on the road again…

This is the second instalment of a three-part series of autobiographical films about the director’s life.

The first, which won various awards for its maker, was entitled Zamri Oumi Voskresni and was later retitled Zari, Umri, Vokresni (“Freeze-Die-Come to Life).

At the end of that film, set at the conclusion of World War II, the young Valerka was striving hard to overcome the inertia of just getting by, along with his sometime friend Galiya. In this one, he is adjusting to Galiya’s death and is back in school and is living with his mother, a prostitute. After a girl at the school is found to have been gang-raped, the headmaster chooses Valerka to be one of the scapegoats, though he had nothing to do with the deed.Read More »

SYNOPSIS/PLOT: Amid the intense political violence of Istanbul, Kadir is released on parole two years early on the condition that he become an informant for the police gathering terrorist informations, activities, and searching for bombs on trash cans.Read More »

Quote:
“You are nothing but a white!” So shouts indigenous Amazonian shaman Karamakate (Nilbio Torres) to the seemingly on-the-level but still suspicious German scientist/explorer Theodor (Jan Bijvoet) in Ciro Guerra’s enthralling, politically tinged, psychedelic, historical adventure film Embrace of the Serpent. Reversing the perspective of more familiar movies such as Werner Herzog’s Fitzcarraldo or Roland Joffé’s The Mission, Embrace of the Serpent’s snaky crawl up the river investigates imperialism’s cultural pollution from the inside out, with the mystical Karamakate as a reluctant tour guide in two time periods.Read More »

Following passages selectively translated from Risto Jarva Society’s website:

Risto Jarva was a central director in the Finnish New Wave. His career is one of the most extensive and important in the history of Finnish cinema, even though he died in a car accident at the age of 43.

Risto Jarva was a humanist and an engineer within one person. The focus of his work is on the human between society and nature. In his feature films and short documentaries he mapped dominant and alternative ways of life, without forgetting neither history nor the future. That’s why his movies are both subjective and objective evidence of the way Finland was in the years 1962-1977.Read More »

In the colorful forest village of Amanha Lundju, tradition demands that when a child is born a tree be planted. As the tree grows, it becomes the twin of the growing human being. At the same time, trees are constantly being felled for firewood and buildings, and the threat of organized deforestation by the state hovers ominously.Read More »

Quote:
“Lulu the Tool” is no more descriptive a title for Elio Petri’s Italian social drama that opened yesterday at the D. W. Griffith Cinema than “La Classe Operaia Va in Paradiso” (“The Working Class Goes to Heaven”), the title under which it shared (with “The Mattei Affair”) the grand prize of the 1972 Cannes Film Festival. But if neither tag is memorable, there is little doubt that the director-writer, whose convictions are Communist, has projected a cynical view of the worker’s lot that is both fascinating and sobering.

Mr. Petri, who scored with his 1970 dissection of police authority in “Investigation of a Citizen Above Suspicion,” has again joined Ugo Pirro in writing the script. With Gian Maria Volonte, the top cop in “Investigation,” he points up the Kafkalike condition of “Lulu.”Read More »

Quote:
His father has died, he doesn’t speak for his brother for about 10 years and he has a serious cancer. Diego is a talented film director with difficulty to deal with his sickness, which is making him lose his friends and family slowly. His best friend and doctor, Ricardo, gives him the news that he needs to have a bone marrow transplantation, otherwise he’ll die. He gets married to a beautiful woman, Livia, just before going to Seattle to get treatment. There, an enormous staff of doctors start to give him numerous medications and procedures. During treatment, he meets and Hindu boy, with whom he plays pretend and tells amazing stories. Odds are against him and when stakes are the highest, Diego gets a visit from a very Common Man…Read More »

After eight years of marriage to Liyan – once rich but now a shadow of his former self following a long, ruinous war – Yuwen does little except grocery and medication shopping. A surprise visit from Liyan’s friend Zhang re-energises the household, but also stirs up long-suppressed feelings and resentments.Read More »

Quote:
In 1989 in Tehran, a movie mad unemployed printer named Ali Sabzian was arrested for impersonating the famous film director Mohsen Makhmalbaf. The family he had fooled was deep in rehearsals for his next “film” when they alerted authorities of their suspicions. “I loved playing that part,” confesses Sabzian in his trial. When the judge asks the Ahankah family if they will drop the charges in light of Sabzian’s apologies and explanations, one of the sons replies “I get the impression he’s still playing a role.”Read More »