theater, japanese with english subs.\r\nDoesn\'t seem better than what you already wrote. Maybe the shorter cut is, as the one I saw kept on dragging waay too long. Anyway recommendable for anime fans.','286ba605ecbf33eeda912c1f22c8dd96',0,'','Xqbzye9s',1,0,'',0,0,0),(8712,1601,3,1,0,'69.120.114.47',1170736200,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','Hmmm, \r\nI am not sure if we have talked about this film ...\r\nAnyway, just some info (since the movie is out, but not the DVD) ...\r\n\r\nGoro Miyazaki (father is Hayao Miyazaki) anime ... Tales from Earthsea (Gedo Senki) is based on Ursula K. LeGuin\'s Earthsea Series ...\r\n\r\nBox office ... the film reached #1 at the Japanese Box Office on its opening week and reached #4 top grossing movie for the year in Japan ...\r\n\r\nCritics ... gave it the \"Worst Film\" in Japan\'s version of Razzie Awards ...\r\n\r\nFrom what I have read from a few websites ...\r\n-- Story telling is weak; lots of frightening scenes\r\n-- Artwork and Music/Soundtrack is great ...','582e4fb616cc676ab5e67b7496769cd1',0,'','K1NxnmEy',1,0,'',0,0,0),(8713,1601,3,1,0,'69.120.114.47',1187374800,1,0,1,1,1,1,'trevor826','Re: Japanese Journals - Anime','I\'ll be seeing the subtitled version during September and am happy that I know nothing about the Earthsea novels, otherwise I\'d be far more wary.\r\n\r\nHave you or will you be seeing it hengcs?\r\n\r\nCheers Trev.','d5ef256e54768595d878b41af6b84ad5',0,'','jrp8YK5C',1,0,'',0,0,0),(8714,1601,3,1,0,'69.120.114.47',1187435400,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','I have the DVD but I procrastinated watching it ...\r\nReason: Too many other good films in the pipeline ...\r\n\r\ni think justin has written a review on it on this board.','0650f194db6aee6a555d3004ab0ff2ed',0,'','xGH0PQvt',1,0,'',0,0,0),(8715,1601,3,1,0,'69.120.114.47',1197353340,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','\r\n\r\n5 cm per second (Bysoku 5 senchimtoru) (2007) (Japan)\r\n\r\nDirector: Makoto Shinkai\r\n\r\nOh yes, I have recommended his Voices of a Distant Star (2003) and The Place Promised in Our Early Days (2004). And guess what, this animation is EVEN BETTER!\r\n\r\nSynopsis\r\nThe film in three parts, can be watched and understood either separately or as a continuation ... \r\n\r\n\"Cherry Blossom Story\" tells the childhood story of Takaki Tono and and Akari. Due to their parents\' job, they are frequently on the move ... The story is told primarily through all the letters and also, the train trip to meet up with her before he leaves for somewhere further ...\r\n\r\n\"Cosmonaut\" advances to Takaki\'s high school days. Now, the story is told from the perspective of Kanae, a girl who is secretly in love with Takaki. However, he always seems to look beyond her, to a love faraway ... Will she be able to reveal her love to him?\r\n\r\n\"A chain of short stories about their distance\" tries to wrap up everything ... and maybe you should watch to know the ending ... \r\n\r\nMy Thoughts\r\n\r\nThree things touches ...\r\n\r\n(1) THE ARTWORK\r\n\r\nSimply breathtaking and amazing, esp. on the BIG screen, with the original print! ... wow ... the colors are correct, the lighting is great, everything looks so picturesque ... * I hope to watch on the BIG screen again * ...\r\n\r\n(2) THE STORY ... THE EMOTIONS ... THE FEELING ...\r\n\r\n(i) Unlike some Japanese anime that tries too hard (at times) to philosophize or be too cryptic (in its analogies), this film feels so REAL! And I tell my friend, it is very difficult to impress and imprint with a simple story without \"dramatic\" twists or surprises. And with these restrictions, if the director succeeds in stirring our emotions, he has achieved a great feat!\r\n\r\nYes, the film touches my heart ... if you have been in love before, if you have pined for someone before, if you have prayed the best for someone before, if you are simply a sentimental person, if you are simply an emotional person, the film will strike a chord ...\r\n\r\nThe film does not \"engross\" with plentiful plot, but it makes you \"feel\" for the characters; The film does not \"grip\" like a thriller, but it makes you \"crave\" to know what happens next and what happen to the protagonists ... \r\n\r\nAlthough you may NOT feel it immediately ... the film LINGERS ON ... probably minutes to hours after the film ...\r\n\r\n(ii) Although I claim that the film is very accessible and easy to understand, you may choose to \"philosophize\" still ... with its frequent mention of ... time and distance ... love and life ... lost and loneliness ... etc, you can go ahead and marvel at how well the film is executed!\r\n\r\n(3) THE MUSIC\r\n\r\n-- One more time One more chance\r\nApparently, the director has chosen a familiar song so that the audience would feel even closer to heart (i.e., it is a story about their life and people they know) ...\r\n\r\n-- I feel like providing the link to youtube. But on second thought, although the music is everywhere on the youtube, I think my accolades for the artwork may be muted by the less than perfect resolution, color and lighting, etc ... Furthermore, without watching the entire film (and the theme song only sounds near the end), one may be less stirred emotionally (i.e., as compared to an audience who have sat through the entire film and be absorbed into the story and characters)\r\n\r\nConclusion\r\nHighly recommended. \r\n\r\nIt should be watched on a BIG screen because of the artwork ... wow ... \r\n-- on the big screen, with the original print, i am confident that the color, lighting, etc is precise and correct ... \r\n-- i am NOT sure abt the DVD * maybe someone who have watched the DVD version could comment * \r\n-- also, * please do NOT spoil your impression by watching on youtube *\r\n\r\nHonestly, I have always wondered why the Best Animation category in Oscar have omitted such great animation. (problem of language?! culture?! or distributor?!) \r\n\r\nIMHO, this animation 5 cm per second (Japan) and The Girl Who Leapt Through Time (Japan) are clearly MUCH better than Ratatouille, The Simpsons Movie, Shrek the Third, Bee Movie, TMNT, Alvin and the Chipmunks, Meet the Robinsons, etc etc etc\r\n\r\nAs for Tekkonkinkreet (Japan), I will comment on it next time - it is great, but at the same time cryptic and ambitious ...','ced1f1d30436ee73de7daec90c3d5026',0,'','M5tn4SRG',1,0,'',0,0,0),(8716,1601,3,1,0,'69.120.114.47',1197364320,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','I attended a screening of The Girl Who Leapt Through Time recently. I thought it was a good film, if not quite at the level of a Miyazaki or a Kon.\r\n\r\nI\'ll wait for your comments regarding Tekkonkinkreet, which I consider to be average at best (I believe I graded it a C+). But I do admire its visual ingenuity.','222c67b74712e4cabe5f836f034e7a63',0,'','14BUCNbD',1,0,'',0,0,0),(8717,1601,3,1,0,'69.120.114.47',1197385560,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','Oh ... my take on The Girl Who Leapt Through Time ... \r\nMaybe will paste here after a while ... \r\nclick \r\nhttp://foreignfilms.yuku.com/topic/612','a3aefdf3def8de4818b6721b67430221',0,'','ai3xkcoq',1,0,'',0,0,0),(8718,1601,3,1,0,'69.120.114.47',1197440880,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','You can, but I think it\'s better that the film has its own thread. Time permitting, I\'ll add a few comments there. Actually, you may also want to consider starting a new one for Bysoku 5 senchimtoru. Some of us might get to watch it in the upcoming months.\r\n\r\n\"Honestly, I have always wondered why the Best Animation category in Oscar have omitted such great animation. (problem of language?! culture?! or distributor?!)\"\r\n\r\nWhile language and culture are always a factor, a brief theatrical run in the U.S. is required for a film to be considered for most categories of the Academy Awards.','91bd4a7916b47950112b412e96a40daf',0,'','aVUWlwsK',1,0,'',0,0,0),(8719,1601,3,1,0,'69.120.114.47',1205629500,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','You could indeed open a new thread for Makoto Shinkai\'s \"5 cm per second\" hengcs. I\'ve started watching anime again, and obtained this title (and many more ) to check out in the future. Your review sounds promising. Last anime I watched was probably the OVA \"Last Exile\", which was overall a fantastic experience and also my first anime series (that consisted of mote than 3 or 4 episodes) I actually completed. I can honestly recommend it to any lover of anime. Especially the first bunch of episodes are outstanding. I won\'t write a review now, as I\'m not in the mood. Suffice to say, it has shown me what I have missed the last 8 years, when I watched way too little anime (and also animation in general).','55c1f520c603e525d7d1af3cd0c3e0e3',0,'','hCmRqZUP',1,0,'',0,0,0),(8720,1601,3,1,0,'69.120.114.47',1205639880,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','Shin seiki evangerion \r\nNeon Genesis Evangelion (1995 - 1996 / Japan / Hideaki Anno, and others) \r\n\r\n\r\n\r\n\"Neon Genesis Evangelion\". The title alone is already legendary. It stand for one of the most successful and stimulating anime series ever produced, and has arguably helped to stimulate more interest for Japanese animation throughout the world, than any other movie or series from this genre which came to us during the 90s. My own encounter and experience with it has also become an unexpectedly large part of my (movie-watching) life. \r\n\r\nI first came upon the series through a dear friend in shool some seven years ago, who was then already an avid fan of anime and the Japanese culture (and has remained so until today ). At that time I was a budding cineaste and barely knew anything about films from Japan (I had probably already heard of Kurosawa, and seen one or two of his films in edited and badly dubbed German VHS versions), especially not animation. As I was somewhat curious about it (I don\'t remember the exact circumstances anymore), I asked her if I could borrow some anime from her, The package she gave me consisted of some interesting short films and (short) series of which I don\'t remember the titles right now, but definitely the most interesting thing she gave me, was a compilation of episodes from a series that involved children piloting giant robots. At first the premise didn\'t seem very interesting to me (I was a bit too old to appreciate Giant Robots, and a bit too young to re-appreciate them ), and the copies I was able to view, had already been taped from another source, were almost in black and white, with a lot of dropouts, hissing noises, and the worst image and sound problems you could imagine on a standard VHS. And the worst thing (which I only realized months later): the series was incomplete (ending at around episode 20, if my recollection is correct). One positive aspect though was that the episodes weren\'t cut - as was often the case with Japanese animation during the 80s and 90s that got distributed in Europe and the US - and were presented in their original language with very good fansubs that had begun circulating more regularly at that time. I\'m not sure if this helped in my development of watching films and series in their original language, but it surely didn\'t harm it. As I slowly progressed through the series and several months passed by, I got more and more engrossed in the characters and the world they inhabited. The series seemed to get better and better with every new episode, buliding layer upon layer of a seemingly preconceived plan that was going to be revealed at the end of it. When I had come at the end of the episodes that were available to me, I had become not only an admirer of \"Neon genesis Evangelion\" and its creator Hideaki Anno, but also a converted believer into the blessings that had arrived in our Western world through the import of anime. \r\n\r\nI copuldn\'t continue my experience with this particular series until a few years later, when I started living in Berlin, and was able to obtain the complete episodes as some sort of gift from my cousin. Imagine my astonishment when I was able to see the colors of the animation for the first time. As I started watching the series anew during the upcoming months (which were also some of the happiest in my life), I discovered that I had grown even more fond of the story and the way it was told, and even the giant robot fights didn\'t bother me as much as they used to. As my cinematic development had progressed through the years, so had my understanding and appreciation of the mulltifaceted ideas Hideaki Anno had tried to implement into the complex structure of the series. Unfortunately another misfortunate event occured as my Laptop got stolen and with it the remaining episodes I had copied to my hard disk. As this was only the beginning of what would become one of the worst years in my young life, I had other things to take care of, and forgot to seek out the four or five episodes and the subsequently produced feature \"End of Evangelion\" (1997) which had been produced to finish the series and which were missing in my own experience of the show. Fortunately I stumbled, again by chance, upon the whole series during recovery from a bad illness about two weeks ago, and I have started to watch the series again. So far, I have managed to see the first four episodes, and if fate isn\'t going to intervene once more, I will be able to finish this series during the upcoming months. It\'s been a long time coming, and I doubt I\'ll let anything come between me and my enjoyment of \"Neon Genesis Evangelion\". Anyways, I\'ll keep you posted on any further developments. \r\n\r\nAs I see it at the moment, I have again come to appreciate this incredible creation even more, and I have also noticed how carefully Anno and his fellow screenwriters have interwoven the many threads of the story and its implementations from the very beginning of the first episode. It isn\'t too bad that I am already familiar with most of the upcoming events and developments, as it gives me the opportunity to reflect on the deeper meaning of what I have seen in a way that isn\'t possible for anyone new to this show. I\'m sure many of us have already seen it (I know that especially Trevor is a fan ), but for the ones who are still new to it, my advice is to observe very carefully what is going on from the start. What stood out even more than the last times, was the extremely skillfull pacing and the attention given to every detail of every moment that is shown in the film. Almost nothing occurs without purpose, and will have emotional and intellectual reverberations for attentive viewers in every episode to come. The payoff that gets bigger and bigger in the course of your involvment with \"Neon Genesis Evangelion\" is due in large parts to the fact that this is one of the best character-driven shows or movies you are ever going to see. I\'m not exaggerating when I state this, and I believe that any sceptics of anime (or animated films in general) that are still out there, will lose their doubts after engaging with this highly personal and philosophic but also extremely entertaining work of art. And if nothing else, who could resist giant robots fighting against monsters from space to decide the fate of the human race, if not a cinephil snob. I for once, couldn\'t wait to set my eyes on the huge Evas batteling the angels, and when the fighting started I could feel the goosebumps on my back.','33f30c578124dab7d96c7e6ed2b45b4b',0,'','MEDNovjg',1,0,'',0,0,0),(8721,1601,3,1,0,'69.120.114.47',1205652660,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','Good review, A. Otomo\'s Akira was perhaps just as front and center in paving the way for anime in foreign lands (especially the West), but you\'re absolutely correct regarding the influence of Neon Genesis Evangelion. A remarkable series to say the least!','a1cc80e6d79ad17dd61ad9d0ce03afd0',0,'','8JbTkAL1',1,0,'',0,0,0),(8722,1601,3,1,0,'69.120.114.47',1205681400,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','Thanks. I was really in the mood for a short write-up after watching the fourth episode yesterday. \r\nYou are completely right of course. I wanted to include an added \"during the 90s\", because I think \"Neon Genesis Evangelion is for the 90s, what Akira was for the 80s, and \"Spirited Away\" for the new millenium. I was at first a bit irritated by your reply, because I had thought I had pointed this out in my review, but when I checked it, i saw that I had somehow left out this part of the thought process. But it\'s fixed now (hope the sentence doesn\'t sound too convoluted too a native speaker - I didn\'t want to re-structure it completely). \r\n\r\nSo you\'re also enthusiastic about the series? Didn\'t know that, but it\'s great to hear. I guess now we only have wpqx left. I\'m already trying to convert R6dw6C to a fan of animation (in general) and anime. I\'ve lent him \"Spirited Away\" and am anxiously awaiting his reaction.','b68bb6e6bf2797b7c4a5f3b152157ae7',0,'','a0NKcAHz',1,0,'',0,0,0),(8723,1601,3,1,0,'69.120.114.47',1205824260,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','I\'d be surprised if R6dw6C didn\'t become a Miyazaki fan after viewing Spirited Away.','9e6830259842c500000ff8c3e510d0f8',0,'','eFjgPmRD',1,0,'',0,0,0),(8724,1601,3,1,0,'69.120.114.47',1205991300,1,0,1,1,1,1,'A','Re: Japanese Journals - Anime','I hope so! \r\nBut with R6dw6C you never know. A truly passionate cineaste with his own mind and way of thinking. \r\nI\'m positive that he will like parts of it, but if he\'s appreciative of the film as a whole and thinks it\'s a masterpiece? We will see.','796a95c53706b802023bb723ef7696a4',0,'','DkCjAKJP',1,0,'',0,0,0),(8725,1601,3,1,0,'69.120.114.47',1206002460,1,0,1,1,1,1,'hengcs','Re: Japanese Journals - Anime','hengcs wrote: \r\n\r\n5 cm per second (Bysoku 5 senchimtoru) (2007) (Japan) \r\n\r\nDirector: Makoto Shinkai \r\n\r\nOh yes, I have recommended his Voices of a Distant Star (2003) and The Place Promised in Our Early Days (2004). And guess what, this animation is EVEN BETTER! \r\n\r\nConclusion \r\nHighly recommended. \r\n\r\napparently justin has watched it ... \r\nfrom another board, he wrote ... \r\n5 Centimeters Per Second - Haven\'t felt so engrossed with an anime since Memories . \r\n\r\nso, did you watch the film becos i recommended? \r\nhee hee ... \r\njust joking ...was the DVD version ok?','e167647510368231bc7f49684839d3c4',0,'','2BLJe7vw',1,0,'',0,0,0),(8726,1601,3,1,0,'69.120.114.47',1206012660,1,0,1,1,1,1,'arsaib4','Re: Japanese Journals - Anime','\"I hope so! \r\nBut with R6dw6C you never know. A truly passionate cineaste with his own mind and way of thinking. \r\nI\'m positive that he will like parts of it, but if he\'s appreciative of the film as a hole and thinks it is a masterpiece? We will see. \" \r\n\r\nYes, I know, A. That goes without saying, especially when you\'re dealing with an enfant terrible like R6.','d533a134a6c096dda150da35e007ad32',0,'','3D1cd6lp',1,0,'',0,0,0),(8727,1602,3,1,0,'69.120.114.47',1184304060,1,0,1,1,1,1,'hengcs','Always - Sunset On Third Street (2005) (Japan)','\r\n\r\nDirector: Takashi Yamazaki\r\nCast: Hidetaka Yoshioka, Shinichi Tsutsumi, Maki Horikita\r\n\r\nThe film garnered 12 (out of 13) awards in Japan Academy Awards in 2005\r\n\r\nSynopsis\r\nSet in 1958, more than a decade after the World War, the film revolves around the lives of various characters living across one another on a street in Tokyo ...\r\n\r\nMy thoughts\r\n\r\n-- Piqued by curiosity (as to why it could have swept nearly all the awards that year) and two years of anticipation, the film still has not made it to our local big screen. Yes, I still think it is a film that should be watched on the BIG screen ...\r\n\r\n-- Superficially, one can appreciate the film from its plot. However, it deserves more scrutiny than that, as it is a film about humanity and hope ... It is as much about the past as well as the future ... It is about dream vs reality ... Life is seemingly so simple, and yet so complex ... It is about the old and the young ... It is about abandonment as well as reunion ... It is about loss and found ... It is about family and friends ... It is about love ... Well, one can actually probe and dig real deep ... I can corroborate my arguments with details on the plot, but I guess you are wonderful enough to unravel them yourselves ... \r\n\r\n-- And if you have heard negative comments for this film, from those who may not have liked it as much, it is not difficult to hazard a guess ... \r\n\r\n(i) the acting ... if you are more accustomed to subdued emotions, the exaggerated expressions may be over the top; however, if you have watched substantial japanese films, you will be able to accept and credit the cast for their style of acting and expressiveness ...\r\n\r\n(ii) the story ... some may find the initial half lack of \"dramatic\" elements and the second half too full of \"melodramatic\" moments; but to others, the initial half actually sets the stage and the second half sets our tearducts to work ... yup, the winning formula of FIRST LAUGHTER, THEN TEARS ... hee hee\r\n\r\nConclusion\r\nHighly recommended, as it gets better as the film progresses. Maybe you will be touched, maybe you will not be ... However, if you are willing to re-watch it and re-analyze it beyond its basic plot, a lot can be unravelled ... \r\n\r\nIf all else fail, at least give the film two big CLAPS ... one for all its technicalities (both visual and audio) ... and one for its naunces and nostalgia ...\r\n\r\n\r\nPS: For those who are interested, here is an interview with the director\r\nclick\r\nhttp://www.dmc.keio.ac.jp/en/review/0609_nyaff2.html','f16188485f607243b70c441ba3c6519f',0,'','JcKv78CU',1,0,'',0,0,0),(8728,1602,3,1,0,'69.120.114.47',1184326860,1,0,1,1,1,1,'trevor826','Re: Always - Sunset On Third Street (2005) (Japan)','The only thing I\'ve seen from the director is Ritana (2002), which was interesting but in all honesty, a bit daft. At least Anne Suzuki and Takeshi Kaneshiro raised it above the norm for a low budget scifi flick.\r\n\r\nI see this is yet another manga adaptation and they\'re already making a sequel. Hengcs, do you think this will do well with a western audience?\r\n\r\nCheers Trev.','84e70f0e16f4f03b45a351ab1c42363c',0,'','Uk4S8ygj',1,0,'',0,0,0),(8729,1602,3,1,0,'69.120.114.47',1184328420,1,0,1,1,1,1,'hengcs','Re: Always - Sunset On Third Street (2005) (Japan)','The film does NOT feel like a sci-fi nor CGI film nor \"manga/comic\" at all (less the CGI portion or exaggerated facial expressions). In fact, if I were not told that a lot of scenes and backdrops were CGI created, i would have thought that they were reconstructed physically specifically for the film.\r\n\r\nAnswering your question more directly (i.e., would it interest a western audience)? \r\n\r\nMy answer is a YES ... but probably the adults more than the young ... also, it is more mainstream/commercially viable rather than cryptic or film fest kind of \"art\" film ... \r\n\r\nIn essence, it would interest those who like a family oriented drama, or those who are nolstagic about the good old days, or those who like uplifting films ... its themes typically cut across all culture and generation ... in particular, it is about HOPE ...\r\n\r\nBut some words of caution:\r\n\r\n(i) if you expect it to be another Titanic (sweeping away many awards), you may find some difficulty reconciling ... you may feel that it is a GREAT film, but you may not have it sweeping all awards ... I like the cinematography, its rather interesting soundtrack and some of its later scenes ...\r\n\r\n(ii) you must buy their acting (which are \"too expressive\" at times, but common in Japanese films) ... you must also buy its story ... it works slowly, and by the end, I think you will like it ... although it does not feel like Titanic, I think it is worth watching ...','24dfabdba196d17682958b584a91fe6c',0,'','u2AUrDqf',1,0,'',0,0,0),(8730,1602,3,1,0,'69.120.114.47',1192685220,1,0,1,1,1,1,'hengcs','Re: Always - Sunset On Third Street (2005) (Japan)','Always - Sunset On Third Street 2\r\nclick\r\nwww.always3.jp/\r\n\r\nIt will premiere in Japan on 3 Nov.\r\n\r\nApparently, this shld be the \"last\" installation ... no more 3 ...','82f8b465be68cf14650f03a6e98db6c4',0,'','YCn1ckJy',1,0,'',0,0,0),(8731,1602,3,1,0,'69.120.114.47',1197364620,1,0,1,1,1,1,'hengcs','Re: Always - Sunset On Third Street (2005) (Japan)','I am anticipating this sequel too ...\r\nwow ...\r\n\r\nOnline review ...\r\n\r\nWhile many sequels only evoke nostalgia for their predecessors, \"Always: Sunset on Third Street 2\" shines brighter on almost all fronts. \r\nclick\r\nwww.varietyasiaonline.com...view/5037/','59160c38fd29ab489b8965ba4ccd4c14',0,'','GA2x1SoF',1,0,'',0,0,0),(8732,1602,3,1,0,'69.120.114.47',1205841720,1,0,1,1,1,1,'hengcs','Re: Always - Sunset On Third Street (2005) (Japan)','\r\n\r\nAlways 2 \r\nThe Japanese DVD version has no English subtitles ... sigh','c11bd6cb86e4350078868cb0666b9df3',0,'','cohiaY0U',1,0,'',0,0,0),(8733,1603,3,1,0,'69.120.114.47',1123263900,1,0,1,1,1,1,'trevor826','En attendant le dluge (2004) After We\'re Gone','En attendant le dluge (2004) After We\'re Gone\r\n\r\nDirected by Damien Odoul\r\n\r\nStarring Pierre Richard, Anna Mouglalis, Damien Odoul\r\n\r\nSo Damien Odoul, darling of the critics following your directorial debut with Le Souffle, what do you do when you want to make an arty-farty movie? \r\n\r\nSimple, gather a cast of non-actors plus 1 or 2 friends and a couple of real actors (the first 2 listed above) oh and if your vain enough, give yourself a pivotal role, take them to some out of the way chateau and let them behave like pretentious arses. Steal a bit of Shakespeare; pretend youre as talented as Lars von Trier, Peter Greenaway, Mike Figgis or Godard and Voila!\r\n\r\nThis is a pure vanity project, written, directed and starring Damien Odoul, the whole show revolves around him despite the fact that he doesnt have the talent to do any of these things very well (certainly not based on this film).\r\n\r\nJean-Ren is old and lives in an old chateau with a simple-minded friend/servant Pipo since his wife died 15 years earlier. Given the news that hes dying, he decides to hire a theatrical troupe to put on a play based on the legend of Dionysus at his home purely for him.\r\n\r\nGradually the troupe arrive bit by bit and prove to be a collection of misfits with emotional hang-ups and egotistical issues, now the problems really begin as they prance (or ponce) around the chteau arguing, destroying plates etc, getting all introspective (as only stage actors can) and generally behaving like unruly prats until in the end, Jean-Ren elects to stage his own play based on his forth coming death and a short time after the performance, he dies.\r\n\r\nThe scenes jump all over the place with no purpose, characters converse with others or themselves in an entirely egotistical manner, oh yes darling, I am an Actor! so all I can discuss is me, me and of course, me! \r\n\r\nLars von Trier did the whole nut jobs let loose to far better and more honest effect in The Idiots, Peter Greenaway is a master of making beautiful albeit often non-sensical films, Figgis manages to at least keep some restraint on his cast during his largely improvised pieces. And Godard, poor old Godard gets praised for his influence on modern cinema but also takes the blame for influencing pretentious pieces of tosh like this.\r\n\r\nSo any saving graces? Anna Mouglalis, not for her performance but just for her beauty, a haunting elegant beauty that at least makes the film slightly bearable, thankfully a fairly short running time, 70 mins, also I know from the DVD extras that the performers had a great time making the film, shame this couldn\'t be carried over to the audience though!\r\n\r\nCheers Trev.\r\n\r\nP.S Like most films on initial viewing, I have retained a copy and will watch it again in the near future to either justify or change my opinion.\r\n\r\nBBFC rated 15','1aa1160907852f35ced743e8910d80ce',0,'','qSGiXD2w',1,0,'',0,0,0),(8734,1603,3,1,0,'69.120.114.47',1123293900,1,0,1,1,1,1,'arsaib4','Re: En attendant le dluge (2004) After We\'re Gone','I was thinking about picking this one up based on Odoul\'s previous two features, Le Souffle and Errance, but I\'ve read quite a few negative reviews. It\'s good that you decided to give it a go. There\'s nothing wrong with sharing your thoughts about a film even if they\'re not complimentary.','e6434aaeeb032ded1cc3fc32d75b1c4e',0,'','6XeWuSMj',1,0,'',0,0,0),(8735,1603,3,1,0,'69.120.114.47',1123294320,1,0,1,1,1,1,'trevor826','Re: En attendant le dluge (2004) After We\'re Gone','You know what I\'m like, I\'ll try anything and I saw this without any preconceptions simply because I hadn\'t noticed it on the release lists.\r\n\r\nIt\'s not a terrible film but it\'s very self indulgent almost as if he was making it purely for an audience of one, himself!\r\n\r\nCheers Trev.','d59840245a6d4f3acb718a623d24a4b6',0,'','81xWPr3n',1,0,'',0,0,0),(8736,1603,3,1,0,'69.120.114.47',1123294740,1,0,1,1,1,1,'arsaib4','Re: En attendant le dluge (2004) After We\'re Gone','Yeah, it seems like \"self indulgent\" is the common phrase being used for this. Perhaps Odoul needed this kind of a response since his earlier work, especially Le Souffle, got praised through the roofs.','4820a6a9b31ac90941fa689ecdbafdbb',0,'','aN9PZHnV',1,0,'',0,0,0),(8737,1603,3,1,0,'69.120.114.47',1123618200,1,0,1,1,1,1,'A','Re: En attendant le dluge (2004) After We\'re Gone','I\'ve only seen Le souffle, which I liked very much, but it wasn\'t anything special imo. \r\nI\'ll certainly try to see more of his films in the future, but probably not this one. Thanks for your review.','e17fd104e2cfdf4f2a2ac2d5f96d8916',0,'','E2XaMe1t',1,0,'',0,0,0),(8738,1603,3,1,0,'69.120.114.47',1191305400,1,0,1,1,1,1,'A','Re: En attendant le dluge (2004) After We\'re Gone','I think i have to correct my last reply here. Damien Odoul\'s Le souffle (2001) was certainly something special, just not the singular masterpiece many critics claimed it to be. I \'d like to see this again and watch more films by Odoul. Does anyone have any news on recent or upcoming projects, or how to purchase some of his films with English subs?','7e6336f5923e6f217a860c639cae038f',0,'','4ZsfgzKl',1,0,'',0,0,0),(8739,1603,3,1,0,'69.120.114.47',1196777700,1,0,1,1,1,1,'arsaib4','Re: En attendant le dluge (2004) After We\'re Gone','Odoul\'s latest effort, L\'Histoire de Richard O., starring Mathieu Amalric, recently premiered at Venice. Haven\'t heard much about it at this point. \r\n\r\nHis first three theatrical features -- Le Souffle, Errance, and En attendant le dluge -- are all available on DVD in the U.K. (with subs, of course).','aae777cb8c0a62859af782faa2a43e30',0,'','jCl9pVoZ',1,0,'',0,0,0),(8740,1604,3,1,0,'69.120.114.47',1196065740,1,0,1,1,1,1,'A','Afternoon (Germany / 2007)','I rewatched Angel Schanelec\'s latest effort in subdued emotions with Matalo Matango at the cinema, and it seems that we were both intriguedby it, as we agreed afterwards to revisit the film as soon as possible. I found my second encounter with it quite different from the first, with new and different reactions to the film. While I couldn\'t always find an access to the film during my first encounter and found a lot of the dialogue quite forced, the film seemed to float much more naturally this time, and I understood most of the characters\' motivations much better this time (as well as some plot-points) and they rang much truer to me. The movie seemed to encompass me, and after a very comforting first half, I found it almost painful to sit through the rest, as the story shook me emotionally so hard that I started to feel it physically (which oftentimes is a good, if not pleasant, sign for the quality of a film to me).\r\nI still don\'t completely know what to think of it, but it will now definitely end on my Top Ten list for 2007. \r\nFortunately I had written a review of the film after the Berlinale in March (one of the very few I managed to complete), and though I have absolutely no idea what it was about (I haven\'t re-read it, yet), I\'ll post it again in this thread, as it reflects my ideas after my first encounter with the film. I hope more of you get the privilege to experience this and other works by Angela Schanelec, who without doubt is one of the most gifted filmmakers working today. If I see \"Afternoon\" yet again, I\'ll report back. And maybe Matalo Matango can also share some of his impressions with us? \r\n\r\nfirst posted in March 2007 in the Berlin Film Festival thread\r\n\r\nNachmittag \r\nAfternoon (Angela Schanelec / Germany / 2007)\r\n\r\n\r\nAngela Schanelec\'s new film is loosely based on Anton Chekhov\'s play \"The Seagull\". Some years ago I tried reading one of his plays but wasn\'t able to finish it. The conflicted character\'s seemed hopelessly depressing and uninteresting to me, and the way the play would end already predetermined, so that I quit reading halfway into it. The literary quality of Chekhov\'s dialogue didn\'t elude me completely, but I\'m not exactly a fan of the Russian school of social criticism in which the characters are trapped in their own world, endlessly circling around themselves and their petty problems, unable to grasp the reality that lies beyond. When compassion is needed, I am more taken with Henrik Ibsen\'s studies in which the character\'s are often able to free themselves to a certain extent from their former illusions and delusions, no matter how difficult the circumstances might be. If Chekhov portray\'s a world in deadlock, an upper class caught in its own rituals that has already become obsolete, Ibsen shows the dynamics at the end of the 19th century, depicting a society in flux, with the decadence of former moral and social standards crumbling. I\'m not saying that one of these positions is preferable to the other, when in fact both have much more in common than might be apparent at first glance. It\'s just that the fiery temperament and optimism of a teenager is probably more suited to the confrontations at display in Ibsen\'s work than the fine modulations of Chekhov. In my case this was clearly so.\r\nAt the 57th Berlinale, some years and a bit of experience later, I was giving him another chance via the latest film by German director Angela Schanelec. Being already a huge fan of her work I was of course a bit biased before the film, and (I hate to admit it) had also temporarily forgotten her fondness of Chekhov and his influence on this particular film. Hers isn\'t exactly an adaptation of the play though, as the dialogue was completely rewritten and only parts of the atmosphere and the constellation of the characters remain. The setting is present day Berlin, upper middle class, a family and their friends at a house by a lake. The main conflict between mother and son has lost some of its importance, while other characters have been given bigger roles. I would call the film more of an ensemble piece, with the main conflict still intact, but now balanced and reflected through the actions of another character who was for me also the main attraction of the film. Agnes (very good portrayal by Miriam Horwitz) is the neighbor\'s daughter and former friend and lover of Konstantin (Jirka Zett) who is struggling to become a writer. He lives alone with his grandpa, and when his mother (played by Angela Schanelec herself) visits the former family home with her new lover, old conflicts resurface. Although the director is never making a direct statement through the characters themselves, and her standpoint can only be felt through the staging as a whole, the interactions of people in the environment in which they are placed, the character of Agnes seemed to me to approximate the directorial gaze. She is always observing, attentive but not judgmental, trying to articulate the problems that beset her and the others. In contrast to their enclosed and egocentric perspective she is open and approachable (only the mother\'s lover is presented as a possible soulmate). While everybody else wants to get hold of the others because of something they don\'t possess themselves, she is trying to create it in herself through interaction with the world. As the catastrophe unfolds she naturally has no place in it.\r\n\r\nBesides Ulrich Khler, Angela Schanelec is for me currently the most talented of the dozens of young filmmakers who have emerged during the last ten years and made Germany once again one of the most interesting and innovative film countries in the world. Her approach to filmmaking is quite unique though her work with the actors could be somewhat compared to the methods of Jacques Doillon. Exactly written out in advance of the shooting, the precise dialogue has to be interpreted by the actors on the set. Improvisation and creativity meet in the choreography of the actors\' bodies in the space that surrounds them, and a lot of the film\'s strength depends on the particular intonation of the written lines. It is a cinema that highlights a specific mood and atmosphere more than the story, which is presented only in fragments and never really explained. Things happen on the fringes of life, and in conversations it is more important for the camera to remain on a character\'s face than to cut to another person. Omissions are the most important structural element, as a lot of events often happen either outside of the frame or get shown in a casual way. Schanelec forces us to reconsider the question of what is actually important. Every scene and movement, every facial expression and line of dialogue have a power and relevance in themselves. Because something is shown, because it has happened and is part of the characters\' lives. If you look at the film in retrospect, lots of its magic lies in the fact that each moment is treated as equally important, nothing is given precedence over anything else. What is of importance is the reaction to a certain event, not necessarily the event itself. Because only we can give the moments in our lives a specific weight, the impression they will make on us depends on our reactions to them. If people are struggling, searching for a place in life, nature itself seems ignorant to this struggle. For the beauty we give is the beauty we receive. That is the greatest gift of Schanelec\'s cinema. Learning that you are responsible yourself, and that what happens around us is also happening because of us. A cinema of reflection which makes it possible to experience yourself through others.','f8c6f045b79afd6cf099ed1835595bdc',0,'','TBfWU8hk',1,0,'',0,0,0),(8741,1604,3,1,0,'69.120.114.47',1196075820,1,0,1,1,1,1,'arsaib4','Re: Afternoon (Germany / 2007)','I\'m glad you reposted this wonderful review of yours. Based on your description, Schanelec certainly appears to be someone I\'ll appreciate. As I\'ve stated before, it was disappointing that new, albeit esoteric, films like Afternoon, Yella, Madonnas, which you and/or Mller had spoken highly of, weren\'t programmed at major N. American festivals this year. Instead, audiences were once again fed a dose of ostensibly safe, middlebrow German efforts that have done so well recently. \r\n\r\nI\'m pleased to say, however, that Petzold\'s film has a U.S. distributor.','8b66546db67b72995109df74c41db875',0,'','CBV5posi',1,0,'',0,0,0),(8742,1605,3,1,0,'69.120.114.47',1144801260,1,0,1,1,1,1,'A','New German Films (1990 - 2005)','\r\n\r\nLong time overdue, here\'s the german film thread that will concern itself with great films made in Germany from 1990 till 2005. I chose this timebracket, because not much attention has been given in or outside of Germany to the huge variety and quality of German films that have been made since the Unification. While in the 70s \"New German Film\" became known around the world and some of its directors were hailed like celebrities, the last fifteen years of filmmaking in Germany seem to have gone by unnoticed - hence giving the impression that there was nothing worth noticing.\r\nThis is as far from the truth as possible, as beside a huge mass-production of mainstream films, there have remained many artists at work whose output can be compared in terms of quality to that of any director working today. And besides the already established, there has emerged a wide variety of talented young filmmakers, comparable to the tendencies in other industrialist countries like Japan or South Korea. But it seems that as long as no label can be put on a country\'s output - no unifying tag, no \"new wave\" to be named - critics and filmfestivals tend to ignore them, focusing instead on more bankable regions, until another one comes along. Luckily, I don\'t get paid to write still another praise on the new Iranian cinema to remind even the most ignorant cineaste of what has been apparent for over 15 years now, but am instead free to focus on more important - which means ignored - issues. This thread is aiming to present such a neglected area.\r\n\r\nI\'m not a filmhistorian, and I\'m also not the most knowledgable person when it comes to pointing out an evolution that has been taking place for over twenty years now, but after the supposed end of \"New German Cinema\" in the 80s (which btw. only included filmmakers from the western part of Germany) it has become apparent that if anything, the fall of the Berlin Wall and the unifiying of Eastern and West Germany has fueled the creativity of most artists working with film, leading them to seek new ways to relate to this historical situation. Though it may have taken some time until these events could have led to a view that wasn\'t neither \"West\" nor \"East\". The early 90s in Germany were thus cinematically not a blooming landscape. Though creativity surely wasn\'t missing, money was, and it took some measures until things improved economically. But suffice to say that this wasn\'t too big an obstacle for the most determined filmmakers, many of which chose TV instead of cinema to be at least able to realize some projects. However the exact situation, the amalgamation of \"eastern\" and \"western\" talent soon led to some artistic highpoints, which I will try to present here in the future.\r\n\r\nBeside commercial cinema that was overall going its usual course with ups and downs every few years (the last years seem to indicate an up again), there remained filmmakers with their own personal vision which paved the way for a new generation. Michael Klier, Dominik Graf, Heinz Emigholz, Rudolf Thome, Hartmut Bitomsky or Elfi Mikesch are some of those who inspired younger artists to respond either in similar or opposed attempts of their own. Not to mention older German filmmakers who had left a rich cinematic legacy after they had stopped working.\r\nSome of the new talents are already beginning to get a reputation, others are still struggling. To list a few names (only a selection): Achim von Borries, Tom Tykwer, Michael Hofmann, Sren Voigt, Phillip Grning, Hans-Christian Schmid, Angela Schanelec, Christoph Schlingensief, Thomas Arslan, Ulrich Khler, Benjamin Quabeck, Valeska Griesebach, Matthias X. Oberg, Andreas Dresen.\r\n\r\nI have limited myself to the years 1990 - 2005, because I think that newer films will have it much easier, because a change of attitude has also become apparent. Films from Germany have started to tour the festival circuit more frequently during the last few years, and have garnered some awards and attention. And when the \"Cahiers du Cinema\" critics focused their attention on a couple of films from Berlin in one of their issues some time ago, this also lead to a rethinking of the quality of German cinema among the more ignorant writers at home. I\'m not sure though if I can be overtly enthusiastic about this, as I still think the (recent) past needs a reminder.