Here are some still from my documentary feature film on the life of Shndar; A Kurdish refugees from Rojava in West Kurdistan (Syrian Kurdistan) now living in South Kurdistan in a camp. He fled the the recent ISIS attacks upon Rojava, he is 16 years old who has Thalassemia and must have immediate treatment. He live in a camp with his father who is deaf and mute, work as a laborer when there is a job outside the camp, because of his Thalassemia, he has to get blood transfusion every month in order to live. The film is about him, his daily life on the camp and outside of it, and also the life inside the camp. The film is slow paced, rather Arty, more visual and very little dialogue driven. More than being a film about the life of refugees, it is a meditation on life, death, war, peace, and tolerance.
WATCH IT on VIMEO:
I gave this Interview about the film to Suna Alan on how the films was made:
When and which camp in South Kurdistan did you shoot your documentary ‘’I Want to Live?
For the final project of my Master degree, I was required to make a film, and I went to back to Kurdistan in the Summer of 2014, I shot the film in the span of one week at Arbat Camp outside Sulaimani. I did the producing, directing, cinematography, editing of the film. At a distance of only 40 minutes from the city of Sulaimani is Arbat Camp in the town of Arbat, the camp had more than 700 Kurdish families from Rojava. Despite having the permit, on my visit to the camp I was denied the access to the camp, I was told to meet personally the head of the security of the camp, and it took me two days to meet him, at first; he was against allowing a camera into the camp and giving us access for many days and nights, but after a lengthy talk and my explanation that the film was for a Western audience and part of a Master degree program, he was more than happy to allow me to film, wanting a Western audience to be informed about the life of the Kurdish refugees in the camp, I was giving permission to film for eight days and nights with full access to all the areas inside and outside the camp. On the same days I visited the camp to find a subject and a narrative to follow. I was confident that by walking around the camp and talking to people, I would find many stories and subjects to film, my original plan was to have three different narrative on three different subjects; a young boy, a women and a man. While walking around with a guide, as he was showing us the different area of the camp, in the school, we meet a little boy of 16 by the name of Shndar, right way I knew my film will be about him. Unlike many people in camp who only spoke the Kurmanji dialect of the Kurdish language, Shndar was fluent on both Kurmanji and Sorani dialect, at first he was shy to talk to us, but after talking to him for a while and walking around the camp with him, he became a friend to us and was more than happy to be filmed, on the same day, we visited his tent, talked to his parent and got their permission to film him.
How were the conditions of the Rojavan refugees in the camp in general during your shooting?
I tried to become one of them while shooting the film, and we would go around all over the camp with the camera, so the people got used to us, after a few days, we were like someone who lived inside the camp, just a normal person, they did not look at us as outsiders, and you can see that in the film, they behave naturally in front of the camera. As for life in the camp, you can see it in the film how life is, I don’t need to comment on it, the film does.
What is the main subject of your story?
The story if not mine, it is the story of Shndar, a little boy from Rojava who has Thalassemia, and he must have a surgery very soon, or it is too late. I wanted to see life the way he does, so it is his story, the camera is there to capture it.
Why did you choose to tell the story of a refugee boy instead of the refugees in the camp in general?
Well, for one reason; I do not like to generalize, you see that everyday in the News and Documentaries, in which people become just a mere number or a group, they lose their individual identity, I wanted to show, that among these Refugees that you hear about everyday mentioned, they each have a story and life that is precious to them as it is to everyone, and they are not just a number.
6. What are your messages via your film?
I really do not have any message, I’m not a filmmaker that want to manipulate or sell an idea or ideology, I want to show life as it is, and it happened that in this film, the life is that of a Refugee boy, a Kurdish Refugee boy who has no home, no country, nothing to call his own, not even a healthy life. I let the viewer make up his/her own interpretation of whatever the message of the film might be.
Will you have any other film project on Rojavan refugees in south Kurdistan?
I hope so, this was my last Documentary film, I wish in the future to make Fiction film, and Rojava will always be part of my future plan.
Here are my notes on the Production:
I took the task of Director and DP upon myself, for the simple reason that having a crew of more than two meant attracting the attention of the people in the camp, and the people would be uncomfortable in front of the camera seeing the large crew behind it, also upon meeting Shndar, I realized that he was a shy person that did not want attention nor eyes to be looked at him while in front of the camera, and having only a crew of two mean that we melted into the people of the camp as we became friend with many of them, and indeed that happened; within two days of shooting, they treated us as one of them. I decided the narrative of the film to be in the control of Shndar and his daily life. We would visit his tent every morning and would follow his daily plan, but I was not yet sure of what style to follow. The first day of filming took place in the school; I filmed everything in a formal and constructive manner, using long lens for rapid shift between different shot sizes, from extreme close-up to wide shots, I filmed everything in coverage, with the editing in post-production for each scenes and sequence in mind all the time. On the same afternoon, as we took a break, I looked into the footage inside the camera that was shot, and I noticed the realism in the scenes came from those wide shots that I let the camera run and did not force my own personal perspective or coverage style of the film. That is when I decided to film the rest of the scenes using Wide Angle lens, with the camera at a distance, and latter use editing in little manipulative manner. Choosing such style meant shooting lengthy takes and having a film that is slow in pace, but such style was best fitted for the slow life of the camp, I had to use it in order to capture the reality.
The Rest of Filming:
We filmed 4 days and one full night in the life of Shndar and the camp, and spent another 2 days recording his voice-over. Each day we would follow Shndar, he would tell us about his daily plan, and we would arrange shots to be setup as we followed him around, most of the time I filmed him without his knowledge, for I realized that by doing so, he behaved in a normal and realistic manner, same was true with the scenes that were shot with the people in the camp. To give an example; Shndar would tell us that sometime in the morning he would visit the children playground, I would ask him to take us, we would walk to the place, I would setup the camera and let it run, then I would tell Shndar to walk to the playground, at the first two takes, he would act as in a fictional film, swinging his legs and body as he walked, very theatrical, instead of telling him to do it again, I kept the camera running, telling him that we filmed everything and it was all good, let him take a break, then I would ask him to walk to the playground and wait for us to join him, or I would tell him that we had to do one more take just for sound, only then, when he thought that the camera was not filming did he gave a realistic performance. Everything was captured in such realistic manners, not a single shot in the film was staged, there was one shot that I filmed but not used in the film that I staged in a fictional manner; the scene was of Shndar visiting the Doctor in the camp, they both watch a French song on a laptop, I staged that scene and filmed it, but later during editing, I realized that it was rather weak, and I did not use it in the final film. Choosing such style and directing approach for the film with only two of us as a crew meant that we moved fast between places and we encountered many surprises, some of the best scenes in the film is shot in that manner, for example; the scenes in the cucumber field, as we started filming, it rained, the cloud came, and Shndar felt such happiness in being in the field, away from the tents, under the rain, he was laughing from joy. Summer rain in Kurdistan is very rare, and I knew it would not last more than half an hour, so we had to shoot every single second of it, as I ran from one place into another to film each scene.
I filmed a total of 20 hours of footage, and it took me almost a month to captured the scenes that I wanted to use in the film, the war with ISIS on the borders of South Kurdistan and the flooding or refugees lead to electricity power shortage which gave me little times use my computer to capture the footage. I captured a total of 6 hours of films and lined them up as a rough cut, then I had to start chopping them to pieces, and it hurt, because not only did I had to eliminate many shots in the film, but I had also to trim the rest of the shots that ended up in the film, despite wanting to have a very slow pace film that made the audience live in the camp for with Shndar and these refugees, to take them and making them experience the life in the camp, into a world far from their comfort zone, but I had no choice than to be realistic to cut down the film to 1 hour and 45 minutes in the end, some scenes in the film suffers because of that, if I had filmed a long take of 4 minutes during filming, it meant that I wanted it to end in the film in such length, but on the editing stage; I had to trim it down to 30 second or 45 second, only then could I have shortened the length of the film. More than wanting to slow down the pace of the film, I also used different pace to shift between sequences; Day One is fast paced, because it fit the narrative, Shndar is in School and visit the Bazaar with his brother, both place are crowded and life in them are fast. Day Two is very slow, because Shndar walk around the camp, watch TV in his tent and goes to picnic, all are less crowded places and the pace was indeed slow as time seemed to slow down. His visit to the cucumber field is edited in a poetic style, and the final scene is the longest, because I wanted the audience to feel every second of Shndar taking the shot and the pain as he is in bed for 6 hours waiting for the medication to end.
Voice-Over and Sound Mixing:
It took us two days to record the voice-over, I recorded all the sound in secret; I ran the camera and we sat in the tent with Shndar asking him different question about life in Rojava, his sickness, the family becoming refugees in Kurdistan, I asked him about everything; from nature of War, to love, to hate, to religion, to music, etc. At times I would ask the same question in different manners as to get his view on a subject, and all the time the camera was recording, the lens away from him, but the microphone right beside him recording the sound, a reason that his voice-over is so realistic and he seem to be talking to a friend rather than to a camera. The total voice-over of Shndar and us asking him questions was more than 6 hours in length, with 2 hours of his VO in the rough cut and I had to trim it down to around 20 to 30 minute in the final film. I did not use any sound effect other than what is captured in the scenes. For my fictional short films, I usually use many different outside sounds and effects, mix it into the film, but for I Want to Live, I only used the sound in the shots and did no manipulation of them for the exception of changing the volume when the VO come into the scene, for my aim was realism.
Color Correction: I used very little Color Correction during editing, I had to bring back the White Balance for a few shot, and I wanted the film to look grainy, I prefer a grainy image to a sharp one, some of the scene had to be grainy for I had no choice; such as the scenes of the camp at night, for it was impossible to light a whole camp, and it is rather more realistic to have a grainy shot than a blurry sharp one that is fixed in the post-production. More than having a grainy film, I also let some of the technical detail stay in the film to give it more realism; in some shots you could see rain falling on the lens, there are spot of rain left on the lens, I did not clean it up until the shooting of that day was over, even one can see a light reflected in one of the shots. I left them all in the film and did not want to remove them or fix them in post-production.
Budget and Aftermath:
What I’m most proud off is the fact that I made the film with less than $400 spent. Making a feature documentary film in such small budget is not even heard off here in Kurdistan, a local TV station will spend more than $5000 for such a film, I managed to do it, because there was only two of us in the crew, and I shot it in the span of only 6 days, did all the editing, color correction, sound mixing and creating English subtitle by myself, it was physically and mentally a hard challenge to tackle, but we did it and proved for others that they could do it. More important; I became a close friend to Shndar and him family, visiting them many times after the filming was finished, we are still in touch. Spreading awareness about the life in the camp, the struggle of Shndar with thalassemia and life in the camp is a worthy cause to make a film about, if that is what the film comes down too at the end, then, it was worth all the effort that went into the making of the film, because of the film now Shndar got a chance with his family to go to UK in order to have a bone-transplant and his live might be saved.
P.S: The quality of the images are lowered for it to be uploaded.
Writing a book is a challenge, but writing it in a language that you have not written much can be quite a challenge to overcome, take the book I’m writing: Two month ago I took the task of writing a 1 million words book in Kurdish on the past 100 years of cinema, from D.W.Griffith to Richard Linklater, to be finished, given to the publisher and published in the coming Fall. I used my private film diary of the past 10 years as a source for analyzing the films, it consist of more than 10 million words, it was a challenge to find away to format the book in a style that inform the reader the historical significant of the major films schools, movements, directors and films that are important in the history of cinema, one way to get around it was to choose 100 Directors that represent the past 100 years of cinema’s history and incorporate all the historical significant of each cinematic movement through them, although the book is more Auteur driven.
What is most challenging writing the book is translating the English, French, German and Italian words that are the building block of film language into Kurdish,which mean: Beside writing the book, I have also to write a dictionary in Kurdish, not to mention translating the sources I use from my film diary from English into Kurdish. Other challenges include finding biographical and historical sources of film directors, those that very little about them have been written in English, to name a few: Yevgeni Bauer, Yakov Protazanov, Louis Feuillade, Mikio Naruse, Boris Barnet, Yilmaz Guney, etc, for these, I have to use non-English sources, such as French, Italian, German, Russian and Japanese.
I decided to write the book after many Kurdish friends and academics informed me about the lack of historical and academic resources on Cinema in the Kurdish Libraries, Schools and Universities in Kurdistan, hopefully in the coming years, and in 2nd, 3rd and other editions I could add more filmmakers, especially those that very little have been written about, for now: I have chosen around 150 directors, once I finished the 100 directors that I consider to be essential, publish the book, then wait for the 2nd edition print to publish the rest, which mean, in each edition, the book will become larger and larger, a reason, at least for now, for the next 6 month, I will be way from blogging.
The list of the Directors in no significant order:
Carl Th. Dreyer
Josef von Sternberg
Eric Von Stroheim
Vittorio De Sica
Joseph L. Mankiewicz
Powell and Pressburger
Andre de Toth
William A. Wellman
Francis Ford Coppola
Brian De Palma
Nuri Bilge Ceylan
Manuel de Oliveira
Lars von Trier
I made a list of 100 favorite books out of many that I have read over the years, pick any to read, they are timeless, perhaps the greatest books ever written, in my opinion.
Arranged by date of Publication:
700 BC: The Odyssey – Homer
620 BC: Aesop’s Fables – Aesop
500 BC:The Art of War – Sun Tzu
431 BC: Medea– Euripides
429 BC: Oedipus the King – Sophocles
375 BC: The Symposium – Plato
335 BC: Poetics – Aristotle
360 BC: Anabasis – Xenophon
1021: The Tale of Genji – Murasaki Shikibu
1603: The Hamlet – William Shakespeare
1605: Don Quixote– Miguel de Cervantes
1669: Pensées – Blaise Pascal
1670: Haiku Poems – Matsuo Basho
1719: Robinson Crusoe– Daniel Defoe
1720: Hagakure, The Book of the Samurai– Yamamoto Tsunetomo
1759: Candide– Voltaire
1765: Confessions– Jean-Jacques Rousseau
1791: The Rights of Man – Thomas Paine
1808: Faust – Goethe
1825: Eugene Onegin – Aleksandr Pushkin
1830: The Red and the Black – Stendhal
1835: Father Goriot – Honoré de Balzac
1839:The Fall of the House of Usher – Edgar Allan Poe
1840: A Hero for our Time – Mikhail Lermontov
1842: Dead Souls – Nikolai Gogol
1843:Fear and Trembling– Soren Kierkegaard
1848: The Communist Manifesto – Karl Marx
1850: David Copperfield – Charles Dickens
1851: Moby-Dick – Herman Melville
1852:Childhood, Boyhood, and Youth – Leo Tolstoy
1852: A Sportsman’s Sketches – Ivan Turgenev
1854: Walden – Henry David Thoreau
1855: Rudin – Ivan Turgenev
1856: Madame Bovary – Gustave Flaubert
1859: On the Origin Of Species – Charles Darwin
1859: Oblomov – Ivan Goncharov
1860: First Love– Ivan Turgenev
1862: Fathers and Sons – Ivan Turgenev
1862:Les Misérables – Victor Hugo
1866: Crime and Punishment – Fyodor Dostoyevsky
1868: The Idiot – Fyodor Dostoyevsky
1869: War and Peace – Leo Tolstoy
1874: The Mysterious Island – Jules Verne
1877: Anna Karenina – Leo Tolstoy
1880: The Brothers Karamazov – Fyodor Dostoyevsky
1883: Thus Spoke Zarathustra – Friedrich Nietzsche
1884: The Adventures of Huckleberry Finn – Mark Twain
1885: Bel-Ami – Guy de Maupassant
1886: The Death of Ivan Illysch– Leo Tolstoy
1886: Dr Jekyll and Mr Hyde– Robert Louis Stevenson
1889: The Kreutzer Sonata– Leo Tolstoy
1892: The Adventures of Sherlock Holmes – Arthur Conan Doyle
1892: The Conquest of Bread – Peter Kropotkin
1892: Ward No. 6– Anton Chekhov
1897: What Is Art? – Leo Tolstoy
1899: The Darling – Anton Chekhov
1897: Dracula – Bram Stoker
1899: The Interpretation of Dreams– Sigmund Freud
1899: Resurrection – Leo Tolstoy
1906: The Mother– Maxim Gorky
1906: White Fang– Jack London
1913: In Search of Lost Time– Marcel Proust
1916:Relativity: The Special and the General Theory – Albert Einstein
1920: Women in Love – D. H. Lawrence
1922: Siddhartha– Hermann Hesse
1925:The Trial– Franz Kafka
1928: The Master and Margarita – Mikhail Bulgakov
1930: Civilization and Its Discontents – Sigmund Freud
1932: Journey to the End of the Night– Louis-Ferdinand Céline
1938:Nausea– Jean-Paul Sartre
1938:Homage to Catalonia – George Orwell
1939: And Then There Were None – Agatha Christie
1941: Mother Courage and Her Children – Bertolt Brecht
1942: The Stranger – Albert Camus
1942 The Myth of Sisyphus – Albert Camus
1943: Life of Galileo – Bertolt Brecht
1947: Doctor Faustus – Thomas Mann
1948:Intruder in the Dust – William Faulkner
1948: Joseph and His Brothers– Thomas Mann
1949: Nineteen Eighty-Four– George Orwell
1951:Speak, Memory– Vladimir Nabokov
1952:The Old Man and the Sea– Ernest Hemingway
1953: Freedom or Death – Nikos Kazantzakis
1953: Waiting for Godot– Samuel Beckett
1954: The Sound of the Mountain– Yasunari Kawabata
195: Il disprezzo – Alberto Moravia
1955:Lolita– Vladimir Nabokov
1957: Doctor Zhivago – Boris Pasternak
1959: Cien Sonetos de Amor – Pablo Neruda
1961: Solaris – Stanisław Lem
1962: One Day in the Life of Ivan Denisovich – Aleksandr Solzhenitsyn
1964: Man and His Symbols – Carl Jung
1967: One Hundred Years of Solitude– Gabriel García Márquez
1973:The Gulag Archipelago – Aleksandr Solzhenitsyn
1978: Life: A User’s Manual – Georges Perec
1980: Cosmos – Carl Sagan
1980: Waiting for the Barbarians– J. M. Coetzee
1987: Sculpting in Time– Andrei Tarkovsky
1989:Hollywood– Charles Bukowski
1995: Blindness – José Saramago
I have divided the films into three sections; Masterpieces are those films that I consider them as my favorite films of this year, they are lined up by most favorite to least (Yes, a Richard Linklater film is yet again my favorite film of this year) . Must See are those films that are an essential viewing, and Skip It are those films that I consider unworthy to waste your time on, unless you have much time to waste.
