Showing posts with label french movie. Show all posts
Showing posts with label french movie. Show all posts
Sunday, 12 March 2017
Les amants criminels (1999) - François Ozon
Serioulsy can't really relate François Ozon to New French Extremity apart from Les amants criminels. This film is distinctively different from his more recent works. Ozon is the first french directors whom I admire but Les amants criminels is not the Ozon that I have always known. Maybe it's at that period of time it was a trend to make (a bit more) provocative films. Or people changed?
Thursday, 19 January 2017
Divines (2016) - Houda Benyamina
I guess films about the suburb (banlieue) population is a legit genre. People who are from the lowest social ladder try really hard everyday to strive or simply just to survive, most of them have one thing in common, anger. People who are just like us but not really. It’s hard to admit and nothing derogate. Some people just struggle to put food on the table.
What makes Divines different from it’s genre? It’s funny, it’s light but it’s also hard to watch at times and it definitely doesn’t sugarcoat anything. There is this incredible friendship between the two young actresses which is something rare to see in this kind of genre. It’s interesting how they play with gender roles in the film, they put the female lead into dealing and the male into dancing. When he asked: “do you know how much my life would change right now?” There is a sense of irony, viewing that she was making fun of him working in security for a supermarket on the side while he was auditioning for a dancing company. Obviously she thinks she makes a better choice than he does but does she?
A little side note, the male lead… you will know what i mean when you watch it. Maybe it’s just me but I don’t think so.
Labels:
2016,
2016 film,
2016 movies,
banlieue,
cannes,
Divines,
film 2016,
film review,
french,
french cinema,
french movie,
Houda Benyamina,
movie 2016,
movie review,
Movie Reviews,
tony ed lo
Monday, 19 December 2016
Jules et Jim (1962) - François Truffaut
I know people say Les quatre cents coups [The 400 blows] (1959) is one of his best works but seriously, personally, I prefer Jules et Jim. Les quatre cents coups is a personal journey of what Truffaut went through as a kid, for which I admire. However, on the other hand Jules et Jim is more of an eternal story which no matter the time and cultural differences somewhat you could find something to relate to.
I am not talking being “friend zoned”, in my case, Catherine (Jeanne Moreau), it’s not a cliché that I relate myself as the female protagonist. I have valid reasons of my own. The fact she is candid, reckless and a little egoistic seem like a perfect description of me. I could totally see myself standing on the thin line, juggling my life as it comes. I guess I like playing with fire. Hope I won’t end up being burnt.
Jules et Jim is considerably really forward for it’s time, even today 3-way relationships are still being looked down on. Just because love is blind and it has stood before time way before our existences, it is still as represented as a taboo. I am pro-love, which means, just let people do whatever they want.
Saturday, 10 December 2016
Les demoiselles de Rochefort (1967) - Jacques Demy
Hitchcock said suspense didn't have to be fear, it could be a lot of other things. The anxeity of whether the protagonists will find love is almost unbearable, especially the character of Delphine (Catherine Deneuve). Demy playfully sugarcoats the tone and the visual of the movie which is absolutely brillant.
"Anticipation" is strongly present in Lola (1961) and in La paraluie de cherbourg (1964), but all three of them have a different interpretation of the "wait", either hopelessly or desperately in love and in Les demoiselles de Rochefort, they are more like romantically looking for the love of their lives/ their dreams. It's not sad but it's the suspense that I couldn't stand. The more joyful it seems the more painful for the audience (ME) to anticipate the end, which is brillant how Demy links the audience and the film together with the same concept.
Wednesday, 13 July 2016
Frantz (2016) - François Ozon
In Ozon film univers female characters are always significantly important and complex. Anna (Paula Beer) is not an exception. One day she stumbled upon a french man known as Adrien (Pierre Niney) visiting his fiancé’s grave, not long a relationship between a german “widow” and a french men develops in the post-WWI circumstances where the two nations don’t see eye to eye with.
Later we find out that their relation is built on a lie. Quite a visual interpretation from Ozon, whenever the movie is in colour, it is a lie. Reality, black & white. (Ozon stated in interviews that he wanted to make a film about “le mensonge” (a lie), so technically it is not a spoiler.) The fact that he visually manipulates the images amplifies the degree of the impact, it is like he controls the switches of our hearts. With a flick of his finger we are in this faux impression of happiness and seconds later he brings us back to reality. Some people might think he is trying too hard to manoeuvre the audience, sorry but I am struck. I was so drawn to Adrien’s grief maybe it’s Ozon or the magic of him and Niney and later the dilemma of Anna. No matter which it’s a solid performance.
