For many non-Romanians this film will be quite difficult to follow because the high speech content means subtitling is only briefly on screen and has to be read very rapidly, all the more difficult when it is on a lower off-screen subtitler as at the Karlovy Vary Film Festival just now. Sometimes I had to choose between reading text or viewing the image. Nevertheless, I found the portrayal of the self-obsessed control freak mother trying to get her somewhat pathetic son off the hook rather laboured. When two characters were conversing the hand held camera swinging from one to the other made me feel like a linesman sitting by the net watching the ball at a Wimbledon tennis match. This was either an intended 'artistic' device or they couldn't afford two cameras. If the former, it failed, and if the latter they should have considered old fashioned cutting and editing. I came to this film predisposed to Romanian cinema having seen the remarkable Somewhere in Palilula last year. I wouldn't describe Child's Pose as a boring European film, as one reviewer put it, but simply as a boring film, with the proviso that I may have missed its finer points due to the language barrier. How it won a Golden Bear at Berlin is one of those intrigues whose story may still be waiting to be told... Anyone care to find out and make a film out of it?
Reviews
6 Reviews
Somewhere in Palilula
(2012)
Crazy but wonderful surreal work of art
28 February 2013
Somewhere in Palilula is apparently a film! Or is it theatre, an allegory, or just one enormous piece of installation artwork? I consider it a brilliant mixture of all of these, and the director's theatrical background is used to great effect. Whether you like it will depend on your sense of humour. I liked Little Britain and Delicatessen - a black sense of humour is definitely required, and a very basic awareness of what the Ceaucescu period meant in Romania would add to your appreciation, but isn't a prerequisite. I have to agree with the person who wrote "It reminded me a bit of Emil Kusturitza, by its strong Balkan flavor." It has the same drive and energy which sweeps one along. See also Nicola Woodham's review which is more comprehensive than mine.
I saw it at the Karlovy Vary Film Festival 2012 and hats off to them for showing it, but it didn't win any prizes, sadly in my view. I think cinema goers in the UK with a black or off-the-wall sense of humour would love it, while mainstream US audiences probably wouldn't. The ending will have you thinking. Overall rating: wonderful.
I saw it at the Karlovy Vary Film Festival 2012 and hats off to them for showing it, but it didn't win any prizes, sadly in my view. I think cinema goers in the UK with a black or off-the-wall sense of humour would love it, while mainstream US audiences probably wouldn't. The ending will have you thinking. Overall rating: wonderful.
The Reverse
(2009)
Well-paced intriguing drama/thriller with some noir humour set in 50's Warsaw
6 August 2010
With some films black and white photography is used as a cheap device to supposedly convey the mood of the past despite editing techniques and lighting that could only belong to the 21st century. Not so this film. The black and white photography reminded me of such classics as the Third Man, with deep black shadows and superb lighting, skills that I thought were lost decades ago. The cinematography and editing are unapologetically European, rather than American.
The mood of Warsaw in the period shortly after the suppression of the Warsaw Uprising is chillingly portrayed, while scenes in the present, shot in colour, are intriguing short episodes rather than annoying tricks, which such flashbacks/flashes forward often can be. Because the less you know in advance about the plot and events the better, all I will say is that while it it has humour in places, it is mostly of the noir variety. This well-paced intriguing thriller makes you want to know what will happen next, gives you some surprises and doesn't reveal the full story until near the ending, which was moving, funny, and probably could relate to many women deeply affected by world events over which they have no control.
All round excellent casting and acting, with Agata Buzek conveying Sabina beautifully. It's a relief to find a film where production values come first. It certainly made me think, and still does, one month after I saw it at the Karlovy Vary film festival. See it if you like the best of European cinema.
