NH21: no one builds brick houses anymore
In his Venice-award-winning “The Wasteland”, Ahmad Bahrami updates the image of Iran we are accustomed to at Western festivals.
In his Venice-award-winning “The Wasteland”, Ahmad Bahrami updates the image of Iran we are accustomed to at Western festivals.
In Lois Patiño’s Red Moon Tide lies a threat – a terrifying force that stops time, which slowly consumes the meaning of life and compels it to stay in an endless stillness.
Such was the cinema of Theodoros Angelopoulos. Deeply humane, reaching down to the roots of the soul, touching sensitive, vibrating hearts…
The eponymous hungry ghosts are the souls of those who years ago came to Christmas Island and were left without burial. The local Chinese community believes…
In “The Border Fence” one can see better than anywhere else, how strongly the natural, as it seems, desire to help people who lost home clashes with subcutaneous fear of the Other fueled by the media and regulated by law…
The Tibetan creator is looking at the conflict arising from the meeting of customs, beliefs and conservative culture with Chinese one-child policy.
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.