blazz13 Reviews

Osama (2003)

horrors and the cruelty of the Taliban system

[28 November 2003]

This quiet, pieceful little film that Afganistan submitted for the consideration in the Best Foreign Language Film category is firstly not about Osama Bin Laden. The film's about the women, their position in the Afganistan nowadays. The Taliban have forbidden women to go out without any male company, whether that is the woman's husband, brother, son. A 12 year old girl lives with her widowed mother and grandmother. Because the Taliban system is so strict, the women have no rights at all and because of this, the three women will starve to death. Something has to be done and her mother and her granny make a boy out of the little girl. They cut her hair short, trying to make her look as a boy in every possible way. The genuine, poor little girl, now named Osama (Marina Golbahari), is their only hope, so she finds a job which is enough to bring some food home for the whole family. Yet, the Taliban politics require all boys her age to join a special military training, in the name of Osama Bin Laden. And things start to go wrong, especially for Osama.

It's one of the most haunting, symbolicaly harrowing films I've seen this year. The devotion of the director Siddiq Barmak to the lead character is really admirable and so great to watch on screen, mostly because of the even better lead actress, Marina Golbahari. It reminded me strongly on Von Trier's harrowing characters of Beth in Breaking The Waves and Selma in Dancer In The Dark and his devotion to them. It's rare that you actually feel with the character so strongly, that all the horrors affect you on this level and that it's almost impossible to not be affected by this story and the lead character/the even better leading actress. It's really one of the rare films that achieved this status with me.

Not to give out too many informations about the film or giving out any spoilers, I'll rather stop. Just a note to all, who like the foreign cinema - this is a must see film. It takes you deep into the heart of the Taliban horrors, woman's protesting to gain some rights and men terrorizing their wives and women in general, just because the tradiotion and religion tells them so. Osama, despite the sheer brilliance I see in it, is probably a too emotionally packed experience to cope (for many), sometimes it's just simply too striking, too much of pain, too much of misery is shown on screen and you feel along with the characters on an almost too intense way. You almost can't watch (some of) the horrors and the cruelty that is done to the women. At least I had this feeling. But it most definitely is a great great film.

The Return (2003)

So simple, so honest, so wonderful!

[23 November 2003]

THE RETURN

The big winner at the Venice Film Festival, The Return really is some glorious cinema and a tale, told with such passion, admiration and style.

Ivan (Ivan Dobronravov) and his older brother Andrej (Vladimir Garin) are two young boys, who were raised by their mother. One day, all of a sudden, their father (Konstantin Lavronenko) comes back. The encounter of the father and his young sons is something the boys were looking forward to, but when it actually happens, they're left in huge disappointment, reluctance. He's being overly cruel, terrorizes them, gives them a thrashing and tries to teach them to be real, tough men. While Andrey has no problems to obey the orders of the father, Ivan is not so easy to take. With his stubborn and obstinate behavior, he fights back and won't let his father control him. So, he takes the boys on a vacation.

It's dark, it's human, it's almost too real, but nevertheless, it's an amazing little film. The magnitude of the characters and the sublime interpretation of the actors, especially the young and talanted Ivan Dobronravov (the Russian Haley Joel Osment, but way better), is enormous. It touches you on so many levels. It's really a deep look into the characters and therefor it is a real character driven film. It's not trying to push a new moral or trying to be special or offer anything new, all it has to offer is honesty and simplicity, and it succeeds on those levels.

The father-son relationship, even though at times a bit too disturbing (but only when you think about it, you get the full impact of it's deeper meaning), is one of the most developed characterizations and perfectly presented on screen in the naturalistic style and vision. Andrei Zvyagintsev, in his debut film offers an emotional, honest and psychological look at the father-son relationship and achieves his goal. Worthy of winning the Best Foreign Language Film Oscar!

The Return is a film that stays with you, it comes under your skin and you think about it a lot. Maybe it's for the best to become aware of its brilliance only later (not right after seeing it). I've seen this film some days ago and only by a day or two later, I got to fully comprehend it. It's so powerful and the images haunt you. It really deserves all the credit.

Elephant (2003)

A divine, little film.

