Archive for the ‘Germany’ Category

The European movie scene is unique and marvellous. Look beyond the top 10’s and you will find movies that bombard your senses and leave you deep in thought.

Movies with subtitles is something that surprisingly few in the UK seem to enjoy. We’re not quite sure why? To shake things up a bit, here’s a list of European movies that will make you laugh, weep, shiver and think.

Armour (Love) – dir. Michael Haneke / Austria | France | Germany

After Anne (the late Emmanuelle Riva) suffers a stroke, Georges’ and Anne’s life together hit a point of no return. The two retired pianists suddenly face the perhaps toughest challenge of the lifelong love: old age and the deterioration of mind and body.

Brutally honest, Armour portrays aging love and the helplessness that follows when a loved one slowly succumbs to the ravages of old age.

We follow Georges’ struggle to accept the inevitable, as Anne suffers from early dementia and a series of strokes, reducing her to little more than a helpless child.

“In the course of two hours, Haneke suggests that the ultimate test of a lifelong passion may come not in its first flourish, but in the compassion of its very last days, and that while love cannot conquer death, it can give life’s bleakest moments a run for their money” David Hughes

Jagten (The Hunt) – dir. Thomas Vinterberg / Denmark | Sweden

In this critically acclaimed Danish thriller, Thomas Vinterberg shows how a close- knit small community can crumble in no time when rumours are on the run.

Lucas, a small town nursery teacher, is falsely accused of sexually abusing his best friends daughter.

As we follow the slightly awkward but charming divorcé being torn apart and shunned by the local community, we are reminded of how relentlessly a smaller group can turn on you when you need it most.

“Vinterberg sets our suspicions twitching from the off, which makes us wonder later, with no small measure of guilt, which side of the mob we would have been on.” Robbie Collin

La Tête en friche (My Afternoons with Marguerite) – dir. Jean Becker / France

La Tête en friche is a heartwarming atypical love story. Germain is a very self- conscious, bloated man-baby in dungarees. Marguerite an articulate, fraile, and intelligent 95-year-old.

In a public square in a small French village, Marguerite and Germain form a close friendship over literature. Marguerite’s subtle love for words and Germain’s quirky wonder over them brings them closer day by day.

“Germain suffers through flashbacks to his unhappy childhood, but seems on the whole serene. He loves Annette but he declares himself “in love” with Margueritte.

So are we, a little. She is bright-eyed and high-spirited, and never overplays the heart-tugging” Roger Ebert

Les Émotifs anonymes (Romantics anonymous) – dir. Jean-Pierre Améris / France | Belgium

With both main characters suffering from awkward bashfulness, emotif, this french comedy is a quirky but adorable story of how two very shy chocolatiers, Angélique and Jean-René, fall in love.

As the chocolate enterprise takes its worst toll, Angélique, originally hired for sales, anonymously develops a new line of special chocolates. Through their passion for chocolate, the two chocolatiers finally find a way to communicate.

“The tale of two pathologically shy chocolate makers who are meant for each other but are too afraid to connect is a mug of warm cocoa with marshmallow topping that produces a comfy feel-good glow” Stephen Holden

Bal (Honey) – dir. Semih Kaplanoğlu / Turkey | Germany | France

This award winning film is set in the densely forested region of north-eastern Turkey. Yakup and his family lives in an isolated mountain area, and he makes a living by climbing trees to harvest wild honey.

Yusef, Yakup’s son, struggles in school. He is lonely, has a stammer and is desperate for attention.

One day Yakup doesn’t come home.

In an astonishing scenery, we watch Yusef slip into silence as his mother Zehra’s heart breaks.

“It is a film whose unhurried pace must be allowed to grow on you, but once it has, there is something engrossing about the tragedy unfurling slowly and indirectly before our eyes” Peter Bradshaw

Kon-Tiki – dir. Petter Skavlan / UK | Norway | Denmark | Germany | Sweden

This spectacle of a film is based on the true story of the Norwegian ethnographer Thor Heyerdahl, who set out to prove that people from South America could have settled in Polynesia in pre- Columbian times.

We follow Thor (a pompous Norwegian man who cannot swim) in his adventure to raise money, build a balsa- wood raft, and draft from South America to Polynesia (4,300 miles). With a crew of several Norwegian men trapped on an ocean raft, arguments unfold and their craft of a raft, ‘Kon-Tiki’ is put to the test.

“What the film doesn’t skimp on is spectacle. Brilliantly shot in a rugged National Geographic-like way by the cinematographer Geir Hartly Andreassen, it captures the sailors’ feelings of both awe and terror about their self-inflicted predicament” Geoffrey Mcnab

About the author

At Global Language Services Ltd we’re passionate about languages and language nuances. We’re a language service agency based in Scotland, supplying interpretation and translation services locally, nationally and internationally.

The technology of the 21st century is remarkable, but however good the translation technology is, it cannot yet pick up the subtleties of a language, the culture that underpins it, or even the humour that oils many of our conversations.

When Alexa and Siri say nae we say yae!