At times, you wished Ozon had had worked on more on the images since, at least I did got distracted by composition of some imageries. However you are way too busy to play attention to a lot of the details, Frantz is 90% in black & White and 90% in German. You have to be fluent in both languages in order the ignore the subtitles. Maybe that’s why? I know what I am suggesting it’s not well justified but still I enjoyed the experience.
Life is cruel and we all live in a lie (in one way or another), that’s the best I could do without giving too much away on what’s the story is about. Ozon never really disappoints so just watch it.
Sunday, 3 May 2015
Steak - Quentin Dupiex
I would say this is my Quentin Dupieux favourite so far.
Dupieux himself said Steak might be his least received work ever. First, steak is a film which should have been released in no more than 40 theatres. Since it is featured 2 well-known french comedians Eric & Ramzy, the PR marketed it as a typical comedy so it was released in more than 300 theatres in France. If you know a little about Dupieux, you would have known his style is no where close to typical french comedies (it is pretty much the same as the American comedies, only it tries to have a message behind, kind of like "what we've learnt from the fairy tales".) In order words his movies are not for everyone.
Steak is trying to tackle the issue of social status. How we try to fit into the norm, be part of something that we are not or literally changing our apperances to be more attractive. ( it exists in some places already. In South Korean plastic surgery is really common.) But how far w1ould we go? To which point we will say stop and just be ourselves. Hat off for the way how Dupieux presents the scenario.
Life is a never ending high school. When they are a group of people there will be troubles. Anti bulling campaigns keep saying "it's getting better". Because we don't see those people in a regular basis or you could hide yourself from them after you graduated. We could embrace it and live with it or even try to be one of the bullies. Steak is a little more than just becoming one of them. Fitting in is not easy, faking it is even harder. At the end of the day you would ask yourself why? Why am I doing this?
I love how the little details Dupieux put in his movies. Again they are really subtle but yet they are powerful enough to have his points come across.
*As per my understanding Steak has only been released in french speaking countries. Only the Canadian DVD has english subtitles but unfortunately it has been out of stock since. I think you might be able to find the english subtitles online.
Friday, 16 January 2015
The Smell of Us - Larry Clark
The Smell of us originally was supposed to be a movie about Larry Clark, it turns out to be something different. He projects himself in 4 different characters, different qualities and characteristics of himself, he was once a teenager and he still craves for being one even in his 70s.
All the scandals revolving The Smell of Us are absolutely hideous, reading the 40 page coverage from Cahier du Cinema (one of France most prestigious movie magazine, with a review plus interviews with Larry Clark and his team, the screenwriter, cinema photographer, producer and few of the actors.), made me realise something, I know I am being really calculating but it might be true, most of the crew including the cast think that this might be his last movie, and the production team really wants to make a film about Clark. So how could they get what they really want? Allowing him to make his latest project in Paris and secretly accumulating footages and stories about Clark and 10 years later or when he is dead, the story of Larry Clark comes out in the cinema. This is my conclusion after reading all the interviews and watching the movie.
I read the review before watching the film. I have to say it was really positive, in general it is rated 4/4. Claiming it one of his best works to date and what it is addressing is controversial but yet relatable. For me reading a review is already too much, I am the kind of movie-goers who wants to know absolutely nothing prior watching. Since I have already seen two of his movies, Kids and Ken Park which I find pleasure watching, however, The Smell of Us is utterly a disaster, a disappointment and not his finest work.
I totally get what is he trying to show in The small of us, but I strongly disagree with the method he used (I watched a few of his films, I'm aware of what I am getting myself into). Still the way he sees the teenagers is beautiful, how he approaches and puts on the big screen is magnificent but the story itself lacks a certain synchronicity. Yes it is still about youth, there isn't much explication about why they become rent boys, the relations between the characters. In the interview with the screenwriter Scribe, the reporter specifically asked what were the differences between the film and the script. It is known that Clark cut a few scenes which explain or show the development of the characters. Larry Clark forbade him to be on set, and Scribe was called on set by the producers to talk to the actors since they refused to continue filming after knowing Clark himself would be playing the feet fetish. (As per the interview with one of the casts, this has happened before during Bully, cast leaving in mid filming process) First Scribe was the one who casted the actors which my theory is the actors were not happy with the changes in the script and basically had no direction from Clark, on top of things they didn't sign up to do. So what did Clark do, he simply cut the scenes and altered the story and among the details which he didn't think is important.
In the interview with Larry Clark, he kept talking about the Director Cut of The Smell of Us, the version in the cinema now is the short version. Some of the scenes he mentioned in the interview do not exist in the short version. The more I read the interview the more annoyed I get. I wonder what have I watched, if the version in the cinema has an obvious difference with the director cut then why even bother releasing it. It feels like they are talking about a different movie in the interviews and it is reported that Clark was filming with his cellphone during most of the film, the cinema photographer offered him a cinema but he refused it. It feels like he was making something else, his own little project.
