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.
Tampilkan postingan dengan label Hayao Miyazaki. Tampilkan semua postingan
Tampilkan postingan dengan label Hayao Miyazaki. Tampilkan semua postingan

Rabu, 23 Maret 2011

もののけ姫, Mononoke-hime

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Hayao Miyazaki

Tahun Rilis: 1997
Judul Internasional: Princess Mononoke

“Watch closely, this is how you kill a god,” seru Eboshi, pemimpin Iron Town, sembari mengacungkan laras senapannya dengan penuh kebanggan diri tepat ke arah kepala Deer God (dewa yang menjaga hutan). Terhitung sudah tiga kali Eboshi mendentumkan pelurunya ke arah dewa. Pertama ia melukai Nago, dewa babi hutan yang karena kemurkaannya kemudian berubah menjadi iblis dan melarikan diri ke timur. Sialnya kutukan Nago malah mengenai Ashitaka, seorang pangeran dari Emishi. Karena kutukan itu pula Ashitaka terpaksa meninggalkan sukunya. Mencari asal muasal kutukan tersebut.
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Minggu, 20 Maret 2011

ハウルの動く城, Hauru no Ugoku Shiro

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Hayao Miyazaki

Tahun Rilis: 2004
Judul Internasional: Howl's Moving Castle

Film ini diadaptasi dari novel Howl's Moving Castle karya Diana Wynne Jones.

Howl's Moving Castle, diangkat dari novel yang sering saya lihat di Gramedia tapi belum sempat-sempat dibeli, mungkin memang tidak sekompleks film-film Hayao Miyazaki lainnya. Tidak sematang apa-apa saja yang sudah dipamerkan oleh Hayao Miyazaki. Film yang satu ini cenderung lebih simpel dan lebih straightforward ketimbang film-film Hayao Miyazaki lainnya yang dibumbui metafora-metafora mendalam. Film ini lebih berupa petualangan visual fantastik, ketimbang simbolik.
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Sabtu, 19 Maret 2011

千と千尋の神隠し, Sen to Chihiro no Kamikakushi

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Hayao Miyazaki

Tahun Rilis: 2001
Judul Internasional: Spirited Away

I

Nama dan makanan sepertinya jadi simbol yang paling penting dalam animasi bikinan Hayao Miyazaki ini. Kunci film ini, kalau boleh saya bilang. Nyatanya, petualangan Chihiro di dunia arwah, saah satunya, tidak akan dimulai kalau kedua orang tuanya tidak dengan rakus melahap makanan yang tersedia. Dan kalau Chihiro tidak memakan buah (atau semacam itu) yang diberikan oleh Haku, dia akan menghilang selamanya dari dunia arwah.
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