[23 November 2003]

Gus Van Sant brings us yet another breath-taking film, a thinker; a film that really makes you appreciate life. It clears your mind, most definitely. Its stunning and haunting cinematography (with the so perfect blury back and the focus only on characters, walking down the halls of the soon-to-be-a-nightmare highschool. With chosing these actors (or rather amateurs, who are, nevertheless, brilliant in their portrayals), the amazing cinematogtaphy and the poetic style of storytelling, Van Sant made a simple, yet difficult film, a quiet, natural and authentic view on the bloody horrors.

Van Sant zealously acquaints us with some students and their problems, their nature, behaviour, their simple lives. His dedication and passion for this project is seen in every second of the film. And now, I really can say he deserved all the wins in Cannes. May he have the same luck at the Oscars. He definitely deserves it.

Elephant really isn't a perfect film, but It's nevertheless one of the best this year. It's a typical Van Sant film, for one. (I expected to see some homoeroticism, and I felt it will happen, no matter the circumstances, because this is after all, a Van Sant film and an element used in almost all of his films. But Van Sant, once again, manages to give the film a haunting, intense, special athmosphere, that lifts the film into the sky, above the clouds, where it belongs. And the Beethoven music just fits perfectly

A divine, little film.

****1/2 out of 5.

I'm Not Scared (2003)

It could be (much) better!

[23 November 2003]

I'm Not Scared

Michelle and his friends find an abandoned house. The next day, Michelle goes to the house by himself and discovers a dried out well and inside, some weird creature. We soon realize it's a ten year old boy, who's been kidnapped and is held hostage in the well. They become friends, but Michelle soon realizes that his parents are the ones responsible for this kids kidnapping.

It's a great children's film, a good thriller, and a bad drama. It's trying to be all these genres, but it fails on the drama level. Okay, the director gives us the child's perspective, that's why the film is too naïve, too simple. I admire that the he decided not to change perspectives in the middle of the film, when it becomes more serious, more adult material. But the adults stay the same as before - as only children's eyes see them. They're villains, even one's parents.

In the middle, you start wondering if this is yet another children's adventure-mystery films, when there are so many (if not on film, then certainly in novels). But it's much more (you realize it too late, unfortunately). It's a film about friendship, youth, child's play being interweaved with the greedy and deteriorated adult world, which unfortunately leaves a sore spot. If for nothing else, the cinematography is superb, the young and talented Giuseppe Cristiano gives his best, the story is simple and quite loveable, the screenplay is sharp and contains witty dialogues and the ending will just simply break your heart. It actually hurts, you feel the pain, or at least I did.

***1/2 (out of 5)

Japan (2002)

It's a divine film!

[23 November 2003]

Japon is a wonderful, poetic, quiet, little film that comes out really big. We go with the film's protagonist on a divine, glorious trip to some Canyon in Mexico. The director Carlos Reygadas really makes this trip worth going to. His minimalistic and visually perfect pictures of the tedious landscape, make it `eventually' beautiful. Just when you think of the director's devotion to the leading female character, it's worth the whole time and money you spent. He presents her in a glorious light, shows her generosity and humanity, her kindness, her simplicity in a way to stun you, to show you the real human being, to make you admire her despite her age and looks. And you do. What a genius performance from the 79. years old newcomer Magdalena Flores. She literally shines in this role.

It's really one of the most poetic films I've seen in years, and it never gets boring, the 140 minutes just fly by and in the end you want to see more and more. Okay, it is disturbing at times - some images are for a strong stomach - just remember the decapitation of the bird, the horse with its intestines out, the dead cat, the agonizing bawling and the last seconds of a pig's life, horses mating, the full frontal masturbation, the two leading characters having sex), but it's all redeemed in the glorious music (the operatic arias), and the phenomenal, breathtaking, haunting and emotional ending. It reminded me of The Piano - Ascen definitely knew that greed is a sin (her nephew was the main cause that the film ends tragically, IMO - he caused all the trouble) and that she's not a sinner. But maybe that's why she went on the cart (lorry), because she thought she is. But eventually, she maybe sensed that something like that will happen, and that she chose death, she chose to take that ride, she wanted to stay with her house (or what was left of it), and even if that costs her life. (like in The Piano, when Ada chooses to go down with the piano, no matter if she survives or not). What a brave woman she is/was, indeed.