\r\nI realize that this write-up of mine is very selective and insufficient in describing even the basic processes which were taking place in the area of film during the last twenty years in Germany. But this isn\'t its aim or purpose. I\'m neglecting most of the negative trends and effects here, because more than enough has already been said and written about this. Anybody interested can look up the publications and writings on this subject if he or she wants to (and if the German language doesn\'t present too big a challenge). What I want, is merely to point out a few films and directors who made great films in Germany which were for the most part ignored. I think it is as important to appreciate what is, as the pointing out of faults and that which could have been but is not. Sadly I have the strong feeling that most of the critic activity of the past years concerning films and filmmakers in Germany has been focused on the negative side. Here I will hopefully succeed in presenting a counter-balance, so that everybody complaining about German films and their quality will be able to sit down and watch some of the worthwhile products of this \"maligned\" period. And as it is said that some of the best products usually aren\'t appreciated in the homecountry...\r\nI strongly wish that at least some of the recent great german films will be recognized and appreciated in the future. Or maybe now and here by you.\r\n\r\nIn the late 90s, I was as disappointed and bored by German movies as the regular audience and the more inattentive cinephiles whom I was slowly becoming a part of. German films were for me either bad comedies or heady history-lessons without much entertainment value (not to speak of any artistic aspirations). Thus my initial surprise was huge, when I saw something worthwhile for the first time. 23 (1998) directed by Hans-Christian Schmid, was not only a good film with a good script, direction, camerawork, editing and acting, but it was also entirely made in Germany by Germans. This ray of light was for me shortly after followed by a viewing of Oliver Hirschbiegel\'s Das Experiment (2000) - which I sadly still didn\'t get the opportunity to revisit. While a couple of years ago it had only taken me to see Takeshi Kitano\'s Hana-Bi (1997) on TV to get converted to Japanese and World Cinema, German films needed some more attempts to denounce my doubts. But the search for more buried treasures had begun.\r\nThe final and last change came when one day by accident, I saw Matthias X. Oberg\'s Unter der Milchstrae (1995). I had taped it from TV purely out of curiosity over the title (and the fact that Christiane Paul played in it), and it had already been lying on my shelf with other unseen films for quite some time when I decided to give it a chance. I haven\'t seen the film in years, but at that time, it had seemed to me one of the greatest films I had ever had the joy to experience. In my eyes it was on the same level as some other excellent films from 1995, like Dead Man, Xich lo, To vlemma tou Odyssea or Underground. When I\'ll revisit the film for this thread, I hope I will be as inspired by its second viewing as I was by the first.\r\nAfter this event I had an incredible stroke of luck with subsequent German films, culminating around 2004 with my having been able to experience three masterpieces at the Cinema. Heinz Emigholz\' Goff in der Wste (2003), Rudolf Thome\'s Frau fhrt, Mann schlft (2004), and Angela Schanelec\'s Marseille (2004).\r\n\r\n\r\nSome other films that will be revisited and - if worth - presented here include:\r\n\r\nIdentity Kills (Sren Voigt / 2002)\r\nDie Polizistin (Andreas Dresen / 2000)\r\nLichter (Hans-Christian Schmid / 2003)\r\nVerrckt bleiben - verliebt bleiben (Elfi Mikesch / 1997)\r\nSophiiiie! (Michael Hofmann / 2002)\r\nBungalow (Ulrich Khler / 2002)\r\nDer Felsen (Dominik Graf / 2001)\r\nVerfehlung (Heiner Carow / 1991)\r\nDie tdliche Maria (Tom Tykwer / 1993)\r\nNichts bereuen (Benjamin Quabeck / 2000)\r\nEngland! (Achim von Borries / 2000)\r\nMadrid (Daphne Charizani / 2002)\r\n\r\nI\'m sure there will also appear some other unknown films which I too will be seeing for the first time. Along with the reviewed films, I\'ll try to give as much information as possible on the availability and content of a DVD or Video edition.\r\n\r\nThe beginning is going to make another revisit, L\'amour, l\'argent l\'amour by Phillip Grning, which began production in 1996 but was finished as late as 2000.','34519fd54b373d9c81ee0f89eb5d31a6',0,'','fqr9lxN2',1,0,'',0,0,0),(8743,1605,3,1,0,'69.120.114.47',1144818720,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Nice job, A! Looking forward to reading more about some of these films. Angela Schanelec\'s Marseille especially sounds intriguing. Btw, if you like, I can cover Schmid\'s Lichter for you.','a738cb0131701bbae7342b6d4eedac2d',0,'','8dD2EnGN',1,0,'',0,0,0),(8744,1605,3,1,0,'69.120.114.47',1144829160,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Also, your article seems to have re-inspired me. I\'m reviewing a new German film which I\'m not sure if you\'ve seen but I liked it quite a bit.','b8929839e1524f70f081dcab39f68d8b',0,'','AV4FbECf',1,0,'',0,0,0),(8745,1605,3,1,0,'69.120.114.47',1144829220,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','THE FOREST FOR THE TREES  (Germany / 2003) \r\n\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nShot on video, Maren Ade\'s striking debut feature, The Forest for the Trees ( Der Wald vor lauter Bäumen), is an acute and absorbing study of a human being on the verge of disintegrating both emotionally and psychologically. Eva Löbau plays Melanie Pröschle, a twentysomething school teacher who leaves her rural home and a longtime boyfriend to pursue better opportunities elsewhere. After landing a job in a suburban high-school, Melanie realizes that things aren\'t what she expected or wanted them to be. She not only has to deal with unwelcome advances from an older colleague, but her enthusiastic new teaching methods aren\'t honored by teachers and students alike, partly because she came in as a substitute halfway through the school term. Melanie\'s situation doesn\'t turn out to be much better on the domestic front: she tries to befriend her neighbor Tina (Daniela Holtz), who works at a boutique, but her intrusive methods and a lack of understanding of urban social codes gradually cause her to become alienated, not only from others but also from herself and reality in general. \r\n\r\nAde, 27, mostly shot The Forest for the Trees in her hometown of Karlsruhe, with guidance from her parents who are both school teachers. The film, which was her graduation project for Munich\'s film school, proves that she had developed a keen sense of the highs-and-lows associated with the profession before she went forward. And in accomplishing her task, she\'s certainly aided quite well by Löbau (winner of the Best Actress prize at the prestigious Buenos Aires International Festival of Independent Cinema in 2005), whose small, subtle mannerisms are capable enough to cause a ripple effect, yet they never detach her from exhibiting her inner humanity. Even if Ade isn\'t breaking any new ground with this film -- the likes of Antonioni and Tsai haven\'t left much for others to explore when it comes to modern urban alienation and its residual effects -- her vision still impresses, ultimately because she somehow bypasses the genre\'s pitfalls and finds a way to leave Melanie, and us, on a high. \r\n\r\nGrade: B+ \r\n______________________ \r\n\r\n*THE FOREST FOR THE TREES has been to quite a few film festivals, including Hong Kong, Toronto and Sundance (it won the Special Jury prize there). The film didn\'t get a theatrical release in the U.S. but it was issued on DVD by Film Movement. \r\n\r\n*It was part of my Secondary Best of \'06 LIST. \r\n______________________','f19173384d1e66d97c5a170877d09c21',0,'','k859eyhM',1,0,'',0,0,0),(8746,1605,3,1,0,'69.120.114.47',1144852440,1,0,1,1,1,1,'trevor826','Re: New German Films (1990 - 2005)','Great start to a truly neglected area of cinema A, can\'t wait to read more.\r\n\r\nCheers Trev.','7eff378568d837b7c2088574d80eb370',0,'','wf2KDezp',1,0,'',0,0,0),(8747,1605,3,1,0,'69.120.114.47',1144962180,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','Nice start arsaib. \r\nI haven\'t seen the film yet, so also something new for me. Am looking forward to your comments on Lichter.\r\nAnyone else who has seen german films from this period he or she liked, feel free to contribute. \r\nI\'ll try to finish my piece on \"L\'amour\" this week.','1be7bb3956f748d24d19c725e5b7e6af',0,'','PbmYfs4p',1,0,'',0,0,0),(8748,1605,3,1,0,'69.120.114.47',1144984020,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Great! I\'m anticipating good things from the very French sounding \"L\'amour.\"','e5a427c000f6cced428797625073cfc1',0,'','8XyAxNn3',1,0,'',0,0,0),(8749,1605,3,1,0,'69.120.114.47',1145845560,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','Sorry for the delay, but I was absent for over a week, due to my moving out of Berlin. As of now, things are better I would say. At least I have a PC again, and daily access to the internet \r\nSo here\'s my review.','d519f7105a6ced573358461cc79b09b1',0,'','DEz8bPd7',1,0,'',0,0,0),(8750,1605,3,1,0,'69.120.114.47',1145845800,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','Lamour, l\'argent, l\'amour \r\nLove, Money, Love (2000 / Germany, Switzerland, France / Philip Grning)\r\n\r\n\r\n\r\nMarie and David. Two loners. Both living in Berlin, both in the 20s, and both with a crappy job. He a scrapyard worker, she a prostitute. Employment at its lowest, with no future in sight, the moment being all one can think of, all one has to think of. The lowest of the working class. At least she gets a bigger amount of money than he does, and she can work anyplace her kind is always wanted - and, even more important, there is no pimp in sight. So both are also self-employers in the worst of ways. What can come out of such a situation, such a constellation. A love story, probably a dedicated denouncement of society. Well, yes and no. What Grning offers us instead of a melodramatic and clich-ridden didactic play, is an essayistic and fragmented self-discovery trip towards inner freedom. \r\n\r\nIn her first acting role, Sabine Timoteo plays the seemingly self-assured but emotionaly troubled Marie who gets teased out of her shell through an insistent and sensitive human being, played by newcomer Florian Stetter. Though amateur actors, both give incredible performances, once again proving the importance of a talented director who brings the best out of both. Especially Timoteo, who delivers a performance that isnt easy to stomach. Alongside other awards she deservedly won the Bronze Leopard for Best Actress at the 2000 Locarno Film festival. Besides the fabulous actors there is the remarkable camerawork of Sophie Maintigneux, who is maybe best remembered for her work on Eric Rohmers The Green Ray. She uses the 1:2.35 widescreen format not in a static way as one could expect, but is always on the move, generating an equivalent to the characters inner unrest and giving the feeling of being on the road, always searching for something that keeps slipping out of reach. \r\n\r\nWhen Marie runs into David during her working hours on the street both instantly fall in love. But as the characters themselves, Grning keeps the viewer in an uncertainty regarding their feelings or motivations. Following a night after which David proposes that they both go on a trip, together, towards the sea the displacement of the characters becomes also more obvious. They dont seem to fit in their environment, while merging ceaselessly with it. The locations keep changing, while the situations keep repeating themselves. After Marie has thrown David out of her apartment in the morning after both spent the night together, he visits her on the street. She seems both pleased and disturbed by his presence, once more rushing him off. A few days later it is she who storms into his apartment, finally starting the trip that will change both lifes forever. The game soon gets repetitive. New town, new people, new problems. Money, carelessly spent on the way has to be earned in a hard way. It doesnt help much that in the course of the film David gets both arms broken. Soon Marie has to start working again, employing David as her pimp. But while Marie is more or less resistent to the luxuries money has to offer, she seems the whole film obsessed by it. For her it is some kind of fetish, an object that in represents all she is capable of achieving in a materialistic world. David on the other side, at first concerned about every cent, becomes less and less reluctant in spending it. Additionally there is the problem of physical contact. While both seem spiritually connected from the beginning, any physical or sexual contact that isnt alienated from ones feelings becomes a huge obstacle for Marie to overcome. They fight, split, reconcile, fight again, all the time victims of their surroundings and a system that keeps them locked and is supportive of their problems. But as the title suggest, in the end love overcomes all obstacles. Deprived of their car and their belongings, they are stranded at a forlorn seacost, where Marie finally regains her hope. She burns the remaining money and admits her love to David. What is left is the sea and the sky, and the changing of tides in the neverending flow of time.\r\n\r\nThe person in charge of the whole operation is clearly Philip Grning. Besides directing and producing, he also edited the film, wrote the script and sometimes even did the camerawork . An auteur in the best sense, Grning nevertheless doesnt try to impose any personal style on the film, that keeps unfolding in a most natural way, seemingly born out of itself. The characters and the locations all exist in their own right, never giving the impression of a forced or ego-driven project. Fast-paced as the film appears, viewers might by irritated that the same director is also responsible for the three hour meditation about life and spirituality Into Great Silence that keeps touring the festival-circuit after having won The special jury Prize at last years Sundance Film festival. All the more credit to Philip Grning for letting each film determine its own rhythm. Like Kurt, the dog David and Marie take with them everywhere they go, the very flexible camera follows each and every step of the protagonists, registering banal as well as intimate moments. Grning is always the perfect observer. Never judging, never preaching, always showing. The love, the hate, the desperation, the alienation, the people, the landscape, coldness and warmth, sometimes from afar, and sometimes so near that it hurts. The shots presented are at once immediate and allegorical, the daily events gaining an importance and relevance that also transcends them. Out of the monotoneous repetition grows an awareness for the realities that cannot be grasped easily, cannot be categorized. If you only engage with it. Same goes for the viewers of this film. You wont get any answers, but if you observe closely you might start giving them to yourself.\r\n\r\nFeaturing an eclectical mix of music, from Calixico and Snowpatrol over The Velvet Underground to Bob Dylan and even Mozart, the whole film can also be seen as a long fugue, an ode to life, and to its basic principles. Everything changes, everything is constantly in movement. And what can keep the whole together and offer some kind of sense could be love for those who are able to find it.\r\n\r\n_____________________________________________________\r\n\r\nI watched the film on a Region 2 DVD under the shorter title Lamour. Released in Germany by the company Epix it has german, english and french subtitles. Picture format is 1: 2.35, running time 124 min, and the audio track is optionally stereo or dolby digital 5.1. \r\nExtras are very extensive and include amongst others an alternative ending (c. 30 min), Interviews with the director, Behind the scenes, deleted scenes, the original treatment of the film, and the short film Sehnsucht by Tobias Mller.\r\nYou can get the film at the German Amazon site (just type in amazon.de, and search in the DVD section to find it)','c8efe25608288ec04774f7f38cccc9f3',0,'','Nxq59YrZ',1,0,'',0,0,0),(8751,1605,3,1,0,'69.120.114.47',1145866800,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Thanks for the review and the link. I\'m pleasantly surprised to learn about the subtitle options. What about the extras; are they also subtitled?\r\n\r\nL\'Amour is also available here. This site is better suited for foreigners (click on the appropriate flag at the top). Shipping charges from German sites are quite a deterrent though.','6291153bb189aa4752578ed8ce0d56bd',0,'','pKxRlenC',1,0,'',0,0,0),(8752,1605,3,1,0,'69.120.114.47',1145907900,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','With the extras, the deleted scenes and the alternative ending have optional subtitles, with the other stuff I\'m not sure.\r\nDidn\'t know about this site. But it seems their DVD prices are lower than on amazon. Yes, shipping fees are quite high. Maybe you need to order a lot of thinks, so it pays of. But when I ordered from the states the last time I had to pay about 15 Euros for customs - and I had already paid the shipment fees!','d01e6c0add1f8970f8dcaaa31753576d',0,'','RC25mTEn',1,0,'',0,0,0),(8753,1605,3,1,0,'69.120.114.47',1145944080,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Sorry to hear that. But I\'m gonna assume you would\'ve been charged a fee no matter where the items came from. \r\n\r\nI did put an order together the last time I shopped from that site, so the shipping fee became somewhat feasible. It\'s 12.99 Euros no matter how many items are purchased.','6243fa0d6b5ad776848bd68f1a2633dd',0,'','oNqcPgsv',1,0,'',0,0,0),(8754,1605,3,1,0,'69.120.114.47',1145950320,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','I had to pay the fee because the material value exceeded the limit for customs-free goods - which is around 80 Euros if I remember clearly. Above that, the more your items are worth, the bigger the sum you have to pay at customs.\r\nThe shipment fee I also had to pay wasn\'t fixed, but didn\'t vary as much.\r\nI would have been happy, if I had known the rules at customs, because then, I could have let amazon send me two packages, or I would have simply ordered less items (or more for the two shipments )\r\nAnyway, I got my goods, and that is what counts in the end','68780072ede3046e7403a045d20618e2',0,'','0Nhi45fc',1,0,'',0,0,0),(8755,1605,3,1,0,'69.120.114.47',1147278720,1,0,1,1,1,1,'germanfilm','Re: New German Films (1990 - 2005)','While researching with the help of google, I just came across this discussion thread and thought that participants might be interested in following two links to 2 essays extensively dealing with contemporary German cinema (yes, shameless self-promotion):\r\n\r\nwww.sensesofcinema.com/co...n2005.html\r\n\r\nwww.sensesofcinema.com/co...n2006.html','eac5a4343caf433ded65058a1bfb8766',0,'','72a0ngw8',1,0,'',0,0,0),(8756,1605,3,1,0,'69.120.114.47',1147331700,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','Thanks for the link, it sure is appreciated. But you could also post about an individual film. New contributers are even more welcome.','e379dd4ff3d21b32a504a10ea6a53184',0,'','0ceLfTD5',1,0,'',0,0,0),(8757,1605,3,1,0,'69.120.114.47',1152428100,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','I\'m not positive if you\'ve mentioned this film elsewhere, but have you watched Philip Grning\'s Die Groe Stille? It sounds like a fascinating documentary (it examines the interiors of the Grande Chartreuse in France). I recently noticed that Grning also directed L\'Amour, l\'argent, l\'amour, the film you discussed earlier in this thread.','bf3b3c4b32f4272100926fd496f9eddc',0,'','BjRGEVkc',1,0,'',0,0,0),(8758,1605,3,1,0,'69.120.114.47',1152470100,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','I think I\'ve mentioned it somewhere, because somebody wanted to know a bit about it, but I\'m not sure if iut was on this board. \r\nI didn\'t catch it in the cinema, but I want to see it in the future. I\'ve read a lot about it (the film was quite popular for a documentary here in Germany). And if it wouldn\'t have been for the subject or the positive reviews, I would have noticed it because of Grning\'s involvement (Camera, editing, direction, production, I believe). \r\nWould be nice to read something on it by you. Has it received some international distribution? I believe it was a big festival hit.','36757a51b1b96abbf6d6d21dd04996d5',0,'','jQF2zy4N',1,0,'',0,0,0),(8759,1605,3,1,0,'69.120.114.47',1152496560,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Die Groe Stille played at Venice and Toronto late last year under the title \"Into Great Silence.\" It won an award at Sundance earlier this year before being part of New Directors/New Films series here in NYC. I don\'t believe that it has secured U.S. distribution at this point. Looks like the German DVD will be available in December.\r\n\r\nFrom the 2005 TIFF\'s program notes:\r\n\r\n\"A film of tranquility, stillness and contemplation, Into Great Silence is marked by moments of visual splendor and almost tactile sound: the rumpled roar of the wood stove; scissors crisply crunching through heavy cloth; the soothing, murmured rhythms of the liturgy. At a time in which spiritual practice is a radically variegated pursuit, these privileged observations of one of its purest forms are a balm for our bustling days. \r\n\r\nPhilip Groening was born in Dsseldorf and grew up partly in the United States. He studied medicine and psychology before enrolling at the Munich Academy for Television and Film. He has worked as an actor, a sound assistant, a property master and an assistant director. His films include the shorts The Swimmer (83) and Stachoviak! (88), the documentaries The Last Picture Taken (83) and Victims. Witnesses (93), and the feature films Summer (86), The Terrorists! (92) and L\'Amour, l\'argent, l\'amour (00). Into Great Silence (05) is his latest film.\"','76c67192b2bd44e0e1433ef2b0ce5003',0,'','rDXxLkAs',1,0,'',0,0,0),(8760,1605,3,1,0,'69.120.114.47',1155778560,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','\r\nDer Felsen A Map of the Heart\r\n(Dominik Graf / Germany / 2001)\r\n\r\nKatrin and Malte sitting at a table drawing lines on a handkerchief. A topography of their lives, their hands touching, their gazes meeting. Both totally different, and yet equal in this moment, where one mirrors the other. A reflection of the whole in a moment, the playfulness in a serious situation. Katrin severe, unsmiling, disturbed, bursts into momentary laughter. Fragility and permanence sitting at a table, next to each other.In comes another situation, the next moment.\r\n\r\nWhen Der Felsen premiered at the 52nd Berlin Film Festival in 2002, critics seemed undecided what to make of it. There were those who dismissed it as pretentious, arty and self-indulgent showoff - a failed enterprise - while others claimed to have witnessed a new beginning, an initiation into a new form of filmmaking, wich may have begun in the mid-90s with the dogme manifesto, but had only now come under closer scrutiny. Whatever the answer (I would claim that it lies closer to the latter), it becomes clear while watching the film, that Der Felsen poses important questions about filmmaking in general, and more specifically, about its possibilities after the dawn of the digital revolution. \r\nThe film is definitely an experiment, and while it is as radical as No\'s Irrversible (2002) or Gallo\'s The Brown Bunny (2004) the main difference (and probably also the reason why it didn\'t get the international attention it would have deserved) lies in its playfulness, its deliberate assembling of contrasting film styles, of methods which are traditionally said to not fit together, but are in this case presented as equal. The collecting habit of one of the film\'s characters can be thus seen as representative for the whole film. It is obvious, that such an attitude can be troublesome not only for your average critic, but also for a cinema purist who is looking for a focused gaze, a directorial style that strips off the unnecessary ballast to arrive at a clearness of vision that is completely its own. All that can be said of Dominik Graf\'s Der Felsen, and yet it is a different film than the stringently executed minimalist enterprises mentioned above. Although shot on digital camera and with a minimal budget the films aim is not reduction, but aggregation. As such it is closer to a Godard film than to one by Bresson, and has taken more clues from Beineix\'s Diva (1981) than from von Trotta\'s Die bleierne Zeit (1981). \r\nOne problem may be, that the story is presented basically as a melodrama, spiced with some thriller elements. With the feverish camera-movements and the fast-paced editing always aiming at the maximum emotional response, and a direction that at first glance seems anything but subtle, one can be tempted to see the film as a low-budget genre exercise, filled up with an underdone mixture of personal ideas and obsessions. A deliberately \"scandalous\" sex-and-crime picture that wants to garner some attention, but comes off as only mildly interesting. But while Graf takes a plot standard as a starting point that could have been taken out of any german TV-movie (a husband on vacation with his lover, while his wife is awaiting a child), he continues to free himself from all the cliches inherent in his story through a subversive use of the classic devices he never abandons. When he comes full-circle at the end of his film, it is not a giving in to expectations, but a fullfillment of the premises he has set out to explore. Like the abandoned lover, sitting at a cafe, going through some collected items that are part of her past, the film has achieved an innate freedom from cinematic conventions through a re-assembly of formal elements which led to an independent standard of its own. Rich with cinematic references - from the picture postcards of Marker\'s la jete (1962) to the frenzied camera-movements in Wong Kar-Wai\'s Hong Kong films - the whole is nevertheless entirely Graf\'s making. \r\n\r\nThe professional actors are used alongside newcomers and amateurs whose impact on the screen can be felt equally. Carefully composed moments stand alongside improvised vignettes, the film at times lyrical and airy, an impressionist poem, and a few moments later, like life itself, the weight of the characters destinies, their utter loneliness and desperation can be felt, witnessed on screen, as if they could leap out of the canvas into our lives. The film has the look of a documentary, although cinematographer Benedict Neuenfels often used filters and distancing effects, to create the unreal and magical feel of a film, which can also be seen as a dream, a dream from which no human being can ever really wake up. Initially intended to be shot on 35mm, the digital camera came in due to budget constraints. Nevertheless it feels like it was intended that way from the beginning. Godard once said that all he needed for a movie was a girl and a gun. The patchwork of symbols used in Der Felsen is immense, the concept being that every item which is introduced has to be connected with the next. The Metaphor of traditional african storytelling with an unknown end being the basis of the structure - what we hear is as important as what we see. Like Godard in some of his films, Graf is using a mixture of sounds and voices. Direct sound recorded on locattion, a monumental orchestral score that is contrasted with music that comes from the street, and the use of a monotonous voice-over by a narrator who is present at times where it seems like she isnt needed, while at others her absence can be clearly felt. The films time and place everything happens over a weekend on the island of Corsica giving the characters both an immediateness in their actions, and a detachment from their surroundings, reminiscent of Antonionis Professione: reporter or Rivettes crime-mysteries from the 70s. \r\nThe film doesnt seem to evoke our present , the melodrama being timeless. Still the fates of the characters are tied to the present conditions in the world, their behaviour and thinking being dominated by the patterns they have adopted in the current german society. As it is, their psychology and motivation feels very german, foreigners attitudes, in sharp contrast with the locals. The old and the young, the traditional and the new, everything gets connected, entering a symbiotic relationship which is beneficient for both. We are able to see the old in a new light, with every effect that is added enriching the one that came before. Shimmering like the colors of the rainbow, the beauty of each color is given its due place (every element in Der Felsen is presented as complete in its form), but while every moment is always essentially a moment in itself, the technical proficiency of the staff is able to bring the diverse colors not only together and making them radiate from within, but also succeeds in sending them through a prism which illuminates the canvas in a way that the truths inherent in every one of them form a coherent whole. Thus the world behind the apeearances can be felt not only in moments of greatness, but throughout the film as a whole. As such, Der Felsen is a work of remarkable qualities.\r\n\r\n_________________________________________________________________________\r\n\r\nDer Felsen is available on DVD in Germany, and can be purchased at any online-shop. Offering biographies and filmograsphies of the actors and the director, and an interview with Dominik Graf, the disc comes without any subtitles. This would be a risky pick for a foreign distributor, but hopefully someone will take this chance. Otherwise the film might sink into an oblivion which it doesnt deserve.','1b95dc5fc4228508d8e296d48bd8a7c7',0,'','wSFPghCq',1,0,'',0,0,0),(8761,1605,3,1,0,'69.120.114.47',1155885060,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Nice review, A. The film sounds intriguing, so it\'s unfortunate that the DVD doesn\'t feature English subs. If it ends up releasing here at all, it\'ll most likely be on home video.','a2576db194ebb07934a7535e31105df2',0,'','qmLeDzof',1,0,'',0,0,0),(8762,1605,3,1,0,'69.120.114.47',1156633860,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','A: Any thoughts on these new German films?\r\n\r\nFour Mintues - Chris Kraus\r\nSummer \'04 - Stefan Krohmer\r\nWinter Journey - Hans Steinbichler\r\nI Am the Other Woman - Margarethe von Trotta \r\nStrike - Volker Schlondorff\r\nThe Lives of Others - Florian Henckel von Donnersmarck\r\nKristall - Christoph Girardet, Matthias Mueller','24321d6a55dc3abd7ae078e633428f8e',0,'','5vXl9RmS',1,0,'',0,0,0),(8763,1605,3,1,0,'69.120.114.47',1156717320,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','I suppose this is all festival-stuff, since I have heard only of one of those you mention.\r\n\"The lives of others\" was a hugely succesful and very controversial film here in Germany (kind of this year\'s \"Downfall\"). It was said to be the first german film which concerns itself with the \"Stasi\" (the east german secret service) from the perspective of a perpetrator, which isn\'t true, but it\'s certainly the most discussed. It won 7 german film awards, though this might be due more to the film\'s subject matter, than to its cinematic qualities. A friend of mine has said the film itself is nothing outstanding, but as I haven\'t seen it myself (wasn\'t interested in all the hype) I can\'t give you my opinion. \r\n\r\nI am not familiar with the films of experimental filmmaker Matthias Mller, either, but I\'ve generally heard and read good things about his work. He seems to be working regularly with Girardet on his more recent films. Would be nice, if you could review something more \"avant-garde\" if you catch it. \r\n\r\nWhere do you have the opportunity to watch these movies?','98eac152b2a75fcbe691640133c27729',0,'','iKaVYbW9',1,0,'',0,0,0),(8764,1605,3,1,0,'69.120.114.47',1156813920,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Thanks for your response, A.\r\n\r\nYeah, a few of the films I mentioned are playing at the upcoming TIFF. But since I\'m having some problems arranging my school schedule, which is heavier than I thought it\'d be, I\'m not sure at this point if I\'ll be able to attend or not.','cba268c58a1ddad062fa83c435a87432',0,'','RUBbLjsh',1,0,'',0,0,0),(8765,1605,3,1,0,'69.120.114.47',1157355360,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','VIDEOGRAMS OF A REVOLUTION (Germany / 1992)\r\n\r\n\r\n\r\nAlong with Chris Marker and, based on his recent work, Jean-Luc Godard, Harun Farocki is one of the leading cine-essayists working today. Much like his French counterparts, Farocki, who was born in 1944 in German-annexed Czechoslovakia and is currently based in Germany, not only excels at scouring and interpreting the subjects of his presentations, but also, and more importantly, his own methods of exposition. He has already made over 90 films in his career, in which he has also been seen as an author and a professor. Its a shame that, for the most part, Farockis work in the past has been relegated to remote and underground festivals, and thus it remains quite inaccessible. But in the uncertain political climate of today, when medias role is constantly being brought into question, his oeuvre seems to have found a newfound importance -- which isnt surprising to say the least because of Farockis penchant for implementing educational and discerning processes to discover/decipher reality from history.\r\n\r\nIn Videograms of a Revolution (Videogramme einer Revolution), which Farocki created and assembled with Romanian writer Andrei Ujica, the focus is on Romania\'s 1989 revolution which ended with the death of dictator Nicolae Ceausescu, who led a brutal rgime for over 20 years, paralyzing the country in more ways than one. Thanks to Ujica, the filmmaker was able to gain access to previously unseen footage from various professional and non-professional sources. The nearly 125 hours of footage, mostly shot during the 5-day span during which television cameras in Bucharest uninterruptedly recorded the events while the TV-studio was taken over by civilian demonstrators, was then condensed to highlight and elucidate the key events.\r\n\r\nEarly on, by instituting clips from various outlets, Farocki tactfully presents the differing interpretations of the same event: Ceausescus speech, which turned out to be his final. While its television broadcast was suddenly interrupted due to crowd unrest, a few cameras continued recording, capturing images and sounds that told a different story than what the state-sanctioned telecast led people to believe. And later in this doc-essay, we witness, perhaps from the very same cameras, a harrowing, October-like besieging of the presidential palace, as the Ceausescus flee in a helicopter from the rooftop. (Why cant something like this happen in the country which now needs it most?)\r\n\r\nFor the most part, the voice-over narration (in English, by a female speaker -- at least on the U.S. DVD) is well utilized, explicating what is necessary to gather from the various vantage points. Perhaps the seminal sequence of the work, insinuating the newfound power of media, occurs when the vice-president is not only brought on to the public stage, but is asked to repeat the statement which constitutes the dissolving of the government in order for the cameras to catch it properly. Farocki then takes us behind-the-scenes, where individuals are seen bickering over their new roles. But no one is seen shedding a tear when the bullet-riddled body of Ceausescu is ultimately displayed on television, even though it wont bring back their loved ones who no longer exist.\r\n\r\n______________________\r\n\r\n*Now available on DVD in the U.S. (Facets). Unfortunately, there are no extra features on the disc. A simple biography and a partial filmography of the filmmaker would have sufficed.','7ee141c97fce99a33bce6a2cc07c19dc',0,'','tTxyAWCB',1,0,'',0,0,0),(8766,1605,3,1,0,'69.120.114.47',1164458640,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Andreas Dresen is perhaps someone who should be mentioned alongside other promising German filmmakers -- you noted his 2000 film Die Polizistin in your original post, and both of us saw and liked his latest, Summer in Berlin. But what about Nachtgestalten? Any thoughts on that?','0297a5c25864066700d4c91fdd8d7082',0,'','qFB37ifj',1,0,'',0,0,0),(8767,1605,3,1,0,'69.120.114.47',1164633540,1,0,1,1,1,1,'madhuban','Re: New German Films (1990 - 2005)','@ arsaib\r\n\r\nSaw Winterreise (Winter Journey) last week at an Indo-German festival in Bangalore and it was a disappointment. The first part of the film is quite taut with a restless camera and tight closeups detailing the psychosis of an old man as he tries to come to terms with a failing business and his wife\'s illness. However, midway through the film, he gets involved in an African scam and the moment the film moves to Africa it becomes a sad mess. Added to the exoticism is the man\'s change of heart - from calling every black man \"@#%$ @#%$\" to the decision to stay back in that country. Very limp and very irritating, especially after a long day at work and an equally long drive to the theatre where it was being screened. And, Hanna Schygulla, who was one of the prime reasons for picking out this film to watch out of an uneven package, had precious little to do but look old and ill. \r\n\r\nM','ac45fc946f37db5087bd4f3fb114e931',0,'','Vd9HFbst',1,0,'',0,0,0),(8768,1605,3,1,0,'69.120.114.47',1164707100,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Thanks, Madhuban.','44bdb86b86af203962a4507490be7f7e',0,'','l17pnwVW',1,0,'',0,0,0),(8769,1605,3,1,0,'69.120.114.47',1164975480,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','A?? (I need to know about Dresen\'s Nachtgestalten.)','33f687e5feacb10fea42078a180b2873',0,'','2VoBnhxK',1,0,'',0,0,0),(8770,1605,3,1,0,'69.120.114.47',1165276860,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','Sorry arsaib, but since studies have begun i haven\'t checked a lot of the threads on our board...\r\nI haven\'t seen anything else besides \"Summer in Berlin\" and The Policewoman\" by Dresen yet, but from what I\'ve heard, Nachtgestalten is very good, and most fans of his work consider it to be one of his best films. It may seem a bit rash, but after having seen two of his films and some parts of his Berlinale winner Halbe Treppe (2002) - which made me believe that this might be one of the best films of the new decade, though i still haven\'t seen it in its entirety - I would say any film by Dresen is probably worth watching.\r\n\r\nDon\'t know if you want some specific info on Nachtgestalten - are you planning to purchase it?','1f2b3c7f371a376b6dbfb8ab5c6c283a',0,'','jlVmQARK',1,0,'',0,0,0),(8771,1605,3,1,0,'69.120.114.47',1165293240,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','Thanks for that. Yes, I am looking into acquiring it -- the German DVD appears to have subs.','8f0ed282c36474e4fa9b84395e5f8d7a',0,'','RDwQm92F',1,0,'',0,0,0),(8772,1605,3,1,0,'69.120.114.47',1165351620,1,0,1,1,1,1,'A','Re: New German Films (1990 - 2005)','Heh, I didn\'t even know there was a german DVD. \r\nIf you\'re satisfied with the transfer, the extas and the film, I\'ll see that I buy it too.','99326627450bcd65bf0a3faa6a68338c',0,'','ZvcUpVSz',1,0,'',0,0,0),(8773,1605,3,1,0,'69.120.114.47',1211600760,1,0,1,1,1,1,'arsaib4','Re: New German Films (1990 - 2005)','\r\n\r\nBUNGALOW (GERMANY / 2002) \r\n\r\n\r\n\r\nIt is disappointing to say the least that other than the institution itself -- Cahiers du cinéma, that is -- not many are willing to acknowledge the presence of the (New) German new wave, one which, like any legitimate movement, has not only arrived but is still arriving, and one which is as rich and dynamic as those currently flourishing in Argentina, Romania and, perhaps, the Philippines. (To make this argument, one need not necessarily consult the slightly more calculated and certainly more successful films of Fatih Akin, arguably the most well known young German filmmaker among cinephiles worldwide.) Things are looking up, though, as the term \"Berliner Schule\" (\"Berlin School\") has been coined locally in the recent past, which initially connected, much to the directors\' chagrin, those who actually did attend the Berlin film academy (Christian Petzold -- whose hypnotic and hypnotizing new film, Yella (2007), to my pleasant surprise, was recently distributed in the U.S. -- Angela Schanelec and Thomas Arslan) and has since enveloped a few of the younger filmmakers who\'ve moved to the German capital to work (Christoph Hochhäusler, Valeska Grisebach, Henner Winckler, etc.) Even though the fine Argentine critic Quintín only went about halfway between the two \"schools of thought\" (he politely and safely furthered the notion of the \"New German Cinema\"), while discussing the second feature (Windows on Monday [2006]) by Ulrich Köhler, who belongs in that latter group, he made an astute observation regarding common characteristics found in the works of many of these filmmakers: \"The cleanness of the shots, the precise and careful camera movements, the natural restraint in the acting, the dryness of the storytelling, the silences, the ellipses, and ambiguities, the youth of the characters, the interest in exploring intimacy, and the uneasiness of individuals in society […].\" The same attributes undoubtedly apply to Köhler\'s assured first feature, Bungalow.\r\n\r\nThe film opens with a somewhat bizarre sight of military convoys roaming an empty and pristine stretch of a suburban autobahn. Upon entering the parking lot of a rest area (which now looks exactly the same in all first world countries), they stop at a Burger King where the young recruits pick up their orders before getting back into the vehicles. One of them decides not to join the group, and goes on to finish his meal. After exercising his \"right\" to a day off, 19-year-old Paul (Lennie Burmeister) heads to the only place he knows: the eponymous dwelling of his bourgeois parents, who happen to be vacationing in Italy. He breaks in, rests, masturbates, tries to get back with his girlfriend, but is soon joined by his older brother Max (the über-talented Devid Striesow) and his Danish lover Lene (Trine Dyrholm), a struggling actress who wants to make it in Deutschland. Much to Max\'s displeasure, who only appears to be a tad more refined version of his slacker sibling, Paul chooses to prolong his \"vacation,\" which leads to him getting infatuated with Lene, while causing the Military Police to start looking for him.\r\n\r\n\"[…]The drama is softened in [Bungalow]: desperation is absent, and the consequences of actions are mild, never definitive,\" Quintín has rightly stated. \"A sort of Brechtian detachment, as well as the protection of class, make characters immune to catastrophe, invulnerable to melodrama.\" Moreover, it could be added that the film\'s exactitude and tactility prevents it from veering toward the norm when it comes to disaffected youth pictures: even the otherwise distinctive shots of Paul skateboarding by himself lack the typically mundane angst-laden poetry. An annoyingly sheepish, Robert Ford-type, who quite literally gets his butt kicked by everyone he tries to mess around with, Paul is well played by Burmeister (a newcomer who won the Best Actor award at the 2001 Buenos Aires International Festival of Independent Cinema for his troubles). And since this \"outlaw\" either runs to the back of the house or to the hill nearby when the authorities come looking for him, his plan to defect to Africa retrospectively feels like a joke as black as the smoke emitting from his anonymous town\'s center after a mysterious explosion, the discussion of which prompts Max to assert that \"Capitalism has no more natural enemies.