Cannes Film Festival 2005

[hengcs]

The 58th Cannes Film Festival will run from May 11 to May 22.
;)

http://www.festival-cannes.fr/default4.php

If I am correct, the list of films will be announced on Wednesday Apr 20!

Watch for it ...

[arsaib4]

*The official line-ups will be unvieled in Paris today at 9:30 (GMT).

*Singaporean director Eric Khoo's Be With Me will open the "Directors' Fortnight."

*Expect these to be in the main program somewhere:

Lars Von Trier's Manderlay; Gus Van Sant's Last Days; Wim Wenders' Don't Come Knockin'; David Cronenberg's A History of Violence; Jim Jarmusch's Broken Flowers; Michael Haneke's Hidden; Patrice Chereau's Gabrielle; Seijun Suzuki's Raccoon Princess; Robert Rodriguez and Frank Miller's Sin City; Atom Egoyan's Where The Truth Lies; Danis Tanovic's Hell; Kim Ki-duk's The Bow; and last but certainly not least, the latest from the Dardenne's called The Child.

[arsaib4]

OFFICIAL LINE-UP

Bashing - Japan / Masahiro Kobayashi

Battle in the Sky - Mexico / Carlos Reygadas

The Best of our Times - Taiwan-Japan / Hou Hsiao-Hsien

Broken Flowers - France-U.S. / Jim Jarmusch

Cache - France-Austria-Germany-Italy / Michael Haneke

Don’t Come Knockin’ - Germany-France / Wim Wenders

Election - Hong Kong / Johnny To

L’Enfant - Belgium / Jean-Pierre and Luc Dardenne

Free Zone - Israel-Belgium / Amos Gitai

A History of Violence - U.S.-Canada / David Cronenberg

Kilometre Zero - Iraq / Hiner Saleem

Last Days - U.S. / Gus Van Sant

Lemming - France / Dominik Moll

Manderlay - Denmark-Sweden-Netherland / Lars Von Trier

Quando Sei Nato Non Puoi Piu Nasconderti - Italy / Marco Tullio Giordana

Peindre ou Faire L’Amour - France / Arnaud and Jean-Marie Larrieu

Shanghai Dreams - China / Wang Xiaoshuai

Sin City - U.S. / Frank Miller, Robert Rodriguez

The Three Burials of Melquiades Estrada - U.S. / Tommy Lee Jones

Where the Truth Lies - Canada / Atom Egoyan

[arsaib4]

OUT OF COMPETITION

“Chromophobia,” France-U.S.-U.K., Martha Fiennes

“Joyeux Noel,” France-Germany-UK-Belgium, Christian Carion

“Match Point,” UK, Woody Allen

“Star Wars – Episode III – Revenge of the Sith,” U.S., George Lucas

MIDNIGHT SCREENINGS

“A Bittersweet Life,” South Korea, Kim Jee-woon

“Kiss, Kiss, Bang, Bang,” U.S., Shane Black

“Land of the Dead,” U.S., George Romero

“Midnight Movies,” Stuart Samuels

SPECIAL SCREENINGS

“The Artistes of the Burnt Theater,” Cambodia-France, Rithy Panh

“C’est Pas Tout a Fait la Vie Dont J’avais Reve,” France, Michel Piccoli

“Crossing the Bridge,” Germany, Fatih Akin

“Nekam Achat Mishtey Eynay,” Israel, Avi Mograbi

“The Power of Nightmares,” U.K., Adam Curtis

“Princess Raccoon,” Japan, Seijun Suzuki

[arsaib4]

Sangre, dir :Amat Escalante (Mexico)

Cinema, Aspirinas E Urubus, dir: Marcelo Gomes (Brazil)

Schlafer, dir Benjamin Heisenberg (Austria)

Falscher Bekenner, dir: Christoph Hochhausler (Germany)

Down In The Valley, dir: David Jacobson (US)

Tawa Dura Yanna, dir: Vimukthi Jayasundara (Sri Lanka)

Voksne Mennesker, dir: Dagur Kari (Denmark)

Yek Shab, dir: Niki Karimi (Iran)

Hwal, dir: Kim Ki-duk (South Korea)

Jewboy, dir: Tony Kravitz (Australia)

Cidade Baixa, dir: Sergio Machado (Brazil)

The King, dir: James Marsh (US)

Johanna, dir: Kornel Mundruzco (Hungary)

Umoregi, dir: Kohei Oguri (Japan)

Moartea Domnului Lazarescu, dir: Cristi Puiu (Romania)

Yellow Fella, dir: Ivan Sen (Australia)

Nordeste, dir : Juan Solanas (Argentina)

Delwende, dir : S. Pierre Yameogo (Ger)

Le Temps Qui Reste, dir : Francois Ozon (France)

Le Filmeur, dir : Alain Cavalier (France)

Zim And Co., dir: Pierre Jolivet (France)

[hengcs]

Director: Johnnie To
-- Election (English title)
-- Hei She Hui (Chinese title) (loosely translated to "Gangs/Triads" )

The movie poster ...
http://weblogs.variety.com/.shared/image.html?/photos/uncategorized/election.jpg

The words in the poster read:
-- Three hundred years ago, they were known as "chivalry" (or "loyalists")

** The exact Chinese translation for "chivalry" has a slightly different essence/nuance ... Many would like to believe that in the past, "gangs" are formed to help one another and are known to be loyal. They may have more principles too ... As for nowadays ... things have changed ...

Synopsis of the movie:
-- It narrates the events that occur during the election for the new head of a gang. Although fictitious, it seems to reminisce about the rise and fall of gangs/triads in Hong Kong in the early days.

The cast:
-- Louis Koo
-- Tony Leung Ka Fai
-- Simon Yam
-- Nick Cheung
-- Andy On
etc

Gallery of the cast
http://ent.sina.com.cn/v/2004-11-12/1022563343.html

Trivia:
** This is actually a 4 hour movie. So, I am not sure if the Cannes release is Part I of the movie and Part II is pending another release ... or is this simply an edited version of the full movie. I think it is the Part I.

Regardless of any award, I will watch the movie when it is released ...
;)

[hengcs]

Director: Wang Xiaoshuai
-- Shanghai Dreams (English title)
-- Qing Hong (Chinese title) (loosely translated to "Green Red", i.e., named after the female protagonist)

Trivia: The original working title was originally "I am 19". The director has changed it so that the audience will not keep harping on the fact that the actress is not 19 or does not look 19 ...
;)

There is the movie page, with a number of articles (but in Chinese) ... Hmmm ... I am skipping a lot of them -- cos I do not want to read spoilers ... :(
http://ent.sina.com.cn/m/c/f/qinghong/index.html

The gallery is here ...
http://ent.sina.com.cn/download/photo/qinghong.html

Synopsis:
-- Will the youth of next generation ever understand their parental generation? They do not know about their past, yet they have to like this land that breeds them ... The old generation do not want the youth to make the same mistakes by repeating history (or suffer again) ... so, the conflict between two generations begins ...

** sorry, I could have been more detailed but I usually do NOT like to read nor write synopsis ... why? they often contain spoilers, however minor ...

Cast:
-- Gao Yuan Yuan
-- Li Bin

[hengcs]

Director: Hou Hsiao-Hsien
-- The Best of Our Times (English title)
-- Zui Hao De Shi Guang (Chinese title)

Synopsis:
-- It revolves around 3 sets of relationship, in 1911, in 1960s and present ...

Cast:
-- Chang Chen
-- Shu Qi (taking 3 roles)

[arsaib4]

In-Competition

"A Stranger of Mine" by Uchida Kenji (Japan)

"Grain in Ear" by Zhang Lu (China/Korea)

"L'Orizzonte Degli Eventi" (The Horizon of Events) by Daniele Vicari

"Me and You and Everyone We Know" by Miranda July (USA)

"Orlando Vargas" by Juan Pittaluga (Uruguay/France)

"La Petite Jerusalem" (Little Jerusalem) by Karin Albou (France)

"The Great Ecstasy of Robert Carmichael" by Thomas Clay (UK)


Special Screenings

Opening film: "Les Invisibles" (The Invisibles) by Thierry Jousse (France)

Closing film: "Junebug" by Phil Morrison (USA)

Midnight screening: "L'Imposture" (The Fraud) by Patrick Bouchitey (France)

FIPRESCI revelation of the year: "Vento di Terra" (Earth Wind) by Vincenzo Marra (Italy)

Patron's day: "Giorgobistve" (Falling Leaves) by Otar Iosseliani (USSR)

50 years of African cinema: "Drum" by Zola Maseko (South Africa)

Documentary: "Los Heroes y el Tiempo" (Heroes and Time) by Arturo Ripstein (Mexico)

[arsaib4]

The jury for the main competition has been announced and I’m pleased that the line-up, which looks awfully strong on paper, will be judged by these individuals:

Emir KUSTURICA, President (Director - Serbia-Montenegro)

Toni MORRISON (Writer -United States)
Nandita DAS (Actress - India)
Salma HAYEK (Actress - Mexico)
Agnès VARDA (Director - France)
John WOO (Director - China)
Fatih AKIN (Director - Germany)
Javier BARDEM (Actor - Spain)
Benoît JACQUOT (Director - France)

Overall, there are stronger personalities here, so hopefully there won't be a repeat of last year where flavor-of-the-month politics and Tarantino's unbridled love for sub-par Asian films ruined the day.

[Johann]

"Flavor-of-the-Month Politics"?

Moore's film won for the Filmmaking- QT and the jury made clear the film was being awarded for being the best FILM at Cannes, not for the politics. Or did you not hear him at that press conference?