It was a year of living in three different countries for me: Finished my Master degree in UK, made my first documentary feature film on the Kurdish refugees from Western Kurdistan escaping from ISIS to take refuge in South Kurdistan, and moving back again in US at the end of the year. The traveling, changing places and working on my documentary kept me away from watching films for a while, but I managed to watch at least one film a day, I left most of my film diary in Kurdistan, a reason that I only posted review of just over 70 films from this year, and I only chose the films of 2014.
If you look at the dates; a few of the film’s release date are that of “2012” and “2013”, but I had a chance to see them on 2014, because that is when they were released in UK, Kurdistan and US and I consider them to be the films of this year.
Boyhood (Richard Linklater, 2014) I have to make a confession; Richard Linklater is my favorite American filmmakers working today. Last year, Before Midnight was my favorite film, and this year, it is Boyhood. Many years from now Linklater might as well be remembered for his Before/After Trilogy, but so far; Boyhood is his masterpiece, it is as if everything that Linklater has done in the past decade has accumulated into this film, and it took him more than 12 years to complete the film, it is nothing short of a miracle put on the screen, much memory drenched in nostalgia and melancholy, it will have a special place in the pages of cinematic history, and might as well be considered as a landmark of an achievement in the coming years. The scale of the film is remarkable, in the scale of a Tolstoy novel, much time, much memory, much characters come and go, and no two are alike, 12 years of life just under three hours in length, and as in life; it flash by quickly, from childhood, to boyhood to adulthood, from first day in elementary school to first day in college, we are with Mason, his sister Samantha, the divorced Father and Mother, as they take an odyssey through life from a small town to Huston, during that time they encounter and pass others, and as times goes by, only traces of memories left, as they age, we become one with them, their memory become that of us, and because it was shot in the span of the time, everything look authentic, the dialogues are real, there is a documentary truth to the film with its honesty of representation and acting of the characters, much of it seem to be improvised, it is hard to capture the essence and truthfulness in a characters’ emotions, let alone doing it over decades with the same characters and capturing such subtle change in them , with such subtle touch of beauty and nostalgia.
Jauja (Lisandro Alonso, 2014) Jauja is not only the best film of 2014, in my opinion; it is one of the best film of the decade so far, it is not just magic realism, but magic itself, every frame is pure gold, another masterpiece from Alonso. The first film that I saw from Alonso was Liverpool in 2008, it was a meditative watch, and within a few month I saw his other previous films; Fantasma (2006), Los Muertos (2004), and La Libertad (2001), so I had to wait for 6 years to watch his next film, and Jauja surpassed all my expectation. Shot in a 4:3 frame, with dark corners on the frame like a Polaroid postcards, the images alone, their memory can hunt you for days recalling them. In the opening prologue of the film, Jauja is described as a “Mythological land of Abundance and Happiness” and many who tried to find this earthly paradise got “lost on the way”. This search for something, be it an object, a person or an emotion is the core of Alonso’s cinema, in all his films, a character is searching for something, in Jauja; the Colonel is searching for his lost daughter, but instead of find his daughter, he not only loses his horse, his sword, his gun, but he loses his way, and in the end; he loses himself. Viggo Mortensen gives a brilliant performance between the subtle father and the furious Colonel, as Alonso’s camera give him priority, with its steady shots, slow pan or the beautiful tracking movement that showcase the vastness of the landscape as the surrounding devour the characters. One cannot write enough about the beautiful cinematography; the vivid colors, the limitless depth of field, the sky never looked more bluer, the grass greener, and the sun’s ray never been captured in such natural beauty in recent films. With its slow pace, Jauja has not only the pace but the look of a classic Western, the narrative is rather ironically similar to John Ford’s The Searcher, but the two film couldn’t have been more different in theme and style, yet, Jauja got the postcard look of a classic Hollywood film of the golden age, with its magical imagery.
Goodbye To Language (Jean-Luc Godard, 2014) When I first moved to US, I wanted to become a Doctor, I studied for one year, only to drop out after watching much films and deciding to become a filmmaker, and one of the biggest influence on my decision was discovering Godard’s film form 60s, four films from Godard always stood above the rest; Breathless, Alphaville,My Life to Live and Pierrot le Fou, so it is no surprise that Jean-Luc Godard is my favorite filmmaker, as Tolstoy is my favorite write, and I loved all of Godard’s film; from his fresh early 60s films, to his radical and political films of 70s, personal films of 80s, and his 90s and later philosophical films, he never looked backed into his career, never made the same films twice, always invented and become more radicalized in it approach to filmmaking and storytelling, and he was always a breath of fresh air, with Goodbye To Language, he has become a philosopher more than a filmmaker, he no longer wishes to tell stories, but reflect, for what is Goodbye To Language? A 3D film about a talking Dog? About broken language? An experimental film on color, sound, line and words? From the music of Giya Kancheli, Tchaikovsky, to Beethoven to Schoenberg, to literature of Conrad and Faulkner, philosophy of Derrida, quotes from Freud, Cocteau, Artaud, Victor Hugo, Proust, etc, it has everything, it is rich with color and sound, chaotically harmonic, it is a Godard film in 3D, unlike any other 3D films.
The Tale of The Princess Kaguya (Isao Takahata, 2014) Isao Takahata is a perfectionist, a genius of a perfectionist, and like all perfectionist, he takes his time in order to create, decades has passes since his last film, and in all probability, The Tale of The Princess Kaguya will be his last work. If you think watching Graves of the Fireflies was a tearful one, then try taking on The Tale of The Princess Kaguya, rarely has an animation went as far to reach for spirituality and transcendentalism with its purity. Based on a Japanese folktale of The Tale of the Bamboo Cutter, the story of a poor bamboo cutter his finding a divine princess and raising her to become a Princess at the hand of Takahata become an animation in lyricism, longing for nature and the innocent of childhood, such richness of details, from taking her first step, growing fast like a bamboo branch, make friends with the country children, creating a bond of friendship and living carefree in the wood that she long too for the rest of her life, to becoming a princess, wearing rainbow clothes, living in a mansion with servants, becoming civilized, by abandoning her wild way, no more nature as she become a lady with manners, but even in her castle of a prison; she takes to drawing to depict nature, masters Koto playing in one lesson, take everything as game and master them only to be bored with it, because her heart belong to nature and her friends, there is always a place she miss, she long for something, she takes to gardening, only to find it fake compared to nature, for she only find her happiness with nature and not just a merer representation of it. She become the most beautiful princess, she is the talk of the land, suitors from nobles birth come chasing her, but she let all of them down, because she is unattainable treasure as she sent out his suitors to find such each unattainable treasure in order to have her, but none can do it, even his majesty, the law of the land ask for her, but she refuses. She become melancholic, her times comes to be taken back to nature, as the moon comes to take her away to the land of magic, she wear the robes of purity and happiness, leaving the grief and sadness of the earth. Every single frame of The Tale of The Princess Kaguya is like a haiku poem in style of Japanese Woodblock Prints of 15th and 16th century, three layers of colors, always with background, middle and foreground, with the warm colors standing out, Joe Hisaishi’s nostalgic music make it a magic creation. Years to come, The Tale of The Princess Kaguya will become cinema’s greatest treasure in animation to cherished by generations to come.
Leviathan(Andrey Zvyagintsev, 2014) In today’s Russia’s cinematic scenes, three directors stand above the rest; Alexander Sokurov, Sergei Loznitsa. and Andrey Zvyagintsev, of all three; Zvyagintsev is the one that speak best for the Russian society as of today, his films are search into the depth of finding the modern identity of the Russian soul; in The Return (2003), the generational gap between fathers and sons, in The Banishment (2007) the rural landscape become the mirror of a family torn apart by rage of jealously, in Elena (2011) Zvyagintsev first dived into the Russian political scene with it metaphorical Dostoevskian representation of social injustice, class gap and the social issues of contemporary Russia, but it is with Leviathan that he dig deep into the political and institutional corruption experienced by ordinary people that destroy a family into oblivion. The themes of Leviathan is the essence of Zvyagintsev’s cinema that has all the elements of his previous films; the generational gap between the father and the son, the suffering wife who become a victim of circumstances, the corruption, crime, injustice, power, money and social inequality with the supervision of the Church and the State and approval of the institutions. The final hypocritical sermon from the high priest could have been made by any religious or political figure not only in today’s Russia, but anywhere where corruption and bureaucratic institutions are the dominate law of the land, and there are many places like that on the world map.
Hard to be a God (Aleksei German, 2013) Aleksei German, the last giant among the Soviet filmmakers died while making Hard to be a God, the film was finished and edited by his son and those who worked with him on the film, in a way; like Orson Welles’ The Magnificent Ambersons, we will never really know what the final vision of Aleksei German for the film might have been, but at its current state, with three hours in length, Hard to be a God is one of the great masterpiece of this decade, and many years from now, it will be remembered as such just as his last masterpiece, Khrustalyov, My Car is now considered among the best of the 90s. Hard to be a God is epic film in a grandeur scale, it is a provocative film, in scale of Pasolini’s Salo, with German’s hyperrealism reaching its peak, he never went for color, all his films are black and white, well; not black and white, rather gray, a claustrophobic gray, his camera penetrate into objects, people, faces, texture, all fighting for space in the composition, characters talk to the camera, gesturing to the audience, whisper to them, his signature moving camera, long take, the strange characters, the endless cruelty, all lost in the rain, mud and fog, as Goran the mighty, the noble Don, the God, the unpredictable takes lives from right to left, like all of Aleksei German’s film, the world of Hard to be a God is a dark one, it is not your typical watch, but it is a memorable one, for it is a masterpiece.
The Wind Rises (Hayao Miyazaki, 2014) For over 40 years, Hayao Miyazaki has dominated the world of animation, among the very few animators who is film is eagerly awaited by both the public and critics alike, when the news came out that the The Wind Rises was to be the last film of Miyazaki, like many; I eagerly waited to watch the film, would it be going far to say that The Wind Rises is perhaps Miyazaki’s most personal film with a theme that is present throughout his animations dominate the film, that of flight. There is not a single Miyazaki film without a flying sequence in it, flying seem to be a personal obsession with Miyazaki; people, objects, animals, machines, witches, magicians, spirits, even a whole cities and town take into flight in a Miyazaki film, what a beautiful and nostalgic film.
Mood Indigo (Michel Gondry, 2013) Mood Indigo is one of the early Jazz song from the great Duke Ellington, and it is only a befitting title for a Gondry’s masterpiece of a jazzy adaptation from Boris Vian’s existentialist novel, Froth on the Daydream. Ignored by both the public and critic alike, it will take many years for Mood Indigo to be considered a classic, just as Godard’s Alphaville and Pierrot le Fou took decades to be recognize as 60s best films, the reason I mention those two Godard film, is because Mood Indigo is a rich, colorful and complex with its sudden mood and narrative change as any Godard film, there is a childish innocent about the film that is at the same time deep rooted in philosophy, literature, music, art, reference to other films (take the underwater scenes, out of Jean Vigo’s L’Atalante) in a word; it is a film about everything, it shift between the genres of noir, science fiction, musical, drama, etc, every frame is filled with references, rich in composition, beautiful in Mise en scene, and chaotic in narrative, in a word; it is one of cinema’s recent masterpiece, and Gondry’s best since Eternal Sunshine of the Spotless Mind.
Jimmy P. Psychotherapy of a Plains Indian (Arnaud Desplechin, 2013) Arnaud Desplechin is a master in creating multiple characters that intertwine perfectly within the narrative of the film, he is almost a mashing of Cassavetes and Altman. In Jimmy P, a friendship between a Native American and a French Anthropologist is established, well; more of a Psychoanalysis than an Anthropologist, as the film take a Freudian route, from Oedipus Complex to a journey into the Interpretation of Dream. Benico del Toro give a Brando performance, one of the best I have seen this year so far. Our Native dreamer, most of the time dream in English, there is a thin line of humor and sadness in the film; the dialogues between the two; two thick English accent, slow paced, rather funny. Jimmy P. is close to Truffaute’s The Wild Child in its approach of decoding and therefore recreating a new man. Dream and Language, its origin and their mysteries are the lock to knowing human brain, in order to to cure a headache, one must understand its psychological reason; “You must breakaway from your past” in order to cure it, but first, he must find that past and remember it, for its deep hidden in the unconsciousness, he must search in order to know the reason; he let all the women down in his past, from childhood to youth to adulthood, women and tragedy has been linked in his brain, now his daughter is what he fear will be next, he must find redemption with her. “Sometime there are scars on our bodies we don’t know where they come from, there scars like that on the mind too”.
The Grand Budapest Hotel (Wes Anderson, 2014) For a filmmaker to have an imagination is a brilliant, of all the active filmmakers, few have the imagination of Wes Anderson, most interesting aspect of his films are the visual style, everything in his framing is chosen selectively to utmost details, the bright colors, the use of miniatures, his framing glows magically, as for his narrative; he is like Truffaut and Fellini, he manages to create sentimentality and melancholic sentiment from comic situations, all his films are lighthearted comedies with a nostalgic touch, each character is different from others; rarely do two characters behave or talk alike, many filmmakers like to input their own personality into characters, but Anderson rarely does that, a reason that all his films are filled with stars, in The Grand Budapest Hotel, you have a heavy cast, some big names are on the screen for only a few minutes, but they are memorable, his leading character are simple people, but they are outcast, always find friendship with those outside their own circle, yet; they make the best match, and beat all the odds in adventures across places and time that are rich with characters, colors, and and imagined landscape, Anderson films are always an entertaining watch.