\" The symbolism of the film\'s final shot, however, seems to suggest otherwise. Spare, meticulous, and oddly moving, Bungalow is one of the finest German debuts of recent years. \r\n\r\n________________________________ \r\n\r\n*The film premiered at Berlinale \'02 (Panorama).','69b6fcbf1a6d50ab31be76d38d693186',0,'','vt418wXh',1,0,'',0,0,0),(8774,1606,3,1,0,'69.120.114.47',1179397080,1,0,1,1,1,1,'hengcs','Slumming (2006) (Austria/Switzerland/Germany)','\r\n\r\nDirector: Michael Glawogger\r\nCast: Paulus Manke, August Diehl, Michael Ostrowski\r\n\r\nThis film premiered in Berlin Film Festival.\r\nIts official website\r\nhttp://www.slumming.at/\r\n\r\nSynopsis\r\nThe film tells the story of affluent Sebastian (as well as his flatmate) who hooks up with women on the internet, only to meet up with them and capture their pictures beneath their skirts. Meanwhile, there is also an old drunkard, Kallmann, who is constantly out of money and trying to sell his poems. The two story weaves together when Sebastian decides to play a nasty prank on the unconscious Kallmann, dumping him at the countryside of Czech without his passport ...\r\n\r\nMy thoughts ...\r\n\r\n-- in particular, the opening and the cast captivates me ...\r\n\r\n(i) i thought the film opens strongly and engagingly, with the audience being shocked at what Sebastian is doing, and not knowing what will happen to him ... \r\n\r\n(ii) Both male protagonists are excellent ...\r\n... August Diehl manages to be the \"villain\" without evoking utter hatred; the audience may still be empathetic towards his mischiefs and deeds even though little is known about him ...\r\n... Paulus Manke, as the drunkard, is totally convincing ... He certainly can pass of as one ...\r\n\r\nConclusion\r\nRecommended. But somehow, I still think it feels like two stories rather than one (despite the existence of a link, and despite the existence of a common theme) ... frankly, I would have liked it much more in terms of coherence if it has solely focused on Sebastian\'s story or Kallmann\'s story ...','e5cb83d3ae95e379980ee61dcdafede2',0,'','ZLX2yq47',1,0,'',0,0,0),(8775,1606,3,1,0,'69.120.114.47',1196066880,1,0,1,1,1,1,'A','Re: Slumming (2006) (Austria/Switzerland/Germany)','I totally forgot about this thread, but fortunately nothing gets ever really buried on our boards, so I\'ll try to reactivate this thread a bit. \r\n\r\nI have seen this film with some friends at the cinema a couple of months ago, and although I wasn\'t too fond of it after the screening, it has remained with me ever since, and hasn\'t really stopped puzzling me ever since. But I also agree with all of hengcs observations.\r\n\r\nI found the film to be convincing, but a bit of a mess. It often does feel as if it had been better if Glawogger had focused more on both of the stories and made two films out of it. Or maybe he should have extended this one. What \"saved\" the film in my opinion from the merely interesting to the recommended, was the beautiful and surreal last part of the film, when Sebastian finds himself in another country, where he has to deal with himself. The music in Jakarta is also hauntingly beautiful, and this moment alone was for me worth the price of admission. If you want to, the film gives you a lot to think about (including your relation to yourself and the world), and it is this offer which you should accept if you want to experience the film properly. I found every scene with Kallmann utterly fascinating, and would have wished to spend much more time with his character. The documentary roots of Glawogger can be strongly felt throughout, and they are the very thing which gives the film its direction, style and soul.\r\nOne of the films that might grow with further viewings, because they are so unbelievably constructed (with surreal premises and characters) that it might take a while to leave your doubts behind. If you accept the set-up, and some minor contrivances the film is very much worth your time.\r\n\r\nCompletely by chance, I stumbled over this incredibly good review by my (and arsaib\'s ) darling Olaf Moeller, and I just had to post it here in its full length. It\'s so good, I considered it a shame not to expose you to the whole of it, and it certainly enriches our Board. \r\n\r\nQuote:\r\nEveryma/en\'s Jaipong\r\n\r\n\"You have reached your destination\" the BMW GPS says while the car rolls to a halt in front of a butt-ugly building proclaiming \"Znojmo\". Znojmo: To a German-speaking person (without a sense of Slavic languages...), this looks mighty weird, strange, alien: One vowel only but that one twice, surrounded by a pretty curious combination of consonants - strange but also funny.\r\n\r\nMy ass!: Fun\'s over when you wake up looking at that Znojmo expecting to be at Vienna\'s Western Station where there\'s no Znojmo in sight, nothing even Znojmo\'rish anywhere close - you\'re someplace then, an outsider, a stranger, an alien, the exception suddenly to everybody\'s rule. Only one thing to be done: You have to believe, you have to have trust in this world around you. So, Kallmann, the poet-bum on a binge back for a visit among the sober, out there but not out of it as such, starts saying, \"Myslim to uprimne\", parroting posters in the station hall, all honesty even if he doesn\'t have a clue about what these strange words actually mean -- they fell good and right and so be it, the fool knows. And he is lucky: In other cities election posters don\'t proclaim \"I\'m honest\" but nonsequitures like \"Less Red, More Control\".\r\n\r\nWhatever that\'s supposed to mean, and what kind of control anyway? As the Great Ticket Puncher knows: All control and all responsibility is with us and us alone, some have it and others had but whether you act or are acted with is up to you, alone - destiny my ass! Those who believe in this world as such are in control, at least of themselves, but few, it seems, know. Fear feeds on ignorance and disbelieve. Everybody, it seems, has these authenticity-worshipping days: This sense of loneliness, despair, uselessness, this fear of being common, of redundancy, of having their ticket punched. Sebastian, a nowaday\'s private gentleman, an alien in Vienna and a stranger to himself, has a hard-on for uncertainty: He fills the voids he imagines in others with his own projections, stories, stupid as they are. His is a world in which all women are cunts to be not @#%$ so as to make them feel how vacant they are in his eyes that seem to know plenty but certainly won\'t share. Sebastian is the Wizard of Nothingness in the carnival of this life.\r\n\r\nWhen asked about her do for carnival come, Pia quips that she\'ll disguise herself as a woman disguising herself as a man disguising himself as a woman -- so much for authenticity: A jest to be lived. Pia, the primary school-teacher, simply is, and whatever neurosis\' there are, is nothing she can\'t deal with. Pia, by herself, sways her hips slowly, alone on an empty, silent dance floor, and that\'s totally okay, with music and maybe someone else around it would be nicer but that\'s the way it is right now and it\'s okay like that. Sebastian is the opposite: On his own he\'s lost, he needs somebody to talk (on)to, even if that othern is dead asleep, like Kallmann in the Znojmo cold, where Sebastian quotes the bum\'s visions back onto him: \"My name is not Fear. My name is Angst. I must consume what time I have left, be consumed, crumble, liquefy - careening at full speed.\" Let\'s face it: Sebastian is not fear itself - even if he would like to be just that; and maybe on some meta-level he actually is -, Sebastian is just a dough-brimming @#%$ with too much time on his hand. And while ass-holes tend to be full of @#%$ and nothing else, this one is special: Sometimes, Sebastian is actually right about a few things he sees and does and thinks, and his arrogance occasionally feels more to the point than other people\'s pious righteousness. Which also Pia knows, rarely counts for much: It\'s what you do that counts. So she starts searching for Kallmann, because somebody has to do it.\r\n\r\nFear alone alienates, people from each other and one from oneself.The alien is what gets pushed away; what is written out of history; what doesn\'t fit in and refuses to fit in and is fitfully ignored for that; whatone finds if one stays instead of setting out for the world. Our place is what is to be found in all others\' eyes alone. Sebastian and Pia get some notion of themselves in each other\'s desiring glances. Their first kiss is seen reflected in a screen of some video game: They might be at play and it all might be a case of cross-projected lust and longing, but it\'s very real all right.\r\n\r\nLife, in the romantic imagination, is a system of opposites, sense is made by seeing an image as another image\'s reflection, variation, vacui, blind spots are alienated away by such a system of allusions, illusions, and delusions, with time and space equally irrelevant to these association games and trains of thought: Twice Kallmann does the bum rap about being and nothingness and the infinite jest of death (the word he can\'t - bring himself to - say in his Hail Mary, twice); twice Bambi pops up; Kallmann\'s Everyman-evocation rhymes metaphorically with Pia\'s little school-play heaven; Kallmann is brought to Znojmo in the trunk of a car and goes back to Vienna in the baggage hold of a bus; twice a wailing is heard, once when Pia lets out the music in her head into the club\'s silence, once when a muezzin in Jakarta calls the believers for prayer -- with Kallmann\'s call that he sees with his mouth resonating hauntingly across it all; tracks (the GPS a meta-track), trains, and stations lead the way through it all, starting with Kallmann in the metro and ending with Sebastian jumping his train someplace in Jakarta - where two local dudes speculate about some white guy\'s reasons for slumming in South-East Asia -, losing himself in the local ways, setting out in the end on a journey along some deserted-looking tracks into the alien night. Never be afraid of such analogies and variations! For you can only live without fear when you understand them as simply signs of a common humanity, of us being closer to each other when we think without ever being the same. We all die, and that\'s okay.\r\n\r\nWhen in the end the metro stops on a bridge and Kallmann looks down while Pia in her car looks up and they don\'t see each other in the film\'s reality while exchanging shot-countershot-glances, Michael Glawogger has finally arrived, found the essence of his gallivanting through the world: It\'s this kind of common humanity Glawogger and his films talk about again and again but nowhere as lucidly and beautifully as in \"Slumming\". Driven by a notion of plenty and possibilities, balanced by a sense of the reality of it all, the world becomes Glawogger\'s home.\r\n\r\nOlaf Moeller, January 2006\r\n\r\nPS: I believe this to be an English translation (possibly Moeller\'s own) of his German text which I find even better, and sublime from the point of view of a writer of cinematic texts. Too bad, only a few of us can understand his mother tongue.','05c7e1c1e99655bd7493aa4a02ab9481',0,'','VWyRHGf3',1,0,'',0,0,0),(8776,1607,3,1,0,'69.120.114.47',1195533600,1,0,1,1,1,1,'justindeimen','Silk (2007)','Review: \r\n\r\nThe treacly charms of romance or the misery of longing can be a subjective experience. When it is executed with its heart in the right place, the genre can become a wondrous thing for any viewer, the aching moods and complex emotions it augurs start and continue to change the way we perceive films. Unfortunately for Francois Girard, his lofty follow-up to 1998s The Red Violin doesnt come close at all. \r\n\r\nWhile Silk is stunningly beautiful, it is also stunningly dull. Ostensibly the love story beyond borders, the film is overly ripe and more reliant on the sweeping idea of romance to validate its scenes across the tides of its stoic languor and oppressive superficiality. The campy high-culture attempted (and perhaps even perfected at times) by Girard becomes almost a parody once the film makes a conscious decision to put the onus of feeling on the films lush cinematography (by cinematographer Alain Dostie, it has to be mentioned) and pervasive score. It becomes meaningless by its end, an unwieldy and unemotional piece that never once approaches what it intends to convey. \r\n\r\nBased on Italian novelist Alessandro Bariccos best-selling novel, Silk, tells a story of brewing obsession in a 19th century French trader. Joncour (Michael Pitt) seeks an escape from a career in the military and an opportunity to wed his beloved Helene (Keira Knightley) by accepting a textile entrepreneurs offer of travelling to the end of the word Japan in this case to acquire uncontaminated silkworm eggs for a considerable fee. Journeying into the unknown, the interior of Japans snowy villages, he completes his transaction but encounters complication in his infatuation with a warlord Jubeis (Koji Yakusho) mysterious concubine (Sei Ashina). \r\n\r\nInconsequential is a term that can be shared by both Girards soulless translation and his Pitts anaemic performance thats as passive and unengaging as it gets. Theres a suffocating exterior to the films condescension to present beauty as a substitute for affected sentiment that interprets into a self-negating interest in its characters. \r\n\r\nGirard canvasses the usual sentiments and practical conundrums that result from a cross-cultural love affair, with the geography of the land looking sumptuous in a film as frosty as its icy hills. He falls into similarly banal trappings of not recognising the lines between eroticism and exoticism of Asian sensuality and this misplaced fascinated with the Orient is represented in Joncours ardent and illicit desire to experience the thrill of the unknown but unwilling to compromise the familiarity of home. The courtly subservience of the concubines femininity is the fibre to Girards weightless fabric of vain pageantry, becoming as enthralled with the fanciful brocades as Joncour is struck by his lust for the girl wearing them.','f42ff32cde73afd58e553e76d30c049b',0,'','VAiUuCY6',1,0,'',0,0,0),(8777,1608,3,1,0,'69.120.114.47',1195215420,1,0,1,1,1,1,'arsaib4','Julie Gavras\' Blame It on Fidel! (France-Ita / 2006)','*A 2007 (U.S.) Release*\r\n\r\n\r\n\r\nIn one of the several amusingly clever moments in the new early-1970s set French film, Blame It on Fidel! (La Faute Fidel!), the kid brother of our 9-years-old protagonist inquires of her: Shall we play Allende and Franco? I\'ll be Allende, he\'s a good guy. This after the duo had hidden from a gendarme outside the Chilean consulate in Paris under the assumption that they might be napalmed, and before one breaks out an Ay Carmela!, a Spanish Republican song, once being retorted regarding Franco.\r\n\r\nProduced by Sylvie Pialat, widow of the late, great Maurice Pialat, and directed by Julie Gavras, daughter of the renowned political filmmaker Costa-Gavras, this wry, charming and delightful but also socio-politically acute effort is taken from the point-of-view of the aforementioned Anna (Nina Kervel), the feisty and precocious daughter of a Spanish-born trial attorney (Italian star Stefano Accorsi) and a feminist writer (Julie Depardieu, daughter of Gerard). Annas perfect little world is at the least turned sideways when at a wedding she witnesses her dad consoling his newly arrived sister from Spain. She later discovers that her hitherto politically quiescent dad had to salvage the remains of his communist family from the grips of Francos fascist rgime, and that they will be sharing the house with them for a little while (much to the chagrin of her high-strung Cuban-exiled nanny, whos not only responsible for the title of the film but also the term barbudos, \"bearded and godless \'Reds\' whore constantly on the move\"). \r\n\r\nAnd it isnt long that Annas suddenly activist parents are seen packing for Chile to scope out the situation and to see if they could make a difference for the Socialist Party (and its Marxist head Salvador Allende) in the upcoming elections. In their absence, Anna and her brother spend some time with their Charles de Gaulle-supporting grandparents, well-meaning individuals who favor to preserve the bourgeois status quo. Not so the case with the duos parents, as once they return, the family moves to a smaller dwelling and institutes a few other social and lifestyle changes, not all of which go down well with Anna (her now very bearded dad Right-fully starts referring to her as pequea momia or little mummy), even though she manages to keep her much-cherished catechism class for the time-being. De Gaulle dies a few days after Mr. Allende assumes presidency in Chile. The rest, as a few of us know, is history.\r\n\r\nGavras adapted this film, her first fiction effort, from an Italian novel called Tutta colpa di Fidel, which was written by her friend Domitilla Calamai. Shes not only seamlessly moved the setting to France, but given the time frame her decision to incorporate Chilean politics is also very appropriate (and so is her use of a scene from Patricio Guzmns The Battle of Chile [1975-79] at a key moment). (Gavras has credited her fathers 1982 effort, Missing, for this process, which he made when she was 12.) Its rather remarkable how well she manages to distribute the array of ideologies -- not only political but religious and mythological as well (the latter courtesy of Annas new Greek and Vietnamese nannies) -- without resorting to polemics. Nor are there many instances where things are over-simplified: Gavras occasionally accentuates her primary motif by allowing us a childs-eye view of the proceedings, thus suggesting that the protagonist is distilling the received knowledge.\r\n\r\nNevertheless, it still may come as a surprise to some that this isnt an arty, high-minded effort. Its perhaps a perfectly calibrated commercial film, though one which goes about its business with intelligence and efficiency (yes, a lost art in and of itself, and not just in Hollywood). Of course, those familiar with its politics are likely to appreciate it more, but the frequent humorous inserts, not to mention the colorful palette (with Red being the dominant) and the fluid mise-en-scne, keep the proceeding enlivened. And, as indelible as the intense and, yes, world-weary performance of Kervel, who makes most other child actors look silly in comparison, the geometry of action in the final shot proves Gavras to be a subtle filmmaker as well. Blame It on Fidel! is one of the best films of the year.\r\n\r\nGrade: A-','6cbd34fc4c0d0be42f3f88bc7b464257',0,'','dME6e5Wz',1,0,'',0,0,0),(8778,1608,3,1,0,'69.120.114.47',1195651440,1,0,1,1,1,1,'arsaib4','Re: Julie Gavras\' Blame It on Fidel! (France-Ita / 2006)','Now available on DVD in the U.S. (Koch Lorber Films). Extra features include a making-of-featurette and more.','a54e21b5a6cc9dc0d8611a0ccd0ad1a0',0,'','e92QFmzU',1,0,'',0,0,0),(8779,1609,3,1,0,'69.120.114.47',1123563540,1,0,1,1,1,1,'arsaib4','Short Takes: France','In this thread I\'ll be adding brief reviews of new French films. Please feel free to do the same. If a film gets revisited in detail (either by me or anyone else), then an individual film thread will be started. \r\n\r\nINDEX (in order reviewed)\r\n\r\nPage 1 :\r\n\r\nFRESH BAIT (Bertrand Tavernier / 1995) \r\nNOCE BLANCHE (Jean-Claude Brisseau / 1989)\r\nTOMORROW WE MOVE (Chantal Akerman / 2004)\r\nL\'ENNUI (Cdric Kahn / 1998) \r\nSEVENTH HEAVEN (Benot Jacquot / 1997)\r\nRAJA (Jacques Doillon / 2003)\r\nL\'EQUIPIER (Philippe Lioret / 2004)\r\nFOR EVER MOZART (Jean-Luc Godard / 1996)\r\nWILD SIDE (Sbastien Lifshitz / 2004)\r\nPETITS FRERES (Jacques Doillon / 1999)\r\nTHE LAST MITTERRAND (Robert Gudiguian / 2005)\r\n\r\nPage 2 :\r\n\r\nAPRES VOUS (Pierre Salvadori / 2003)\r\nSHE\'S ONE OF US (Siegrid Alnoy / 2003)\r\nEXILES (Tony Gatlif / 2004)\r\nLA PETITE LILI (Claude Miller / 2003)\r\n10TH DISTRICT COURT (Raymond Depardon / 2004)\r\nLOOK AT ME (Agns Jaoui / 2004)\r\nLOIN (Andr Tchin / 2001)\r\nHOLY LOLA (Bertrand Tavernier / 2004)\r\nBAD SPELLING (Jean-Jacques Zilbermann / 2004)\r\nCRUSTACES ET COQUILLAGES (Ducastel & Martineau / 2005)\r\nNELLY & MONSIEUR ARNAUD (Claude Sautet / 1995)\r\n\r\nPage 3 \r\n\r\nBETTY FISHER ET AUTRES HISTOIRES (Claude Miller / 2001)\r\nSALE COMME UN ANGE (Catherine Breillat / 1991)\r\nPOURQUOI PAS MOI? (Stphane Giusti / 1999)\r\nMY WIFE IS AN ACTRESS (Yvan Attal / 2001)\r\nTHE DINNER GAME (Francis Veber / 1998)\r\nUP AND DOWN (Luc Moullet / 1992)\r\n______________\r\n\r\n*For more French film reviews, please visit our European Index.\r\n_____________','12ee4eaccbf298fecf352accee24c3df',0,'','n6a8qYLV',1,0,'',0,0,0),(8780,1609,3,1,0,'69.120.114.47',1123563720,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','FRESH BAIT (1995) \r\n\r\nFresh Bait (L\'appt) is a hugely disappointing effort from the usually dependable French filmmaker Bertrand Tavernier (A Sunday in the Country [1984], L.627 [1992], Safe Conduct [2002]). Based on a true story, the film tries to document the hollow lives of three criminally hopeless French youths, but the depiction is rather shallow and unobservant, not to mention its not something one hasnt come across before. Nathalie (Marie Gillain) is an attractive young \"salesgirl-model,\" as she likes to call herself, who doesnt shy away from offering her \"services\" to the wealthy clientele at a local club for some money, and especially for a hope of a big break. She lives with her shiftless boyfriend, Eric (Olivier Sitruk), and his dimwitted buddy, Bruno (Bruno Putzulu). After Eric comes up with a plan of making some quick money for the clothing boutique he wants to open in the U.S., he asks for Nathalies assistance; the plan involves sexual luring of her previous patrons so the other two can come up to their apartments and rob them. Needless to say, things dont go as well as planned, and the trio slowly start to get frustrated with mistakes along the way.\r\n\r\nTavernier has shot Fresh Bait hand-held, but instead of going with DV, hes used film which is a curious aesthetical choice for this sort of a story; there are swooping camera-movements that signify absolutely nothing. It almost seems like the director wanted to throw his hat in the ring by attempting a post-Tarantino era crime-drama filled with \"cool\" pop-culture references, musical montages, crude and corny renderings etc., but like most others, hes failed on almost every level. Theres something to be said about consciously observing the unconscionable, although its surprising to see Tavernier, on more than one occasion, partaking in the same sort of behavior hes trying to comment on. The most shocking thing about this effort is that it actually won the Golden Bear (Best Picture) at the Berlin film festival in 1995, however, if one were to go over the other competition entries then perhaps it doesnt seem that much of a stretch (the two brilliant American films in competition, Before Sunrise and Smoke, also won prizes). Taverniers compatriot, the great Claire Denis, also made a film in the early nineties using a true crime story, but her piece, I Cant Sleep (1994), was a masterpiece of subversive alienation and misplaced humanism. Fresh Bait, on the other hand, shares many of the worst traits of Larry Clark, which is too bad considering that it couldve easily pursued the best of them.\r\n\r\n________________________\r\n\r\n*FRESH BAIT was recently released on DVD in the U.S.','691fe6dcbb20fa1c040d7aaafeba2286',0,'','baXChoJM',1,0,'',0,0,0),(8781,1609,3,1,0,'69.120.114.47',1123581840,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Noce blanche (1989) White Wedding \r\n\r\nDirected by Jean-Claude Brisseau\r\n\r\nStarring Vanessa Paradis, Bruno Cremer\r\n\r\nA taboo breaking romantic drama.\r\n\r\nMiddle aged philosophy teacher \"Franois\" makes a connection with a 17 year old pupil \"Mathilde\" who although late for lessons when she bothers to turn up at all shows a real flair for philosophy and psychology but has a cynical attitude towards life. Mathilde is a problem case that most of the teachers want out of the school but thanks to the determination of Franois she is given a last chance.\r\n\r\nFranois starts tutoring Mathilde at her home and the inevitable happens, he is seduced by her prodigeous intelligence, then by her beauty and youth. Despite the fact that hes married with a very attractive wife and that as her tutor he knows what they are doing is wrong she brings out the youth in him and he fails to resist.\r\n\r\nGradually Franois learns some frightening facts about Mathildes past and family, with this knowledge and his wifes threats to leave him he tries to cool the affair down. Silent phone calls are made to his house day and night and the shop run by his wife is vandalised. Mathilde sets out to make him jealous until he loses his temper, drags her into an empty classroom where he bawls her out for all the trouble shes causing but they end up caught in an intimate embrace and caught out by the Head of the school.\r\n\r\nHe is posted to a school in Dunkirk, his wife unsurprisingly leaves him and he settles into his new life until..........!\r\n\r\nConvincing acting from the leads, you could understand him falling for this girl that hes already put on a pedestal (plus of course its Vanessa Paradis). There are no sex scenes but I was surprised at the amount of nudity (not exploitative) because according to IMDB Vanessa Paradis was 17 when the film was made.\r\n\r\nThe story actually had more depth than I would have expected and thankfully didnt turn into a bunny boiler type movie. This was Vanessa Paradiss first leading role and luckily she was perfect for the part, she played a similar character in the film Eliza several years later but with a very different plot line and conclusion.\r\n\r\nRecommended for the performances and interesting (although certainly not unique) story line.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15.','3da8788fa139a913dde6e91c33ac0f91',0,'','pKyRJz8d',1,0,'',0,0,0),(8782,1609,3,1,0,'69.120.114.47',1124177400,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','TOMORROW WE MOVE (2004)\r\n\r\nBorn in Brussels in 1950, Chantal Akerman made her film debut with a short in 1968 at the tender age of 18 after she was heavily influenced by JLGs Pierrot le fou which she saw at 15 (she has also spoken highly of Michael Snow and Stan Brakhage who she came across during her time in NY in the early 70s). Since then, shes gone on to make such films as Je, tu, il, elle (1974), Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1976), Les Rendez-vous d\'Anna (1978) , DEst (1993) and La Captive (2000). All along, however, one thing shes maintained is that she doesnt like repeating herself even though most want more of the same from herand its hard to blame them. So, her oeuvre also includes works like A Couch in New York (1996) and De l\'autre ct (2002); and when time permitted, shes also been involved in various art projects including video installations.\r\n\r\nHer latest film, Tomorrow We Move (Demain on dmnage), may seem like a bit of an anomaly at first, but ultimately, its streak of feminism renders it equivalent. In this offbeat and often goofy comedy, a mother and daughter are united again after the death of their husband and father. The chain-smoking daughter, played by Sylvie Testud, is a writer whos been assigned a pornographic piece, but her work is often stymied by her mothers rekindled passion for piano lessons. The Mother, played by Aurore Clment, has also cluttered her already congested apartment, thus making it difficult for her to think clearly; however, when she suffers a writers block, the mother casually tells her to spice the piece up with words like \"prick,\" \" @#%$,\" and \"ass.\" Most of the rather lackadaisical first half revolves around their unique relationship but things do pick up once they decide to move. After the apartment gets appointed for sale, the endless succession of prospective buyers make life quite interesting for both of them (and for us), and unknowingly, they even help out with the writing piece. Akerman has described herself as a \"bit of Chaplinesque figure,\" and Testuds character is supposedly her alter ego, but while this might be a personal film for this auteur, its far from a satisfying viewing experience. There isnt enough material to fill this almost 2-hr film, so many ideas and idiosyncrasies are repeated. Tested, who also starred in Akerman\'s previous film (the Proust adaptation, La Captive) is fine once again, and there are some strong turns by veterans like Natacha Rgnier, Dominique Reymond and Elsa Zylberstein.\r\n\r\n______________________\r\n\r\n*TOMORROW WE MOVE was recently released on DVD in the U.S.','497b5810d87dffc64cad404059ed79f5',0,'','LdtJYS7M',1,0,'',0,0,0),(8783,1609,3,1,0,'69.120.114.47',1124912220,1,0,1,1,1,1,'A','Re: Short Takes: France','\r\nL`ennui (1998 / France, Portugal / Cdric Kahn)\r\n\r\n\r\n\r\nAfter having seen this film my belief that french cinema of the last ten years is a s alive as ever has again been reassured. Many claims have been made, that french films aren`t what they used to be (which they of course aren`t, as time changes), even that the quality of french film production has fallen into mediocrity. But as Jonathan Rosenbaum pointed out already during the 90s in his essay on Les Voleurs (1996 / Andre Techine), a film I thoroughly recommend, is that most critics only consider what they get to see from french films, whixh is very little. If they were really interested and would dig a bit deeper into every years production on their own, they would find many rough diamonds along with some polished ones.\r\n\r\nCedric kahn is a young director, and according to this film a most promising one. We have the Story of a middle-aged philosophy teacher who falls for a 17 year old girl (Haven\'t I read this somewhere before? ), but this isn`t your typical older man falls for a Lolita femme-fatale type of film. In fact I got so bored after about 15 minutes, because of the lurid but seemingly empty pace of the movie and the contrived dialogue, that I started switching channels on my TV, but when I returned to the same scene I had left a few seconds later, I knew I was finally onto something.\r\n\r\nThe film begins with a rapid pace showing a disturbed Charles Berling (who had one year earlier starred in Anne Fontaines brilliant social study Nettoyage a sec, but may be best known for the leading role in Patrice Leconte\'s Ridicule) who has entered a cocktail party of his ex-wife Sophie, with the intention to speak to her (they seem to be separated for a short time only), but doesnt succeed as she seems to be more concerned with making the impression that she has her life under control, though we see that shes very far away from this goal. It is never explicitely mentioned in the film, but \r\nthere are numerous great scenes that indicate that the marriage has left deep wounds in Sophie\'s heart and mind, and probably also in Berling\'s character, though he isn\'t for analizing situations, when it comes to himself. At the party he is \"offered\" a young student who admires him for the night, but he shows not a hint of interest. He even explains to Sophie, that he hasn\'t had sex for the last six months, and intends to go on this way, in order to write a new book. After having left, he wonders aimlessly through the night when he encounters a painter who gives him his adress after a rescue by Berling from a difficult situation. When he visits the painters house the next day, he discovers that he has died during sexual intercourse with his 17 year old student he was obsessed with. After meeting her, Berling steps in the same \"trap\". he starts a sexual relationship with her, that gets more and more dramatic until end of the film, and the final climax.\r\nThe theme of the film is obssession, and it reminded me at times of Zulawskis movie of the same name, though it isn`t as notorious or deliric. A case study of the protagonists neuroses getting the best of him, and his entanglement into an illusion of his own making. The fascinating object of desire is Cecilia (debut by Sophie Guillemin), who in no way corresponds with a young femme fatale. Quite on the contrary. She is a bit fat, small, is aware of her sexuality but doesn`t use it as a tool, she is rather introverted and makes no real attempt at seducing anybody. More than anything else she is like an object waiting to be used, though only if it pleases her (which it seems to do quite often though). And that becomes the crucial point. No active relationship develops between the two besides a sexual one, which is neither demanding nor boring. Just plain ordinary sex, which is shown several times, and is over fast. Cecilia seems to be oblivious to ambition, the need to small-talk with people, or communicate on any other level than sexually. She seems to have no real needs nor desires, living in the moment, and with a day to day time-table, that`s pretty schematic. \r\nThe protagonist now starts to interpret this blank canvas, and instead of writing his book, he begins to wonder what`s going on in Cecilia`s mind, begins projecting his own fears on her. He thinks she is cheating, she`s lying, she doesn`t love him, etc. as he becomes more and more possessive. As his desparate attempts to possess her even sexually don`t find a satisfiying conclusion his paranoia takes on a clinical state.\r\nMore and more he turns into a victim to his desire for love and closeness, which he can`t possibly find in Cecilia, but instead of letting it go, he degrades himself even more.\r\n\r\nThe strength of the film lies in its director`s ability to carry things to the extreme, to let its protagonist go not just to the borders, but clearly over everything socially acceptible. He shows the utter ridiculousness of the protagonists behaviour, without ridiculing him, and even in the most degrading and unbelievable scenes the direction never falters on what is a very small line between seriousness and absurdity, maintaining the films credibility, and most of all its sincerity, through which every character of the film is primarily his own, keeping his dignity. This rare accomplishment by Cdric Kahn is most promising for a young director more interested in the process of self-discovery and redemption of his characters, than in any bleak nihilism or apocalyptic vision of mankind and relationships.. The ending beautifully underscores his humanist standpoint.\r\n\r\n___________________________________________________________________________\r\n\r\nThe film is available on DVD in North America and Great Britain. The UK release is by Artificial Eye, from which the above screencap has been taken.','daba91eba6e5410d8999149078df91a5',0,'','wSG6bdJq',1,0,'',0,0,0),(8784,1609,3,1,0,'69.120.114.47',1128492000,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','RAJA (2003)\r\n\r\nAfter spending much of the 90s on films that inclined toward problems faced by the youth, director Jacques Doillon went back to the psychologically complex turf of his earlier films with Raja, a subtle yet evocative romance between two individuals caught within a social and cultural tug-of-war. Like many Doillon films, Raja picks up its characters at a nondescript moment in their lives and then drops them off without much noise thus emphasizing the overall linearity of life. The titular character is a 19-year-old tomboy (Najat Benssalam) whos been through some rough patches as an orphan in Morocco. While working in the garden of a wealthy French intellectual, Fred (Pascal Greggory), she catches his eye. Fred is leading a rather dreary life after being separated from his wife; however, what he does have is time and money and he gets the inclination of using them, perhaps to get a hold of a branch for just a while before being engulfed by old age. Raja isnt the most beautiful girl working at his posh compound but he feels invigorated by her vitality and dynamism. Fred tries to buy her in different ways but isnt able to make a proper connection due to cultural and language barriers. He underestimates her individuality, but more importantly, hes unable to sort out the base of his own feeling for her. Eventually, he learns that she belongs to a local pimp (Hassan Khissal) who has plans of marrying her. There are hints of a post-colonial outlook with the proceedings but Doillons characters are too emotionally damaged to be involved in any sort of an allegorical premise. The constant shifting of feelings that are beautifully incorporated by Doillons screenplay and mise-en-scne add numerous layers to this otherwise simple film. And those shifts wouldve felt ordinary if it wasnt for the intelligent performances of Greggory and Benssalam, especially the young Moroccan actress who allows us to see the other side of her character which initially seemed quite narrow. By bypassing all the differences that exist between the two characters, Raja is ultimately about their biggest yet most basic difference of all that of a Man and a Woman.\r\n\r\n_______________________\r\n\r\n*RAJA premiered in France in 2003 and it went on to play at various festivals including Venice, Toronto and NY. The film was released theatrically and on DVD by Film Movement last year in the U.S.','be0d54bc5c6615dd3cc44c93737b981b',0,'','zKVgcFb0',1,0,'',0,0,0),(8785,1609,3,1,0,'69.120.114.47',1128592620,1,0,1,1,1,1,'hengcs','Re: Short Takes: France','\r\nHi to all\r\n\r\nwhich of the following is a MUST watch?\r\n\r\nwww.alliancefrancaise.org...tival.html\r\n\r\nthnks','d8245062986286936a096e4f35713325',0,'','Vifql2hX',1,0,'',0,0,0),(8786,1609,3,1,0,'69.120.114.47',1128593760,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','L\'EQUIPIER (2004) \r\n\r\nBased on a true story, L\'Equipier (\"The Light\") is a wonderful, old-fashioned French drama featuring excellent performances and especially an acute sense of milieu which is a rarity nowadays. Set in Ouessant, a remote island off the coast of Brittany, the film starts off with a young woman who returns to the island to sell her family home. She soon learns about a man who came to this island in 1963 and changed things forever. The film goes back in time and we witness that an Algerian war vet, Antoine (Grgori Derangre Bon Voyage), has arrived in this close-knit community to replace a deceased lighthouse operator, much to the chagrin of the other workers. While it doesnt take long for him to become the object of infatuation for a local beauty (milie Dequenne Rosetta), he only has eyes for Mab (Sandrine Bonnaire Vagabond), the wife of his co-worker, Yvon (Philippe Torreton Une nouvelle vie). Beautifully paced from the very start, L\'Equipier gradually unfolds as we discover the complex sentiments of these characters simply trying to cope with life. The off-putting Yvon eventually finds a liking to Antoine, and so does his wife. However, others arent so willing, and would prefer if his stay isnt very long. Nominated for 3 Csar Awards (French \"Oscars\") -- Best Actor (Torreton), Best Supporting Actress (Dequenne), and Best Music (Nicola Piovani) -- L\'Equipier is directed by Philippe Lioret, a longtime veteran of the industry. His moody and richly metaphoric visuals add much to the proceedings by heightening the film from its conventional structure (it certainly helps that the film was shot entirely on location). But ultimately its the nuanced emotions displayed by these characters that make us feel like weve known these people for a lot longer than we actually have.\r\n\r\n________________________\r\n\r\n*English subs are included on the French DVD which was released in May.\r\n_________________________\r\n\r\nIt\'s an intriguing mix of films.\r\n\r\nL\'Esquive shouldn\'t be missed. Same goes for Son frre and Strayed. (I think I\'ve posted about a couple of them on this site, if not I\'ll add \'em.) However, I wouldn\'t classify these films as \"crowd pleasers.\" I saw Banlieue 13 in Toronto, wasn\'t impressed.\r\n\r\nTo Paint or to make love actuallly played in-competition this year at Cannes, not in Directors\' Fortnight as it is listed there.\r\n\r\nJoyeux Nol will probably become a big hit everywhere.','14bc518bc4a24e737aa9913a5b9343d6',0,'','5ZM1mB34',1,0,'',0,0,0),(8787,1609,3,1,0,'69.120.114.47',1128593880,1,0,1,1,1,1,'hengcs','Re: Short Takes: France','\r\nthnks','8e4230f1522777342a840cf50b3addd7',0,'','mvcWxP9w',1,0,'',0,0,0),(8788,1609,3,1,0,'69.120.114.47',1128785400,1,0,1,1,1,1,'A','Re: Short Takes: France','I recommend His Brother and L`esquive, both masterpieces imo.','a8402eec58adc06dbdaa77bc0ac042ee',0,'','T4kC1aeL',1,0,'',0,0,0),(8789,1609,3,1,0,'69.120.114.47',1138384980,1,0,1,1,1,1,'Johndav','Re: Short Takes: France','The library of reviews you guys are compiling is becoming a vertable treasure. Hats off to you. I\'ve been wondering if i\'ve been missing anything in recent French cinema of a standard to compare with past glories, or if it\'s a genuine (though surely not irreversible) decline- no Noe allusion intended. Certainly next to several Asian countries, France does seem to have slipped down the pecking order. Anyway, i will look out for L\'Equipier especially. I enjoyed A Very Long Engagement before moving here to Brittany. The Bretons are obviously very proud of the chain of lighthouses and of course the coastline + beaches are magnificent. Dequenne a beauty? She\'s perhaps too firmly entrenched in my mind as the indomitable Rosetta.','d180370da00273a47cc61985d7e3d4ef',0,'','VCWQtvZn',1,0,'',0,0,0),(8790,1609,3,1,0,'69.120.114.47',1138420860,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','It\'s hard to say if the overall standard has remained the same. Most of what plays in French theatres nowadays is similar to the fare elsewhere: crowd-pleasing comedies and thrillers -- times have certainly changed. But I don\'t have a problem with the likes of Assayas, Denis, Chereau, Garrel, Doillon, etc. eventually taking over. But are there enough people now who appreciate that sort of cinema. The debate continues in the pages of Cahiers and the likes. In the meantime, the old masters have continued to make great films like Notre Musique, Historie de Marie et Julien, Triple Agent, etc.','f2c029908cdf1b9923ad4fbb12559eab',0,'','1TQjRCZf',1,0,'',0,0,0),(8791,1609,3,1,0,'69.120.114.47',1143283800,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','WILD SIDE (2004)\r\n\r\nWhile discussing his provocative new feature, Wild Side, French filmmaker Sbastien Lifshitz (Come Undone [2000]) recently stated that \"Im drawn to impenetrable characters that operate outside the usual norms. I truly love fringe dwellers and people who dont fit with fictions archetypes.\" His latest features three characters -- Stphanie (Stphanie Michelini), a transsexual prostitute; Jamel (Yasmine Belmadi), a bisexual Arab hustler; and Mikhail (Edouard Nikitine), Stephanies lover who happens to be an illegal Russian immigrant -- that certainly do fit the bill.\r\n\r\nStphanie is seen living the hard life in Paris early on with her two \"men.