Moore crafted an incendiary work of film genius. Op-ed genius.
He's a multiple-award winning filmmaker: Oscar, People's Choice, Cannes. The man's conquered 'em all.
Time to start giving the man his props.
Can't wait for Sicko.

And that political "flavor" is still on my tongue. It'll never go away now. We live in evil, corrupt, despot times.

The Cannes Jury is very impressive this year.
With these pedigrees, they will award the proper films.

[arsaib4]

Yeah, I heard him; but I wasn't naïve enough to think that politics didn't play a part in the decision made by the jury. I love the man and I liked his doc, but let's face it, Moore ultimately failed!

But even with politics aside, now that I've seen the likes of Clean and The Holy Girl, films that played in-competition last year, I have a much better idea about which films were the BEST.

[Johann]

Politics may have played a part, but do you think they would have given the Palm D'or to a film JUST because it bashed Bush?

Moore only failed in getting Bush out of office. It wasn't for trying.
Hard. He was practically campaigning himself in the months up to D-Day.

And then the hammer fell. Bang! Slam! Bend over! Seig Heil!

Ahem.


Looking forward to more news on the festival...

[hengcs]

Originally posted by arsaib4
The jury for the main competition has been announced and I’m pleased that the line-up, which looks awfully strong on paper, will be judged by these individuals:

Emir KUSTURICA, President (Director - Serbia-Montenegro)

Toni MORRISON (Writer -United States)
Nandita DAS (Actress - India)
Salma HAYEK (Actress - Mexico)
Agnès VARDA (Director - France)
John WOO (Director - China)
Fatih AKIN (Director - Germany)
Javier BARDEM (Actor - Spain)
Benoît JACQUOT (Director - France)



the complete jury ...

http://www.festival-cannes.fr/index.php?langue=6002#jurys

THE JURYS

FEATURE FILMS JURY
Emir KUSTURICA, President (Director - Serbia-Montenegro)
Toni MORRISON (Writer -United States)
Nandita DAS (Actress - India)
Salma HAYEK (Actress - Mexico)
Agnès VARDA (Director - France)
John WOO (Director - China)
Fatih AKIN (Director - Germany)
Javier BARDEM (Actor - Spain)
Benoît JACQUOT (Director - France)

JURY CINÉFONDATION AND SHORT FILMS
Edward YANG, Président (Director - Taiwan)
Chantal AKERMAN (Director- Belgium)
Sylvie TESTUD (Actress - France)
Yousry NASRALLAH (Director - Egypt)
Colin MACCABE (Critic and Writer - United Kingdom - Ireland)

UN CERTAIN REGARD JURY
Alexander PAYNE, President, (Director and Screen Writer- United States)
Betsy BLAIR, (Actress - United States)
Sandra DEN HAMER (Manager of the Rotterdam Film Festival - Netherlands)
Katia CHAPOUTIER (Journalist - Canada)
Geneviève WELCOMME (Journalist -France)
Gilles MARCHAND (Director and Screen Writer - France)
Eduardo ANTIN (Quintin) (Critic and Writer - Argentina)

THE CAMÉRA D'OR JURY
Abbas KIAROSTAMI, President (Director - Iran)
Patrick CHAMOISEAU (Writer - France)
Malik CHIBANE (Director - France)
Romain WINDING (Director of photography - France)
Scott FOUNDAS (Critic - United States)
Roberto TURIGLIATTO (Turin Film Festival - Italy)
Luc POURRINET (Technician - France)
Yves ALLION (Critic - France)
Laura MEYER (Film enthusiast - France)

[arsaib4]

Thanks, hengcs. Good to see LA WEEKLY's young contributor Scott Foundas in there. He's a good writer but a better critic and that's why I like him. He's got a great future ahead of him.

___________


Here we go, here we go...MANDERLAY (http://www.play.dk/manderlay).

[arsaib4]

Alice (Portugal) - MARTINS Marco

Be With Me (Singapore) - KHOO Eric

Cache cache (France) - CAUMON Yves

Cronaca familiare (Italy) - ZURLINI Valerio

Crying Fist (S. Korea) - SEUNG-WAN Ryoo

Douches froides (France) - CORDIER Antony

Factotum (Germany) - HAMER Bent

Geminis (Argentina) - CARRI Albertina

Guernsey (Netherlands) - LEOPOLD Nanouk

Jazireh Ahani (Iran) - RASOULOF Mohammad

Keane (U.S.) - KERRIGAN Lodge

La Moustache (France) - CARRèRE Emmanuel

Odete (Portugal) - RODRIGUES João Pedro

Ride The High Country (U.S. [1962]) - PECKINPAH Sam

Room (U.S.) - HENRY Kyle

Seven Invisible Men (Lithuania) - BARTAS Sharunas

Sisters In Law (U.K.) - LONGINOTTO Kim/AYISI Florence

Tbilisi-Tbilisi (Georgia) - ZAKAREISHVILI Levan

The Buried Forest (Japan) - OGURI Kohei

The President’s Last Bang (S. Korea) - SANG-SOO Im

Travaux, on sait quand ça commence... (France) - ROüAN Brigitte

Who’s Camus Anyway ? (Japan) - YANAGIMACHI Mitsuo

Wolf creek (Australia) - MCLEAN Greg

[pmw]

Anybody attending? I have a number of friends going and starting to hear all about the politics surrounding the divying of passes. Apparentally there are about 10 different kinds each with its own level of access/attitude...

P

[Johann]

Sweet Jesus, what a trailer. Epic. Epic darling, Epic.

Nicole you should have committed to Lars.

He's the God of Cinema at the moment.
many thanks arsaib4. This is the kind of film I LIVE for.

[arsaib4]

Absolutely, Johann. Let's hope we don't have to wait too long for it.

I'm sure you're ecstatic that Sin City is there.;)

Some info on Wender's Don't Come Knockin' (http://www.wim-wenders.com/movies/movies_spec/dontcomeknocking/dont-come-knocking.htm).

[arsaib4]

hengcs: Do you know anything about Singaporean filmmaker Eric Khoo and his film Be With Me which is playing in the Directors' Fortnight?

[Johann]

Sin City? Hmm, never heard of it.
Must be about vegas or something..


:)

[hengcs]

Originally posted by arsaib4
hengcs: Do you know anything about Singaporean filmmaker Eric Khoo and his film Be With Me which is playing in the Directors' Fortnight?


Hey,

I know the film maker ... and have watched his past films.

I will post something about his old and new films when I catch the time ... maybe way past midnight today or tomorrow ...

;)

[arsaib4]

Originally posted by hengcs



Hey,

I know the film maker ... and have watched his past films.

I will post something about his old and new films when I catch the time ... maybe way past midnight today or tomorrow ...

;)

I hope this won't keep you way past your bedtime.;) Looking forward to your report.

[hengcs]

Sorry for not posting yet ...

I am already not sleeping much ...
But I guess the timing is quite bad this year ...
I will explain later ...

As I will be busy this week, I will post all my reviews and Q&A about 1 week from now ...

Hope you all do not mind ...
;)

[arsaib4]

Originally posted by hengcs
Sorry for not posting yet ...

I am already not sleeping much ...
But I guess the timing is quite bad this year ...
I will explain later ...

As I will be busy this week, I will post all my reviews and Q&A about 1 week from now ...

Hope you all do not mind ...
;)

Take your time, there's no hurry. Enjoy yourself at the festival.

[arsaib4]

Carlos Reygadas, the director of Japón (an award winner at Cannes in 2002), is back with Batalla en el Cielo (Battle in Heaven). The film is in competition. Info (http://www.mantarraya.com/battle.html)

Amos Gitai, a Canner regular also has a film in-competition. The film is called Free Zone and it stars Natalie Portman, in her first Israeli film. Info (http://www.amosgitai.com/freezone.php). Of course, Portman is also in another little film called Star Wars: The Last Payment on Lucasfilm Ltd. which is playing out-of-competition.

Fatih Akin, the director of the powerful Head-On, is a member of the competition jury this year. He has a documentary playing out-of-competition as a "Special Screening." It's called Crossing the Bridge - The Sound of Istanbul. Trailer here (http://www.soundofistanbul.de/images/teasergross.mpg). Info (http://www.soundofistanbul.de)

[Chris Knipp]

Thanks for this information. I'll be watching for a chance to see the new Reygadas film.

[arsaib4]

Competition:

Tale of cinema (Keuk Jang Jeon ) - Hong Sangsoo / S. Korea


Un Certain Regard:

Eli, Eli, Lema Sabachtani? - Shinji Aoyama / Japan

Marock - Laïla Marrakchi / Morocco


Special Screenings:

Darshan – l'Etreinte - Jan Kounen / France

Morceaux choisis des Histoire(s) du cinéma - Jean-Luc Godard / France

Pelé Eterno (Pelé Forever) - Anibal Massaini Neto / Brazil

[hengcs]

Originally posted by arsaib4
hengcs: Do you know anything about Singaporean filmmaker Eric Khoo and his film Be With Me which is playing in the Directors' Fortnight?


Overall comments:
Often than not, Eric Khoo’s movies cater to the taste of critics (and film festivals) rather than mainstream audience …
-- The pacing is usually very slow, with minimal dialogues
-- The budget is usually little by industry standards (so do not expect commercial visual effects)
-- It often contains some social and political agenda (i.e., belying the simple plot, if any).
Note: While some people may agree with the “political” agenda, some may not. Regardless of one’s stand, it does probe one to think.

Now, let’s talk about his 3 movies that are more well known …


(1) Be With Me (2005)

-- It is the opening film for Cannes Film Festival 2005, Quinzaine des Realisateurs (Directors' Fortnight).
-- Synopsis: It tells the story and life of a few people of different ages, but with a unified theme of love, lost, inspiration and destiny. Much of the story is left to interpretation.

