19 peliculas a tener en cuenta
Sire
Pego aqui la lista de 19 pelis que recomienda la revista Filmcomment y
algunos de sus colaborades, interesantes quizas por lo desconocidas todavia.
Agradeceria alguno comentario vuestro si alguien ha visto alguna de ellas
:-))))
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TERRA INCOGNITA: 19 Films to Look Out For
Betelnut
(Yang Heng, China) Some mistake Yang's debut feature for a Jia Zhangke
knock-off. It's actually more like a narrative daydream by James Benning, a
contemplative study of two mildly delinquent teenagers going nowhere during
one summer in Hicksville. (The location is Jishou, Hunan, the director's
hometown.) Plenty happens-violence, theft, and two stalled relationships-but
the formalist approach finesses a sense of perfect stasis, underlined by the
absence of moralizing, melodrama, and character arcs. There are less than 50
shots, each one of them exquisite.-Tony Rayns
Bled Number One
(Rabah Ameur-Zaïmeche, France/Algeria) Ameur-Zaïmeche revisits the
protagonist of his highly successful Wesh wesh, qu'est-ce qui se passe?.
Here Kamel returns to his hometown, somewhere in Algeria, having been
deported from France after a prison term-a double penalty. Although his main
character is loaded with the baggage of the problems that are currently
unsettling France-Franco-Algerian relations, immigration, loss of roots-the
director doesn't use him as a vehicle for a social thesis. Instead he
devises a new realism, a realism tinted with fantasy elements, to explore
reality in all its strangeness. Kamel, who is played by the director
himself, floats between two worlds, two countries, and two cultures, and his
anxiety becomes that of Globalized Man.-Frédéric Bonnaud
Carmen
(Jean-Pierre Limosin, France) Following 2002's Novo with its amnesiac
protagonist, Limosin continues to reflect on the human condition in this
made-for-TV film. It's a sort of E.T. remake in which a bonobo, a smarter
species of chimpanzee, escapes from a language-research institute and
discovers the realities of poverty, fear, and joy. Limosin, a marginal
figure in French cinema, deserves to be recognized as an important
auteur.-Shigehiko Hasumi Subtitle
Crickets
(Shinji Aoyama, Japan) After his avant-garde sci-fi outing Eli, Eli, lema
sabachthani?, Aoyama returns to the depiction of ordinary life. A wealthy
young woman leaves the city behind for a quiet life in a coastal village.
Fascinated by the void in the eyes of a blind, deaf old man, she commits
herself to his care, studying him like an entomologist in an effort to
understand his incomprehensible behavior. What does he represent to her?
Perhaps the void (what Roland Barthes called le vide) left after the
deposing of the Emperor of Japan. If so, Crickets can be seen as a bold
reply to Sokurov's The Sun.-Shigehiko Hasumi
Faceless Things
(Kim Kyong-Mook, South Korea) Faceless Things shows two acts of gay
sadomasochistic sex-one acted, the other not-with such bare-faced cheek that
some viewers will be repelled. But this remarkable movie announces the
21-year-old Kim as a filmmaker in the Apichatpong league: an allusive poet
whose direction of non-pro actors is as impressive as his grasp of the
possibilities and limitations of cinematic form. The film consists of only
three shots, the first (around 45 minutes) fiction, the second (around 20
minutes) documentary, and the third (very brief) something else. Exploring
the space between cleanliness and "dirt," this is the indie triumph of the
year.-Tony Rayns
The Family Friend
(Paolo Sorrentino, Italy)
The Neapolitan director's third film departs from the glacial Zen of The
Consequences of Love and comes on like a Jacobean punk Fellini. A willfully
eccentric small-town beauty-and-the-beast story, it features one of the year's
most memorable screen presences: Giacomo Rizzo as the shuffling,
sweet-sucking, flamboyantly creepy moneylender Geremia de Geremei.