\" But the situation changes when she is called by her dying mother to come attend to her. As Stphanie makes her way towards her rural childhood home, old memories involving her deceased father and sister come flooding in. At this point, Lifshitz, working with the great cinematographer Agns Godard, who is most famous for her work with Claire Denis, starts to contrast the dingy realism of his early sequences with poetic, picturesque shots of the French countryside featuring a rollicking young Stphanie (who was once Pierre). While this allows the directors artistic sensibilities to thrive, the connection between Stphanie\'s past and present remains oblique at best. Ultimately, both Jamel and Mikhail, who were practically lost without their woman, make their way to her for support. Those two also remain \"impenetrable\" for the most part -- the way Lifshitz perhaps wanted them to be as they are often seen brooding silently to Jocelyn Pooks vocative score (a whiff of Patrice Chreau is hard to miss). What Wild Side establishes quite well, however, are the dynamics of the relationship between the trio. It is also a rare film that refuses to make its characters sexuality the main focus. Thats not to say that the film shies away from it (a slow pan of Stephanies body is bound to make Catherine Breillat envious), but rather the confrontations are presented in a very practical manner. Liftsitzs characters may not need others but they do need one another, and thats the only way they will survive. Wild Side is a film made by and for adults.\r\n\r\n________________________\r\n\r\n*The film is now available on DVD in the U.S.','e50bea9fe6d3ba6394afb9e20e579d7e',0,'','NE0fy2o5',1,0,'',0,0,0),(8792,1609,3,1,0,'69.120.114.47',1143948960,1,0,1,1,1,1,'A','Re: Short Takes: France','Just saw Raja (Doillion) in the cinema, and wanted to write a few lines. Then I stumbled over arsaib\'s review and reread it. It is really great, and captures basically everything I would have liked to say. The same as I wanted to say to the director (who kept on talking to much ) I\'ll say to you: Thanks arsaib, for sharing your thoughts with us.','2896849cb93b93f5734629548872ef4c',0,'','SPu473Mn',1,0,'',0,0,0),(8793,1609,3,1,0,'69.120.114.47',1143953040,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','Oh, you\'re too kind, A. I encourage you to add more on the film and what the director had to say when you get a chance.','328860cbe513674ba22855f0897d5348',0,'','1NSLbJXj',1,0,'',0,0,0),(8794,1609,3,1,0,'69.120.114.47',1144566960,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','Here\'s an older review of mine.\r\n\r\nPETITS FRERES (1999)\r\n\r\nJacques Doillon is considered as one of the most important post-New Wave filmmakers in France, but his name barely registers with even the more ardent of cinephiles in the U.S. However, it wouldnt be fair to blame them because less than 10% of his output, that includes more than 30 features along with many documentaries and shorts, has made it to our shores. And its quite difficult to come up with a substantial reason why that is. It could be said that big names that are required to sell a film abroad are missing from most of Doillon\'s oeuvre. Also, unlike a filmmakers such as Benot Jacquot, he usually doesn\'t make \"pretty films,\" even though both filmmakers prefer emotional and psychological complexity in their narratives, while often focusing on youth and sexuality. So, with that in mind, Doillon could be compared to Philippe Garrel, an expert in showcasing the most ordinary and mundane aspects of life in an ordinary and mundane manner, but stylistically hes closer to filmmakers like Andr Tchin and John Cassavetes, the latter being someone hes said to have been influenced by.\r\n\r\nDoillon, 61, has been a subject of various cinema studies in Europe. Marin Karmitzs MK2 has devoted high-end DVD box-sets (unsubtitled) to his work with kind words from admirers ranging from the aforementioned Garrel to the likes of Olivier Assayas and Frdric Mitterand. While Doillons best early-to-mid period films like Les Doigts dans la tte (1974), La Femme qui pleure and La Drlesse (1979), La Vie de famille (1985), Le Petit criminel (1990), Le Jeune werther (1993) etc. arent available in the U.S. in any format, his very popular and thus most recognizable feature, Ponette (1996), is, along with Petits Frres (1999) and his most recent effort, the brilliant cross-cultural romance Raja (2003). After reviewing his latest for Film Comment, Phillip Lopate called for a full-scale retrospective of Doillons work -- something which shouldnt have to be said.\r\n\r\nReleased in 2001 in the U.S., Petits Frres (\"Little Fellas\"), joins an array of recent French films that are set in the \"banlieus\" (the projects). However, what distinguishes this effort from most others is its representation which lacks a subjective point-of-view -- a notion bound to divide audiences, and it has, but Doillon has never been one to follow conventional wisdom. Our protagonist in this docu-drama is a 13-year-old Talia (Stphanie Touly), a tough young girl who runs away from her apartment after her stepfather shows up again. Talia suspects that he has molested one of her friends so she is scared for herself and a younger sibling. On her way to getting a gun from a neighborhood dealer, she ends up confronting but ultimately befriending some \"little fellas,\" usually seen engaging in petty crimes while waiting for their chance to move up. Talia (and perhaps the film) loses track when her dog is stolen, so her quest now also involves bringing back her beloved pet. Shot in a realistic manner with most of the actors being locals of the neighborhood, Petits Frres offers a raw view of the world without setting any parameters around it. The activities of the kids arent judged in any manner, nor are they presented as more or less intelligent than they actually are. Doillon has always been good with young actors (Ponette is prime example) so his talent acquits itself extremely well in this situation. Much like its petite criminals, the film drifts aimlessly at times, quite possibly by design to showcase their lives. Only the ritualized ending seems a little forced in this otherwise naturalistic film.\r\n\r\n_______________________\r\n\r\n*The film is available on DVD in the U.S.','284907f06369191f2a6cd1e8156d7bcb',0,'','oB8ivmCr',1,0,'',0,0,0),(8795,1609,3,1,0,'69.120.114.47',1144708860,1,0,1,1,1,1,'A','Re: Short Takes: France','Last year \"Cahiers du Cinema\" gave out an issue with a focus on Doillon. i didn\'t know any of his films then, and my franch isn\'t really worth much, but I\'ll try to dig it out. The retrospective showing here, has 15 of his films. I would most like to see \"La femme qui pleure\" which is missing. Ah, one cannot have everything','d6a45c7de3afcb32b31c14b54617e802',0,'','2gCQvt0i',1,0,'',0,0,0),(8796,1609,3,1,0,'69.120.114.47',1144713180,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','Yes, it was encouraging to see the Cahiers\' piece. And do consider yourself very lucky to be able to watch a good number of his films on the big screen. I\'ve been following your notes very closely.','9f8a49bfd6340a635473bb453f37001a',0,'','KfeqXoY9',1,0,'',0,0,0),(8797,1609,3,1,0,'69.120.114.47',1145368800,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','THE LAST MITTERRAND (France / 2005)\r\n\r\nThe Last Mitterrand (Le Promeneur du Champ de Mars) is a beautifully realized and deeply affectionate portrait of the late French socialist president, Franois Mitterrand. Mitterrand, a political giant in his heydays, came into power in 1981 and held the position until 1995, becoming the longest-serving French president. But director Robert Gudiguian hasnt concocted a biography; instead, he has chosen to portray his subject\'s final few months based on Georges-Marc Benamous book, \"Le Dernier Mitterrand.\" Benamou, who worked with the statesman while he battled prostate cancer near the end, is one of the characters, though named Antoine Moreau for the film. A young, left-wing journalist whos going through a tumultuous phase in his personal life, Moreau (Jalil Lespert) is assigned the task to write the presidents autobiography. He finds the leader (played by Michel Bouquet) as a physically frail, yet intellectually headstrong human being who prefers not to disambiguate certain episodes of his personal and political life. (Mitterrand was allegedly a high-ranking official in the fascist Vichy government, responsible for sending French Jews to concentration camps.) However, Gudiguian isnt interested in a cross-examination; he wants to explore how the politics ultimately shaped the man. And that concept is also applied to Moreau, albeit in a much more leisurely manner. The Last Mitterrand is arguably the most ambitious film so far from the Marseille-born filmmaker, known for small, socially relevant dramas like Marius and Jeannette (1997) and The Town is Quiet (2000). Its also his most technically accomplished work. But the depth it eventually achieves is largely due to the intelligent, lived-in performance of Mr. Bouquet, who rightfully won the 2005 Csar (French \"Academy Award\") for Best Actor.\r\n\r\n_____________________\r\n\r\n*THE LAST MITTERRAND premiered at the 2005 Berlin Film Festival (in-competition). It is now available on DVD in the U.K. No U.S. distributor at this point.','1adb48a3e15a8b4faf7bf2d058fd5b9b',0,'','jfBH2RqZ',1,0,'',0,0,0),(8798,1609,3,1,0,'69.120.114.47',1145368860,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','APRES VOUS (France / 2003)\r\n\r\nThe fact that Aprs Vous (\"After You\"), a slight yet sweet-natured French rom-com, has done quite well at the U.S. box-office -- about $1m, the benchmark for most foreign films -- shouldnt be surprising because European releases featuring pleasant, sitcom-ish characters/situations tend to \"click\" with the audiences here, and Im sure everywhere else too, for that matter. Ideally, of course, one would prefer more challenging fare to succeed, but on the other hand, it would also be a bit futile to damn a film for its fame, especially one like this which is aware of its limitations, and thus doesnt attempt to insult anyones intelligence. In Aprs Vous, French star Daniel Auteuil plays Antoine, a selfless maitre d\' at an upscale Parisian brasserie. One night after work, while scampering to meet his girlfriend (Marilyne Canto) for dinner, he ends up saving a man from committing suicide in a local park. Antoines monotonous life takes a dramatic turn with this act. First, much to the chagrin of his girlfriend, Antoine more or less ends up adopting Louis (Jos Garcia), the physical and emotional wreck he saved. And then after discovering Louis love (Sandrine Kiberlain), the cause of his problems, he ends up falling for her himself. Director Pierre Salvadori approaches this trivial premise as realistically as possible, a mistake because the film couldve benefited from some inspired silliness. Thats not to say that it doesnt have its share of droll moments. It certainly does, but with heavily reliance on narrative contrivances. What makes Aprs Vous agreeable, however, is the work of its cast. The ubiquitous Auteuil (about 20 films in the last 5 years -- perhaps following Depardieus footsteps) is in form after duds like Petites Coupures (2003) and Rencontre avec le dragon (2003). Garcia and Kiberlain are also quite effective.\r\n\r\n____________________\r\n\r\n*The film is available on DVD in the U.S.','cca1c2b00c6e69540d805043f084de68',0,'','YnK9NSjo',1,0,'',0,0,0),(8799,1609,3,1,0,'69.120.114.47',1146215040,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','SHE\'S ONE OF US (France / 2003)\r\n\r\n\r\n\r\nSiegrid Alnoys striking debut feature, Shes One of Us (Elle est des ntres), is one of the great character studies French cinema has produced in recent years; at the same time, the film also functions as an assault on the prosaic rituals of a modern workplace. Deftly employing her highly evocative visual sense which brings to mind the works of such disparate filmmakers as Antonioni and Dumont (the latter served as an inspiration), Alnoy succinctly depicts the enigmatic world of her protagonist, Christine Blanc (a brilliant Sasha Andrs), a lanky and awkward -- not to mention socially inept -- thirty-something office temp whos struggling to find her niche. While Christines attempts to befriend her bosses often result in misunderstandings, she ends up developing a rapport with her temp agency supervisor (Catherine Mouchet). But that eventually requires her to expose herself, something she has never accomplished (quite possibly because she is incapable of doing so), which leads to an act that becomes revelationary for her. \r\n\r\nIf the film wasnt absorbing enough thus far, Alnoy deepens it with keen behavioral and psychological insights, making her protagonist at once intimate and distant. Christine, whose newfound vitality leads her to a new job and a boyfriend, now examines the world from a different viewpoint, yet her internal impulses persist. Shot in the Rhne-Alpes region in eastern France, which according to the director provided the perfect environment for Christines state of mind, Shes One of Us aptly features chilly, sterile visuals complemented by a sound design which makes good use of Mozarts \"Requiem\" amid sudden, devastating drops. Alnoys nearly-metaphysical renderings in the third-act might be a bit troublesome -- perhaps the reason why the film hasnt been granted the status of similar workplace anxiety dramas like Read My Lips (2001) and Time Out (2001) -- but her singular portrait is consistently compelling. And based on this film, its safe to say that she is more than capable of making a masterpiece in her next outing.\r\n\r\n______________________\r\n\r\n*SHE\'S ONE OF US premiered at the 2003 Cannes Film Festival (Critics\' Week). The film was distributed in the U.S. during 2005. Now available on DVD.','e01c0acfc5e51dffc53d267087be1417',0,'','eDjJ38hR',1,0,'',0,0,0),(8800,1609,3,1,0,'69.120.114.47',1146961560,1,0,1,1,1,1,'A','Re: Short Takes: France','Sounds intriguing. I\'d already read a bit about it, but it didn\'t sound as interesting as you make it seem through your review. As my knowledge of recent french films is very limited 8apart from Ozon ), I hope this debut will also reach the german shores. They seem to be showing more french films in theaters again in the last years, after a decline in the mid-90s.','13fafe1ad7ca0705d0d975da30aebed5',0,'','y4VeKp6H',1,0,'',0,0,0),(8801,1609,3,1,0,'69.120.114.47',1146964440,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','I\'d be interested in your opinion if you get an opportunity to watch it. It is certainly quite a unique effort.','feb023077ce2ab2001a24450ee90ac0d',0,'','KoyE8LSc',1,0,'',0,0,0),(8802,1609,3,1,0,'69.120.114.47',1147166640,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','EXILES (France / 2004)\r\n__________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nAfter exploring his gypsy roots in films such as Latcho Drom (1993) and The Crazy Stranger (1997), French filmmaker Tony Gatlif delves into his Algerian past with Exiles (Exils), a film for which he won the Best Director award at the 2004 Cannes Film Festival. Gatlif, who was born in Algeria from a Roma mother and an Algerian father, favors an energetic, dynamic approach to his filmmaking, and that along with his musical prowess have produced a few visual and aural feasts in the past. Featuring many similar tendencies, Exiles stars Roman Duris as Zano, a young bohemian musician from a pied-noir family, who impulsively decides to take a trip to Algeria in order to locate his roots. Accompanying him on the journey is Naima (Lubna Azabal), his similarly unsettled girlfriend of N. African descent. As the couple travel through France, Andalucia, and Morocco on their way, they begin to discover themselves and each other, not to mention the way they are perceived by others. Naima, especially, is surprised by the interest her Muslim name often generates, though she chooses to remain oblivious of its nature. While Gatlifs attempts to connect and deepen the characters within the cultural/historical perspective produce mixed results, hes able to expose their lack of foundation, a fear that internally originates once they reach their destination. An instinctual filmmaker with Kusturician sensibilities, Gatlif has staged a few bravura musical sequences in the past, but none as exceptional nor important as the single 10-mintue shot near the end of the film, which goes a long way to prove that music truly is the food for the soul.\r\n\r\nGrade: B+\r\n______________________\r\n\r\n*EXILES premiered in-competition at Cannes \'04. Now available on DVD in the U.S.\r\n\r\n*Tony Gatlif\'s latest feature, Transylvania, has been selected as the closing night film at the upcoming Cannes festival.','48f9d187cb5575892484a5f2ad05e76a',0,'','GziSqYsl',1,0,'',0,0,0),(8803,1609,3,1,0,'69.120.114.47',1147187340,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Great info as always arsaib4 but could you please list the dvd distributor as well, after all quite a few of the films you review are not available in the UK.\r\n\r\nCheers Trev.','520d9cde470c09b15e20997a10447241',0,'','aDJCNdSj',1,0,'',0,0,0),(8804,1609,3,1,0,'69.120.114.47',1147208160,1,0,1,1,1,1,'A','Re: Short Takes: France','Another one I missed in the cinema, and another one I\'ll probably scold myself for not having seen on the big screen at the end of the year.\r\nKeep the reviews coming, arsaib.','640b1528dd8c1ae076234fd3b3f08dc2',0,'','wPLo1GVm',1,0,'',0,0,0),(8805,1609,3,1,0,'69.120.114.47',1147220700,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','Exiles was released on DVD by Homevision Entertainment. The company was dissolved recently after Image Ent. became Criterion\'s parent company. Disappointing because Homevision produced high-quality products; the DVD of Exiles is no exception.','f27a479465bd72a8466453b6d4d83246',0,'','bYLrp4GK',1,0,'',0,0,0),(8806,1609,3,1,0,'69.120.114.47',1148541720,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','LA PETITE LILI (France / 2003)\r\n\r\nClaude Millers La Petite Lili is the latest and rather loose adaptation of Anton Chekhovs famous play \"The Seagull.\" Chekhovs play dealt with the trials and tribulations faced by 19th century theatrical artists. Miller has set his work in the current day milieu he knows best: film world. While hes been able to carry over most of that four-act play, including many of the themes the great Russian playwright touched upon, he hasnt brought the nuances, not to mention the subtle complexity for which the characters were known for. \r\n\r\nThe stylishly-shot opening scene certainly raises a few flags, as its more Zalman King than Chekhov: a nubile beauty/aspiring actress (Ludivine Sagnier) takes off her red summer dress to @#%$ her boyfriend/edgy young filmmaker (Robinson Stvenin). Then we\'re taken to a French countryside, more specifically to the estate of a successful middle-aged actress (Nicole Garcia). Her lover (Bernard Giraudeau), an established filmmaker, is also there, along with her philosophizing older brother (Jean-Pierre Marielle). There are a few supporting characters present as well (whom Millers intertextual screenplay incorporates), and they include a doctor (Yves Jacques) who is having an affair with a local handymans wife (Anne Le Ny), whose daughter (Julie Depardieu) is also secretly in love. \r\n\r\nSo, this supposedly sets us up for some intriguing sexual and emotional politics, along with the differing ideologies of the filmmakers, but Millers screenplay is overdetermined and thus not particularly compelling. One thing which hes certainly done well here -- and who wouldnt have -- is to properly capture the beautiful vacation spot, Iles aux Moines, in all of its glory with his lightweight DV. When we leave the countryside and end up in Paris, this is where Miller tries to bring in elements of Day for Night (1973), which belongs to his mentor, Franois Truffaut. Unfortunately, he is not very ambitious in this case either, so a morose and lonely actress and a few on-set trials is as far as he goes. \r\n\r\nLa Petite Lili is exactly the kind of film Miller surprisingly criticized through one of his characters early on: its pretentious and is more or less made with an eye toward the bottom line. Only the old geezers, Marielle and the great Michel Piccoli, who plays the former in the film within the film, seem to be having any fun. Perhaps they recognize that this is mostly hogwash.\r\n\r\n____________________\r\n\r\n*Available on DVD in the U.S. (First Run Features).','9312019bbaf3c696f37e7ea6fbce57b6',0,'','1e6iUV4C',1,0,'',0,0,0),(8807,1609,3,1,0,'69.120.114.47',1148681100,1,0,1,1,1,1,'A','Re: Short Takes: France','Hmm, hope to see this in the future. The first two films I saw by Claude Miller, were complex and sensitive character-studies, the over-the-top Mortelle randonne (1983) and La classe de neige (199 . \r\nBut the third one which also seems to aspire to this L\'accompagnatrice is a rather flat and pretentious piece, quite a disappointment for me, though it\'s still on the positive side, and quite watchable because of a great Romane Bohringer. The problems seemed to me to come only through a heavy-handed, ponderous formal presentation, that took itself very serious, unlike the more lyrical and subdued La classe de neige\r\nWhich films of Miller have you seen arsaib, and what was your overall impression?','6e1724f7fee4f887e15b397da77edc9e',0,'','tkgNxjJv',1,0,'',0,0,0),(8808,1609,3,1,0,'69.120.114.47',1148726040,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','I believe that I\'ve only seen a couple of films from Claude Miller: La Petite Lili and Alias Betty. The latter, a domestic thriller, was a much superior effort. I\'ll try to catch Mortelle randonne.','b71d8ef89ade1b94998619037ae02289',0,'','l318vC6B',1,0,'',0,0,0),(8809,1609,3,1,0,'69.120.114.47',1148726160,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','10TH DISTRICT COURT (France / 2004)\r\n___________________\r\n*A 2006 U.S. Release* \r\n\r\nFor his fascinating yet only intermittently engaging courtroom documentary, 10th District Court (10e chambre - Instants d\'audience), French filmmaker Raymond Depardon was able to get special permission to override a 1985 law which prohibits the filming of French civil trials. Under judge Michle Bernard-Requin, Depardon proceeded to document 169 cases in the Parisian 10th District Courthouse during the three months he was granted, ultimately selecting parts of 12 for the film. Since the French judicial system does not require a jury, its the presiding judge who renders the verdict after directly questioning the parties involved. (The prosecuting and defense counsel are present to elucidate legal concerns, and to ultimately read their versions of the sentence in order to convince the judge.) \r\n\r\nWith all due respect, a few of the cases depicted in 10th District Court are remarkably tepid and uninteresting: charges stemming from foul language, DUI, harassment cases are a constituent of civil courts all around the world. Perhaps not surprisingly, most of the \"intriguing\" cases involve minorities of North African and Middle Eastern descent. Needless to say, immigration matters are front and center. While Depardon should be credited for remaining as objective as possible throughout the proceedings (there are no voice-overs or title cards), by cutting between his two 16mm cameras installed in the courtroom, hes able to get certain reaction shots while at times even zooming in on the defendants. \r\n\r\n\"I think I may have more issues with the judge than with the defendants,\" Depardon recently stated, which he has the right to. But since judge Bernard-Requin cant be summoned to explain her verdicts, the documentary might leave a false impression of her efficiency and reasoning of the law. Depardon would\'ve been better off digging deeper into the laws themselves, instead of merely collaging why and how theyre applied.\r\n\r\nGrade: C+\r\n_____________________\r\n\r\n*10TH DISTRICT COURT premiered at the 2004 Cannes Film Festival. Now available in the U.S. on DVD (Koch Lorber Films).','e2676081b5890a18ef10bd8cc0c11540',0,'','jwrQA57l',1,0,'',0,0,0),(8810,1609,3,1,0,'69.120.114.47',1149042240,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','LOOK AT ME (France / 2004)\r\n\r\nLook at Me is a disappointingly ordinary film from Agns Jaoui and Jean-Pierre Bacri, the makers of The Taste of Others, a witty and charming comedy of manners which was released stateside in 2001. Look at Me isnt completely devoid of wit and allure, but those moments are too few and far between. The oft-repeated concepts of self-image and social expectations casually play out on our protagonist, a young over-weight woman named \"Lolita\" (Marilou Berry), who is the daughter of a rich and famous (and thus arrogant) novelist/publisher (Jean-Pierre Bacri). Lolita believes, and in many cases rightfully so, that people are only attracted to her because who her father is: her paranoia includes her two boyfriends, but not her choral teacher (Agns Jaoui), who in fact does behave differently towards her after discovering who she is for the sake of her glum husband/writer (Laurent Grvill). The obvious problem of Lolita is palpable early on (shes quite like her father), and the film repeats her predicament during various stretches for effect, While, in some cases, Look at Me plays against our expectations -- Lolitas statuesque stepmother adores her; it only flirts with being a merry-go-round of romances, etc. -- the characters still seem trapped by the innocuous screenplay. Bacri and Jaoui perform their parts admirably (which shouldnt be a surprise since they wrote them), but the rest of the cast members, including Marilou Berry, are only adequate at best. The performances by the choral group (and Mozart is also around), although repetitious, are a welcome addition, and some intriguing parallels start to develop near the end, but its too little too late. A film like Look at Me makes one truly appreciate a masterwork like Va Savoir (2001), in which Jacques Rivette so seamlessly blended in his world with ours.\r\n\r\n______________________\r\n\r\n*Available in the U.S. on DVD (Sony).','77d22b8f91b275ea4faab6d8ffc647ce',0,'','AhTNQkL8',1,0,'',0,0,0),(8811,1609,3,1,0,'69.120.114.47',1150824660,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Previously posted on the Renault Film Festival thread.\r\n\r\nHoly Lola (2004)\r\n\r\nDirected by Bertrand Tavernier\r\n\r\nStarring Jacques Gamblin (LEnfer), Isabelle Carr (He Loves Me. He Loves Me Not)\r\n\r\nAn emotional rollercoaster of the trials and tribulations of a French couples efforts to adopt an orphan baby in Cambodia.\r\n\r\nMonsoon season, a husband and wife arrive in Cambodia having completed reams of paperwork back home in order to be able to adopt a baby, they end up at a hotel full of similar couples some of whom have already been there several weeks waiting for their chance.\r\n\r\nFor two hours or so we follow them around visiting orphanages, small villages and facing a steady stream of bribery and corruption in their attempt to obtain the one thing they feel will make their lives complete.\r\n\r\nHeartache, joy, disappointment, frustration, the emotions soar and dive as an opportunity ends in an empty promise. Babies often stolen from their mothers are offered for a price, a phone call from an orphanage will end in bitterness because another (usually American) couple have used large amounts of cash to jump the queue and have taken the child.\r\n\r\nEven when they eventually manage to find a beautiful orphan baby girl already rejected by another couple, the endless paperwork and bribes needed to complete even the simplest of tasks leads to arguments and despair. Physically, emotionally and financially drained, you wonder will they ever be able to leave Cambodia with the child of their dreams? \r\n\r\nHandheld camerawork and totally naturalistic acting gives the film an almost documentary feel, the emotional highs and lows are so perfectly played that you could easily believe this is all for real. How real couples can handle this sort of situation, the faith, love and fortitude needed must be incredible.\r\n\r\nThis is no travelogue, you get the non tourist Cambodia including a visit to a large open garbage tip where hundreds of people from very young children to the very old eke out an existence scrabbling through other peoples waste. You also see the wards in the orphanages of the babies nobody wants, babies with Aids etc. \r\n\r\nA very good film but with a couple of minor flaws, you lose a sense of time, I honestly couldnt say how long the search for the baby took? This along with the follow up frustration of sorting out all the paperwork to be able to take the baby back to France, it could have been weeks or even months, I honestly havent got a clue. The constant dashing from here to there, from hotel to orphanage to village etc leaves you feeling lost and in a sense frustrated as to why, but that does in a sense draw you into the same emotional state as the couple as each trip they make ends in more and more frustration.\r\n\r\nAll in all, not your typical film but if it does pique your interest, it will grab you and drag you along on a literally dizzying ride. It is tough going but I felt it was more than worth it to for the amazing performances (especially the main couple) and to get a real sense of life in Cambodia.\r\n\r\nCheers Trev.','fd8e606a50b1e6468203dfe6e3f36fb5',0,'','aiT5hnkL',1,0,'',0,0,0),(8812,1609,3,1,0,'69.120.114.47',1150824780,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Previously posted on the Renault Film Festival thread.\r\n\r\nBad Spelling (2004) Les Fautes d\'orthographe\r\n\r\nDirected by Jean-Jacques Zilbermann\r\n\r\nStarring Carole Bouquet, Olivier Gourmet, Damien Jouillerot\r\n\r\nSet in a similar boarding school/institution to the one in The Chorus but very dissimilar in tone, this film is set in 1960s France with revolution stirring in the air.\r\n\r\nDamien Massu is a physically underdeveloped 14-year-old, mentally though he is way ahead of the other pupils especially in regard to scheming. His mother and father run the school which provides more than enough reason for the other kids to pick on him so Damien has learnt to rely and survive on his wits, providing favours but only in return for other favours.\r\n\r\nAs far as his education is concerned Damien has one problem, he cant spell, why? Its not explained but he circumnavigates the problem by getting his work rewritten by his classmates, a favour for a favour. Thanks to a couple of mishaps another boy, probably Damiens first true friend gets expelled. Despite pleading with his parents, they will not reinstate the boy so Damien takes matters into his own hands and after befriending a left wing student, he sets his plan for revolution in motion. What follows is a battle of wits between Damien and his parents as he brings the school to the brink of anarchy.\r\n\r\nWell made, good performances especially from the leads and all the details feel right for the 1960s. A simple story but with enough scheming and complexities for a Shakespearean tragedy. If I had a complaint it would be that a lot of the students looked older than they were supposed to be, other than that it\'s a solid drama and comes recommended.\r\n\r\nCheers Trev.','76729184c4e14ff2ddc7ee1b1e4c4a0d',0,'','lboJDzMS',1,0,'',0,0,0),(8813,1609,3,1,0,'69.120.114.47',1150824960,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Previously posted on the Renault Film Festival thread.\r\n\r\nCrustaces et Coqillages (2005) Cote d\'Azur aka Cockles and Mussels\r\n\r\nDirected by Olivier Ducastel & Jacques Martineau\r\n\r\nStarring Valeria Bruni Tedeschi (5x2), Gilbert Melki (Intimate Strangers)\r\n\r\nFrothy French farce with quite a 1960s feel to it, bright and breezy and ultimately pretty disposable. \r\n\r\nThe story revolves around a family on holiday on the Cote d\'Azur in a house inherited by the husband, each has secrets that will inevitably be revealed but of course being a light farce, everything ends on a happy note. Batrix and Marc are open-minded parents; they dont mind their daughter flitting off shortly after they arrive at their holiday home for a separate holiday with her boyfriend.\r\n\r\nShortly after, their son Charlys best friend Mathieu arrives and for some reason Batrix assumes they are gay lovers which of course being as open minded as she is doesnt worry her at all. Batrix has her own secret to keep, her lover has also arrived and strangely in a film with so many gay overtones he is by far the campest character and has a habit of suddenly appearing in various states of undress to carry on their affair.\r\n\r\nMarc used to reside on the Cote d\'Azur in his younger days and his past catches up with him in the form of a local plumber with whom he had something deeper than friendship. Mathieu who is openly gay does fancy Charly but knows hes straight, its also clear (at least in hindsight) that Mathieu knows that Marc is gay. Also very obvious is the fact that Mathieu has rekindled Marc\'s old urges, feelings that start to emerge well before he is reunited with his past.\r\n\r\nGradually everything comes to a head and everyones secrets are revealed leading to an all singing, all dancing finale with (of course) nobody hurt and everyone very happy. \r\n\r\nCheers Trev.','e9b04f5d7df0784d49146e27e9960883',0,'','pkUPCflK',1,0,'',0,0,0),(8814,1609,3,1,0,'69.120.114.47',1150853040,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','Thanks again, Trevor. As I remarked earlier, Holy Lola perhaps seems the most interesting, though it still remains without a U.S. distributor and I think the same is true for the U.K. (Btw, interesting choice of colors for the titles, especially for the last one. )','e3aecb59981ad67d62375224b5715e10',0,'','a8n4FC2Q',1,0,'',0,0,0),(8815,1609,3,1,0,'69.120.114.47',1150858200,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','I must admit, I thought the colour and font for the last one \"Crustaces et Coqillages\" was perfect in relaying something about the film before reading a single word. \r\n\r\nCheers Trev.','2a3104ccb5b81ae54441d8ddce051ae0',0,'','A6c9WHJy',1,0,'',0,0,0),(8816,1609,3,1,0,'69.120.114.47',1153529280,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Nelly & Monsieur Arnaud (1995) \r\n\r\nDirected by Claude Sautet (Un coeur en hiver)\r\n\r\nStarring Emmanuelle Bart (Strayed), Michel Serrault (Rien ne va plus) \r\n\r\nA character driven movie that is very similar to quite a few other French films, relationships and their ensuing problems within a bourgeoisie framework.\r\n\r\nSo since this is just one of a multitude why does it deserve attention (if indeed it does). Quite simply its down to the wonderful performances of the titular characters, especially Emmanuelle Beart as Nelly.\r\n\r\nNelly has had enough, she slaves away in a variety of part time jobs while her husband lazes around their apartment watching T.V. too idle to look for work and living a free and easy life, all this despite the growing debts the couple face. After meeting Pierre Arnaud though, the future looks decidedly brighter. He gives her a no strings loan, enough to clear the existing debts but also enough to make her decide to end her marriage and find a small apartment studio just for herself.\r\n\r\nM. Arnaud, a former judge and big time businessman is writing his memoirs, Nelly takes on the job of typing them up and helping to edit them ready for the publisher. The rest of the film covers the growing attachment between the pair and while this doesnt lead to any sort of romance; she definitely spurs him back into life. There are countless subsidiary characters and subplots but the films success hinges on the two central performances. Michel Serrault is excellent as a man who finally finds someone he can truly open up to and Emmanuelle Beart is utterly bewitching and captivating in her role where a simple expressive movement of her eyes can say more than a whole volume of words could.\r\n\r\nNot essential viewing but a very well performed and polished character study.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG\r\n\r\nR2 dvd available from Path, R1 dvd available from New Yorker Films.','d92041cb0810e4c20014b9b622849ffe',0,'','2R1Q5GBh',1,0,'',0,0,0),(8817,1609,3,1,0,'69.120.114.47',1153615320,1,0,1,1,1,1,'A','Re: Short Takes: France','Thanks for your review Trevor.\r\nThe film sounds very intriguing to my ears, and I\'ll try to watch it in the future. The descriptions I\'ve read before hadn\'t spurred my interest in seeking it out.','472a38975bd84feebdeb4f1369eed851',0,'','v7MN4XoE',1,0,'',0,0,0),(8818,1609,3,1,0,'69.120.114.47',1156425600,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Alias Betty aka Betty Fisher and Other Stories (2001/ France) - Betty Fisher et autres histoires \r\n\r\nDirected by Claude Miller (Class Trip)\r\n\r\nStarring Sandrine Kiberlain, Nicole Garcia\r\n\r\nAdaptations of Ruth Rendell stories are numerous and tend to appeal to French directors in particular. This one stands up well in comparison to most of the others though I do think Chabrol is better at selecting a cast that make a film more memorable.\r\n\r\nFilmed in what could be described as a bookish style, the principal characters are seen generally but then expanded upon with their own chapters, a nice touch though not outstandingly original. \r\n\r\nThe story revolves around a writer who has recently returned to France from New York, the visit of her (not quite with it) mother and the untimely accidental death of her son. Betty\'s mother decides she can remedy the problem by heading into the projects (areas such as those that suffered from the recent riots) and stealing a child. She tells Betty that the boy belongs to family friends and that she\'s taking care of him while the parents go on holiday.\r\n\r\nUnsurprisingly the abduction becomes big news and the story brings topics like racism and prejudice to the fore. Betty herself wants nothing to do with the boy at first but gradually becomes attached especially after seeing the bruising that has been inflicted on him. Each of the other principal characters has their own take on the truth and it is quite surprising how easily little things can be misconstrued leading to the wrong conclusions.\r\n\r\nThe viewer is almost glad that the child is eventually accepted by Betty in the end especially when you witness the type of lifestyle he would have lead. Dangerous ground in a way making such a heinous crime appear acceptable even beneficial. But this is just a story and in the end it\'s a story (or several stories) about people.\r\n\r\nThe film successfully juggles the players and their stories leading up to a finale where each part is played out. There is a little predictability about some of the situations, for instance, you feel you know what\'s going to happen when a petty crook is holding onto a case full of money in an airport but there are also situations where predictability is turned on its head, which certainly adds to the overall story. \r\n\r\nWorth seeing, a successful adaptation of a Ruth Rendell story that stands up well in comparison to those of Chabrol, Almodvar etc.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15\r\n\r\nR2 dvd available from Optimum Releasing, decent enough transfer but an unfortunate lack of extras.','931f3bc9f92c03f14b9c8c1434a65c57',0,'','QHyp1L3i',1,0,'',0,0,0),(8819,1609,3,1,0,'69.120.114.47',1156467900,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','Betty Fisher and Other Stories was released as Alias Betty in the U.S. back in 2002. A wonderful film indeed, featuring strong performances from both Kiberlain and Garcia','1e98d7ad6404e7bc78c682b3325d5f5c',0,'','bxnpZsiq',1,0,'',0,0,0),(8820,1609,3,1,0,'69.120.114.47',1156472160,1,0,1,1,1,1,'A','Re: Short Takes: France','Sale comme un ange Dirty like an Angel \r\n(Catherine Breillat / France / 1989)\r\n\r\n\r\nLike the other films by Breillat I\'ve seen (36 fillette (1988 ) , ma soeur! (2001)), the films theme finally centers on a womans sexuality and her \"process of emancipation\" (if I may call it so). But besides the expected, the remarkable in this film is also Breillat\'s attempt at showing the everyday reality of a policeman through a rather careful depiction of his work in the first half of the film, and though I think she doesn\'t quite succeed in everything she wants to express with it (that means, there are films that do it better), the attempt at \"realism\" itself, regarding my expectations of her filmmaking, is worth some praise. The \"second half\" of the film is the territory we\'re used from her. \r\n\r\nThe plot isn\'t the important thing here, but let\'s mention that the policeman in question is played by an aged Claude Brasseur who falls for the young wife of his young colleague. During an investigation of the murder of a friend, Brasseur is able to get his colleague occupied for some days and starts a love affair with his wife. The ending is both cliched and honest, and the viewers reaction to it probably depends on the interpretation of the central relationship, which is presented in a richly textured discourse about - amongst others - gender, power, appearance, lust, dependence, truth, and the difference of individual experience(s). Above the whole lingers the questioning of an honest expression of love and our perception of it. The last shot is the obligatory freeze frame - very beautiful.\r\nGreat acting by Claude Brasseur and Lio (as the wife) in an interesting and rewarding film. Probably one of the films that get better with a second viewing.\r\n\r\n_________________________________________________________________\r\n\r\nI saw the film on TV and am not aware of any DVD release.\r\nPersonal rating after the film: 65 out of 100','4f458be26613252d04403b8ba3bba51f',0,'','FoU21vLn',1,0,'',0,0,0),(8821,1609,3,1,0,'69.120.114.47',1156504560,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Thanks arsaib4, I\'ve altered the heading to include Alias Betty though I much prefer the UK title.\r\n\r\nI\'ll have to revisit Class Trip sometime as well since it\'s the only other Miller film I have.\r\n\r\nCheers Trev.','5a9c49e3a01e9d27d1a60bd43c191a88',0,'','2Ng5MQFC',1,0,'',0,0,0),(8822,1609,3,1,0,'69.120.114.47',1162172460,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Due to a shortage of time I thought I\'d add some notes for films that only require a short comment, this is the first of a few French quickies.\r\n\r\nPourquoi pas moi? (1999) \r\n\r\nDirected by Stphane Giusti\r\n\r\nStarring Amira Casar, Julie Gayet, Johnny Hallyday\r\n\r\nA light flighty French farce concering sexual mores. \r\n\r\nSet in Barcelona a group of French gay friends, three girls and a guy decide to invite all their parents for a meal so they can jointly out themselves. What they cannot know is the can of worms they will be opening once they have told them.\r\n\r\nAlong with the genuinely gay characters, one of their work compatriots turns up with her parents and tells them she is a lesbian for a cheap shock laugh, surprisingly (to her) they accept the fact wholeheartedly. Unfortunately her joke backfires when her mother admits to having had a lesbian relationship when she was younger. Her partner in that relationship happens to be the mother of one of the other characters (farce thrives on this type of coincidence), a fact that doesnt exactly please her husband who was quite happy accepting that his straight daughter might be gay, but his wife!\r\n\r\nThe reaction of each of the parents varies to the news and provides for some lightweight confrontations between them as well as causing a little aggrevation between the gay friends. But by the next day feelings and thoughts are clarified and most if not all the parents have reached some form of acceptance, the film rounds off with a fantasy type sequence with the parents, friends and lovers all united and happy.