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2016 has been a strange year of film viewing for me (partly on account of getting married, which it turns out takes up a lot of time and energy.) I’m yet to watch a number of essentials (Toni Erdmann, PatersonSieranevada, I Am Not Your Negro, Elle), but I’ve also been plesantly suprised by films I might otherwise have missed. Here are the films that left an impression on me in this craziest of years.

1) ONE MORE TIME WITH FEELING (DIR. ANDREW DOMINIK, UK/FRANCE)

Of all the films I saw in 2016, none was more mesmerising than Andrew Dominik’s documentary following the recording process of Nick Cave’s excellent album Skeleton Tree. The film captures a terribly troubling time for the Cave family, following the loss of 15 year old Arthur Cave and this runs through the film making it feel like a painfully private affair. It is a testament to Dominik’s handling of the situation that the Cave family were willing to release the film and it is also the director’s best film next to sprawling epic The Assassination of Jesse James by the Coward Robert Ford.

2) THE QUEEN OF KATWE (DIR. MIRA NAIR, USA)
Mira Nair’s The Queen of Katwe is a film that sneaks up on you with an emotional undercurrent that pays off extraordinary well by the final sequence. Telling the story of Ugandan chess prodigy Phiona Mutesi, Mira Nair casts newcomer Madina Nalwanga in the central role and surrounds her with established talent David Oyelowo and Lupita Nyong’o, as well as numerous child actors. A potentially challenging production from Disney – shot on location with many non-actors – it succeeds thanks to the director’s talent for straddling different worlds of production. A big hearted film for all audiences.

3) INTO THE INFERNO (DIR. WERNER HERZOG, UK/GERMANY/CANADA)
Of the two documentaries released by Werner Herzog in 2016 (the other being internet doc Lo and Behold), Into The Inferno was the most cinematic and most truly Herzogian. In Inferno Herzog tackles volcanoes, not a new subject for him (see 1977’s La Soufrière), but here he expands the subject to explore North Korea, Ethiopia, Indonesia and Iceland. Along the way Herzog discovers some amazing civilisations and wonderfully eccentric characters, particularly the larger than life Paleoanthropologist Tim D. White. Herzog’s recent drone footage, as well as the archive of volcanologists Katia and Maurice Krafft make for majestic, frightening scenes.

4) CHI-RAQ (DIR. SPIKE LEE, USA)
One hell of a Spike Lee joint! Chi-Raq is an adaptation co-written by Lee and Kevin Willmott, based on Aristophanes’ Lysistrata, a Classical Greek play in which women withhold sex from their husbands as punishment for fighting. While the film was criticised by some (including Samuel L. Jackson at the Dubai Film Festival) for not dealing with America’s gun violence in a direct fashion, it is none-the-less one that frequently represents Lee at the height of his polemical powers. Teyonah Parris is a forceful presence as Lysistrata and appearances from Sam Jackson & Wesley Snipes are welcome, alongside John Cusack as a fiery white pastor.

5) ALI, THE GOAT AND IBRAHIM (DIR. SHERIF EL BENDARY, EGYPT/FRANCE)
One of the most refreshing films I saw this year was this tragicomic feature debut from emerging Egyptian director Sherif El Bendary. Set in contemporary Egypt and telling the story of two friends with different afflictions (one loves a goat, the other hears excruciating noises), Ali, The Goat and Ibrahim takes us across Egypt to its major water bodies as the characters attempt to remedy their problems. What exactly the film says about life in contemporary Egypt is hard to define, but its mischievous absurdity is pitch perfect for this most unusual of years.

6) NOCTURNAL ANIMALS (DIR. TOM FORD, USA)
For those in doubt of Tom Ford’s credentials as a film director, Nocturnal Animals goes some way towards quelling those feelings. This is a meta thriller, which makes fantastic use of Jake Gyllenhaal, Amy Adams and Michael Shannon, to explore a failed relationship (the main thread) through a violent fictional narrative written by Adams’ character. I am rarely a fan of duel narratives such as these – as often the intended effect simply falls flat – but in this case Ford creates a compelling, disturbing tapestry which is thoroughly gripping and emotionally complete.

7) A UNITED KINGDOM (DIR. AMMA ASANTE, USA/UK/CZECH REPUBLIC)
Amma Asante’s follow up to 2013’s excellent Belle is a very moving rendering of the true story of Sir Seretse Khama (David Oyelowo) – the first president of Botswana – and his English wife Ruth Williams Khama (Rosamund Pike), as they struggled with family, apartheid and the British empire to assume power after Botswana’s independence. Although the supporting characters are more swiftly sketched in, the film finds power in two highly impressive, emotionally engaging central performances by Oyelowo and Pike. With carefully crafted period visuals – contrasting a moody noir-esque London with the sun-kissed plains of Botswana – the film is a pleasure to watch, making Asante’s next film Where Hands Touch highly anticipated viewing.

