Temos Archyvai: Kinas

Otilija Kerbelytė on a film „Black bread”

black bread
“Black Bread” – the film by Agusti Villaronga made by the same name Emili Teixidor novel, with elements of two other works by him, Retrat d’un assassí d’ocells and Sic transit Gloria Swanson, won many awards in films festivals and first film in Catalan language, has submitted the Best Foreign Language Film at the 84th Academy Awards.

The story develops at Spanish Civil War (1944) postwar period in Catalan village. In the forest 11-year-old Andreu (Francesc Colomer) finds corpses of a man and a boy. Suspicion of murder falls on Farriol (Roger Casamajor), father of Andreu, so it is forced into hiding. The boy believes that his father was innocent, but sent to another village further away from his parents’ problems, he has to reflect the question of his father innocence again.

The film is playing two spaces. One is closed – the houses, the cave, and second is open – the forest, the river, the way, the field. In the closes spaces dominate almost just grown-up. In their space-time suddenly all things become serious and ominous, frightening in its rational and inevitable. However, children are not prohibited in some moments intrude into the dangerous grown-up areas. For example, when the police arrested Farriol, children observe the arrest and thus they start to learn to understand an adult world full of negative things. Andreu dreams later that his cousin of his peers Nuria (Marina Comas) and he finds themselves in a cave and sees how adult males unsex a youngster. These images introduce children to the cruelty of adult existence. However, all the woeful experiences, caused by the invasion of the grown-up world, are offset by open space, reserved for children. Forest, road, meadow, where they tell legends, and sometimes have a fight, but the space is open to the most supernatural, magical forces that are friendly for the child, but oppressed by adults.

In this film one of these mystical creatures is a man-bird, which Andreu observes twice. The first time is when a man-bird drink water from the river, and the second time – Andreu cousin Nuria flitter. In both scenes are the substance of the nudity and the flight, but between the scenes is a major difference. Angelic looking naked guy in the back wings movements imitating bird drink the water from the river. His white body color combines with the splendor of the river, and creating the picture of some utopian place and with a sacred angelic chastity impression. That purity feeling is the opposite of the second soiled collision of Andreu with a man-bird.

Nuria stands in the balcony half undressed (contrary to the guy on the river nudity) and replicate bird flight. Looking at it there is no thoughts of ​​beauty and spirituality. For girl can be seen in dark, dirty hole in the door and dirty house wall color, emphasizing not so much about living in a family house in material poverty as an earthly child nudity, which, when she flaps its arms, turns into lubricious eroticism. Nuria’s character represents the earthly, the opposite of freedom/flight ideal of Andreu, instilled by his father. Once upon the grenade cut off the hand of the girl, so now her flutter in the balcony is disabled, grotesque and ill-omened fate, because the incomplete hand is like a dead wing, as an allegory of captivity.

Generally the screenplay develops of freedom of human in captivity of human. The first few scenes depicted in the forest shows a place where freedom rules apply. However, although the horse is in the territory of freedom, like one of the most important symbols of her, the opportunity of freedom will soon condemned: horse brutally murdered. All what happens after is marked feeling of incarceration. And really – the lasts film scenes finish unequal struggle between freedom and captivity, poverty and wealth, mind and heart. Disappointed grown-up lie, but perhaps still too young to understand the adult world, Andrew opened his dark corners soul. Lost faith in the authority of his father, ceasing to respect his mother, rejected the proposal hopeful of Nuria escape; he closes in a prison – at school, where everyone wears the same niforms and receives harsh penalties for noncompliance. Thus Andreu forgets the instruction of his own father that the essence is not that what your mind, and what is in the heart.

Indrė Audenytė on the „The Tree of life”

the tree of life

In short – a delicate symphony of a human life and nature evolution.

Terrence Malick finally presents his fifth feature film “The Tree of Life” that took six years for him to make. Remembering his earlier works, such as “Days of Heaven”, “The New World”, “Badlands” and “Thin Red Line”, a word “astonishing” fits here perfectly. And the latest work is not an exception. “The Tree of Life” – a drama that keeps your intensive attention for more than two hours is worth watching just because of the camera work and the huge amounts of questions that pops in your head while watching. And remains there for a long time.

The film captures with incredible views of nature, moving composition of sounds and incredibly simple yet not a cheap plot. The story evolves around the life of a Texas family in 1950s where three boys are growing surrounded by loving mother and demanding father and with the oldest boy Jack trying to find answers to the eternal questions of life. Non-linear narrative (tricky, but not so complicated as in Christopher Nolan`s “Memento”) and parallel with quite long shots of nature requires constant attention to the plot and gives satisfaction after the film is over and all the story is finally complete.