\r\n\r\nThe young cast are all attractive and the film rolls along very nicely, Pourquoi pas moi? wont challenge attitudes or offend anyone but it is a nice, entertaining and amusing farce with a fine cast and a fairly decent soundtrack.\r\n\r\nNot essential cinema but it will almost certainly leave you smiling.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15','1d4a9672c594afb028c54deb0cb3ec7c',0,'','klmvQhiV',1,0,'',0,0,0),(8823,1609,3,1,0,'69.120.114.47',1162215480,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Another French quickie.\r\n\r\nMa femme est une actrice (2001) \r\n\r\nDirected by Yvan Attal\r\n\r\nStarring Charlotte Gainsbourg, Yvan Attal, Terence Stamp\r\n\r\nA relationship drama with a humorously dark edge set in and around the film industry. \r\n\r\nCharlotte is a popular French actress, her husband Yvan is a sportswriter and enjoys some of the fringe benefits of his wifes fame. Unfortunately he is also jealous of his wife, the constant bombardment of fans asking for her autograph plus the fact that she can book restaurant tables immediately whereas if he rings, hes told there wont be one available for hours really start to niggle him.\r\n\r\nThe opinions of other men concerning Charlottes on screen nudity push all the wrong buttons with Yvan. That and the fact that shell be filming in London with an actor who turns womens legs to jelly (Terence Stamp?) cause Yvan to jump to all the wrong conclusions.\r\n\r\nA secondary story runs throughout the film concerning Yvans sister, her husband and the child shes carrying. Shes Jewish but he isnt, they are having a little disagreement on certain things that will affect the baby if it is a boy.\r\n\r\nNeedless to say, this is a comedy and everything ends on a happy note but you have to wonder, Yvan Attal wrote, directed and took the lead role, his partner was/is Charlotte Gainsbourg in real life as well as on screen. How much of this story has a basis in reality (at least in terms of his thoughts and feelings), when it comes down to it, probably quite a lot. \r\n\r\nNothing earthshaking or groundbreaking but a humorous look into the world of film and fame and its effects on relationships.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15\r\n\r\nR2 dvd released by Pathe, extras include deleted scenes and behind the scenes.','3b42b6e83b8680aa31d47a4e6faac33b',0,'','kB93vfjZ',1,0,'',0,0,0),(8824,1609,3,1,0,'69.120.114.47',1163179440,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Le Dner de Cons (1998) The Dinner Game\r\n\r\nDirected by Francis Veber\r\n\r\nStarring Jacques Villeret, Thierry Lhermitte\r\n\r\nAdapted from a stage play, Le Dner de Cons is an extremely witty farce centered in a Paris apartment. \r\n\r\nEvery so often a group of elitist snobby intellectuals hold a dinner party where they have to bring a guest. Unbeknown to their guests, each has been selected to be judged for their boorishness and idiocy. \r\n\r\nPierre Brochant (Thierry Lhermitte) a book publisher believes he has a winner in Franois Pignon (Jacques Villeret) who makes models of famous landmarks from matchsticks and talks endlessly about them. Pierres plans go awry though when he strains his back on the day of the dinner and is trapped in his apartment with nobody but his idiot for company.\r\n\r\nWhat follows is a wonderfully performed, timed to perfection comedy of errors, mistaken identities, and a great series of twists involving Pierres wife and an unfortunately eagle eyed tax inspector. \r\n\r\nThere is absolutely nothing to fault in this supreme slice of farce as you are left to judge in the end, just which of this pair is truly the biggest idiot.\r\n\r\nPerfect light entertainment with great central performances plus equally good secondary characters. Probably one of the finest farces youll ever see, tight and very well paced. In short, almost comedy perfection.\r\n\r\nCheers Trev.\r\n\r\nBBFC rating 15\r\n\r\nR2 dvd released by Pathe, good crisp transfer with unfortunately, a complete lack of extras.','3dd0079ff4e49d084f3b82181c5a818b',0,'','xm6EdtcC',1,0,'',0,0,0),(8825,1609,3,1,0,'69.120.114.47',1171108140,1,0,1,1,1,1,'arsaib4','Re: Short Takes: France','UP AND DOWN (France / 1992)\r\n\r\n\r\n\r\nWhile Luc Moullet may not be as great a filmmaker as many of his French New Wave counterparts, hes been unjustly ignored, both at home and abroad, until recently (a traveling retro and a DVD box set have gone a long way to open a few eyes). This well-regarded Cahiers critic has made more than 30 films thus far -- many of whom are emblematic of his \"passion\" for American genre films (he was particularly fond of Fuller), as they demythologize them in an absurdly comedic fashion (not surprisingly, Straub once called him \"undoubtedly the only heir to both Buuel and Tati\"). Even though Up and Down (Parpaillon) doesnt quite belong in that category, in its own way it does humorously \"deconstruct\": in this case the French affection for bicycling. Reportedly inspired by Dadaist playwright Alfred Jarry\'s The Passion Considered as an Uphill Bicycle Race, the film is shot near Col du Parpaillon, an intricate and challenging mountain pass in the southern French Alps, where a bicycle rally is held annually. Like a few other Moullet efforts, Up and Down takes a little getting used to, but once one becomes aware of the films rhythm and structure, many small, delightful capsules are to be had. We learn that this year the rally isnt organized properly: the old-timers constantly moan about the lack of refreshments along the way, and become even more incensed when smoke-emitting cars whizz by (a couple, it turns out, driven by cheaters who simply unleash their bikes from the trunk midway through the ordeal). In an almost clockwise fashion, the film visits a plethora of amateur riders one by one, as they get mired in all sorts of predicaments. The humor -- both slapstick and witty, not unlike some of the Tour de France-related gags in the wonderful animated film The Triplets of Belleville (2003) -- is well-supported by Moullets uncommonly mobile camerawork, which also beautifully captures the scenic locales of the Alps. And the filmmaker heightens the stakes (metaphorically speaking, that is) with the long, dark and troublesome Tunnel du Parpaillon, near which the journey culminates. \"For me,\" Moullet once wrote, \"there isn\'t intelligence and stupidity, but intelligence-stupidity.\" That quote makes a little more sense after viewing Up and Down.\r\n\r\n_______________________\r\n\r\n*UP AND DOWN is now available on DVD in the U.S. (Facets). It is featured alongside Brigitte and Brigitte (1966) on the same disc. Moullet\'s The Smugglers (1967) and A Girl Is a Gun (1971) are also out, while the wonderful Anatomy of a Relationship (1975) and Genesis of a Meal (1978) will be released in March.','d1a3ce860940659f005091f390a87706',0,'','o6vT8S4D',1,0,'',0,0,0),(8826,1609,3,1,0,'69.120.114.47',1183218000,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Une Liaison Pornographique (1999) \r\n\r\nDirected by Frdric Fonteyne\r\n\r\nStarring Nathalie Baye, Sergi Lpez\r\n\r\nShort but beautifully paced and composed story told in retrospect. A man and a woman are interviewed separately with regards to an all too brief relationship they shared. \r\n\r\nHaving met in a bar through personal ads to share a sexual fantasy, the couple, nameless to the viewer and to each other employ a cheap local hotel to satisfy their desires and arrange to meet a week later.\r\n\r\nThese liaisons continue week after week and should have been just to share their fantasy but they each realise that their feelings are starting to go beyond sexual gratification, but still they remain nameless individuals, knowing little if anything about each other.\r\n\r\nDespite lack of details they believe they can read each other, know what the other is thinking and this, in the end proves to be their weakness and downfall.\r\n\r\nIn contradiction to the title, the film is not in any sense pornographic. The woman coins the title using it to describe the original intention of their trysts, purely to gratify some sexual fantasy, nothing more. Most of their sojourns take place behind closed doors leaving the viewer firmly on the outside, its only when they decide somewhat bashfully to make love normally that we see them together and this is filmed very tastefully. \r\n\r\nThe acting is superb as you would expect from two performers of this calibre and I must admit, I cant remember Nathalie Baye looking more beautiful and sensuous than in this film.\r\n\r\nOne for connoisseurs of art-house films? Maybe, the set up and structure would make it appear so, but Id imagine this could hit the spot with a lot of people.\r\n\r\nA definite recommendation.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15.\r\n\r\nNo U.K. dvd release as yet.','9167b44bb0d3ce6fd2d6589ef14eabf2',0,'','EH7BGCfb',1,0,'',0,0,0),(8827,1609,3,1,0,'69.120.114.47',1184342820,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','Not Here to be Loved (Je Ne Suis Pas La Pour Etre Aim) (2005) \r\n\r\nDirected by Stphane Briz\r\n\r\nStarring Patrick Chesnais (Les Enfants du Sicle (1999), Anne Consigny (Lquipier 2004)\r\n\r\nA romantic comedy that thrives on what it lacks, comedy and romance, apart from these it also lacks much in the way of resolution and redemption. It is well played, slow paced, contemplative, unpretentious, familiar yet different and the easiest comparison would be with the Japanese film Shall We Dansu (not to be confused with the dire Hollywood remake). \r\n\r\nJean-Claude works as a bailiff, one of those jobs that everybody hates, he carries on the family business from his father and has just employed his own son. Life for Jean-Claude is a trudge, dreary and empty, he despises his work, has no female company, makes the effort to visit his belligerent father every week and appears to be unable to communicate with his own son.\r\n\r\nMost of his working days seem to be spent trudging up and down flights of stairs but after having breathing difficulties, his doctor advises him to take more exercise. Having often watched the tango lessons taking place opposite his office he decides to join, its here that he meets and gradually falls for Franoise, a younger woman who primarily remembers him as the son of her childminder. This chance meeting causes both to reassess their lives and relationships as they find themselves drawn closer to each other.\r\n\r\nThe film plays out in a very low key manner and for a French movie of this type is quite minimalist, though certainly not in comparison to the films of Aki Kaurismki or Tsai Ming-liang. Theres nothing truly memorable or outstanding about Not Here to be Loved but I found it far more enjoyable than another recent French rom-com, Orchestra Seats.\r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15 (for occasional profanities)\r\n\r\nR2 dvd will be released by Artificial Eye.','53d97f1166e59c3c7732886ab3fefdce',0,'','8oX6FUup',1,0,'',0,0,0),(8828,1609,3,1,0,'69.120.114.47',1184438460,1,0,1,1,1,1,'trevor826','Re: Short Takes: France','LHomme de Ma Vie (1992) \r\n\r\nDirected by Jean Charles Tacchella\r\n\r\nStarring Maria de Medeiros, Thierry Fortineau\r\n\r\nOddball romantic comedies are a dime a dozen, they peaked many years ago with films from directors such as Howard Hawks and a film would need to be extraordinarily good to compare with these classic blasts from the past.\r\n\r\nLHomme de Ma Vie is an attempt at this type of film, a pretty weak attempt at that, within ten minutes youll have the whole plot sussed so you may as well sit back and see if there is even the tiniest spark of originality within this tale.\r\n\r\nCute gold digger Aimee meets misanthropic book store owner Maurice, they connect but are both looking for something else, after trying a few different fits they end up guess where? Yep back with each other, now theres a surprise..: \r\n\r\nEven though the plot is hackneyed, maybe the humour or travails along the way will make this a film worth seeing. Not a hope, the humour is laboured, the journey absolutely uninspiring, in short there is very little reason to make any effort to see this at all.\r\n\r\nNow, even if the film was a cracker there is another huge negative that you cannot get away from, the soundtrack.. this is a 90s film but the music sounds as though it came from any of the shabby British comedies from the 60s and 70s, excruciatingly awful. Strangely though its not just the music that feels dated, almost everything about the film screams 1970s. \r\n\r\nSo is there anything even remotely watchable about LHomme de Ma Vie? Well, I must admit that seeing the gorgeous Maria de Medeiros, particularly in her red dress made sitting through this travesty just about bearable. Most will remember her for her small role in Pulp Fiction but Ill always remember her playing the French author of erotic tales, Anais Nin in Henry & June (1990), all I can add is, if it wasnt for her presence, I dont think Id have sat through more than 10 minutes of this effort.\r\n\r\nCheers Trev\r\n\r\nBBFC rated 12\r\n\r\nR2 dvd released by Bluebell Films.\r\n\r\nTo think, so many great films remain in limbo unlikely to ever be released on dvd while weak efforts like this are foisted on us, the consumers.','87256fd7d417805deb3f15ac52dd1b51',0,'','1h4beg8K',1,0,'',0,0,0),(8829,1610,3,1,0,'69.120.114.47',1188817740,1,0,1,1,1,1,'justindeimen','The Home Song Stories (2007) (Australia/Singapore)','Review: \r\n\r\nMuch has been said in the press recently about writer-directors Tony Ayres personal and tragic affinity to The Home Song Stories, a wrenching ode to the female spirit, searing life lessons, and the hankering for melodramatics mired in swaths of emotions that operate on a continuously brutal gauntlet of negative energy. It exists first and foremost for Ayres cathartic benefit, a manifestation of self-worth and an aggrandised reconfiguration of memories that might principally explore an upbringing plagued with trauma with an emotionally damaged matriarch at its centre but its most graceful success derives from its scopes of displacement and identity. \r\n\r\nA portentous romance between a chanteuse, Rose (Joan Chen) in Shanghai and an Australian sailor, Bill (Steve Vidler) brings them to Melbourne together with Roses daughter May (Irene Chen) and son Tom (Joel Lok). The relationship between the songbird and the bluejacket quickly disintegrate before the migrant family gets a chance to assimilate to their new home. Rose, played with a measure of instinctive zeal by Chen is armed with a green card and the sort of capricious exoticism that can claim men but never keep them, leading to an interchangeable but ultimate lack of a definitive older male presence in the lives of her children. \r\n\r\nIf the film comes across as remarkably non-judgmental of Roses irresponsibility, then its quietly missing a passionate response to the complexities of its showcase character an unreasonably detached reaction from a director quick to make his personal investment in the film a salient point, perhaps stemming from an overcompensation to view his subjects objectively. \r\n\r\nAs Ayres filmic counterpart, Tom bookends the film by reflecting on his upbringing, conveying a stablising and immutable gaze that renders the ensuing account of his tumultuous childhood weakened. His crafting of the vibrant 70s milieu, and the physical charting of the increasingly erratic Roses self-destructive tendencies show attention to details. But while he struggles to infiltrate a poetic significance into his stylistic choices, Chens performance transfigures ghostly elegance into inscrutable chords of sense memory for a different place and time.','276c85dee303b3dcb018bd04dd9bca4c',0,'','ELsSnX4R',1,0,'',0,0,0),(8830,1610,3,1,0,'69.120.114.47',1192696740,1,0,1,1,1,1,'hengcs','Re: The Home Song Stories (2007) (Australia/Singapore)','Submitted by Australia to Oscar\r\n\r\nThe official website\r\nclick\r\nwww.homesongstories.com/','e916b0d2799f47515a968b408873c592',0,'','0eA7BUMz',1,0,'',0,0,0),(8831,1610,3,1,0,'69.120.114.47',1195374120,1,0,1,1,1,1,'hengcs','Re: The Home Song Stories (2007) (Australia/Singapore)','The Home Song Stories shines at IF Awards\r\n\r\nwww.abc.net.au/news/stori...=australia','c44e434118233d6b395a2e67ff1909f9',0,'','Ekz6Jvrt',1,0,'',0,0,0),(8832,1611,3,1,0,'69.120.114.47',1195044420,1,0,1,1,1,1,'hengcs','December Boys (2007) (Australia)','\r\n\r\nDirector: Rod Hardy\r\nCast: Daniel Radcliffe, Lee Cormie, Christian Byers, James Fraser\r\n\r\nSynopsis:\r\nBased on the novel by the same title, it tells the coming of age story of 4 boys who were given a chance for vacation with a family during December, the month of their birthday ...\r\n\r\nMy thoughts:\r\n\r\nWhat I like ...\r\n\r\n-- The songs ... rather nostalgic of those earlier days ... esp. the last song near the end, and the two songs in the ending credits ...\r\n\r\n-- The last half an hour ... it becomes rather meaningful and touching ... for the earlier one and half hour, some of us may hope the pace pick up a bit ... but of course if you love the idyllic lifestyle with little plot, you may enjoy the film still ...\r\n\r\n-- The 4 kids ... WOW ... let me say this -- if only they were given a more powerful script (like Stand By Me), I think they will be very well known by now. IMHO, they can all act, but I guess the script is not engaging enough to draw us all in and find them memorable enough ...\r\n\r\n-- Nice cinematography ... by the sea ...\r\n\r\nWhat can be better\r\n\r\n-- The script and tightening of the pace ... IMHO, you do not need to have an idle pace to depict an idyllic life on screen ...\r\n\r\n\r\nConclusion:\r\nCan watch, esp. the last half an hour or so. To me, that was the saving grace for the entire film ... For the first one and half hour, it will only appeal to those who reminisce about their laid back life or their younger days of whiling time away ... but the last half an hour, it is interesting and it touches ...','9d53df9cec34d0d7075d45e1b1f5cf50',0,'','iUj36AK4',1,0,'',0,0,0),(8833,1611,3,1,0,'69.120.114.47',1195054080,1,0,1,1,1,1,'justindeimen','Re: December Boys (2007) (Australia)','I had the opposite reaction. I thought the entire back-end was ridiculously manipulative.\r\n\r\nReview: \r\n\r\nSexual awakenings and the yearning for a place to call home form the crux of this films peddling of maudlin adolescent nostalgia. If the December Boys had found itself being pruned of its prattle, maybe the coming-of-age blueprint set in the 1960s Australian seaside would have been efficient, perhaps even charming. As it were, the films frustrating penchant for overly wistful, precious storytelling encumbers its December-born orphans from being anything more than self-pitying and depressive. \r\n\r\nHarry Potter! As youve never seen him could have been the films de facto tagline, if it wasnt just so egregiously tacky. So aware of its marketing import, Daniel Radcliffes much-ado-about-nothing onscreen deflowering is self-consciously acted upon, a performance riding on perception, but in the process rendering its key scene unremarkable to the films few overriding semblances of a conflicted juvenile psyche. Further obfuscating its genuine moments of emotional clarity, are its exaggerated religious overtones and witless representations of sexual desire. Visions from the Virgin Mary and brazen young women (also hinting at the films cavalier idealisations of females) intermittently litter the aching sense of longing that its best scenes imply. \r\n\r\nThe four-strong pack of orphans that are sent to live with a retired naval officer and his wife for the summer in Lady Star Cove is led by the oldest, Maps (Radcliffe), and his precocious younger lieutenant as well as the films wizened narrator, Misty (Lee Cormie). Away from the reality of the convent, they begin to existentialise their dilemmas being raised without a family or even without a core sense of identity. This doesnt worry Maps as much as it does Misty, even though the age difference between them span just a few years, it does relate considerably in terms of any impending adoption or more pointedly, the burgeoning transition into adulthood during this short period of time. \r\n\r\nThough partly concerned with Maps\'s escalated coming-of-age during this eventful summer, December Boys expands its purview to include a more disquietingly bizarre imagining of magical-realist visions by seer-like Misty a decision that ironically amplifies the familiar skew of the rest of its proceedings. Yet more enduring than its rather slushy portrayal of maturation is the films final images, a stamp that reinforces its own commitment to be as conventional and manipulatively cloying as it can possibly hope to be.','449431671989a5b422f576f42313c143',0,'','Up20ozXq',1,0,'',0,0,0),(8834,1611,3,1,0,'69.120.114.47',1195086240,1,0,1,1,1,1,'hengcs','Re: December Boys (2007) (Australia)','Quote justindeimen, \"I had the opposite reaction. I thought the entire back-end was ridiculously manipulative.\"\r\n\r\nhee hee ...\r\n\r\nit depends on what you compare the ending with ...\r\ni think the ending is the \"saving grace\" because I compare the front with the end (as opposed to this film and other coming of age film).\r\n\r\nbased on this film alone, I think the front end is not very engaging ... and if it had ended in a less manipulative way, the whole film will have no selling point, being a rather uneventful/plotless film ... to some extent, I agree it is manipulative ... but it at least brings out several food for thoughts ... \r\n\r\n* possible spoiler * ... \r\n\r\ne.g., all along, they had a \"family\", and it was not necessary to find another family ...\r\n\r\ne.g., even though three of them try to compete for the adoption, they still bless the successful one ... that\'s what i call BOND ... \r\n\r\ne.g., the scene whereby the young kid tried to fish, and the old man was terribly worried ...\r\n\r\ne.g., unlike many films who depict girls from earlier days as always being conservative, this young girl is rather \"proactive\" in her demands and desire ...\r\n\r\netc\r\n\r\n* end of possible spoiler * ... \r\n\r\nAt least we agree on one point, that the film is not very great ... note i used the words \"can watch\" as opposed to \"above average\" or \"recommended\" ... hee hee ... Compared to many other films about coming of age, this film is unlikely to become a classic ... Kind of sad, because I think the 4 kids can act ... they are just not given the role of their life ...','ac938dce42f67d714b4bd89e9f23413c',0,'','1l6wTcam',1,0,'',0,0,0),(8835,1612,3,1,0,'69.120.114.47',1194358380,1,0,1,1,1,1,'hengcs','I Don\'t Want To Sleep Alone (Taiwan) (2006)','by request\r\noriginally posted by madhuban\r\n(12/21/06 6:29 am)\r\n\r\nI Don\'t Want To Sleep Alone (2006) - Tsai Ming Liang\r\n\r\nI Don\'t Want To Sleep Alone is structurally more complex than any of Tsai\'s previous films. Hsiao has had doppelgangers in relation to Tsai\'s oeuvre - every film is like an episode in Hsiao\'s life. Here, Hsiao has a doppelganger within the film. He is both a comatose patient cared for by two women, and a homeless stranger who gets beaten up and is rescued and cared for by a Bangladeshi construction worker. At the crux of the film are the intersections and momentary connections between the homeless man, the two women, the Bangladeshi man and the comatose man, complicated further by the fact that the homeless man could well have been dreamt up by the one in a coma. As the borderlines between dream and reality merge and fade into each other, we are witness to a much more multi-ethnic, babel-like city, Kuala Lumpur, where Malay, Mandarin, Bengali, Malayalam, Cantonese and Tamil obfuscate the chances of communion. In a melting pot of languages, cultures and immigrant histories, silence is the only marker of speech and, touch, the sole residue of the sensual. Touch seems to offer to these anonymous, displaced, throbbing bodies the possibility of connection. \r\n\r\nTouch, in this film, takes many forms. It is the measure of care as Rawang, the Bangladeshi worker, helps a badly beaten-up Hsiao to get up and urinate. Touch, and more particularly, a hand job, leading to an erection, assures the mother of Hsiao, the comatose man, that he is biologically alive. Touch fulfills Chyi\'s aching lust for the homeless Hsiao. Hsiao\'s touch which is sought out, is like a spell of rain in the mother/coffee shop owner\'s arid sexual life. A particularly violent kind of touch is expressive of Chyi\'s disgust with the comatose body and her dissatisfaction with the claustrophobic life she is forced to lead. Touch, in this film, constitutes and configures the biological and performative (including sexual performance) bodies of the characters in different ways. \r\n\r\nLike touch, the mattress is a densely packed metaphor in the film. Since migration and the lack of a home (both metaphorical and physical) add a further layer of disconnection to the abiding theme of urban alienation, the mattress becomes a surrogate of home, pulling together myriad associations of sleep, rest, care, security, comfort lovemaking, as well as their opposites. A discarded mattress that Rawang picks up from somewhere has bugs that trouble his peaceful sleep, while for a bruised and ailing Hsiao, the same mattress is a sign of care and comfort. Towards the end of the film, when Chyi drags the mattress from Rawang\'s dwelling to her loft, it is with the hope that she can sleep with Hsiao, who has been evicted by Rawang. For the homeless Hsiao, the mattress in Chyi\'s loft conjures up a vision (or is it real?) of an angry Rawang with a knife keen on avenging his betrayal. \r\n\r\nRecalling the mysterious viral epidemic in The Hole, a thick haze from fires in neighbouring Sumatra, envelops the city towards the end of the film. All the characters put on masks made out of a dizzying range of household objects - plastic bowls, folded plastic sheets and so on. The haze makes seeing and touching difficult, emphasises disconnection, and provides one of the most striking moments of dark humor as well Chyi and Hsiao try to make love on Rawang\'s mattress with ludicrous gasmasks, struggling in vain to breathe and kiss at the same time. It is a moment that is both tender and grim, not unlike a subtler moment earlier where people of different ethnicities stand outside a store in their gasmasks, watching the television playing Tamil (one of the languages from South India with a vibrant film industry) film songs. The gasmasks add a macabre dimension to a city where language offers no possibilities of communication and making meaning, and it turns more sinister with the televised spectacle of a song-and-dance sequence that none of the spectators can connect with but, nevertheless, spectate. \r\n\r\nFor Tsai, the space where he films is of central importance. At the centre of I Don\'t Want To Sleep Alone is an abandoned, half-constructed shell of a building with the courtyard filled in with a stagnant pool of water. The abandoned building is much more than an architectural site whose nooks and crannies determine Tsai\'s shots, but is living testimony to the history of the migration of labour and real estate development and their dark undersides in Malaysia (like the empty apartment in Vive L\'Amour). Much like the building, whose non-completion reflects economic destabilisation, the Bangladeshi immigrants who were brought over to meet the demand for labour, are simply abandoned in a growing city that has no use for them. Trapped like the pool of water, they lead furtive lives on its edges, inhabiting its dark passageways, illegally hawking cheap, garish lamps and squatting in its abandoned buildings. While all his films engage with cities and their political histories in a subterranean way, I Don\'t Want To Sleep Alone foregrounds it in a manner that challenges the easy global rhetoric of cosmopolitanism and multi-ethnic coexistence. \r\n\r\nIn such a context, sleep is invested with many meanings. Sleep allows dreams; provides succour and strength. Sleep is also a slowing down and signals delay in establishing connection. Before the mesmerising final image, Hsiao waits for Chyi in her loft, but when she eventually arrives, he is fast asleep. Reminiscent of the swinging bench in the park in The Wayward Cloud, where sleep interrupts the connection between Chyi and Hsiao (first, Hsiao is asleep, and when he wakes up, she is asleep). Sleep is important because it enables dreams, but also nightmares. The comatose Hsiao sleeps too, and is almost dead for the world. But his sleep/dream begets his double, Hsiao. Before I saw the film, I had read somewhere about Tsai introducing I Don\'t Want To Sleep Alone with an enigmatic story about a Chinese philosopher who dreamt of having become a butterfly. Waking from the dream, the philosopher wondered if there could also be a butterfly dreaming of being the philosopher. That the dream in Tsai\'s film could work both ways - a dream that begets the real or reality that seems like a dream - is driven home through the tantalising shot of a moth on Hsiao\'s shoulder. And, when the stunning final image of the mattress with Chyi, Hsiao and Rawang floating out of the reflected, upturned image of the construction site with a lamp trailing behind them, arrives, we cannot distinguish between the real and the imagined anymore, and it ceases to matter.\r\n\r\nM\r\n\r\nP.S. The circumstances in which I saw the film were abysmal. Unfortunately, Tsai has acquired a reputation for pornography since The Wayward Cloud and the theatre was full of people who came expecting titillation. When they did not find what they expected, they went bonkers with the pace of the film. Instead of quietly leaving the theatre, they resolutely stayed on, booed and whistled, spoke loudly into their mobile phones, and called the film \"intellectual @#%$\", making it an ordeal for the interested minority. Sincere pleas did not help and we were condemned to watch I Don\'t Want To Sleep Alone in what seemed like a Sunday morning fish market. It was heartbreaking to see Tsai (it happened with Hou Hsiao-Hsien as well) attracting this kind of audience, and maddening to have to watch the film in such awful conditions. I feel that I\'ve missed much because a Tsai film is very cerebral and demands a lot from its viewership. I\'ve cobbled together the review inspite of feeling that I haven\'t quite grasped the film. I desperately want to see it again, soon. \r\n\r\nEdited by: madhuban at: 12/21/06 6:45 am','0affc1a752facf273c1f73c321e7ae89',0,'','R58syrYK',1,0,'',0,0,0),(8836,1612,3,1,0,'69.120.114.47',1194858600,1,0,1,1,1,1,'arsaib4','Re: I Don\'t Want To Sleep Alone (Taiwan) (2006)','I Don\'t Want to Sleep Alone was one of seven films made for the New Crowned Hope festival, an artistic initiative guided by theater director Peter Sellars and financed by the city of Vienna to commemorate 250th anniversary of Mozart\'s birth. (The other films were Paz Encina\'s Paraguayan Hammock, Mahamat-Saleh Haroun\'s Dry Season, Garin Nugroho\'s Opera Jawa, Bahman Ghobadi\'s Half Moon, Teboho Mahlatsi\'s Meokgo and the Stickfighter [short], and Apichatpong Weearasethakul\'s Syndromes and a Century [which, along with Zodiac, is the best new and distributed film I\'ve seen this year].)\r\n\r\nSellars has stated that he wanted films to reflect the late-Mozartian themes of \"magic and transformation, truth and reconciliation, and ceremonies for the dead.\" The master\'s three key late works -- The Magic Flute, Requiem, and La clemenza di Tito -- were meant to serve as an inspiration. Along with The Magic Flute\'s \"Tamino\" and \"The Queen of the Night\" arias, Tsai\'s effort also features Malay and Kollywood pop, not to mention strands of Cantonese opera.\r\n\r\nTsai went to Malaysia (the country of his birth) back in 1999 and stayed there for about a year. He has said that during this time a sex/political scandal involving the nation\'s deputy prime minister caught his eye. During the trial, a mattress was brought into the court as evidence and the defendant showed up while sporting a black eye. The Chinese title of the film, Hei yan quan, reportedly means eyes circled in black or shadows under the eyes or black eye. The film was initially banned in Malaysia.\r\n\r\n*Now available on DVD in the U.S. (Strand Releasing). No extra features.','2dbb06c9a8529756f009c028a84d6bd1',0,'','Kjw9fqvo',1,0,'',0,0,0),(8837,1612,3,1,0,'69.120.114.47',1194875400,1,0,1,1,1,1,'justindeimen','Re: I Don\'t Want To Sleep Alone (Taiwan) (2006)','Madhuban\'s review is the absolute best I\'ve read regarding this film. Shows a true understanding of Tsai\'s motifs and the themes. I personally preferred this film to Wayward Cloud and Madhuban\'s review helped put that into perspective.','f68d8db40edc6afe0941db240f47b4d0',0,'','6KL4Rc2j',1,0,'',0,0,0),(8838,1612,3,1,0,'69.120.114.47',1195026360,1,0,1,1,1,1,'arsaib4','Re: I Don\'t Want To Sleep Alone (Taiwan) (2006)','All the reviews I came across after watching the film seemed to be derived from hers. It\'s a great one! I wish she was around to discuss it with us. And, if I remember correctly, she did like The Wayward Cloud.','34dec2c74c85d8ef73803c2aac8122f1',0,'','AJ7D1LHy',1,0,'',0,0,0),(8839,1613,3,1,0,'69.120.114.47',1183460880,1,0,1,1,1,1,'hengcs','Lust Caution (Se Jie) (Taiwan) (2007)','Director: Lee Ang\r\nCast: Tony Leung, Joan Chen, Tang Wei, Wong Lee Hom,\r\n\r\nThe trailer\r\nclick\r\nwww.focusfeatures.com/cli...80x260.mov','4b37f8f7816aa9942a0c8d5a5bd6497f',0,'','v78woZnK',1,0,'',0,0,0),(8840,1613,3,1,0,'69.120.114.47',1183478520,1,0,1,1,1,1,'trevor826','Re: Lust Caution (Se Jie) (Taiwan) (2007)','I\'ve tried several links for the trailer but none of them have worked.\r\n\r\nWhat I did find quite funny is that U.K online dvd retailer Bensons-World have got slightly ahead of themselves with dvd details already listed - Lust Caution info. \r\n\r\nCheers Trev.','f2d9ef0cb3dc84ccfbae649fa3ebee64',0,'','1XmRqT9g',1,0,'',0,0,0),(8841,1613,3,1,0,'69.120.114.47',1183633440,1,0,1,1,1,1,'hengcs','Re: Lust Caution (Se Jie) (Taiwan) (2007)','The link is gone ... sigh\r\nBut youtube still has it ...\r\n\r\nwww.youtube.com/watch?v=o5KL4iopQaE','958749b418537326af74bc535db8844f',0,'','pzV2Y8eL',1,0,'',0,0,0),(8842,1613,3,1,0,'69.120.114.47',1183635000,1,0,1,1,1,1,'trevor826','Re: Lust Caution (Se Jie) (Taiwan) (2007)','Thank\'s hengcs, the trailers looking good.\r\n\r\nCheers Trev.','37bba2f9642b59010dbdcb8b2a71da3a',0,'','jVMydGaD',1,0,'',0,0,0),(8843,1613,3,1,0,'69.120.114.47',1189319340,1,0,1,1,1,1,'hengcs','Re: Lust Caution (Se Jie) (Taiwan) (2007)','congrats ...\r\nit garnered 2 awards in Venice!','b616d49297b224615413ca01fb9a1516',0,'','mGXDE1fc',1,0,'',0,0,0),(8844,1613,3,1,0,'69.120.114.47',1190925420,1,0,1,1,1,1,'hengcs','Re: Lust Caution (Se Jie) (Taiwan) (2007)','I have gotten the tickets for myself and friends ...\r\n\r\nI have sms-ed others to watch too ...\r\n\r\nMy only \"sigh\" ... the version we r watching is the EDITED China version ... not becos of the censor board ... but the distributor has opted for the NC16 version ... more ticket sales for them?! ... \r\n\r\nAnyway, I do not feel like posting my upset here, but you may read more abt my \"analysis\" in sgfilm.com\r\nclick\r\nwww.sgfilm.com/forum/view...sc&start=0','9236879e1f6eb9ddad29affe064e9587',0,'','1DNfK2jq',1,0,'',0,0,0),(8845,1613,3,1,0,'69.120.114.47',1191471000,1,0,1,1,1,1,'hengcs','Re: Lust Caution (Se Jie) (Taiwan) (2007)','Finally, I have watched the film ...\r\nbut the edited China version\r\n\r\nAfter watching the EDITED version ...\r\nyou may ask: \r\nIs there anything that is LOST ... \r\nIMHO, yes yes yes ... very very very unfortunately ...\r\n\r\nI will try to EXPLAIN when I have the time \r\n(maybe during lunch time, maybe later in the day)','db425920e26d7393aa9dbd0d454e2207',0,'','iTLZJBh5',1,0,'',0,0,0),(8846,1613,3,1,0,'69.120.114.47',1191658140,1,0,1,1,1,1,'hengcs','Re: Lust Caution (Se Jie) (Taiwan) (2007)','\r\n\r\nIn case you are waiting ... I APOLOGIZE ...\r\nActually, I have already written my views about what I think is lost ...\r\nI have also talked to my good friend about it today ...\r\n\r\n(1) What is lost ...\r\nMy friend convinced me that even if my conjectures were correct, \r\nmy case would be more compelling if I had watched the unedited version. \r\nHence, I apologize that I would like to procrastinate my posting on what have been LOST ...\r\n\r\nFrankly, a review of the EDITED version would NOT do the film justice ... \r\nSo, I shall refrain from a review of the EDITED version too ...\r\n\r\n(2) Appreciation by the East vs the West\r\nIMHO, the film can be better appreciated by the Chinese community rather than the Western community ... at least the reviews from online/newspappers seem to reflect this too ... most Chinese media give a majority POSITIVE review, whereas the Western media (at least in United States) tend to give a more divisive view, with some claiming it be excellent and others claiming it to be boring ... (mainly blaming the slow pace and lack of plot) ... \r\n\r\nI personally think the Chinese appreciate it differently because of cultural and linguistic differences ... \r\ne.g., there are several great lines/puns/nuances/subtlety delivered ... I would have to rewatch to remember all, but here is a few (not exhaustive) ...\r\n\r\n(a) The title, \"Se Jie\" (Lust Caution)\r\n... \"Jie\" also means the ring ... \r\n... the wedding ring that makes and breaks everything ...\r\n\r\n(b) The game of mahjong\r\n... (some critics claim that it drags down the intro);\r\nhowever, it is an impt intro to the entire film (i.e., both culturally and thematically) ... why?! \r\napart from being the favorite past time of these ladies in those period, it is also a game of \r\n... skill vs luck (plotting vs opportunity)\r\n... short term sacrifice over long term victory \r\n... monitoring vs being monitored\r\n... calculating, pretending, deceiving, etc ...\r\n\r\n(b) Beginning conversation ... \"Chi Chu\" (eating vinegar), \"Chi Dou Fu\" (eating tofu)\r\n... the former also means to be jealous\r\n... the latter also means to take advantage of woman\r\n\r\n(c) Ending conversation ... \"Bu Chi La De Zhe Me Hu De Chu La Zi\" ... (refering to eating hot spicy Hunan dishes) (the last line delivered) ...\r\nAllow my freedom with interpretation/expression, it could also mean if you dare not take risk/chance with life, how can you gain/succeed? \r\n\r\n(3) Black Book (Netherlands) vs Lust Caution (Taiwan)\r\nApart from a slight similarity (i.e., getting close and sleeping with the enemy during times of war), I think it is rather unwise/unfair to compare Black Book with this film. why? \r\n\r\n-- I humbly think the former does \"thrill/chill\" as a plot driven film ... i.e., the soundtrack and the pacing is very captivating (esp. if you are more accustomed to watching Hollywood kind of thriller)\r\n\r\n-- The latter however thrives and succeeds in bringing out the complexity in humans, emotions and events ... instead of plot driven, it is more concerned about various issues ... from the personal to the political ... in particular, I think it probes one to think ... \r\naren\'t MANY THINGS in life rather GRAY\r\n(i.e., they are not as clear cut as you want it to be) ...\r\n\r\ne.g., love or lust?\r\ne.g., heaven or hell?\r\ne.g., prey or predator? * the line is thin * \r\ne.g., personal or patriotism?\r\ne.g., power or politics?\r\ne.g., control or controlled?\r\ne.g., rational or emotional?\r\ne.g., male vs female?\r\netc\r\n\r\nrgds\r\nhengcs','5a120de01235215dedb316f2788622c4',0,'','u0ycT5fp',1,0,'',0,0,0),(8847,1613,3,1,0,'69.120.114.47',1194348240,1,0,1,1,1,1,'chard09','Re: Lust Caution (Se Jie) (Taiwan) (2007)','A Lesson in Aeronautics in Ang Lee\'s Lust, Caution (2007)\r\n\r\nOriginal Title: Se, Jie\r\nDirected by Ang Lee\r\nCast: Tony Leung Chiu-Wai, Tang Wei, Lee-Hom Wang, Joan Chen\r\nBased on Eileen Changs short story\r\nWinner of 2007 Venice Film Festivals Golden Lion\r\n\r\nTo think that his name consists only of six letters five to be exact Ang Lee has now placed his signature, above all the rest and no matter how uneven, in the blazing pages of auteur cinema. After Crouching Tiger, Hidden Dragon (arguably the most popular Chinese film of all time), Brokeback Mountain (an essential work in the western genre), and several Hollywood productions in between, Lee is back, fiery and sumptuous, bringing home his second Golden Lion in three years, with an espionage thriller that surfaces with razor-sharp mastery, filmed exquisitely by Rodrigo Prieto in such splendor reminiscent of a golden age.\r\n\r\nThe mahjong scenes that set the pace of Lust, Caution at the beginning is defiantly crucial: without the intrinsic atmosphere of boredom that one gets while coping with the deliberate camera movement and fast-changing subtitles, the emotional upheaval that builds from fury to lust would have been less striking. Likewise, the war seems not to be taking place and every detail shown to intensify its presence makes it feel less threatening, transitory, and to put it more precisely: the war is taking place elsewhere but not in Shanghai. This dreamlike supposition, which of course would be opposed by anyone basing it on history, is singularly impressive, as most films that relate to war would use this backdrop to heighten, or in some cases lengthen, their narratives to create an evil justified by blood and ammunitions.\r\n\r\nThe explicit sexual intercourse a fantastic series of acrobatics, an Olympic display of arduous but definitely pleasurable calisthenics, the closest reach to seventh heaven is the most integral part of the film. The controversy that arises from it is purely expected, at least we realize were still in this world, but the impact it creates, as if its not the first time we see pubic hairs, erect nipples, moans, lip-biting, silent orgasms, and vehement to and fro pelvic exercises, is phenomenal. Catherine Breillats, Gaspar Nos, Michael Winterbottoms, and several films that feature unsimulated sex are mostly European, with the possible exception of the most notorious of them all: Nagisa Oshimas In The Realm of the Senses. Of course this assertion demands further analysis but somehow it is conclusive that Europeans are more inclined and more liberated to film sex than Asians. But the difference, the very unmistakable difference, is the way they are staged admit it, the sensuality in Lust, Caution is felt a thousand-fold more than Romance or Rape Me the reason why it will attain a status of classic vulnerability that other films never take into consideration.\r\n\r\nTang Wei is alluring: her nipples having a rare standing ovation, her beautiful forest of armpit hairs, her childlike sensuality, her eyes that roll with fear, her pubis that moves seamlessly everything about her radiates with passion she resembles an engine working perfectly, running the longest mile around the suburbs of desire and lust. She is an epitome of sinful simplicity, a lost kite of trapped loneliness falling relentlessly.\r\n\r\nLust, Caution is apolitical. Contrary to Zhang Yimou and Chen Kaiges conscious aversion (at least during their early years, and the fairest of their collaborations is Kaiges Yellow Earth, shot in immense austerity by Yimou) and Wong Kar-wais political apathy, Lee stands in between, which contributes to the apparent mainstream appeal of his works. As Chinese history has the most diverse account of politics everything about it in the world, and its people that seem to co-exist with their past, it is rather difficult to film emotions that harbor not in history but in humanity itself a feat that Lust, Caution delivers.