This year’s winner of the International New Horizons Competition, Agnieszka Smoczyńska’s Fugue, is a drama with psychological, dark-mooded surplus, which in Poland falls on an extremely absorbent ground.
Kursk tells us a story of a Russian submarine that tragically sank in the Barents Sea during the Northern Fleet maneuvers in August 2000.
Second after Of Horses and Men, Benedict Erlingsson’s full-length film tells the story of climate problems that the world is facing and short-sightedness of large enterprises focused on profit and so called “progress,” not noticing the damage that is spreading around them.
A good film criticizing the operations of any large public institution not only draws attention to the problem, but also seeks its source. What connects most of the socially-involved productions allegedly “attacking” the Catholic Church is showing corruption that has become the daily bread for this institution, something as natural as breathing.
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.
Spike Lee has mastered the ability to deconstruct and rework blacksploitation cinema. Unlike, for example, Quentin Tarantino, he does not refer to the historical genre in order to duplicate it, constructing a modern, attractive copy of it, but uses his imagination, breaking harmful patterns.
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.
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.
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.
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.
