is a restored retrospective film from 1969, an Argentine noir-classic, filmed in prefect black and white.Director Hugo Santiago is a lion of Argentine film, schooled by Robert Bresson.It’s probably worth a DVD rental from Netflix -or I guess we’re calling it Qwikster now. Rebecca Hall does a bang-up job as the ghost buster with a troubled past.
In his final plea to the nation for peace, he avows that he will defend the rights of the Arab people for the right to self-determination, but with a warning that that does not include the innocent loss of life – such as his mother’s. I was scheduled for my second film of the day, (a Bollywood from India) when I discovered that there was no line-up. Then they told me I could give the voucher to someone else. is a Chilean/French co-production from Cristian Jiminez.
The film is an interesting characterization, but doesn’t give too much on the political side. They couldn’t pro-rate the ticket since it was part of a package. The beginning of the film tells us that Julio will live and Emilia will die in the end. Along the way the film bounces back and forth between two stages of Julio’s life, with and without Emilia.
I have already reviewed was an interesting and innovative film: gruesome and bloody – and funny in a quirky sort of way.
Directed by Tamae Garateguy in her first solo project, she (somewhat like Vaquero did) rips into the Argentinian film industry.
The Nobel struggle and politicking were also fascinating.
Yet, I never could get past a sense of stiffness in the actor (Michelle Yeoh) playing Aung San Suu Kyi.
Swirling around his formative years is the spectre of growing tensions between the colonial French and the native Algerians. it’s 1957 and things have nearly reached a boiling point.
One of his childhood acquaintances (I’d hardly call him a friend) is an Arab boy who reaches out to the Camus stand-in (Jacques Cormery) who reaches out to him with help for his own son who has been arrested in connection with terrorist bombings.
There’s a funny scene when the director admits he loves to see “Asian people” in films, all of a sudden there is a yakuza gang strutting towards the camera in stylistic slo-mo.
In the end the lines between the film-makers and the characters they have created for the film blurs – a character rebellion that is handled well Good stuff.
The hand-written manuscript that the screenplay was based on alledgedly was pulled from the wreckage of Camus’ fatal car accident, and is acknowledged to by highly auto-biographical.