Our Sunhi (Hong Sang-soo, 2013) “Is that you talking, or the beer?”, ask one of the former lover of Sunhi, to the end of the film; we never really never know who was talking, “Sunhi or the beer?”. Each year, Hong Sang-soo bring out one masterpiece, if not two, and not since the days of Yazujiro Ozu and Alfred Hitchcock has there been a filmmaker that was so loyal to keeping up with his own style; watch any Hong Sang-soo film and you will be amazed by the subtle use of style throughout his films, among the most simplest filmmakers working today when it comes to staging muse-en-scenes; one shot for one take, the camera is either still throughout the scene, or a sudden zoom or a pan to adjust the framing, in a way, an editor working for Sang-soo will only have to put together in narrative order the scenes, because there is no conventional editing, the long takes allow the characters not only to deliver naturalistic performance, but also improvise, and one wonder; how many takes, or how many times were there rehearsal? The theme of character’s relationship, at times in a triangular love affair is present throughout the films of Sang-soo, in Our Sunhi; three men are trapped in a love affair with Sunhi, the mysteries and unpredictable film student who want to go aboard, she comes into each man’s life, left a mark, then leave, she is like the Greek siren, tying them to a rock, without giving them a reason.
Like Father, Like Son (Hirokazu Koreeda, 2013) Hirokazu Koreeda is the only filmmaker working today that has the subtly and emotional power in his film to be compared to the great Yasujiro Ozu, and just as all of Ozu’s film were about family, the examination of relationship between people and different generations, so it is the theme of Koreeda’s film, and many of his films is seen through the eyes of children, that is why his films are so innocent and pure in presenting emotions, as tight as his narrative might be, at the end of watching a Koreeda film, we feel as if we have encountered a breath of life on the screen, the characters leave a mark, they seem real like in a Robert Bresson film, they are more than an actor, especially the children, Koreeda is a master in directing children, he make them give a sensitive yet an emotional performance. Like Father, Like Son is a film about parental love for children, it was Tolstoy who once said; “There are as many love as there are many hearts”, and of all the emotional love and attachment, the most purest, the most powerful is the love of a parent to their children, especially at the tender age of childhood, so when that love is shattered, when a parent find that the child does not feel the love, there comes moments of turmoil, in a self-examination of one’s life and behavior.
Inside Llewyn Davis (Joel and Ethan Coen, 2013) In recent years, there has been many films glorying the rise of, and sometime the fall of breakout star from New York City’s Greenwich Village, but rarely does a film captures what it feel like to be a complete failure, no rise or fall, just a flat drive in a circle of nothingness, Inside Llewyn Davis is a film about failure, and few can capture such satirical dark world with such honesty by combining the genre of drama and comedy as the Coen Brothers, they are masters at displaying nihilism on the screen, with their blank face characters and witty dialogues. Sometime you watch characters in a film, and you soon forget about them, it is especially true for secondary characters that have little time on the screen, but in a Coen Brother’s film, everyone has a memorable role to be play, take the two characters in which Llewyn take the ride with from New York to Chicago, Johnny Five and Roland Turner, a beat poet and a jazz musician, one silent, the other talks into the edge of boredom, in any other film, you would have a short transition scene between the two place, but in Inside Llewyn Davis; the ride become the most memorable scene in the film, such mastery of simple brushstroke in creating characters.
Two Days, One Night (Jean-Pierre and Luc Dardenne, 2014) Marion Cotillard in the role of Sandra is a walking emotion in Two Days, One Night, about to lose her job, she has a short time to convince her co-workers to lose their bonus or hire her back, out of 16 people, how many can she convince that she is worth more than 1000 Euro? The first voting ballet has already been taking, majority has voted to get the bonus, now she must knock at every door to convince them to vote for her. We never know what made Sandra has a nervous breakdown on the first place to make her employer decide to let her go, one thing is for sure; she has low self-esteem and she is nervous around people, her vulnerability make some cry for her, while others wanting a chance to wash away the guilt of letting her down the first time decide to vote for her, but the material need for many is stronger than any emotional bond or friendship in a competitive business. Walking away, at the end of Two Days, One Night; Sandra seem to have found a little glimpse of redemption in others, but her last line, “We put up a good fight, I’m happy”, is not matched by her grim smile, she has a long road to take to recover.
Only Lovers Left Alive (Jim Jarmusch, 2013) Since F.W. Murnau’s timeless masterpiece, Nosferatu (1922), endless Vampire films has been made, many are considered classic of world cinema, bur rarely were there a film as Jarmusch’s Only Lovers Left Alive with its subtle, slow paced examination of living in a world of void that is the dark world of Vampires, each night after the sundown, Adam, Eve and Christopher Marlowe must wake up to dreary nights, they have lived for centuries, traveled the world, played Chess with lord Byron, dated Mary Austin, met Billy Holiday, Newton, Nikolas Telsa, Bach, Buster Keaton, Fat Domino, Kafka, etc, Einstein told them of Quantum entanglement theory, they have read the world’s books, listened to its music. Now; two of them live in Tangier, one live in an abandoned Detroit house, they never see the sun, the world is darkness, as they roam the empty streets, they no longer can prey on human for blood for the fear of industrial contamination, so they must find the good stuff to survive, but as they run out of pure blood, the human are the only prey left to feed on, Christopher Marlowe is first to fade away before admitting he was the one who wrote Shakespeare. Slow, haunting, beautiful film like all other Jarmusch films.
Ida(Pawet Pawlikowski, 2013) Faith; one is born into it, not destined for it, but once indoctrinated, it is hard to escape it, that is the story of Ida. Shot in beautiful black and white, with unconventional framing, unconventional in placing the characters and objects, reminiscent of the Soviet and Polish film of the 60s. The story of three characters; Ida, the little saint, the aunt, whom life has made her tough to a point to living in a world of nihilism, calling herself “the whore”, then there is the Saxophone player, the little artist whom get exposed to Ida for a glimpse of time, then vanishes from her world. Within each boundaries of the character’s faith, there is a leap; the saint take the place of the whore for a short time, the whore has her minutes of faith, but when it does, it destroy her, only the Saxophone player stay loyal to his cause. At times; a person’s action has no logical explanation, so it does with Ida’s sudden sift of faith before taking her vow in a convent, but how can a Jewish girl become a Christian nun after witnessing the horrifying ordeal of her past? The final shot; her walking in a desolated road to the convent is rather ironically befitting to have Bach’s most spiritual music accompanying her, is she escaping into spirituality to washday others guilt? Her guilt? Or is she still, the loyal and faithful nun who still believe? The answer is many.
Night Moves (Kelly Reichardt, 2013) In Night Moves, the suspense is in nothing happening but the illusion of something dangerous about to happen is always present on the screen, and the last frame of the film best fit that description; a mirror view shot of two casual people shopping become a mystery to a character that is torn apart with guilt of a crime, in his imagination, the two become an FBI agent, the punishment of living with a guilt has just began, even when a new life seem to on the horizon. What is significant about Night Moves is what is not shown on the screen; throughout the second part of the film, we never see the law or the police, but they seem to be present everywhere, the most significant event is blowing up of the damn, it is not even shown, we only hear the sound, Dostoevsky captures masterfully the guilt of a man that suffers in the aftermath of a crime as he searches for a redemption in Crime and Punishment, in Night Moves, we never know what the characters is searching for, he live with his guilt alone and suffers alone, and by escaping; he dig more holes for himself.
The Immigrant (James Gray, 2013) James Gray is a master in exploring guilt and redemption in a relationship, with a spiritual healing of scolding oneself in the end becoming the central theme of all his films, The Immigrant is rather an innocent tale that take one back to the early days of cinema, one can call it a Chaplin story but with a twist, the innocent girl is rescued, only to be exploited, the beautiful Eva play by Marion Cotillard in yet another masterful and sensitive performance; a Polish immigrant, whose Father and Mother were slaughtered by the Cossacks, with her sick sister, she dream the American dreams, rather simple, to settle down in the States, meet a nice man, marry and have children, but fare has other plan for her; her sister is taken away, she land in the pawn of Bruno, the manipulative but also the suffering guardian angel played brilliantly by Joaquin Phoenix, with a magician coming between the two, with his grandeur vision of the American Dream, as he whispers to others, “I Believe”, only for the vision to be just another illusion like his magic. For all three, it seem that money is the American Dream, for it takes money to have Eva rescue her sister, and it takes much pain, suffering, separation and finding oneself to achieve that little dream.
Camille Claudel 1915 (Bruno Dumont, 2013) As the title suggest; the year is 1915 and we are with Camille Claudel in an asylum, Juliette Binoche gives yet another sensitive and powerful performance in the role of Camille, she is locked among the insane, yet; showing full capability of a sane person. The tragic life of Camille Claudel has already been made into a film by Bruno Nuytten in Camille Claudel (1988), but in Dumont film, Binoche’s sensitive and passionate performance best captures the spirit of an Artist locked away with her imagination alone, unable to create what she desire most, although in the film and in what is written about the case of Camille Claudel, there are traces of Schizophrenia in her behavior, especially her conspiracy accusation to be poisoned and Rodin’s takeover of her studio, but the historical judgment of her character seem to be that she was a sane person locked in an asylum by a tyrannically brother obsessed with religion, Paul Claudel; much space is given to him, as he make his journey of spiritual awakening of God, his never ending love for him, yet, incapable of expressing any love toward his sister.
Clouds of Sils Maria (Olivier Assayas, 2014) Without a doubt; the most talented Actress working in films today is Juliette Binoche, she enlightens the screen with her present, the range of her emotions and the subtlety of delivering it is perfect pitch to every role she plays, in Clouds of Sils Maria, she plays an aged actress preparing for the role in a play that she once played before as a younger actress, now she has to play the older character in the play who is on the edge of suicide, just as in the play, she is in turmoil relationship with her assistant, from a train ride to Switzerland, an award presentation and dinner, living and taking tripe on the Alps as she prepare for the role and becoming obsessed at checking the Google and Youtube for her younger co-star in the role, the old famed actress become envy of the younger one, for she consider her to lack talent and si puzzled by the public admiration and fascination with her. Her real life becomes a reflection of the play. Each part of the film is shot with a unique style, few scenes are tribute to the Mountains films of 20s and 30s (Arnold Fanck and Leni Riefenstahl), the epilogue is set in London; rehearsal of the play with a new assistant, in the day of the opening of the play seem to suggest the beginning of a conflict of domination of each other over the the pace and time and method of acting with her younger co-star, she give in, and her final gaze is a cold stare.
When Evening Falls on Bucharest or Metabolism (Corneliu Porumboiu, 2013) Corneliu Porumboiu is the master of the Romanian New Wave cinema, take When Evening Falls on Bucharest or Metabolism, on the surface it seem like a simple film, rarely anything happens, but it is a memorable film, a film made by its script, with dialogues full of suspense, action and reaction as it move back and forth between the characters, and there is two main characters, a Director and his Actress, they talk and talk and nothing more, the dialogue shift almost into argument over simple things; is Chinese food more sophisticated than European because Chinese eat with chopsticks and therefore define the food but its content, opposite to the European in which knife and fork define the way the food is cooked? The style as always is simple; Porumboiu simple signature camera setup with long takes, a little tilt or pan to adjust the frame, or the camera is locked inside a car as it observe the moving outside world. There is a lengthy rehearsal scene for the supposed film that the director want to shoot in 20 to 30 minute takes, the rehearsal itself became the heart of the film; itself take 15 minute on the screen with a single camera setup. The use of the wide angle, 2.35 : 1 ratio of the frame, give him the space and depth to stage the scenes without making the viewer a distance or a near observer, he always keep it n the middle. Metabolism is a film about making of a film on a personal level of a director and an actress, yet we never see any film being made, only talked about. it is a film that could drag into eternity, it could have been about any characters; from a Gaffer to the Prop person.
Her (Spike Jonze, 2013) Arcade Fire’s musical score and Joaquin Phoenix solo performance are the highlight of Her. Phoenix not only has to act for his own character, but also has to perform and express the emotions for the voice of Samantha (Scarlett Johansson), few actors are capable of such task, for expressing others emotion through reaction shot is as if living the same thoughts and emotion of another character, in an ideal situation you would have the character facing you, but in Her, the characters is just a voice, she is an operating system that has all the capability of expressing human emotion but lack the physical present, Samantha might be a futuristic operating system, but her present is already here; just think of the social networking site, video games, and the web, the rapid exchange of information, of creating illusionary artificial intelligence, it is only matter of time with the advantage of technology that a Samantha become the latest fashion of a pastime in relationship and love, only; with attachment comes emotional entanglement, just as Theodore’s love letters are the creation of his own imagination, Samantha becomes the fulfillment of that imagination, the Greek knew it thousands of years ago, with Pygmalion falling in love with his own creation, a mere statue.
Heli (Amat Escalante, 2013) Amat Escalante with Carlos Reygadas, are perhaps the two leading and most provocative filmmaker of Nuevo Cine Mexicano; it was no surprise that Amat took the best director at Cannes a year after his friend Reyagadas took the same award. Many years to come, looking back to the year 2014, no film better speak about Mexico than Heli; the imagery, the narrative, the landscape, the amateur cast, the grim violent with no glamor, the raw emotion, and the inability of the innocent to take in and comprehend the the limitless of the violent they are exposed too is something that one sees every day on the news coming out of Mexico, yet; watching it with characters that has names, lives and hope, all being dashed away in a blink of an eye is thought provoking and an uncomfortable watch, a reason that that films of Escalante and Reygadas will always have limited audience, no matter how masterfully it is crafted. There is much to be written and analyzed after watching Heli, but I will note one thing that is so brilliant about the film and may escape the audience’s perception of the film; as much as the war on drug is in the center of the film, we never see any drug dealer, nor the drug cartel, rather; all the violent and calamity is deep rooted in the State institutions; from the army to police.
Enemy (Denis Villeneuve, 2013) What if there is another you? Another being that is just like you, an exact copy? And for once; you two meet? The possibility of it happening might sound more in the science fiction territory, but the reality is; the latest and coolest scientific hypotheses is that of the Multiverse, the possibility of having endless universe and therefore endless existence of you. Now; take away the impossibility of believing in such occurrence, and bring in the psychology of your everyday existence, and you have an endless themes to twist and turn it into any shape of form, and Villeneuve rather take only a simple step in Enemy, more into the classic literature than into the futuristic science fiction; Enemy is more in the territory of Gogol, Dostoevsky and Kafka, and so far; it is the best work from Villeneuve.
Gone Girl(David Fincher, 2014) Amazing Amy Dunne, she is a child star with a pushy parents who has high expectation of her, she is a drama queen in childhood, she becomes more when she goes missing as an adult, for she become the ideal for media’s obsession with murder, the missing person and the public fascination with her, it takes half the film for the narrative and the viewer to realize the real Amy; she is a psychopath who refuse to acknowledge her broken marriage, she refuse to acknowledge that like most marriage her expectation fade away with time, she live in a dream world, for she wanted to be a cool girl, a classic wife, but she reach her breaking point as realize that her marriage is nothing but causing each other pain, manipulating and controlling each other, a rage of jealousy trigger the calamity; she fake her own murder to have her husband punished, framing him, she already has all the plot written in the narrative. Amy Dunne has to be the most viscous femme fatal of recent films and Gone Girl is a modern noir thriller with Hitchockian twist, like Fincher’s The Game and Zodiac, the narrative and plot twisting become unpredictably genius puzzle game, on the surface, the film seem like another missing person drama, they come cheeps nowadays, but this time it is not the Daughter, but the Wife that goes missing, his “Soulmate”, or at least that is what we are told by Nick Dunne, his all loving husband, only; he is not what he is, he has a girlfriend, Amy is supposed to be six week pregnant, she keep a diary, is it a lie or truth?, or lies sold for the truth? It can be both, is the husband trapped or is he pretending? Is the women the victim or is she the villain pretending to be the victim? There is an Aesop’s Fables of a farmer rescuing a frozen snake, warming it his coat, only to be bitten to death, that is the story of Amazing Amy.
