With the fall, the cinephile profession is again a employment full time. Especially as the most beautiful film of the week, Aquarius is a big piece, with its two and a half hours should be repeat until ‘depletion of its rich material.
More succinct, animated short films has inspired Guillaume Apollinaire offer a lesson of history as much as poetry. Fuocoammare shot by Italian filmmaker Gianfranco Rosi, on the island of Lampedusa, himself is anchored in a closer reality. But anyway, no way not to go to movie failing to accumulate a delay that weeks come will only dig .
A COSMOS WHOSE CENTRE IS A WOMAN “Aquarius” by Kleber Mendonça Filho
For many festival goers, the two finest films Cannes 2016 were ignored by the jury. After Toni Erdmann behold fate of the other forgotten charts Aquarius second feature film Brazilian Kleber Mendonça Filho.
The film is hatched as a woman’s portrait – Clara (Sonia Braga), almost septuagenarian, who lives alone in an apartment Recife ( Brazil ) threatened by the greed of developers. This intimacy unfolds in time – the life of Clara, loving beings, of music, of the existence – and in the space of Recife, whose folds conceal the contradictions of a human society that is here be Brazilian.
Never use in flashback, Kleber Mendonça Filho made of Aquarius a historical fresco where the past seeps into every crack this: for pass his musical knowledge to future generations, Clara goes from vinyl to digital files; to fight against predators, it finds the reflexes of his militant past …
The look that the filmmaker covers this sublime character does not mean blinded by love : Clara is a compelling woman, often indifferent to others – the embodiment of this generation ‘ after 1968, which never ceases to abandon power . And his interpreter, who had disappeared from large screens for decades, is stunningly seductive, authority and fragility. Thomas Sotinel
“Aquarius” Brazilian Kleber Mendonça Filho film starring Sonia Braga, Maeve Jinkins, Irhandir Santos, Humberto Corrao (2 h 25).
THE PROPOSED POSITIONS OF THE FORTRESS EUROPE “Fuocoammare” Gianfranco Rosi
the Italian island of Lampedusa, located 110 kilometers from the Tunisian coast, has seen in twenty years tens of thousands of people stranded on its shores in the hope of join the Europe.
So, what good report images of Lampedusa, except for show the same drama in the same way? The new documentary by Gianfranco Rosi ( Sacro GRA 2013) Fuocoammare Golden Bear at the Berlinale 2016, opposes the media precipitating a wider temporality, less dependent on the news. Lampedusa is less a symptom than a resort, with the plurality of heterogeneous situations that it covers.
The film surprises from the outset by the way follow several things at once. It accompanies the journey of a 12 year old boy, Samuele, islander, who runs the campaign hunt birds with his slingshot, going to school and sometimes goes to sea with her fisherman father. A few steps away, the health authorities are on a war footing and deploy an arsenal to rescue shipwrecked.
Rosi shows the massive humanitarian system in place, as well as how the administrative machine instantly succeeds outstretched hand. Turning alone with his camera, he sculpts images of Earth splendor (the leaden skies, the shades of winter colors) often eyeing to an imaginary fiction. In doing so, it does not show Lampedusa otherwise than as a permanent point of encounter between chronic and tragedy, sedentary and nomadic, in sum between the House and the World . Mathieu Macheret
“Fuocoammare” Italian and French documentary by Gianfranco Rosi (1 hour 49).
FILMS RIMES: “Apollinaire, 13 film-poems”
Having spent Prévert Desnos in 2014 and in 2015, the wonderful program Leaving school invites to meet Guillaume Apollinaire. Once again, the result of these musings four hands, joining the genius of the poet’s talent facilitator, gives one of the finest appointments you animated of the year.
In exceptional variety of shapes and colors, programs like the idea we have of their poets. Apollinaire has this peculiarity that the destiny of the poet clearly listed in chronological movement: the personality of Apollinaire guess it from the perspective of his untimely death in 1918.
Beyond the varied impressions of each film – the euphoria a little drunk of At all dingotes and all dingos family warmth of Meals the lyricism of Pont Mirabeau – all is through a growing melancholy as we feel in words and photos how war transforms the soul before because of the body ( see the overwhelming Postcard, in which Fabienne Wagenaar animates the cards with the words of the soldier to his sister).
This is a history lesson as well as poetry, and further proof, not necessary but superb, the eternal force to Apollinaire. Noémie Luciani
“Apollinaire – 13 film-poems” thirteen French animated short films Augustine Guichot Hugo Faucompret Fabienne Wagenaar, Caroline Cherrier, Mary Lapparent Florent Grattery, Charlie Belin, Marjorie CAUP, Emilie Phuong, Loïc Espuche, Mengshi Fang Wen Fan, Gouriou Mathieu and Anne-Sophie Raymond (42 minutes).
SUBLIME NIGHTMARE YEARS AIDS “Bad blood” by Leos Carax
Some argue that Bad blood (1986), which in its time aroused the enthusiasm of a generation, is now dated. But “dated” does not necessarily mean obsolete. The film has incorporated in its form the essence of the times and, as a re-opened bottle, we restores such. Leos Carax, who was then only 25 years, we spoke to the place of the burning point, the teen romance, the ashes of decades was not enough to choke.
Alex (Denis Lavant), a young thug with nimble hands, ventriloquist at times, crosses paths with old race from start to gangsters (Michel Piccoli, Hans Meyer, Serge Reggiani) who embark on a shot that could all the put away fly in the top of a tower of defense the strain of a virus (the STBO) that infects the blood of “ those who make love without feelings ” .
Alex accepts this risky plan breathe a while the same air that Anna (Juliette Binoche), the girlfriend of Mark (Piccoli), whose beauty as pale as a ghost of Louise Brooks is well worth flows into the abyss. A halogen light, all of flashes and speckled spots, eradicates the darkness a world painted black and white, and occasionally upset with pure primary colors.
This flayed romance going so well in the 1980s, because then everything was just die . Cold lava covered the liberal political utopias of the previous decade. Loving youth was decimated by the AIDS epidemic (the other name of the hidden STBO). The same film was dying, nibbled on all sides by the conquering proliferation of advertising imagery. M. Ma.
“Bad Blood”, French film by Leos Carax (1986), with Denis Lavant, Juliette Binoche, Michel Piccoli, Julie Delpy, Hans Meyer, Carroll Brooks, Hugo Pratt, Mireille Perrier Serge Reggiani (2 pm 05).