It's a divine film!

****1/2

Japanese Story (2003)

Collette - memorable; the movie - mediocre

[23 November 2003]

Japanese Story is a lovely film, a heart breaking melodrama on two lost souls, who travel down the Australian dessert. Sandy (Toni Collette) and Tachibana (Gotaro Tsunashima) at first, can't stand eachother, mostly for the reason because they both (apparently) don't speak English, or Japanese for that matter. So, the trip in the lonely dessert seems a nightmare for the cranky Sandy, yet she starts to feel closer to Tachibana and they start to get involved.

For all the good, it's worth seeing this film for the absolutely amazing Toni Collette. She fits her character perfectly. Her portrayal of the overly cynical, eccentric, frustrated, loud, bored to death geologist Sandy is some great acting. She immediately convinces us, from the first scene on and never disappoints. I especially enjoyed her in the first part of the film, where she literally shines. It's a heroic victory of her acting, which only gets better in the second half. Yet there are some scenes, which seem to never end and eventually start being funny, despite the serious background. (****SPOILER**** when she's trying to lift the body and put him in the car)

Overall, Japanese Story isn't a film that offers anything special. A part from the gorgeous Collette, it's rather blank. It doesn't bring anything new, anything special and so it ends up as a film that will fall into oblivion. It's too slow in the story telling. This does bring some intensity to the lead characters as they personalities develop during the film, yet I almost had problems to stay awake. And then, when things finally start to go wrong (or better put - when the incident (as they call it in the film) occurs), you think it will start being more interesting. But it doesn't. It offers some stong scenes, as the one with Collette swimming in the sea and what happens after, but appart from that, the film's empty.

If you manage to survive the first half of the film, you'll probably like it in the end. I'm not extremely disappointed, nor pleased with the the film, but all the credit goes to Collette and the reason I rate this film so high.

***

Good Bye Lenin! (2003)

A simple, wonderful film!

[23 November 2003]

This bitter sweet film has all the ingredients for big success, both critically and with the wide audiences. It has a great, touching, memorable story, sublime acting, wonderful musical score. Everything fits perfectly.

It's East Germany, 1989. Christiane Kerner (Katrin Sass), a tenacious communistic partisan, comrade, partial to its idealism, sees how her son Alexander (Daniel Brühl) is arrested and get's a heart attack. She falls into a coma. In the 8 months she's been away, much has changed. The biggest change - GDR doesn't exist anymore. The doctors don't give her much time to live, but Alexander insists to make her last days as beautiful and as satisfying as she remembered them prior to her accident. Because she should not get upset, there will be enormous trouble for Alex to arrange things how they were in the communistic country.

It's a rare film, that makes you smile even in the bitter times the family is going through. Its easy way of story telling, the screenplay playing with us and the actor providing incredible climax will make your day. Good Bye, Lenin! is a remarkable piece of art. It's nostalgia, retro - to all the nations that were ever in the communistic block. It really brings back memories. Alex created Germany as he remembers it. (to make his mother feel she's still living in the good old times). It shows the genuine son's love and brings miracles to the screen.

If Nowhere In Africa won the Oscar for Best Foreign Language Film, there's nothing to stop Germany to win again this year. Lenin is not only better, it's definitelly a refreshment and simply fun to watch. And the images of Lenin's sculpture flying above Katrin Sass, are memorable and visually stun you!

****1/2

Swimming Pool (2003)

fascinating, cynical and marvelous film noir

[14 November 2003]

May contain some slight SPOILERS!!!!

Swimming Pool

With his last three films, Francois Ozon put a little freshness in the mostly dull American production we usually have the pleasure to watch. Swimming Pool is a fascinating, cynical and marvelous film noir, which will leave you stunned and enthusiastic.

Keen to write something new, something other than her bestselling series of detective crime novels, author Sarah Morton (Charlotte Rampling) takes a long working break at her publisher's French villa. Her peaceful and productive staying is abruptly shattered by the arrival of said publisher's promiscuous teenage daughter Julie (Ludivine Sagnier). Two completely different worlds bump at each other to provide an interesting, powerful ending. And Sarah eventually gets inspiration for a new book, but on contrary to her expectations, Julie inspires her to write the book on the lusty teenager herself.