The Last of the Unjust (Claude Lanzmann, 2013) Lanzmann made one of the best, if not the best documentary of the last century; Shoah. The Last of the Unjust is not even near the scale of Shoah, but on its own, it stand tall. Over 3 hours in length, it is not your typical documentary watch, and it has its limit of audience, but for anyone who want to understand the complexity of the Holocaust tragedy, The Last of the Unjust is a must watch, for it shows to utmost detail the steps that were taken for Hitler’s “Final Solution” to become a reality, the unjust part of the film is the fact that we are told of a tragedy from a man whom some consider a victim himself, while many consider him an active participant in the Holocaust; Rabbi Benjamin Murmelstein, the last Jewish elder to have survived the war, as an Elder in the Theresienstadt concentration camp, does the man feel guilt for being part of a system that annihilated millions? Or can it be justified, that simply by collaborating he survived and helped others survived even if for a short time? “the Banality of Evil”, Hannah Arendt, and Adolf Erichmann, he question them all, and hundreds of other arguments.
Venus in Fur (Roman Polanski, 2013) It is a rarity or rather an impossibility that two people can love each other equally, in every relationship, especially in love relationship, domination is a key factor and present. In David Ives’ play, Venus in Fur, now a Polanski film, there are only two characters on stage, with a phone line connecting to the third, but never heard or seen. Venus in Fur works in a many levels; it can be called a film about obsession and domination in relationship, an examination in domination between two collaborators, in this case; an actress and a director, or a look into the creating process of writing, staging and directing a play, for what is the core conflict between Vanda and Thomas on the stage and their interpretation of Wanda and Severin in the play, we are told that it is dominance, sadomasochism, obsession and love that drive the characters into a circle of miss behaviors, but it is more than that; they are both pushing, searching for the limit of the unattainable, and by doing that, they both are entangled in a a game of madness and domination.
The Reunion (Anna Odell, 2013) For a first feature film from a director; The Reunion is a small masterpiece, and take note of the name of Anna Odell, she is the brightest name to come out of the recent Swedish cinema. Based on her own personal experience in school, and a reunion of her former friends in which she was never invited, Anna Odell recreate an imaginative fictional reunion with her former school friends, lash out at other for her oppressed grief over the years of being bulled at school, then invite them to a showing of the film; what a better way to respond to bullies and satisfy one’s ego, make others feel guilty and have your sweet revenge? Only; we never really know if her fictional recreation has any truth in it, for the second half of the film shed much light into the imaginative recreation of a past that few could remember. Similar in narrative to Thomas Vinterberg’s The Celebration, the film is divided into two fine parts; one that is shot, edited and directed in pure fictional form; a staged reunion party in which each former student friend is played by an actor, and the second that is more in the field of documentary, with Anna playing the role of both the actress and the director as she confront and track down her former friend, especially those in the “class hierarchy”, as if Anna Odell is on a mission of revenge of a long forgotten past for others, but for her; a mark left by time.
The Double (Richard Ayoade, 2013) Pure and true love can become an obsession, and only one lover can feel it, such emotion lead to suffering on a long term, for one with a gentle heart and a gentle mind; the world is meant to be a place to suffer, because the world is cruel, Fyodor Dostoevsky knew it; he suffered much, he knew what suffering was, he was lonely man, lived in loneliness, knew what it was to to lose your loved one, to love and not be loved in return, he was the saddest man whom ever wrote, and his novel, The Double is a deep insight into the heart of a lonely man, Dostoevsky’s most Gogolian work. The claustrophobic scenery and the abstract use of sound and music best captures that world in The Double; it has a feeling of 60s cinema, some traces of Orson Welles’ The Trail, it captures the essence of the book, the duality of a lonely soul, taking on his ego, the suppressed emotions, or rather the desired emotions surface, the duality in man; as one is kind, but others take his goodness and kindness for weakness, while the other is cruel, and become an attraction to others, Bernardo Bertolucci’s Partner (1968) is another claustrophobic adaptation of Dostoevsky’s book; “I don’t want to be a boy held up by strings”.
Go for Sisters (John Sayles, 2013) For more than three decades, John Sayles has been making independent film quietly, his films always has a political theme to it that is relevant to it time. Sayles leading characters are among the minorities that is rarely seen in the lading role on the screen; women lead the way, then Hispanic and African American characters. In Go for Sisters; a parole officer and her client of a drug addicts, two former high school friends, take a journey to the southern borders into Mexico to search for a missing son, joined by Edward James Olmos, playing a an aged detective on the edge of bankruptcy and blindness, a former cop kicked out of the force for doing a favor to his friend, he still has a golden heart, as he uses his wit to outsmart the drug warlords and Chinese smugglers on the illegal immigration racket. Go for Sisters has a nostalgic feeling of 40s Noir films, only there is no femme fatal, and the bad guys are never seen, they three of them seem to be chasing shadows.
Magic in the Moonlight(Woody Allen, 2014) Woody the magician, the nihilist atheist of a skeptic seem to believe in love and the existence of the soul, or at least pretending to have one; many of his latest film is about a pessimistic character turned into optimist by the power of love, maybe a reason that Woody is now popular in the box office, or at least his films bring in more than put in, in Magic in the Moonlight; two illusionist of magicians are on the collision course, one dealing with the soul, the other with material, they are in French Riviera, everyone speak English, no French, it is a classical Hollywood romantic comedy film that Woody is a master at staging, charming, simple, narrative driving, with your typical Woody philosophical and intellectual dialectics feed to the characters.
Fading Gigolo(John Turturro, 2013) John Turturro does a Woody Allen, with him in the leading role as a former book clerk now turned into a Gigolo and Woody as his pimp, he goes as far as to fix a date for him with a the widow of a Hassidic rabbi. It is rarity that one sees Woody in a film not directed by himself, and he is brilliant in Fading Gigolo, his best performance in years in the role of Murray, a rare book shop owner turned into a pimp, as he goes from philosophical and dialectic argument to pitch a baseball, as for John Turturro; he gives a silent performance, a loner, we rarely know what he is thinking, he think more than he shows, and his charm and mysterious character is what attract the other women.
New World (Park Hoon-jung, 2013) One might call Park Hoon-jung’s New World as Korean The Godfather on steroid, there are many scenes and plot twisting in the film that is right out of Coppola’s The Godfather; the ending montage of the enemies being slaughtered, as Ja-sung take his seat in the top of the chain. The likes of Sam Peckinpah in the 60s and 70s paved way for realistic violence in Hollywood films, but nowadays; such realism can be found mostly in Asian cinema, especially films out of South Korea and Hong Kong, the most memorable scene in New World is the knife fight in the garage and inside the elevator, the sudden burst of violent and mood shift are the highlight of the film.
Ernest and Celestine (Stephane Aubier, Benjamin Renner, Vincent Patar, 2012) In the world of the bears, the mouse are the enemies, and in the world of the mouses, the bears are the enemies, but as the two world collide, there comes a love friendship between the bear the mouse, between Ernest and Celestine, between the musician and the painter whom everyone look down upon, but this incidental friendship become a taboo for both, as they are hated and hunted down, they become renegades like Bonnie and Clyde, only they have not robbed any bank nor killed anyone, just that one has stolen lots of tooth and the other eaten much candies and cookies, with the recent release of the Ghibli films, Ernest and Celestine is among the best animation that I have seen recently; it is colorful, simple, elegant, in a word; beautiful, with a moral.
The Homesman (Tommy Lee Jones, 2014) There is a tragic cruelty in Tommy Lee Jones’ The Homesman; everyone loses something, because they can’t keep it, lose it and realize too late what they have lost. At every turn, cruelty rule the screen; dark humor, violent, women oppression are the the main themes of the cruel expansion to the West, where guns and money speak, the new Homesteaders conquering the land not only has to battle the Indian, but their worst enemies are themselves, their ego lost in a vast landscape, out of them, two people, two outcast of the society has the willpower and the compassion to take a journey across the snowy desert to deliver three insane women into a Church. The heroine is a religious fanatic who want to be loved, to get married, that is what she pray for, to get a husband, and her good deeds is for the sake of that, she is not your classic Western heroine; she play music on a an imaginary keyboard, only she seem to hear the sound. The imagery are that of a dreary winter landscape, frozen grass, snow and wind, as with the sudden twist in the plot, the landscape changes. A journey of Don Quixote and Sancho Panza with three crazy women, with surrealistic imagery at times; out of the desert, a 5 star hotel appear, and for the sake of piece of bread in absurd world, one must go medieval on them. Tommy Lee Jones give a powerful performance, he is a comically tragic figure, the film has memorable soundtrack.
The Missing Picture (Rithy Panh, 2013) The atrocities committed by the Khmer Rouge in Cambodia is well documented, and many films and documentaries has been made about the Cambodian Genocide, but rarely does any of the film come close to The Missing Picture; because it gives faces to the name of the victims, in the case of the filmmaker, Rithy Panh, the film become his personal re-telling of the horror he experienced during his time in the labor camps, as he saw the death of his family, close relative and friends. When I was in Kurdistan, I worked on a few films on the Anfal Campaign and the Chemical attack on the Kurdish town of Halabja by Saddam Hussein, and everyone I met during making of those films had horrifying tales of their experience surviving and losing their loved one, but they only had a voice to tell their stories, in The Missing Picture; Panh uses brilliantly documentary footage, hand made clay and wooden figure in staging a colorful but tragic theatrical events from his memories, it can be a film about any genocide that took place anywhere in the past century, not just in Cambodia.
The Zero Theorem (Terry Gilliam, 2013) Just as the Universe was created out of nothing in a big bang, therefore; the Universe must go back into becoming nothingness, the total value of %100 must equal %0 in the zero theorem, and by proving such theory, man must lose faith in everything, for “All” mean “Nothing”, and we are born and fade into nothings. Sitting in his room for year, day after day on his computer, it is the job of Qohen Leth to prove such theory, yet; he wait for a phone call, for a voice to tell him what the meaning of life is, will he ever get such a call? From nihilism, to existentialism, to spirituality, to absurdity of life, in The Zero Theorem, Gilliam goes back to Brazil, this time, a computer programmer and mathematician is the leading character, he is lost in his room, take to fantasy and imagination for a meaning.
Jimmy’s Hall (Ken Loach, 2014) You know you are watching a Kean Loach film when the images chosen to show New York City of the 1920s, instead of the Jazz Age, you see skyscraper raised to the sky by workers, not your romantic notion of the 20s, instead of NY; you see the Jazz moves in a hall in a small village in Ireland in the aftermath of the Great Depression and the Irish Civil War, now is the battle of the Church vs Jimmy’s Hall, a personal war between an aged Priest against a fiery young Communist, the two at times seem to be the mirror of each other; the Priest know more about Marx than any in the town, and the Jimmy can recite lines after lines from the Bible. The ideological battle shatter the community, tearing families apart, it become ugly; threats, boycott, violence, as the Priest refuse to recognize the commune of the dance hall. Speeches after speech are made, one by Jimmy on the nature of Capitalism that is more about today than 1930s Ireland; Greed, exploitation and class struggle, politician, businessmen, and the police, a fiery speech from the few of last remaining leftist filmmaker. The film has its humor; a keystone cop chase toward the end, and a lost bitter sweet romantic love to sink in the message, Loach always delivers.
Capital(Costa-Gavras, 2012) Maybe today’s Gavras is no longer the Gavras of the 60s and 70s with his political thriller films, but he still got it, like Kean Loach, he still make relevant film to the date. In Le capital, the title also of Karl Marx’s best book, a 21st century examination of the lower and upper scale of capital within the banking cartel is the center stage, I write “Banking Cartel”, because all banks are run like a cartel, run like a Mafia; it is by exploitation, elimination and survival of the fittest that one make it to the top and stay there, each move must be calculated to do utmost damage but with the utmost kindness; insider trading, speculation, dictatorship of the market, speculation, etc, all the relevant quotes of today’s market is in the film, at times, Gavras make use of imaginative flash-forward in rage to score a point the ironic nature of the game. “I make the richer, richer, the poor, poor” says our anti-hero; for he is a modern Robin Hood “We’ll keeping robbing the poor to give it to the rich”.
The Kingdom of Dreams and Madness(Mami Sunada, 2013) It has been a good year for the Ghibli films; Isao Takahata’s The Tale of The Princess Kaguya and Hayao Miyazaki’s The Wind Rises were released, and to top it all; is this wonderful documentary into the working of Miyazaki and his close collaborators in Ghibli studio for two years, while working on The Wind Rises. It is a wonderful two hour documentary on the method used by Miyazaki in creating his animation, as he sit on his table, 10 hours a day drawing storyboards, much time is also spent with Toshio Suzuki, the producers behind many of the Ghibli films, there are many reference to Takahata and his film also, but we only get a few moment of him on the camera toward the end. Nowadays we look back at the Renaissance and the names of DaVinci and Michelangelo stand above the rest, so will many a years to come; Miyazaki and Takahata will be the two name remembered as the men who changed Animation into an art form, they stand tall above the rest, it is rather a nostalgic watch, we are seeing the last days and perhaps we already saw the last films of the two masters.
We Are the Best! (Lukas Moodysson, 2013) For the Punk Music fans, We Are the Best! is a must watch, and for those who are not punk music fan, as I’m not, it is a recommended watch; Bobo and Clara are two girls who are mistaken for little boys with their punk hair style, they resist the notion that “Punk is Dead”, and decide to create a small band, out of boredom and passion, they recruit a shy girl from a conservative Christian family into the band. There is much cynicism and innocent about the two character in the film, their view of the world, politic, sport, art, relationship and establishment. It is an innocent and beautiful film.
Snowpiercer(Bong Joon-ho, 2013) Among the resent post-apocalyptic film; Snowpiercer stand out, it is a beautifully chaotic grand design in action, narrative driven, with its sudden and rapid shift of mood, Bong Joon-ho gives little times to wonder at the beautify of some of the set designs, with its unpredictable and violent twist, at time absurd, at time a dark comedy, and most of the time; exuberance action sequences. The deception of the front and back passengers of the train is not only a futuristic hypothesis, it is rather more relevant to today’s societies than any future train.
Welcome to New York (Abel Ferrara, 2014) Welcome to New York has a Hitchcockian twist to it; the future president of France is in an American jail being striped naked, only the man is not innocent, and he knows it, what is more ironic is that he knows that he will getaway with it; telling the story of Dominique Strauss-Kahn affair has no suspense to it, its outcome is already known to anyone who watched the news, what make the film a captivating watch is the performance of Gérard Depardieu, what an actor, such simplicity yet perfection in acting, never fade away from giving it all, yet making it look so simple. Welcome to New York is a tale of two city, one man living both of it; from the top to the gutter, the sudden twist and the bureaucracy of the system dealing with the two is inanely tragically funny, there is no room for reason when in the gutter, when on top; the truth is in the form of a green piece of paper, as Jacqueline Bisset said it best, holding her checkbook; “This is the truth, and I’m gonna put it in my handbag”.
The Salvation(Kristian Levring, 2014) A Western with Eric Cantona? You know that sound bizarre, then expect a chaotic, but masterful crafted Western in the old tradition of the classic filmmaking with Spaghetti violent, the narrative is in line with a Budd Boetticher film; a Man loses his wife and children to a bandit, but instead of the whole film being about this Man in search of the Killer as in a Boetticher film, in The Salvation; it only takes a few minutes to track down the killer and get his revenge, what come next is the pure classic Western; the man has to take not only on the well established cruel old West, but the corrupt order of the town, take on the big guns, and he must stand alone facing them, those who help him, vanish, for the law of the land only knows the language of the gun. On the background, the theme of the Western expansion, the black gold of oil. Shot with grander vision, Levring is obsessed with the crane and tracking shots to show the landscape, at times becoming too repetitive, but the final showdown payoff; classic one man showdown against the gangs of the many.