Some facts:
-- It is filmed in about 2 weeks, with a budget of S$200K (or US$122K).
-- It is filmed with a digital camera.
-- The film is inspired by Theresa Chan, a 62-year-old who has lost her sight and hearing since young. She also has a role in the movie.
-- The film also features Eric Khoo's former English tutor.

-- See the “official” website and trailer here …
http://www.zhaowei.com/bewithme.html

Forgive me, but I think the trailer is not very well made …
Hopefully, the movie is much better!
;)

Being a Singaporean, I will watch the movie.
;)


(2) Mee Pok Man (1995)
(Note: “mee pok” is a cheap but popular hawker center dish sold in Singapore)

-- The movie is Eric Khoo’s debut film.

-- Synopsis: It tells the story and relationship of a slightly slow-witted mee pok seller (without a name) and disillusioned Bunny (a prostitute). While he fantasizes about her, she fantasizes about marrying a foreigner. (Well, there was such a time in mid 1990s where there was quite substantial media talk about Singaporean women who preferred to marry foreigners).

-- My 1 cent worth: Well, this movie probes at love and obsession … repression and loneliness … the irony of control and helplessness … The director does attempt to be philosophical. To some people, it works; but to others, it does not. In general, most mainstream audience will find the movie too slow or lack of plot … and to some, the ending scene might be disturbing …

On a higher level, the move seeks to portray a different and darker slice of Singapore society (i.e., from a non tourists’ perspective -- about a repressive Singapore, about social misfits, etc.). This is apparent as the movie is often injected with “tourists’ like” scenery of Singapore to provide a contrast.

-- For more info, see the “official” website and soundtrack here …
http://www.zhaowei.com/meepokman.htm


(3) 12 Storeys (1997)
(Note: Well, if one has been to Singapore, one will realize that most residents are dwelling in 12-storey high rise “flats”/apartment).

-- This movie was featured in Cannes Film Festival 1997, Un Certain Regard category,

-- Synopsis: It relates the events on one Sunday, comprising 3 stories that are not exactly connected, except for its theme and the fact that the protagonists all lived in the same block. Behind the closed doors of the neighbors, every family has their stories and secrets …
(1) The first story is about a man who marries a bride from China (Note: a common phenomenon in Singapore during mid 1990s) (I like this story the best, albeit the “stereotyping” of brides from China may or may not be fair.)
(2) The second story is about a woman and her contention with her mother.
(3) The third story is about an elder brother who has to look after his younger siblings. (Note: On a higher level, it also hints at the government assuming what is best for its citizens and trying to protect them from harm).

-- My 1 cent worth: I actually feel that this movie is much better than Mee Pok Man, albeit the 3 stories are not exactly connected or coherent. Nonetheless, a universal theme binds them -- it is about “dreams” and “freedom”, it is about “love” and “control”, it is about “communication” and the failure to do so … The movie excels in its “dark humor” that does contain social and political agenda.

On a higher level, it seeks to question the friendly or haven image of neighborhoods advocated strongly by the government. After all, most residents who live in the same block are supposed to know and care for one another … but do they?

-- See the “official” website and soundtrack here …
http://www.zhaowei.com/12storeys.htm


that’s all
;)

[arsaib4]

Now that's what I call information! Great stuff, hengcs.


Originally posted by hengcs
Overall comments:
Often than not, Eric Khoo’s movies cater to the taste of critics (and film festivals) rather than mainstream audience …
-- The pacing is usually very slow, with minimal dialogues
-- The budget is usually little by industry standards (so do not expect commercial visual effects)
-- It often contains some social and political agenda (i.e., belying the simple plot, if any).
Note: While some people may agree with the “political” agenda, some may not. Regardless of one’s stand, it does probe one to think.


Sounds like he's someone I'll like.

(1) Be With Me (2005)

Being a Singaporean, I will watch the movie.
;)

I'm not a Singaporean, but I'll also watch it when it becomes available. :)


(2) Mee Pok Man (1995)
(Note: “mee pok” is a cheap but popular hawker center dish sold in Singapore)

-- The movie is Eric Khoo’s debut film.)

I was surprised to find out that this film is available on DVD in the U.S. (it looks like it went straight-to-DVD in 2001). Some good reviews as you can tell by the image (http://images.amazon.com/images/P/B00008974M.01.LZZZZZZZ.jpg).

(3) 12 Storeys (1997)
(Note: Well, if one has been to Singapore, one will realize that most residents are dwelling in 12-storey high rise “flats”/apartment).

-- This movie was featured in Cannes Film Festival 1997, Un Certain Regard category.

Sounds good. Is this available anywhere with subs?


*BTW, Eric Khoo is the producer of the recently released 15. This Singaporean film is directed by Royston Tan who is a good friend of Khoo. It opened in the U.S. to mixed reviews but has gotten some decent mentions from international critics.

"15 is a harrowing picture by the rebellious young Royston Tan about the nihilistic lives of five teenagers in his native Singapore."
Philip French, THE OBSERVER

"Extremely gripping. Lush and vibrant!"
Rich Cline, SHADOWS ON THE WALL

"Tan is one of Asia's most promising talents..."
Derek Malcolm, The Guardian

...and yes, the self-proclaimed expert has also chimed in:

"In many ways stonger and more disturbing than Larry Clark's equivalent portraits of US teen skateboarder."
Tony Rayns


No word yet regarding its U.S. DVD release, but the film is now available in the U.K. (http://www.bensonsworld.co.uk/v2/dvd-10/7000000100631.asp)

p.s. see, I also know a thing or two about the Singaporean film industry. ;)

[arsaib4]

"Meanwhile, I went to my first screening at the Directors Fortnight, one of the two unofficial programs here. Despite the near-lack of air conditioning, the ringing cell phones and the two biddies in front of me who pawed through their plastic bags throughout the screening (I kicked one of their chairs a couple of times, but apparently not hard enough), I fell for the Fortnight's opening film, "Be With Me." It's from a Singaporean, Eric Khoo, and interweaves the true story of a deaf-mute woman with tales of thwarted love. I didn't have any idea what was going on for the first half hour, but was in tears by the end, which is fairly rare (big surprise)."

NY Times (http://www.nytimes.com/pages/movies/movieposts/index.html).

[hengcs]

Originally posted by arsaib4

(2) Mee Pok Man (1995)
... Some good reviews as you can tell by the ...

(3) 12 Storeys (1997)
... Sounds good. Is this available anywhere with subs?

*BTW, Eric Khoo is the producer of the recently released 15.

... p.s. see, I also know a thing or two about the Singaporean film industry. ;)


hee hee ...
I am glad that you have interest in watching movies from Singapore ...
;)

well, I do not guarantee that Mee Pok Man or 12 Storeys will suit your taste ... but no harm trying ... hee hee
;PPP

noteworthy, the hints at socio political issues may or may not be very obvious ...

Anway, 12 storeys used to be on DVD
... but is now OUT OF STOCK ...
http://www.dvdasian.com/cgi-bin/dvdasian/14990.html?id=RvdeB8sT

But do NOT worry, with the hype at Cannes, distributors might start distributing these old films again (something like the case for Kim Ki Duk).

With regards to the movie 15, see my next post ...

[hengcs]

Originally posted by arsaib4
*BTW, Eric Khoo is the producer of the recently released 15. This Singaporean film is directed by Royston Tan who is a good friend of Khoo. It opened in the U.S. to mixed reviews but has gotten some decent mentions from international critics.

(edited)

No word yet regarding its U.S. DVD release, but the film is now available in the U.K. (http://www.bensonsworld.co.uk/v2/dvd-10/7000000100631.asp)



I have watched the ORIGINAL short film version of 15 (I think it was about 25 minutes). Some people actually call it the "Ah Beng movie".

I have also watched the full length feature of 15 (i.e., 94 minutes).
-- in Singapore, and
-- in San Francisco International Film Festival 2004.

I am not sure how much credit should go to the producer, Eric instead of the director, Royston .... I would prefer to suggest the latter ... why?

Mentioned earlier, this movie actually began as a short film and had garnered several awards (e.g., the Special Achievement Award at the Singapore International Film Festival 2002). Because of that, Eric urged Royston to make a full length feature.

Instead of rewriting the script with more details in between, he simply added two more stories, with two additional cast (because two of the original cast were missing/ or had been captured by the authority).

In other words, the original shorter version was actually the first story in the full length feature PLUS the ending song on the MRT (i.e., the subway) ...

** It is interesting to note that I (and probably most of my Singaporean friends) like the first story better, and feel that the movie should have remained as a short film. The two additonal stories kind of make the movie slightly draggy and less compact.

** However, it seems like most foreigners prefer the second story and third story better. Why?

I believe most Singaporeans would prefer the first story or original short film because it has a good mix of humor and sadness that many can relate to. However, due to localization, most foreigners will fail to grasp the jokes ...
e.g., the distortion of the national anthem
e.g., the education system and society we are in
e.g., the landmarks the protagonists visit when they are scouting for a building to jump
e.g., the lingo they used (a lot is really lost in translation!!!)
e.g., the last song on the train (which is rather meaningful in the original short film, but I recall it not being very well translated).
etc

I believe most foreigners tend to like the second and third stories better because they can relate to
e.g., drugs
e.g., tattoos
e.g., antagonism between two rival groups (in this case, the gangs who spoke either chinese/dialects or english)
etc

Noteworthy, the movie has caused quite some stir and controversy because
-- the original sountrack depict actual secret societies' chants (their mottos, locations, etc)
-- a frontal scene
-- ** Also, the movie has sparked some debate because some mutilation scenes were real and NOT enacted. Basically, the director passed the camera to these kids and requested they filmed their daily life or he simply asked them to speak and live as they normally would (i.e., without scripting) ... consequently, some scenes were indeed disturbing ...


