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”Blind Loves,” which world-premiered at the 2008 Cannes Film Fest, is a film about love between blind people. Love can be soft, love can be silly, love can be blind at all times. To find ones place in this world is not an easy thing to do for people with good sight, but how much more difficult can it be for somebody who is blind The view of blind persons is often pure and essential, and very often witty. It uncovers new dimensions of meaning of happiness.Read More »
“Subconscious Cruelty” is divided in four segments: Ovarian Eyeball – a naked woman is sliced by a sharp blade and an eyeball is removed from her belly. Human Larvae – a deranged man that hates his sister that is pregnant kills her newborn offspring and she during the delivery. Rebirth – a group of naked people rolls around in mud and blood. Right Brain/Martyrdom – religious symbolism associated with gore and sex.Read More »
Rousseau’s first full-length feature, and one of the best documentaries/experimental films of the past few decades, sprung equally from Robert Bresson, Michael Snow, and Jean-Marie Straub (who has called Rousseau one of the three best working artists in modern Europe). Again hard places played against drifting sounds from unseen sites beyond the image; the images and sounds, repeated, become inflections of each other. But this time there are historical inflections; Rousseau’s film, like Straub’s, takes place in a sort of meta-history as characters and ancient sites each become products of outside light and shadow.Read More »
Synopsis
Portabella’s first feature, co-scripted by poet Joan Brossa, became one of the most influential works of the Barcelona avant-garde, although like all his early films, it circulated only in an underground fashion. Eschewing dialogue, the director constructs a non-narrative story in fragments that reveal the daily lives of an adulterous couple interspersed with a cryptic stream of unrelated imagery. The title of this homage to directors including Eisenstein, Antonioni, Bergman, and Buñuel refers to the 29 “black years” of the Franco dictatorship.Read More »
This film is loosely based on Goethe’s Dr. Faustus. It’s the second feature that Gonzalo Suárez made, when he still was a member of the Barcelona School (Escuela de Barcelona). The Barcelona School was a 1960s group of Catalan filmmakers, concerned with the disruption of daily life by the unexpected, whose stylistic affinities lie with the pop art movement of the same years and with the French Nouvelle Vague. Among their members: Joaquin Jordà, Jacinto Esteva, José María Nunes, and also, at the begining of their career, Vicente Aranda and Gonzalo Suárez.Read More »
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One of the most adventurous filmmakers to emerge from the Philippines in decades, Lav Diaz is, in many ways, the spiritual father of what some have called the Filipino New Wave, a group of filmmakers who have adopted digital technology to create an intimate and raw style. At the same time, he stands separate from them, often working on an epic scale and addressing historical shifts in Philippine society. (See his epochal Ebulysion: Evolution of a Filipino Family.)Read More »
Facing seizure of their own lands, two families find themselves farming together on the same field, hoping just to get through another rice-farming season. But no matter how much the world is evolving, how much the country is going through economic, political, and social changes, they still cannot grasp the new ideology of “happiness.” How can you dream of utopia when your stomach is still grumbling?Read More »
IMDB:
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color and the projection speed.
“Ce film n’est pas l’illustration d’un récit historique ou d’une pièce de théâtre mais il est structuré par sa dynamique propre et trois éléments basiques: la lumière, la couleur et la vitesse de projection. Par leur interaction il vise le regard du spectateur.
Le film propose un questionnement sur:
1) ce qu’il génère c’est-à-dire sa propre histoire;
2) l’imaginaire du spectateur et son regard;
3) le seul dehors questionné: le devenir de l’image qui est sa seule possibilité d’être. (…)Read More »
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A sweeping meditation on global commerce, labor and geography in the 21st century which chronicles the birth, life and death of a merchant ship.
“The sublime is no more strongly felt than in Peter Hutton’s magisterial At Sea. Put simply, the film tells the story (“the birth, life and death”—in the director’s words) of a container ship—but there are no words to adequately describe the film’s awesome visual expedition. Hutton knows the sea. His experiences as a former merchant seaman have informed his filmmaking practice, known for its rigor and epic beauty. Read More »