\r\n\r\nTony Leung looks older in age but not in talent. His stone face, his intergalactic stare, his elegiac gestures he embodies a Martian for reasons I still cannot decipher. When he mentions that If you pay attention, nothing is trivial, he glows with vigor, a bursting mix of vibrance and suave that can only come from an icon, and he surely is.\r\n\r\nMust be the sheer popularity particularly to Western audience Lee reminds me of Akira Kurosawa during his glorious years of immense recognition. In this light, I would like to express an analogy that only fools like myself would believe: almost ten years after completing his Rashomon, Ang Lee, now, in a stunning piece of work, presents his Seven Samurai, bustling, running, in an aeronautic battle. If you are still wondering what that mysterious closure of Days of Being Wild means, with Tony Leung combing his vaselined hair in his usual gesture, preparing himself for a night out, then think no further. This is where he goes with Wong Chia Chi to spend a feisty evening, in rage.\r\n\r\nlilokpelikula.wordpress.com/','94dd09b627b5c67b6ddb28c69255c41f',0,'','KkMCXLUc',1,0,'',0,0,0),(8848,1613,3,1,0,'69.120.114.47',1194358560,1,0,1,1,1,1,'hengcs','Re: Lust Caution (Se Jie) (Taiwan) (2007)','hi\r\n\r\nvery well written\r\n\r\ngreat news:\r\nsingapore is screening the uncensored version this week! \r\n* clap *\r\n\r\n-- the distributors finally understood the sentiments of singaporeans ...\r\n\r\n-- also, the censors deserve an applause for NOT censoring at all\r\n* clap *','d547e359ca80e0cbda992c65831c19cf',0,'','GcgyzL45',1,0,'',0,0,0),(8849,1613,3,1,0,'69.120.114.47',1194424440,1,0,1,1,1,1,'arsaib4','Re: Lust Caution (Se Jie) (Taiwan) (2007)','Yes, nice review, chard. I\'m glad you acknowledged the work of Rodrigo Prieto, who got the cinematography nod at Venice. I\'m still contemplating whether to watch it in theaters or wait for it to appear on DVD.','5e6d8c11c4d92c3882ab0fb022980c3d',0,'','abKZc3Aw',1,0,'',0,0,0),(8850,1614,3,1,0,'69.120.114.47',1191661860,1,0,1,1,1,1,'arsaib4','Andrzej Zulawski\'s On the Silver Globe (Poland / 1987)','\r\n\r\nLet\'s allow America\'s best \"unemployed\" critic and Zulawski aficionado Mr. Michael Atkinson to get the ball rolling:\r\n\r\nWhat we talk about when we talk about \"lost film\" pertains, more often than not, to celluloid allowed to decay into nitrate goo, usually at the hands of neglectful businesses who saw little reason to preserve films once they\'d had their theatrical run. But Andrzej Zulawski\'s On the Silver Globe (Na srebrnym globie) is another kind of lost altogether a berserk, one-of-a-kind science fiction epic, conceived and fashioned by Europe\'s most notorious hyperbolist, the production of which was halted and destroyed in 1978 by the censors in Poland, who probably didn\'t know what in the name of a pagan god to make out of Zulawski\'s outlandish, gory, screaming-mimi footage, but saw clearly that it wasn\'t what the Politburo had in mind when it came to Communist culture. Zulawski expatriated to France in a depressed rage; after he returned to a democratized Poland in 1986, he was convinced by Film Polski and the loyal cast and crew to assemble the film anyway, shooting new footage, recording narration to fill in the story gaps, etc., for a kind of honorary screening at Cannes. After that, On the Silver Globe vanished Zulawski did not want it publicly shown, and it quickly became one of the most hankered-after unseen films of the modern age. \r\n\r\nIn fact, when I wrote about Zulawski and On the Silver Globe for Film Comment five years ago (I\'d seen a bootleg), I labeled the film (and I promise, this will exhaust my self-quotation rights for the next decade), \"one of cinema\'s most appalling, breathtaking follies, and the most frightening art film you will never see.\" That is, until now somehow, someone wrested it from Zulawski\'s embittered grasp, and here it is, sans explanation, on DVD. Newcomers to Zulawski\'s filmmaking might be discombobulated even if the film weren\'t a fragmentary cobble-job: the tone he doggedly attains, the manner in which he ratchets up his cast and camera, is as close to skull-splitting psychotic frenzy as movies have gotten. No actor reads lines realistically in a Zulawski film when he can howl them in maddened agony; no shot simply captures a landscape when it can scramble and catapult and race like a starving cheetah. On the Silver Globe is, of course, a special case (the only Zulawski film to ever get a theatrical release here was 1981\'s Possession, a portrait of dissolving marriage that involved a Carlo Rambaldi monster and a measure of procreative-sexual unease that makes David Cronenberg look like Nora Ephron). The story is pulled from a famous series of Polish science fiction novels, the \"Moon\" trilogy, written by Zulawski\'s own granduncle, and here it is mostly told in narration over footage of contemporary Warsaw: A disastrous mission to the Moon (Zulawski used the Gobi desert and the shores of the Black Sea) spawns a primitive society that, a few generations down the road, hails an investigating cosmonaut as their messiah and warrior-king in the battle against a race of winged mutants. \r\n\r\nBut it\'s the primal, ghastly originality of Zulawski\'s Dantean visuals that brand the memory: armies of black-robed savages dancing through mysterious rituals on white-sanded beaches; the sea water in flames behind a slow-motion shore battle between moon-men and mutants; tribal dramas played out in what looks like a hand-carved cavern the size of a warehouse; cinema\'s most appalling crucifixion; a mob of heretical victims impaled as in, Vlad-the-Impaler-impaled, through the rectum on 25-foot, intestine-roped stakes on the same beach, captured by Zulawski in a crane shot that launches high enough to hear one of the poor bastards choke out a few last words of protest. On the Silver Globe is an unfinished thing; it\'s both difficult to say it\'s a successful film as it stands that was certainly never Zulawski\'s intention and to imagine what it might\'ve amounted to, almost 30 years since its plug was pulled. But you\'re not likely to see anything remotely like it, ever.','3827a723109be8f98b45544bc05e158b',0,'','Uy7d4xM0',1,0,'',0,0,0),(8851,1614,3,1,0,'69.120.114.47',1192144020,1,0,1,1,1,1,'R6dw6C','Re: Andrzej Zulawski\'s On the Silver Globe (Poland / 1987)','Though this review could be identified as an effectual overview, I\'m a bit disappointed that the author is talking much about the images (which are extremely impressive and metaphorical indeed, no doubt - when did Zulawski film no impressive images?) but didn\'t mention the more important \"dialogues\" (this one was the first Zulawski I watched in which the talk seemed to be more significant than the silence). Somehow, these \"dialogues\" reminded me of the essayistic talk in Godard\'s \"Notre musique\" as every sentence has got its own meaning and so, there is no real dialogue. Of course, it is hard to describe this phenomenon (otherwise I would just quote some of lines as an example here) as the whole script seemed like a chaotic, unstructured collection of despaired comments, pulled out without any stylization, directly and non-philosophical, but it would\'ve been a fortune to mention that. When I watched \"The most important thing: Love\" as my first Zulawski (with the upsetting \"Possession\" following) I already supposed the director to be a difficult artist but in front of \"On the silver globe\", this seems like an understatement. I won\'t believe anybody who tells that he got it - of course, you can get it, but only in a way which could be compared to Lynch, Tarkowsky, Jodorowsky or Argento which means that the film doesn\'t want to be understood but to be re-shot in your head, coloured with your individual paint.\r\n\r\nAnyway, have you seen it in the meanwhile, arsaib? Don\'t worry about the images - my version was in pretty bad state and loaded with VHS-damage (though in the correct AR of 1,66:1) but the film didn\'t lose any of its strength. \r\n\r\nBUT... the author of the upper review seems to share some humerous bits with me:\r\n\r\nQuote:1981\'s Possession, a portrait of dissolving marriage that involved a Carlo Rambaldi monster and a measure of procreative-sexual unease that makes David Cronenberg look like Nora Ephron\r\n\r\nGreat comparison...\r\n\r\nI guess I have to give the film to A, so he can join the discussion with his enthusiastic comments (or not. )','24bdec9842b3d31ad6608c616f16d656',0,'','X6bnUeN9',1,0,'',0,0,0),(8852,1614,3,1,0,'69.120.114.47',1192183440,1,0,1,1,1,1,'arsaib4','Re: Andrzej Zulawski\'s On the Silver Globe (Poland / 1987)','Thanks for replying, R6dw6C. \r\n\r\n\"Anyway, have you seen it in the meanwhile, arsaib?\"\r\n\r\nOh, of course, otherwise I wouldn\'t have started this thread, let alone posted a foreign review.\r\n\r\n\"I\'m a bit disappointed that the author is talking much about the images (which are extremely impressive and metaphorical indeed, no doubt - when did Zulawski film no impressive images?) but didn\'t mention the more important \"dialogues\"\r\n\r\nI think he\'s probably keeping in mind that for most viewers this will be their first Zulawski experience, and so the filmmaker\'s visual prowess is likely what\'s going to grab them in the initial stages. \r\n\r\nI\'ve only seen it once so far and it\'s certainly a vertiginous experience. I agree with you that the \"dialogue\" -- which touches upon faith, organized religion, science, sex, etc. -- is implicatively rendered, though the (method of) delivery, needless to say, isn\'t quite Godardian.\r\n\r\n\"I won\'t believe anybody who tells that he got it - of course, you can get it, but only in a way which could be compared to Lynch, Tarkowsky, Jodorowsky or Argento which means that the film doesn\'t want to be understood but to be re-shot in your head, coloured with your individual paint.\"\r\n\r\nWell said, I agree!\r\n\r\n\"Don\'t worry about the images - my version was in pretty bad state and loaded with VHS-damage (though in the correct AR of 1,66:1) but the film didn\'t lose any of its strength.\"\r\n\r\nTrue. And you\'re right: the correct AR is 1.66:1. The Polart/Facets release is listed as 1.33:1, but I think it\'s slightly better than that (more like 1.55:1[?]). In any case, the image/sound quality is good enough; the subtitles are fine; the film is 157-minute long.\r\n\r\nWhat is maddening, however, is the state the film was left in by the Polish authorities. Unlike most famous examples of neglectfulness, On the Silver Globe wasn\'t merely missing a few scenes or an ending. It\'s quite obvious that the film was systematically raped and mutilated before it was thrown back out into the world as to prove what could happen if a certain line is crossed. It\'s difficult to fathom that as a result, a filmmaker such as Zulawski was forced to explicate the matter and act as a connective tissue between the inordinate amount of missing sequences on the film\'s \"original\" audio track!\r\n\r\n\"I guess I have to give the film to A, so he can join the discussion with his enthusiastic comments (or not).\"\r\n\r\nThat\'d be nice.','275815cfa689c164fa2b4e079d10ce9f',0,'','vXegFw6Y',1,0,'',0,0,0),(8853,1614,3,1,0,'69.120.114.47',1194178080,1,0,1,1,1,1,'arsaib4','Re: Andrzej Zulawski\'s On the Silver Globe (Poland / 1987)','A couple of screenshots from the U.S. DVD (Polart/Facets).\r\n\r\n\r\n\r\nNot perfect, but this is definitely the best subtitled edition currently available on the market. Zulawski\'s The Devil has also just been released in the U.S. by the same distributor(s).','be898fc560988f9500aa8de417fb0ae9',0,'','ore8cyS0',1,0,'',0,0,0),(8854,1615,3,1,0,'69.120.114.47',1121464260,1,0,1,1,1,1,'hengcs','Machuca (2004) (Chile)','\r\nDirector: Andrs Wood\r\nCast: Matias Quer, Ariel Mataluna, Manuela Martelli\r\n\r\nThis movie was submitted by Chile to the Oscar in 2005. \r\n\r\nThe official website is here\r\nwww.machucacine.cl/\r\n\r\nand an English version is here ...\r\nwww.artificial-eye.com/machuca/main.html\r\n\r\nSeptember 11 ... this day stirs a deep emotion among Chileans ... it is the day whereby Pinochet\'s military seized Allende\'s presidency in a coup d\'etat... \r\n\r\nThe movie began in 1973, Santiago, Chile. Two kids (Gonzalo Infante and Pedro Machuca) became the most unlikely friends from two vastly different social classes. Predictably, you are going to witness challenges to the friendship, differences in lifestyles, etc ... In the end, will their friendship survive the chaotic political upheaval?\r\n\r\nWhat I like ... \r\nThere are a number of thought provoking and interesting/realistic scenes:\r\n-- at the rightists demonstration, the kids readily take side with the demonstrators ... at the leftists demonstration, they readily switch sides to be with the demonstrators ... \r\n;P\r\n-- Pedro\'s father\'s harsh reminder to the two kids what they will be many years down the road ... \"You (Gonzalo) will go to college, you (Pedro) will still clean the toilet!\" ... \" You (Gonzalo) will work in your father\'s corporation, you (Pedro) will still clean the toilet!\" ... \"You (Gonzalo) will own your father\'s corporation, you (Pedro) will still clean the toilet!\" ... \r\n\r\n-- Gonzalo\'s mother, \"It is not about racism, class division, etc etc etc ... we are just different ... why do you insist on mixing apples and pears ... they are just different ...\"\r\n-- Another parent, \"Why do you want to introduce them, they never need to know one another ...\"\r\netc\r\n\r\nAlthough the director tries to be fair in portraying both sides of the stories, it is evident what his stands are regarding the issues. Watch it and you will know. Moreover, he seems to paint a more dysfunctional upper/middle class in contrast to a more lively and soulful lower class. Despite these issues, it is not starkly skewed.\r\n\r\nNoteworthy, the movie does not dwell too much on the politics (you will not gather much from the movie) but more on human and relationships ...\r\n\r\nRegarding casting, scenes with Silvana (Pedro\'s neighbor) are always fun to watch ... \r\n\r\n\r\nConclusion:\r\n... Above average film \r\n... Chileans who have gone through those tough tumultous times would definitely find it very personal and unforgettable!','069b365279c0656545eb073a36153569',0,'','7iS8eAWQ',1,0,'',0,0,0),(8855,1615,3,1,0,'69.120.114.47',1194145200,1,0,1,1,1,1,'wpqx','Re: Machuca (2004) (Chile)','The film was quite influential and popular in Chile, and knowing a little of the political situation there the film does make a good impression. It does have all the makings of a very conventional coming of age story but there are moments that are unmistakably great. Other than a couple short films I believe this is the first feature I\'ve seen from Chile as well.','87595901df793c188b2ac0f72e143676',0,'','K4kbDBCz',1,0,'',0,0,0),(8856,1616,3,1,0,'69.120.114.47',1172520900,1,0,1,1,1,1,'howardschumann(d)','The Lives of Others (Das Leben der Anderen) (Germany) (2006)','THE LIVES OF OTHERS (Das Leben der Anderen)\r\nDirected by Florian Henckel von Donnersmarck (2006), 137 minutes\r\n\r\nGerman filmmakers, in contrast to their frank portrayals of Nazi horrors, have mostly dealt with the misdeeds of the Communist system by poking fun at the bumbling apparatchiks of the GDR in comedies such as Good Bye Lenin. Interestingly, 56% of the German people believe it is inappropriate to even discuss the Communists\' wrongdoing and a rehabilitation campaign is now being waged by former Secret Police (Stasi) operatives who claim that East Germany was not a criminal state but only one that \"served the people and obeyed the laws that were the laws of that time.\" A different point of view is offered, however, in The Lives of Others written and directed by 33-year old Florian Henckel von Donnersmarck who grew up in West Berlin. \r\n\r\nWinner of the Oscar for Best Foreign Film and countless Lolas at the National German Film Awards, the film is a haunting look at the paranoia of the East German security apparatus in the year 1984, a paranoia that ended only with the dismantling of the Berlin Wall in November, 1989 and the eventual reunification of East and West. The film shows the Stasi using intimidation and disorientation as tools in operating a ruthless system of control and surveillance directed at artists and intellectuals suspected of opposing the GDR. While fictional, the film displays the totalitarian mentality in a way that transcends particular circumstances and is relevant in our country today with its so-called Patriot Act that threatens liberty in the name of state security. \r\n\r\nSet in East Berlin five years before glasnost, von Donnersmarck and photographer Hagen Bogdanski capture the grey atmosphere of an authoritarian state showing in muted sepia tones its drably furnished apartments, bare offices, and empty streets. As the film begins, Stasi Captain Gerd Wiesler, masterfully performed by Ulrich Muehe, uses videotape to educate recruits about Stasi interrogation methods. In the tape, a man is shown being reduced to tears after fifty hours of relentless questioning, finally breaking down and revealing the identity of his accomplice. Later, during an evening at the theater, Wielser expresses suspicion about the true loyalties of playwright Georg Dreyman (Sebastian Koch) and his girlfriend, the popular stage actress Christa-Maria Sieland (Martina Gedeck), even though both are known to be loyal to the Socialist state. \r\n\r\nAt the behest of colleagues, Lt. Colonel Grubitz (Ulrich Tukur), head of the Cultural Department and Bruno Hempf (Thomas Thieme), the Minister of Culture who has his own reasons for ordering the surveillance, Wiesler has Dreyman\'s apartment wired from top to bottom. As Wiesler, identified only as HGW XX/7, sits in his dark office plugged into his headsets and tape recorder, he observes Dreyman and Christa going about their lives and it is not a comfortable experience for him. The gradual exposure of the expressionless bureaucrat to a different way of life that includes music, literature, and freedom of expression leads him to look at his life in a new way, a way that makes clear the arrogance of his superiors. It is the catalyst for a surprising plot that has numerous twists and turns and ends up as a powerful depiction of what it means to be human. \r\n\r\nThe Lives of Others succeeds not only by its broad strokes but by its attention to detail. An example is the revealing scene when Wiesler rides in an elevator with a nave young boy clutching his football. When the young boy tells him that his father hates the Stasi, Wiesler begins to ask him the name of his father, then stops in mid sentence, and inserts the word football for father. As Wieslers loyalty becomes shaky and Dreyman mourns the suicide of an old friend, stage director Albert Jerska (Volkmar Kleinert), the story takes on an added dimension, slowly building momentum until it reaches a staggering conclusion that is so moving, yet so understated that tears didnt come until I reached home. \r\n\r\nGRADE: A','98504033f3315009ff6803cf76549c4f',0,'','tVp1qTZ2',1,0,'',0,0,0),(8857,1616,3,1,0,'69.120.114.47',1172831700,1,0,1,1,1,1,'hengcs','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','High recommended.\r\n\r\nIt is such a great film about humanity, even more so than a thriller ... yup, this genre has been covered often by films from Germany, but there is MORE to it this time ... yes, pple have praised the script, pple have praised the lead actor, pple have praised the music score ... but ...\r\n\r\nTo me, it was the subtlety of some scenes that were great ... the kid/football, the very second last scene, the last scene, etc ... also, the script was great in bringing out the ironies of lives, the politics/realism in life/work, the \"grayness\" between black and white in many situations, etc) \r\n\r\nYup, for many audience, the last line in the last scene will come across as one of the best few in years to come ... \r\n\r\n\r\nPS: For those who are interested, a great interview with the director ... guess what, it is in English ... (a bit of spoilers)\r\n\r\nwww.npr.org/templates/dmg...WM&getAd=1','f102edcb1daea2e68e56dcc42cd000f1',0,'','pG7qTCnJ',1,0,'',0,0,0),(8858,1616,3,1,0,'69.120.114.47',1172833440,1,0,1,1,1,1,'howardschumann(d)','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','Thanks for commenting and thanks for posting the link to that interview. I had heard some things about the director and his ego that weren\'t too flattering but I was very impressed with the interview. It is a film that is difficult to forget and I think I may see it again next week.','0e1df9d294f8ee7c38a966dadf41a5af',0,'','X20TgoYa',1,0,'',0,0,0),(8859,1616,3,1,0,'69.120.114.47',1176734760,1,0,1,1,1,1,'trevor826','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','This story takes a few well worn themes, the romance threatened by the unwanted intervention of a self-centered powerful figure, the voyeuristic thriller and the awakening of somebody to a wider understanding of the truth. \r\n\r\nWhat makes this film stand out is how these plot devices or contrivances are played out in a totally atypical manner, this and the excellent performances, Ulrich Mhe in particular make this a film well worth seeing.\r\n\r\nAny man can truly believe he is doing the right thing, that what he does is for the common good. Gerd Wiesler is such a man, indistinctive, of little imagination and just accepting of the facts surrounding him. The sudden awareness that he is serving a purpose for all the wrong reasons turns him from protector of the state to guardian angel of a playwright and his lover, much to his own personal cost. \r\n\r\nThe final 20 minutes or so are where the story could have fallen into many of the standard routines so beloved of mainstream cinema but these are skillfully avoided leaving the feeling that you have witnessed something out of the ordinary, indeed something extraordinary.\r\n\r\nA thumbs up for a film that delivers. \r\n\r\nCheers Trev.','2a5b944d07db1a61168d0822598ef451',0,'','lKfyVxsM',1,0,'',0,0,0),(8860,1616,3,1,0,'69.120.114.47',1176767220,1,0,1,1,1,1,'hengcs','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','Hi\r\n\r\nI have recommended this film to many friends ...\r\nUnfortunately, most of them did not catch it ...\r\nGuess \"publicity/marketing\" still reigns ... sigh\r\n\r\nthat\'s life ...','a91e63d42b5aa03cb1684569a3343d9e',0,'','ki8YMWlZ',1,0,'',0,0,0),(8861,1616,3,1,0,'69.120.114.47',1180838400,1,0,1,1,1,1,'JPaulie','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','it just came out on big screen here in New-Zealand and Im really looking forward to seeing this one even more now after reading your views, just got to finish my finals first','ba4660a22ad799f49e40b5b60cbbc611',0,'','gYm8BWLN',1,0,'',0,0,0),(8862,1616,3,1,0,'69.120.114.47',1185444060,1,0,1,1,1,1,'hengcs','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','Lives of Others actor Muehe dies \r\nclick\r\nnews.bbc.co.uk/1/hi/enter...915665.stm\r\n\r\nSo sad ...','b3ea91cfc95dfb5b88b1ad9bcad8e0fb',0,'','2UQiWHVb',1,0,'',0,0,0),(8863,1616,3,1,0,'69.120.114.47',1193476620,1,0,1,1,1,1,'chard09','Re: The Lives of Others (Das Leben der Anderen) (Germany) (2006)','Magnitude 9, Intensity 8 in Florian Henckel von Donnersmarcks The Lives of Others (2006)\r\n\r\nOriginal Title: Das Leben der Anderen\r\nWritten and directed by Florian Henckel von Donnersmarck\r\nCast: Ulrich Mhe, Martina Gedeck, Sebastian Koch\r\n2006 Oscar Winner for Best Foreign Language Film\r\n\r\nA film that defies seismic meters, The Lives of Others feels like an earthquake a sudden release of energy that accumulated through time, the end of all abstinence, a massive cause of displacement that promises its return for indeterminable years. Florian Henckel von Donnersmarcks debut work carries us into disbelief and dementia, a period of wakefulness in dreams, and leaves us nothing to give but admiration. The applause soon before the credits rolled is very much deserved.\r\n\r\nIts seriousness is frightening yet it manages to pull off its occasional humor, and at times even its humor is scary. The atmosphere exudes a breath of terror: one can feel the political turmoil, the tumultuous plight of the characters without seeing it. Donnersmarck masters the language of the unseen the words, the music, the plot devices and carefully weaves its story into a thrilling yet rewarding series of events that followed Christa-Marias treachery into a finality that grieves with kindness and reciprocation.\r\n\r\nThe controversy that surrounds the film prior to its release in Germany the libel suits, the said unrealistic portrait of East Germany, and making the Stasi man into a hero just adds to its vitality. Its emotional texture, as one writer puts it, is layered in such a way that it evokes universality, that these events are not alien to us, to our emotions, and to our sensibilities. In fact when Wiesler enters Dreymans apartment with the State Security team to install surveillance microphones and cameras, I shriek at the idea on how GMA got wiretapped, unknowingly, or if it is even possible for our state-sponsored departments to do that. We might not even need one, as big-time crooks and shameless alligators are doing all their crimes comfortably, without guilt or apprehension, in a state of evil grace. The grimness of a totalitarian government seeps through in every vein of this film: its force to let everyone succumb to its will and its dedication to power are deafening. In a brilliant scene when Dreyman walks out of a stage play and sees the Minister Its a pity that a man like you once ruled a country and in return, he mocks, in a bleak wing of despair, the society that they have been into, in total rejection of the regime and separation, is this what they really want?\r\n\r\nUlrich Mhe deserves every praise he receives for his role as Stasi agent HGW XX/7: his stature, his voice that demands authority when he interrogates Christa about the typewriter that Dreyman used for the suicide article, writing her testimony as if he doesnt know what she is saying, as if his pen has a life of its own and a conviction of a boar, his unblinking eyes filled with remorse, his threatening silence, and when he gets demoted as a mailman we weep in compassion, but as the film ends with a freeze frame of him standing in a bookshop saying that the book need not be giftwrapped because its for him, a sudden train of thought rushes through, while my heart still enjoys its stay in my throat: nothing could be more rewarding than that.','65e18a2c1effd74e448285e64313f77c',0,'','cq20CUio',1,0,'',0,0,0),(8864,1617,3,1,0,'69.120.114.47',1182219780,1,0,1,1,1,1,'trevor826','Lights in the Dusk (2006) (Finland / Germany / France)','Lights in the Dusk (Laitakaupungin Valot) (2006)\r\n\r\nDirected by Aki Kaurismki\r\n\r\nStarring Janne Hyytiinen, Maria Jrvenhelmi\r\n\r\nKaurismki goes film noir!\r\n\r\nLights in the Dusk tells the tale of a simple, lonely and instantly forgettable security guard, \'Koistinen\' (Janne Hyytiinen) and the blonde beauty who enters his aimless life. What he fails to realise is that in film noir style, hes about to become the patsy for a robbery and the girl is there to set him up.\r\n\r\nKoistinen appears to sleep walk through his duties (and indeed, his whole life) wearing a continuously concerned yet vacant expression. Even when beaten up by several thugs, he just wipes the blood off and carries on as normal, he has aims and dreams but seems to have accepted that these like everything else in his life will come to nought. Even when Mirja (Maria Jrvenhelmi) suddenly enters his life, nothing about his character changes, if anything he appears to be totally at a loss as to what to say or do with her. He accepts everything that is thrown at him, deceit, betrayal and incrimination without batting an eyelid, an empty soul not quite devoid of life but seemingly incapable of living.\r\n\r\nUnlike the majority of film noirs but typical of the few Kaurismki films Ive seen, everything is underplayed. No matter how desperate things get, there are no overt dramatics, no sudden changes in character and thats what actually makes the storyline more touching, more tragic and if anything, more realistic.\r\n\r\nIts a film that has a few humorous touches, Koistinen taking his new found love to a rock concert is a great example, but overall there is an air of despair to it. True love and friendship are ignored only to be replaced by the false promises of his rather strange femme fatale.\r\n\r\nI enjoyed Lights in the Dusk tremendously and went straight from seeing this to watching Royston Tans 4.30, which totally surprised me with its artistry and subtlety in comparison to his earlier films. It ended up as one of those very rare, truly engrossing evenings at the cinema. \r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG.','7a34d76cefe9534699567d75ed83937e',0,'','7DeNkx2S',1,0,'',0,0,0),(8865,1617,3,1,0,'69.120.114.47',1193369040,1,0,1,1,1,1,'arsaib4','Re: Lights in the Dusk (2006) (Finland / Germany / France)','LIGHTS IN THE DUSK \r\n\r\n*a 2007 (U.S.) Release*\r\n\r\n\r\n\r\nUnemployment, homelessness, loneliness -- abstract entities that could be regarded as being reticular since one often stems from another before itself acting as a modifier, thus forming a network of hopelessness and despair. While most of Aki Kaurismkis work grounds itself with such thematic concerns, his so-called Finnish/loser trilogy has been successful in advancing the issues to the forefront -- individually, that is. The first installment of the trilogy, Drifting Clouds (1996), dealt with unemployment, the second, The Man Without a Past (2002), portrayed homelessness. In Lights in the Dusk (Laitakaupungin valot), the darkest, minimalist, and arguably the best of the three, the emphasis is placed on solitude. \r\n\r\nKoistinen (Janne Hyytiinen) is a lonely security guard who works the night shift at a high-end shopping mall in Helsinki. His bosses do not care to remember his name; his co-workers do their best to avoid him. Koistinen literally feels out of place anywhere he goes. His only friend in this disconnected, postmodern milieu appears to be a woman (Maria Heiskanen) who runs the fast-food van near his residence. Ostensibly resigned to lifes disparities, our hapless, hangdog protagonist nonetheless retains hope that he will be able to start his own business some day. And that desire remains even after he gets set up by a beautiful blonde (Maria Jrvenhelmi) and her crooked, granite-faced boss with mobster ties and ends up in the pen. \r\n\r\nLights in the Dusk may be the most overt film noir Kaurismki has attempted since 1990s I Hired a Contract Killer, but its a meticulously refined, stripped-down version of one. (The proceedings unfold with an almost Bressonian austerity.) The Finnish filmmakers trademark deadpan humor is also only sparingly employed (a highlight: How was [prison], Koistinen is once asked, We couldnt get out... All doors were locked -- Bang!). Conceptual influences and visual references abound (All About Eve [1950], Melville, Edward Hopper), and inundated with an eclectic soundtrack (Finnish tango, Gardels Volver, garage rock), another Kaurismki specialty, this reticent yet moving 78-minute effort proves the old adage that its always great to be in the company of an auteur, even when you know whats coming.\r\n\r\nGrade: A-\r\n_________________________\r\n\r\n*The film had its international premeire at Cannes \'06 (in-competition).\r\n\r\n*Now available on DVD in the U.S. (Strand Releasing) / U.K. (Artificial-Eye).\r\n\r\n*Related: Aki Kaurismki THREAD.\r\n_________________________\r\n\r\n[Edit]: Grade (2nd viewing)','967cdd3020e839e53f4158e354226690',0,'','Mghy0EKX',1,0,'',0,0,0),(8866,1618,3,1,0,'69.120.114.47',1192662120,1,0,1,1,1,1,'justindeimen','Pleasure Factory (2007) (Singapore)','courtesy of mx\r\n\r\nReview: \r\n\r\nEkachai Uekrongtham converses in Tsai Ming-liangs pensive language of melancholia, and unimpressively disintegrates into a laborious simulacrum of aimless pomposity. Made in Singapores most prominent and indiscreet red-light district, Pleasure Factory aims to upset our expectations, with the films clunky title telling all. It takes our countrys most fertile source of iniquity and penitential slaughterhouse of post-coital repasts, and then picks away at it with alarming anaemia. \r\n\r\nWhile a stoic stud paces outside the door of an adolescent damsel and an amorous john, a flustered cadet is canvassed by a troop of whores in a darkened alleyway; elsewhere a leggy strumpet uniformly bounces in a convertible as a furled salivating sluggard occupies her. It all smells like societal entropy. Uekrongthams postured film techniques evocates the malaise of afflicted individuals over a single nights sojourn, in the bustling den of ephemeral pleasures called Geylang, cloistered by (as his camera frequently pans up to) the countrys well-behaved suburbia. Uekrongtham is eager to provide the reflections of this subsection for other capers as well by intertexting the films prose with unneeded mockumentary inserts that only serves to sully the enigma surrounding its patrons and curdling its attempted lyricism. \r\n\r\nSleaze is poignant in Pleasure Factory, its camera sensualises the commodity of flesh by leering and lingering over its nudity a surprisingly fair amount of equal opportunity bareness. Indecision may or may not be its characters problem as the film emphasises the streaks of unhappiness and contentment its dwellers feel, the surging romanticism of loneliness abated coupled with the revulsion of banal commerce. There\'s a smidgen of directorial scopophilic pleasure derived here when lecherous old men are violent sadists, as the camera turns quickly away to leave us at the mercy of their repulsive grunts, but lovingly caresses the glistening skin of its younger clientele and comparatively more willing ladies of the evening. \r\n\r\nUekrongthams refusal of order and sense is extended not only to his storys flow but to his camera as well. It shoves up close to its characters, with a lack of spatial awareness in the film that seems to have been mistaken for heightened intimacy that ends up being claustrophobic. However, it is consistent in its hysterics and over-wrought touches of melodrama that remain spineless in its obstinate elliptical narrative strands that tenuously crisscross, especially the evidently butchered gay subplot that would have probably served the film better completely excised. \r\n\r\nThe urban cages of Geylang deserve its long overdue representation but the message is hazy in Uekrongthams film. Its not as transgressive as it supposes, mostly because its so declaratively derivative and detached in its artifice that, unlike its obvious influence, it can never truly express the disenchantment and desperation of its denizens.','9bd1dc0965c5015bb32676ff95f55db7',0,'','Ht1b9KLm',1,0,'',0,0,0),(8867,1619,3,1,0,'69.120.114.47',1192640700,1,0,1,1,1,1,'justindeimen','Moliere (2007) (France)','edited by admin \r\nTitle: Molire to Moliere \r\n\r\nReview: \r\n\r\nLaurent Tirards costume comedy Molire finds comparison with Shakespeare in Love rather easily, and perhaps most dauntingly, to its legendary subjects own durable narratives. But while theres not as much details missing from the 17th-century French playwright Moliere\'s (Romain Duris) life as there was in Shakespeares, theres still ample room for a fanciful imagination and conjecture. \r\n\r\nThe window is small, for Tirard and co-writer Grgoire Vigneron to present the missing weeks of Molires life after his brief imprisonment for not paying his debts, just before he embarked with his troupe on a 13-year tour of the French provinces before his triumphant return to the theatre scene in Paris. The driving point in this film, as it was in Shakespeare in Love, is how great art tends to imitate life and how muses tend to stem from elaborate romances, which in this case is Molires torrid affair with the wealthy Monsieur Jourdains (Fabrice Luchini) wife Elmire (an enthralling Laura Morante). \r\n\r\nTirards first salvo and indeed the one that sustains its premise throughout the end, is his understanding that a film about Molire has to be a farce, an important element that shapes his later and most important works when romance, gender politics and the moral bankruptcy of the French aristocracy become his staples. As a staunch tragedian, he gets an early education in the deviancy of the social class from the misguidedly smitten Jourdain who picks him out from his cell to help him perfect his self-written play to impress the blueblood snob, Climene (Ludivine Sagnier). But Molire, for all its charm and spirited performances does play rather loose in its opening hour, setting up the strands to be tangled in its second half. The modern transposition of the ringing hypocrisy of the rapacious upper class and eager capitalists ingratiating themselves into a privileged circle offers up its most scintillating prospects. \r\n\r\nNonetheless, flawed in his initial insistence of tragedy as the spirit of true art, it would seem that while Molires life is a stage, hes not yet in on the act. Duris plays his character with an insinuating intelligence, cynically wearing a scowl on his face but a twinkle of hope in his eyes, all with a precise intensity that threatens to spill over. A hard sell for a light comedy bordering on fluff, but Molire plays the crucial role of the straight man in his own farce. Theres no sombre reverence to Molire and his work, though the film hints at the genesis of his later plays through overtly familiar circumstances, making it a more fruitful experience for those intimate with his works.','a987c69161a77ce7e30e3e68b7d947f6',0,'','KAudZR95',1,0,'',0,0,0),(8868,1619,3,1,0,'69.120.114.47',1206799500,1,0,1,1,1,1,'justindeimen','Re: Moliere (2007) (France)','Hmm, seems like accented letters have disappeared since the upgrade.','8ae76129cc895fce8404f7670955d68b',0,'','4WkgZ7pm',1,0,'',0,0,0),(8869,1619,3,1,0,'69.120.114.47',1206819840,1,0,1,1,1,1,'R6dw6C','Re: Moliere (2007) (France)','I noticed that with disapproval, too. But it wasn\'t exactly better at ezboard, some were already impossible then.','f3cd30b04ce73d1d1962a5ed217202cd',0,'','CNKQWcm8',1,0,'',0,0,0),(8870,1620,3,1,0,'69.120.114.47',1188636900,1,0,1,1,1,1,'arsaib4','Malaysia: The Beautiful Washing Machine (2004)','.','5058f1af8388633f609cadb75a75dc9d',0,'','MjJKr1sB',1,0,'',0,0,0),(8871,1620,3,1,0,'69.120.114.47',1188697020,1,0,1,1,1,1,'arsaib4','Re: Malaysia: The Beautiful Washing Machine (2004)','THE BEAUTIFUL WASHING MACHINE (Malaysia / 2004)\r\n\r\n*A 2007 (U.S.) Release*\r\n\r\n\r\n\r\nMalaysian \"independent\" cinema is on the rise. The talented and diverse group of young filmmakers -- including Ho Yuhang, James Lee, Yasmin Ahmad, Woo Ming Jin, Tan Chui Mui and, the highly collaborative DV movements figurative head, Amir Muhammad, who, as his name suggests, is a \"Malay,\" while most of the others listed are Chinese Malaysians -- who for the past few years were slowly making inroads at the second and third-tier Asian and Euro fests have recently broken through at the likes of Rotterdam, Berlin and Vancouver. And now one has even reached U.S., albeit on home video. Ironically surreal, 33-year-old James Lees The Beautiful Washing Machine (Mei li de xi yi ji) feels very much like a film from Tsai Ming-liang (who, as some of us already know, was born in Malaysia). In the film, Tsai-esque motifs of urban alienation and isolation get channeled via meticulously composed (extended) takes, an ambient and atmospheric soundscape, deceptively complex characters, emphasis on quiet, real-life moments. \r\n\r\nThe first half of the film primarily concerns itself with a lonely office worker, Teoh (Loh Bok Lai), who\'s recently been dumped by his live-in girlfriend. Sick of washing clothes by hand, Teoh goes out to purchase a washing machine, and ends up buying a used, traded-in model with no possible warranty or replacement parts. After developing a peculiar bond with the unit, one night Teoh discovers a young woman (Len Siew Mee) sitting next to it (is she the machines human equivalent?). Like Tsais Taipei, Lees Kuala Lumpur emerges as a distressed and depopulated city where communication is at a premium, a condition Lee, in a fashion similar to his Taiwanese counterpart, finds a way to imbue with an ironic, deadpan sense of humor. The slightly less compelling second half switches to a solitary middle-aged man (Teoh Kah Yong) with a fetish for gay porn and masks. Hes the owner of the same green-colored, perpetually malfunctioning model. The young woman appears in his house, too. As Lee symbolically imparts, her role, a woman\'s role, is already defined by the society she lives in and, much like the washing machine, it\'ll continue to be recycled.\r\n\r\nGrade: B\r\n_______________________','2654b51ed095d95ea1cf3ab71144ced2',0,'','t5kaF3xX',1,0,'',0,0,0),(8872,1620,3,1,0,'69.120.114.47',1188728760,1,0,1,1,1,1,'hengcs','Re: Malaysia: The Beautiful Washing Machine (2004)','Hey, \r\nI am surprised you watch this film ...\r\n\r\nReason: I think it did win some award ...','1fb5ae30432c03d2d6fbfc6261f181ea',0,'','gQwbcRaC',1,0,'',0,0,0),(8873,1620,3,1,0,'69.120.114.47',1188782220,1,0,1,1,1,1,'arsaib4','Re: Malaysia: The Beautiful Washing Machine (2004)','Among others, the film garnered the FIPRESCI Prize at Bangkok. Have you seen it, hengcs?\r\n\r\nThe U.S. DVD was issued by Facets Multimedia. Compared to a few of its other releases, the transfer is relatively good. Extra features include a music video, trailer, and stills.','d8cf23bd620b07b99dbd369c577a3f07',0,'','s9NnbkVB',1,0,'',0,0,0),(8874,1620,3,1,0,'69.120.114.47',1190129040,1,0,1,1,1,1,'hengcs','Re: Malaysia: The Beautiful Washing Machine (2004)','Hmmm, \r\nI wanted to catch it, but just no time ...','7313f9ebfead5afb47c08d3e80d4ce15',0,'','NxUVjwz0',1,0,'',0,0,0),(8875,1620,3,1,0,'69.120.114.47',1190182380,1,0,1,1,1,1,'arsaib4','Re: Malaysia: The Beautiful Washing Machine (2004)','Have you seen any films by Ho Yuhang and Yasmin Ahmad?','895adf28a4460eeb91a0be5275997855',0,'','A0Lyjak3',1,0,'',0,0,0),(8876,1621,3,1,0,'69.120.114.47',1175358720,1,0,1,1,1,1,'hengcs','Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','Director: Yasmin Ahmad \r\nCast: Mohd Syafie Naswip, Sharifah Aryana \r\n\r\nThe film garnered Deutsches Kinderhilfswerk Grand Prix and Glass Bear - Special Mention in Berlin International Film Festival 2007 \r\n\r\nThe director had 2 other films previously \r\n-- Sepet \r\nwww.imdb.com/title/tt0433692/ \r\n-- Gubra \r\nwww.imdb.com/title/tt0484355/ \r\n\r\nMeanwhile, you may go to her blog \r\n\r\nThe Making of Mukhsin, Part 1: The poem that influenced the flavour of the film. \r\nClick \r\nyasminthestoryteller.blog…-film.html \r\n\r\nThe Making of Mukhsin, Part 2: The memories that shaped the structure of the story. \r\nClick \r\nyasminthestoryteller.blog…-that.html \r\n\r\nThe Making of Mukhsin, Part 3: The flavour of green tea over rice. \r\nClick \r\nyasminthestoryteller.blog…ur-of.html \r\n\r\nPS: well … \r\nsince we do not have many films from Malaysia on this board, \r\nI will try to write this over the next two days … \r\n\r\n(I think we only have \r\n-- The Last Communist \r\n-- Princess of Mount Ledang (gone when ezboard revamped)) \r\n\r\n;)','4dc8ed87dd0834d2fdeb90748aa625da',0,'','aS7ztuoU',1,0,'',0,0,0),(8877,1621,3,1,0,'69.120.114.47',1191910320,1,0,1,1,1,1,'arsaib4','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','Pusan: French distributor Les Films du Preau has acquired all rights to Yasmin Ahmad\'s Mukhsin, making it the first Malaysian film ever to be sold to France.','c2a7220664b56811e2b8a14fdb59331b',0,'','EV4ePXmi',1,0,'',0,0,0),(8878,1621,3,1,0,'69.120.114.47',1192594920,1,0,1,1,1,1,'hengcs','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','The following posts were \"moved\" from the thread on The Beautiful Washing Machine \r\n\r\nOriginally posted by arsaib4 (9/18/07 11:13 pm)\r\n\r\nHave you seen any films by Ho Yuhang and Yasmin Ahmad? \r\n\r\nOriginally posted by hengcs (9/20/07 1:00 am)\r\nHi,\r\n\r\nyes. \r\n\r\ni have watched films by Yasmin Ahmad.