If Ozon embraced minimalism with full impact in the beginning, all gradually changes to a vivid, tempting adventure , full of lusty, sexy scenes, gaining only for more. Ozon alights the depressing, bitter, sociopatic, typical English woman - Charlotte Rampling - on a disquieting and erotic path. Ms Rampling, like in Under The Sand, does her best. Her genious acting is so profound, so exquisite, beyond brilliance. Born for roles like this, she just simply can't disappoint. All of her outbursts of anger, her searching for inspiration, inner peace, only prove her genious acting skills.

On the contrary to Sarah, Julie represents a completely different world. She's a young, peculiar, stubborn, sexy nymphomaniac. She enables Sarah to start living again. With her persuasive acting, Ms Sagnier proves that she can do various roles. After her appearance in 8 Women last year, Swimming Pool is quite a shock. But it only means good, as she may be the hottest new star on the horizon.

A beautiful screenplay, solid direction, exceptional Charlotte Rampling and convincing Ludivine Sagnier - what more can you ask for. The whole athmosphere of the movie allows us to dive in and flow with it as the story develops. Worth your money and time!

***** out of 5

Dogville (2003)

A rather big disappointment!

[14 November 2003]

* * * * * * * * CONTAINS MAJOR SPOILERS!!!! * * * * * * * * * *

It's rather a disappointment, or better put - too harsh, too anti-american (even for my liking). The whole element of revenge is a logical thing. You know it way before it actually happens, but it turns out to be more than just simply quoting it as `revenge'. Dogville, the village, becomes an allegory for USA. Of course the word is not used, America is not used, but because it's taking place in the Rocky Mountains and especially with the overly cynical, provocative and pretentious final song (Young Americans), it's clear what Dogville stands for. And with the decision of the now mafia-bride Grace to use her powers, to take revenge, to kill them all, Von Trier went too far. Saying that there shouldn't be any places like Dogville, that people from Dogville should rot in hell, he made a strong and (too) bold political statement. Saying that American are better off dead, is something I didn't expect and actually didn't want to see.

For all I can say, I really enjoyed the 8/9 of the film, but the last chapter was too much. I really like the direction, the smart, provocative and brilliant screenplay and the acting. The supporting roles are too small to get any mentioning though. Bettany is perfect as the shamefaced, modest leader of the small village and Grace's loving interest. I have the most admiration for his performance. I had some problems with Kidman, as I think she could've done much better. I'm not saying she's not good. She fits the character perfectly and gives an exquisite performance. Yet when I remember what Von Trier pulled from Bjork and Emily Watson, I realize - Kidman is nowhere near them.

Actually, the film is a masterpiece and many will agree on that. I wish I could say that on the whole, but I simply can't. I cannot give support to a film, when its philosophy is something I don't agree on. The technical aspect is excellent - the screenplay, direction, acting, art direction - everything is so experimental, so good, it fits perfectly. But on the inner side (the last chapter with the truth), it stinks. It justifies revenge, the killing, to some extend even genocide. And eventhough the word `American' is not used for the inhabitants of the small, god-awful village, it screams American all the time. So, the Americans should suffer and get killed (just remember how cruel Kidman's character is when she orders how the gangster should kill Patricia Clarkson's children. Awful. Okay, it has a point, but come on!)

There's a similar drama/novel, written by a Slovenian author (Slavko Grum), which tells a story of a godawful small town, where people are just like the people of Dogville. I've read it and seen it on stage, so it all was far too familiar seeing Dogville. Eventhough in the end, Dogville is way different than that novel, it has just too many similar elements. And yet, if I forget about this, I there some very irritating scenes. Okay, Grace felt the need to pay the people back, with the work and I completely understand why the men were seeking for physical love, for sex and why they raped her in the end and abused her sexually. This started to bug me, just to find out why Von Trier did this?!?! But then I figured out it's just human nature - and because of this, universal. But the last chapter just proves you wrong and points at one country only. Grace brought new life into the dull village, people started to appreciate her, in a way extol her. But then they realized she's vulnerable, so they started to exploit and torture her - the divine Grace, who suddenly becomes a woman martyr. All for good. She gets her revenge in the end.

***1/2 out of 5