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 Sébastien Lifshitz. Tampilkan semua postingan
Tampilkan postingan dengan label Sébastien Lifshitz. Tampilkan semua postingan

Minggu, 30 Januari 2011

Presque rien

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Sébastien Lifshitz
Pemain: Jérémie Elkaïm, Stéphane Rideau, Dominique Reymond, Marie Matheron, Laetitia Legrix, Nils Ohlund, Réjane Kerdaffrec, Guy Houssier, ,Violeta Ferrer, Robert Darmel, Marie-Claire Durand, Charline Levaque, Sarah Reyjasse, Gildas Chotard, Eric Savin

Tahun Rilis: 2000
Judul Internasional: Come Undone

Saya rasa Presque rien yang kalau diartikan ke bahasa Inggris kurang lebih menjadi “Almost Nothing,” atau dirilis secara internasional dengan terjemahan lepas “Come Undone,” adalah judul yang sangat tepat untuk film ini – saya tidak bisa memikirkan judul lain yang lebih pas. Dari posternya (apalagi poster yang di sini) saja sudah bisa ditebak bahwa film Perancis ini berisi tentang kisah sepasang kekasih homoseksual. Namun, seusai menyaksikan film ini sampai habis, saya sama sekali tidak menganggap Come Undone sebagai sebuah film gay atau film homoseksual.