\r\n-- Sepet ... (i told my friend when we were in the DVD shop, and he immediately bought the DVD becos it seems to tell of his story, a Chinese man in relationship with a Malay girl)\r\n-- Gubra\r\n-- Mukhsin ... (the director was even in attendance on her own)\r\n\r\nThe last of the trilogy is actually the \"prequel\" to the other two. I thought the young girl looks like the older girl in the first two films ... Guess what, I later realize these girl are actually sisters in real life ...\r\n\r\nas for films by Ho Yuhang\r\n-- i have the DVD for Rain Dogs, \r\n\r\nbut as usual, i have NO time to watch ...\r\n\r\nOriginally posted by arsaib4 (9/22/07 8:06 pm)\r\n\r\nHey, that\'s good to hear. I bet Sepet didn\'t go over particularly well with the authorities.\r\n\r\nThe film I\'m most interested in however is Ho\'s Rain Dogs. I\'ve considered purchasing it on a couple of occasions but I\'d still like to know more about it. Please share your thoughts if you get an opportunity to watch the DVD. \r\n\r\nOriginally posted by hengcs (9/24/07 12:49 am)\r\n\r\nIn Singapore, we advocate racial harmony ...\r\n\r\nSo, I think all 3 films were okay with the local authorities ...\r\nanyway, just to be doubly sure, I will verify whether there is any edited scenes ...\r\n\r\nSepet - to be verified\r\nGubra - Passed without cut(s)\r\nMukhsin - Passed without cut(s)\r\n\r\nHer NEW film \"Muallaf\" also has controversy\r\nclick\r\nin.news.yahoo.com/070629/137/6hiqw.html\r\n\r\nAnd I have just realized that I used to have a post on her in THIS board ...\r\n\r\nOriginally posted by arsaib4 (9/24/07 6:30 pm)\r\n\r\nI meant more in terms of a reaction rather than actual cuts, though that also qualifies. Thanks for the link; the article certainly sheds some light on the situation. I\'ll add Mukhsin to the index. You could perhaps add a few comments when you have some free time. \r\n\r\nOriginally posted by hengcs (9/24/07 8:07 pm)\r\n\r\nBecause I was in US when Sepet was screened in Singapore,\r\nother Singaporeans have informed me that ...\r\nSepet - Passed without cut(s)','e16e10fc68c1b409ffdb40596e02e016',0,'','9GNeiqsg',1,0,'',0,0,0),(8879,1621,3,1,0,'69.120.114.47',1192595220,1,0,1,1,1,1,'hengcs','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','The poster of controversial film Muallaf\r\nclick\r\nwww.sgfilm.com/forum/view...php?t=6188\r\n\r\nThe synopsis of Muallaf (i.e., possible spoilers)\r\nclick\r\nyasminthestoryteller.blog...opsis.html','d9a175fff8fdfe24d92a182392abf66d',0,'','yseExpfk',1,0,'',0,0,0),(8880,1621,3,1,0,'69.120.114.47',1203998280,1,0,1,1,1,1,'hengcs','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','I have watched the trilogy over the weekend. \r\n- Sepet \r\n- Gubra \r\n- Mukhsin \r\n\r\nThe director was there for all three films. \r\n\r\nIMHO, \r\n\r\n- Sepet \r\nComments: the best amongst the three films ... in particular, the ending is gonna make many talk. It is a film about \"possibilities\" rather than highlight the \"challenges\" that are prevalent in many inter racial relationships. Yet, it is not true that one cannot sense its impossibilities ... the plot, the lines may give some of that away ... is the film great? well, if at the end of the film, you are rooting for the couple to be an item, the director has bought you over regarding this inter racial relationship ... however, if at the end of the film, you are not rooting for them to be an item, what can we say?! \r\n\r\n- Gubra \r\nComments: the sequel to Sepet ... the most ambitious of the three films ... there is another parallel story (abt a prostitute) ... you may choose to believe that both stories are disconnected or there is a link ... after all, the director does not seek to make them meet/coincide in any scene ... as usual, although the director claims not to have intentionally make controversial films ... but with the story involving religion and race ... some scenes are gonna make people talk ... \r\n\r\n- Mukhsin \r\nComments: the prequel to Sepet ... the most consistent of the three films (in terms of mood and style) ... hmmm ... a more subtle film, a film that makes you reminisce about the past or the good old days ... maybe the \"coy\" asians (or the artsy audience) will prefer this film better ... it has also interesting takes on the \"cycle\" of life ... the young cast is great ... so is the caning scene ... ha ha ha \r\n\r\nPS: you will see the two protagonists in Sepet appearing in ALL three films ... worth thinking why ... \r\n* possible spoiler * \r\nmaybe the director wants them to be together ... \r\nso, in Gubra, they reunite at the end ... \r\nso, in Mukhsin, they even have a kid together ... \r\n* end of possible spoiler *','4a66c3a520684c9442a31fab8c2a96bb',0,'','M39Xapdj',1,0,'',0,0,0),(8881,1621,3,1,0,'69.120.114.47',1204012860,1,0,1,1,1,1,'arsaib4','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','... maybe the \"coy\" asians (or the artsy audience) will prefer this film better... \r\n\r\nInteresting.','298854746f97a59c5fb707a4655a8056',0,'','WyCULe3G',1,0,'',0,0,0),(8882,1621,3,1,0,'69.120.114.47',1204017420,1,0,1,1,1,1,'justindeimen','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','I also agree that the first film is probably the best of the three. One minor complaint I have with Ahmad\'s films is that her films always seem so self-conscious of their \"cinematicism\" and are always in search of that \"authentic\" moment in a film. It does tend to make me feel like I\'m watching a director still trying to discover something heartfelt and original rather than regurgitating what could be memorable moments films that she might have seen or paying tribute to her favourite directors. I\'m not sure if I\'m making much sense but what I\'m basically trying to say is that I get the sense that some of her genuine moments feel forced and made to order. It\'s all in the framing I guess, it feels like it\'s being \"presented\" to me rather than just being an organic part of the film, which is still no doubt personal to any director. That would really have to be my primary problem with her trilogy of films, that while I like, I never seem to be able to adore. \r\n\r\nThe reason I have these concerns, particularly for these films and not many others is that, films like these seem so ethereal in a sense and straddle lines of consciousness and dreamlike idealism while shuffling it with political resonance so they are more delicate than usual.','fcd2eb05b1d2e9d6f82659dea1b24bc4',0,'','ale84HTr',1,0,'',0,0,0),(8883,1621,3,1,0,'69.120.114.47',1227505620,1,0,1,1,1,1,'hengcs','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','Muallaf will be screening in Singapore commencing this Thursday. \r\nI will give you a review soon. \r\nIt is controversial again. \r\n\r\nclick \r\nhttp://yasminthefilmmaker...-week-before-muallaf.html','25c52b5e5b14a4ce3917393a2dccfe7d',0,'','xk25ybsd',1,0,'',0,0,0),(8884,1621,3,1,0,'69.120.114.47',1227977760,1,0,1,1,1,1,'hengcs','Re: Sepet (2004); Gubra (2006); Mukhsin (2007); Muallaf (2008) (Malaysia)','I have just watched Muallaf ... \r\nThe director and all the main cast are here in Singapore \r\n\r\nWill write more soon ...','c473d681f29c1385e1105171af4cac9a',0,'','eF17WhzY',1,0,'',0,0,0),(8885,1622,3,1,0,'69.120.114.47',1192435680,1,0,1,1,1,1,'hengcs','Hunting and Gathering (Ensemble, c\'est tout) (2007) (France)','\r\n\r\nDirector: Claude Berri\r\nCast: Audrey Tautou, Guillaume Canet, Laurent Stocker\r\n\r\nSynopsis\r\nBased on the novel by Anna Gavalda, it explores the relationship, changes, etc among 4 different people (Camille, Philibert, Franck, and Paulette) who get to stay under one roof eventually. It reveals the fragility of people as well as the strength in them ...\r\n\r\nMy thoughts\r\n\r\nWhat I like ...\r\n\r\n-- IMHO, the few stealing scenes all belong to the same actor (i.e., Guillaume Canet) ...\r\n(i) when he first had a reasoning session/argument with his grandmother\r\n(ii) when he had his rows with Camille\r\n(iii) when he went out in the morning to be alone by himself \r\n* very heart wrenching indeed *\r\n(iv) the airport scene at the end ...\r\n\r\nPS: you either credit the actor for an amazing job or you credit the director/scriptwriter for making his role so prominent ...\r\n\r\n-- There are numerous comical scenes/lines\r\n(i) (since few pple are mentioning it, i will highlight her role first), \r\ni.e., one of the cleaners (i.e., colleague of Camille)\r\n(ii) of course the grandmother (for her quirkiness and attitude)\r\n(iii) and Philbert... \r\n\r\nWhat I thought could be better ...\r\n\r\n-- Very humbly, I am not sure if the director did the book justice (which I have not read) ... My only problem with the film is ... although it is only about 97 minutes, I actually feel that the film is \"long\" ... \r\n\r\n-- there are good moments, but they are rather scattered ...\r\n\r\nConclusion\r\nAbove average. I am interested in your views too ...','3d458790beb1da46285f4b9ad12a70e0',0,'','lFAEnwBJ',1,0,'',0,0,0),(8886,1623,3,1,0,'69.120.114.47',1175083920,1,0,1,1,1,1,'trevor826','Into Great Silence / Die Groe Stille (2005)','Into Great Silence / Die Groe Stille (2005/France / Switzerland / Germany)\r\n\r\nDirected by Philip Grning\r\n\r\nWinter, Spring, Summer, Autumn and Winter\r\n\r\nMade with many conditions attached, Philip Grnings documentary conveys a year in the life of the Carthusian monastary of the Grande Chartreuse, sitting silently and contemplatively in the French Alps. \r\n\r\nThe conditions imposed meant that no artificial light, no background music, no interviews, no commentary and no other crew could be used. Because of these restrictions the viewer is faced with almost 3 hours of virtual silence, only broken by the Gregorian chants, the general sound of movement of the monks and the tolling of the bells.\r\n\r\nVisually the camera uses the available light to great effect, particularly when used with extreme close-ups in dimming light, the picture comes across almost like a moving pointillist painting, quite beautiful in its own way. Its only with regard to the more general and outdoor shots which seem dull in comparison that you get a true sense of the isolation and claustrophobic feel of the monastary.\r\n\r\nBeing almost entirely self sufficient, the order has its own workshops, laundry, barbers and gardens, the younger initiates carry out the hard labour of log chopping etc while the older monks deal with the lighter work, all of this needs to be fitted around their continuous prayers and studies. Once a week they take a walk outside, still remaining totally detached from society though it does give them an opportunity to communicate with each other. \r\n\r\nThe repetitive nature of the monks existence is caught perfectly, prayer, reading, chanting, prayer, day after day, week after week, month after month and year after year. the seasons change but the song remains the same. Its like a time capsule with a routine that has probably been virtually the same for hundreds of years. As such this film serves as a wonderful advertisement for the monastary and anyone who has the compulsion to share this lifestyle. If you can watch this and still feel the desire to cut yourself off from society living the at times harsh and always repetitive lifestyle of a monk then you will probably last the course, unlike the 80% of novices who leave the order. \r\n\r\nA spiritual and devout existence without a doubt but for me it felt more like Hell than Heaven, a self imposed prison sentence, a hermit like existence. If I felt the need to serve God as these men obviously do, then Id rather be working with people to help others, if there is a God, I would hope he\'d rather we give our lives to aiding those in need rather than devoting our lives to praising his name. \r\n\r\nA surprisingly packed theatre for Into Great Silence, on average you would be lucky to see 20 people at a matinee screening but there were at least double that number. Though nobody left during the film, the silence was broken several times by loud snoring. \r\n\r\nCheers Trev.','8eff01d0f79425f84de9ebdf6ad35f2d',0,'','2qNCJUQD',1,0,'',0,0,0),(8887,1623,3,1,0,'69.120.114.47',1175128320,1,0,1,1,1,1,'hengcs','Re: Into Great Silence / Die Groe Stille (2005)','I wanted to watch this during our German Film Fest last year,\r\nbut due to clashes, I forsake this ...','37427efc8ef73461f4f5a81a79b88d8a',0,'','VPanYxfR',1,0,'',0,0,0),(8888,1623,3,1,0,'69.120.114.47',1175169720,1,0,1,1,1,1,'trevor826','Re: Into Great Silence / Die Groe Stille (2005)','I didn\'t have a problem with the running time, though I\'m glad I don\'t wear a watch. But I felt the overall structure could have been better, too many snippets rather than full scenes, even with the Gregorian chants, you were getting little samples rather than the whole.\r\n\r\nThe perfect person for a documentary like this, to capture the essence, the scenery, the ambiance, would have been Terrence Malick. Then we may well have had a work of art rather than an engrossing but ultimately flat record of the life of this monastary.\r\n\r\nCheers Trev.','043bd9237a64875f76d178cf5c906c81',0,'','R5zoYQrw',1,0,'',0,0,0),(8889,1623,3,1,0,'69.120.114.47',1175241720,1,0,1,1,1,1,'arsaib4','Re: Into Great Silence / Die Groe Stille (2005)','Thumbs down, then?\r\n\r\n\"A spiritual and devout existence without a doubt but for me it felt more like Hell than Heaven, a self imposed prison sentence, a hermit like existence.\"\r\n\r\nWas this how Grning viewed it as well?\r\n\r\nI believe I quoted this film earlier in the German Cinema thread. It was released a few weeks ago in the U.S. I might just wait for it to appear on DVD.','d3d9965c6273652d4545ab245f9d982a',0,'','1HixL46p',1,0,'',0,0,0),(8890,1623,3,1,0,'69.120.114.47',1175274060,1,0,1,1,1,1,'trevor826','Re: Into Great Silence / Die Groe Stille (2005)','Not a thumbs down but a film I\'m unlikely to watch again, it works very well as a record of the life of the monastary and is at times quite artistic. The change in seasons is caught well though it makes very little difference to the monks, apart from a slight bit of fun in the fresh snow.\r\n\r\nOne interesting and for me a somewhat surprising point was the age range of the monks, surprising because there were a fair few men in their 20\'s and 30\'s whereas I\'d have thought that most if not all of them would have been far older.\r\n\r\nA thumbs up just for the sheer efforts that Grning went through just to get the film made but I think that with the 120+ hours of film he captured during his stay, I feel the editing could have been better.\r\n\r\nCheers Trev.','c686dd9ea3fb0af2ea586cf21aced3fd',0,'','GYZFPNnk',1,0,'',0,0,0),(8891,1623,3,1,0,'69.120.114.47',1175274600,1,0,1,1,1,1,'justindeimen','Re: Into Great Silence / Die Groe Stille (2005)','How would this relate to something fictionalised but the nonetheless faithful depiction of Diary of a Country Priest?\r\n\r\nI enjoyed the Bresson and watching an actual documentary about this seems intriguing to me.','f1ecc430e94d08b624185169e054d380',0,'','iE53vuCq',1,0,'',0,0,0),(8892,1623,3,1,0,'69.120.114.47',1175283360,1,0,1,1,1,1,'trevor826','Re: Into Great Silence / Die Groe Stille (2005)','Dare I admit it? I\'ve never seen Diary of a Country Priest yet, shameful but true. \r\n\r\nCheers Trev.','e3b71f28eb5f5fd1a3880424c8681232',0,'','7bWNpckZ',1,0,'',0,0,0),(8893,1623,3,1,0,'69.120.114.47',1175284080,1,0,1,1,1,1,'justindeimen','Re: Into Great Silence / Die Groe Stille (2005)','No worries. I have been busy myself with contemporary films and possible future masterpieces. With that film, I saw the Criterion on sale and still had to think about acquiring it.','fc5d241d7f02d59518f214dbd2c6c46d',0,'','sfDFg0aH',1,0,'',0,0,0),(8894,1623,3,1,0,'69.120.114.47',1186426740,1,0,1,1,1,1,'trevor826','Re: Into Great Silence / Die Groe Stille (2005)','Dvd update.\r\n\r\nThe R2 release has 2 discs, the first for the 164 min film and as if that wasn\'t long enough, the second disc contains around an extra 100 minutes of additional scenes.\r\n\r\nOther extras include:\r\n\r\nSound Gallery 38 mins\r\nStills Gallery 110 images\r\nPoster Gallery\r\n\r\nMaking of doc\r\nCritical response\r\nThe Carthusian way of life.\r\n\r\nA solid collection from Soda Pictures.\r\n\r\nCheers Trev.','bbd0c3c1582d3c8e21812cfbb8a46d65',0,'','fa4tniNz',1,0,'',0,0,0),(8895,1623,3,1,0,'69.120.114.47',1192427580,1,0,1,1,1,1,'arsaib4','Re: Into Great Silence / Die Groe Stille (2005)','Philip Grning\'s Into Great Silence is scheduled to be released on Oct 23rd (Zeitgeist Video).\r\n\r\nTHE DIRECTORS TWO-DISC SPECIAL EDITION\r\n\r\nDISC ONE, THE FILM:\r\n\r\n*Breathtaking 16:9 anamorphic transfer, created from hi-def elements\r\n*U.S. theatrical trailer\r\n*Optional English subtitles\r\n*Dolby Digital 5.1 soundtrack\r\n\r\nDISC TWO, SPECIAL FEATURES:\r\n\r\n*Making-of dossier, with behind-the-scenes footage and handwritten notes from the monks\r\n*Additional scenes, including a piece on the Carthusians world-famous Chartreuse liqueur\r\n*Night Office: A 53-minute excerpt of the monks nightly ritual of psalms, lauds and matins\r\n*The Carthusians: An informative guide to the history, rules, architecture, art and daily schedules of the monks and the monasteries\r\n*Extensive photo and audio galleries\r\n*Video statement by Cardinal Poupard, President of the Pontifical Council for Culture at the Vatican\r\n*Also: Essays by the director on the film, its genesis and the Night Office','e44961d1f2f71c81a10b796ca69aa644',0,'','mL4AaZSf',1,0,'',0,0,0),(8896,1624,3,1,0,'69.120.114.47',1170335580,1,0,1,1,1,1,'arsaib4','Bruno Dumont\'s Flanders (France / 2006)','*A 2007 (U.S.) Release*\r\n\r\n\r\n***possible spoilers***\r\n\r\nIn a recent interview, French filmmaker Bruno Dumont succinctly described his cinema as \"physical,\" before going on to state that \"it eliminates everything to do with the intellect -- speech, explaining, analyzing -- to limit itself to desires, very immediate things, like desire, rivalry, jealousy and envy. I work with that.\" And that he certainly does, proved by his first three features: The Life of Jesus (1997), Humanit (1999), and Twentynine Palms (2003). But instead of reinforcing the operatic essence of those \"desires,\" Dumont employs minimalism in order to gaze inward before factoring human beings down to their most primary. Besides formal techniques, the use of non-professional actors in naturalistic settings helps him accomplish his task.\r\n\r\nMuch like his first two efforts, Dumonts latest, Flanders (Flandres), was shot in his hometown of Bailleul in Northeastern France. Bailleul is nothing like the idyllic French towns so often seen in films. Here called Flanders (the blanket evolving term for the region), its dark and gray, marked by harsh, desolate landscape and, for the most part, unattractive people. \"When you film a landscape, it represents the characters interior mood,\" Dumont has said, and the films protagonist, Andre Dmester (Samuel Boidin), a rugged, introverted young farmer is certainly in a discomforting place. If the shots of overcast skies and brittle tree branches epitomize his emotional state, then his mechanical, lifeless existence is captured with the churning blades of his tractor. The sex he has with a fragile, promiscuous local gal, Barbe (a very good Adlade Leroux), is also perfunctory and emotionless. It becomes obvious, however, that Barbe does hold some feelings for Dmester, even though she doesnt know what to expect back from this recluse. He, on the other hand, is perhaps intimated by her beauty, and feels unworthy of her. But he doesnt quite realize that this behavior from him is part of the reason why she constantly searches for new escapades. One night at a bar, she picks up a handsome local, Blondel (Henri Cretel), in front of Dmester, later @#%$ him in full view outside in the parking lot. It turns out that both Blondel and Dmester belong in the same military division, as theyre shortly sent off to fight a war (our protagonist doesnt know which one).\r\n\r\nNor do we ever learn about this \"war,\" which takes place in a desert landscape against individuals who look \"Middle Eastern.\" And thats precisely because Dumont didnt want the proceedings to turn political (though thats easier said than done). He wanted to focus on these men, the soldiers who have little to no grasp of the overall context of the situation, yet there they are in the most extreme conditions, doing whatever they can to survive. While staging convincing (and logical) military action and protocol may not be Dumonts forte, it\'s almost besides the point (similar to what the police procedural from Humanit was). This allows the filmmaker to simply move from one \"situation\" to another, focusing on the ever-assertive Bestiality of Man. And for better or for worse, unlike, say, an Eastwood or a Cronenberg, Dumont doesnt allow any room for contemplation; it seems as if to him its simply a given. After brutally murdering two youngster who may or may not have ambushed them earlier, the men gang rape a young girl who may or may not have been a combatant. Not that it wouldve made a difference: \"A hole is a hole,\" someone mutters. Meanwhile, the \"hole\" Dmester and Blondel (and others) left behind at home begins to cause problems for Barbe, the news of which ultimately reaches the duo, not long before theyre captured for their indiscretions.\r\n\r\nMore practical than poetic in totality, Flanders is arguably the most accessible film Dumont has made thus far. That could perhaps be taken both as a positive and a negative. While the filmmaker manages to bring his point home, the less than compelling third act of the film feels mechanical in a familiar sort of way. It also suffers from simplistic exposition heretofore unheard in Dumont films. But amidst the turbulence, he\'s able to find a moment quite remarkable and unique. Some may call it a compromise; others might refer to it as a progression. But considering that it emanates in a Dumont film, it feels subversive all the same.\r\n\r\nGrade: B-\r\n__________________________\r\n\r\n*FLANDERS premiered at the 2006 Cannes Film Festival (in-competition). It won the Grand Prix. \r\n\r\n*The U.S. DVD (Koch Lorber) is scheduled to be released on Nov 6th.\r\n__________________________\r\n[Edit]Added Grade/DVD info','bb59eb6bde3514e446260c548d0376a3',0,'','EtmSA4y8',1,0,'',0,0,0),(8897,1624,3,1,0,'69.120.114.47',1188569040,1,0,1,1,1,1,'trevor826','Re: Bruno Dumont\'s Flanders (France / 2006)','I saw Flanders last night but then had the misfortune to read arsaib4\'s review.\r\n\r\nWhy misfortune? Because there is absolutely nothing I can add that wouldn\'t be reiterating his comments albeit with less of a flourish. \r\n\r\nDefinitely the most accessible film from Dumont though still way off from mainstream, I wasn\'t entirely convinced by his male lead as his performance (or lack of) felt forced at times, Adlade Leroux was more impressive, though certainly no milie Dequenne (Rosetta). \r\n\r\nJust a small point to ponder, Flanders was an area known as the killing fieds during the First World War, thousands upon thousands died in the grey stinking mud and trenches. \r\n\r\nWas the title and the war part of the story itself some sort of allegory to the pointless deaths upon those fields upto and including the needless killing going on at present in the Middle East and humanity\'s inability to move on. Or am I reading too much into it? \r\n\r\nAfter all, the First World War was described as \"the war to end all wars\".\r\n\r\nCheers Trev.','d199a7988ba3b4dbbcce28c9f630708a',0,'','nsweGLNB',1,0,'',0,0,0),(8898,1624,3,1,0,'69.120.114.47',1188613680,1,0,1,1,1,1,'arsaib4','Re: Bruno Dumont\'s Flanders (France / 2006)','I considered employing a \"Dumont for Dummies\" metaphor but wasn\'t sure if that\'d travel very well. \r\n\r\nNo, I don\'t think you\'re off the mark. I remember Dumont saying somewhere that he thought about the area and what it signified and wanted to draw a parallel of sorts.\r\n\r\nFlanders will probably be looked upon more favorably (perhaps even by me) after the upcoming string of Hollywood films that deal with the Iraq/M.E. conflict. But Humanit it aint.','f4e14cd896245ac9ba7787c58da84274',0,'','6D34qaQc',1,0,'',0,0,0),(8899,1624,3,1,0,'69.120.114.47',1192174800,1,0,1,1,1,1,'hengcs','Re: Bruno Dumont\'s Flanders (France / 2006)','Hmmm ... Grand Jury Award at Cannes ... \r\n\r\n-- the shock element is there ... the \"sadness\"/\"mood and feel\" is there ... \r\n\r\n-- as for the style of filming and acting, one has to get used to the director and know his approach to appreciate it even more ...','09d0c46856b0390018d117e2683e6a19',0,'','dQviWVNP',1,0,'',0,0,0),(8900,1625,3,1,0,'69.120.114.47',1187725740,1,0,1,1,1,1,'chard09','Ploy (Pen-ek Ratanaruang, 2007)','*SPOILER FOLLOWS*\r\n\r\nComplex Partial Seizure in Pen-ek Ratanaruang\'s Ploy\r\n\r\nPen-ek Ratanaruang\'s affection to details is exemplary. Opening a fridge, moving of bathroom curtains, lighting a cigarette, pouring wine, stealing a tuxedo, applying make-up -- everything looks so eerie and dreamlike, it feels like everyone of us in the audience forgot how to blink for fear of missing even a single frame.\r\n\r\nDang mentions that there is a thief in their hotel room. Wit says, Is something missing? She leaves it unanswered. We know that what she intends to do is to get Ploy out of their room. But Pen-ek stops from there. Dang\'s agony is paranoia. Something triggerred from the outside but she\'s not letting it show. Later on, we realize who the thief is. She. Whether she is unconsious or not about suspecting Ploy of theft, stealing Ploy\'s necklace is not only a manifestation of her inner evil, but insanity as well. By the moment she steps out of the hotel, reality unfolds and eats her up, chews her incessantly.\r\n\r\nIt is tempting to compare Ratanaruang with Wong Kar-wai, considering a few similarities in plot details. Is Wit\'s mention of love and marriage\'s expiration date an allusion to Takeshi Kaneshiro\'s hopeless-romantic character in Chungking Express? Nearing its end, when Wit holds Dang\'s hands as she comfortably places her head on his shoulders, is it to evoke a doomed relationship reminiscent of Su Lizhen and Mr. Chow in In the Mood for Love (or perhaps Happy Together)? Who knows.\r\n\r\nPerhaps the closest that these two directors share in common is Chris Doyle -- Wong\'s partner in crime in some of his highly-acclaimed films -- whose presence in Last Life in the Universe is very much felt. However, the aforementioned assertion is no way to lessen Pen-ek\'s brilliance. Originality should never be an issue in criticism. Everyone is indebted to everyone else who came before him, and describing a film \"unoriginal\" is ignorance, not to mention insensitivity. Ploy is unsettling in its own way but never disturbing, achieves subtlety without excessive indulgence, and possesses a unique beauty that can only come out among Asian films. I am sure any film geek here would be familiar with that. \r\n\r\nA realization: Ploy leaves a feeling of uneasiness, as if every scene is happening in the corner of our eye. Cornered, we enthused over the idea of simply observing what will happen next, will Ploy awaken alive, will Wit and Dang reconcile before the funeral, why did she quit acting, et cetera. We even enjoy the sight of the bartender and the chambermaid taking their time in reaching orgasm. The pain of our existence, the fleeting nature of life, and the oceanic anomaly of emotions we need to swim -- Pen-ek captured all of them in this film. A bittersweet symphony, choking the agony of relationships. Transience redefined.\r\n\r\nLeaving the theatre in a drunken stupor, I asked the soundproof walls whom I envy for seeing countless films in exhibition during the festival, Is it only in Asia that love expires?','c349c89965a3e343541aa8f1b7d1e3f1',0,'','ePyF0Gp5',1,0,'',0,0,0),(8901,1625,3,1,0,'69.120.114.47',1187857260,1,0,1,1,1,1,'arsaib4','Re: Ploy (Pen-ek Ratanaruang, 2007)','Hey, Chard09, nice blog and a wonderful review. (Please feel free to share any older comments/reviews with us.) I\'m a big fan of Pen-ek\'s work, especially Last Life in the Universe which was one of the best films I saw in 2004. Though I haven\'t yet come across his previous effort, Invisible Waves, I\'m looking forward to his latest -- playing next month at the Toronto Film festival.','d44c39865f0d28a8a957040107783a3d',0,'','Ply5CsKA',1,0,'',0,0,0),(8902,1625,3,1,0,'69.120.114.47',1187878680,1,0,1,1,1,1,'trevor826','Re: Ploy (Pen-ek Ratanaruang, 2007)','Very enthusiatic review, definitely sounds like one to keep an eye out for. I\'ve only had the pleasure of seeing Monrak Transistor (2001) and Last Life in the Universe (2003) and enjoyed both very much, I\'d love to see his other films given the opportunity.\r\n\r\nCheers Trev.','758e156cf0f3ca6b6640a55fda03d93a',0,'','rkvcs6UJ',1,0,'',0,0,0),(8903,1625,3,1,0,'69.120.114.47',1187886120,1,0,1,1,1,1,'chard09','Re: Ploy (Pen-ek Ratanaruang, 2007)','Thanks for visiting, arsaib. That blog is just a repository of ill-natured thoughts and written trash. Hope that I can find Invisible Waves in bootleg stands here. Haha, Monrak Transistor was shown a few years back in our university but unfortunately, I wasn\'t into films that time yet. Argh!\r\n\r\nTrevor, merci aussi. I\'ll be seeing Paris Je T\'aime and Persopolis (I\'m hoping, since Cinemanila is extended). And raya Martin\'s Maicling Pelicula ng Ysang Indio Nacional. (seems like I\'ll be here quite often).','891674337e6b4a3f15534e06d7aa671d',0,'','GEA0onp3',1,0,'',0,0,0),(8904,1625,3,1,0,'69.120.114.47',1187925360,1,0,1,1,1,1,'arsaib4','Re: Ploy (Pen-ek Ratanaruang, 2007)','We use this board for the same purpose. \r\n\r\nIf you have a moment, chard, could you please check out the TIFF lineup (posted here, including the link to the full list). The latest from Lav Diaz is playing, and there are a couple more Filipino selections. See if anything looks familiar. Persepolis got mixed reviews at Cannes but it does sound interesting.','f5a65f4ec802ba66a8a6dbfe663af8fe',0,'','bKxWk1zR',1,0,'',0,0,0),(8905,1625,3,1,0,'69.120.114.47',1191931440,1,0,1,1,1,1,'chard09','Re: Ploy (Pen-ek Ratanaruang, 2007)','A hallucinatory take on Haruki Murakamis startling early masterpiece and Pen-ek Ratanaruangs stunning latest work pieces of a lost puzzle intertwined, and magnified\r\n\r\nThe most important facet of film viewing, often shared in public discussions, is its gift of intertextuality the correlation of emotions to a network of meanings, images, and perceptions that we derive from other forms of art, thus evoking a bullet of memories and shoveling those crystallized fossils in the dark pits of our minds.\r\n\r\nFILM A > FILM B > FILM C >FILM D > FILM E . > FILM Z\r\n\r\nOne film always reminds us of another, it is inevitable, even in the most obscure reasons. The concept of who benefits or harms whom is highly subjective, debatable, and painstakingly difficult to start with.\r\n\r\n**\r\n\r\nTwo months. Two rainy months. It never crossed my mind. It took a while before the idea sank in (in fact, its not even my idea): a worthy similarity, a realisation tempting to be conclusive, with lines that never intersect and yet a parallelism so transparent.\r\n\r\nPen-ek Ratanaruangs Ploy bears striking resemblance to Haruki Murakamis Dance Dance Dance.\r\n\r\nIn the film, Ploy waits for her mother to arrive from Sweden inside a hotel bar. Wit, a returning businessman from the States who came with his wife to attend a funeral, befriends and asks her to stay in their hotel room, a few more hours before her mothers supposed arrival. The introduction of Ploy to the couple, to Wits wife particularly, marks a turning point: suspicion arises and breaks evenly, surmounted by the nimbus of emotions and unresolved past between the two. Something to ponder on, the fact that she plays the title role, why is Ploy the most passive character in the film? By doing practically nothing, the relationship of the people she has just met falls apart, in a bloody shambles. Provoked self destruction can be considered valid. Ploy is nineteen.\r\n\r\nIn the novel, Yuki waits for her mother inside the hotels restaurant, Walkman stuck in her ears (it might be the Talking Heads or Echo and the Bunnymen playing), and while her role to the protagonists search is vaguely presented, her characterisation alone is indeed memorable. Her clairvoyance is puzzling yet believable, and though Murakami is at hispeak in having us manipulated in this web of urban mysteries and metaphysics, its thrilling nature leaves a feeling of enchantment. While Yuki seems to agree that rock and roll is the greatest thing in the world, Ploy indulges herself into reggae and shares an earphone with Wit, surprised on the world that this young lady exposes herself into. Yuki is thirteen.\r\n\r\nThat Ploy and Yuki are perhaps the same person the rebellious teen waiting for Godot of different age and on different time and worlds, is a product of a young minds extreme indulgence. But as playful as the dragonflies of the field, we really never know.\r\n\r\n**\r\n\r\nThe films lethargic pacing and the novels shifting realities seem to share a world of their own, a universe wherein lucidity is beyond grasp, and upon experiencing them, we dont care they are just beautiful. On their peripheries are the -isms we would rather neglect: capitalism, modernism, materialism, urbanism, et al, but we are confronted by them, probably on our way home after seeing the film or finishing a chapter of the book, in a way different than other people. A profound delusion, its eeriness and ethereal charm infect us with the feeling that we all share a piece of this mad, fleeting world.\r\n\r\nThe narrators mobility in Dance Dance Dance is apparent. From house to market, car to train, work to rendezvous, Shibuya to Aoyama, Japan to Hawaii, he is restless. Murakamis plot twists and endless possibilities works effectively with his setting and the disjointed, meandering life of his protagonist. While Ploy is rather seen as a stationary film whose sequences are mostly inside a luxurious hotel, the tension presented, mediated by Ratanaruangs admirable affection to details, makes it look, and feel, otherwise. The possibilities are surreal. When Dang accuses Wit of infidelity, her unyielding insecurity dwells on her subconscious. In a stunning sequence, Dang kills Ploy using a pillow to suffocate her. Someone knocks on the door. As if it triggers her to think rationally, she pulls her into the bathroom, turns the shower on, and opens the door. Surprise.\r\n\r\nThe observation may be a bit crude, haphazard, manipulative, and too tied-up, but the hotel in Ploy resonates the claustrophobic atmosphere of Dolphin Hotel the emptiness, the longing, the deprivation, the notion of abstract itself and the memories created, and lost, in that place. The room where the Sheep Man stays, a deceptive mind would rather think, is where the bartender and the chambermaid are having their greatest resort to boredom, their strangest pleasure ever, proving words arent enough to express ones feelings. The monotonous rush in the Sheep Mans words reminds me of that silence, albeit their passionate intercourse.\r\n\r\nThe women in these works wife, child, stranger, poet, and all the lost women represent vitality, the struggling force of living or being alive, and to them where all the overwhelming power of Ploy and Dance Dance Dance owe their brilliance. In a period of unsettling wakefulness, ironically, men created them.\r\n\r\nFrom Lilok Pelikula.lilokpelikula.wordpress.com/','b8ba9213b6c60b6e7a33ad595b05a408',0,'','WLyV19t7',1,0,'',0,0,0),(8906,1626,3,1,0,'69.120.114.47',1185738240,1,0,1,1,1,1,'hengcs','The Italian (Italianetz) (Russia) (2005)','\r\n\r\nDirector: Andrei Kravchuk\r\nCast: Kolya Spiridonov\r\n\r\nThis film was submitted by Russia for Oscar 2006.\r\nIt also garnered the Deutsches Kinderhilfswerk Grand Prix and Glass Bear - Special Mention at Berlin International Film Festival 2005\r\n\r\nSynopsis\r\nA boy who is about to be adopted by an Italian couple decides to leave the orphanage in search of his mother. Will he find her?!\r\n\r\nMy thoughts\r\n\r\n-- Without givng the ending away, it is one of the more often talked about scene in the film ...\r\n\r\n-- I also feel that the director and script writer do spend some thoughts in crafting the various events and their depiction of the orphanage ... there is a cautious attempt to portray both the good and bad of human beings, the institution and the society at large ...\r\n\r\n-- Here is something from me ...\r\n... in the COLD winter of Russia, do we experience the WARMTH of humanity?!\r\n... in the HOPE brought forth by adoption, do we sense some DESPAIR in exploitation?!\r\n... in an attempt to HELP, do we often HARM?!\r\n... as we pursue our DREAM, what does REALITY speak?!\r\n... as we follow our HEART, do we care much about REASON?!\r\n... and if the PAST was a mistake, can we make the FUTURE better?\r\n\r\nConclusion\r\nRecommended. ... Superficially, it is just a heart warming story about an orphan who seeks to find his mother despite his upcoming adoption by an Italian couple ... However, if we are willing to probe further, the story hints at commentary about the society. As a whole, it parallels the desire of Russians seeking their \"mother\" land ...','fb3151245c66aed63afeda8d9861a263',0,'','NTmfjMy0',1,0,'',0,0,0),(8907,1626,3,1,0,'69.120.114.47',1191428040,1,0,1,1,1,1,'justindeimen','Re: The Italian (Italianetz) (Russia) (2005)','Review: \r\n\r\nIn 6 year-old Vanyas (Kolya Spiridonov) Russia, children are considered lucky just to know the names of their parents. As the intrepid runaway in Andrei Kravchuk\'s bittersweet drama The Italian, Vanya marches to the beat of his own brass band. The death of a young mother looking for a son she abandoned years ago at Vanyas dilapidated orphan-emporium is the catalyst for a road trip on his lonesome to look for a mother hes never known. Director Kravchuk consciously weaves urgent post-Soviet rhetoric and themes of individual identity owing to Ann Holms WWII novella, I Am David, into a watered down borsch of dramatic and emotional compromise. The film is both comic and tragic, and in a consistently plaintive world of insights and allusions that considers the very serious proposition of child trafficking and Russias underclass. \r\n\r\nEluding both the spiritual richness of I Am David and the childlike perspectives of Viva Cuba, Kravchuk gazes upon his subject with a measure of detached sensitivity and depressive realism that never coddles its precocious and cherubic lead, avoiding the ingratiating manner of a Roberto Benigni film. But it also never truly invests much in him by way of personal danger and coats his eventual struggle with an almost divine sense of security. By engaging in a subject matter as heinous as the economy of young lives and then bogging it down with familiar levity, it never acknowledges the film for what it is and perhaps what it could have been. \r\n\r\nVanyas nondescript background becomes a synthesis of the disturbingly harsh portrait of ingrained subsistence that Vanya and his cadre of car washers, thieves, prostitutes and various other guttersnipes who live and work; pulling their earnings into a coffer for the good of their collective and keeping the spirit of socialism alive. They situate themselves in and around the commune surrounding the orphanage run by the pragmatic and cynical Madam (Maria Kuznetsova) and the effete but sympathetic louse of a headmaster (Yuri Itskov). Intriguingly, the final half of the film as its inevitable road trip begins segues Vanya as an affront to the fatalism that infects the rest of Russias vastly underprivileged youth as he proves himself to be more resilient and self-sufficient. \r\n\r\nKravchuk find a way to the heart en route to the mind. He envelops an air of protective affection for his characters, including those who hinder our enterprising young heros quest for maternal solicitude, an instinct made memorable by the films assertion that a nurturing Russia can be cultivated by putting the onus of that responsibility on the countrys women. For all its discursiveness, its final shot obliterates the acquired bleakness and severity of the film and leaves us in its afterglow of hope and grace.','98cfcb41f79bf4e2cf6ccbd145a3d6a6',0,'','Kmj70i6n',1,0,'',0,0,0),(8908,1626,3,1,0,'69.120.114.47',1206795840,1,0,1,1,1,1,'hengcs','Re: The Italian (Italianetz) (Russia) (2005)','Another insightful review \r\nclick \r\nhttp://www.kinokultura.com/2006/11r-italian.shtml','4f39bfa1376024078c078d6aabcd2a8e',0,'','eLGa5NyX',1,0,'',0,0,0),(8909,1627,3,1,0,'69.120.114.47',1160221140,1,0,1,1,1,1,'trevor826','Offside (2006) (Iran)','Offside (2006) \r\n\r\nDirected by Jafar Panahi\r\n\r\nA very simple storyline belies some complex issues. Several girls are individually caught trying to get in to see Irans match with Bahrain, a draw or win will see Iran qualify for the World Cup. While the match is played out the girls are held in a pen with a couple of conscripts watching over them, although they cannot see the game they convince one of the guards to describe the action, at least this way they can feel involved. \r\n\r\nTowards the end of the match the girls are loaded into a minibus to be taken to the vice squad, while travelling through Tehran they stop outside a caf where they can see the dying seconds of the match on a television. Suddenly the streets are full of crowds chanting and celebrating, Iran have won the match and qualified, the girls and even their guards get caught up in the joy of the festivities.\r\n\r\nFilmed with a non-professional cast, Offside is a tragicomic social realist drama which at times gives the impression of being a documentary, its hard to believe this wasnt actually filmed during the match.\r\n\r\nThe start is reminiscent of Panahis The Circle, a father of a girl who has gone straight from college to try and get into the match is desperately searching for her. He explains the situation to the taxi driver and says he fears what her brothers will do to her if they find out. \r\n\r\nThe film then switches to a girl on a coach, disguised as a boy but still very obviously feminine, one boy points her out to his mate only to be told to leave her alone. He knows itll be very hard for her to get past the guards and into the match, like the majority of the male characters he doesnt appear to have any objections to females attending and enjoying the game.\r\n\r\nAs for the girl, a tout sells her a ticket at a very marked up price knowing damn well that she will almost certainly get caught, what does he care as long as he makes a good profit. She is arrested straight away because the crowds are frisked on their way into the stadium and she refuses, accompanied by a conscript, she is taken to a pen where other girls have already been caught, more will soon be joining them.