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.

Minggu, 11 Juli 2010

Fantastic Mr. Fox

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Wes Anderson

Tahun Rilis: 2009

Film ini diangkat dari novel “Fantastic Mr. Fox” karangan Roald Dahl.

“FANTASTIC Mr. Fox” adalah film animasi berbentuk stop-motion. Bagi yang masih asing dengan istilah stop-motion, silahkan simak penjabaran singkat saya di sini atau langsung saja baca di Wikipedia. “Fantastic Mr. Fox” membawakan sebuah fabel kepada penontonnya. Tokoh-tokoh binatang di sini dibuat hidup, berbicara, bahkan bertingkah semacam manusia. Fabel is fabel.

Fabel yang satu ini bercerita tentang Mr. Fox (Pak Rubah) yang menikahi Mrs. Fox (Bu Rubah). Sebelum menikah, keduanya adalah partner in crime. Lantas ketika tertangkap perangkap saat mencuri ayam, Mrs. Fox mengaku sedang mengandung dan Mr. Fox membuat janji untuk tidak mencuri lagi. Putra mereka bernama Ash. Mr. Fox dan keluarga pindah ke sebuah pohon (kediaman mereka) yang lebih nyaman. Di wilahay tersebut hidup tiga orang pengusaha tani dan ternak yang konon sangat ganas. Bahkan anak-anak sekitar membuat lagu tentang mereka:

Boggis and Bunce and Bean,
One fat, one short, one lean.
These horrible crooks, so different in looks.
Were nonetheless equally mean.

Dasar memang hakikat (dan insting) rubah adalah mencuri, Mr. Fox dan Kylie (partnernya sekrang) diam-diam mencuri gudang tiga petani bengis itu. Tentu saja Boggis, Bunce, dan Bean tidak akan tinggal diam gudang mereka kecolongan. Dan pastinya, bukan Mr. Fox namanya kalau tidak penuh dengan akal bulus.

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“Fantastic Mr. Fox” dikemas murni dalam bentuk fabel. Binatang-binatang di sini bisa berbicara, makan, tidur, berpakaian, berpikir, bahkan dari segi penampilan fisik pun tampil layaknya fabel. Subplot tentang persaingan Ash dan Kristofferson, sepupu Ash yang merupakan sosok rubah remaja sempurna dari segala sisi, turut menambah kemenarikan film ini. Seperti “Coraline,” stop-motion yang dikemas dengan baik biasanya selalu memanjakan mata dengan sisi artistiknya. Kemenarikan artistik stop-motion jelas memberikan pengalaman visual yang berbeda (dan tidak bisa ditemukan) di animasi-animasi CGI atau 3D. Kalau “Coraline” memberikan nuansa dark, gotik, dan gloomy, “Fantastic Mr. Fox” memberikan warna-warna cerah yang memang umum dalam film-film animasi. Keistimewaan “Fantastic Mr. Fox” terletak pada setting artistiknya. Seting artistiknya yang berdimensi flat justru mengembalikan stop-motion klasik (cari vidio stop-motion klasik, and you'll know that). Seakan-akan penonton dipertontonkan backgrond ilustrasi yang dikeluarkan dari bukunya. Perwujudan para binatang pun sangat memanjakan. Bahkan detil bulu-bulunya sangat nyata, bahkan jauh lebih nyata dari bulu-bulu binatang yang dihadirkan oleh animasi-animasi CGI atuu 3D sejauh ini.

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