A thirtysomething guy with arrested development falls for a thirtysomething girl with arrested development, but moving out of his junior high school bedroom proves too much and tragedy ensues.
Archives: Filmes
Almost a musical autobiography. Written by Peaches and directed by Robin Thomson, the film is the result of a 10 day show in Berlin and in it we can watch and listen to songs like Set It Off, Lovertits, Diddle My Skittle, I U She, Shake Yer Dix and Fuck the Pain Away. With a smashing cast, this is a presentation of her work and stage presence, with backstage footage, inspired as much by the Rocky Horror Picture Show as by Gene Kelly or Fred Astaire.
The first film in a trilogy that is, one might say, about love. Desperate in Love, obsessive, in Faith, naive, in Hope. The three parts have other connecting elements. Not just the three protagonists, the family tie, but the same caustic sense that comes from Seidl’s previous filmmaking, the same pleasure to operate on the grotesque mercilessly. Teresa wants to be looked in the eye while being touched and forget that she does this in exchange for thousands of shillings just steps away from a Kenyan resort. On the beach, the geometric shots divide tourists and locals, like a rope that separates territories and that few dare to cross. Somewhere between flesh and colors, Seidl positions the hunting game and enjoys changing its direction whenever he pleases. (M. M.)
18th February 2010, Niger, President Mamadou Tanja is ousted by a military coup. The film takes place during the event and the following days. Sticking to the people mining for gold in the open air, to the persons receiving alimentary aid, the film evolves around the idea that nothing actually changed that day. The Harmattan is as strong an ever, covering the land with the desert dust. (Karim Shimsal)
Captain Awesome is about to save the day once again, when an upset stomach threatens to ruin it all. A story of a superhero’s race against time to save his image or humanity before it all goes down the drain!
Meli doesn’t seem too upset about spending the holidays in a camp for obese youth. After all, they are teens who have fun like everyone else, drinking and smoking, sneaking from adults, playing games. Her mother, Teresa, is in a resort in Kenya. The boring routines of discipline and exercise are softened by visits to the doctor on campus, who Meli falls in love with. The nearly 40 years that separate the two don’t prevent the man from coming closer than he should. The shots in which they gaze, almost naked, are confusing, but there is a softness in the statement of love. In the universe created by Seidl, even the unacceptable seems understandable. (M. M.)
Sorry, this entry is only available in European Portuguese.
Se para Teresa o paraíso seria ter um amor terreno, para a sua irmã, Anna Maria, a felicidade suprema tem de vir da fé. Radiologista durante o dia, no tempo que lhe sobra empenha-se na missão de evangelizar almas perdidas – um casal que vive em pecado, uma alcoólica e outros seres humanos sem rumo. Através da abnegação total dos prazeres carnais, da penitência diária, da tentativa de conversão dos hereges”
Developing from an idea of diptych, the story of Anajara and Allison is told from two perspectives in continuity. If late night work complicates the life of one of them, the incarceration in jail of the other determines a cycle of separation. Salaviza’s skill to direct amateur actors is showed in this film, one of his more precise works. (Miguel Valverde)
Sixty-five actors portraying Hitler make an appearance in Conference Notes on Film 05, but the original is never seen. All the Conference Hitlers are from after the 1940s, and Norbert Pfaffenbichler filmed them in Super 8 and black and white from a monitor so that they match. (Olaf Moller)
If there is a perfect ground between documentary and fiction, in which a film grows in stable equilibrium, Vigil Vernier found it innately. The strangeness of the routine of two strippers in a bar in Orleans mixed with the equally bizarre annual festivities in honor of Joan of Arc. Both girls understand each other. At night they are a fiction of themselves, during the day they plunge in the narration of the life of another woman, extending it to theirs. An environment not too far from Rohmer’s romantic surgery. At first we are nervous, we await the shock, but the spontaneity of colors and movements, dialogues, makes these events, however distant they may be, seem as natural as our own routine. (M. M.)
Mischa is the anti-hero in crisis and is on the vertex of an unusual triangle of disaffection. He is fired from the school where he teaches and throws himself into a spiral of bad decisions. The character, played by Nonny Geffen who also directs the film, doesn’t waste much time thinking about what he must do. The events escalate and Mischa acts as he thinks best: kidnaps an under age student, faces a group of angry feminists, kills his mother ‚ it’s alright, she asked him to, it was just a favor – goes after an old passion. The three of them, kidnapped, kidnapper and passionate, settle in his apartment in a somewhat possessive coexistence, waiting for the moment when everything ends. Salvation comes in the form of a star of Israeli cinema. (M. M.)
A long travelling opens the film and establishes the environment of this short, winner of the Golden Palm at Cannes 2011. The tensions provoked by the apparence of the end of adolescence give place to confrontation, but the tender and misterious ending takes us back to the lirism of the beginning. An eternal return shot with mastery and rigor. (Miguel Valverde)
The same situations repeat themselves and reality and fiction are confused inside the characters minds, to create a singular, circular film. Nature is there as a generous background, while literature’s importance obscures everything, especially the truth. Books and loud music serve as a distraction as everything is made up, except the fact with which the narrator opens the film: Júlio lives and Emília dies. They had Proust in common, but neither of them had read all of his books. The number of pages finished worked as an assurance, a way to keep the relationship alive, like a bonsai. Eight years later, Blanca is his new girlfriend, a believer in the small lies he tells her and himself. As windows, balconies, doors and bridges multiply in unconstrained shots, there is no way to cross over to see into who the characters really are. (Ágata Pinho)
An anonymous and discreet man sits at his usual coffee after work, to kill time. Life has been like this for many years now – home, work, coffee, home. While smoking endless cigarettes, he watches.
Our Father expresses the anguish of the clash of two generations of women in their vision of religious life. While the grandmother restores her faith in a homemade altar to the Virgin Mary, the granddaughter shatters her belief focusing on the potential of supernatural characters in Japanese manga.
Based upon photos of her family and boyfriend, Carina Freire directs the portrait of two opposite clans. Between the two of them: herself.
With a pixel-minimalistic style of animation comes the story of an American soldier who provided thousands of confidential documents to Wikileaks. The tone of the film is satiric, the animation basic but effective and the narrative off screen shows us the true meaning of globalization. (Miguel Valverde)
Three stories with no apparent connection between them, with only one thing in common: a deep dramatic observation of motherhood. Trying to fit The Moving Creatures in a cinematographic drawer is letting a film that is not afraid not to fit in formal territory slip away. Caetano Gotardo was fearless and jumped all boundaries to explore territories that interested him. In this almost Greek tragedy in III acts, the monstrosity of each action is totally overwhelmed by maternal love and shaped by romanticism. Cruelty is, indeed, in daily gestures, in the return to banality after an event that destroys all foundations. (M. M.)