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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Tampilkan postingan dengan label Michèle Morgan. Tampilkan semua postingan

Jumat, 08 Juli 2011

Benjamin ou Les mémoires d’un puceau

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Michel Deville
Pemain: Pierre Clémenti, Michèle Morgan, Michel Piccoli, Catherine Deneuve, Francine Bergé, Anna Gaël, Catherine Rouvel, Tania Torrens, Odile Versois, Simone Bach, Angelo Bardi, Sacha Briquet, André Cellier, Lyne Chardonnet, Madeleine Damien

Tahun Rilis: 1968
Judul Internasional: Benjamin, or The Diary of an Innocent Young Boy

Pierre Clémenti, seorang ikon sinema avant-garde Perancis era 60-an. Dalam Benjamin ia memerankan sesosok tokoh antitipe. Sebagai Benjamin, Clémenti disandingkan pada wanita-wanita ternama nan cantik dari berbagai generasi, mulai dari Michèle Morgan sampai Catherine Deneuve (yang masih begitu belia). Tiada satupun yang tangannya tak tergoda untuk menyentuh Benjamin.
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