In summary,
... I think the original short film version is worth watching because it is more compact and more powerful
... in order to better understand the humor, you may like to watch it with some Singaporeans ...
;)


PS: I "think" in United States, PictureThis! is the distributor.

[arsaib4]

Tartan U.S.A has won the rights to the Reygadas film. They also released Japón (Carlos Reygadas' debut feature) late last year on DVD in the U.S.

[arsaib4]

"Last Days, an official festival entry here at Cannes, is a film I admire enormously while wondering if anyone will want to see it. The more you know about filmmaking the more you will appreciate it; the more you know about Kurt Cobain, the less. Van Sant refuses to romanticize the material or analyze the personality or motivation of his subject, named Blake (Michael Pitt). He doesn’t even show him using drugs. Sometimes he doesn’t even show him at all." More here (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20050513/FILMFESTIVALS01/50513001/-1/FILMFESTIVALS).

[JustaFied]

A.O. Scott apparently has lukewarm feelings for Last Days, while Dargas's response is more positive. Scott says his reaction to this film is similar to what he felt about Elephant, a film I really admired, so I'm still really looking forward to seeing Van Sant's latest.

Here's a new link for Wenders' Don't Come Knocking.
http://www.dontcomeknocking.com/
Another writing collaboration with Sam Shepard...will it be similar in tone and subject matter to Paris, Texas?

Most of all, I'm looking foward to seeing Bill Murray in Jarmusch's Broken Flowers. His scene in Coffee and Cigarettes stole the show; these two guys both have unique tongue-in-cheek senses of humor that should mesh well in this film. At the least it'll be entertaining...I expect it to be much more...

[arsaib4]

Yeah, I read their entries on the film. However, Scott slyly left the door open for future analysis.

If there's anyone who needs a hit, it's Wim Wenders. I haven't seen the film he released last year, Land of Plenty, but it's been quite a while for this talented filmmaker.

I'm also looking forward to Broken Flowers. I believe the release date is August 5th for the states. I didn't mind Coffee and Cigarettes, but it was a stop-gap for him and for many of his fans. Storywise, I'm worried about one thing: Bill Murray discovering that he has a son sounds awfully familiar.

[JustaFied]

Originally posted by arsaib4
Storywise, I'm worried about one thing: Bill Murray discovering that he has a son sounds awfully familiar.

Funny, I didn't think of that. As long as his name's not "Ned" I think we'll be OK...

[wpqx]

sorry I missed all of this

Hopefully some more of these films will make their way to the US. Cronenberg and Von Trier's new films seem to be the most intriguing to me, but then again Cronenberg's last film was somewhat disappointing.

[arsaib4]

Originally posted by wpqx
sorry I missed all of this

Hopefully some more of these films will make their way to the US. Cronenberg and Von Trier's new films seem to be the most intriguing to me, but then again Cronenberg's last film was somewhat disappointing.

Hold on a minute...you're not talking about Spider, are you?

[arsaib4]

It's unfortunate that Cannes' official website doesn't cover films that are part of the sidebar competitions, namely "Directors' Fornight" and "Critics' Week." Norwegian filmmaker Brett Hamer (Kitchen Stories) has a film playing in the "Directors' Fortnight." It's called Factotum, based on Charles Bukowski's work. The film stars Matt Dillon, Lili Taylor, and Marisa Tomei. Not much info is available at this point, but apparently the film came out in Norway last month. Here's the trailer (http://media.filmweb.no/trailere/sf/SFN20050131/vkjdgdp12.mov).

[arsaib4]

"...Norwegian director named Bent Hamer, whose wry, eccentric comedy "Kitchen Stories" was in the Directors' Fortnight here a few years back, has gotten Bukowski right with "Factotum," which is playing in the Fornight this year. Matt Dillon, who seems to be getting better with every film, plays Bukowski's alter ego Henry Chinaski, rambling from job to job and woman to woman, writing his stories out longhand and consuming impressive quantities of liquor and tobacco. Lili Taylor and Marisa Tomei, both excellent, are the hard-luck women who share Henry's life for a spell."

NY Times (http://www.nytimes.com/2005/05/14/movies/14cannes-scott02.html).

[arsaib4]

"The 58th Cannes International Film Festival started on Wednesday, but for some of its attendees the event began in earnest three days later with the premiere of Michael Haneke's "Caché" (Hidden), the first important film to show in competition. One of the most vital filmmakers working today, the German-born Mr. Haneke has been at the festival seven times before, including with his most recent films, "Code Unknown," "The Piano Teacher" and "The Time of the Wolf." All are meaty, complex works and all but "The Piano Teacher," which features deviant sex and an unplugged Isabelle Huppert, received negligible attention in the United States.

It's too early to tell when and if "Caché" will make it to American art houses, partly because its willfully unglamorous subject is violence as it plays out in the field of memory and the culture of fear."

On Distribution:

"Yesterday, I ran into a very smart Industry Bigwig and asked if he had seen anything he liked. Well, he "loves" the Michael Haneke film "Caché," but he also thinks it would be a tough sell to the older art-house audience, you know, those folks who support banal French movies about singing orphans and the like [Sounds familiar!]. Well, I think it's time to kill off that audience — and grow a new audience — if the only films we are going to get from abroad are nice, nauseatingly polite works about characters who simply hold up a mirror to that audience, who wear nice clothes, live in nice houses and have discreet but finally resolvable crises. If someone doesn't buy "Caché," and give it a seriously funded push, then the state of film distribution in the United States is far worse than I thought."

Bravo.

NY Times (http://www.nytimes.com/pages/movies/movieposts/index.html).

[wpqx]

Originally posted by arsaib4


Hold on a minute...you're not talking about Spider, are you?

Yes I was. Sorry but that film was a thirty minute movie stretched out to 90 minutes. He's done much better, and I'm hoping that this film at Cannes will prove that he still has some great work left in him. But hey more power to you if you loved Spider.

[arsaib4]

Originally posted by wpqx
Yes I was. Sorry but that film was a thirty minute movie stretched out to 90 minutes. He's done much better, and I'm hoping that this film at Cannes will prove that he still has some great work left in him. But hey more power to you if you loved Spider.

I certainly found Spider to be one of the most psychologically assured and brazenly complex of Cronenberg's films. Looking forward to his latest. Maybe we can go further into this upon its release.

[arsaib4]

As expected, the film is dividing critics and audiences. If the reports are true, then it will appeal to the same group of people who loved Dogville.

Lars Von Trier: "So in fact I am American,..."

Much more on the film's page (http://www.festival-cannes.fr/films/fiche_film.php?langue=6002&id_film=4271486) at Cannes' website. Be sure to check out the video-clips (on the left) of the press-conferences.

[Johann]

Just read this morning that Trier got a standing ovation for Manderlay and that his film and Cronenberg's History of Violence are strong contenders for the top prize.

[arsaib4]

Originally posted by Johann
Just read this morning that Trier got a standing ovation for Manderlay and that his film and Cronenberg's History of Violence are strong contenders for the top prize.

True. Many are also considering Haneke's Hidden for a prize. But Hou and the Dardennes are still yet to come! And, Sin City, of course.

[arsaib4]

"...The Child (http://a69.g.akamai.net/7/69/7515/v1/img5.allocine.fr/img_cis/images/festivaldecannes/img/photo/009557.jpg) had been greeted with cheers and applause after its first press screening at the Cannes Film Festival. Critics who have lustily booed other competition films this year left The Child extolling its greatness."

I almost starting crying just reading about it.


The Mexicans are CHEATING (http://us.news3.yimg.com/img.news.yahoo.com/util/anysize/345,http%3A%2F%2Fus.news1.yimg.com%2Fus.yimg.com%2 Fp%2Frids%2F20050515%2Fi%2Fr1769645274.jpg)! (That's Carlos Reygadas, Mexican director of the highly controversial Battle in Heaven kissing a Mexican jury member.)


Latest Critics' Poll:

Hidden: 3.3
Broken Flowers: 3.2
The Child: 3.2
A History of Violence: 2.8
Manderlay: 2.7
Last Days: 2.4
Lemming: 2.2
Where the Truth Lies: 2.1
Election: 2.0
Shanghai Dreams: 2.0
Battle in Heaven: 1.6
Kilometre Zero: 1.6
Bashing: 1.5
Once You're Born: 1.5

[arsaib4]

Sony Pictures Classics have picked up Joyeux Noel, which is playing out-of-competition. Directed by Christian Carion, this WWI drama stars French actors Guillaume Canet and Dany Boon, along with Germany's Daniel Bruehl and Diane Kruger.

SPC will also distribute the controversial new BBC doc, The Power of Nightmares: The Rise of the Politics of Fear, which was reviewed by Chris Darke in the latest issue of Film Comment (art-directed by our moderator, Pmw).

[JustaFied]

Woody Allen's latest film, Match Point, is receiving lots of accolades. The inevitible comment "his best film in years...." is of course being thrown around.

I, for one, think the criticism of his more recent films has been a bit unfounded. True, maybe they haven't been as good as Annie Hall, but they've still been entertaining and funny.

Any reason why this film isn't "In Competition" at Cannes? I have no idea of the politics or procedures involved.

[pmw]

Originally posted by wpqx


Yes I was. Sorry but that film was a thirty minute movie stretched out to 90 minutes. He's done much better, and I'm hoping that this film at Cannes will prove that he still has some great work left in him. But hey more power to you if you loved Spider.

Like Arsaib, I too loved Spider. Every second of it. The pacing of the film is locked into the subconscious of Spider, himself a rather non-linear, inefficient thinker. I can't imagine it being any shorter. I have a feeling the days of the more psy-fi Crone have passed. He seems somewhat cerebrally interested in drawing out the psychologies from less charged plot setups. We'll see... whatever his choices, I look forward to seeing the films. Cant wait for A History of Violence.

