Posts Tagged ‘Adam Curtis’

1) CAROL (DIR. TODD HAYNES, USA)

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By far the best film that I’ve seen this year, Haynes serves up another sumptuous melodrama focusing on societal prejudices. Cate Blanchett and Rooney Mara play the two lesbian lovers torn apart by 50’s conservatism.

2) THE LOBSTER (DIR. YORGOS LANTHIMOS, GREECE)

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Funnier than most comedies and darker than most dramas, Lanthimos’ weird sci fi was one of 2015’s strangest offerings. Colin Farrell plays a heartbroken single man sent to a eccentric rural match making hotel- if he doesn’t find a true companion there he will be ‘terminated’.

3) BITTER LAKE (DIR. ADAM CURTIS, UK)

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Veteran essayist Curtis turns his focus on the ‘simplification’ of modern politics in order to mask truths, exploring the West’s involvement in the Middle East in particular. Distilling hundreds of hours of fascinating footage and ethereal ambient/pop music, Curtis has created a film that is dreamy, poetic and ultimately unsettling.

4) THE TRIBE (DIR. MIROSLAV SLABOSHPITSKY, UKRAINE)

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An unusual take on the mobster drama, this peculiar Ukrainian film sees a young deaf mute enrol in a boarding school for the deaf and dumb, only find to himself embroiled in ‘The Tribe’, a group of young thugs. The cliches of the gangster film are all here, but the film gains a strange power in its use of silence.

5) TANGERINE (DIR. SEAN BAKER, USA)

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This effervescent LA comedy drama sees Sin-Dee, a trans working girl just out of prison and on the lookout for her cheating pimp boyfriend. Shot just on iPhones and using real locations, Tangerine has a chaotic buzz and naturalism to it that is reminiscent of John Cassavetes’ work.

6) FORCE MAJEURE (DIR. RUBEN ÖSTLUND, SWEDEN)

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An icy oddity that left viewers debating whether it was best to laugh or cry, this had echoes of Ulrich Seidl’s films. Set on a ski holiday in the French Alps, a near fatal avalanche leaves a Swedish family in a world of confusion and reproach.

7) TOKYO TRIBE (DIR. SION SONO, JAPAN)

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Madcap hip hop gangster musical from the deranged mind of Sion Sono. Warring gangster clans vie for power in a neon lit, rain drenched Tokyo, as vicious hip hop beats flow over the soundtrack and gore splashes across the screen.

8) A GIRL WALKS HOME ALONE AT NIGHT (DIR. ANA LILY AMIRPOUR, USA)

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Like Jim Jarmusch’s Only Lovers Left Alive, this US-Iranian effort seductively subverted the vampire film genre. A young woman stalks the Iranian Bad City, looking for male prey. The story is thin but the film is atmospheric and eerie, gleefully turning the male predator cliche on its head.

9) STRAY DOGS (DIR. TSAI MING LIANG, TAIWAN)

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It takes a while to settle in to the pacing and tone of Tsai Ming Liang’s languorous films, but once you are in, you are in. A father desperately tries to provide for his young family on the drizzly streets of Taipei, as they find shelter in an array of abandoned and decrepit buildings. Moments of real poetry amidst the decay.

10) WILD TALES (DIR. DAMIÁN SZIFRÓN, ARGENTINA/SPAIN)

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A Tarantino film for people who don’t like Tarantino, this collection of mini films thrills and chills in equal measure. Loosely based around a theme of retribution, we see an often mundane beginning quickly escalate into something ludicrous and often bloody. It’s testament to director Szifron that the films remain both silly and gripping.

 

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Continuing with the essay film form for which he has become so revered (see The Story of Film), Mark Cousins’ Atomic – a BBC Storyville film initially made to coincide with the 70th anniversary of the bombing of Hiroshima – is an artful, poetic and haunting, archive film based exploration of the ramifications of nuclear energy, both positive and negative.

The film’s subtitle Living in Dread and Promise accurately describes both the emotional and historical avenues that the film travels and it makes a paradoxical and compelling 69 minutes. The film takes on the subject of atomic energy from several angles, beginning with how to prepare for a nuclear attack and moving on to nuclear explosions, medical advancement, power plant meltdowns and space travel. It is cut together in a post-modern montage, which includes repetitions of material, poetic juxtapositions and horrifyingly beautiful visuals.

The film’s poetic essay style is excellently underpinned with an original score by Scottish post-rock band Mogwai, who provide a keyboard and bass laden soundscape filled with sparse drums that crescendos and diminuendos in hypnotic fashion. The music carries the viewer through this unusually avant-garde BBC production, which sits more comfortably alongside the likes of Adam Curtis’ extraordinary iPlayer epic Bitter Lake.

Missing from the film is Mark Cousins’ now iconic voice over narration, which was so compelling in The First Movie (2009) and The Story of Film (2011), yet Atomic is not a personal project in the way that these former films were. That said, Cousins’ voice as a filmmaker comes across, with his keen eye for finding ‘luminance’ in every frame (as he said of making The Story of Film).

In his Telegraph review of the film, Rupert Hawksley declared that the film “an art installation masquerading as television” due to comprehensive, but non-informational construction, which is a valid point. However, what Cousins has achieved here is a film that is both alluring and memorable on a visceral level; it conjures a complex range of emotions. Nuclear power is an issue about which we must both think and feel strongly and Atomic certainly helps us do the latter.

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