The contrast between the youth and the old suppose to be a big aspect in the film, yes he tries to tackle it which is not clearly done. His obsession with the youth is what he is known for. I have no problem with his obsession, is how he presented on the big screen that bothers me. According to the the script writer the story was supposed to be richer and more personal, but since Clark didn't like the idea of it, he changed it. I found the scene where he portraits a feet fetish old man really disturbing, he kept saying "mon petit graçon" (my little boy, according to one of the interviews he wanted to say my beautiful boy) while indulging the dirty toes of a rent boy. What is the purpose of this? His weird obsession? Some scenes do not even serve any purpose, it's just for the fun of it, like the very last scene. (Clark admitted it in the interview.)
There is a phantom during the entire movie. You could see some cellphone footages in the movie. sometime you could see an actor filming with his cellphone. Scenes which there are not suppose to be a third person, maybe with some explanation it might work. The contrast between a professional camera and a cellphone is distinct, it made some of the scenes awkward and not too coherent. Clark explained later it was like him filming the kids in all time.
The film has no relation with Paris, it didn't have to be filmed in Paris, it could be anywhere. For me it is important that if you are an american director who always tackles teenage problem in your own country. Is normal the audience expect a bit more when you chose to film in a foreign country. Apart from the film is in french there is nothing foreign about it. It is confusing since it seems like a movie about teens in Paris, which one of the casts mentioned it didn't truly response to the teens nowadays in Paris.
The whole movie is a huge misunderstanding and miscommunication which could possibly turn into something interesting in the future (only if my theory is accurate). As for now, The Smell of Us is just a disappointment.
*references from Cahier du Cinéma N°707 Janvier 2015
The whole movie is a huge misunderstanding and miscommunication which could possibly turn into something interesting in the future (only if my theory is accurate). As for now, The Smell of Us is just a disappointment.
*references from Cahier du Cinéma N°707 Janvier 2015
Wednesday, 16 October 2013
Blue is the Warmest Colour - Abdellatif Kechiche
"La Vie d'Adèle"
If you like lesbian sex, you would love this movie!
Despite my limited french I still went in to the cinema and tried to conquer this year's Palme d'Or winner.
I would like this movie more if it were shorter (at least 1 hour please), this 179 mins flick is not for everyone. 1/6 of the movie is basically graphic lesbian sex, by graphic I meant porn. Only if I were watching porn, I could at least skip to the interesting part! I felt like I was forced to watch almost all the possible ways lesbians could do it. (if you are into this kind of stuff, then I promise this is the movie for you). I was not prepared for this. At one point it was too predictable that what they are going to do next. Yes, the title already says it all, the life of Adele, I'm stupid enough not to put into thought that sex is one of the MAJOUR elements of ones life. It's just too much for me, that's all.
In general, it's a good movie. How Adele struggles to her live her life and deal with her sexuality, are pretty intriguing. We could easily find movie depicting gay people dealing with their problem but not a lesbian. I'm not saying there aren't any, it's just harder.
One advice, just prepare yourself before you walk into the cinema for this blue experience.
If you like lesbian sex, you would love this movie!
Despite my limited french I still went in to the cinema and tried to conquer this year's Palme d'Or winner.
I would like this movie more if it were shorter (at least 1 hour please), this 179 mins flick is not for everyone. 1/6 of the movie is basically graphic lesbian sex, by graphic I meant porn. Only if I were watching porn, I could at least skip to the interesting part! I felt like I was forced to watch almost all the possible ways lesbians could do it. (if you are into this kind of stuff, then I promise this is the movie for you). I was not prepared for this. At one point it was too predictable that what they are going to do next. Yes, the title already says it all, the life of Adele, I'm stupid enough not to put into thought that sex is one of the MAJOUR elements of ones life. It's just too much for me, that's all.
In general, it's a good movie. How Adele struggles to her live her life and deal with her sexuality, are pretty intriguing. We could easily find movie depicting gay people dealing with their problem but not a lesbian. I'm not saying there aren't any, it's just harder.
One advice, just prepare yourself before you walk into the cinema for this blue experience.
WIll update this when I watch it again with subtitles.
Labels:
2013,
Abdellatif Kechiche,
Blue is the Warmest Color,
Blue is the Warmest Colour,
french,
french movie,
gay sex,
la vie d'adele,
lesbian movie,
lesbian sex,
LGBT movie,
movie,
palme d'or
Subscribe to:
Posts (Atom)