Colonial corporation
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.
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.
The recipe is very simple – we have won a special workers’ lottery and we must play the role of an immigration officer on the border of two familiar-sounding countries hating each other: Arstotzki and Kolechia.
I doubt if we have a second Polish director who can talk about indigenous problems on a global level, i.e. not only for Poles (as Wajda did, whose Polish romanticism – although he could enjoy being outside the country – was warmly welcomed but not often understood abroad), but also for, say, universalized audience.
Bill Morrison, known for his ability to create sensitive, poetic found footage images, has produced an unique film. And not only because of the formula – Dawson City: Frozen Time is a picture composed almost exclusively of archival materials from the beginning of the 20th century, miraculously unearthed in Dawson.
Hirokazu Koreeda has risen to mastery in portraying family relationships. He began his career in the early 90s with television programs and documentaries.
Some time ago Netflix released a documentary about one of the more controversial characters-phenomena of the American social scene. I am thinking of The Rachel Divide.
Genre cinema in itself, as we have already seen, can be a great critical tool, commenting and strongly referring to reality.
Imagine a world taken alive from Cormac McCarthy’s prose. An isolated, strange, disturbing world in which you can feel the atmosphere of the end of the road – a bit apocalyptic, a bit of being “on the other side”, in magical space, a bit of stubborn, desperate survival in a gloomy, cruel, lonely poverty. It is a world in which the past blends with the present, in which the tragedy likes to be reminded of and relived again – like a return to alcohol addiction.
Getting Over It With Bennett Foddy is an unique, critical commentary on contemporary digital culture.
Jagoda Szelc plays very effectively on fears deriving from rational-irrational tension. Fears that have become one of the fundamental elements of everyday life in Poland.