Susana Falcone in “Los Paranoicos” [2008 Argentina]

Posted on May 30, 2011 by TR

Argentinian director Gabriel Medina’s excellent debut feature “Los Paranoicos” [Eng. Title: The Paranoids] is a subdued romantic comedy about a shy and sensitive, aspiring screenwriter conquering the little demons that are holding him back.

Luciano makes a living performing in kids’ parties as ‘Cachito’, while working on his first script for film. His friend Manuel, having become a successful producer of a Television series called “Los Paranoicos” in Spain, returns to Argentina to firm up proposals for adapting his series into a feature film. His girlfriend Sofia tags along, but refuses to stay with Manuel’s parents while he’s gone on a business trip, opting to stay at Luciano’s flat instead. She finds Luciano to be the antithesis of Manuel in many ways – and with whom she could just be herself. When Manuel returns from his trip, he notices a change in both of them – all three would now have to come to terms with this change.

It is a straightforward story, but what sets this apart is its original and engaging screenplay. The direction is also refreshing – by keeping it simple, he allows his talented cast to deliver, and they do. Medina is another promising Latin American director who should have a bright future. I loved watching this little gem, and needless to say – Highly Recommended Viewing..!



.
Continue reading →

Posted in Argentina | Tagged , , , | Leave a comment

Scenes from Gaspar Noé’s “Seul Contre Tous” & “Carne” [1998, 1991 France]

Posted on May 29, 2011 by TR

Gaspar Noé made his first full-length feature, “Seul Contro Tous” [Eng. Trans: Alone Against All, Eng. Title: I Stand Alone] – a deeply affecting portrait of alienation and despair, as a continuation of the story of a down-on-luck and out-of-work butcher from a short he made years earlier, “Carne” (Horse Meat).

To say this is not an easy film to watch is an understatement. At the same time, this film will not only have your complete attention, it will force you to probe the depths of your own innermost anxieties, and compare them with what the protagonist is going through. It makes us realise how close many of us must have come to be clinically labelled ‘mentally ill’ at some point in our lives. For that’s what we see the butcher go through – at times in a more intense and menacing manner than Travis Bickle in the American classic, “Taxi Driver”. While Travis wants to do what he thinks ‘is necessary’ for the overall good of the city, the butcher cannot think beyond his immediate circumstances, and that’s what makes this film so personal. We relate to him in so many levels and yet are repulsed by what he ends up doing. He is hard working, caring, and honestly attempts to turn his fortunes around. All the ingredients necessary for him to lead a decent existence are there – only in the wrong proportions.

It helps, even though not necessary, if “Seul Contre Tous” is seen with some knowledge of his earlier short film, “Carne”. That was about how the butcher loses everything he cared about in a single day – the custody of his daughter, and his shop, after mistakenly causing GBH on an innocent man. It ends with him leaving Paris with his pregnant girlfriend upon release from prison – with his mute daughter locked away in care, he feels he can now start life afresh.

“Seul Contre Tous” starts with the butcher disillusioned after being let down by his girlfriend – she had changed her mind about investing in a butcher shop after getting to Lille, and wants him to take up a paid job instead. Things come to a head and he flees to Paris after attacking his girlfriend in a fit of rage. He rents the old motel room where his daughter was conceived fifteen years ago, picks up his daughter from the care home for a day out, but brings her to the room instead. There are three bullets left in his revolver – how is he going to use it…

The film hardly looks like one made by a director beginning to find his feet in cinema. Not only is it immaculately planned and executed, it has also become a blueprint of sorts to his future style of film making.

One is also intrigued by Noé as a person, his themes and subjects may point to a tormented soul with strong pacifist leanings, but one could also see his clear convictions on what he wants to tell, made apparent in almost every aspect of the production, be it the way he frames his subjects, the clear-cut, almost brutal scene transitions, his preference for strong colours, and also his typographic choices. He remains one of the truly remarkable film makers in world cinema today, and every new film of his is enthusiastically anticipated by film lovers, myself included. I look forward to his current project, “7 días en La Habana” – a collection of short films by an eclectic mix of directors, which also includes the great Julio Medem – and I hope it turns out to be as special as it deserves to be.



