The Tibetan creator is looking at the conflict arising from the meeting of customs, beliefs and conservative culture with Chinese one-child policy.
Bulbul Can Sing talks about the tragedy of lost youth, taken by the conservative society. Adolescence, although it follows its natural path – the first, innocent love affairs, looks, and meetings – is brutally stopped.
Although SABU follows the well trodden paths – a portrait of an emotional killer is nothing new – he does it at the highest level, combining genres at least as efficiently as Bong Joon-ho (Parasite, Snowpiercer) and proving that using and playing with old clichés and narrative patterns do not have to be something bad.
Fruit Chan relishes violence in his film. Although he himself claims that his film is not anti-feminist, it’s hard not to get the impression that it is at least offensive. Heroes do not cause sympathy. This is a problem because they deviate from the norm. One is a cripple, the other a fool, the third a nitwit. It is the same different world we have met in the artist’s earlier films. This time, however, it is a world that causes more contempt than compassion or interest.
Why the beneficiary of the system in which men feel like donuts in fat, should be worried about the fate of his heroine – except that the topic will almost certainly act as a bait? Midi Z, however, managed to convince me to his movie.
The ability to be moved in the cinema has a ratio inversely proportional to the number of movies watched and one’s experience. The effectiveness of the image in this area does not necessarily mean that we are dealing with a masterpiece, but every tear shed in a dark room full of unknown people is a special moment. Therefore, instead of classic summary of the year, I serve you a list of my ten emotions.
Screenplay based on Kyoko Okazaki’s manga of the same title, tells us about a group of teenagers burdened with puberty problems. The action takes place in the 90s, i.e. at the first more critical moment for the Land of the Rising Sun.
Following the path of his colleagues, Yeo Siew Hua will take up the subject of loneliness, social alienation, impossibility of communication (which, for example, we know perfectly well from Tsai Ming-liang’s cinema), as well as the effects of expansion – in this case also territorial – of wild capitalism (Zhangke Jia could smile).
The film by the Vietnamese artist is an aesthetic, romantic dream about the relationship of two men: debt collector, Dung, working for a local loan shark and actor of the traditional cai-luong opera, Linh-Phung.
Killing is a film created with little budget, but despite modesty, it maintains high diligence and accuracy – the duels are realistic (apparently the director spent several months practicing sword fighting to perform as well as a martial arts master), and in the work of the camera you can feel the modernistic significance of meanings.
TellTellingCinema is a non-cyclical series of podcasts devoted to cinema related issues.
In the second episode I talk about the 93th Academy Awards and the presence of disabled people during the gala.
The post TellTellingCinema: Oscars and disabled people first appeared on Zawieszony.pl.