P

[hengcs]

Originally posted by arsaib4
SPC will also distribute the controversial new BBC doc, The Power of Nightmares: The Rise of the Politics of Fear, which was reviewed by Chris Darke in the latest issue of Film Comment (art-directed by our moderator, Pmw).


Hey,
I have watched this at the SFIFF ...
Just too busy to reveal it ...

Also, the director was there for Q&A ... (at Berkeley PFA)
If only someone here knows people from SFS (I think they taped the Q&A), maybe you could get them to produce the Q&A in verbatim ...
Why?

Because it was very insightful ... i.e., what was asked and how it was answered ... I can only recall some of them ... but still ... the director's answers are better than what I vaguely recall ... hee hee ...

(1) Before the movie was screened, the director was humorous ... he informed that he had distributions in about 25 (or 28) countries ... however, US was apparently missing ... *audience chuckled* ... then he added ... "However, one has to be humble, maybe it is indeed that boring ..." *audience laughed* ...

(2) Some of the tougher Q&A included ...

-- You parallel the "prevention approach" with the green movement? Are you denouncing its merits?

-- Do you think Bush and Blair genuinely believe what they did?

etc ...

[hengcs]

Originally posted by arsaib4
Latest Critics' Poll:
Hidden: 3.3
Broken Flowers: 3.2
The Child: 3.2
A History of Violence: 2.8
Manderlay: 2.7
Last Days: 2.4
Lemming: 2.2
Where the Truth Lies: 2.1
Election: 2.0
Shanghai Dreams: 2.0
Battle in Heaven: 1.6
Kilometre Zero: 1.6
Bashing: 1.5
Once You're Born: 1.5


Hi,
Is the info from the Screen International Magazine ...?

A few days ago, I read that the following are favorites ...
-- Hidden (aka Cache)
-- The Child (aka L'Enfant)
-- Manderlay

;)

[hengcs]

Why is there no talk about the most controversial film in the festival?
hiaks hiaks ...

* drum roll * ...
it is ...
-- The Great Ecstasy of Robert Carmichael

Most reports did explain why ... but they contained spoilers ... sigh

[Johann]

My bet is it's Jarmusch's time to shine.

Broken Flowers is creating a stir. An industry "insider" was on Classic Rock 101 radio today carping about the reception his new film got yesterday.

Palm D'or for Sir Jim? Please make it so.

[arsaib4]

Originally posted by JustaFied
I, for one, think the criticism of his more recent films has been a bit unfounded. True, maybe they haven't been as good as Annie Hall, but they've still been entertaining and funny.

I think you're being a bit generous throwing Annie Hall into the mix, but you may have a point, at least with a couple of his recent efforts. On the other hand, when someone sets a high standard, like Allen did early on in his career, people expect more. It's only natural I think.

Any reason why this film isn't "In Competition" at Cannes? I have no idea of the politics or procedures involved.

I'm sure many critics will be bemoaning this fact in the upcoming months, even though, the competition films are said to be strongest in years. While in most cases, the decision just comes down to what the programmers think are the best works, I think here it was a last minute decision to include it at all. I actually believe Allen when he said that he only came because of his wife.

[arsaib4]

Originally posted by hengcs
The Power of Nightmares: The Rise of the Politics of Fear

Hey,
I have watched this at the SFIFF ...
Just too busy to reveal it ...



That's great, hengcs. Looking forward to hearing more about it. You guessed right about the poll.

[arsaib4]

I guess we can still trust some of our distributors. Sony Pictures Classics are on a roll: They've picked up Michael Haneke's Hidden (Cache). SPC's president Michael Barker said that the film will be launched later this year at the festivals in Toronto and New York.

[arsaib4]

Michael Haneke's Hidden has won both the FIPRESCI and the Ecumenical Prizes. Expect another award tomorrow.

[arsaib4]

Well, apparently Hou came in and told the kids to move out of the way:

"Hou Hsiao Hsien had taken our breath away. I have written earlier about the folly of coming to Cannes expecting masterpieces, but no sooner had I weaned myself of this habit than a masterpiece was staring me in the face. "

[arsaib4]

"Seijun Suzuki's Princess Raccoon (http://www.helloziyi.us/Galleries/zhang_ziyi_cannes2005-18.jpg) is mad, nuts, lysergic, wonderful, kitsch, genius, smutty, sexy, funny, funny, funny, Zhang Ziyi, Joe Odagiri, Kabuki,"Snow White," "The Wizard of Oz," "Romeo and Juliet," Noh, hip-hop, rock, Broadway, Disney, fuzzy-wuzzys, yakuza, swordsman, by the sea, by the sea, by the beautiful sea, the cherry blossoms are in bloom again. In other words: I had a blast."

Blogging uncovered 7 minutes of footage. Available here (http://www.helloziyi.us/Videos/tanuki-goten-preview.rm) (Real Media Format).

[arsaib4]

I believe IFC (Independent Film Channel) will broadcast the ceremony live at 1:00 pm ET. It will be repeated later on tonight.

[arsaib4]

Jean-Pierre & Luc Dardenne have won the Palme'dOr for L'Enfant

(They also won the top award in 1999 for ROSETTA)

Grand Prix: "Broken Flowers" by Jim Jarmusch

Best Actress Award: Hanna Laslo in "Free Zone"

Best Actor Award: Tommy Lee Jones in "The Three Burials Of Melquiades Estrada"

Best Director Award: "Hidden" by Michael Haneke

Best Screenplay Award to Guillermo Arriaga for "The Three Burials Of Melquiades Estrada" by Tommy Lee Jones

Prix du Jury: "Shanghai Dreams " by Wang Xiaoshuai

Caméra d'Or Winner: "The Forsaken Land" and "Me And You And Everyone We Know"

[Johann]

All Hail The Dardennes.

Jarmusch won too- excellent. Can't wait for his film to arrive here.

Thanks Arsaib4- you beat me to the winners.
rock paper scissors...

[arsaib4]

True. Also, congrats to Tommy Lee Jones and his screenwriter Guillermo Arriaga (Amores Perros/21 Grams) for their prizes. And to Michael Haneke (Code Innocu/The Piano Teacher/Time of the Wolf) and Wang Xiaoshuai, of course.

[hengcs]

Originally posted by arsaib4
Jean-Pierre & Luc Dardenne have won the Palme'dOr for L'Enfant
(They also won the top award in 1999 for ROSETTA)
...


yahoooooooooooooooooooooooo

I like their La Promesse

;)

[hengcs]

Originally posted by arsaib4
Well, apparently Hou came in and told the kids to move out of the way:
"Hou Hsiao Hsien had taken our breath away. I have written earlier about the folly of coming to Cannes expecting masterpieces, but no sooner had I weaned myself of this habit than a masterpiece was staring me in the face. "


I actually like works by Chang Chen ...
But somehow, he never get to win any awards ...
hee hee

http://www.festival-cannes.fr/films/fiche_film.php?langue=6002&id_film=4283744

[pmw]

Originally posted by hengcs



yahoooooooooooooooooooooooo

I like their La Promesse

;)

The Son is one of my all time favorites. Great for those two. They are stand-up dudes. Had the chance to hang with them a few years back during the NYFF and they were completely gracious and kind.

No awards for Monsieur Cronenberg? Oh well...

[arsaib4]

That's great to hear, P. It'd be an honor to meet them someday. I love both La Promesse and The Son, but I must say that Rosetta remains the most important for me. If it was their "Mouchette," then many are now saying that L'Enfant is their "Pickpocket." One can't get a better compliment than that.

Let's hope that Monsieur Cronenberg's stuff is good enough for the Oscars. A History of Violence will be released by New Line on Sep 30th.

[arsaib4]

Along with sharing the Caméra D'Or award, Miranda July's Me and You and Everyone We Know also won the top prize in the Critics' Week sidebar. July was discussed by Chris Chang in a recent issue of Film Comment, and the film is reviewed in the latest one.

More Awards:

Prix Un Certain Regard (Top Award]

Moartea Domnului Lazarescu, dir: Cristi Puiu (Romania)

Un Certain Regard - Prix de l'intimité

Le Filmeur, dir : Alain Cavalier (France)

Un Certain Regard - Prix de l'espoir

Delwende, dir : S. Pierre Yameogo (Germany)

[arsaib4]

Newly formed Picturehouse films (combination of NewMarket and HBO/Fineline) will distribute the Norwegian film Factotum. Directed by Brett Hamer (Kitchen Stories), the film stars Matt Dillion, Lili Taylor, and Marisa Tomei. The film played in the Directors' Fortnight sidebar. (More info/trailer was posted earlier in this thread.)

[arsaib4]

Artificial-Eye's acquisitions at Cannes 2005:

Hidden (Haneke)
The Child (Dardennes)
Three Times (Hou)
Lemming (Moll)
Shanghai Dreams (Xiaoshuai)
Le Temps Qui Reste (Ozon)
The Sun (Sokurov)

This is quite important because at least a couple of these films are not going to find a U.S. distributor. AE (U.K.) always does a wonderful job with its DVDs.

_________

Scott Foundas (LA Weekly/Variety) is back from Cannes (he served on the Camera d'Or jury)...here (http://www.laweekly.com/ink/05/27/film-foundas.php) are some of his thoughts.

[arsaib4]

God Bless Sony Pictures. After acquiring Hidden last week, they've now bought the U.S. rights for the Palme d'Or winner from Celluloid Dreams. Yup, L'Enfant (http://a69.g.akamai.net/n/69/10688/v1/img5.allocine.fr/acmedia/medias/nmedia/18/35/79/89/18430180.jpg), is on its way here. No release date set yet.

