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An aspiring middle class imprisoned to the past, and present, “O Som ao Redor” [2012 Brazil]

Every once in a while, a young film maker turns up with that special film to reassure us all that cinema is indeed in rude health. Like Kleber Mendonça Filho, who’s just made a remarkable directorial début with his thought-provoking drama, “O Som ao Redor” [Eng. Title: Neighbouring Sounds].

Filho’s film becomes all the more special when you get to watch its spectacular evolution from an earlier short, titled Eletrodoméstica (included among the DVD extras). A lot of fresh ideas have been inserted into the feature-length film, not just in expanding on a theme, which he does very well, but also in terms of extrapolating it with additional new concepts which makes the film surprisingly deep. It is however, something for the viewer to explore and interpret on their own.

Set in a middle class suburb of Recife, the film is presented as a tableau of observations, combining together to form an elaborate landscape of a present day Brazilian society that’s also haunted by aspects of its recent past. As a foreign viewer, you’re also struck by the level of their preoccupation with security; menacing window grills en-cage pretty much every dwelling and its occupants, layers of locked doors fortify precious souls living inside, as private sentinels keep watch over their street – it’s an unnatural atmosphere of claustrophobia enforced on a neighbourhood in what is essentially a city open to the skies, and light. These are the aspiring middle classes, Filho tells us, full of grace, but insecure from the outside, and inside.

There’s an accompanying story too for each of the characters observed – the grandson of a property magnate who wants to quit his family occupation and free himself from carrying the cross for his forefathers, a mother of two, frustrated and stressed out by her neighbour’s dog, a recently contracted security guard who’s in the neighbourhood for a different purpose altogether, and not least the ageing property magnate himself who’s also owner of a sugar mill. Each have their side of the story aired, which in many ways resemble a sincere confession.

The film gives the feel of watching a documentary, it was also director Filho’s intention as he explains in his commentary. But this is also riveting cinema of the highest order – engaging, and at times quite thrilling. From the magnificent cinematography to the thoughtful editing, the profound sound design to the cool soundtrack, this film is produced to exacting detail, but it wouldn’t have been made possible without Filho’s impeccable direction and realistic performances from the main cast. Needless to say, this gem of a film is Highly Recommended Viewing..!

 

The Nudity: Irma Brown, Gustavo Jahn, Maeve Jinkings, and Clebia Sousa

Irma Brown  Gustavo Jahn  Maeve Jinkings  e  Clebia Sousa TR HQ O Som ao Redor 1024x473 An aspiring middle class imprisoned to the past, and present, O Som ao Redor [2012 Brazil]

An impressive début by director Kleber Mendonça Filho, and brief nudity from Irma Brown, Gustavo Jahn, Maeve Jinkings, and Clebia Sousa in “O Som au Redor” aka “Neighbouring Sounds”.

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A Master’s début: “Liebe ist kälter als der Tod” [1969 W.Germany]

Rainer Werner Fassbinder made his feature-film début through the crime drama “Liebe ist kälter als der Tod” [Eng. Title: Love is Colder Than Death]. It’s an endearing ode to the French New Wave, Hollywood Film Noire, and Italian Spaghetti Westerns. It was also the beginning of a life long collaboration in feature films with his muse – the talented and fabulous Hanna Schygulla.

Storyline:
A romantic crime thriller with a straightforward plot, the film cynically depicts the fate of a low-life couple living in Munich; Franz (RW Fassbinder) is a pimp, in frequent brush with the law, and Joanna (Hanna Schygulla) – his girlfriend, and a prostitute herself. They’re in love. Franz is paid a visit by Bruno (Ulli Lommel), a thug that he befriended while being interrogated by ‘the syndicate’, where he had spurned their demand to work for them – he’d rather be his own boss. Unbeknown to him, Bruno had agreed to work for the syndicate, and his visit is to influence Franz, through friendly persuasion, into carrying out the syndicate’s orders. It’s a task that Bruno finds only too easy to accomplish – Franz has been so accommodating as to even allow Bruno to share his girlfriend during his stay. Joanna however, isn’t particularly bowled over by Bruno, an affront that’ll lead him to secretly plot her death. But Joanna hatches a cunning plan of her own to save herself and her beloved Franz

There’s ample evidence in the film of Fassbinder’s influences from other great directors, notably Godard, Chabrol, and perhaps even Antonioni. There is also a hint of his past background in theatre, especially in the indoor scenes. The set design is as minimalist as can be – some scenes have nothing but an empty room and a chair, and on at least a couple of occasions, you have the cast acting out in front of a plain wall. As Spartan as it may appear, the film succeeds nevertheless in depicting the alienation of the protagonists, a theme which Fassbinder would refine in his later films. While there are aspects of film-noire in the screenplay, the cinematography is anything but, preferring instead the formal compositions of a Bergman melodrama, beautifully executed. The film gives notice to the world of a new master in the making. Highly Recommended Viewing..!

