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.

Sabtu, 11 September 2010

Fei Chang Wan Mei (非常完美)

Oleh: Rio Johan (Rijon)Sutradara: Eva Jin
Zhang Ziyi, Fan Bingbing, Peter Ho, So Ji-sub, Yao Chen, Ruby Lin

Tahun Rilis: 2009
Judul Internasional: Sophie's Revenge

Zhang Ziyi duduk di bangku produser, sekaligus pemain, untuk pertama kali. Bedanya, film investasi pertama Zhang Ziyi ini bukan epik, melainkan romantic comedy. Yang artinya, penampilan perdana pula bagi Zhang Ziyi untuk tampil di film yang tidak ada pedang atau pistol. Andai kata film ini bukan film Zhang Ziyi, mungkin saya tidak akan tertarik menyentuh kotak VCD-nya, karena pada dasarnya Sophie's Revenge hanya sekedar another rom-com Asia.

Tidak tanggung-tanggung, selain Zhang Ziyi, bintang-bintang Asia lainnya pun digandeng: Fan Bingbing (Lost in Beijing, Bodyguards and Assassins, dan Wheat), Peter Ho (yang demen serial Asia pasti tahu yang satu ini), dan So Ji-sub (saya tidak tahu apakah So Ji-sub terkenal di Korea Selatan, tapi saya pernah nonton film yang dibintanginya, Rough Cut).


Cerita adalah poin terlemah dari Sophie's Revenge. Sophie (Zhang Ziyi), seorang penulis komik yang ceroboh, manja, dan kekanak-kanakan, baru saja diputuskan oleh Jeff (So Ji-sub). Padahal Jeff baru saja melamar Sophie di depan keluarga dan temannya. Alasan Jeff memutuskan Sophie adalah salah satu alasan terklise dalam rom-com: selingkuh. Jeff bertemu dengan Joanna (Fan Bingbing), bintang film terkenal yang lebih cantik dan lebih menggairahkan daripada Sophie. Sophie yang putus asa memutuskan untuk merebut Jeff kembali, dibantu oleh dua sahabatnya Lucy (Ruby Lin) dan Lily (Yao Chen). Sophie juga dibantu oleh fotografer tampan yang mengaku sebagai mantan Joanna, Gordon (Peter Ho)—the other guy. Kalau Anda maniak rom-com atau fanatik dengan serial-serial Asia (which is not me), Anda pasti bakal menebak jalinan cerita film ini. Full of cliché.

Kalau Eva Jin mengira bisa menambal semua kelemahan cerita dengan adegan-adegan avant-garde bergaya komikal yang omg-so-sweet dan pakaian-pakaian glamor ala majalah fashion Korea, maka salah besar. Apakah film ini memang ditujukan untuk menjadi film avant-garde? Tapi adegan-adegan surreal-komikal yang disuguhkan lebih tepat disebut bodoh nan tolol ketimbang avant-garde. Oh, and the fashion is amaizing. Saking amaizing-nya, Zhang Ziyi lebih mirip model Burberry Fall-Winter Runway, ketimbang mau menengok mantan pacar di rumah sakit. Maaf, tapi style cannot substitute substance.


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