[arsaib4]

Well, it turns out that Woody Allen films are still quite valuable. Dreamworks have picked up the North American rights for his latest, Match Point, for $4 million which is a big sum when it comes to indies. The London based film stars Scarlett Johansson, Jonathan Rhys Meyers, and Emily Mortimer.

[arsaib4]

Some great news! IFC Films has picked up U.S. rights to Lars von Trier's Cannes competition entry Manderlay.

IFC has scheduled a 2005 release date.

Statement from IFC:

"Von Trier is a lightning rod for controversy and there is no denying that Manderlay will provoke and engage audiences upon its release. Love him or hate him, Lars von Trier is unarguably one of the world's great auteurs."

Couldn't agree more.

[Chris Knipp]

What happened to Lion's Gate?

[arsaib4]

I think Lion's Gate is distributing it in Canada.

[arsaib4]

Tommy Lee Jones' The Three Burials Of Melquiades Estrada, which won the awards for Best Actor (Jones) and Best Screenplay (Guillermo Arriaga), still doesn't have a U.S. distributor. The film is scheduled to open in France in August.

Trailer (possible spoilers): http://www.threeburials-lefilm.com/fiches/burials/burials_640.swf

(Macromedia Flash format/High Bandwidth required).

[arsaib4]

Cinema-Scope has just posted its Cannes report on the web. Here (http://www.cinema-scope.com/cs23/contents.htm) it is. (C'mon Film Comment.)

[pmw]

Film Comment - not for another week and a half Id say...

[arsaib4]

Looking forward to it. The "editor-in-chief" is certainly getting the opportunity to write lengthy reviews for Scope; he called A History of Violence (http://www.apple.com/trailers/newline/ahistoryofviolence/trailer_lrg.html) one of Cronenberg's best!

[arsaib4]

The question of violence and its representation in movies is a kind of ideological parade float, so big that it obscures everything else in sight. What's interesting is that even the most elevated and morally engaged responses to the question, like Rivette's famous condemnation of Pontecorvo's innocuous pan across the electrified fence in Kapo (1959), amount to all-or-nothing propositions. One wrong move, and your film has been disqualified from serious consideration on moral grounds. Examinations of what can and cannot be represented in the cinema are eternally relevant, but they almost always lead those asking the questions down a blind alley. Not to mention a stunted form of critical thinking. When I was young, the complaint that a film or filmmaker had "glorified violence" was often heard, as was the similar, if not identical, complaint that the violence in a given film was "violence for violence's sake" (a mouthful, thus not heard quite as often). Similarly, one became used to such condemnations as "psychological," "sentimental," "sexist" "racist," "manipulative," or that old chestnut, "fascist". Such words were, and occasionally still are, carelessly thrown into the stew and just as carelessly ingested, as a kind of low calorie substitute for actual thought. Cinema studies students, born again Christians and aspiring politicians employed them with equal abandon.

I don't mean to imply that racism or sexism or even fascism have never existed in the cinema, or that filmmakers have never exploited the emotions of their customers or the potential of their subjects. What I'm getting at is the way that moviegoers fall so easily into the role of moral watchdogs, no matter what their political affiliation. There are the Michael Medveds of this world, and there are the Jean-Marie Straubs. And if Straub gets the benefit of the doubt because (a) he's a great artist and (b) he doesn't have a silly moustache, I think he's just as tone-deaf to the intricacies of movie watching and thus lovemaking - when the movie is made by someone other than himself and his wife, that is. The reactionary European communist and the reactionary North American conservative share the same core belief: that the road to perdition is paved with morally unaccountable movies, meaning movies that offer an imperfect, unfinished or skewed (consciously or not) vision of the world.

Let us now say goodbye to Mr. Medved and M. Straub (and to Armond White, in whose criticism these two extremes are improbably united), and have a chat with M. Godard. Some years ago, perhaps ten, Godard did a television broadcast in which he addressed the topic of filming war. He offered us newsreel footage, and, in contrast, sequences from Full Metal Jacket (1987)-war as filmed by a great director. Anyone familiar with Godard and his recent preoccupations will correctly guess that Kubrick came out on the losing end. It's been years since I've seen the program, and I don't recall the particulars of Godard's argument as clearly as I'd like to. If I remember correctly, it all boils down to this assertion: that the proximity Kubrick offers us with his slow motion and squibs and reconstruction of Hue in a deserted London gasworks can only be a false proximity. From there, a hop, skip, and a jump to Deleuze's false consciousness. The idea is that the creation and placement of every image, and the corresponding act of receiving those images, is a moment of truth. Ideally, every image must exist at a proper moral distance from its viewer, without promising a form of communion that can never be. Noble? Perhaps. Not to mention untenable.

And now on to Cronenberg. Whose new film, A History of Violence, offers communion and distanced reflection at the same time. It is indeed "a movie that could drive you crazy," as Jim Hoberman put it in his 'Voice' appreciation-"you" being Straub, Medved, Godard. my mother, whoever. It looks and even behaves like a fairly satisfying revenge melodrama, featuring that old Western standard, the retired gunslinger who breaks his promise to himself and avenges himself against past demons who have returned to plague him and his loved ones. It also features two quick, remarkable special effects shots that wouldn't be out of place in, say, Van Helsing (2004), not to mention an early Cronenberg movie: anatomically detailed close-ups of two faces, one half blown off and the other smashed in so far that it resembles a Francis Bacon painting. If someone were to approach me in outrage and inform me that Cronenberg had 'glorified" violence, I'm not so sure that I could find reasonable grounds on which to disagree. Come to think of it, I'm not at all sure that the film even "condemns" or "critiques" violence. Most damningly of all, it not only refuses to deny the satisfaction of violence, but it actually makes such satisfaction a focal point. It's as if Cronenberg were saying, "See how much this movie looks like other movies you know, and how much it doesn't, and then see where the difference leads."

Cronenberg is not showing us air excess of violence in order to make us see its essential ridiculousness (De Palma's Scarface, 1983), or rubbing our noses in its spectacle as a proof of how desensitized we've become (Irreversible, 2002; Funny Games, 1997). Those all seem to me to be losing or at best ineffectual strategies, variations of that old standby, shock value-always heavily dependent on the surrounding context, of which the shock element quickly becomes a constituent part. Cronenberg is actually telling us, quite reasonably, that violence is an all-too-human response, and that we would do better to understand it as such rather than waste our time condemning it or denying its satisfactions. Only Eastwood has approached the question of violence as seriously, but never with such clarity. Watching A History of Violence was, for me at least, like stepping out into the sunshine after a month of rain, and seeing the world from a fresh perspective.

[I am not including the part of his review in which he discusses the film in quite a bit of detail]

A History of Violence presents us with a vision close to Bunuel's, in which sanity and normalcy are not pure states but compromises with madness, and where everyone finds themselves trapped and dizzily looking for the escape hatch, failing to notice that the front door is wide open. As in Bunuel, the internal consistency is as extraordinary as the lack of outward signals of abnormality or aberrance is potentially disconcerting. One might place Cronenberg's film close to Wuthering Heights (1954) or Los Olvidados (1950), which, based on their plot outlines and basic imagery, can be easily dropped into the readymade categories of romantic melodrama and social conscience. But Cronenberg has his own sense of grandeur. Unlike the upper-middle-class phantoms who populate Bunuel's later films, Cronenberg's people actually have a grasp of the absurdity of their own positions, and an awareness of their inability to untangle the mess they're in. Which brings his greatest films, including A History of Violence, close to genuine tragedy.

Thanks to Amy Taubin and Nathan Lee



Cinescope Magazine
Summer 2005

[Chris Knipp]

Thank you for this. I hope we can get hold of Kent Jones's detailed description of the Cronenberg film by the time when History of Violence becomes available for general viewing in the fall. Nor having followed Cannes reports as closely as you and not even having read (till just now) Hoberman's (partial, Cannes-related) review, I hardly even know what the content of the film is like. One thing this excerpt seems to omit mention of: the "unexpected humor" others, including Hoberman, quoting Cronenberg himself ("It's funny") have spoken of in the film; apart from that: what the experience of watching the film is like.

[arsaib4]

Guided By Voices (http://www.filmlinc.com/fcm/7-8-2005/lastdays.htm) - Chris Chang on the sounds of Gus Van Sant's Last Days.

The cover of the latest edition adorned by Ziyi Zhang has left me speechless. Great choice, P.

[oscar jubis]

Originally posted by Chris Knipp
I hardly even know what the content of the film is like. what the experience of watching the film is like.

Why would you want to know about the content of the film beforehand?
Why would you want to know what the experience of watching the film was for anyone before having your own personal experience watching it?

[Chris Knipp]

Ha!

[oscar jubis]

A trap?! Shoulda known better.

[arsaib4]

"Since its heyday—probably defined by Abbas Kiarostami’s Palme d’Or at Cannes in 1997—Iranian cinema has become increasingly repetitive, returning again and again to formulaic plots involving children, Afghan refugees or both. The filmmakers, of course, haven’t had it easy. The reform movement that loomed so promisingly a decade ago has been pretty much stymied by the increasingly entrenched clerical autocracy, and the effects of that have not filtered down into what had become Iran’s best-known cultural export, the cinema."

I couldn't agree more.

CANNES: UNEASY RIDERS (http://www.filmlinc.com/fcm/7-8-2005/cannespena.htm)

[trevor826]

I must be fair, when you see older Iranian films there does appear to be a greater diversity but at least Kiarostami himself is showing a greater variation both in his film making and his screenplays. Perhaps others will start showing a bit more variety in their output as they mature.

