Arthouse

This is a highly experimental French film consisting of no more than 23 camera shots, total. It resembles nothing so much as one of Warhol’s earlier films, except that it is more episodic. Nico of the Velvet Underground portrays a different woman in each of the episodes. The first three concern her “rescues” from Death Valley, Egypt and Iceland by a young man to whom she eventually says “stay away from me.” Following that, she recites from various texts in German, French and English, makes various gnomic observations and encounters various men in various guises. All the men are played either by director Philippe Garrel or Pierre Clementi.Read More »

Mija lives with her middle-schooler grandson in a small suburban city located along the Han River. She is a dandy old lady who likes to dress up in flower-decorated hats and fashionable outfits, but she is also an unpredictable character with an inquisitive mind. By chance she takes a poetry class at a neighborhood cultural center and is challenged to write a poem for the first time in her life. Her quest for poetic inspiration begins with observing the everyday life she never intentional took notice of before to find beauty within it. And with this, Mija is delightfully surprised with newfound trepidation as if she were a little girl discovering things for the first time in her life. But when she is suddenly faced with a reality harsh beyond her imagination, she realises perhaps life is not as beautiful as she had thought it is…Read More »

From Amos Vogel’s Film as a Subversive Art:
This powerful, unsettling film elevates voyeurism to its central element in a series of raw sexual encounters reflected in an apartment mirror, from which a hidden camera records its images. The lustful sex turns increasingly pathetic and the mirror is finally smashed in despair. The “playing” on reality — the entire film is staged, the mirror thus reflecting a double illusion — is eminently modern and structural, as is the camera’s passive immobility, with action at times leaving the frame or the film “running out”.Read More »

Quote:
BAM/PFA (Berkeley Art Museum & Pacific Film Archive) wrote:
In this film of the furusato genre, Isako Nakazato returns to the Tsugaru fishing village where she grew up, bringing with her Iwashiro, a gangster who has been marked for a hit. The two decide to start a new life together in the village, learning from the wisdom of the fishermen, the blind musicians and the other villagers who have made them welcome.

Koichi Saito has made several films on similar themes, in which his protagonists are outsiders, often criminals, seeking redemption through love and acceptance into a new community.Read More »

Mai Zetterling explores Swedish cultural canon in a Canadian TV-production called “Cities”. Zetterling herself play all the prominent roles.Read More »

Quote:
A traveller in China’s far west in 1975 crosses paths with a young girl. They both have an interest in a film that is being screened in the area, but for different reasons.

Scott Mariner wrote:
Censors in Beijing have approved the release for November 27, following a year-long effort to rework the film to please the government. One Second was originally intended to premiere at the Berlin International Film Festival in 2019. However it was pulled at the last minute with producers claiming “technical issues” — a common euphemism for Chinese government censorship. The incident was a shock to the international film community and indicated that the propaganda department’s recent takeover of the Chinese film industry means the government will be taking a much more heavy handed role in dictating what artists can and cannot create.Read More »

Fourteen-year-old Maria spends her time in the extensive tropical garden of her family house. When she meets her brother and his friend Adrian on motorcycles during the New Year celebrations, she decides to flee with them to find paradise on earth together.Read More »

In 1995 a then well known Québec theatre director named Robert Lepage made his first feature film, Le Confessional which, to my mind, remains one of the most impressive debut Canadian films ever. An intellectual and polyglot, Lepage carried his theatrical self-assurance over to the sphere of cinema without compromising cinematic language, and in fact expresses his ideas through formal means in the manner of an assured auteur. Thematically the film is not much of a stretch for a Québec film, centering on one of the constant themes in Québec cinema: sibling-parent tension. In this case, as in many other important Québec films, the tension revolves around an estranged father-son relationship [to name just a few Québec films dealing with troubled mother/father and daughter/son relationships, Les Bons Débarras (Francis Mankiewicz, 1980), Un Zoo la Nuit (Jean-Claude Lauzon, 1987), Les Invasions Barbares (Denys Arcand, 2003), and La Vie avec mon Père (Sébastien Rose, 2005)]. What makes the film impressive is not the story but its formal treatment across two time frames, weaving the past and the present and the personal and the historical.Read More »

Plot:
A sixty and something year old captain has been raising for ten years a girl since she was six in his old fishing vessel that is permanently anchored offshore with the intention of marrying her on her seventeenth birthday. He survives bringing fishermen to fish in the vessel and predicting the future using his bow and shooting arrows in a Buddhist painting on the hull of the vessel while the girl moves back and forth in a swing. He also uses the bow and arrows to protect the girl against sexual assault of the fishermen. They live happily until the day that a teenage student comes to the ship and the girl feels attracted for him. When the teenager discovers that the girl was abducted when she was six and does not know the world, he returns to the vessel to bring the girl back to her parents.Read More »