If someone asked me to describe in one word the character of Pedro Almodóvar’s cinema, I would say that it is sentimental. I could also invite that person to the Pain and Glory screening – a movie which is not only autotherapeutically approaching the artist’s biography, but also telling about the relationship between cinema and memories.
Like Louise by the Shore (2016), the new work of the French animator, Jean-François Laguionie (this time cooperating with Xavier Picard), La Voyage du Prince, is an extremely reflective film. Again the main character is an older person – or rather a monkey – and again the picture largely consists of comments, observations and memories.
In his ninth full-length movie, Quentin Tarantino returns to the idea he played before in the Inglourious Basterds (2009). Against the backdrop of real, historical events, he builds a fictional story, slowly connecting puzzle pieces together for the construction of alternative reality. Here’s how a gu
Guests from the east come to Portugal, wanting to serve the aftermath of the Carnation Revolution, which first shook the foundations of the fascist dictatorship of Marcel Caetan, to effectively overthrow it later. We have 1975, a full year after the Revolution, which began to bring harvest.
Wilcox is a puff piece for today’s hermit for whom the mystical experience is the conscious abandonment of the capitalist world of people and gods in favor of the world of the beast, which is increasingly threatened by human greed.
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).
I hold to the principle that if I start watching a movie, I watch it to the end, so I feel a certain obligation to explain why I actually left Bird Talk.
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.
We can rarely find a director who not only creates a good film, but is also able to clearly present his or her intellectual foundation, which, moreover, is noticeable on the screen. This is what the young artist Eni Sendijarević managed to do in Take Me Somewhere Nice.
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.
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.