Sorrentino's stylistics can seem gratuitously fanciful, but here the corrupt
lushness is mesmerizing, like a gorgeous outcrop of fungal decay on a marble
wall.-Jonathan Romney
The Hills of Disorder
(Andrea Tonacci, Brazil) Like The New World and The Journals of Knud
Rasmussen, Tonacci's first feature in 28 years deals with first contact and
culture clash. The great Italo-Brazilian modernist revisualizes mankind's
history through the real-life jungle wanderings of Carapiru, a tribesman
whose community was exterminated by farmers. After years of drifting, the
authorities transferred him back to what remains of his people. Carapiru and
the rest of the cast play themselves, while Tonacci explores the multiple
realities of their lives, merging oral history, reportage, ethnographic
recordings, and re-creations of events, rituals, and customs into one
mournful gesture.-Olaf Möller
L'Île et elle
(Agnès Varda, France) Varda has been creating installations since 2003, and
the Fondation Cartier's triumphant large-scale show (eight works plus
photographic prints) displayed the technical audacity and sly wit with which
she treats the subjects herein: widowhood, the power of place (in this case,
the coastal isle of Noirmoutier in the Vendée region), and family memory. It's
like wandering through one of her films.-Chris Darke
It's Winter
(Rafi Pitts, Iran) Without pitching itself willfully as a mold-breaker,
Pitts's austere, melancholy, and concise drama nevertheless feels like
something markedly different in Iranian film-poetic realism with a dash of
small-town noir. The film has a mesmerizing antihero in Ali Nicksolat's
strutting, self-pitying protagonist. He's a charismatic, arrogant drifter
who blows into an industrial suburb of Tehran and hits on a young woman as
soon as he concludes that she's a widow. A bleak but compassionate picture
of Iranian masculinity and of that nation's working life.-Jonathan Romney
Lady Chatterley
(Pascale Ferran, France) After a 12-year silence, the director of Petits
arrangements avec les morts and L'Âge des possibles confirms that she's one
of the greatest filmmakers in France today. Taking up a British lit classic
that later became a hippie free-love standard, she renews the genre of
literary adaptation, avoiding all sentimentality. Her subjects here are the
way time unfolds, the slow blossoming of desire, and a woman's emancipation.
The film's greatest achievement lies in its lovemaking scenes, which are
treated without salaciousness but with a stubborn determination to capture
sex in all its discomfort, clumsiness, and disappointment.-Frédéric Bonnaud
The Legend of Time
(Isaki Lacuesta, Spain) Meaning emanates from the poetic space created by
the conflation of two documentary narratives: one about a child who decides
to mourn the death of his father by not singing, and the other about a
Japanese woman who travels to the isle of San Fernando in southern Spain to
learn how to sing like Camarón, the most legendary of flamenco singers.
Lacuesta's film puts Spanish filmmaking shoulder to shoulder with the most
stimulating exponents of contemporary cinema, from the humanist marginality
of Costa to the fractured conceptual experiments of Apichatpong.-Manuel
Yáñez Murillo
Notes on Film 02
(Norbert Pfaffenbichler, Austria) A metrical reconsideration of Robert Frank's
O.K. End Here: 26 scenes from the life of an ordinary alienated couple, with
scene A being shown in 26 variations, B in 25, C in 24, all the way to Z,
which is shown only once. The variations are structured to follow an
alternating progression (A1; A2B1; A3B2C1, etc.). In other words, a steady
succession of variations, sub-variations, revelations, with a single
constant and another progression of possibilities, toward one final image of
loss. A profound meditation on freedom and its conditions, and like the
other 2006 Austrian notable, Michael Glawogger's Slumming, a scathing
critique of contemporary cinema's obsession with determinism and
chance.-Olaf Möller
Le Pressentiment
(Jean-Pierre Darroussin, France) Guédiguian regular Darroussin directs,
co-scripts, and takes the lead in this delightfully lugubrious fable of a
Parisian judge penitent (with more than an echo of Camus's The Fall). His
self-imposed retreat from career and worldly success for a life of
contemplation and compassion demonstrates that no good deed goes
unpunished.-Chris Darke
Retribution
(Kiyoshi Kurosawa, Japan) Just as the detective in Charisma was ensnared by
a forest's strange power, so the detective in Kurosawa's new film is trapped