The mood of Warsaw in the period shortly after the suppression of the Warsaw Uprising is chillingly portrayed, while scenes in the present, shot in colour, are intriguing short episodes rather than annoying tricks, which such flashbacks/flashes forward often can be. Because the less you know in advance about the plot and events the better, all I will say is that while it it has humour in places, it is mostly of the noir variety. This well-paced intriguing thriller makes you want to know what will happen next, gives you some surprises and doesn't reveal the full story until near the ending, which was moving, funny, and probably could relate to many women deeply affected by world events over which they have no control.
All round excellent casting and acting, with Agata Buzek conveying Sabina beautifully. It's a relief to find a film where production values come first. It certainly made me think, and still does, one month after I saw it at the Karlovy Vary film festival. See it if you like the best of European cinema.
Black Death
(2010)
Cardboard characters and a weak script spoil this neither mainstream nor art-house film, with unnecessarily graphic violence.
17 June 2010
Whatever one might conjecture about life and death in the 14th century it is only reasonable to consider that people would still have character, histories and motives. Yet even Osmund (Eddie Redmayne), the novice monk appointed to lead the way to the village thought to be immune from the Black Death, was difficult to place. With no convincingly sincere religious calling, and a girlfriend conveniently parachuted into a male environment as love interest, his normal expression could only be described as blank; whether any actor could have done better with the presented story and script is doubtful. What Osmund did was clear, but why was something of a mystery.
One theme within the film was the meeting of Christianity and paganism. This could have been interesting to explore seriously through contrasting ways of life, but neither was represented in any plausible fashion. Visually the highlight of the film for me was the encounter with village life, although Langiva's soft light blue woollen cardigan looked more 21st century department store than 14th century loom, with the buttons replaced by a leather ribbon. In terms of the script this encounter was a missed opportunity. The conversations were between cardboard characters; mentions of God weren't enough to create meaningful discussions. A less superficial portrayal of village life could have been more interesting than the battle or torture scenes.
What the mostly male cast excelled in was fighting, rendering of blood and guts asunder, and generally doing what a man's gotta do (shout orders, grunt quite a lot and heroically save women by slaying them). The plot could be described in a couple of sentences, so the main action was in the battles, achieved more through jerky camera movements and fast cutting than good choreography. For me these became tedious. The greater the number of hand to hand battles a film has doesn't indefinitely increase the thrill quotient.
This English language film was made and funded in Germany, yet it is difficult to judge who the target audience was. Outside of the battle scenes the visual style was more European than American, but the soundtrack could only be described as production line Hollywood suggesting the film was aimed at mainstream US and UK audiences. Unfortunately this film is flying a little close to becoming a parody of its own genre; some sort of niche market may be its only hope. A successful mainstream film would need to be more gripping, have a steady pace, and characters the audience could relate to. A European art-house film would need to have greater cinematic qualities in the fields of script, musical score, character building, storyboarding and editing. Perhaps the good burghers of Sachsen-Anhalt, where the film was made, considered that the competent photography, with glimpses of ancient houses and interesting countryside, would encourage tourism to their area (why else would they back such a film unless it was a job creation scheme?) but as I was the only person in the cinema to sit through all the credits even this is doubtful as the film's ostensible setting was ancient England.
For anyone interested in the theme of paganism meeting Christianity, a more satisfying way of spending their time might be to settle down with the novel The Mists of Avalon by Marion Zimmer Bradley. Overall verdict: disappointing.
One theme within the film was the meeting of Christianity and paganism. This could have been interesting to explore seriously through contrasting ways of life, but neither was represented in any plausible fashion. Visually the highlight of the film for me was the encounter with village life, although Langiva's soft light blue woollen cardigan looked more 21st century department store than 14th century loom, with the buttons replaced by a leather ribbon. In terms of the script this encounter was a missed opportunity. The conversations were between cardboard characters; mentions of God weren't enough to create meaningful discussions. A less superficial portrayal of village life could have been more interesting than the battle or torture scenes.
What the mostly male cast excelled in was fighting, rendering of blood and guts asunder, and generally doing what a man's gotta do (shout orders, grunt quite a lot and heroically save women by slaying them). The plot could be described in a couple of sentences, so the main action was in the battles, achieved more through jerky camera movements and fast cutting than good choreography. For me these became tedious. The greater the number of hand to hand battles a film has doesn't indefinitely increase the thrill quotient.
