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 Morten Arnfred. Tampilkan semua postingan
Tampilkan postingan dengan label Morten Arnfred. Tampilkan semua postingan

Sabtu, 02 Oktober 2010

Måske ku' vi

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Morten Arnfred
Pemain: Karl Wagner, Marianne Groth Svendsen, Marie-Louise Coninck, Ole Meyer, Ole Ernst, Morten Hovman, Beth Lendorf, Kirsten Søberg, Ib Tardini

Tahun Rilis: 1976

Sebelum saya memulai resensi, ada baiknya saya peringatkan film dari Denmark ini mengandung unsur seksual yang cukup kental (sekalipun poternya kelihatan seolah-olah remaja). Måske ku' vi, atau kalau diterjemahkan bebas kira-kira menjadi Could We Maybe, adalah segelentir film langka yang membahas tentang coming of age atau pubertas (termasuk pula dari sisi seksual) secara cukup unik. Måske ku' vi juga terbilang berani dalam hal menyuguhkan adegan-adegan seksual. Tidak sevulgar Y tu mamá también atau Ma mère, memang, tapi untuk sebuah film dengan tokoh utama yang masih baru menginjak keremajaan, Måske ku' vi termasuk cukup lantang dalam hal adegan seksual.
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