8) HIGH-RISE (DIR. BEN WHEATLEY,  UK/BELGIUM)
Ben Wheatley’s most ambitious film so far is one that – once again – harks back to the psychedelic British cinema of Nicolas Roeg and Donald Cammell, perhaps more overtly than any other he has made. Taking JG Ballard’s original text and adapting it into a relatively plotless, decadent extravaganza, Wheatley gives us a film of surreal delights in which Tom James Bond Hiddlestone glides through sequences that would look at home in the films of Russell and Fellini. Wheatley’s body of work is one that feels organic, developing, never perfect, but always alive; more please.

9) THE HATEFUL EIGHT (DIR. QUENTIN TARANTINO, USA)
A troubling film. When I emerged from watching The Hateful Eight at the start of 2016, I didn’t know what to think, but I certainly felt pretty dirty. A parlour game in which nefarious characters engage with one another in the most base of terms; the film is an old style exploitation flick and Sergio Corbucci would surely be proud. Each scene plays out at a snails pace, the drama brimming with racism and women hating. It is the most disturbing film of Tarantino’s career. Now at the end of 2016 – having witnessing the politics of the last 12 months – I think I understand The Hateful Eight a bit more and I still feel dirty.

10) ONLY MEN GO TO THE GRAVE (DIR. ABDULLA AL KAABI, UAE/IRAN)
An intriguing discovery from the 2016 Dubai Film Festival: Abdulla Al Kaabi’s arthouse melodrama Only Men Go To The Grave is a film that evokes the genre works of Almodovar, Fassbinder and Douglas Sirk (a big influence on the Emirati director.) Telling the story of a group of women, struggling to deal with an undisclosed secret of their late mother, Al Kaabi uses the film as a vehicle to deal with taboos present in his culture and unite unlikely artistic collaborators from Iran, Iraq & the UAE. The film’s constantly inventive shooting style and compelling acting signpost Al Kaabi as a talent to watch in 2017.

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The Dubai Internatonal Film Festival begins on the 7th of December, running through to the 14th. This year features a lineup of 155 films (features and shorts), and the programme includes a VR selection, beach screenings and an extensive Cinema of the World category hosting a wide range of international hits from the year’s festival circuit. There is much to be excited about this year, particularly the World Premieres featured in the Muhr Feature and Muhr Emirati categories, as well as intriguing titles having their regional premiers such as unique Afghan film Wolf & Sheep in Cinema of the World, urgent Iraqi drama Reseba (The Dark Wind) in Muhr Feature and intimate Syrian documentary The War Show in Arabian Nights. Read on for the films we’re most excited about.

Click the photos for trailers and clips:

ONLY MEN GO TO THE GRAVE (DIR. ABDULLA AL KAABI, UAE)
Muhr Emirati, World Premiere
Genre: Drama
After the Iraq-Iran war ended in 1988, a blind mother welcomes her estranged daughters to tell them a secret. Unfortunately, she accidentally dies while sharing it. During the funeral, the daughters try to deal with their mother’s sudden death and also work together to unveil her secret by looking for clues from visitors. Throughout the funeral, their own lives continue to unravel, giving room for buried family tensions to gradually surface, while struggling to deal with their own secrets and deep-rooted guilt. The daughters start to question everything about their mother’s life after a peculiar encounter…

MAWLANA / THE PREACHER (DIR. MAGDY AHMED ALI, EGYPT)
Muhr Feature, World Premire
Genre: Drama
Sheikh Hatem (Amr Saad) stands out in a society influenced by fundamentalist views. From leading the prayers at a government mosque to becoming a popular TV celebrity issuing fatwas that deviate from the traditional religious rhetoric, he has amassed millions of fans. His responses on TV reveal a witty and eloquent person against a backdrop of darkness, where power struggles rage. Hatem finds himself caught within a complex web of conflict – his personal life unravels and he tries to stay above the politics of institutions. When he is entangled in a delicate matter, he has to find a way to make a dent in the climate of hypocrisy and fear.

HONEY, RAIN & DUST (DIR. NUJOOM ALGHANEM, UAE)
Muhr Emirati, World Premiere
Genre: Documentary
Aisha, Fatima and Ghareeb are amongst the best known honey specialists in the northern parts of the UAE. Ghareeb is also considered a beekeeper because he established a sanctuary at the top of the mountains, where he can be in control of the surrounding environment and protect his honeybees. Fatima and Aisha prefer to roam the mountains freely to find the highest natural honey. Meanwhile, the bees are coping with climate change, survival challenges and the production of honey. Involuntarily, the bees have become integral to the lives of Aisha, Fatima and Ghareeb. But, for how long and to what extent can the bees keep providing?

WOLF & SHEEP (DIR. SHAHRBANOO SADAT, AFGHANISTAN)
Cinema of the World, Middle East Premiere
Genre: Drama
Writer/director Shahrbanoo Sadat’s acclaimed film, which won a prize at the Directors’ Fortnight in Cannes, shrewdly strikes a tonal balance between documentary and drama as it dwells on life in a small Afghan village, where little has changed over the years. Sadat’s camera and story focuses largely on the children of the village, weaving together a story that subtly tackles the importance of tradition and rituals in a community, where life is tough but also supportive, and where storytelling takes its place alongside life’s lessons. It may be simple in structure and tone, but its insight and sincerity shine through.