Blind Detective (Johnnie To, 2013) Johnnie To and Wai Ka-Fai gave the Chinese cinema some of the most memorable and suspense films in the past decade, but they also made a few flops during that time (thinking of Running on Karma). Blind Detective has its brilliant and also its lets down; a former top detective, who once had an eye on the back of his head to calculate utmost detail in a case, now turned into a blind Detective, still he is the master of his domain; at times he can’t find his way to the bathroom, but he sure can crack the most complex case as his imagination become his eyes. Dark humor and violent, silly and childish humor at times, with some of the most bizarre scenes in recreating and staging the crime using unorthodox method; Blind Detective is a comedy in the form of a melodrama, and it is a Must Watch.
Tim’s Vermeer (Teller, 2013) Johannes Vermeer’s painting like that of Da Vinci, Rembrandt and other masters at times can become an obsession with those who challenge the technique and means they were created, of all the Dutch Masters, Vermeer’s use of light and calculation to details is the stuff of genius. I remember early this year at Louvre Museum in Paris I had a chance to see Vermeer’s The Lacemaker; it is amazing how small the scale the painting is, yet so rich with microscopic details. It is no wonder that a man like Tim Jenison is obsessed in finding out the mystery behind Vermeer’s painting as spent five years of his life in an attempt to recreate Vermeer’s The Music Lesson. I’m not a historical scholar of painting nor even have enough knowledge to make any judgment as to how Vermeer managed to capture light and microscopic details in his paintings, but if a camera obscura or mirrors were used in helping to capture the details, there is still a question of the lights; Vermeer’s use of light is nationalistically true to nature, even films and photography rarely captures such truthfulness in light, how did he do it? We will never know, and art’s content and forms comes before the technique, looking for all answers are futile at times.
A Story of Children and Film (Mark Cousins, 2013) The task of critics is to give meaning to subjects, for film critics; they give meaning to films, at times giving much significant to details that the filmmaker might never intended to be seen than way, I do that at times, but take Mark Cousins; I remember watching his 15 hour long documentary on the history of cinema, The Story of Film: An Odyssey, as he take a trip around the world cinema, from the silent era to today, but always with a philosophical, repetitive and on screen narration of signifying meaningless subjects, occurrence, and staging of the film, same can be said of A Story of Children and Film. I give you one example; he takes a shot of Yasujiro Ozu’s An Inn in Tokyo, and analyze the scene of a little boy standing in front of an industrial building as “The camera is at the ground level, the industrial building shot to look massive, dwarfing the boys”, but if you look at the shot, the boys are bigger than the building, if Ozu had the intention of what Cousins describe, then he would have placed his camera at a high angle, not a low angle, but Ozu rarely care about such staging, his style is to have his camera on the around level, that is Ozu style, is has nothing to do with making people look dwarf or buildings look giant, saying that; if you do want to discover some decent film about children, I would say, A Story of Children and Film is a must watch.
The Captive (Atom Egoyan , 2014) Another film where the daughter goes missing, the father figure must find her, the male hero to the rescue of the helpless woman, and this time; not only one woman, but two need saving. With The Captive, Egoyan take a trip back to the memory lane, back to back to The Sweet Hereafter; from the use of the narrative to the snowy landscape, the two are mirrors of each others. Kevin Durand in the role of the Mika, the ringleader of a pedophile group is perhaps the weakest point of the film; with his over the top acting, and then there is Egoyan obsession with Mozart, and the mysteries ring of the pedophiles that are all powerful, to a point; they could kidnap a detective in the middle of a charity party. Despite its flows, it is a Must See.
Devil’s Knot (Atom Egoyan, 2013) The critics bashed Egoyan’s Devil’s Knot upon its release due to the fact that almost many who went to see the film already knew the story of West Memphis Three, and with a plot already known, it leave no space for suspense, but that is a wrong way to look at Devil’s Knot; its more than a suspenseful film, rather a re-telling of a story of lose, grief, and miscarriage of justice. There are some brilliant moment in the film with its emotional power, the scenes with Reese Witherspoon as the grieving mother are the highlight of the film.
Lucy(Luc Besson, 2014) Humanity has prove that the with the advancement of knowledge and science, one of the benefactors of such gain is the destructive and chaotic force of human nature; from Bronze age to the Nuclear Age. Maybe Besson can be forgive for stretching the violent in Lucy, with the macho woman shooting right to left, and he can also be forgiven for the notion that we only use “%10 of our brain”, we use far more than that when it come to the physical ability of the brain, but the physiological ability is even less than “%10”, as Freud and Jung were so deterred to prove it, that our conscious mind is only a drop on the surface of an ocean of unconsciousness, here is what Freud wrote in The Unconscious (1891); “Our right to assume the existence of something mental that is unconscious and to employ that assumption for the purposes of scientific work is disputed in many quarters, To this we can reply that our assumption of the unconscious is necessary and legitimate, and that we possess numerous proofs of its existence. It is necessary because the data of consciousness have a very large number of gaps in them; both in healthy and in sick people psychical acts often occur which can be explained only by presupposing other acts, of which, nevertheless, consciousness affords no evidence.”
Jersey Boys (Clint Eastwood, 2014) Going to 85, Eastwood still got it, he can still deliver an entertaining watch of a film. Throughout the years, Eastwood had a roller coaster of a relationship with the critics; some films were praised, while others damned, as an actor or director, I always found much creativity in his films, there is always a push to create new, something different from one film into another (interesting use of breaking the fourth walls, something out of Goodfellas), in away; he is a link to the last great directors of Hollywoods golden age era, the likes of Hawks and Fords. In Jersey Boys, an energetic film about a group of youngster’s dream to make it to the top is rather ironic to have been made by a man in his mid 80s, at times its both hilarious and nostalgic, in away; Eastwood’s melancholic look back into his own past through Franki Vali and the Four Seasons. Christopher Walken is great in the role of the Godfather to the bunch, and the ending, ah, it is rather pathetic; with the fake makeup, Eastwood did the same in Hoover with DeCaprio.
Under the Skin (Jonathan Glazer, 2013) Under the Skin is a a film that after seeing it; some call it as a junk and some call it as a masterpiece, rarely there is in-between of the two, take the opening scenes; there is no dialogue for the first 12 minute, and when the dialogues come in, they are insignificant or what it seem like improvised dialogues that is out of Kiarostami’s cinema than Glazer, the eery soundtrack and use of sound in abstract manners, surrealists imagery, a story of an alien seductress who prey on men, only to become a prey herself, the sudden shift of the mood and scenery, it is not the cup of tea of any average viewer, no wonder it was a big flop at the box office; the ending scene, as the alien extricates herself from the superficial skin is brilliant, a memorable horror imagery of recent cinema
Kill Your Darlings (John Krokidas, 2013) From Harry Potter to Allen Ginsberg, it is some giant leap for young Daniel Radcliffe. After Walter Salles’s On the Road, Kill Your Darlings is another recent film that is obsessed with re-creating the relationship between the leading figures of the Beat Generation, this time we have; Ginsberg, Car, Burroughs and Kerouac, the film narrative approach is balanced between a triangular love affair and the literal counter culture revolution banner, and like many fictional film based on real characters; the film suffers from historical inaccuracies, the real truth always become the victim of the plot driven narrative, never the less; Kill Your Darlings is a must see.
First Cousin Once Removed (Alan Berliner, 2012) Alan Berliner’s First Cousin Once Removed is a depressing watch, and it is not recommended to everyone. Old age, sickness, memory, death and the mystery of the brain, the last few years in the life of Edwin Honig, a poetic and a literal translator who live in an emptiness of the wilderness of his memories, for he cannot remember anyone or anything, when he does; it is only for a glimpse of time, then forget it. What does it feel to have no memory? In away, without it; one has no past nor a future, always living in the present moment, rather a peaceful existence, for many of our emotional problems arises from our memories, and the only times, sadness appear on his face is when his past is spoken about, his relationship with other, his fame, his poem, achievement in life, all feel like a distant dream that he remembers little of it.
Age of Uprising The Legend of Michael Kohlhaas (Heinrich von Kleist, 2013) Mads Mikkelsen gives another sensitive performance a year after The Hunt, this time in the role of Michael Kohlhaas; the German rebel that took on the lords of Saxon, only to have his head put on a stick. Slow paced at time, dialogue driven, the film has a memorable violent scene in which Kohlhass and his gang of desperado slaughter the lord’s men.
Noah(Darren Aronofsky, 2014) Turn the pages of the Old Testament, New Testament and Koran, they are all drenched in blood; stories of slaughters, annihilation and God’s wrath on mankind, perhaps none of the stories is as violent as that of the Noah; the merciful God wipe out humanity in order to show his love again by rescuing Noah and his family, perfect story of chaos in harmony, of contradiction, that almighty creator, that create and destroy in a never ending cycle of contradiction. Religion, God and Myth are three most imaginative creation of man, and in each; it reflect the nature of man itself, its chaotic and harmonic nature that is always in battle with each other, Aronofsky take from all three in Noah, it has its fault, and it has its brilliant.
My Sweet Pepper Land (Huner Saleem, 2013) Maybe because I’m Kurdish, just returned from Kurdistan, and that is a reason that I found so many wrong and lack of accuracy in My Sweet Pepper Land, the reality that is shown in the film does not match not even the wildest fantasy of anything in the Kurdish culture, take the language spoken in the film; one characters talk Sorani the other Kermanji, the other a mix of the two, but the worst is between brothers and sisters, especially the beautiful Golshifteh Farahani who speak in Eastern Kurdistan Sorani dialect, but her brothers talks Kermanji, I’m yet to see any distance relative to speak two different Kurdish dialect, let alone see brothers and sisters in a family. The film is full of butchered scenes when it comes to language, you can tell by the reaction shot of the actors, they do not understand each other. Saleem’s obsessions with the extreme closeup at times become too repetitive. The characters are not only overacting, they are even over reacting in a simple reaction shot, and the over use of music, Elvis? I’m yet to meet anyone in Kurdistan to listen to Elvis every day, or country music, let alone a border guard with a fedora hat? My Sweet Pepper Land is a film that is sold for a Western; the law and the culture, the Sheriff and the Teacher or the newspaper man, the hero come to the town and leave his mark with a shootout at the end, the characters even talk in English at times; “F*ck off”, they are pretending to be in a Western, so no wonder they act like cowboys with guns. A remote town that one only reaches with horse, yet it is full of concrete houses and paved road, but no car, they only ride horses, I guess they build roads for cars in Kurdistan but only for horses ride them. The worst; the two lovers speaks two different accents, without one trying to understand the other, unintentional comedy at its best. Then there is the depiction of the Kurdish Female Fighters of the PKK, running away from a few smugglers is rather shameful, these Kurdish Female Fighters are now fighting ISIS in all fronts, take the town of Kobani, they run away from nothing. Then there is the thunder-lighting after the lovemaking scene, it has to be the cheesiest scene I have seen in a long time. Skip it.
Rhino Season (Bahman Ghobadi, 2012) I remember when Ghobadi’s first film; A Time for the Drunken Horses came out, I watched it in a broken down old theater in Kurdistan, sitting beside me there was an old man, and with each scene that showed the smugglers crossing the artificial border between Iraq and Iraq, he would mumble to himself “That is so true, that is how exactly it is”. The Ghobadi that once made such masterpiece in simplicity, touching the tragic corners of live in Kurdistan, using non-actors and down to earth stories, now has become one that imitate Hollywood and Art-house filmmaking, only; the two never matches, and one can see that in Rhino Season; Ghobadi pushes the limit of its use of poetic imagery with a Greek tragic narrative and a Hollywood plot twisting, everything become artificial at the end; the camera is staged on the frozen face of a character, not to convey the emotion, but to capture an image only, that is the fault of the film; it pushes everything to its limit, and it is an epic fail.
Borgman (Alex van Warmerdam, 2013) Black humor can only sustain itself for a short period of time, but to have a film that define its narrative on violent and black humor, pounding you on the head time after time with no clarification of the character’s behaviors, at times, the film feel like a cheap imitation of Haneke’s Funny Games, but as it drag on, it become more bizarre and unsettling by second in a negative way, and the viewer is lost to the twist and turn of the scenario. Skip it.
The Congress (Ari Folman, 2013) After watching The Congress, one thing is for sure, Ari is not the actor’s director nor good at writing dialogues; lengthy useless dialogue dominate most of the scenes in the film. When the film comes alive in the animated zone, it suddenly becomes the tale of two films, the sudden jumps takes a while for the audience to digest, with its hallucinatory imagery, as the narrative suddenly shift between scenes that has little continuity one after the other. On a side note; Stanislaw Lem’s novel with its notion of the futurist digital age in which actors are immortalized is not far from becoming a reality.
Joe (David Gordon Green, 2013) I always had a hard time taking Nicolas Cage seriously in any role, the harder he tries to put in a decent performance, the worse his over acting gets, and Joe suffers from having Cage in a leading a role of a character that ask for sympathy throughout the film. David Gordon Green’s cinema to me always seemed to be a walking on a thin line between the films of Terrence Malick and the literature of William Faulkner, maybe the depiction of the deep south, the wilderness connect him to Faulkner, and his use of documentary, improvisation, natural light, editing style, and the landscape is similar to the cinema of Malick, but I could never get along with his narrative, the sudden shift in characters behavior or the repetitive actions in the narrative that lead to a predictable ending, in Joe; the length kill the film halfway through, as it become an old record playing the same tone. Skip it.
The Golden Dream (Diego Quemada-Diez, 2013) Maybe it is me, but I have seen much film in the style of The Golden Dream; the struggling and suffering immigrant, crossing borders, amid hardship to search for a better dream in another country, only to end up a mere tool for others to exploit, and the golden dream he was looking for, is nothing but a mere unseen illusion.
Vic and Flo Saw a Bear (Denis Cote, 2013) It never ceases to amaze me how many junks are made into films and are called by critics “Art-house Film”, take Vic and Flo Saw a Bear; nobody sees a bear in the film, let lone Vic and Flo, even the title is misleading, shot in a washed color cinematography, with a few characters coming across one another in the wilderness, none of them a likable person, and none of them knowing what they want, or what they search for in others, it is as if these characters are twisted and turn by the director for the sake of the action in the narrative, just as the title of the film signify nothing to the content of the film, so is the characters and the narrative in the film, it comes and goes without a unifying formality in theme or content, worst film I have seen in a while. Skip it.
Starred Up (David Mackenzie, 2013) After watching the first 45 minutes of Starred Up, there was nothing new to look forward too other than counting the profanity in the film, and I could not catch up as to how many times the words “Fu*k” and “Cu*t” was used. A son goes to prison to catch up with his criminal father, only for the two to battle each other and the rest of the prion and the cops, cheap violent with cheap profanity are the highlight of the film. Skip it.
Cold in July (Jim Mickle, 2014) The first 45 minutes of Cold in July is pure suspense, rather masterfully directed; the fear of a father losing his son to a killer who want revenge for his son’s death, one father kill anther’s son after an attempted robbery, everything become fear in his eyes, nothing is what they seem before, but a sudden twist in the plot, make the two enemies friend, and with the arrival of a cowboy detective, the film become crime thriller with the three stooges going around braking into places and solving they mystery of the “missing son”, the coward father who could barely shot a gun, now become a sharp shooter as he join two former Korean war veteran tracking down a “Dixie Mafia Band” in Texas, with a cheap and bloody violent showdown at the end. Skip it.
Yves Saint Laurent(Jalil Lespert, 2014) Over 100 minutes in length, you can divide Yves Saint Laurent into three repetitive sections; Laurent’s relationship with others, lengthy fashion shows followed by lengthy congratulation and applaud, and Laurent’s breakdown and recovery, which lead to Laurent’s search for relationship with others followed by Laurent’s breakdown and recovery, and lengthy fashion shows followed by lengthy congratulation and applaud, the predictable narrative is matched by glamors in the background, from Paris night life, to Laurent’s fancy house and servant, his art collection, etc, just like the women in the fashion show; Yves Saint Laurent might just be a film about characters walking and talking in glamors surrounding, empty of anything new to offer to the audience, other than repetitive tales already been told.
