A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.
~ Stanley Kubrick
IN A BETTER WORLD (2010) — What makes the friendship between Christian and Elias so special is how deeply and honestly Susanne Bier displays the emotional side of both children. Only by peering the eyes of the two actors, I can feel the all emotional reasons why they become such small terrorists. YOUNG TÖRLESS (1966) — Violence is not just a physical matter, but also psychological and emotional. In Young Törless, ethical ​​and subjective values ​​were so contradictory. Then the boundaries between good and evil even more vague. PHARAOH (1966) — Faraon is an evocative anatopism, also an astonishing colossal. A truly rare gem of its kind. Not only works as a visual declaration, Kawalerowicz also made it so carefully, so mesmerizing, yet so challenging. THE BOYS OF PAUL STREET (1969) — An ironic allegory not only for the face of war, but also the heart of it: militarism and nationalism. The irony in the end makes the two terminologies be absurd. SPIRITED AWAY (2001) — “What's in a name?” asked Shakespeare. “A name is an identity,” said this movie. MISS JULIE (1951) - Miss Julie is a very challenging study, whether psychological or situational. In a simple but smart way, Miss Julie presents the phases of a political game of love and seduction. MY NIGHT AT MAUD'S (1969) - Éric Rohmer not only talk about choices and risks of choices, there is also a glimpse the importance of choices and the pain of choices. My Night at Maud's, for me, is the most amazing movie about refracting those two opposing aspects of life. TEN (2002) — The use of "dashboard camera" method by Abbas Kiarostami is successfully providing such microscopic spectacle about the characters, not only on outside but also capable of making this movie as a unique character and gender study. THE PARTY AND THE GUESTS / A REPORT ON THE PARTY AND THE GUESTS (1966) — The allegory is not only the great thing about this Czechoslovak New Wave Cinema movie, but also its weirdness, its unnatural behavior, its peculiar plot, but the most of it is about how the movie smartly move without caution. ELEPHANT (2003) — Elephant is a piece of work that should be commended for its bravery. Such compliments are mainly intended to for Gus Van Sant's guts on using such non-linear and unusual narrative spectacle. Also packed with such unnatural risky styles which was really cost lot of guts.

Kamis, 03 Juni 2010

Taring

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Rizal Mantovani
Pemain:
Fahrani Empel, Rebecca Reijman, Shinta Bachir, Dallas Pratama, Meidian Maladi

Tahun Rilis:
2010

ENTAH apa yang ada di kepala Fahrani Empel, aktris yang bersinar di “Kala” dan “Radit dan Jani,” ketika menerima tawaran bermain di filmnya Rizal Mantovani ini. Yang pasti, film yang Fahrani bintangi kali ini jatuh drasits kualitasnya ketimbang film-filmnya sebelumnya.

Creature Thriller (?) atau Kutang Thriller (?)

Dengan bangga Rizal Mantovani memperkenalkan istilah buat filmnya ini: creature thriller. Ya, seakan-akan dengan menyebut istilah keren semacam itu, beliau merasa bisa menipu penonton-penonton Indonesia. Entah ya, kalau saya pribadi film ini sama sekali tidak cocok dibergi gelar creature thriller, saya lebih suka film ini disebut kutang thriller.

Alasannya? Karena tidak ada bagian yang benar-benar thrilling dari penampakan creature (apapun itu nama makhluknya) yang diciptakan Rizal Mantovani. Satu-satunya adegan yang thrilling, bagi saya, adalah penampakan wanita-wanita yang cuma bersempak dan berkutang sambil menari-nari tipsy di sebuah pesta (sedekahan?). Sisanya? Dari segi cerita skenario film ini seakan-akan digarap sambil tidur-tiduran. Tidak perlu saya jelaskan panjang lebar seberapa dangkalnya cerita film ini. Dari segi penampilan? Well, Fahrani dan Dallas Pratama sama sekali tidak menganggu. Justru para pemain pendungkungnya yang menganggu, apalagi aktor-aktris pendukung yang dicomot dari sinetron (saya tidak tahu nama pemainnya). Ya, penampilan mereka wajar saja sinetronis sekali. Efek spesial yang digunakan pun serasa nanggung sekali. Bahkan saya yang duduk di bioskop pun serasa nonton versi horror sekualitas siaran tivi yang tayang di twenty-one.

Sudah cukup sampai di sini saja bahasan saya. Saya sendiri juga tidak terlalu tertarik menulis panjang lebar soal kutang thriller garapan Rizal Mantovani ini.

http://4.bp.blogspot.com/-XTb17DD8CzQ/TWvQkp5sXVI/AAAAAAAACNk/hbVhZ8ftLoI/s1600/F.bmp

Surakarta, 3 Juni 2010

Tidak ada komentar:

Poskan Komentar