by the enigmatic power of water as he investigates a serial murder case in
the Tokyo Bay area. The constant surface vibration of the sea causes him to
wonder if he is in fact hunting himself. More than a depiction of an
identity crisis, the film offers a mysterious vision of human destiny in
which the demarcation between life and death itself is erased. Watch out for
a brief, splendid shot dedicated to the memory of the late Richard
Fleischer, one of Kurosawa's masters.-Shigehiko Hasumi
So Much So Fast
(Steven Ascher & Jeanne Jordan, U.S.) No art form tells time like cinema,
and no fictional scaffolding of scenes, regardless of resonance, can achieve
the existential weight of doc time. Ascher and Jordan's four-year study of a
young, Kennedy-esque Bostonian diagnosed with als (aka Lou Gehrig's
disease), a degenerative neurological disorder, provides a vibrant how-to
manual for battling an implacable disease on multiple fronts. Guerrilla
science and family dynamics aside, the underlying theme is a race against
the clock shared, at different levels, by the Heywoods, by us as viewers,
and by the film itself, flailing against the light.-Paul Arthur
Song and Solitude
(Nathaniel Dorsky, U.S.) Old School doesn't describe it. Dorsky has achieved
such a subtle mastery over the most basic means of cinematic
expression-composition, duration, juxtaposition-that he can squeeze a wealth
of emotional vibrations out of the silent, seemingly banal interplay of
foreground and background objects. A formalist with a brimming, elegiac
soul, Dorsky will gently rock your attitude toward cinematic landscape. His
world is a sublime mystery measured by patience and unmatched visual
insight.-Paul Arthur
Ten Ox-Herding Pictures #2: Seeing the Footprints
(Lee Ji-sang, South Korea) Part two of theologian/filmmaker/farmer Lee's
autobiographical digital-video revisualization of the Ten Ox-herding
Pictures, those useful images in the Manual of Zen Buddhism that depict the
illusions to be negated before the truth-seeker can experience
enlightenment. We witness scenes from Lee's farm life and the harsh beauty
of nature and its soothing radiance. It's even more sorrow-filled than part
one while being just as aesthetically coarse.-Olaf Möller
Them (Ils)
(David Moreau & Xavier Palud, France) A lean horror machine designed to
simply wring the audience dry across barely 75 minutes of almost real-time
action. The confidence with which the first-time directing duo wield their
sharp instruments recalls early Carpenter, resulting in the ultimate
home-invasion nightmare-Funny Games by way of Assault on Precinct 13.
Avoiding the overt nastiness of so many recent French genre offerings, this
is instead a slightly show-offy master class in timing, staging, and pacing;
you may catch yourself trying to peer around the edge of the screen to see
where the next shock is coming from.-David Cox
The Yacoubian Building
(Marwan Hamed, Egypt) This adaptation of Alaa Al Aswani's Arabic best seller
offers a sprawling account of the ills and enduring charms of Cairo through
the intersecting lives of the residents of the once ritzy Yacoubian
Building, built in 1937 to house the city's elite and feed their Paris envy.
In the process, the film confronts the unavoidable issues of Islam's growing
influence, political corruption, poverty, torture, terrorism, and the
hitherto taboo subject of homosexuality, as well as the more subtle yet most
affecting theme: the vanishing of a certain culture of gentility. At close
to three (albeit fast-paced) hours, Hamed's directorial debut may be an
uneven ride, but it is enchanting and riveting, and possibly the best Arab
film in decades.-Joumane Chahine
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http://www.filmlinc.com/fcm/jf07/terraincognita.htm
saludosss
jo5e
Sire ha escrito:
>
> Agradeceria alguno comentario vuestro si alguien ha visto alguna de ellas
> :-))))
A ver que se puede hacer.....
>
>
> It's Winter
>
> (Rafi Pitts, Iran) >
Ganó la Espiga de Plata y fotografía en la SEMINCI. Cine iraní con
trasfondo social, pausado, con una fotografía muy esteticista sacando
partido de los paisajes nevados del título. El protagonista quizás
esté un poco sobreactuado, debido también a un personaje excesivo.
Considero que está bien, pero desde luego no como algo imprescindible.
>
> The Legend of Time
>
> (Isaki Lacuesta, Spain)
Se estrenó a mediados de año, creo. Película con dos historias, las
dos rodadas con tono documental y mucho más intensa la segunda
(centrada en una japonesa que quiere aprender flamenco) que la primera.