The duet of Brad Pitt (the old one and good one) and Jessica Chastain (fresh face on the big screen) as Mr. and Mrs. O’Brien is convincing. They fulfil the roles of two extremely opposite parents: a daydreamer and a bit childlike mother and career-seeking and strict father. Sean Penn – the adult Jack – has the same wise and critical look as the young Jack – Hunter McCracken. The nicest scene belongs to the Jack at the age of two (Finnegan Williams) when he is strolling around his younger brother`s cradle looking a bit worried about his further position in the family. The importance of this scene is the feeling of Jack as loosing his place in his family and supposing unsecurity – this theme will be relevant in the future life of the boy. The acting of Jessica Chastain gives a sweet impression of a mother, who is into family more than anyone else. And she fits there more than anywhere else. Maybe because of this particular sense Chastain received Hollywood Breakthrough Award yet the role itself is very non-Hollywoodian.

Cinematographer Emmanuel Lubezki who collaborated with Malick in “The New World”, follows the life of a family from different perspectives. And then it is! The key moments are captured – first steps of a child, goodbying hands on the opposite sides of the window, cosy childhood home space and big ascetic bureau buildings of glass. And the tree. And the eyes of young Jack, trying to be the one he is not. Finally, five editors formed a continious story interrupted by views of various forms of nature – from Besides digital dinosaurs, some mermaidish women in a water waiving hands artificially, every shot in the movie is where it belongs to be. Oh, music. The work of composer in this movie Alexandre Desplat is brilliant: the classical music strenghtens the impression of eternity and connects all the view together. Music, visuals and the feeling it gives altogether is the trinity of the film.

And finally there is a unique dialogue. Where a few are talking while the only one is listening. Religious theme. God is the one who opens the movie (“Where were you when I laid the earth’s foundation … while the morning stars sang together and all the sons of God shouted for joy?“) and he is the only character that no one has ever seen but his significance is undeniable. Jack is praying. His mother is praying. Prayer is the conversation and at the same time – it is search for the answers. Religion supposed to lead to the right way, but the answer depends on you. There are a lot of the cinematic experiments to question philosophical issues, but Terrence Malick manages to make it in a such precise manner, that visuals, Bible, Mozart and lost adult (who is still a small boy inside) provides a simple and clear answer, but to find it, you have to wait till the end, decoding symbols and catching relevant details. This is the nicest work while watching the film and pleasant one.

The winner of Palme d`Or at the Cannes Film Festival “The Tree of Life” bursts on the screen like a tree with all its natural beauty and strenght impossible to resist.

 

Saulius Kovalskas on the film „Fly”

How are you feeling about the idea of being abused? Not something, you would call dream of a lifetime? Then how about being raped by a fly? Do not worry if your answer is once again negative, because this movie already covers this issue. “Fly”, made in 1970 by Yoko Ono and John Lennon, both of whom were really interested in fluxus art and began experimenting with various themes, is dedicated to these questions. Yoko Ono (about whom John Lennon once said that she is: “the world’s most famous unknown artist: everybody knows her name, but nobody knows what she does.”) took fly as her alter ego and used it to create this disturbing picture.

The plot or, more likely, the lack of it, is about an unknown woman (starred by an actress, that goes by the name of Virginia Lust) lying completely naked on a white sheet and being “abused” by a really persistent fly. That’s it. And it lasts 25 minutes (which is way too short for a normal movie, but for this one it might seem like forever) with the fly moving from one body part to the next.

A question might arise: what is the point of this movie? As stated before, Yoko Ono imagined that fly is her second side of personality. To understand this fully, we have to touch the subject of symbolism. There are many explanations. For example, ancient Christian lore shows the fly as a symbol of impurity and a temptation to stray from the path of righteousness. Beelzebub, the prince of demons, was known as the “Lord of Flies”. This insect represents corruption and putridness. Even in ancient Tarot, the card of Devil has a fly depicted in it, representing the basic animalistic emotions and impulses. Not only that, but scientifically, the fly is a carrier of viruses. If we will keep this information in mind, we can say that Yoko was feeling unclean, tainted and in this film she shows just that: being lured to the dark side, towards leaving humanity behind and becoming an animal. Although, in the end, the fly leaves through the window, which symbolises that even though it spent 25 minutes trying to “corrupt” woman’s body, the insect – evil failed and left in hope of finding new, weaker victim.