\r\n\r\nAmong the other girls, one is slightly older and far more cocky, she has obviously run the risk several times before and knows the form. Another plays soccer for a womans team, at one point she convinces the guards that she desperately needs the toilet. Since there are no womens toilets she is accompanied by a guard to the mens, this leads to one of several moments of humour, as she has to wear a disguise, a poster of an Iranian player with the eyes removed. \r\n\r\nThere is also a moment of sadness for one of the girls, the only reason she\'s attended the match is because a male student friend of hers was one of seven people crushed during the Iran v Japan match, apart from celebrating Iran\'s victory, the film also pays respect to those who lost their lives during this incident. \r\n\r\nOne thing that becomes increasingly obvious throughout the length of the film is that although the girls are victims of one of Irans many unwritten laws. Their guards, conscripted into the army and removed from their families, farms etc live under the same cloud of fear, if anything goes wrong they will be in serious trouble. The girls are there because of their love of football and the need to feel the atmosphere. The soldiers are there because orders have been given and have to be obeyed. \r\n\r\nThe film raises a lot of questions regarding laws and the treatment of women in particular. It also shows a remarkable generation gap between the males, the strict controlling father as opposed to the guards and the majority of the crowd at the match, several of whom try and help one girl escape into the stadium. Offside is full of optimism for the future, a future where women will receive fair treatment and not be excluded from things that we take for granted, I for one truly hope Panahis optimism bears fruit. \r\n\r\nOffside gets a high recommendation, it\'s a provocative, thoughtful film that is humorous and entertaining as well. \r\n\r\nCheers Trev.\r\n\r\nBBFC rated PG\r\n\r\nR2 dvd will be released by Artificial Eye.','fafca9b236bd6d4935b1687c48f7d2c7',0,'','gF1i38Kp',1,0,'',0,0,0),(8910,1627,3,1,0,'69.120.114.47',1160221200,1,0,1,1,1,1,'trevor826','Re: Offside (2006) (Iran)','I came back from seeing Offside feeling quite positive and I couldn\'t wait to write my comments. Unfortunately within a few hours my whole attitude had changed which is why I\'ve only just written my thoughts two days later.\r\n\r\nThe same evening I caught a documentary screened by BBC2 entitled Execution of a teenage girl, I\'ve included a link to a piece about the programme and must admit that I found it profoundly disturbing and worrying. The link covers the basics but some of the information relayed in the programme was so shocking that any positive thoughts built up during Offside were totally diminished.\r\n\r\nSorry to include this but I felt it was far too important to be ignored. \r\n\r\nCheers Trev','eeb16f9108df54379cc8fbbbb218936b',0,'','D9wU8Cch',1,0,'',0,0,0),(8911,1627,3,1,0,'69.120.114.47',1160221320,1,0,1,1,1,1,'trevor826','Re: Offside (2006) (Iran)','Originally posted by \'A\' - 8/17/06\r\n\r\nGlad you enjoyed Offside, it was one of the highpoints of my visit at The Berlin Film Festival this year. Sadly the link for the article doesn\'t work anymore. Too bad that I have to catch up so late with some of the posts at this board. Could you tell a bit more about the documentary?','71a9971d0a0957933c45a46854f8e0e5',0,'','VYB8aPhQ',1,0,'',0,0,0),(8912,1627,3,1,0,'69.120.114.47',1160221440,1,0,1,1,1,1,'trevor826','Re: Offside (2006) (Iran)','Originally posted 8/17/06\r\n\r\nHere\'s a copy of the programme details, although it mainly covered this case, there was far more info and film shot of public executions. They also mentioned at the end that a thirteen year old girl who had recieved the death sentence for \"moral crimes\" has had her sentence commuted to life imprisonment, now that must have really cheered her up.\r\n\r\nExecution of a teenage girl \r\n\r\nA television documentary team has pieced together details surrounding the case of a 16-year-old girl, executed two years ago in Iran. \r\n\r\nOn 15 August, 2004, Atefah Sahaaleh was hanged in a public square in the Iranian city of Neka. \r\n\r\nHer death sentence was imposed for \"crimes against chastity\". The state-run newspaper accused her of adultery and described her as 22 years old. But she was not married - and she was just 16. \r\n\r\nSharia Law \r\n\r\nIn terms of the number of people executed by the state in 2004, Iran is estimated to be second only to China. \r\nIn the year of Atefah\'s death, at least 159 people were executed in accordance with the Islamic law of the country, based on the Sharia code. \r\nSince the revolution, Sharia law has been Iran\'s highest legal authority. \r\nAlongside murder and drug smuggling, sex outside marriage is also a capital crime. \r\nAs a signatory of the International Convention on Civil and Political Rights, Iran has promised not to execute anyone under the age of 18. \r\nBut the clerical courts do not answer to parliament. They abide by their religious supreme leader, Ayatollah Khamenei, making it virtually impossible for human rights campaigners to call them to account. \r\n\r\nCode of behaviour\r\n\r\nAt the time of Atefah\'s execution in Neka, journalist Asieh Amini heard rumours the girl was just 16 years old and so began to ask questions. \r\n\"When I met with the family,\" says Asieh, \"they showed me a copy of her birth certificate, and a copy of her death certificate. Both of them show she was born in 1988. This gave me legitimate grounds to investigate the case.\" \r\nSo why was such a young girl executed? And how could she have been accused of adultery when she was not even married?\r\n\r\nDisturbed by the death of her mother when she was only four or five years old, and her distraught father\'s subsequent drug addiction, Atefah had a difficult childhood. \r\nShe was also left to care for her elderly grandparents, but they are said to have shown her no affection. \r\nIn a town like Neka, heavily under the control of religious authorities, Atefah - often seen wandering around on her own - was conspicuous. \r\nIt was just a matter of time before she came to the attention of the \"moral police\", a branch of the Islamic Revolutionary Guard, whose job it is to enforce the Islamic code of behaviour on Iran\'s streets. \r\n\r\nSecret relationship \r\n\r\nBeing stopped or arrested by the moral police is a fact of life for many Iranian teenagers. \r\nPreviously arrested for attending a party and being alone in a car with a boy, Atefah received her first sentence for \"crimes against chastity\" when she was just 13. \r\nAlthough the exact nature of the crime is unknown, she spent a short time in prison and received 100 lashes. \r\nWhen she returned to her home town, she told those close to her that lashes were not the only things she had to endure in prison. She described abuse by the moral police guards. \r\n\r\nSoon after her release, Atefah became involved in an abusive relationship with a man three times her age. \r\nFormer revolutionary guard, 51-year-old Ali Darabi - a married man with children - raped her several times. \r\nShe kept the relationship a secret from both her family and the authorities. \r\nAtefah was soon caught in a downward spiral of arrest and abuse.\r\n\r\nLocal petition \r\n\r\nCircumstances surrounding Atefah\'s fourth and final arrest were unusual. \r\nThe moral police said the locals had submitted a petition, describing her as a \"source of immorality\" and a \"terrible influence on local schoolgirls\". \r\nBut there were no signatures on the petition - only those of the arresting guards. \r\nThree days after her arrest, Atefah was in a court and tried under Sharia law. \r\nThe judge was the powerful Haji Rezai, head of the judiciary in Neka. \r\nNo court transcript is available from Atefah\'s trial, but it is known that for the first time, Atefah confessed to the secret of her sexual abuse by Ali Darabi. \r\nHowever, the age of sexual consent for girls under Sharia law - within the confines of marriage - is nine, and furthermore, rape is very hard to prove in an Iranian court. \r\n\"Men\'s word is accepted much more clearly and much more easily than women,\" according to Iranian lawyer and exile Mohammad Hoshi. \r\n\"They can say: \'You know she encouraged me\' or \'She didn\'t wear proper dress\'.\" \r\n\r\nCourt of appeal\r\n\r\nWhen Atefah realised her case was hopeless, she shouted back at the judge and threw off her veil in protest. \r\nIt was a fatal outburst. \r\nShe was sentenced to execution by hanging, while Darabi got just 95 lashes. \r\nShortly before the execution, but unbeknown to her family, documents that went to the Supreme Court of Appeal described Atefah as 22. \r\n\"Neither the judge nor even Atefah\'s court appointed lawyer did anything to find out her true age,\" says her father. \r\nAnd a witness claims: \"The judge just looked at her body, because of the developed physique... and declared her as 22.\" \r\nJudge Haji Rezai took Atefah\'s documents to the Supreme Court himself. \r\nAnd at six o\'clock on the morning of her execution he put the noose around her neck, before she was hoisted on a crane to her death. \r\n\r\nPain and death \r\n\r\nDuring the making of the documentary about Atefah\'s death the production team telephoned Judge Haji Rezai to ask him about the case, but he refused to comment. \r\nThe human rights organisation Amnesty International says it is concerned that executions are becoming more common again under President Mahmoud Ahmedinajad, who advocates a return to the pure values of the revolution. \r\nThe judiciary have never admitted there was any mishandling of Atefah\'s case. \r\nFor Atefah\'s father the pain of her death remains raw. \"She was my love, my heart... I did everything for her, everything I could,\" he says. \r\n\r\nHe did not get the chance to say goodbye.','fe89725f711ed68c0e7ea61026efb870',0,'','FPoM2NLJ',1,0,'',0,0,0),(8913,1627,3,1,0,'69.120.114.47',1160221500,1,0,1,1,1,1,'trevor826','Re: Offside (2006) (Iran)','Originally posted by \'A\' - 8/17/06\r\n\r\nSounds very disturbing indeed. Don\'t know if I could stomach watching a documentary on it. Don\'t know what to say really... \r\nObviously the authorities took this extreme measure, to cut out any doubts as to the justification of the \"moral police\" after the rape came to be known to the public. Sounds very much like an abuse of power to secure the position of the authorities. Maybe more of them were involved in other compromising activities.','1c7ed2577e9db045f086ab8b1b09c6c1',0,'','dBaU7o8p',1,0,'',0,0,0),(8914,1627,3,1,0,'69.120.114.47',1189321200,1,0,1,1,1,1,'arsaib4','Re: Offside (2006) (Iran)','You\'ve captured the film quite well, Trevor. Offside is most definitely \"a provocative, thoughtful film that is humorous and entertaining as well.\" There are never enough of these around. \r\n\r\nGood point regarding Panahi\'s documentary, vrit approach. That\'s how wanted to tackle this script. I think the film\'s at its most dynamic when the camera and/or the characters are physically moving: the road to the restroom sequence certainly stands out. (And it proves that large parts of the film were actually shot during the match.) Panahi got the idea when his young daughter, who was initially denied access to a match while they were together, found a way to reach him inside. \r\n\r\nAnd, yes, this isn\'t a polemic; soldiers aren\'t the villains here even though they do embody the law and all it entails. It\'s been a while since I\'ve seen an Iranian film this talky. And most of the dialogue is rather colorful (and thus, realistic). Refreshing, I say.','5c04d18dae1226e63554116f326b852b',0,'','o9VxckyS',1,0,'',0,0,0),(8915,1627,3,1,0,'69.120.114.47',1191391260,1,0,1,1,1,1,'arsaib4','Re: Offside (2006) (Iran)','\r\n\r\nOffside is now available on DVD in the U.S. (Sony Classics). A definitive Panahi interview, from TIFF \'06, is provided as an extra feature. In it, the filmmaker discusses numerous aspects of the production, from its inception (personal experience) to his filmmaking approach (vrit) to how the end result was perceived and received (pirated VCDs). A must watch!','46cca9a690e981028d647ab2903c0993',0,'','hG1vlbPj',1,0,'',0,0,0),(8916,1628,3,1,0,'69.120.114.47',1115604600,1,0,1,1,1,1,'hengcs','Infernal Affairs (aka Wu Jian Dao) (2002) (HK)','With the revamp of the forum, I think the thread on Infernal Affairs has vaporized. So, forgive me for starting a new thread again ... hee hee ...\r\n\r\nAnyway, I thought that by translating the lyrics of the song, one may have a better understanding of the mood (and feelings) of the movie and cast.\r\n\r\nsee ...\r\ntingdong.powersugoi.net/song.php?song=65 \r\n\r\nNote: \r\n-- The Chinese lyrics at the top is the Mandarin Version \r\n-- The Chinese lyrics at the bottom is the Cantonese Version\r\n\r\nHowever, \r\n-- the English \"words\" (at the top) are phonetics (a.k.a., hanyu pinyin) of the Mandarin version\r\n-- the English words (at the bottom) are translations of the Mandarin version (at the top). \r\n\r\nHence, I have decided to help translate the Cantonese lyrics ...\r\n\r\nBefore I translate the Cantonese version, there are a few noteworthy points: \r\n(i) the movie has explicit and implicit references to Buddhism. \r\ne.g., the title \"Infernal Affairs\" \r\ne.g., the beginning credits/scenes \r\ne.g., the song lyrics (abt the CYCLE of life etc) \r\n(ii) By the way, line 10 on the website is slightly erroneous \r\ni.e., \"yesterday\" should be \"day and night\" \r\n(iii) Also, when the chorus is repeated, Andy and Tony\'s lines are switched! \r\n\r\nSo, here you go ... the Cantonese lyrics translation \r\n\r\nA denotes Andy \r\nT denotes Tony \r\nB denotes BOTH Andy and Tony \r\n\r\nDue to the inability to have spaces and format properly, I will use \"...\" \r\n\r\nTitle: Infernal Affairs \r\n\r\nA: I ... will live on for my sake \r\n... will also live on for your sake \r\n... suffering all extremes, I have not tire \r\nT: Forget about me ... do you still reminisce \r\n... if there is a future, please pursue on \r\n\r\nA: Life is too short ... tomorrow is infinitely distant \r\n... but it will never be as distant as eternity \r\nT: Don\'t be bothered that the worldly path is too long and the destinations are too few \r\n... the carousel will have to continue turning \r\n\r\nA: Actually I have already (days and nights, without halting) ... been pressing forward \r\n... but why have I not reached the opposite shore in my dreams \r\nT: Actually I have already (with all might and effort, without pausing) ... been on the road daily \r\n... I do not die so as to live a better life \r\nB: Is there really a destination ... who really knows ... \r\n... in this worldly infernal affairs ... \r\n\r\nA: How to leave this depressing place \r\nT: To linger around is really one\'s choice \r\nA: To attain Nirvana the road is too long and distant \r\nT: To suffer the pain within pain \r\nA: Pain within pain \r\nB: That is never ending \r\n\r\nB: When we are about to reach the destination ... only will we realize ... \r\n... we have actually arrived at the originating point again ... just to start all over again ...','b89245a9e2e9e2529739de685afadb7d',0,'','shVUmG4r',1,0,'',0,0,0),(8917,1628,3,1,0,'69.120.114.47',1191301500,1,0,1,1,1,1,'A','Re: Infernal Affairs (aka Wu Jian Dao) (2002) (HK)','I have re-watched \"Infernal Affairs\" this year, and while it isn\'t one of the greatest films of all time, it is certainly one of the best examples of Hong Kong cinema in the new millenium. My first encounter with the film was at a German Film Festival in 2003 when news about the hype surrounding it were beginning to pour into Germany. Four years later I must say it hasn\'t lost any of its impact, though the formula has been copied many times since (of course Infernal Affairs also borrowed heavily from other classics). I haven\'t seen Scorsese\'s remake so I won\'t make any comparisons. I\'d just be surprised if it\'s as effective, seeing how he transferred the setting from Hong Kong to New York. The film expresses imo Hong Kong\'s fears of the future very well, and speaks to me profoundly of various aspects of Asian culture while still remaining an entertaining actiondrama. I rated it on-par with Park Chan-Wook\'s Oldboy (2003). Though it didn\'t grip me quite as much emotionally, the overall precision and consistency in tone might be a bit superior.\r\n\r\nMy rating after the re-watch was a surprisingly high 68 out of 100\r\n\r\nThanks for translating some of the lyrics hengcs! I\'ll try to keep them in mind next time I watch the movie','8612662e9ff70f1aa04c65d450759858',0,'','CKykoHTg',1,0,'',0,0,0),(8918,1628,3,1,0,'69.120.114.47',1191327600,1,0,1,1,1,1,'hengcs','Re: Infernal Affairs (aka Wu Jian Dao) (2002) (HK)','Hi\r\n\r\nI recall that my earlier post (that vanished with the old forum) was more detailed ...\r\n\r\nIn particular, I tried explaining why the film is good, highlighting many contrasts it contains and many subtle messages it conveys ... guess I can\'t recall all of them now ...\r\n\r\nThe other reason is: It has mass appeals (i.e., as a clever thriller) as well as \"artistic merits\" (at least from the Chinese critics/audience point of view)','03b780765bb4dd214590e8daefe232c6',0,'','kqw8PYDt',1,0,'',0,0,0),(8919,1628,3,1,0,'69.120.114.47',1191375660,1,0,1,1,1,1,'A','Re: Infernal Affairs (aka Wu Jian Dao) (2002) (HK)','Yes, I remember you original longer post quite vividly, and kept it in mind while re-watching \"Infernal Affairs\". Too bad it\'s gone, but when I read it, and while watching the film I share(d) many of your views and insights. Though of course I\'m not an Asian, so some things aren\'t as easily accessible to me (same as I always have to wonder about the genius of Kusturica, as I grew up in Yugoslavia ). \r\n\r\nThe film has these two qualities, which is very rare in mainstream cinema (such a level of reflection I mean).','8f8fe7917519e36f90206a6f4f8c3c51',0,'','vKibqUro',1,0,'',0,0,0),(8920,1629,3,1,0,'69.120.114.47',1191055800,1,0,1,1,1,1,'chard09','Maicling Pelicula Ng Ysang Indio Nacional (Raya Martin,2005)','\r\n\r\nEnglish Title: A Short Film About The Indio Nacional (Or The Prolonged Sorrow of the Filipinos)\r\nWritten and Directed by Raya Martin\r\nCast: Bodjie Pascua, Suzette Velasco, Lemuel Galman\r\n\r\nForget the eclipse. I am sure it will not be worth your time, for I had seen one, torotot film strips and fake 3D glasses handy, and swear, it is nothing spectacular.\r\n\r\nLater that night instead skipping my class, something to live a life la Franois Truffaut I indulged in seeing Maicling Pelicula ang Ysag Indio Nacional (O Ang Mahabang Kalungkutan ng Katagalugan). Almost a-third of it is familiar, for it is Raya Martins thesis in the UP Film Institute.\r\n\r\nDuring that time, UPFI was the Department of Film and Audio-Visual Communication and semestral defenses were held in the basement. His film, Infancia en las Islas de Filipinas sin fecha, ran for roughly around 30 minutes longer than the usual allowed production time and the critique from the panel was diverse, unsurprisingly not all praises. On a certain note, Dean Tiongson received it coldly, with arguments that emphasized on its inaccurate subtitling and style.\r\n\r\nTransfroming Infancia en las Islas de Filipinas into Indio Nacional, from a haste into an understated chef-doeuvre, his grand idea falls into place, subtle and articulate, a film that has its own texture and pace it is so rare it demands to be seen.\r\n\r\nAt a very young age, Raya knows his language too well; accusations of pretension are inevitable. His non-conformity lures the idea of pretension, and it seems that his films are way bigger than him as a person or as a filmmaker. Not everyday we meet someone of his age who can tackle historical maladies incorporating scholastic research and accounts into fictional narratives with such deafening stance. In a society that dictates a religion, a following that should not be questioned, Raya is waging a psychic battle not only with his audience and critics but to himself as well. Not a bad fight after all. A complete turn-around of belief, I choose to believe Raya is not ahead of his time. We are lagging behind his time.\r\n\r\nYet having only seen two of his feature-length works, the other is his Batanes documentary Ang Isla sa Dulo ng Mundo (The Island at the End of the World), it is appalling how a 22-year old dreamer, whose descent suggests his early exposure to the arts, can deliver a work of such vision something not really impressive but definitely overwhelming.\r\n\r\nPerhaps the closest experience to relate the immensity of Indio Nacional is the agony of reading One Hundred Years of Solitude. As it unfolds, every single page defies our sanity, grips us cardiovascularly, as if our heart forgot to pump the right cc of blood and our veins panicked in vertigo dying, dying, almost dying, clinically-dead, and I heard myself mumbling, I will never read a book by Garcia Marquez, ever, again. But a classic, as the adage goes, never lets its audience lose faith in art, for a certain feeling of grandeur, a realization coming out from numbness, no matter how long, materializes. Magnificence can never be too late.\r\n\r\nTwo people, including myself, watched the final screening of Indio Nacional in Indie Sine. Depressingly, it dawned on me: Like Macondo, after passing the Alzheimer stage, the Philippines is on its way to anonymity.\r\n\r\nI admire the noble intention of Indio Nacional. It is in fact a very cerebral film, a poem succinctly layered an elegy to the Philippines and with reviews by Noel Vera and Oggs Cruz, I am sure that Raya Martins first feature created a following, probably inspired some, but certainly established his status in the local arthouse cinema. I actually imagine myself discussing the film after seeing it, inside a caf, deliberating its images, its language, and its resilience that somehow reminded me of Jean Vigos A Propos de Nice, except that theres no one to discuss them with. At some point, while watching it and expecting a raging silence afterwards, I just want this film to end. * * *\r\n\r\n*Just a note, this \"review\" was initially written during the eclipse here in the Philippines, hence the first paragraph. Incidentally, the film also has its \"eclipse\" sequence. Kindly visit my film blog at www.lilokpelikula.wordpress.com. Thanks.','c50e4ee39947ebf533c2fe6e82580a9b',0,'','i8kslRjF',1,0,'',0,0,0),(8921,1629,3,1,0,'69.120.114.47',1191106920,1,0,1,1,1,1,'arsaib4','Re: Maicling Pelicula Ng Ysang Indio Nacional (Raya Martin,2005)','Good review, chard. I\'ll try to keep an eye out for this film.','67f80095a9f34a4d45597cbe591614f0',0,'','Q0VvN3bW',1,0,'',0,0,0),(8922,1629,3,1,0,'69.120.114.47',1191324240,1,0,1,1,1,1,'chard09','Re: Maicling Pelicula Ng Ysang Indio Nacional (Raya Martin,2005)','Thanks arsaib. Also, try to catch Autohystoria. I haven\'t seen it yet but some of my friends told me it was better than Indio Nacional.\r\n\r\nSee link: pelikula.blogspot.com/2007/08/autohystoria-indio-nacional.html','9a1c42da55922af1aef78865fb55204a',0,'','yiQ2FdZX',1,0,'',0,0,0),(8923,1630,3,1,0,'69.120.114.47',1131096120,1,0,1,1,1,1,'arsaib4','Evolution of a Filipino Family (Philippines / 2004)','From our moderator A\r\n\r\nHave seen Lav Diaz\' groundbreaking Ebolusyon ng isang pamilyang pilipino in an 11h screening last week here in Berlin. The Director was present to discuss the film at the end of the screening. \r\nFirst let me say that I feel the importance of this film, not just for World cinema in general (its length, its 11year production-span, its uncompromising vision in a \"postmodernist\" film culture, etc.,etc.) but more importantly for the Filipino people, as the director himself has stressed on numerous occasions. The Film deals with the time span from ca. 1971 to 1987, and offers a caleidoscopic look onto individual life`s that are nevertheless represantative for society as a whole. In between we have some documentary footage, which is wholly integrated in the films flow and structure, an integral part along with fictional interviews (with Lino Brocka, among others), and the films narrative. The film was shot in grainy black and white, first on 16mm, later on Digital camera, and projected on Beta Video, so the approach in blurring the lines between fictional and non-fictional seems even more succesfull. As to why it was shot in this way, the director stated that the main cause was a lack of any financial backup, so that he had to shoot the film on weekends and when he had saved enough money himself to afford it. The script was reportedly written before or during the shoot, and there was much room for improvisation on set. Also three actors died during the period of shooting, which didn`t make things any easier. The film is in the end an uncompromising vision of Lav Diaz ofg philipino society and the possibilities in film that seems heavily indebted to Bresson.\r\nThe problem I have with this, is my doubt wether such a film, which is unable to reach a (broad) audience in its home country, mainly due to heavy censorship restrictions that are still in use in the Philippines, but also my concern that the philipino people don`t want to be confronted with their past, and of course even less so in the course of an 11h film that demands constant interaction on the viewer`s part.\r\n\r\nThe structure of the film is reminiscent of Tarantino, when the film often jumps in time, but mostly it`s Bresson`s late stylistic approach, when Diaz presents the effect before the cause, avoids any \"psychologization\" of the characters, mostly avoids acting (instead Bresson`s models come to mind), and the film is composed of many wide-shots and few close-ups, a distance betwwen subject and object, etc. etc.. There also Tarkovski`s sense of the mystical, mostly within dream sequences, and Antonioni`s preoccupations with landscapes. But the film doesn`t succeed in a consistent amalgamation of these elements, as one can literally observe Diaz` own evolution as a filmmaker during the eleven hours screening time. Unfortunately because of the films non-chronological and non-linear nature it becomes often very uneven to watch. \r\nFor me, the first three hours were a joy to watch and would have made a \"whole\" film on their own, but from there on the film often seemed unsuccessfully repetitive and at times even uninformative. As is the case with many directors debuts, it tries to do too much and never feels as an entity. Numerous topics are touched on, but aren`t traced for a sufficient amount of time. Also the films tendency to mix absolutely everything with everything, resulting in an obvious genre-blending that to me didn`t seem desired by the director, as well as the films-self-reflectivity and it`s acts of irony and even parody, which sank the film in the end. Like a boat made for 5 people but filled with 50. \r\nOf course most of these things were designed by the director, but there`s a difference between an idea and its execution, and so many efforts seem well meant, while the results tend to disappoint or were seen by me as a failure. A sad thing to be said about such an enormous undertaking, but the phenomenal concept does \"only\" lead to an above average, solid result. It`s historical and social importance left aside, the film as FILM is sometimes take it or leave it. The viewer is thus left to fill in the gap between what Diaz wanted to be seen and felt on screen and what actually is, but because of Diaz\' clear vision this was mostly a task easily accomplished. Maybe it sounds preposterous after all I`ve said, but the film could have been much more than it is.\r\nThis said, with such an unprecedented undertaking (as to my knowledge) this criticism is a minor one. In the end it was a very rewarding night, with lots of tired but satisfied faces in the morning, and a short but sympathetic talk with the director. I hope his enormous skills as a filmmaker and his visionary approach towards cinema and film will lead to even greater works in the Future, but for now this film is, be it as it is on its artistic level, a must-see for any cineaste or person interested in Philippine social history.\r\n\r\nEvolution is the first part of a trilogy, the second being \"Batang West Side\" completed in 2002 before Evolution, and the third being currently in production according to Diaz. \"Batang West Side\" will be shown next week, and I will try to attend it`s screening, so more on this later.\r\nAnd please excuse my bumpy review, as I was planning only to type down some informative thoughts, but ended up writing too much and far too little for getting a precise idea of the film and it`s wide reaching surroundings, but hopefully it will generate more interest. The film has been until know shown at about 15 international film festivals and more are to come (currently it`s Flanders I think), but the screenings have a dicrepancy in their lack of attendance compared to the importance of its subject. I urge you to read some articles on the film and on Diaz, and hopefully there will be a much greater discussion when the third part is released. It is desperately needed!','d033d47876124afa08960b01c25efc69',0,'','y9tZcM2C',1,0,'',0,0,0),(8924,1630,3,1,0,'69.120.114.47',1131097020,1,0,1,1,1,1,'A','Re: Evolution of a Filipino Family (Philippines / 2004)','Thank you very much arsaib4!','f2085da4b957c7ed7825ab1ba821d904',0,'','ZNtLY537',1,0,'',0,0,0),(8925,1630,3,1,0,'69.120.114.47',1131368880,1,0,1,1,1,1,'smurfrevolt','Re: Evolution of a Filipino Family (Philippines / 2004)','*Filipino \r\n*Philippines\r\n\r\nJust couldn\'t help but correct the spelling, I\'m an English teacher in the Philippines. =D\r\n\r\nI\'ve been trying to catch that film, but they\'re not showing it here anymore...','80f62a06161507f99f2450e1882f48f0',0,'','PgLx4QuU',1,0,'',0,0,0),(8926,1630,3,1,0,'69.120.114.47',1131941880,1,0,1,1,1,1,'A','Re: Evolution of a Filipino Family (Philippines / 2004)','Thanks for the corrections. \r\n\r\nLav said he will try to tour with this film through the Philippines, but that he had previously had difficulties, so..., well, let\'s hope for the best, as he said that he made the film for the Filipino people as \"target audience\". \r\nThey can only profit from seeing it.','e73aa3f22a6ba331e77d2e5d230b2646',0,'','ik9MTed3',1,0,'',0,0,0),(8927,1630,3,1,0,'69.120.114.47',1191055140,1,0,1,1,1,1,'chard09','Re: Evolution of a Filipino Family (Philippines / 2004)','Whoa, that review is a delight to read, especially from someone who hasn\'t been to the Philippines yet. Great insights. As much as I would want to write a \"review\" of Evolution, it\'s a disgrace because I slept for three hours while watching it. A lot of technical interruptions during the screening. So it went for more than 12 hours. And I had a shoot later that night so in fact, I haven\'t even finished it (the last hour, I think). Anyway, Batang Westside is the greatest Filipino film I\'ve seen in recent years, a film that will always be remembered, really really mesmerizing.','afd1f23e86f8834f2b6d3265e4477a2d',0,'','ntqhaA1H',1,0,'',0,0,0),(8928,1630,3,1,0,'69.120.114.47',1191303720,1,0,1,1,1,1,'A','Re: Evolution of a Filipino Family (Philippines / 2004)','Many thanks for your very kind words. I was actually reluctant to post this \"mess of a review\" (as I saw it) when I finished it because I felt I didn\'t do justice to Diaz\' monumental endeavour. In it\'s grand scale and socio-political message this movie stands next to Erich von Stroheim\'s Greed! I\'m not exaggerating, as the film has to be seen to be believed. An extremely important piece of work, that deserves a much wider audience and is in desperate need of further studies. \r\n\r\nGreat you saw it, and don\'t worry - Lav Diaz himself encouraged people before the screening in Berlin to walk in and out of the film, to sleep if they want to, go outside if they want to, and return to the flow of images at a later stage. He said that the film doesn\'t have to be seen in one eleven hour session, but is intended as an experience. \r\n\r\nToo bad I wasn\'t able to watch \"Batang Westside\" the next week Do you know if his films are available on DVD anywhere? Diaz said something about trying to sell them over his own web site, but I haven\'t discovered any news, yet.','62ad33ace2df2b3488a0c2915e8d0e64',0,'','Y3AHLxkv',1,0,'',0,0,0),(8929,1630,3,1,0,'69.120.114.47',1191323760,1,0,1,1,1,1,'chard09','Re: Evolution of a Filipino Family (Philippines / 2004)','You\'re welcome. \r\n\r\nRegarding the DVD, I am not sure yet because even here, copies of his films in video are very rare, I doubt if they even exist. One of our biggest problems is distribution -- and I think you know what I mean.','09aaee59a796bb8eb964f58df3936777',0,'','dB3A15zf',1,0,'',0,0,0),(8930,1631,3,1,0,'69.120.114.47',1114679460,1,0,1,1,1,1,'hengcs','Dealer (2004) (Hungary)','This movie, directed by Benedek Fliegauf, relates a day\'s event of an unnamed drug dealer.\r\n\r\nI find it a rather contemplative and depressing movie indeed ... \r\n\r\nWhat I find most compelling\r\n\r\n(1) The visuals -- wow, it is stylistically cool ... but it does feel chilling and alienating ... noteworthy, the camera pans VERY slowly too ... \r\n\r\n(2) The soundtrack -- It is really haunting, and serves to augment the visuals very well ...\r\n\r\n(3) The ending -- what can I say, watch for it yourself ... (and how the scene fades out) ...\r\n\r\n(4) Overall, the movie succeeds in creating the irony of sufferings and deliverance ... \r\n\r\nQ&A with the director: \r\nHe was curious to know how many audience will actually sit through to finish watching the film ... and who they are ... \r\n* laughter *\r\n\r\nQ: Was the visuals post production or the use of filters?\r\nA: Nowadays, most do not use filters. Yup ... it is a post production effect.\r\n\r\nQ: * the audience who asked did not get the characters correct, so the rest of us were confused ... *\r\nWhat was the relationship between * a woman\'s name * and the male protagonist? \r\nA: * it was confusing, so nobody really knew how to answer ... even the director ... *\r\n\r\nQ: What do Hungarians feel about the movie? And how does it differ from international audience?\r\nA: It is a very good question ... there are the old generation and new generation of directors ... there are those who appeal to the masses and those who win awards, but nobody watches ... mine belongs to the latter ... * laugh *\r\n\r\nQ: What was the man with the spade in the soil doing?\r\nA: The director related that it was an actual incident he saw on the beach ... when a man was drunk and kept digging until he \"vanished\" from his children\'s view ...\r\n\r\nQ: What inspired the movie ...\r\nA: * in order to avoid spoilers, I will just say the ending scene was an event in the news that the director read * \r\n\r\nWell, watch it if you want to know!\r\nha ha ha\r\n\r\nAgain, I will only recommend to people who like the minimalist approach ... otherwise, you will get impatient with the pacing as the movie/camera pans VERY SLOWLY ... \r\n\r\nRe-iterating ... both the visuals and the soundtrack are excellent!','489cd1b3d8474f746da9869eb817c29f',0,'','lgd4GCFJ',1,0,'',0,0,0),(8931,1631,3,1,0,'69.120.114.47',1191304500,1,0,1,1,1,1,'A','Re: Dealer (2004) (Hungary)','Originally posted by me on 12/11/06\r\n\r\nMade in Hungary, the film evokes a lot of filmmakers\' style (Tarkovski and his Stalker (1979)immediately come to mind) without becoming too self-indulgent. The \"thank you\'s\" in the credits go also to Bela Tarr, Sergio Leone and Portishead. My initial response was too critical and I ended rating it 33/100. But if you try to surrender yourself more to Fliegauf\'s allegorical take on post-socialist reality where death seems the only escape from a life that resembles hell you will definitely be rewarded. Long and slow tracking-shots for almost 160 minutes will either hypnotize the viewer or send him asleep. I finally surrendered, and fell under its spell. A problem could be the \"formulaic\" approach, which others would describe as \"focused\". Look out for the ending of the story which is actually the beginning of the film!\r\n\r\nAfterthoughts:\r\n\r\nAfter some consideration this is one of the must-see films of recent years. If you are a fan of Bela Tarr there is no way around this independent gem. Unique in every way, it is a bleak portrayal of the crumbling society in former eastern block countries. A gloomy and unapologetic trip into hell. The surreal quality and inserts in the film are also very interesting. \r\n\r\nMy rating after the 2nd viewing was an impressive 71 out of 100\r\n\r\nI believe arsaib has seen this one too, but his thoughts were buried after the crash of our old forum.','fa3888f9fa3a6fd293464d79029b7649',0,'','gnk1d3cP',1,0,'',0,0,0),(8932,1631,3,1,0,'69.120.114.47',1191306600,1,0,1,1,1,1,'R6dw6C','Re: Dealer (2004) (Hungary)','How come that you edited your post now, A? Anyway, I\'m glad you didn\'t insist on your shocking 33 rating. \r\nI totally agree, it is one of the most amazing films of the new century up to now and one of those ferocious cinematic monuments you need to see over and over again. Too bad it will probably never be released on DVD over here. But I hope that Artificial Eye, Criterion, Tartan or any similar company will pick it up soon as I HAVE to rewatch it and everybody should be given the opportunity so see it. But my rating will be still the same, I guess.\r\n\r\nTo everyone from the United States and the UK: Do you know if there is any DVD of this one in existence or announced?','d0976a197d921ce578e0c6b2f9e70cb6',0,'','RQdJNKVg',1,0,'',0,0,0),(8933,1632,3,1,0,'69.120.114.47',1191178140,1,0,1,1,1,1,'justindeimen','Day Watch (Dnevnoy dozor) (Russia/2006)','Review: \r\n\r\nJust as the almighty rubles reared their heads in Russias most successful cinematic import, Day Watch doesnt miss a single beat in its histrionic continuation of 2004s blockbuster hit, Night Watch. It remains a frantic, discombobulated product of Americas cultural hegemony over writer-director Timur Bekmambetov\'s planned occult fantasy trilogy of the struggle between the forces of the Light and the Dark in modern day Russia. Bekmambetov doesnt merely reuse and rejig the aesthetic and yin-yang philosophical afterglow of Hollywoods own revered trilogies The Matrix, Blade and Star Wars, but confidently infuses post-Soviet subtext and higher-minded allegories that insist that its vampires and witches are nothing more than tenebrous metaphors for desire and clandestine political representation of the subsisting working class and avaricious oligarchs. This elephant in the room works together with the films diseased depiction of the now capitalist den of Moscows surfaces, with the striking colours of its neon billboards oscillating amidst its darkened gothic grays and antiseptic flashes of harsh, austere light. \r\n\r\nWhen we last left Anton (Konstantin Khabensky), he was on the rooftops of downtown Moscows apartment complexes negotiating between his infanticide guilt stemming from a botched mystical abortion and the inevitable guilt festering over the causation of his now teenage hellion son Yegors (Dima Martynov) ascension into the Dark consortiums (the Day Watch) ominously named The Great Other (a derivative of the chosen one), that very convenient wildcard that puts the ball in the court of whoever holds his tenuous confidence. For all its loaded hyper-reality and thaumaturgy involving body-swapping, dimension hopping and the ultimate McGuffin in the Chalk of Fate an ancient artifact that allows its users to revise history and subsequent reverberations the films interest does not lie with the anxieties its society-whelped conjurers partake in, but the prosaic visual spell that it puts itself under. \r\n\r\nWith a spastic camera matching its hyperactive narrative, it gears into a sort of ritualistic rigour that results in mindless delirium which ends up aggressively overstating its own glibness given the films firmly cogent initial deliberations. Day Watch teeters between its self-consciously wild stylistics and its rehashed brand of cartoon darkness, but its much too lurid to be taken at the gravitas it puts forth, and much too tepid to be experienced as genre excesses.','b6d579c0eeb80bd6eec096506f6d4ac5',0,'','rFl8L4gw',1,0,'',0,0,0),(8934,1633,3,1,0,'69.120.114.47',1191108660,1,0,1,1,1,1,'arsaib4','Lee Chang-dong\'s Secret Sunshine (S. Korea / 2007)','[From TIFF \'07] \r\n\r\n\r\n\r\nSecret Sunshine (Milyang), the remarkable and heartbreaking fourth feature by Lee-Chang dong, begins rather inconspicuously on a rural highway where we find a woman and a young boy along with a car which wont start. Help soon arrives in the form of a local mechanic named Kim (Song Kang-ho), who eventually ends up driving Shin-ae (Jeon Do-yeon) and her son into the nearby town. We discover that this ostensibly fragile thirtysomething widow is moving into that small town of Milyang (characterized by Kim as \"fairly right-wing\"), the place where her late husband was born. Shin-ae opens up a piano school and attempts to integrate herself into the new surroundings. In the meantime, the jovial and loquacious Kim keeps trying to do the same with Shin-ae, who is somewhat wary of his advances but threads him along for her benefit. And then a tragedy strikes which quite literally picks up the film from one course and places it onto another. \r\n\r\nFrom the gorgeous, nearly-mythical opening shot of the sun and clouds in the blue skies to the final rudimentary image of a patch of dirt, Secret Sunshine offers an immensely engrossing and fulfilling experience -- the film almost constantly changes its colors during the latter stages yet they always feel right and true. The fact that Lee, who is known to be extremely demanding of his actors, has garnered great performances from his leads certainly helps in that regard. Winner of the Best Actress award at the 2007 Cannes Film Festival, Jeon is simply phenomenal: even though the suffering her character endures isn\'t unique in human terms, she makes it appear so as that\'s exactly how one would feel in the predicament Shin-ae finds herself in. Jeon is tested in an array of emotionally complex situations but, much like Lee\'s screenplay (adapted from a story by Yi Chong-jun), she somehow manages to find the unpredictable balance. Currently one of the biggest comedic stars in his homeland (and most recently seen in the monster hit The Host [2006]), Song delivers a delightful performance which in its own way is just as important to, and for, the film as Jeon\'s. \r\n\r\nA Woman Under the Influence (1974), Bresson, Safe (1995), von Trier, Alice Doesn\'t Live Here Anymore (1974), Bellocchio. Just a few of the names Secret Sunshine managed to evoke in retrospect, and not all at once, but the film resists any sort of easy quantification -- perhaps part the reason why its fervent admirers (and there are many!) have labeled it \"novelistic,\" as it deepens and reveals new layers upon further examination (a repeat viewing is certainly in order though I\'m not sure how long that will have to wait). While Lee arguably goes too far in attempting to point out the double standards which exists in Milyang, his portrayal of the evangelical Christian fellowship itself is rendered without condescension; the film truly is \"about as limpid and unexploitative a film as you could imagine on the subject of human suffering\" (Dennis Lim). And if the filmmaker leaves a few questions unanswered, it\'s hard to argue against after discerning where he ends up that he\'s earned the right to do so. \r\n\r\nGrade: A- \r\n__________________________ \r\n\r\n*SECRET SUNSHINE had its international premiere at Cannes \'07 (in-competition). The film has gone on to play at Toronto and New York fests. \r\n\r\n*Lee\'s three previous features are Green Fish (1997), Peppermint Candy (2000), and Oasis (2002). All good films; the latter two are available on DVD in the U.S. Lee, who started out as a novelist and a screenwriter, recently served as Korean Minister of Culture and Tourism. His resignation was primarily due to the newly inaugurated quota system for film screens.','87000547299e23d1014932ce9aff7963',0,'','4ftjPeXC',1,0,'',0,0,0),