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, 02 Oktober 2010

Ladies in Lavender

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Charles Dance
Pemain: Judi Dench, Maggie Smith, Daniel Brühl, Natascha McElhone

Tahun Rilis: 2004

Berdasarkan cerita pendek Ladies in Lavender karya William J. Locke.

Saya tidak pernah membenci film-film melodrama. Selama film-film melodrama itu dikemas dengan baik, tidak over atau tidak lebay (kalau dalam bahasa gampangnya). Melodrama debutan sutradara Charles Dance ini mengingatkan saya pada The Whales of August, sebuah film tentang masa-masa tua dua kakak-beradik yang diperankan oleh dua legenda akting yang keduanya masuk 20 besar Greatest Female Star AFI dan sudah mengecap Lifetime Achievement dari Academy Awards: Bette Davis (Jezebel, Of Human Bondage, All About Eve, Whatever Happened to Baby Jane? di usia 79 tahun ketika film itu diproduksi) dan Lillian Gish (yang sudah berjaya sejak era film bisu Hollywood, terutama di film Birth of a Nation, dan di era film bersuara paling dikenal di film Duel in the Sun 15 tahun lebih tua daripada Bette Davis ketika produksi The Whales of August). Bette Davis wanita pertama yang dianugerahi Lifetime Achievement dari Oscar, dan Lillian Gish wanita kedua. Di usia nyaris meninggal, keduanya dipasangkan sebagai kakak beradik di film yang tercatat sebagai film terakhir bagi keduanya. Cute (and great, of course) couple, isn't it?