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, 18 September 2010

The Love of Zero

Oleh: Rio Johan (Rijon)
Sutradara: Robert Florey
Pemain: Joseph Marievsky, Tamara Shavrova, Anielka Elter, Captain Marco Elter, Arthur Hurni

Tahun Rilis: 1927

Film pendek berdurasi lima belas menit ini memiliki nuansa impresionalisme, cenderung ekspresionisme yang kental. Film ini dibuat cuma dalam waktu satu hari pada bulan Maret 1928 dengan budget $200 (yang terbilang cukup murah bahkan di masa itu).

Untuk ukuran film avant-garde, cerita The Love of Zero tidak terlalu membutuhkan pemahaman yang sangat amat mendalam. Seorang aktor pantomim, yang kemungkinan bernama Zero (Joseph Marievsky) jatuh cinta pada Beatrix (Tamara Shavrova) ketika sedang memainkan tambolin. Keduanya memupuk cinta bulan-demi-bulan sampai akhirnya sebuah surat mengharuskan Beatrix berpisah dengan Zero. Takdir membuat Zero dihantui kesendirian yang makin menjadi-jadi. Film pendek ini lebih mengedepankan gaya ekspresionsnya ketimbang konteks (baik yang tersirat maupun tersurat). Tidak terlalu terasa simbolisme yang mendalam layaknya film-film avant-garde pada umumnya. Gaya ekspresionis dalam The Love of Zero agak mengingatkan pada The Cabinet of Dr. Caligari. Penampilan para pemain lebih seperti sebuah pertunjukan pantomim (apalagi tidak adanya penjelesan dialog seperti film bisu pada umumnya). Seringnya emosi tokoh dipertegas dengan ekspresi hiperbolik yang ditunjukkan berulang-ulang. Dunia dalam The Love of Zero digambarkan serba asimetris; pintu asimetris, jendela asimetris, dll. Bisa juga ditemukan teknik-teknik tertentu, seperti kamera miring (oblique angle), split screen, dan disotrsi untuk memperkuat kesan impresionisimenya.


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