This English language film was made and funded in Germany, yet it is difficult to judge who the target audience was. Outside of the battle scenes the visual style was more European than American, but the soundtrack could only be described as production line Hollywood suggesting the film was aimed at mainstream US and UK audiences. Unfortunately this film is flying a little close to becoming a parody of its own genre; some sort of niche market may be its only hope. A successful mainstream film would need to be more gripping, have a steady pace, and characters the audience could relate to. A European art-house film would need to have greater cinematic qualities in the fields of script, musical score, character building, storyboarding and editing. Perhaps the good burghers of Sachsen-Anhalt, where the film was made, considered that the competent photography, with glimpses of ancient houses and interesting countryside, would encourage tourism to their area (why else would they back such a film unless it was a job creation scheme?) but as I was the only person in the cinema to sit through all the credits even this is doubtful as the film's ostensible setting was ancient England.
For anyone interested in the theme of paganism meeting Christianity, a more satisfying way of spending their time might be to settle down with the novel The Mists of Avalon by Marion Zimmer Bradley. Overall verdict: disappointing.
Used Parts
(2007)
A swiftly paced yet thought provoking film, of our time.
5 August 2007
This is a swiftly paced yet thought provoking film in the same genre perhaps as, but no copy of, Certi Bambini, and whose characters are less wild and with more focus on just two individuals, Ivan and his best friend Efrain, and their relationships with Ivan's uncle and Efrain's mother.
For me the main theme was the exploitation of youth by adults in a tough world. If I was going to stage a mini festival on the theme it would include this film, Certi Bambini and If... by Lindsay Anderson. In all these films young people are growing up into worlds they had no making of, are suffering, don't accept their situations, and deal with them in very different ways. There is something universal in the character of Ivan that makes him represent Everyboy. Perhaps it's a bit pretentious of me to venture it, but from what I've read, and from hearing him on the radio I think Lindsay Anderson would have respected this film; it has a great feeling of humanity. Three countries, two eras, one related theme.
I could imagine the used car parts store near the beginning as some famous modern artist's 'installation', lovingly recreated for the Turner Prize at Tate Britain. Fifty years down the line when the internal combustion engine is history these scenes will be as enchanting as horses and carriages in New York at the beginning of the 20th century.
But this is Mexico, by its richer northern neighbour which provides the catalyst for the action. Jaime wants to follow the holy grail of a better life in the USA, which becomes an obsession. As a 56 year old viewer in the UK it made me pause for thought. Would I want to be 14 or 16 now, whether in Mexico or UK? How much do we care for our young people, and how much do we use and exploit them? This film made me consider the distinctions between 'wealth', 'value' and 'quality of life'.
I was so drawn into the story that I didn't notice the acting, which in itself suggests it was natural and excellent. Apparently Emery Eduardo Granados (Ivan) only had any acting training after he was selected. The editing did not follow what I assume is the modern Hollywood or UK television school convention of attention-deficit standard five seconds per shot, but was appropriate to the scenes, which suggests that Mexican film schools and the film industry have a maturity and confidence to forge their own path. For the director's first feature film, this is magnificent; balanced, gripping and moving, with great photography, concise editing and superb soundtrack.
This is a very personal perspective, but I would be surprised if it didn't win a number of prizes. Anyway, go and see it, and complete a variation on this well known quotation: 'Hell hath no fury...'. It doesn't end 'like a woman scorned',
For me the main theme was the exploitation of youth by adults in a tough world. If I was going to stage a mini festival on the theme it would include this film, Certi Bambini and If... by Lindsay Anderson. In all these films young people are growing up into worlds they had no making of, are suffering, don't accept their situations, and deal with them in very different ways. There is something universal in the character of Ivan that makes him represent Everyboy. Perhaps it's a bit pretentious of me to venture it, but from what I've read, and from hearing him on the radio I think Lindsay Anderson would have respected this film; it has a great feeling of humanity. Three countries, two eras, one related theme.