Blue Ruin (Jeremy Saulnier, 2013) There seem to be an obsession with violent, kidnapping, picking up the gun and slaughtering each other in the name of self defense in the recent American and Canadian indie films, this never ending obsession with violent and gun has become rather a sickening watch seen in repetitive recent films, Blue Ruin is another cheap example of that, nothing new here, pass on.
Long Live Freedom (Roberto Ando, 2013) Exchanging places, the wise man taking the place of the king and bringing property to the land, the tale is as old as humanity, in Long Live Freedom; Toni Servillo take the double role of the leftist politician running for election dragging his party down, but his secluded professor of a twin brother replace him, as the politician goes on a soul searching trip to France, the new man running for election take the public by surprise with his philosophical, poetic and truthful speeches, only in the eve of the election to have his brother return and take back his position, predictable narrative.
Locke (Steven Knight, 2013) There are limited way that one can stretch the style of a film without manipulating the audience into boredom, take Locke; a film that is set in its entirety inside a car, with a character driving and talking on the phone, in the span of the drive, he make radical changes to his life and all those who surround them, after the first ten minute of the film; it becomes repetitive and predictable.
Exhibition(Joanna Hogg, 2013) A bored wife, an architect of a husband, a big apartment, and more boring visitors, all coming crushing down on a frustrated middle aged woman, it was Howard Hawks who once said; “If your characters are not interesting, then your film isn’t interesting either”, everything about Exhibition is uninteresting and boring, even the long takes that drag on into becoming nothing but a style forced upon the film to drain it from any emotion.
For your viewing pleasure in horror, here are my favorite horror films (Arranged by date)
Posle smerti aka After Death(Yevgeni Bauer, 1915) Yevgeni Bauer is closes to Chekhov of all the silent Russian filmmaker, for his stories are about characters with little dilemmas, they are sincere creation on the screen, take the character of Andrei Bagrov in After Death, an idealist who is in seclusion after the death of his Mother, rejecting the life of society, he live in solitude, away from attachment, until he meet a girl that dazzle him with her big black eyes, but even then, he goes back to his room, back to his solitude, when the girl stalk him into he temptation of romance, he refuse, her sudden death of suicide become a guilt of conscience that he takes upon himself as he becomes obsessed at recalling her imagery. After Death is a film about the obsessions with the image, of memory, recalling that short acquaintance with her, regretting decision he had made, and living with regret is unbearable to him, it drive him to death. I can’t recall an earlier silent film than After Death with its obsessions with memory, neurotics, sub-conscience, dreams, the supernatural and imagery, it has to be among the first. Bauer was the most artistic of the early Russian silent filmmaker, simple, but masterful use of style, with long takes and camera movements, and little dependency on inter-titles. I don’t if Manoel de Oliveira has ever scene this film, for it shows a clear influence on his film, The Strange Case of Angelica, for both characters are in love with a dead woman, or the image of a dead woman. Magical.
Les Vampires(Louis Feuillade, 1916)
Satana likuyushchiy aka Satan Triumphant (Yakov Protazanov, 1917) Before there was Ingmar Bergman and his masterpiece, Winter Light, the inability of conquering temptation in time of spiritual crisis, there was Protazanov’s Satan Triumphant, the story of a preacher, Talnoks, he is on strict religious meditation, reject the basic pleasure of life, even when he listen to music, he despise the temptation of listening to sound and seeing the beauty of nature, the pleasure of eating, reject the pleasure of love, preach to others to be like brothers and sisters rather than wives and husbands, his dry emotion make him ruthless toward others when they seem to be enjoying life, he reject everything, believe that love is in God, but welcome his rage, he closes his window to the sunset, but welcome the storm and thunderous as anger of God, he deem the world as full of sin, shouting, “Look! It seems that God himself is going to visit our world, we are lost in sin”, his wishes comes true, but it is not God, but Satan that turns his world upside down. What a charming Satan, witty and always with a smile, lurking into tempting poor Father and his congregation into temptations, he is perfect at everything he does, rather masterfully and all powerfully, he play piano like no others, driving everyone into temptation of believing the sincerity of its emotion, he uses the convincing argument of Nature’s creation of beauty and God’s creation of ugliness, tempting the Father into taking the wife of a Hunchback for the sake of the argument of beauty should not belong to beast, “Should that beautiful woman, her neck, her eyes, really belong to a Hunchback? Is this what nature has wanted?”, rarely one could find such sensuality in a silent film as is in Satan Triumphant, Protazanov made the film in the same year as his adaptation of Tolstoy’s Father Sergius, one’s man fight of temptations, one against the world, in Satan Triumphant, it is one man’s fight to spread the temptation, to give in, to have, to own, to love, the right to have everything for oneself, the first part of the film end with the downfall and death of Talnoks, the second part began with the rise of his son as pianist, Sandro, but Satan does not leave him alone neither, when he is not present, it is his music and painting, sound and vision that drive him into temptations and vices, can her mother save him? She beg him to find himself again, “You have ruined yourself, your talent, your future”, he answers, “But that is life”, she try harder, “That is a distorted picture of life”, he goes into rage, “All joy is based on evil” Can she save him? Watch it to know it. Despite the fact that most of the ending of the first part and second is lost forever, Satan Triumphant is a timeless epic of early Russian silent cinema.
The Cabinet of Dr. Caligari (Robert Wiene, 1919)
The Phantom Carriage(Victor Sjöström, 1921) It could be argued how much of an influence The Phantom Carriage must have had on Bergman while making The Seventh Seal, one thing is clear, this film and the cinema of Victor Sjöström had a definite influence on Bergman’s cinema, take the opening scenes of Cries and Whispers, it is right out of the opening sequence of The Phantom Carriage. The story of guilt and redemption, told in the style of Dickens’s Christmas Carol, in a style that make use of special effect to its perfection, with an ending that is right out of a D.W. Griffith film, all combined, makes a classic of silent cinema to watch.
Nosferatu (F.W. Murnau, 1922)
Faust(F.W. Murnau, 1926)
Le chute de la maison Usher (Jean Epstein, 1928)
Dracula (Tod Browning, 1931)
The Testament of Dr. Mabuse(Fritz Lang, 1932) I was in the mood to watch Dr. Mabuse again tonight. Much have been said that Lang’s Dr. Mabuse was about the Nazi Germany, as true as that statement is, the film is also about Lang’s experiment with sound cinema, for what is Dr. Mabuse but a sound? We never see him, we only hear him, and when our curiosity is finally fulfilled, we see the face of the sound behind the curtain, what do we see? We see a megaphone, a little machine, and we feel tricked at first, but then realize how well crafted trick it was by Lang, he uses the new technology of sound to trick us into using our ears in creating images, rather than just our eyes being the observing machine of images. Sound equally create images in our mind in The Testament of Dr. Mabuse, at the hands of Lang, cinema make a masterful transition from silent into sound. Continue reading “Favorite Horror Films”→
“I had three chairs in my house; one for solitude, two for friendship, three for society. When visitors came in larger and unexpected numbers there was but the third chair for them all, but they generally economized the room by standing up. It is surprising how many great men and women a small house will contain”
from Walden (1854) by Henry David Thoreau.
More than a week ago, I wrote about designing book covers (Read here), and at the end of the article, I refereed to my room and promised to write and suggest some tips about designing your room, I got a few email asking for the article, bust watching Football kept me away, now, the World Cup is over (I was cheering for Argentina, but it wasn’t to be), I got some hours of spare time, so here is how I planned and designed my room:
As I mentioned in the previous article; designing a book cover is not much different from designing your room, or as a matter of fact; in designing anything that exist in nature, there are a few elements you have to consider; Space, Objects, Layout, Theme, Colors, and Time.
Having a deep passion for cinema, I wanted my room to become like an inside of a theater, the reason for that is because I use the room mostly to watch film and write, and in order for one to feel comfortable in an environment, one must reshape that environment to one’s liking and taste, only then can one become creative and feel comfortable.
One of the question that I’m always asked as to why I choose the color Red as the primarily color for the room? I chose is for the simple reason that it is my favorite color, and also; by its nature, Red is an active color, it attract the eye, move and animate one, but to balance the Red, the second color that I have used it Black, almost every object that I choose to decorate the room has a tone of black to it; from the DVD/Book Shelves, to the wood on the door, tables, furniture and even the frame of the posters on the wall, Black is the secondary color.
I like to think that I have divided the room into Seven different parts, each function independently from other in term of its suggestive layout, rather an abstract notion to explain, but I will try my best to point out the reason I divided the room into Seven parts:
1. Passion for Cinema: When you walk into the room, the first think you encounter is a collection of Film Posters on the wall (Read about my selection of Posters here), there are a total of 38 Film Posters, they are my favorite films from my favorite directors, I have designed some of the posters myself, others I have collected, some were given as a gift by friends (thanks Ruben), and I have printed most of them. The frame are made of wood, all in the same style; black. In a way, one side of the room is almost like a small wall on a museum to be looked at.
“Books are the treasured wealth of the world and the fit inheritance of generations and nations.”
― from Walden (1854) by Henry David Thoreau.
2. DVD and Book Collection: On the other side of the wall, hang floating shelves, therefore taking very little space, for now; space are filling up, which mean in the future, I might have to add more shelves at the bottom of it. So far; it hold more than 720 DVD cases (total of 3330 DVDs in them), and more than 200 book. Although I primarily collect DVDs from Criterion, Master of Cinema, and other known publishing label, I also have large quantity of Film that I brought back from the States with only the disk and no cases, a reason that I decided to display the DVDs by directors and countries, for example; I have the complete works of Hitchcocks both on DVDs and Blu-rays, for the blu-rays they are in their own cases, but for the DVDs, I have combined many film into one case, therefore saving space, same is true for Soviet cinema; I managed to display one hundreds years of Soviet films into at total of 96 DVDs cases, there are total of 645 DVDs in those 96 cases. Continue reading “On Design: Room Design”→
“Beauty: the adjustment of all parts proportionately so that one cannot add or subtract or change without impairing the harmony of the whole.”
“On Painting” by Leon Battista Alberti
Two years ago, I decided to design my own personal covers for my book collection of Classic Russian Literature, within a month, on my spare time, I managed to design covers for all the collected works of Leo Tolstoy, Ivan Turgenev, Fyodor Dostoevsky, Anton Chekhov, Nikolai Gogol and Alexander Pushkin. A few weeks ago, when a friend visited my room, I was asked to write an article for a local magazine on the nature of design and my interpretation it, below are some extract from that article:
When setting out to design, two things are important to consider as the layout map for the whole design: Space and Objects (if you are designing a visual multimedia, the third thing to consider is: Time). One might simply consider the whole creation of Universe as a balanced act of Space, Objects and Time, without being philosophical, same thing apply to designing a book cover or a space rocket. A harmonic combination of space and objects is all that is need to create a style, but one’s placement of objects within the space might take multiple experiment in order to create a perfect geometrical harmony, there are few rules to follow; from golden rule ratio to Fibonacci Numbers, to choosing a simple geometric shape.
For my style, I copied from the best; since I started collecting books, one of my hobbies was to collect Penguin Books; it was for the simple reason for their beautiful cover design, crossing from one book into another. I copied the same style for each author’s book; there were a total of 25 Volume of Tolstoy’s work and a total of 17 from Turgenev, and only a unified design in the form of a series, with repetition of the same theme and style had a chance of creating a unified volume of works for each authors.
Unless you are master painter or a have a perfect eye for mathematical calculation and colors, then avoid using simple tools to design; it is recommend to use software when setting out to design, for Book and DVD covers, I would recommend you familiarize yourself with software such as; Adobe Illustrators, InDesign and Photoshop, because one way or another, you will end up needing all three in combination for your work. Still; when you first create your layout, a paper, pencil and a ruler is all that you need. It is in the layout process that you map out the objects of your design in perfect harmony with the space that is provided for you.
In my case; I designed a cover for A4 papers, depending on your taste or your clients, you may have a different space to work with. One layout is all that is required for creating a series, once you decide on the layout of the space, colors, fonts, and theme, you could easily save it as a template and repeat the same process over and over again, until you get bored with it, but in order not to get bored and the process of becoming repetitious; try making subtle changes; such as chanting the color of fonts, but try not to stretch each elements, making it independent form the series.
I used 18th and 19th century Russian Realism painting as a unified theme for all my cover design, each painting were carefully chosen to reflect the time of the book and the painting, but most important; the theme of the cover and the book were one in nature, the saying might go; “Don’t judge a book by its cover”, but the truth is; many do judge a book by its cover, so any image, illustration, painting and text you use must; one way or another, reflect the content of the book. Continue reading “On Design: Book Covers”→
Looking back at my film diary for 2013; I managed to watch more than 398 films, wrote more than 96,000 words in my Film Diary, and as I always say, “Not bad, but could have been more”, it could have been more if it were not for my traveling and starting my study in UK.
As you might notice, from the end of January to June; more than %98 of the films come from Soviet Union, it was my year of discovering Soviet Cinema.
I saw many films in 2013, and I chose my favorites not based on the year the film was released, but rather, the year I saw it, you might notice many films from 2012 making the list, for I saw them for the first time this year.
Favorite Films of 2013/2012
Before Midnight (Richard Linklater, 2013) Richard Linklater’s Before/After films has a special personal meaning to me, but that is another story that one day I will share with you, the reason I mentioned it, is because; even before watching the film, I knew it would be my favorite film of the year, call that a personal bias, just as, looking back; Before Sunrise is my favorite of 1995 and Before Sunset of 2004, the call already in labelling Before Midnight as being part of “Before/After Trilogy“, only, it is too early to call the film as the last time we see Jesse and Céline on the screen, there sure has to be more. I can’t remember where I read about the five stages in life, it goes something like this; fertilization before birth, infancy, childhood, adolescence, and adulthood, and the eight stage of experience; exploring, life calling, focusing, working, excelling, mastering, transcending and regencies. Where are Jesse and Céline in Before Midnight? They are in adulthood, working and mastering, about to transcend, so there is still one stage to go. The first time we see Jesse is in the airport, saying goodbye to his son, and as he leave the airport, the camera follow, in a long shot wee see a woman leaning against a car, we don’t see her face clearly, as Jesse gets into the car, the camera pan to reveal in the backseat, two little girl, who is the woman with him? Can it be that Jesse had a son with Céline and got divorced? All that is answered in the next shot, as we see Céline and Jesse together, that is about the only mystery or a story or plot in Before Midnight, and the mystery is solved within the span of 30 seconds, for Before Midnight is a film about simple events captured in time, in examination of relationship of two people, who once were madly in love, now going into the mid-age, that love is in question, everything seem to have been improvised, even the other characters dialogue, it seem each one wrote their own line, like a Rohmer or a Bresson film, we see these characters as not just a mere fictional representation on the screen, but real people that we relate too, one reason, that the three films already has a cult following, with Jesse and Céline taking an independent life on their own, out of the screen into reality. It is no wonder that sunny south Peloponnese peninsula is the location for the film, it is the sunny stage going by in their lives, before sunrise was in Vienna, then before sunset in Paris, now to Greece, an as always; Linklater, intertwine in the place into the film, Greek culture and heritage; from making Dolma, to Greek Mythology, music, to reference to Elia Kazan, etc, even the title is spelled in Greek when first it appear on the screen. The dialogues and conversation between the characters become a imitation of everything that is relevant today, language is used independently, and you have more than two people tipping in, the conversations that once Jesse and Céline had now become unbearable when they are together, rather, their intimate conversation with each become reminiscence in nostalgia or an argument on their future worries, as the doubts come in whither they are still in love with each, or will be into the future. Did I mention the constant references to Tolstoy and Dostoevsky, two of my idols, made me more relate to Jesse, rather cheesy, but true .