Amazon DVD Link [PAL] A Masters début: Liebe ist kälter als der Tod [1969 W.Germany]
Amazon Fassbinder Box-set 1969-1972 [PAL] A Masters début: Liebe ist kälter als der Tod [1969 W.Germany]
(My preferred choice, as the set includes no less than 9 disks from his early films)

 

 

The Nudity: Hanna Schygulla
The beautiful and über-classy Hanna Schygulla may not have had the opportunity to showcase her famed versatility as an actress that much, but appears nude in at least three scenes, including one where she’s seen mending a blouse that she’d just been wearing – she later answers the door topless when a client comes visiting.

Hanna Schygulla TR HQ Liebe ist kalter als der Tod 1024x495 A Masters début: Liebe ist kälter als der Tod [1969 W.Germany]

Hanna Schygulla – beautiful, and nude in RW Fassbinder’s feature film début “Liebe ist kälter als der Tod” aka “Love is Colder Than Death”.

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Celeste Cid in “El amigo Alemán” [2012 Germany, Argentina]

Jeanine Meerapfel’s “El amigo Alemán” [English Title: The German Friend] is a romantic drama centred around the daughter of German émigrés, and set against the backdrop of some turbulent decades of Argentina’s recent history.

Storyline:
Young Sulamit’s Jewish parents are concerned about her growing friendship with their neighbour Friedrich, also from Germany, owing to his father’s secret Nazi-past. But despite their objections, Sulamit (Celeste Cid) and Friedrich (Max Riemelt) will fall in love. When Friedrich learns about his father, he disowns him and travels to Germany, hoping to unearth his father’s misdeeds. Sulamit follows him shortly after, but is disappointed to see that Friedrich had become a prominent member of a left wing student group, affording little time for their relationship to grow. When Argentina comes under dictatorship, Friedrich travels home to join the insurgents, and is promptly taken prisoner by authorities after a bungled operation. Sulamit had tried to move on with life, but realises that she couldn’t love anyone the way she does Friedrich, and waits…

The film is reasonably well-made, and even though there have been several memorable films made about the dictatorship years, what sets this apart is the Jewish émigré angle – and their point of view.

 

The Nudity: Celeste Cid and Max Riemelt
There is brief nudity from Celeste Cid and Max Riemelt in a couple of scenes, and one more of Sulamit when she befriends German lecturer Michael (Benjamin Sadler).

Celeste Cid  y  Max Riemelt TR HQ El amigo aleman 1024x481 Celeste Cid in El amigo Alemán [2012 Germany, Argentina]

Brief nudity from Celeste Cid and Max Riemelt in Jeanine Meerapfel’s romantic drama “El amigo Alemán” aka “The German Friend”.

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Private lessons in applied biology, and life: “Lust och fägring stor” [1995 Sweden, Denmark]

Coming of age is a bankable subject for cinema, and even mediocre productions tend to fare well at the box office. But just occasionally, a film comes along to delve deeper than the customary hormonal overflows and infatuations. Bo Widerberg, a film critic turned master filmmaker, takes the genre to a different level with his Academy Award nominated drama, “Lust och fägring stor” [Eng. Title: All Things Fair].

