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 Taraneh Alidoosti. Tampilkan semua postingan
Tampilkan postingan dengan label Taraneh Alidoosti. Tampilkan semua postingan

Kamis, 10 November 2011

درباره الی (Darbareye Elly)

TULISAN INI MUNGKIN MENGANDUNG SPOILER!
Oleh: Rio Johan (Rijon)Sutradara: Asghar Farhadi
Pemain: Golshifteh Farahani, Taraneh Alidoosti, Shahab Hosseini, Mani Haghighi, Merila Zarei, Peiman Ma'adi, Ahmad Mehranfar, Rana Azadivar, Saber Abar

Tahun Rilis: 2009
Judul Internasional: About Elly

Andaikata memanglah ada pemaknaan atas istilah “sinema neo-realis,” sinema Iran patutlah dijadikan salah satu patokannya. Film yang melambungkan nama Asghar Farhadi ini, layaknya kebanyakan produk-produk festival Iran lainnya, tampil begitu bersahaja; dibawakan pula dengan cara yang membumi dan tak luar biasa; dekat dengan keseharian kita. Sebisa mungkin mendekatkan apa yang ada di layar dengan kehidupan penontonnya, tentu dengan tanpa perlu kehilangan kesejatian sinematiknya. Mungkin begitulah salah satu visi yang bisa saya intepretasikan dari istilah “sinema neo-realis.”
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