A sumptuous landscape in vivid black and white. The hills of rural England transformed into a set of deeply resonant shadow-forms, but the land always retains its specificity.
Archives: Filmes
Shot over a period of 10 years, “Strange Powers: Stephin Merritt and the Magnetic Fields” explores songwriter Stephin Merritt’s friendship with his longtime bandmate and manager Claudia Gonson. Through his recording and songwriting process, the film traces a 20-year career that has yielded one of the most engaging bodies of work in the contemporary American songbook. An intimate documentary portrait of Merritt and his band the Magnetic Fields.
Through an encounter with three communities emblematic of the virtual universe that is “Second Life” – Furries, Goreans, and evangelical Christians – the film questions the porosity of real life and virtual life. For these players, the border between the real and the virtual weakens until it no longer has any meaning and the two become inextricably mixed together.
Forced into early retirement due to retinal damage which left him blind, former detective Johnston Chong See Tun ekes out his living by solving cold cases for police rewards. During a bank robbery case, he meets an attractive hit team inspector Goldie Ho Ka Tung. When Ho notices Chong’s strong sense of hearing and smell, she enlists his help in a personal case and he decides to take a stab.
Rosso Cenere explores poetical, mystical and visionary aspects of the island of Stromboli and the film made in 1950 by Roberto Rossellini, Stromboli, Terra Di Dio. It uses archive footage from the restored print of Rossellini’s film, together with sequences from documentaries shot by Vittorio De Seta in the Aeolian Islands, and home movies by Ingrid Bergman not previously screened in public. The protagonists of the film are four islanders ‚ two of whom were directly involved on set in 1950 ‚ and the film critic Adriano Aprà, a leading authority on the work of the neorealist director.
The hen likes to play with Miriam’s Kite; when Miriam decides she no longer wants to play, the hen convinces her younger brother to come and play; however, with such a big kite, soon they’ll be in trouble.
In 1869, John McGregor, a Scottish explorer, set out on a journey along the Jordan River from its source to the Sea of Galilee aiming for a personal transformation that would come out of the passage through the Holly Land. In the summer of 2011, the Israeli directors Effi Weiss and Amir Borenstein retraced McGregor’s steps and found mostly tourists and vacationers along the river’s path. The varied encounters, view of the landscape, and random conversations raised questions of kinship and ownership, closeness and distance, and the ability ‚ or inability ‚ to see the place through the biographical and ideological veils that have shaped us.
In Werner Herzog’s new film Nicolas Cage plays a rogue detective who is as devoted to his job as he is at scoring drugs – while playing fast and loose with the law. He wields his badge as often as he wields his gun in order to get his way. In the aftermath of Hurricane Katrina he becomes a high-functioning addict who is a deeply intuitive, fearless detective reigning over the beautiful ruins of New Orleans with authority and abandon. Complicating his tumultuous life is the prostitute he loves. Together they descend into their own world marked by desire, compulsion, and conscience.
Movie-star Flo, Nisi the thoughtful young girl, and Aza old enough to trudge with the rest of us but still expecting to be pushed around on wheels. The sun doesn’t kid around when it’s a sunny day in Rome. But it’s a perfect day, when – as said – nothing happens.
Warning: This film may be especially unsatisfying for those who dislike having others read over their shoulders. Michael Snow’s simple but clever concept of a film consisting entirely of text that addresses the viewer directly provides the audience with a surprising and complex experience.
Being a Sandguy is hard when the sea constantly washes away the constructions made along the beach; still there is a solution for everything.
Áurea, a solitary teacher, starts a singular relationship with a young man with whom she has a chance encounter. A sensitive soul, she finds herself attracted to his moving beauty which compels her to lose herself. In the days following their first conversation, Áurea displays her feelings during the private classes she’s giving him. This will lead to the revelation of an unusual story from the past that will transform the present.
The film gathers the musical interests of four siblings, founders of the cultural association d’Orfeu in Portugal, as starting point for deep in a genesis of the Portuguese traditional music and to broaden it to other contexts and placing the question: how would the Portuguese music be if it appreciated itself?
Like a ballad “Seven Songs from the Tundra”, stretching over seven songs, tells about the life of the Nenets, a nomad people in northern Russia. During Soviet times harassment and the pressure to assimilate increasingly took over their everyday life. After teaming up to film a series of documentaries on the life of the Nenets people in the 1990s, Markku Lehmuskallio and Anastasia Lapsui came up with the idea of making a feature film that “would be more expressive, multi-faceted and free”. Anastasia Lapsui, herself a Nenet by birth, wrote the script in which she recreates the legends and her own experiences, and the film was made with amateur actors. “Seven Songs from the Tundra” is the first feature film to be made in the Nenets language.
In a fourteenth century building, Trissakia 3 shows us the passing of time as the sunlight moves during the day and illuminates the past, directly or reflected, pointing the future.
It was said that the young Sheep would live his simple employee’s life in the Sea Restaurant for three years, and that he would be snatched to this life after a tragic night at Sainte Anne’s local dance. Here is the fragmentary story of his friends, in a small town inhabited with dogs and hopes, contained in little gesture.
Mads should have told the truth. Actually, he is terrible at fighting.
Synchronisation has been compiled from free associations and small impossibilities. The slow tempo and spatial soundtrack give the film a compelling atmosphere and inner logic. Buildings from the Soviet era make the scenes monumental and suggestive.