Storyline:
It’s war-time Sweden, and fifteen year old Stig (Johan Widerberg) is a keen student at school and dutiful son to a working class family in Malmö. Apart from the household chores, he also helps his family by working at the local cinema after school. When Viola (Marika Lagercrantz) arrives from Stockholm to take charge as his new class teacher, Stig finds himself attracted to her elegance and charm, despite also being aware that she’s more than twice his age, and is already married. Viola too likes the attention she’s getting from a handsome young man, and before long they embark on a passionate affair, due to which he becomes a regular visitor to her house, and even befriends her melancholic husband Kjell (Tomas von Brömssen). Stig will grow increasingly uneasy with the illicit arrangement due to various factors, and tries to build more ‘normal’ relationships, with his beloved soldier-brother Sigge (Björn Kjellman), and his slightly younger neighbour Lisbet (Karin Huldt). Viola isn’t too pleased with the changes in Stig, and it becomes clear that there is only one way for their relationship to go – downwards…

This was not only Bo Widerberg’s last film, it was also one of his personal films, drawing some of the events from his own childhood. He even cast his young son Johan to play the lead. The film not only explores sexuality, but also the nature of lust, friendship, family values, moral dilemmas, war, and above all else, love – not as such the teenager’s crush on his teacher, but a husband’s unconditional love for his wife. Widerberg had studiously avoided being compared to his country’s more illustrious film maker, but Bergman’s influence can nevertheless be felt, particularly in the details and formal compositions. But Widerberg comes into his own in the manner in which he portrays his characters during different stages of the film.

The film’s cinematography and production design is exquisite, as is the classical soundtrack, but special mention should be made for the performances of the main actors, particularly that of Tomas von Brömssen who plays Kjell, the drunk husband of Viola. “All Things Fair” could so easily have degenerated into a torrid exploitation film in the hands of an ordinary director, but in Widerberg’s hands, has turned into something altogether sublime. Highly Recommended Viewing..!

Amazon DVD Link [PAL] Private lessons in applied biology, and life: Lust och fägring stor [1995 Sweden, Denmark]

 

The Nudity: Marika Lagercrantz, Johan Widerberg, and Karin Huldt
While there are several instances of nudity in the film, none of them are gratuitous, and they’re mostly relevant in telling the story.

Marika Lagercrantz  Johan Widerberg  och  Karin Huldt TR HQ Lust och fagring stor 1024x494 Private lessons in applied biology, and life: Lust och fägring stor [1995 Sweden, Denmark]

Bo Widerberg’s exquisite drama “Lust och fägring stor” aka “All Things Fair” does feature nudity from Marika Lagercrantz, Johan Widerberg, and Karin Huldt.

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In a world without love (and possibly, logic) – “Mala” [2013 Argentina]

As a screenwriter and director, Adrián Caetano has made some fine and memorable films in Argentina, but his latest crime-fantasy drama “Mala” [Eng. Title: Evil Woman] is likely to be remembered more as an oddity…

It begins with the words, “Once upon a time, in a world without love…” and proceeds to tell the story of a professional female assassin - Rosario, who caters to a clientèle made exclusively of scorned housewives. A paraplegic divorcee (Ana Celentano) hires Rosario to ‘slowly’ kill her former rancher-husband Rodrigo (Rafael Ferro), now happily married to a younger, prettier woman, and about to become a father. Rosario joins the ranch as a vet to try and get closer to Rodrigo, before the storyline veers off at a tangent…

I’d tried to make sense of the incoherent film but have since given up. For a start, we have no less than four different actresses playing the assassin Rosario – Liz Solari, Florencia Raggi, María Dupláa, and Brenda Gandini. I’m all for surrealism, but this isn’t Caetano following on the footsteps of Buñuel’s That Obscure Object of Desire. It isn’t even tongue-in-cheek humour, but perhaps intended to signify the psychosis of both the Ana Celentano character and her former husband Rodrigo. But I doubt the director has pulled it off satisfactorily, due to factors like patchy performances, average cinematography, and more specifically the unconvincing screenplay. I wouldn’t want to go into detailed analysis as I could be here all day; suffice to say that this is certainly not the best work from this otherwise fine director. I’d however heartily recommend his earlier films like Bolivia and Pizza, birra, faso

 

The Nudity: María Duplaa and Florencia Raggi
There is brief nudity during a shower scene of Rosario where you have a braces-clad María Dupláa turn into a super-athletic Florencia Raggi. The film also features implied sex scenes like masturbation and female-on-male rape.

Maria Duplaa  Florencia Raggi  y  Ana Celentano TR HQ Mala 1024x358 In a world without love <em>(and possibly, logic)</em>   Mala [2013 Argentina]

Adrián Caetano’s Argentinian crime drama “Mala” aka “Evil Woman” features Ana Celentano and also a brief scene of nudity from María Duplaa and the athletic Florencia Raggi.

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