I could imagine the used car parts store near the beginning as some famous modern artist's 'installation', lovingly recreated for the Turner Prize at Tate Britain. Fifty years down the line when the internal combustion engine is history these scenes will be as enchanting as horses and carriages in New York at the beginning of the 20th century.
But this is Mexico, by its richer northern neighbour which provides the catalyst for the action. Jaime wants to follow the holy grail of a better life in the USA, which becomes an obsession. As a 56 year old viewer in the UK it made me pause for thought. Would I want to be 14 or 16 now, whether in Mexico or UK? How much do we care for our young people, and how much do we use and exploit them? This film made me consider the distinctions between 'wealth', 'value' and 'quality of life'.
I was so drawn into the story that I didn't notice the acting, which in itself suggests it was natural and excellent. Apparently Emery Eduardo Granados (Ivan) only had any acting training after he was selected. The editing did not follow what I assume is the modern Hollywood or UK television school convention of attention-deficit standard five seconds per shot, but was appropriate to the scenes, which suggests that Mexican film schools and the film industry have a maturity and confidence to forge their own path. For the director's first feature film, this is magnificent; balanced, gripping and moving, with great photography, concise editing and superb soundtrack.
This is a very personal perspective, but I would be surprised if it didn't win a number of prizes. Anyway, go and see it, and complete a variation on this well known quotation: 'Hell hath no fury...'. It doesn't end 'like a woman scorned',
Cernobílá v barve
(1999)
Black and White in Colour; portrait of a Romany singer
20 January 2006
This film beautifully portrays the spirit of no-nonsense Romany singer Vera Bila, her family and her band Kale. Through Vera and her circle we get a picture of Romany life in the Czech Republic in the late nineties, with a foray into contrasting Slovakia. Unable to have children she has adopted a son who's still working through his adolescence. In one episode Vera is determined to put him back on the straight and narrow, so she sets off to poorer Slovakia in search of a suitable bride. Vera doesn't set out to be funny, but if none of the various episodes don't have you laughing out loud I'd be surprised.
Vera is filmed with sensitivity and humour. Her maxim is you are born naked and you leave this world naked; you can't take anything with you. So when she's coaching a vivacious group of women singers from northern Europe she feels that she is leaving something to the world for after she has gone.
This isn't a 'band' or 'concert' movie in fact my only complaint is that I would have liked some complete musical performances as the combination of Vera's singing with the male harmonies of Kale was superb.
The editing is quite tight, the film moves along fairly quickly, and it hangs together well as a whole. Subtitles are clear, and unlike many non-English films the translations are in colloquial British English, so various off-the-cuff comments come across as natural and often very funny.
After a showing on 15th January 2006 the director spoke about the film. She said that when she approached Vera she asked if it would be an intrusion on her privacy. "Worse than that" Mira Erdevicki told her, "I'm going to live with you for 6 months, and I'll eat your food and you'll eat mine." It worked!
Vera is filmed with sensitivity and humour. Her maxim is you are born naked and you leave this world naked; you can't take anything with you. So when she's coaching a vivacious group of women singers from northern Europe she feels that she is leaving something to the world for after she has gone.
This isn't a 'band' or 'concert' movie in fact my only complaint is that I would have liked some complete musical performances as the combination of Vera's singing with the male harmonies of Kale was superb.
The editing is quite tight, the film moves along fairly quickly, and it hangs together well as a whole. Subtitles are clear, and unlike many non-English films the translations are in colloquial British English, so various off-the-cuff comments come across as natural and often very funny.
After a showing on 15th January 2006 the director spoke about the film. She said that when she approached Vera she asked if it would be an intrusion on her privacy. "Worse than that" Mira Erdevicki told her, "I'm going to live with you for 6 months, and I'll eat your food and you'll eat mine." It worked!
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