>
> The Yacoubian Building
>
> (Marwan Hamed, Egypt) >
Una especie de vidas cruzadas egipcia. Lo mejor de la película es que
está narrada con ritmo y eso hace que las tres horas que dura, por lo
menos no se hagan pesadas (que ya es algo). Traza bastante bien las
historias aunque todas las deja bien cerraditas. Creo que la película
se anuncia como polémica por tratar temas tabúes en Egipto, como la
homosexualidad, corrupción, etc... pero al final la película es
bastante más conservadora de lo que aparenta.
Un saludo
jo5e
Sire ha escrito:
>
> Agradeceria alguno comentario vuestro si alguien ha visto alguna de ellas
> :-))))
A ver que se puede hacer.....
>
>
> It's Winter
>
> (Rafi Pitts, Iran) >
Ganó la Espiga de Plata y fotografía en la SEMINCI. Cine iraní con
trasfondo social, pausado, con una fotografía muy esteticista sacando
partido de los paisajes nevados del título. El protagonista quizás
esté un poco sobreactuado, debido también a un personaje excesivo.
Considero que está bien, pero desde luego no como algo imprescindible.
>
> The Legend of Time
>
> (Isaki Lacuesta, Spain)
Se estrenó a mediados de año, creo. Película con dos historias, las
dos rodadas con tono documental y mucho más intensa la segunda
(centrada en una japonesa que quiere aprender flamenco) que la primera.
>
> The Yacoubian Building
>
> (Marwan Hamed, Egypt) >
Una especie de vidas cruzadas egipcia. Lo mejor de la película es que
Carlos Pumarin
> The Legend of Time
Solo he visto ésta, que me gustó mucho. Está dividida en dos partes, de
las que destaca la primera, ya que la segunda cae (aunque no lo bastante
como para estropear el segmento por completo) en el clásico error de los
directores occidentales de usar actores/temáticas orientales para
conseguir un tono más místico (como por ejemplo, en,
un-dos-tres-responda-otra-vez, el 'Flirt' de Hartley).
--
La 'web' no oficial de Vicente Aranda http://www.vicentearanda.tk
Carlos Pumarin
>> The Legend of Time
>>
>> (Isaki Lacuesta, Spain)
>
>
> Se estrenó a mediados de año, creo. Película con dos historias, las dos
> rodadas con tono documental y mucho más intensa la segunda (centrada en
> una japonesa que quiere aprender flamenco) que la primera.
Vaya, no te había leído y acabo de responder justo lo contrario. :-)
jo5e
Carlos Pumarin ha escrito:
>
> Vaya, no te había leído
Pues no será porque mi mensaje aparece DOS veces, al menos en google
groups..... XDDDDDD
>> y acabo de responder justo lo contrario. :-)
Ya lo he visto, je, je.... En mi balanza sí que gana la historia de la
japo, frente al exotismo de meter a un oriental. Quizás sea porque
está más "ficcionada" esta segunda parte y la historia, en cualquier
caso, me gusta mucho....
Un saludo (o dos si se repite también este mensaje XDDDD)
Sergio
Carlos Pumarin ha escrito:
> El Tue, 09 Jan 2007 22:27:49 +0100, Sire escribió:
>
> > The Legend of Time
>
> Solo he visto ésta, que me gustó mucho. Está dividida en dos partes, de
> las que destaca la primera, ya que la segunda cae (aunque no lo bastante
> como para estropear el segmento por completo) en el clásico error de los
> directores occidentales de usar actores/temáticas orientales para
> conseguir un tono más místico (como por ejemplo, en,
> un-dos-tres-responda-otra-vez, el 'Flirt' de Hartley).
A mi también me gustó, pero lo que me parece un error, no sé si
clásico, es como se regodea un tanto la primera historia en el
costumbrismo y el hablar gitano, con su supuesta comicidad (la sala se
partía, vaya), llega a ser un poco cansado y facilón Tampoco es que
esté falta de virtudes.
Para mí lo mejor es lo que tienen en común los dos segmentos, dos
personajes en un punto muerto de dolor, uno de los cuales opta por el
silencio y la otra por el cante como paraiso artificial y anestesiante.
Saludos
Sergio