I recently watched a short documentary on Irans one and only rock group "The Flying Misters" it showed it's a tough life in Iran if you want to try and do something a little different especially when it is seen as something "Western" and likely to cause excitement. We don't need a constant supply of films from the Middle East that highlight the problems of this or that group, people do live relatively normal lives in these countries as well and I'm sure there are stories to be told that don't rely on the plight and suffering of a certain group whether Kurds, Afghani's, children, women et al.

Cheers Trev.

[Chris Knipp]

We don't need a constant supply of films from the Middle East that highlight the problems of this or that group, people do live relatively normal lives in these countries as well and I'm sure there are stories to be told that don't rely on the plight and suffering of a certain group whether Kurds, Afghani's, children, women et al.


I'm glad to hear this line of thought which I thought was taboo. I think Kierostami overrated though I know that surely is a forbidden thought even here. I would like to see an Iranian film in which people smile and have a good time. As I've pointed out in discussing The Circle, even those women in a doomed situaition would have had some light moments; it's human nature to want to laugh, more than ever when times are grim. They made jokes in the Nazi camps. A major failing for me of Persian filmmaking is their relentless deterministic hopelessness, which is worse than the focus on disadvantaged groups.

I liked Stray Dogs with its deliberate links with Italian neorealism and De Sica/Zavattini's Bicycle Thief, but it was lightened up by my seeing it dubbed in Italian.

I'm not so sure a Palestinian filmmaker can make movies about anything but the plight of the Palestinians, but Elia Suleiman does that with a lot of irony and humor.

[trevor826]

Chris have you seen A Taste of Cherry? It is magnificent in its afermation of life that goes beyond the religious. Also the number of great screenplays he's done is incredible. I think with Kiarostami, the more you see
his work the more you appreciate it.

Cheers Trev.

P.S Gotta be honest, I think The Circle is an excellent film and there is some wry humour in there as well.

[oscar jubis]

Originally posted by arsaib4
"Since its heyday—probably defined by Abbas Kiarostami’s Palme d’Or at Cannes in 1997—Iranian cinema has become increasingly repetitive, returning again and again to formulaic plots involving children, Afghan refugees or both. The filmmakers, of course, haven’t had it easy. The reform movement that loomed so promisingly a decade ago has been pretty much stymied by the increasingly entrenched clerical autocracy, and the effects of that have not filtered down into what had become Iran’s best-known cultural export, the cinema."

I couldn't agree more.

I strongly and passionately disagree. If a number of the films below involve "children, Afghan refugees or both", the films are quite vibrant and affecting not formulaic. Below is the list of Iranian films I have watched that range from good to great, in my opinion. All were released after Kiarostami received the Golden Palm for Taste of Cherry.

THE APPLE (Samira Mahkmalbaf)

DIVORCE, ITALIAN STYLE (Ziba Mir-Hosseini)

THE SILENCE (Moshen Makhmalbaf)

THE MAY LADY (Rakhsan Bani Etemad)

THE COLOR OF PARADISE (Majid Majidi)

THE WIND WILL CARRY US (Kiarostami)

THE CIRCLE (Jafar Panahi)

THE SMELL OF CAMPHOR, THE SCENT OF JASMINE (Bahman Farmanara)

THE DAY I BECAME A WOMAN (Marziyeh Meshkini)

BLACKBOARDS (Samira Mahkmalbaf)

A TIME FOR DRUNKEN HORSES (Bahman Ghobadi)

SECRET BALLOT (Babak Payami)

KANDAHAR (Moshen Makhmalbaf)

TEN (Kiarostami)

MAROONED IN IRAK (Bahman Ghobadi)

AND ALONG CAME A SPIDER (Maziar Bahari)

AT FIVE IN THE AFTERNOON (Samira Mahkmalbaf)

CRIMSON GOLD (Jafar Pahari)

STRAY DOGS (Marziyeh Meskini)

MARMOULAK THE LIZARD (Kamal Tabrizi)

TURTLES CAN FLY (Bahman Ghobadi)

The films listed below have been highly regarded by critics and cinema enthusiasts worldwide. I hope to be able to watch them in the near future in order to form an opinion.

THE CHILD AND THE SOLDIER (Reza Mir-Karimi)
ABC AFRICA (Kiarostami)
BARAN (Majidi)
JOY OF MADNESS (Hana Makhmalbaf)
FIVE (Kiarostami)
UNDER THE SKIN OF THE CITY (Etemad)

[trevor826]

My comments from foreignfilms.com

Lezate divanegi (2003) - Joy of Madness

Directed by Hana Makhmalbaf

Starring Samira Makhmalbaf, Mohsen Makhmalbaf

A family affair.

Well the last of the Makhmalbaf clan has directed her first film, Hana Makhmalbaf was 14 when she made this feature covering the events upto the filming of “At Five in the Afternoon” which was directed by her sister Samira.

The whole of the roughly shot film revolves around trying to get the cast together, a job that in almost any part of the world would be pretty straight forward but not in post Taliban Afghanistan. People are still scared, concerned for their safety and in some cases for their reputations, we see Samira lose her patience as she tries to cajole or even bully people into accepting parts in the film.

A gypsy family is convinced that the crew will kill their baby while making the film and a teacher writes a letter explaining why she can't take on the lead role. Kabul, once a powerful and beautiful city provides the backdrop, scarred and crumbling, a shadow of its past glory. Fear is the feeling that constantly comes across, at least from the Afghani women because even though the Taliban are finished, the threat of them still pervades the very air.

Being a film director is probably a stressful job but trying to do it in these conditions! It must be almost impossible to get anything completed, well done then to the Makhmalbaf’s and all the other directors working in the Middle East.

Rough & Ready but recommended to anyone interested in Middle Eastern life and cinema.

----------------------------

Now going back to my initial response, having recently had the pleasure of seeing Tabiate bijan - Still Life 1974 by Sohrab Shahid Saless and Gaav - The Cow 1969 by Dariush Mehrjui it made me wish that we could see films made for the sake of film rather than ones pushing a cause. Crimson Gold is a good modern example, who wrote the screenplay Abbas Kiarostami. 20 Fingers, another good example, dedicated to Abbas Kiarostami. I believe without his influence Iranian cinema would be a lot weaker.

Cheers Trev

[oscar jubis]

Originally posted by trevor826
Abbas Kiarostami. I believe without his influence Iranian cinema would be a lot weaker.
I agree, and I propose your statement also applies to Moshen Makhmalbaf.

[arsaib4]

Originally posted by oscar jubis
Originally posted by arsaib4
"Since its heyday—probably defined by Abbas Kiarostami’s Palme d’Or at Cannes in 1997—Iranian cinema has become increasingly repetitive, returning again and again to formulaic plots involving children, Afghan refugees or both. The filmmakers, of course, haven’t had it easy. The reform movement that loomed so promisingly a decade ago has been pretty much stymied by the increasingly entrenched clerical autocracy, and the effects of that have not filtered down into what had become Iran’s best-known cultural export, the cinema."

I couldn't agree more.

I strongly and passionately disagree. If a number of the films below involve "children, Afghan refugees or both", the films are quite vibrant and affecting not formulaic. Below is the list of Iranian films I have watched that range from good to great, in my opinion. All were released after Kiarostami received the Golden Palm for Taste of Cherry.



I strongly and passionately disagree with the disagreement. Many of the films above actually don't emphasize"children, Afghan refugees or both," which makes the post somewhat meaningless. Anyway, but the ones that do, including BARAN (Majidi), AT FIVE IN THE AFTERNOON (Samira Mahkmalbaf), THE COLOR OF PARADISE (Majid Majidi) etc. are quite formulaic to me.

[arsaib4]

Good post. I wish that you get a chance to see Forugh Farrokhzad's The House is Black. It's one of the best Iranian films I've ever seen.

[oscar jubis]

Originally posted by arsaib4
Many of the films above actually don't emphasize"children, Afghan refugees or both," which makes the post somewhat meaningless.

That's the point. That many of the post-Cherry Iranian films don't emphasize "children, Afghan refugees or both" and that the ones that do, in my humble opinion, are not the lesser because of it.

I hope I feel as enthusiastic about The House is Black as you do. If I don't get watch it tonight it's because Cristi wants to watch the longish The Big Red One. In which case I'll get to it tomorrow and post a comment on my journal.

[arsaib4]

Originally posted by oscar jubis
That's the point. That many of the post-Cherry Iranian films don't emphasize "children, Afghan refugees or both" and that the ones that do, in my humble opinion, are not the lesser because of it.

Nice try, but I was only referring to the list above. See a few more, or actually don't, and you'll have a better idea. But as Mr. Peña stated in addition, which I also agreed with, "The filmmakers, of course, haven’t had it easy."

I hope I feel as enthusiastic about The House is Black as you do. If I don't get watch it tonight it's because Cristi wants to watch the longish The Big Red One. In which case I'll get to it tomorrow and post a comment on my journal.

Money back guarantee on The House is Black! ;)

[arsaib4]

Originally posted by Chris Knipp
I think Kiarostami is overrated....


And how is that? What don't you like about him?

[Chris Knipp]

I've seen A Taste of Cherry. If it's an "affermation of life," well, yes, deciding not to off yourself is a sort of one, but of a very downbeat kind. Kiarostami seems not to be to my taste. I found him an incredible self-satisfied bore in his film about his filmmaking, 10 on Ten, though needless to say it showed he has confidence in his own voice. He clearly agrees with his foreign admirers that he's a master. In fact I'm afraid I'm not an enthusiast of Iranian cinema, apparently not even of what you consider to be at its best. There is another side to "Middle Eastern life", whatever that means, or rather many other sides.