Yet in ancient greek culture, the fly is sacred to the god Zeus. These “monsters with wings” signified omnipresence. And since the flies are everywhere (or at least were, in times, when hygiene was a rare sight), so is divine presence – always nearby, always watching and buzzing with divine energy. From this point of view, the fly in Yoko’s movie can be seen as purifier, consuming the negativeness and evil, cleaning all character’s body parts and then leaving her spiritually clean and perhaps even holy. In such case Lennon’s wife, when talking about the fly as her alter ego, may have meant that she sees herself as some sort of purifier, spending a lot of time absorbing the dark parts from other’s souls (this explanation also makes sense, seeing as John was constantly using narcotics and sleeping with nearly every girl that could move. He was even trying to find spiritual truth and learn more about transcendental meditation in one of India’s guru home, but was thrown out because of using drugs).

Whatever is the reason behind this picture, the film was made in only two days. The fly, which had over 200 of doubles, was collected by assistants and stunned using special gass and then deployed on various sedated actresses body parts. The camera work appears to be basic, but perhaps that was meant to be so. You can practically never see full body of the actress, only the part where the fly currently is. The woman is completely naked and her intimate parts are shown up close, but instead of creating sexual thoughts, it makes the viewer feel shock, like the female character is being abused or even raped. Another quite interesting thing about this movie is the spectre of emotions one feels during it, starting with feeling sorry for the actress, then it moves on to create a paranoia in audience’s mind, forcing to constantly check their own bodies for flies, ending with nervous laughter or even hysteria.

The soundtrack consists of sounds made by Yoko and John, imitating buzzing of a fly, pleasurous groaning and cries of pain. Such technique creates a creepy atmosphere, which is accompanied with disturbing scenes.

On the whole, it is left unclear what was meant to say by this film, but the emotions felt while watching it, make the “Fly” worth viewing, at least for testing your patience and seeing how long it takes for one to start imagining flies walking on his own body.

Marija Sajekaitė – „Arirang”

It appears that it’s possible for a single person to shoot an award winning movie using only a photo camera as an equipment and at the same time being a director, an operator, an actor as well as playing all other roles in the process of filmmaking. If you’re as talented as Kim Ki-Duk, you won’t necessarily need a film crew at all. Kim Ki-duk started distrusting people when one of his dear students stole a script they had written together. “Arirang” is an impellent and poetic documentary drama. It gives viewer a chance to take a glimpse into famous South Korean director’s soul and attempt to understand why he decided to desolate the world of cinema.

Even though the movie is an autobiographical documentary about secluded artist’s life in the mountains, it has all the elements required by a narrative story. Lyrical prelude, rising tension, bursting emotions, resolution. Daily household chores, uncomfortable nibbling, weatherbeaten heels and other not quite aesthetical images give you a hint from the very beginning: you shouldn’t be here if you came to watch a comfortable story. In one prolonged take Kim Ki-Duk is neatly brushing his long hair. When he finally manages to make a decent hairdo, he flashes a steady glance into the mirror and prepares for a confrontation with the viewers as well as with himself.

An intriguing solution to vary long monologues is to exchange them with even longer dialogs with… himself. Kim Ki-duk with a neat hairdo rigorously interrogates shaggy and emotionally unstable Kim Ki-duk. Kim Ki-duk talks to his shadow politely as if it was a spirit of his ancestor. Double personality? Just as well. Who else while living a secluded life than yourself could stimulate and inspire you to start living again instead of merely existing?

Director makes no bones and shows even the most intimidating emotions (modern cinema should have already disenchanted the fact that men don’t cry) – it’s perplexing and admirable at the same time. He constructs espresso machine while, ironically, strong coffee is an obvious symbol of stressful and rushing modern world. He even manages to engineer an elegant handgun. During the film Kim Ki-duk repetitiously bursts into “Arirang”, an old Korean song called by the word which has no specific meaning in the modern language. It seems that the crisis of the artist has no specific reasons either: it was a gradual progress during the intensive process of creating. Just like that handmade espresso machine.

A unique story of one person created almost without any money and using incredibly simple equipment has picked an award in 2011 Cannes International Film Festival. During the event Kim Ki-duk agreed to give only a single interview. Things appeared to be brighter when he told that shooting and introducing this unusual movie helped him to recover. Yet during the same interview everyone got confused when he started sobbing the same languorous “Arirang”.

