Arthouse

Synopsis wrote:
Uzak/Distant chronicles the numbing loneliness, longing, and isolation in the lives of two men who are consumed by their own problems. Istanbul photographer Mahmut reluctantly receives his relative Yusuf, but the mingling of their lives does little to alleviate their detachment.

Roger Ebert wrote:
How is it that the same movie can seem tedious on first viewing and absorbing on the second? Why doesn’t it grow even more tedious? In the case of “Distant,” which I first saw at Cannes in 2003, perhaps it helped that I knew what the story offered and what it did not offer, and was able to see it again without expecting what would not come.Read More »

The original dvdr announce wrote:
This filmic exchange is based on two works that reflect on the way each director films, on the crew and the actors, on the way they see and make cinema. Albert Serra took the characters of Honor de Cavalleria and his regular team of collaborators to follow in the steps of Quixote. Lisandro Alonso returned to La Pampa province to film his work, for which he recalls Misael Saavedra, the lead of his first film, La Libertad.Read More »

Synopsis wrote:
Clara, a 65 year old widow and retired music critic, was born into a wealthy and traditional family in Recife, Brazil. She is the last resident of the Aquarius, an original two-story building, built in the 1940s, in the upper-class, seaside Boa Viagem Avenue, Recife. All the neighboring apartments have already been acquired by a company which has other plans for that plot. Clara has pledged to only leave her place upon her death, and will engage in a cold war of sorts with the company. This tension both disturbs Clara and gives her that edge on her daily routine. It also gets her thinking about her loved ones, her past and her future.Read More »

In this delirious sci-fi take on the Arabian Nights’ Tale of the Hunchback, Dalaya.com, a mega-corporation reigning over a technological dystopia, forces its employees to “relax” at company-run medieval re-enactment (Festival del Film Locarno)Read More »

,Quote:
Carlos (Andre Argaud), a well-do-do publisher and family man, receives a severed hand in the mail at work and buries it before going home but once there, his beautiful wife (Theresa Gimpera) reads him a telegram asking if he’d like a forearm. Carlos makes up a lame, work-related explanation but now suspicious, she follows her husband and spots a mysterious woman in black following him as well. That woman is Parker (Capucine), whose lesbian lover, Esther (Judy Matheson), was once Carlos’ mistress who never got over being cast aside. Esther committed suicide but Parker kept the body and, holding Carlos responsible, devises a complicated plan to have him framed for Esther’s murder…Read More »

Movie director Jo Moon-Kyeong (Kim Sang-Kyung), who recently decided to immigrate to Canada, takes a trip down to the small sea-side town of Tongyeong, South Korea. There he meets acquaintance Bang Jong-Sik (Yu Jun-Sang) who is a movie critic. The film director and movie critic sits down to have drinks and talk about their past.

They also come across Yang Seong-Wook (Moon So-Ri), who is an amateur poet and cultural guide in Tongyeong and a charming young woman (Kim Gyu-Ri).Read More »

Quote:
“In this avant-garde short, Duras uses outtakes from Agatha et les lectures illimitées, removing Agatha and leaving only the voice and likeness of her brother (Yann Andréa). Duras scholar Leslie Hill contends that for the first time in her work, “the gap between image and sound is now aligned with the fissure of sexual difference itself.”” (filmlinc.org)Read More »

Quote:
Adapted from Duras’ Abahn Sabana David.

Jaune le soleil est un film de Marguerite Duras sorti en 1972, adapté de son roman Abahn Sabana David.

Tout le film se passe dans une seule pièce où sont réunis les représentants des deux forces politiques et leur ennemi “le juif”. Un personnage féminin établit le dialogue entre ces individus et commente l’idéologie de chacun ; ceci jusqu’à la scène finale où chacun semble se rallier à une idée commune.

Note de tournage :
“Il faudrait que le film donne l’impression d’avoir été tourné sans électricité, que tout effet de lumière en soit complètement banni. Que tout le film baigne dans une lumière uniforme qui n’avantage aucun personnage. Que ce soit la même lumière pour tous. C’est un film sur la parole, l’image ici sert à porter la parole. .(…) Ici c’est la parole qui tient lieu de contact corporel, ainsi que les bruits, les cris des chiens, le bruit des mots….” Cahiers du cinéma n° 400 Octobre 1987Read More »

The original dvdr announce wrote:
This filmic exchange is based on two works that reflect on the way each director films, on the crew and the actors, on the way they see and make cinema. Albert Serra took the characters of Honor de Cavalleria and his regular team of collaborators to follow in the steps of Quixote. Lisandro Alonso returned to La Pampa province to film his work, for which he recalls Misael Saavedra, the lead of his first film, La Libertad.Read More »