I haven't seen as many Iranian films as you guys, but every one of them has borne out my feeling that even the most highly regarded Iranian directors' work is relentlessly negative in a deterministic, fatalistic way that I find grating -- The Circle and The Color of Paradise are particularly good examples. They seem to be cast to appeal to the foreign arthouse audience and festivals' sense of what's profound and timely. "Roughness" -- exemplifed by something like Blackboards -- is another valued quality. Anything concerning the Oppressed, anything that is earnest rather than entertaining, is preferred. The films from this list that I've seen touch on a variety of topics, but still all seem very much of a kind. I don't think these works are representative of Iranian life in general or the life of the educated Iranian public-- though Ten and to some extent the somewhat flimsy Deserted Station (not mentioned here?) do touch on concerns of the urban middle class, if rather indirectly. Crimson Gold is one of the stronger ones, with of course an underclass glimpse of the rich, but it was badly paced and clumsily put together. In the praise being heaped on these films, too many allowances are being made. I saw one or two other Iranian films in a series put on for Iranians. Not very good either, but very different material, dealing more dramatically with the sort of issues alluded to in Ten. I'd like to see more of that, less shooting outdoors in the dust and dirt. But that's what Kiarostami said he wasn't allowed to do, women and indoors at home. Pretty severe restrictions.

But I suppose these opinions brand me as hopeless and you'd better go on hashing it out among yourselves. I don't want to become a scapegoat.

[arsaib4]

Fair enough. You've certainly been consistent with your stance on Iranian cinema. But would you prefer to be branded hopeless? It seems to me that you've already made up your mind about Kiarostami and Iranian cinema in general while acknowledging that you haven't seen many films from the region. Wouldn't you rather keep an open heart and mind?

I believe we had a few exchanges regarding this when you were writing from Italy after watching an Iranian film that you did like. I brought up Babak Payami (One More Day, Secret Ballot), a filmmaker who studied out west and has a lighter, a more subtle allegorical touch. Perhaps someone you might appreciate.

Not sure if you've seen Kiarostami's Close Up, but if you haven't, it will genuinely surprise you. Few films have interpreted "cinema" itself so sensitively and intelligently. It probably re-invented the docu-drama hybrid tradition which is now being put to use so often by European auteurs. The film is pure cinema, without any additives.

[Chris Knipp]

It's hard to maintain my enthusiasm when I've been so consistently disappointed, but despite my apparent condemnation, I keep trying and hoping. If I followed my feelings, I'd have given up long ago. I try to keep an "open heart and mind," but given a choice, I tend to turn naturally more often to the cinemas of other nations that beckon with new hope or have often rewarded me in the past. I appreciate your patience and will try to remember to watch for Babak Payami (One More Day, Secret Ballot). Have not seen Close Up. You seem to differ with Oscar in the debate on Iranian cinema's present state. I may not know enough it to see that it has changed. I don't feel happy with where it was; you seem unhappy with where it's going.

I just saw À tout de suite, which I loved -- for the first 40 minutes or so, anyway, which are very strong, the two lovers terrific; I'm looking forward next to Audiard's De battre mon cœur s'est arrêté , and after that Sud Pralad (I can't spell his name). Will report on À tout de suite shortly.

[trevor826]

Hi Chris, sorry to drag you back on the subject of Iranian films, Kiarostami in particular but you mentioned the lack of humour or lightness. Have you seen any of his early short films? You would be surprised as to how funny some of them are, try and hunt them out if you can, I'm sure you would appreciate them and even if you don't at least they only last around 10 minutes each on average.

Cheers Trev.

Sorry I can't actually quote you but that's cable internet for you.

[Chris Knipp]

How would I find them? I'm amazed at your range of knowledge.

[trevor826]

I think we're quite lucky in the UK, I've caught most of his shorts on the cable channel filmfour which is pretty much the best for foreign and independent films. They do have a website with a large collection of downloadable short films but I have no idea if that icludes any of Kiarostami's - filmfour.com

Cheers Trev.

[Chris Knipp]

Easier said than done, then. I don't even have cable though I wish I got Canal 5 the FRench one, arsaib has seen good stuff there.

[arsaib4]

THINKFilm has acquired the N. American rights to Atom Egoyan's Where the Truth Lies. The In-Competition film is said to be the most "commercial" film the Canadian master has ever directed; we'll see. The film stars Kevin Bacon, Colin Firth and Alison Lohman. It will get a limited release starting on Oct. 7th.

[arsaib4]

THINKFilm will also distribute James Marsh's The King. The film is scheduled to be released at the beginning of 2006. The King was part of this year's Un Certain Regard (http://www.festival-cannes.org/films/fiche_film.php?langue=6002&id_film=4256887).

[Chris Knipp]

Good to know about. The King looks really different and interesting, another offbeat choice by Garcia Bernal.

[hengcs]

Originally posted by arsaib4
"Meanwhile, I went to my first screening at the Directors Fortnight, one of the two unofficial programs here. Despite the near-lack of air conditioning, the ringing cell phones and the two biddies in front of me who pawed through their plastic bags throughout the screening (I kicked one of their chairs a couple of times, but apparently not hard enough), I fell for the Fortnight's opening film, "Be With Me." It's from a Singaporean, Eric Khoo, and interweaves the true story of a deaf-mute woman with tales of thwarted love. I didn't have any idea what was going on for the first half hour, but was in tears by the end, which is fairly rare (big surprise)."

NY Times (http://www.nytimes.com/pages/movies/movieposts/index.html).


Be With Me (2005) (Singapore)

Director: Eric Khoo
Cast: Theresa Chan, Chiew Sung Ching, Seet Keng Yew, Lynn Poh, Samantha Tan, Ezann Lee


The film opened the 37ème Sélection Quinzaine des Réalisateurs (i.e., 37th Selection Directors' Fortnight) at Cannes Film Festival 2005.

The official website is here ...
http://www.zhaowei.com/bewithme.html
The trailer is here ...
http://www.shaw.com.sg/upload/bewithme/bewithme.mov

The film, inspired by the story of Theresa Chan, a blind-and-deaf woman, is a tapestry of 3 stories ...
-- "Meant To Be" features the love and loneliness of a shopkeeper (in my humble opinion, the best of the 3)
-- "Finding Love" relates the one sided love of a fat and under-achieving man
-- "So In Love" depicts the love between two teenage girls ...


What really binds the stories together is not its tangentially related characters, but its underlying theme. In a way, all 3 stories depict the quest for love, and the feeling of despair ... but the horrible feelings seem rather insignificant as to what "real" sorrow is ... and even if one feels that all is lost, the film seems to suggest that all is not the end ... there is hope in life ... and there is redemption ... and destiny/fate is so unpredictable ...

On its own, 2 of the 3 stories might be kind of "familiar" and "nothing new" ... but strung together with the common theme and message, the film had a different flavor (talking about flavor ... there are quite a number of scenes on food and eating ... how Singaporean ... ha ha ha ...)

A few thought provoking lines include ...
"I cannot see and hear the beautiful things in life ... BUT, I also do not see and hear the ugly things ..."
"'Love disappears only when you do not understand what it means ..."


My suggestion on the technicality of subtitles
-- the subtitles (in white) should be bordered with black. against the occasional bright background, some subtitles are quite difficult to read ...
-- the good thing is, the film does subtitle for those who are not familiar with SMS abbrievations ...


Conclusion:
Although I recommend the film, I am not sure if I would credit the film more to its partially "real" story than to the craft of film making ... Also, one may have to stay till the end of the film before really appreciating why the film deserves a watch ...
;)
To all those who intend to watch the film, you have to appreciate a film with few dialogues, and be patient with much "reading" (from the typewriter, computer, SMS, letters, and subtitles).


PS: It will screen at the Toronto Film Festival too.

[arsaib4]

Sounds interesting. The problem is that there are only 2 screenings scheduled for this film in Toronto and they are at 9 and 9:30 am respectively. And since I'll be coming back to Buffalo at night, it'll be difficult to leave from here next morning at around 7:00 am to make them, but I'll try (Toronto is a little more than 100 miles away).

[hengcs]

Johann's review is here ...
http://www.filmwurld.com/forums/showthread.php?s=&threadid=1507&pagenumber=3

[hengcs]

Originally posted by hengcs
Director: Johnnie To
-- Election (English title)
-- Hei She Hui (Chinese title) (loosely translated to "Gangs/Triads" )

(edited)

Regardless of any award, I will watch the movie when it is released ...
;)


here is my review
http://p219.ezboard.com/fforeignfilmsfrm18.showMessage?topicID=210.topic

[Chris Knipp]

Be With Me is showing in Paris. I saw it here last week. I would not agree with johann's saying that is is a bad movie. In fact it is very well done technically. I can sympathize with his discomfort over the deaf and blind lady's speaking voice, which is grating as well as strange. Maybe we should have a thread for this movie. I will post a review of it eventually. I have notes.

Quick summary of my thoughts on it:

Very effective technically, in the Asian art-film tradition of long still takes, reserved viewpoint, slow, methodical editing, clarity.... but no particular beauty of image, perhaps too much reliance on extreme closeup. Somewhat conventional, but effective, organization into four (at least, not three) stories that eventually intersect. A weakness is that the subsidiary stories seem somehow tacked on in relation to the documentary of the deaf and blind lady. Ingenious, but artificial, and not ultimately completely convincing. The use of subtitles to give the thoughts of the lady, with no sound, was one of the most ingenious technical devices, quite original. And in French they were quite legible. Lovely, in fact.

A final, perhaps damning, weakness is a certain saccharine quality, an air of Pollyanish desperation. It struck me as a kind of love song to clinical depression. i did not buy the viewpoint at all. But very well done, very assured in its use of its material, and certainly not without memorable moments. If Singapore filmmakers have been below the radar, this is a sign that they shouldn't be.