V Tumane aka In the Fog(Sergei Loznitsa, 2012) It is expected from a viewer to have a notion of what a war film should be; action and explosion, and when a viewer once in a while encounter a war film that is about the people stranded in the war, a character study of the few, the viewer at first become hostile to it, but a smart viewer, will slowly sink into the film, becoming a participant in a meditative watch, Sergei Loznitsa, among the greatest of recent young talent coming out of Russian cinema, has perhaps made one of the best Russian war film of recent times, if I could think of another war film coming out of Russia with such realism and intensity of pure brilliant, I have to go back to the Soviet era, to Elem Klimov’s timeless masterpiece; Come and See, ironically, both film are set during the German invasion of Belarus, with Come and See being on an epic scale of larger than life war film that grip the viewer from the start to the end, and In the Fog a simple character study, slow pace, long takes, haunting the viewer long after watching it. In the Fog is based of a short novella from the great, but unknown in the West, Vasil’ Bykaw, the film captures beautifully the lyricism in Byakaw’s writings onto the screen. Loznissa’s films are revisionist of the old patriotic Soviet notions of resistance, traitors, collaborators, and passives, similar to Aleksei German’s forgotten masterpiece; Road-Checkpoint, the forgotten ones whom a history remembers as the good or the bad, events black and white, the hero, the soldier and the collaborator, only in reality, nothing is as black and white, a lie become history, washing away the truth, there are those with consciences and those without it, the later is best fitted to survive, for it knows all the trickery to survive the war, and history remembers only the official story, the rest are forgotten, as it disappear into the fog.
La grande bellezza aka The Great Beauty (Paolo Sorrentino, 2013) La grande bellezza opens with a quote from Céline’s Journey to the End of the Night, and like Céline’s writings, you are taking into a hyper pessimism of a nihilist journey, this time into the city of Rome, and everything that exist in Rome is of interest to Jep Gambardella, since he was uprooted from his home as a youth, living in Rome, when the reality is too much to take, he takes into his fantasy, walking among the Roman ruins, he sees his vision of the city, in his imagination he creates his own stories and characters, Sorrentino’s camera become his vision, it fly in all direction, defying gravity in a circus of the holy, the profound and the vice, glamor, disgust, vulgar, the serious, the silly, a jungle of sound, noise and music, a wildlife inhabited by creatures feeding upon the past, none happy at the present of existence, with they only route taking out is escapism into the material world of desires, empty pleasures, with the new icon of worship replacing the old, a plastic surgeon is the new Pop to be worshiped and asked for miracles, pure Felliniesque. You got tribute to Italian masters; Fellini, Antonioni, Rossellini, Pasolini, etc, all over the place, just to name a few. La grande bellezza is a beautiful film, a grand cinematography, each scene like a painting on a vast canvas, it is among those films that must be watched on the big screen, otherwise, the collective experience of watching is lost. Jep who seem to be indifferent to everything, cold and distance, like the rest has a incurable wound of his past; the girl he once loved, and lost, his is living his old age, the passions he once had, and now are gone forever, he is lost, suppressing his most sincere emotions, but they show up now and then, as he become aware of himself thought the eyes of others. Rome’s new La dolce vita, the sweet life generation are old and grumpy, they are cold, not sweet anymore, lost in the vast spaces, reflecting upon their failures, they are full of emptiness, pretending to still live the fast life. A mediation on life, love, death, grief, faith, religion, loneliness, youth, old age, melancholic, nostalgia, and Art, or what is considered art with its meaningless and empty values like its creators, among the best scene; a frustrated little girl taking out his anger on a big canvas with paints, looking on are Europe’s biggest art critics and gallery owner, the nothings is given a value, therefore it become art, and she is an artist, earning millions, while the real art is locked up behind the doors. Many comparison has been made between La grande bellezza and Fellini’s La Dolce Vita, and all is to the point, it is modern day La Dolce Vita, with it grander tour de force journey.
Post Tenebras Lux aka Light after Darkness (Carlos Reygadas, 2012) In Spring of 2008, I first watched Reygadas’ Silent Light, I had to watch it three more times in the span of a week, and for a month, I could not stop talking about the films and recommending it to other friends, I had already seen both of earlier work of Reygadas; Japon and Battle in Heaven, and I thought little of them, but after seeing Silent Light, I eagerly waited for his next film, and it is five years later, gain, watching a new Reygadas film, Post Tenebras Lux, and like Silent Light, it has the power to shock you, to leave you for days reflecting upon the imagery, for it is hypnotic in it power. From the first image, of a Little girl, her first words are given to images and color that she sees, sound only she can hear, textures only she can feel, the film search for a style, for a narrative, from the world of childhood that consist of feeling through our senses, to the world of the adults, that consist of feeling and emotions, that become the story of Light after Darkness; light of childhood, and darkness of adulthood, both are elements of existence within nature, and it is nature that conquers both. There is a Father who seem to live in paradise, with a a happy family, only, just as he is gentle with his children, he is equally cruel to other being in nature, a Mother, who only care for her children, but something dark live within her, we never know what it is. Then there is something, someone,, it is always looking in, it live within the lens, distorting the reality, at times it appear, red with a tail, it is the mythical creature; devil, ready to corrupt the happy childhood that is full of mystery. The unpredictability of the film, the experimental use of narrative, the rapid shift and jumps between sequences, make it feel like watching a dream, a fantasy, or a mere recollections of memories, it shift back and forth; quotes from Tolstoy, from Pierre in War and Peace, is mentioned by bourgeoisie, drinking champagne and smoking cigars discussing Dostoevsky and Chekhov, then, next cut; to a nightmarish of an orgy in France, in which the couple are looking for a “Duchamp” room, but they mistakenly get into “Hegel” room, there is a dark element of humor in the film. Everything is in depth of field, the action is center staged, distorted, but always controlled, innovative use of framing and lens, it is a film that distort reality into a nightmarish dream of fantasy.
Nobody’s Daughter Haewon (Hong Sang-soo, 2013) In Hong Sang-soo’s cinema, our first love is with his characters, his films are character study within a framework of a relationship, like Rohmer’s films, but just as Rohmer is formal in his shooting style, the opposite is true for Sang-soo; he loosen his style whenever he desires, his camera is staged like a distance viewer, always observing, and like any observation, as we observe others, the camera become an eye, a little pan here and there become the turning of the head, or glancing of the eyes. His use of color is naturalistic, subtle, yet, there is always a bright color within the frame that attract our eyes (the red sweater that Haewon love to wear), same is true for his composition, they seem very realistic, almost a documentary setup, but they are calculated to utmost details, true is also for the use of sound, the long takes, music and voice-over, as it is with the acting and the characters behaviors, he makes it look so simple, watching his film is like taking a slow walk in the park, when you get lost, you don’t want to find your way out, just as you don’t want to stop observing the characters in Sang-soo’s films, they become intimate friends, that influence comes from Robert Bresson, and if I pick, in my opinion, Nobody’s Daughter Haewon is the most Bressonian of all of Sang-soo’s films to date in his use of space, major actions happens off-screen, only a few line of voice-over is used to inform the viewer of the shift in the narrative, although the one style that makes Sang-soo different from many filmmakers working today is his minimal use of the cut, he never cut within a scene, rather, each cut take the viewer into a different place and time, instead of the cut, he prefer to re-frame, pan, or zoom in, in a way, he is like a master haiku poet; always capturing time and space as it is, as it slowly build up into a climax of pure emotions.
Jagten aka The Hunt (Thomas Vinterberg, 2012) There are many ways of analyzing Thomas Vinterberg’s The Hunt, and as you watch it, you come out with your own personal observation as to the film, one thing is for sure; everything that happens, every character’s motive, behaviors, and perception of reality is based on an event that never took place, and to have a character guilty of a crime that is none-existence is like condemning him to live in the abyss of the darkest place in human psyche, there comes the question that examine the nature of; friendship, relationship, ethics, morality, justice, crime, violent, revenge, individualism, mob attitude, forgiveness, redemption, and vindication, I’m sure I have missed many more words and adjective to describe the masterful complexity of the film, it is perfect in every way, and there are many ways in The Hunt.
Frances Ha (Noah Baumbach, 2012) From the first frame of Frances Ha, the playfulness of the two characters, the string music, the giveaway moments, and the black and white cinematography, one can’t help but think of François Truffaut’s Jules et Jim, made 50 years after Truffaut’s timeless masterpiece, Frances Ha is a a different take on relationship gone astray, cold and distance at times, perhaps no other tribute to the master is as clear as the playful use of music as a sudden burst into emotion within each scene (Georges Delerue’s Thème de Camille from Godard’s Le mépris, among the many from Delerue used in the film) the scene where she is running to get cash is pure French New Wave, such nostalgic tribute, even her two brief roommate are copies of Jules and Jim, and expect lots of running, riding bicycle, giveaway moments, more playful, childish behaviors, but in a world in which the reality of the grownup sink in, there comes the nostalgia of finding oneself alone amide the crowd, and the only escape, is behaviors that is viewed by others as abnormal, or rather, childish, that is the problem with Frances Ha; she still want to be a child, in an ever changing world of grownup, and those moments of pure happiness, the few she has, are those she behave on her own, the few time she is happy with others, passes by, and turn into nostalgia for her, to escape it, a sudden impulse drive her, like going to Paris for two days, the reason? only Frances Ha knows, as she end up sleeping away her time in Paris in a little room, when she is out, her Paris a gloomy walk into empty streets, cafes, and apartments, for one sees places as one feel at the time, and her confusion only make her shift into a world of make believes, pretending to others to be what she is not, as Frances Ha slowly shift into the territory of dark humor, the harder she try to fit, the more she falls into the abyss of loneliness and alienation, for like everything else; time can make even friendship into a distance memory of forgotten happiness, and reflection upon it, only make one nostalgic.
Is the Man Who Is Tall Happy? (Michel Gondry, 2013) There are many documentaries on Noam, with social and political themes as its main subject, this one is different, Is the Man Who Is Tall Happy? is deep rooted in philosophical dialectics examination on linguistic, every word, sentence and meaning is given an image in symbolism, imagery to words with Gondry’s animation speaking Noam’s mind, imagery and sound explain to the viewer the inner meaning that is communicating. As Noam question everything, from his childhood memory, love for Russian literate of 19th century, to classicism in science, Aristotle, Medieval, Galileo, Renaissance, Descartes, Newton, Darwin, Evolution, skepticism, daily perception and interpretation of objects, genetic, inspirations, epistemology, astrology, religion, prejudice, death of his wife, relationship, family, linguistic, human right issues,and his trip to Kurdistan and advocacy of the Kurdish issue. Gondry’s heavy french accent and Chomsky’s masterly of the language, their misunderstand at time is simply hilarious, the film has many humors.
Like Someone In Love(Abbas Kiarostami, 2012) More than half of Kiarostami’s cinema take place inside a car, passengers on a journey, looking out into the passing world, from Tehran, to Tuscany, to Tokyo and beyond. Long dialogues and conversation between characters from different social background that circumstance bring them together for a short glimpse of times, and then separate, never to meet again, traditional, social or generational conflict surface within each encounter, with simple cameras setup, from the perspective of each characters and one from that of the viewer, sound like simplicity and minimalism at its best? That is the cinema of Kiarostami, but with each passing film, he add more flavor to his style; in Like Someone In Love, there are few sarcastically humor scenes that one rarely sees in a Kiarostami films, same is true with building suspense and stretching it, and his experimental use of sound, of creating images and characters off-screen with only their voices, it is simply brilliant, take the Grandmother in the film, we only get a glimpse of her from the window of a passing taxi, yet, she is one of the six characters that make the film, as for the casting, the performances are not as genuine as the non-actors that Kiarostami used to get the best performances out in his films back home in Iran, especially Akiko, she is poor at her reactions, which is the core of Kiarostami’s cinema; as the camera is held more on the observed, than the observer, still, masterful from a Master.
Le Passe aka The Past (Asghar Farhadi, 2013) We are creatures who think; we are living in the present, and only the present and the future matter, but the truth is; everything that we do or we plan to do is determined by the past, for it is in the metaphysical nature of time, that only the past exist; as I type these word, they are present, but now are past, just as the next sentence come from a future thought, but as I type it in the present, it become the past. It is only befitting that a film titled Le Passe, represent a reality on the screen, with characters and circumstances who’s destiny are shaped by muddy events that happened in the past, with the revelation of the truth, comes the unpredictable consequences. As in all of Farhadi’s film, a Dostoevskian examination of relationship of a couple is at the center stage of the film; in About Elly, it was escapism and the failure of the two couple to understand each other, in Fireworks Wednesday, it was the suspicion between the two, in Beautiful City, the two are separated by the norms of society that condemn their relationship, and in Nader and Simin: A Separation, it was the making the hard decision to separate, in Le Passe, all that has been, it the attempt to start a new beginning into the future that is at stake, for the past still hunt each of the characters, as there is this constant tension between characters in Farhadi’s film that slowly build into a climax, their mere present within the same space of each other is enough for the suspense, as each character hide more emotion underneath, than showing on the surface, the periodical release of tensions within them is always taking out at the person that is not part of the conflict, only toward the end, does each person face their inner demons in which they find the source as of being in others, so it is with the adults in La Passe, they each leave the frame, as if running away from the others, as for the children, they are there as contrast to them, they never hide way their emotion, from rage to happiness, they express it emotionally and physically, at the end, there comes those moments of each character, as they breakup into pieces, shattered like their relationship.
Oslo, August 31st (Joachim Trier, 2012) Oslo, August 31st open like an experimental film, with voices recalling the memory of a day in Oslo, it could have been the story of anyone in the city, but it become that of Anders, a day and a night in the life of a former drug addict, in the morning he is leaving a rehab clinic, he is determent to commit suicide, take a rock with himself and sink himself into a river, but as if resurrected, he surface again, to start his day, into Oslo, to search for what has remain of his past, and what is left of the future, with the constant thought of suicide in between, with the style of the film shifting as the mood changes, perhaps none is more obvious as the examination of everyday life in a cafe, heard and seen from the perspective of Anders, wise use of sound by the process of selectivity and elimination, as in a Kieślowski film. Oslo, day and night, is a cold and distance city, former friends are more cold and stranger to each others than the unknown walkers going by, his only redemption is a girl far away from him, on the other side of the world, calling, leaving messages, to get a second chance at love he once let go by, but the answer never comes, the day and night mean nothing to him at the end, only to realize the grim reality of a past that will never be corrected in the present, nor in the future, what is left to do but to take a journey into the undiscover’d country, from whose bourn, no traveler returns.
Les Salauds aka Bastards (Claire Denis, 2013) There is a magic to Denis as to how she captures the human body, in her films, the flesh, the movement of the muscles, gestures, gaze, even a little twisting of the arm has a significant meaning to the psychology of the characters. I remember the first I watched Beau travail, which was my first encounter with the cinema of Denis; I was so overwhelmed by the poetic beauty of the film, which find itself in the simple gestures and body movement, I kept going back watching the film to know the secret behind its hypnotic power, and that power is in choreographing the simple movement of the body to utmost details, as if a musical performance set to a tempo that know no space nor boundaries, it just flows, same is true for Les Salauds, more formal in its narrative structure, but as bold and innovative as Beau travail, take a journey into the heart of darkness, in which the many faces of darkness become an obscure object of desire in a murky world of the innocents and the guilt, intertwining toward an abyss, great soundtrack form Tindersticks.