THE WORTHY (DIR. ALI F. MOSTAFA, UAE)
Muhr Emirati, MENA Premiere
Genre: Thriller
In a dystopian future, when the water supply has been poisoned, a group of unlikely survivors has taken refuge in an abandoned hangar. They struggle to stay alive and protect one of the last remaining sources of uncontaminated water. After a near-deadly altercation with bandits, who want to seize the water, two strangers appear to help fight off the bandits. The survivors’ leader agrees to host the strangers, as long as they conform to the camp’s rules. When one of the strangers betrays the group, the compound descends into madness, leaving only one question: who is worthy to live and to lead?

STILL BURNING (DIR. GEORGES HACHEM, LEBANON & UAE)
Muhr Feature, World Premiere
Genre: Drama
André, a Lebanese filmmaker, living and working in France unexpectedly meets Walid, a dear friend from his youth. During the Civil War, when they were in Beirut together, André and Walid were both driven by the same artistic vocation: cinema, and also by the same woman, Amira. Will their reunion – an all-nighter – revive repressed demons from their past?

76 MINUTES AND 15 SECONDS WITH ABBAS KIAROSTAMI (DIR. SEIFOLLAH SAMADIAN, IRAN)
Cinema of the World, MENA Premiere
Genre: Documentary
Photographer Seifollah Samadian (also a friend and collaborator of Abbas Kiarostami) put together this affectionate and insightful documentary after the death in Paris of the influential Iranian director and artist, utilising footage that takes in many phases of his busy artistic career. There are no interviews, which allows the footage to reflect Kiarostami’s own simplicity as a technical filmmaker and shows his sense of playfulness and embrace for the world around him, while the title reflects not only the running time but also that he died aged 76 and 15 days old.

ALI, THE GOAT, AND IBRAHIM (DIR. SHERIF EL BENDARY, EGYPT)
Muhr Feature, World Premiere
Genre: Drama
Ali falls in love with a goat, whom he names Nada. Ibrahim works at a recording studio and starts to hear voices that frighten him. Ali yields to his mother’s wish that he visit a healer, even though he doesn’t believe he is psychologically unstable. At the healer’s clinic, Ali meets Ibrahim. The healer diagnoses Ali and Ibrahim as “cursed” and prescribes a solution to break the spell; they must throw three “magic” stones in Egypt’s three water bodies. Ali, Ibrahim and Nada set off on an adventure that takes them to the Mediterranean, the Red Sea and the Nile in this touching tale of friendship, reconciliation, self-discovery and self-acceptance.

WÙLU (DIR. DAOUDA COULIBALY, FRANCE & SENEGAL)
Cinema of the World, Middle East Premiere
Genre: Drama / Thriller
A slick West African crime drama that follows Ladji (the impressive Ibrahim Koma), an ambitious 20-year-old bus driver in Mali, struggling to make the money he needs to prevent his older sister (singer Inna Modja) from prostituting herself. He decides to switch careers and becomes a drug runner and impresses the operation’s boss (Olivier Rabourdin) with his ingenuity. The film marks the feature debut of French-Malian director Daouda Coulibaly, who hits the right genre notes as Ladji’s life of crime heads into increasingly dark territory. The story is set alongside the run-up to the 2012 Mali Civil War, adding an extra intriguing political dimension.

THE WAR SHOW (DIR. OBAIDAH ZYTOON, ANDREAS DALSGAARD, SYRIA)
Arabian Nights, MENA Premiere
Genre: Documentary
In March 2011, radio host Obaidah Zytoon and her friends joined the street protests against the oppressive regime of Syrian President Bashar al-Assad. Knowing the Arab Spring would forever change their country, they began filming their lives and the events around them. However, as the regime’s violent response drove the country into a bloody civil war, their hopes for a better future are tested by violence, imprisonment and death. Obaidah leaves Damascus and journeys around the country. An intensely personal journey, THE WAR SHOW captures recent events in Syria through the intimate lens of a small group of friends.

RESEBA / THE DARK WIND (DIR. HUSSEIN HASSAN, IRAQ, GERMANY & QATAR)
Muhr Feature, MENA Premiere
Genre: Drama
Reko (33) and Pero (23) are a Yazidi couple preparing for their wedding, when ISIS fighters attack their village. Young Yazidi girls, including Pero, are sold as slaves and are tortured and raped. Reko, who escapes the attack as he was at work as a security guard at an American oil firm, is devastated by the attack. While searching for his family and Pero, he witnesses the tragic consequences of the attacks on the Yazidis. Eventually, he finds his family and Pero, who has been liberated and in a refugee camp. A sweeping narrative of love and courage against the backdrop of one of the most horrific war crimes of our time.