.
Continue reading →

Posted in France, Gaspar Noé | Tagged , , , , , | Leave a comment

Ivonne Montero & co in “Asesino en Serio” [2002 Mexico, Spain]

Posted on May 28, 2011 by TR

Antonio Urrutia’s outrageous comedy “Asesino en Serio” [Eng. Titles: Serious Killer, I Murder Seriously] is one of those deliciously tacky films you’ll love to have in your collection. I had reviewed this several years ago, but this a reappraisal from my DVD.

The film is a sumptuous feast – it is ridiculously funny in places, especially the scenes between the protagonist Jesús Ochoa who plays the crime investigating officer Martínez, and Santiago Segura who plays the priest Gorkisolo, where liberal helpings of satire are dished out. It is also sexy with some seriously gorgeous Mexican beauties spicing things up. The casting, cinematography, direction, and of course the exquisite soundtrack give it the essential Latin flavour. There may be a lot of goofs and inaccuracies if you want to really nit-pick, but that is actually part of the film’s charm. And I’m quite surprised Antonio Urrutia hasn’t made a film since, at the time of this posting. But if you like Latin American cinema, you’ll simply love this – needless to say, Highly Recommended Viewing..!

Commandante Martínez is puzzled by the strange spate of murders in his neighbourhood – dead women found wearing the broadest of smiles, as if they were in a state of ecstasy when they breathed their last. The coroner establishes that the deaths were caused by ‘fatal’ orgasms. Martinez traces the murders to a recent discovery by an archaeologist – about erotic techniques used by mesoamericans. Which leads him to a priest who’d been perfecting his technique of the new-found knowledge upon unsuspecting prostitutes. It so happens that Martínez also needs to master the technique if he’s to survive an elaborate plot to eliminate him…

The Nudity – Compilation 1: Laila Saab, Liana Iniesta, and others

Laila Saab and Liana Iniesta in Asesino en Serio

One of the sexiest opening credits in film, where endearingly beautiful Laila Saab works her charms on her archeologist-professor, with serious consequences.

Scene Guide:

  • This must be one of the sexiest opening credits in film – a student seduces her professor-archaeologist to see if his theories about Meso-American eroticism are true – with devastating consequences. Endearing Laila Saab plays the sexy student who soon ends up dead, leaving Martínez and his team baffled. The coroner reports that she was filled with vaginal fluids at the time of death. The track “Amado Mío” by Pink Martini is works for this scene beautifully.
  • Victim no: 2 – Father Gorkisolo tries out his newly acquired knowledge on Estelita, a local prostitute, played by Liana Iniesta. Martínez investigates.
  • Victim no: 3 – which I think is played by Fabiola Torres, but I’m now not sure.
  • Victim no: 4 – actress uncredited.


The Nudity – Compilation 2: Ivonne Montero
Yolanda is the love-interest of Martínez. After making her the beneficiary of his life insurance policy, he discovers that she’s after all a scheming bitch in a hurry to eliminate him so that she could live with her ‘real’ lover with the windfall. Yolanda is played by an extremely easy-on-the-eye Ivonne Montero.

Ivonne Montero in Asesino en Serio

The gorgeous and sexy Ivonne Montero is perfect eye candy in “Asesino en Serio”.

Scene Guide:

  • Martínez with Yolanda – sparks fly but the poor ol’ chap couldn’t contain his excitement.
  • An extension of the above scene from the DVD extras.
  • Yolanda makes sure her next date with Martínez will be special. By now he already knows about her cunning plan and is plotting one of his own.
  • Martínez shows Yolanda her birthday present – the insurance document, and soon treats her to his newly acquired technique. He also OD’s her lover and places him next to her body.
  • CSI Mexico arrive and are still bickering over the reason for Yolanda’s death.
  • Brief scene of Martínez with the only woman who seems to care about him – prostitute Gilda, played by Gabriela Roel.

