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.
hu, having done a great selection work, shows cut fragments of streams, suggesting that perhaps these platforms gave the tenth muse a truly democratic value.
But Portrait of a Lady on Fire is not only a moving, feminine melodrama. It is a film created by a woman, in which women were responsible for the script, photos and editing, and only women appear on the screen, except for short anonymous moments at the beginning and end of the film.
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.
The ability to be moved in the cinema has a ratio inversely proportional to the number of movies watched and one’s experience. The effectiveness of the image in this area does not necessarily mean that we are dealing with a masterpiece, but every tear shed in a dark room full of unknown people is a special moment. Therefore, instead of classic summary of the year, I serve you a list of my ten emotions.