KHAREJ AL-ITAR AW THAWRA HATA EL NASSER / OFF FRAME AKA REVOLUTION UNTIL VICTORY (DIR. MOHANAD YAQUBI, FRANCE, PALESTINE, LEBANON & QATAR)
Muhr Feature, MENA Premiere
Genre: Documentary
OFF FRAME AKA REVOLUTION UNTIL VICTORY deals with the history and development of militant cinema in the Middle East. The film researches the motives and circumstances behind this genre and questions its dramatic end in 1982. In resurrecting a forgotten memory of struggle, OFF FRAME reanimates what is within the frame, but also weaves a critical reflection by looking for what is outside of it.

LAYLA M. (DIR. MIJKE DE JONG, NETHERLANDS, BELGIUM, GERMANY and JORDAN)
Arabian Nights, Middle East Premiere
Genre: Drama
Eighteen-year-old Layla, who was born and raised in Amsterdam, is smart, stubborn and of Moroccan origin. As she struggles with the increasing suspicion towards girls with headscarves and boys with beards, her faith intensifies. She joins a group of extremists who fight for their practice of Islam. She opts to marry a fellow extremist, Abdel, and together they travel and raise money for their causes. When they are involved in a shootout, they are forced to flee to the Middle East, where Layla encounters a world that initially nurtures her ideas, but finally confronts her with an impossible choice.

THE EAGLE HUNTRESS (DIR. OTTO BELL, USA)
Cinema of the World, UAE Premiere
Genre: Documentary
A young Mongolian girl fights against tradition in this delightful and absorbing documentary (narrated by Daisy Ridley) that delves into the rarely filmed nomad Mongolian Kazakh community and in particular their tradition of building a working relationship with golden eagles. The elders insist it is a male domain (apparently ‘women get cold’), but 13-year-old Aisholpan is the daughter of an eagle hunter and is determined to follow in her father’s footsteps. The film makes the most of spectacular backdrops, as she trains her eagle, eventually entering the community’s annual Golden Eagle competition.

GAZA SURF CLUB (DIR. PHILIP GNADT, MICKEY YAMINE, GERMANY)
Arabian Nights, MENA Premiere
Genre: Documentary
Gaza – a strip of land with 1.7 million citizens – has 26 miles of coastline, with a harbour that no longer services ships. Wedged between Israel and Egypt and isolated from the rest of the world, very little enters Gaza and even less leaves it. Trapped in “the world’s largest open-air prison” and ruled by war, a new generation is drawn to the beaches. Sick of occupation and political gridlock, they find their own personal freedom in the waves of the Mediterranean – they are the surfers of Gaza.

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Turning the Holocaust into filmic material forces one to confront the never-ending debate about the responsibilities and limitations of cinema when it comes to depicting historical atrocities. In 1961 Jacques Rivette wrote a brutal review of Gillo Pontecorvo’s Kapò, criticising the way the Italian director had shown the death of an inmate through a tracking shot which called attention to her dead hand. The review did not declare the Holocaust off-limits to artists, but warned against the danger of fetishizing a horror as unthinkable as the Shoah’s.

A few decades after Rivette’s review, Andrei Konchalovsky arrives at Venice’s 73rd International Film Festival to present Paradise, a moving portrait of the horrors of the Holocaust that is both visually stunning and yet does not aestheticize the Shoah.

Conceived in a way that mirrors a chamber play, Paradise concentrates on the way the Holocaust changes the lives of Olga (Julia Vysotskaya), a Russian aristocrat imprisoned for hiding Jewish kids in Nazi-occupied Paris, Jules (Philippe Duquesne), a French-Nazi collaborator who promises not to execute Olga in exchange for sexual favours, and Helmut (Christian Clauß), an SS officer and a former lover of Olga’s who tries to set her free from the concentration camp she is eventually sent to.

Konchalovsky does not depict the Holocaust using the crowded, large-scale violence scenes which had formed the repertoire of other works on the Shoah (arguably the most notable case being Schindler’s List) nor does he take the viewer straight into the lager’s hell the way László Nemes did with his magnificent and revolutionary Son of Saul. Yet he depicts the Shoah in a way that is no less unsettling and thought-provoking. He juxtaposes the idyllic paradises which the three characters long for with the horrors of the Holocaust, so that the full scale of the Shoah’s terror is not depicted through its explicit visual representation but through the way it gradually shatters the characters’ dreams.

Like Son of Saul, Paradise uses a 4:3 screen format, but unlike Nemes’s work, the camera stands still and does not follow the characters around the camp. Konchalovsky’s film opens, ends and is staggered with three monologues which the characters give sitting in front of the camera. It is a brilliant narrative device through which Olga, Helmut and Jules can speak of their lives before and after the war broke out and thus open up to the viewer, and it strengthens the empathy the audience feels for their stories.

Alexander Simonov’s mesmerising photography mimics the aesthetic of the black and white movies of the forties, and the attention to the geometry, symmetries and lights one perceives in each scene makes for some visually spectacular shots. Even so, Paradise never quite turns into a beautiful and yet somewhat cold painting, nor does Konchalovsky’s directing slips into the gratuitous fetishisation of the Shoah’s horror Rivette saw in Pontecorvo’s Kapò. Brilliantly photographed, written and directed, Paradise manages to depict the Holocaust in a way that both moves the audience and honours the victims of an unthinkable tragedy.