.
Continue reading →

Posted in Mexico | Tagged , , , , , , | 5 Comments

Elisabetta Rocchetti & Stefania Rocca in “L’amore è Eterno Finché Dura” [2004 Italy]

Posted on May 26, 2011 by TR

Actor-director Carlo Verdone has been a staple of Italian cinema for several decades. While his films are generally light comedies, his 2004 film, “L’amore è Eterno Finché Dura” [Eng. Title: Love is Eternal While it Lasts] is a comedy that tries to seriously examine modern family life, by focusing on a marriage going through crisis.

The film starts with Gilberto attending a speed-dating event, after signing up as a widower. His wife of twenty years Tiziana is however pretty much alive, both livng a seemingly harmonious life with a teenage daughter. He marks his interest in a woman named Stella, but doesn’t take it any further. But when Stella disappears shortly after the speed-date, police call him, along with all the other participants of the dating event for questioning. Tiziana accompanies a reluctant Gilberto for the interview, and is understandably ticked off after learning about his attending the event (and that too by pronouncing her dead). She promptly asks him to vacate the flat, leaving Gilberto to temporarily crash at his best friend Andrea’s flat, who lives with girlfriend Carlotta.

Gilberto initially tries to win Tiziana back, but changes his mind after he learns that she’s been having an affair with their family doctor, after all. Several twists and turns in the ‘pairing-up’ game ensue after Stella, the girl who disappeared after the speed-date event, returns. Through it all, the film flows pretty well, thanks to some clean writing, but is made less credible by the fact that the various breakups seem to happen without causing any noticeable fuss or trauma to the other party. It is as if Verdone is too weary of straying from his traditional forte of comedy by portraying things more convincingly. I think he should have taken the chance and made a proper drama, as opposed to a comedy drama.


Compilation: Elisabetta Rocchetti and Stefania Rocca

Elisabetta Rocchetti and Stefania Rocca in L'amore e eterno finche dura

Elisabetta Rocchetti is nude and Stefania Rocca sexy in the Italian film, "L'amore è Eterno Fincé Dura".


.

Continue reading →

Posted in Italian Cinema | Tagged , , , , | Leave a comment

Marina Kalogirou & Anna Mouglalis in “Alithini Zoi” [Greece, France 2004]

Posted on May 25, 2011 by TR

Watching Panos H. Koutras’s Greek fantasy drama “Alithini Zoi” [Eng. Title: Real Life] was an exotic and sometimes surreal experience as it swung back and forth from melodrama and romantic fantasy. It was refreshing nevertheless, even thrilling at times, even though what originally drove me to purchase a DVD was an underwater scene involving the rather cute Marina Kalogirou, and the fact that Anna Mouglalis also makes an appearance (in the nude as well).

The film itself is interesting to watch despite its minor shortcomings (mostly editing) – but then again it is a commercial film that’s not really meant to be taken too seriously. Having said that, the direction is stylish, and performances by all the main actors are of high standard, particularly that of Mlle. Mouglalis.

The film is made of three parts – In the first we see rich kid Aris returning home after some kind of drug rehabilitation – he had also ended his relationship with childhood sweetheart Joy, and is eager to start life afresh, but is also haunted by his father’s death when he was very young. He wants to know more about the circumstances, but none of them in the household, particularly his mum is interested in rekindling the past. One day, he sees Alexandra designing a store window and instantly falls in love. They connect and all seems well, until Joy turns up out of the blue, making things complicated. Alexandra decides to leave Athens and takes up the offer made by Aris’ mother (to stay away from her son for a period of time). The film then goes through several twists and turns, including some dramatic revelations about Aris’ parents, until Alexandra’s return, when we are shown their old romance is still alive.

The surreal moments include helicopters setting ablaze the Acropolis, the mysterious swimming pool at Aris‘ home that’s inhabited by a strange sea creature. I don’t know whether Koutras was trying to achieve something similar to what Julio Medem did with the island in ‘Lucía y el Sexo’ – I had to rely solely on the subtitles to tell me the story, and there may be some cultural symbolism I might have missed in the process – perhaps a Greek visitor could illuminate us at some point. The film is interesting nevertheless, and definitely worth viewing.



.
Continue reading →

Posted in Anna Mouglalis, Greek Cinema | Tagged , , , , , | 3 Comments