Vous n’avez encore rien vuaka You Ain’t Seen Nothin’ Yet (Alain Resnais, 2012) The essence of cinema consist of two basic emotions; actions and reactions, just as it exist within a metaphysical and a realistic observations; there is the screen, there is the viewer, there is action, there is reaction. The norm of cinema is to capture the two in one, narrative driven, the reaction from perspective of the viewer become that of the film, character take your emotions, as you emphasize with them and the story. Many filmmakers tried to capture the two reality on separate medium, the action and the reaction, the screen and the viewer, and each time, by eliminating on motif of the other, a rather experimental take, films have been made, in which as a viewer, you become aware of the construction of the film, and participate as a viewer within the characters in the film, Kiarostami’s Shirin is an example, as is some films of Godard, or Herz Frank, etc. Resnais has always been one of those filmmakers, with passing time, somehow he managed to innovate himself, find a way to make film on an experimental scale, but narrative driven as if in classic tradition of filmmaking, in You Ain’t Seen Nothin’ Yet the two walk a balance line, it is a film that examine the nature of films, theater, acting, play, literature, painting, music, poetry, architecture and their constant interaction with the viewer, sound like experimental filmmaking, but it is a film more in line of an Agatha Christi mystery tale, especially Then There Were None; a dead man call upon the living, a playwright and his former stage actors to gather in a large mansion in a remote place to perform a modern day version of Eurydice , full of unexpected events, shifting of narrative and character study, past, present and the future exists on the same canvas, the acting is also in three stages, three different people at times, playing the same role, each with a different take as they observe each other, they lost in time, space, places and memories that is forces upon them with no control over it, such classic narrative and style, such subtle form to tell a story, yet, such innovation, such freshness. “I love you too much to live”, says Orpheus to Eurydice, and one tender gaze, one look take away Eurydice back to Hades. Vous n’avez encore rien vu is based on Jean Anouilh’s plays Eurydice and Dear Antoine: or, the Love That Failed, and like Resnais’s earlier film, Melo, which is based on a Henry Bernstein play; both film are an examination on the impossibility of a lasting love, in Melo, it is only a reflection on the woman from two men who both loved her equally, in Vous n’avez encore rien vu, it is one man’s dilemma with two characteristic, love and death, he seem to find both eternal when they become one; Orpheus is with Eurydice at last.
Un monde sans femmes aka A World Without Women(Guillaume Brac, 2012) Ah, what a small masterpiece Un monde sans femmes is, just under one hour in length, it got everything of emotions that many of today’s film lack, it is almost a perfect tribute to the cinema of Ermanno Olmi, with characters that one encounters in daily life, too real for the screen. There are five characters in the film; Sylvain, a shy middle age man, living a lonely life, who fall in love with two strangers; a mother and a daughter, arriving for a short holiday in a small French coastal town. Sylvain become attached to them, and fall in love with the Mother, only to have a rival in Gilles, a local police who seduce the Mother, for she is attracted to guys who want her for a short time, as she confess to Sylvain of her inability to secure a long lasting relationship, heartbroken, there is nothing left for him but a short outburst of emotion in the night before the departure of the two stranger. The guilt of abandonment is felt by the daughter, who in return is the only one who is capable of feeling Sylvain’s pain, for she seem to understand the true nature of love. There is also the character of Marie, a old woman and a friend of Sylvain whom he confide in. In today’s ever macho cinema, it is hard to come upon a film like Un monde sans femmes, to find a sensitive, shy and passive character as Sylvain.
A while ago, Aleksei German passed away from kidney failure in a hospital in Saint-Peterberg, for the past seven years, he was working on his unfinished masterpiece, History of the Arkanar Massacre aka Hard to Be a God, based on the Strugatsky brother’s science-fiction novel, he never finished it.The film now in the editing and post-production stage, and according to his son, Aleksei German, Jr, it is to be released within a year, or maybe more.
In the span of more than 40 years, Aleksei German only made six films, his first was co-directed with Grigori Aronov, and his last, unfinished. His short cinematic resume is perhaps one reason that he is unknown to many film viewers, a pity, for he is among the masters of Soviet Cinema, believe it or not, three years after making My Friend Ivan Lapshin in 1984, the film was voted by Soviet critic and filmmakers as the greatest Soviet film ever to have been made, surpassing all the previous masters. Looking back to my film diary, here is my short reviews to all the films from a forgotten master; Aleksei German, and impatiently waiting to see History of the Arkanar Massacre.
Sedmoy sputnik aka The Seventh Companion (Aleksei German and Grigori Aronov, 1968) Aleksei German’s directorial debut, The Seventh Companion was co-directed with Grigori Aronov, based on a novel by Boris Lavrenev, before directing the film, Aleksei German was a student of Grigori Kozintsev, and The Seventh Companion shows the influence of Kozintsev, it is a realistic and fascinating film that seem to have been made in Soviet days of 1930s rather than in 1960s with the acting, dialogue, set designs, and the cinematography re-creating the realistic and nostalgic early days of the Union . The story take place during the early days of the Revolution, Yevegeny Adamov (Andrei Popov) is a former general of Czar’s Army, a professor at the military academy, when taken to custody, he obey and later join the new force of the Bolsheviks, although his joining is a matter of will to continue to live, for he has no home nor any family left to return to, and he is dire need of food and shelter, he is never convinced of the Bolshevik ideology, when later captured by the White and he refuse to join them, asked as to why he had joined the Bolshevik and would not join his old army?, his answer is rather a philosophical one, “When a large body passes through space, smaller bodies are drawn into its orbit. Sometimes against their will”, it is indeed against his will that the forces of revolutions and wars drive him from fate into another; he become a prisoner of the Reds, a homeless man, then a worker, a soldier of the red army and finally a prisoner of the Whites, and not once, does he question nor condemn his fate, rather, he goes alone with it, he is a man who time and circumstances shapes his life, always for the worse, but he lives with it, he is a man whom history will never remember, for neither he is a hero nor a villain, but a simple man, a victim of his time.
Proverka na dorogakh aka Road-Checkpoint (Aleksei German, 1971) Road Check-point is a timeless masterpiece from a master, Aleksei German. It is a revisionist war film in which the hero of the film is no other than a former traitor and collaborator of the German Nazi invaders, when giving a second chance, as Aleksei lets him have it, he prove himself to be a hero of the Red Army and the motherland, but he is unsung hero like many of the Partisans that he fight alongside, in Aleksei German’s war films, it is no words and tactical planning of generals and army big shots that decide the fate of winning or losing a war, but the individual actions of the foot soldiers, they are the real hero, they are the ones who change the rules of the game. It is no wonder that the film was banned and shelved for 15 years, for the hero of the film, Lazarev is anything that one may consider a war hero, but his self sacrificing action is what save the others, and in process redeem himself. Shot in gritty black and white, monochrome tone, with long takes and subtle silent acting, with explosive action sequences, Road-Checkpoint is not only one of Aleksei German’s masterpiece, but it is among one of the best war films ever to come out of the Soviet Union, it pay tribute to those that history will never mention, nor will they be remembered, the theme is best visualized at the end of the film; as the train leave dying Lazarev, crawling to make it, but fail, and the living reaming partisans has to push the machinery of war from behind, always struggling, the story of unsung hero.
Dvadtsat dney bez voyny aka Twenty Days Without War (Aleksei German, 1976) Aleksei German is famous for casting his actor against the system, and perhaps no other actor in his films has being miscast as Yuri Nikulin playing the role of a major Lopatin in Twenty Days Without War, and Nikulin delvers, for in real life he fought many battles during WWII, only later to become a comic actor, the irony of it. In Twenty Days Without War, everything is foggy, life on the battlefield is equally as cruel as in the home front, getting 20 days leave to go back to Tashkent after the battle of Stalingrad, Lopatin only find the effect of the war on the people more devastating than on the soldier on the battle front, and he is puzzled by the naivety of the people, especially the intellectual class, artist and filmmakers as to their romantic notion of wars, heroic deeds and glory, when his 20 day leave is cut short, he is indifferent to it, as going back to the front, he know the war will be long, but more important, he knows that after the war, his life will be even a longer struggle to overcome what he had lost during the war, as always, at the end of an Aleksei German, the viewer is left with the collectivity of the emotional impact of the film, his last few images always speak for the whole film; Upon returning to the front, he walk with three other soldiers to join his outfit, only to shelled, when surviving, amid the foggy and smoky landscape, the soldiers talk about their planning after the war as they disappear from the screen into the smoke, Lopatin is silent, he has already experienced what life after the war will be like, to him, the war and after the war is a long way from now, he is silent to others, but his voice-over speak his inner thoughts to the audience; “Though we’re plodding forward, we’re only in Kuban, and Berlin is a long way off. A long, long way.”
Moy drug Ivan Lapshin aka My Friend Ivan Lapshin (Aleksei German, 1984) Believe it or not, three years after making My Friend Ivan Lapshin, the film was voted by Soviet critic and filmmakers as the greatest Soviet film ever to have been made, with that, My Friend Ivan Lapshin was and is praised upon not only us one of the great Soviet film, and the crowning achievement of Aleksei German, who would go on to make only one other complete film. Like all of German films, the story is set in the past, in 1935s, during Stalin’s purge, the film is based on stories from Alekse’s father, Yurii German, it is told in flashback, and for once, in an Aleksei German film we have a few shot in color, very few scenes, but they are the only color footage that German ever shot. Ivan Lapshin is an investigator who share a commune flat with others, including our narrator and his father,a little kid of seven, we get a glimpse of each character in episodic turn; their relationship, struggle, hope, pessimism and desperation, but we rarely see our narrator as and adult and as a little kid, he is there only as a passive eye witness, for many incident take place without him being present, one might as well assume he had made a fictional recreation. What is significant about this film and all of the other films from Aleksei German is how raw his Mise-en-scène are; out of nowhere we see a passerby crossing the frame, or at a distance someone walk, two people talk, another one stare at the camera, his composition equally lack any priority to be given to characters or subjects, with long takes and pure black and white imagery, light bulbs overexposed, or scenes underexposed, the film is a realistic portrait of the time is choreographed to utmost details, such perfection give it a feeling of hyper realism in lyricism.
Khrustalyov, mashinu! aka Khrustalyov, My Car! (Aleksei German, 1998) I cant remember who said it, but the quote was “Khrustalyov, My Car! is a mix of Fedrico Fellini and Andrie Tarkovsky”, to some extent the quote speak best for the film, for it has a roller coaster ride with its unique characters of the likes in a Fellini film, as it also a film rich with Tarkovsky moments, but with hyper realism, saying that, one could never judge a film by comparing it to that of others. Khrustalyov, My Car! is a pure Aleksi German film, and perhaps his masterpiece. As always, expect masterful black and white cinematography, especially the use of depth of field, it is used to highlight everything, not only the action within the frame, but characters insignificant to the action, passerby present for no reason; a man looking at a distance at the foreground where an argument is taking place, but he is light more brightly than the foreground, or suddenly, a character block the camera, we won’t see the action, or the action take place offstage, we only hear sound of the action, as always, long tracking shots and lengthy takes make the film depend very little on editing. “The mills of the Gods grind slowly, but they grind exceeding fine”, said the Greek philosopher Sextus Empiricus, so it is with General Yuri Glinshi, one moment he is exiled, next, he is by Stalin’s deathbed. The characters show their suffering and joy by action, not words or meditation, the General’s wife is sad, or rather, she is going mad after her husband is taken away, she won’t sit and cry, nor would she talk to other about her misfortunes, rather, she pick a bucket full of dirty cloth and smash it on top of her head. When a character is hopeless to respond to violent, they slap themselves on the face, for they are hopeless. All the character in the film behave like children when driven to the edge, they react by use of violent to express their disapproval or by playing games and laughter to express their joy. The desperation and inability to control their life drive them to the edge, but this illusion of state of the mind as is with the General take a twist into the reality of the time, as he is falling from the grace, the film become an absurdest nightmare, as cruel fate make an animal out of him, in a demonstration of realism in violence and savagery that few films dare to get there,he is told. “Don’t tempt fate, mister”, tempt it or not, he has to live it, the life, the fall and rise of a General, his title alone determine how others view him, for his personality, deeds and character is judged by his position alone and nothing more.
76 years ago, on April 1, 1937, Yilmaz Guney was born: He was born in the small village of Yenice near Adana in North Kurdistan under occupation of Turkey, to a peasant Kurdish family and went on to become a the most beloved Kurdish/Turkish filmmaker, and if had lived a full life, he could have been 76 years old today, but fate took him away at his peak, he died in 1984, in exile in Paris. He was called “The Ugly King”, labeled as the “People’s Artist”, he was never afraid to stand up to what he considered injustice, and for that, he paid dearly, spent half of his life either in prison or exile, yet, he left us with many cinematic gems. He was and is viewed as a mix of revolutionary of a pop icon, as someone put it, “Something like Clint Eastwood, James Dean, and Che Guevara combined”. Looking back at my film diary, here are a few of his film that recently I had a chance to write about:
Seyyit Han (Yilmaz Güney, 1968) As always, Guney leave you at the end of a film, breathless. Among his early work, Seyit Han is a part folktale, part western and a part revenge/superhero film, full of lyrical touches. The story of a tragic love affair between Seyyit Han, whom after seven year hunting down his enemies is back to claim his bride, Keje, but he soon find out that she is getting married to the village Agha, the same day as he get back. Brilliantly scripted, the film soon take a tragic turn as by mistake, the Agha tricks Seyyit Han into shooting Keje, when Han find out, he goes on a revenge spree in a masterful climax, with Guney’s direction, he makes times stop, the last ten minute is a visual tour force that matches any Kurosawa or Leone’s action scenes, one thing is sure, Guney know how to direct actions, the man seems to be a master everything. Beautiful. READ MY FULL REVIEW HERE (IN KURDISH)
Umut (Yilmaz Guney, 1970) After watching Guney’s Umut, Elia Kazan was so moved by the film, he wrote an article to the Miliyet newspaper; “Umut is a poetic film, completely native, not an imitation of Hollywood or any of the European masters, it had risen out of a village environment”, he went on to describe how the characters in the film came across as the most realistic portrayal of the working class; “I had not been able to forget the people in Guney’s story. The notion of hope is seemed to these characters a grotesque notion, something to be ridiculed. After I have seen the film, for the rest of that day, I felt anxious about them, “What is going to happen to those people to those people?”, I asked”. My friend, watch Umut, the one film that revolutionized the Turkish cinema, brought the realism to the screen that few other film could match. READ ELIA KAZAN’S VISIT TO GUNEY IN PRISON HERE (IN KURDISH)
Baba (Yilmaz Guney, 1971) Baba means Father in Turkish, and the father in the film is Yilmaz Guney himself; the story of a poor country father who end up taking the blame for a murder he has not committed, take the guilt of a rich man upon himself for the sake of his family, as he leave them behind, telling the lie that he travels to Germany to find work, only to come back many a years later from prison, old and grey, he finds he ugly truth; the was betrayed by the rich man, and what has remain of his family is his daughter, force into prostitution to make a living. Heartbreaking tragic story of a common man lead a stray by the greed of a few. The film was an inspiration for Nuri Bilge Ceylan’s Three Monkeys (2008)
Umutsuzlaraka The Hopeless One (Yilmaz Guney, 1971) When one think of Yilmaz Guney, one think of him as a great director, but he is also a great actor, just watch Umutsuzlar and notice how he had created a characters that from the first frame of the film to the last has a continuity to him that few could achieves, a characters full of pain and sorrow expressed through gestures rather than dialogues. Umutsuzlar is a visual film, there are few dialogues, instead, the visual and music tell the story, it has a slow pace, rather a beautiful pace to it that one could find in Fassbinder’s films. Few could compare Guney to Hitchcock, but there is a similarity between Umutsuzlar and Vertigo and I could even go so far as to make the statement that it is among the fewest film to captures the spirit of Vertigo; both films are about a man’s desire to create a woman in his own vision, past and the memory of the past dominate the film. There are scenes in Umutsuzlar that are as powerful as Vertigo in expressing the desire and the love between the two characters, compare the wedding scene Vertigo‘s hotel scene, even the camera work is similar, they both move in a circle as the two lover embrace each other. Then there is the music, a theme that is played from the beginning of the film over negative images of the character in red, and keep playing the same theme every time the two lover recall the pain of separating, the theme connect the space between them. The power of cinema is to create a feeling, to create a thought in the viewer indirectly and Guney manages to create that with empathy to the character’s pure emotion that we share. Umutsuzlar is a purist film, a visual tour de force from Guney, a forgotten masterpiece. A tragic film about love, grief, pain, memory and longing. Continue reading “Yilmaz Guney”→