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There is a tendency to write off costume dramas as inherently self-referential films, hardly capable of conveying a message that would speak to today’s audiences as much as it would have in times closer to the events it portrays. This is not the case of Frantz, François Ozon’s moving post-WWI tale which the French director presented at the 73rd edition of Venice Film Festival, a film whose timely pacifist message resonates across time and space.

Set against the backdrop of the devastation the first World War left Europe in, it tells the story of Anna (Paula Beer), a young German girl who lost her 23-year-old husband Frantz (Anton Von Lucke) on the French front and cannot let go of her past, at least until a supposed French friend of his, Adrien (Pierre Niney) shows up and the encounter will change her life forever.

We do not know just how close Adrien and Frantz were, and there are moments in which their relationship feels as though it could have been more than a beautiful friendship, but Frantz is a film that is so beautifully written that truths and lies are always inextricably wrapped up, so that every supposition we make gets refuted only minutes afterwards.

Frantz is a humane and delicate tale, centred upon the conflict between the older and younger generations, where the struggle between fathers and sons that makes for some of the most poignant and moving scenes. There is a memorable moment in which Frantz’s old father initially refuses to help Adrien due the grief the French people caused to his family, and eventually asks him to carry back to France his late son’s violin, and another heart-breaking scene in which the old man confronts a group of German nationalists reminding everyone it was the older generation who sent the young to die, and now drinks to the death of their own children.

Ozon chooses to shoot post-WWI Europe in black and white, and it is only during Adrien’s flashbacks or the rare times he will be playing the violin for Frantz’s family that colours fill the screen and the film magically brightens up, as though forerunning the promise of a better future, which never truly shows up. For war destroys cities, corrupts souls and fuels hatred, and Ozon portrays the physical and spiritual devastation of WWI turning Europe into a colourless wasteland.

In a time when the integrity of the Europe we know is under the threat of constant crises, Frantz’s message is a timely reminder of war’s de-humanising character, and a brilliant testament of the ways in which costume dramas can say so much about our present as they do about the past they portray.

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Once upon a time Chuang Chou dreamt he was a butterfly, but when he awoke he could no longer tell whether he was then a man dreaming he was a butterfly, or whether he was now a butterfly, dreaming to be a man. The story comes from an old Chinese proverb and nicely fits with the structure of Wim Wenders’ last work, Les Beaux Jours d’Aranjuez.

It’s a hot summer day in a countryside house in the surroundings of Paris and a lone writer is looking for inspiration. He sits before his typewriter and looks outside the window, when a lady and a man magically appear, sitting at a garden table right outside the house. We do not know whether the duo comes from the writer’s imagination, or whether the writer is a figment of their own.

Wenders does not help to solve the puzzle. Les Beaux Jours d’Aranjuez develops as a 97-minute long conversation between the couple (Reda Kateb and Sophie Semin), which the writer (Jens Harzer) observes and records. It is based on a play written by Austrian writer Peter Handke, with whom Wenders has worked on several occasions between the 1960s and 1980s, a fruitful teamwork that reached its peak in 1987, with the international success of Cannes’ Best Directing Award-winning Wings of Desire.

Les Beaux Jours d’Aranjuez marks the fifth collaboration between the two, and earned Wenders a spot amongst the twenty films selected as part of the official competition of the 73rd edition of Venice’s International Film Festival. Wenders chose to present it in 3D, a format which does not seem to add much to the film’s quality, for its strength does not come from its bucolic images, but from the couple’s conversation.

Sitting in front of each other, the two begin their chat by talking about love. He asks her about the details of her first night with a man. She is reluctant to reveal much, but when she does the conversation rapidly turns into a ritual ruled by a number of strictly obeyed laws: neither must answer the other’s questions with a yes or no answer, and no action other than dialogue must take place.

It is a long, somewhat abstract and philosophical conversation which spans from lovemaking to death, from memory to vengeance. The two recite their lines as if on a stage, to the point that one wonders whether Wenders adapted Handke’s play for the big screen, or whether he turned his own work into a play. It is the film’s greatest flaw: the dialogues, never mind how deep and rich their subtext may be, feel cold and overly theatrical, and fail to establish any degree of empathy with the audience.

At the end of Les Beaux Jours d’Aranjuez, one leaves the cinema with the feeling of having seen something that resembles the flowers that surrounds the two around the garden table, and which the both wax lyrically about: a beautiful and evocative tale, but one whose aura is sadly very short-lived, and fails to convey the emotions and drama which Wenders’ fans would expect from a director of his stature.

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Screen Shot 2016-07-05 at 17.35.47European cinema may not only be eye-opening in regard to undiscovered talent and styles, it’s often an educating portrait of different cultures. Mustang, the Oscar-nominated Turkish film about a young sisterhood, highlights a plentiful amount of new young stars, and also striking cultural sensibilities.

