Such was the cinema of Theodoros Angelopoulos. Deeply humane, reaching down to the roots of the soul, touching sensitive, vibrating hearts…
It is year 2025, Eastern Ukraine. One year has passed since the end of the devastating war. The deserted, almost devoid of vegetation landscape, which lacks potable water, is one huge battlefield, a minefield and a cemetery. Remnants of industry are withdrawing from the region along with people forced to abandon their former lives and set out to seek happiness elsewhere.
The autothematic thread (the act of filming) smoothly passes into the documentary, creators collaborating with the local community, and the story of the beginnings of homo sapiens mixes with the experience of modern tourism – both local (the girl following the trail of her parents’ love) and postcolonial (the couple tourists from the United States who can only get along in their own language).
30-year-old director is balancing on the edge of reality very well. He can hypnotize the viewer, strengthen the projection-identification (3D works very strongly here), the viewer’s bond with the hero and the impression of intermingling worlds.
Olivier Laxe’s Fire Will Come proves that neomodernist cinema does not necessarily have to be lengthy. The latest film by the creator of warmly received Mimosas (NH16) is a showcase of neomodernism.
The images that Diaz feeds us still hypnotize and incline to contemplation and spiritual experience of the film, realizing the creator’s assumption: “total cinema experience”.
Fans of Jim Jarmusch’s works perfectly remember the famous scene of prison break in Down by Law (1986). This scene – in which the act of escape was thrown out of the movie diegesis, and the action typical of detective story was left only to the imagination of the viewers – became one of the unwritten manifestos of slow cinema, and Jarmusch was granted the status of one of the godfathers of the trend, which soon will change cinema, returning a believe in the power of narration to the creators.
Alfonso Cuarón’s Roma is a movie that should evoke our thoughts not only because it was awarded with Golden Lion in Venice (and a number of other awards, warm critical reception, etc.), but also because it is one of the experimental moments for the distribution market not only in Poland.
Nicole Vögele in her neomodernictic in spirit documentary is not looking for a sensation. The camera will not find itself where rich nightlife takes place, where colorful clubs are bursting of crowds, nor will it follow dark alleys in an attempt to find a way into the criminal underworld. The director heads her gaze towards an unattractive job at a small night diner.
Lucrecia Martel tells a brilliant tale of Zama, Spanish senior official managing a small coastal colony located on the Atlantic, away from beaten trade routes and European civilization.
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.
