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.
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Sabtu, 22 Mei 2010

(Ajami) عجمي

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: Scandar Copti & Yaron Shani
Pemain: Fouad Habash, Ibrahim Frege, Scandar Copti, Shahir Kabaha, Eran Naim

Tahun Rilis: 2009
Judul Ibrani: עג'מי
Judul Internasional: “Ajami”

MULTIPLE pointview memang bukan gaya baru dalam sepak terjang dunia perfilman. Gaya semacam ini, di era milenium ini, sudah sering dipopulerkan oleh beberapa film, katakanlah: “Babel”, “The Air I Breathe”, dan “Crash”. Gaya itulah yang diusung film yang susah payah saya cari DVD-nya (bajakan – susah kalau mengharapkan ori-nya). Sebagai informasi, film dari Israel ini masuk jajaran besar nominator Best Foreign Language Oscar 2010, dikalahkan oleh “El Secreto de Sus Ojos”, sebuah crime thriller dari Argentina.

Oke, ini dia resensi dari film yang menggagalkan “Jamila dan Sang Presiden” untuk masuk jajaran nominator Best Foreign Language Oscar itu.
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Rabu, 12 Mei 2010

A Passage to India

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)
Sutradara: David Lean
Pemain: Judy Davis, Victor Banerjee, Peggy Ashcroft, James Fox, Alec Guinness

Tahun Rilis: 1984

Diangkat dari novel “A Passage to India” (1924) karya E.M. Foster.

Drama Kesenjangan Berlatar Kolonialisme

BICARA tentang film ini, sama saja artinya bicara tentang perilaku bentukan dari kesenjangan sosio-kultural. Film ini ber-setting di sekitar tahun 1920-an di masa kedudukan Inggris terhadap India, di masa itu pula gagasan-gagasan seputar gerakan kemerdekaan mulai berkembang di India. Bukan! Ini bukan “Lawrence of Arabia” atau “The Bridge on the River Kwai”, dua film pendahulu yang bisa dibilang melegenda bikinan sang sutradara (terutama “Lawrence of Arabia” yang masuk jajaran 10 besar film terbaik sepanjang masa versi American Film Institute). Film ini lebih memberikan sajian drama sosio-kultural ketimbang pertempuran epik. Jadi jangan berharap ada bunyi trang tring trang tring parang layaknya “Lawrence of Arabia”.
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