Mustang focuses on five sisters who, after a playful interaction with some boys after school, get confined to their guardian’s house. The reasoning behind it is a profound conservatism, one whereby females have a very selective role in society (one that doesn’t include messing around with boys). For a modern-day story, Mustang is quite shocking, yet refreshingly damning of archaic traditions. Humour and heart comes from the girls’ rebellion, along with the ingenious tactics to escape their encampment.

Deniz Gamze Ergüven’s muted direction, along with her and co-writer Alice Winocour’s writing, keeps a relatively wide-spanning story punchy and poignant. The neatness of the film allows the big issues, and kinetic aspects of youth, sink into your psyche as you lay back and enjoy the narrative. Mustang‘s audience is, arguably, the arthouse crowd, yet there is nothing alternative about the style and storytelling here. Ergüven’s drama could easily compare with more established sister stories including The Virgin Suicides, Pride & Prejudice, and Little Women. There’s certainly something most could identify with – what remains unusual is the antiquated treatment of women. Mustang can be enjoyed and deliberated over, like most great art.

The five sisters who carry this film masterfully are of varying age and type. The combination of character allows you to follow five very distinctive plot strands. At the forefront is the young Lale (an extraordinary Günes Sensoy), watching her older sisters get washed up in the societal structures that will eventually leave her alone with her foster parents. The build-up to this prospect is where a lot of the tension lies, and the gradual pacing makes it for a captivating watch. On the side, there is Lale’s football fancy, and her innocent free spirit that defies what is expected of her. Seeing such blithe disregard for the rules is joyous. When the tone shifts, and drama and despair hits, it hits hard due to the playfulness bookending most of it.

Turkey isn’t regularly featured in the foreign film line-up of awards season, but this year has hopefully changed that. Mustang showcases enormous talent, and a culture awaiting further cinematic exploration. Youth, gender and sisterhood hasn’t been profiled altogether this brilliantly in a while.

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Berlin, February, 2016: French film editor Patricia Rommel sat down to talk craft and career with Berlin based fashion designer Paula Immich.

Patricia Rommel has editied the films of established, as well as of independent directors and her work has taken her to Mexico, India and Los Angeles. Among the many films Patricia has edited are two Oscar winners: Nirgendwo in Afrika by Caroline Link and Das Leben der Anderen (The Lives of Others) by Florian Henckel von Donnersmarck. Currently she is editing a new film directed by Angelina Jolie.

Speaking in the terms of film language, I would describe Patricia Rommel as a jumpcut: she is full of energy, in a constant change of movement it seems like a new thought or impulse comes to her mind every minute.

Her mercurialness is in sharp contrast to the moment she enters her world of editing: this is the instant where she blends out everything around her. She focuses like a sniper; concentration, patience, silence, flow.

Patricia, what exactly do you do when you start editing a film?
Editing is quite similar to writing. A writer has his thoughts and his words. As an editor I work with the shots, the sound, the music and my thoughts. I string takes together, play around with the space of time or deplace the intended order of the shots and the meaning will be completetly different. There are endless possibilities of how a story can be told.

When things become challenging my ambition is fueled because, all the more so, I have to use my creativity and think out of the box.

What do you love about your job?
For me the most beautiful part in the process of filmmaking is the editing. The atmosphere in the cutting room is communicative and calm at the same time and I can follow my own schedule. I love working at night when the city goes to sleep, when everything around me –  the constant mails, the phone calls, the assistants – calms down.

What are the down sides?
The pressure of time. There are always tight deadlines within which I have to be creative. I would love to have the freedom to experiment even more.

How do you deal with this pressure?
After so many years I am still passionate about editing and the process itself is still rewarding to me, which compensates for the pressure.

Are men and women judged by the same measure and do they have equal opportunities in your profession?
Opposed to the women’s poor representation in the film industry in general, editing used to be a women’s domain because film was shot on celluloid, which physically had to be cut and then taped back together in the editing room, which was a very meticulous affair. A labour which was to be found more apropriate to women. Since film editing has become digital more and more men are working in this job. For myself I feel lucky to be working with women directors, such as Caroline Link or Angelina Jolie, who again themselves enjoy working with women. It is not uncommon to find women assigned as heads of department on Caroline Link’s team

Patricia, you are currently editing Angelina Jolie’s new movie. There is so much larger than life glamour associated with her, were you nervous the fist time you met her; did you find her intimidating?
Because of her celebrity I was a little hesitant during the first handshake, but I soon realized how sincere and how down to earth she is.

Is it important for your career how you dress?
No,  not really. In general I like to alternate between a casual style and simple elegance. But when I have meeings for first interviews I deliberately try to dress neutral, since I don’t want peolple to put a label on me right from the start.

Patricia, you’ve had a fantastic career so far, any advice to other women about how to get ahead?
Always be honest with yourself, be clear about what you want and what you don’t want. Be patient and open minded. Be respectful. Learn to listen, and …smile.

Patricia , thank you for sharing.

Text & image copyright of Paula Immich. For more on Paula’s work visit www.paulaimmich.de

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When you see a great foreign-language film, you can often sense the Hollywood executive leering over it. It can be both a welcoming and alienating thought upon viewing, and it would be the case for Victoria were it not for its insanely striking aesthetic. Many films use the long-take to wondrous effect, and you can see hundreds of film articles that explore the abilities of Haneke, Thomas Anderson, Scorsese and Iñárritu. Victoria pushes the boundaries completely; a 134 minute take that has surely captured the attention of Hollywood, and should for every film fan.