Atgarsiai iš Kauno kino festivalio: „Gyvenimo medis” ir „Išsiskyrimas”

Gyvenimo medis [The Tree of Life], rež. Terrence Malick, 2011

Šeši metai, penki montažo režisieriai ir štai – 138 minutės gamtos evoliucijos ir žmogaus gyvenimo paralelės įtaigiu stiliumi. Penktasis kino kūrėjo Terrence Malick darbas “Gyvenimo medis” – šešto dešimtmečio Teksaso šeimos istorija, kur trys berniukai auga apsupti motinos meilės ir spaudžiami tėvo reiklumo, o vyriausiasis sūnus Jackas ieško atsakymų į amžinuosius gyvenimo klausimus. Nelinijinė pasakojimo seka, tiesa, ne tokia sudėtinga kaip Christopherio Nolano “Memento”, visgi priverčia įsitempti viso žiūrėjimo metu ir tuo pačiu kuria intrigą. Detalės sudėliojamos filmo pabaigoje, tačiau nuolatos kylantys klausimai yra tikroji filmo vertė. Toliau skaityti Atgarsiai iš Kauno kino festivalio: „Gyvenimo medis” ir „Išsiskyrimas” →

Monika Gimbutaitė – „A separation”

Director’s A. Farhadi’s film ”A Separation” is morally challenging and powerful drama about modern Iran society, although the themes that are being analyzed in this film are universal and understandable to everyone.

An unhappily married couple want to split up. Simin wants to leave Iran for her daughter’s future but Nader refuses to emigrate because of his old father who has Alzheimer’s. The film starts in court where both of them try to explain situation from their own perspectives. As man and woman sit apart, avoiding looking to each other, we have a feeling that they have already separated. We can’t see the exact figure of a judge, characters talk directly to the camera. Audience becomes a judge and this happens to be the key to the whole film.

One mistake leads to another and terrible mess starts. As in his previous film „About Elly“ Farhadi is interested not in action itself but in consequences it may cause and, most importantly, in reactions and moral dilemmas of people. Characters in the film are separated from each other by sex, age, social class or religious beliefs, yet they all make the same mistake when they try to convince themselves that a small lie is not really a lie. There is no other word to describe acting besides brilliant. Every similarity as well as every single difference is shown as clear as possible, avoiding exaggeration or overacting. Clear structure of the narrative and powerful dialogues create an atmosphere of being right in the middle of what’s going around, feeling the same anxiety and suspense as the characters feel.

Farhadi doesn’t take sides. In this dramatic and psychologically complex film he uses clear and sensitive voice to prove that usually we can’t blame just one or another – everyone might be right, everyone might be wrong.

Monika Gimbutaitė

Edvinas Grinkevičius – “Meshes of the afternoon”

A shadow on a naked wall, a mysterious key hidden in a mouth, a kitchen knife on a pillow, a monk (or a death?) with a mirror instead of a face, a bunch of wild flowers left on a lonely road, a dead woman lost in a rope of seaweeds…

These images are from the first work of Maya Deren’s “Meshes of the afternoon” which is considered an avant-garde classic. Film shows a woman’s dream full of symbols and surreal elements. It concentrates on a vertical editing, distinct camera angles, repeated sequences of the same motifs, bright details, deep sense of aesthetics, poetry and creativity. In general, it makes a strong impression of a unforgettable cinematic illusion.

P.s. Everything looks even more surreal when you know that Maya (the name of director) literally means an “illiusion”.

by Edvinas Grin

Monika Gimbutaitė – „Kick in Iran”

Director Fatima Geza Abdollahyan documentary ”Kick in Iran” is about the first Iranian woman who qualified in Olympic Games. It was important event not just for Taekwondo fighter Sara and her coach but for all women in Iran who want equal rights and freedom in their country.

A viewer has an opportunity to watch physical and moral preparation for the Olympics. Two main characters – a fighter and her “master” – are very different from each other, although they both have to deal with a lot of pressure from society, where professional sport for a woman is considered a sin. In spite of the fact that the story is very interesting, especially with political context, “Kick in Iran” lacks action and variety of emotions. Every person who is preparing for something important in life has ups and downs, while in this film we can see only Sara’s efforts to persuade herself. We can’t deny the importance of Sara’s achievement, yet the film about this strong and beautiful woman is not as powerful.

Monika Gimbutaitė