We follow the eponymous Victoria, a kind-hearted Spaniard living in Berlin. At the start she is letting her hair down, bouncing around to dubstep in an underground club. Moving outside she starts chatting to a group of men, who invite her out for an after-party, which eventually descends into a criminal partnership. If the synopsis sounds as though events unravel quickly and unrealistically, you’d be wrong. You could argue that Victoria is happily submissive to the charms of the guys, but 21st century people live their lives, attracted to the rush of uncertainty. At least that’s how we are supposed to take to the narrative. Based on the interactions you may or may not have had over yours years out, Victoria either seems like a very familiar personality, or is someone you’ve never met or heard of. This is the issue that may prevent Victoria from being a universal cult favourite.

For those supporting the film’s efforts, it is every bit as enthralling as people have said. Perhaps the best thing about the film is not what is technically achieved, but how realistic the characters appear. Laia Costa is a revelation, a beautifully assured actress who takes us on a journey we become so engaged with. As she begins to fall for the chatty Sonne (a wonderful Frederick Lau) we see the most subtle shifts in smiles or discourse, continually changing right up until the end. It is a film of movement and momentum, and seeing Victoria evolve over the two hours is a fascinating piece of entertainment. A lot of the film is improvised in terms of dialogue (Lord knows they couldn’t wing it for some of the technical aspects), and the flow of conversation is as natural as the direction.

Sebastian Schipper directs this film masterfully; to control so much for an extensive period of time is superbly skilful. Most directors will have chance to cut, regroup themselves and the crew, and attempt the shot a couple of times over. Schipper’s effort, in regard to this, along with his DP, Sturla Brandth Grøvlen (who deservedly gets first billing once the credits roll), should be highly praised. This film took three attempts to shoot, and to imagine the frustration when something went awry, and to see the final outcome that is unforgettable, makes you appreciate this dedication to the cinematic form.

As the action amps up, the camera snakes through the bustle and many will become disorientated. For those okay with the speed, it’ll be a nail-biting series of sequences. You can often see snippets of detail that would otherwise go unnoticed with other DPs, but Grøvlen is a clearly an expert. He knows how to control that camera as if it were an extension of himself. There is nothing more exhilarating for a film fanatic than seeing this craft remarkably in operation.

Not everyone will find a relatable element in the film, as its a youthful, anarchic thriller. However, it is also a romantic and innocent look at joie de vivre. The narrative’s development from Before Sunrise-esque romance, to a vérité-infused heist thriller is so unique, it’s bound to have its admirers and critics. One thing, above all else, is that the film should not be missed.

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There aren’t many films with the ambition to shoot in one single take (or something close to it). Birdman from last year attempted it, as well as Gaspar Noe’s hallucinatory Enter The Void. If we go further back, we have films like Hitchcock’s Rope, ingeniously framed in just one room, and Angsta cult Austrian thriller seen only through the eyes of a deranged psychopath.

Victoria is the latest addition to this distinctive genre. Set over just one night fateful night in Berlin, young Spanish waitress Victoria (Laia Costa) dances the night away in a smoky, industrial bunker club. We get the first glimpse of her character: she heads to the bar alone and chirpily tries to make conversation with the apathetic barman. Already we see that she has a lust for life and a willingness to trust.

She encounters four drunk young men, ‘proper’ Berliners, foolishly attempting to get into the club. Outside she sees them again, and they offer her a lift in ‘their’ car. Sonne (Frederick Lau) is the cheeky ringleader of the gang, quickly charming Victoria. Alongside him are his raffish mates; Boxer, the skinhead, volatile one, Fub, the goofy, weedy one, and Blinker, the Vincent Gallo lookalike.

Victoria, sensing an opportunity for fun and unpredictability to spark up her somewhat mundane existence, joins them in some minor japes. The local snoozing shopkeeper is relieved of a few German beers, and the group break into a rooftop to while away the night. Back at the coffee shop where she works, Victoria demonstrates her ability on the piano to the dumbstruck Sonne. She is a failed pianist, wanting some freedom and fun after years of study and discipline.

The film takes a ominous turn midway through, but Schipper has established the characters and the atmosphere securely enough for it to feel authentic. There is a current of tense energy running throughout every scene; how much can she trust these guys? What it is that they want? Is there an ulterior motive? The performances are all very good, if a little stereotypical at times. To sustain a level of authenticity over one long take is quite incredible.

The film that it most resembles is the aforementioned Enter The Void. The cinematography, while less floaty and elegant, shines a similarly seedy and effervescent glow on urban nightlife, capturing all the edginess that city life provides. It is a very good Berlin film. Recently we saw a film about the French house scene, Eden, which ultimately felt quite safe and sanitised, but this film doesn’t suffer from the same problem. It is fantastically gripping and almost unbearably tense.

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