Showing posts with label foreign films. Show all posts
Showing posts with label foreign films. Show all posts

I Am Love Sour Grapes

Have you seen I Am Love yet? The Globe nominee is available for rental so get on that.

Director Luca Guadagnino with Marisa Berenson & Tilda Swinton
I read the following quote over at Hollywood Reporter and I found it both amusing, right-on and the kind of thing you shouldn't say out loud. Seems Luca Guadagnino, the man behind the brilliant Globe & BFCA nominated I Am Love is not happy with the treatment of his film back home in Italy. They chose another film for their entry in the annual Oscar Foreign Film race.

He says...
Italy has been a sort of strangely cruel mother to the film. I feel like Rapunzel in Tangled. They didn’t pick the film for the Oscars. I don’t think the movie is the kind that sells in Italy now, which is basically dramedies about men that are not able to grow up. Vitteloni syndrome without Fellini. This [Golden] Globe nomination is a sort of really strong warning for the Italian culture. Beware! When you don’t support what’s good ... then the image of your country goes down and down and down. They chose another movie, instead of one that was internationally well received, particularly in the U.S. But it’s all right. Right now the moment is cheer, and I’m very cheerful. It’s a great day!
Points for honesty but obviously someone's feelings got hurt along the way.

<--- Micaela Ramazzotti and Sergio Albelli, the super sexy but unstable parental figures in La Prima Cosa Bella.

For what it's worth, I recently spent time with the actual Italian Oscar submission La Prima Cosa Bella (The First Beautiful Thing) and it was good. It's a somewhat absorbing memoir story (half of it being in flashbacks) about the grown children of a dying but still ridiculously vibrant woman (Micaela Ramazzotti in youth / Stefani Sandrelli in old age) who was once a wild flighty gorgeous young thing dragging her wee children from home to home and sometimes to homelessness while falling in and out of love with their father (and other men).

You can trace the damage done in the generally strong performances and the film definitely gathers some cumulative emotional steam (the climactic act is entertaining, funny and unexpectedly endearing), but it's stretched a little thinly across numerous life episodes. And even though you "get" him, you do wish the sour grown man at its center would grow up a little bit.  B


I enjoyed it. But no, it's not a patch on I Am Love. Since Luca brought up Tangled, let's get our hair did in Italy.

The First Beautiful Thing has follicular drama of all varieties from deliciously lustrous (Micaela Ramazotti) to balding to sickbed wigs to plainly pretty to unruly to generic ... the hair, like the movie, has plentiful ups and downs.

I Am Love, on the other hand has magic locks just like Rapunzel's. Everyone's hair is epically beautiful; their golden, red, brown and pure white crowns (even the oldest characters have thick headfulls) are enough to make your arm hairs stand on end.


If there were an Oscar for hairstyling...

You Were Saying...? (Extended Thoughts on Previous Topics)

I pray my occasional 'look at these comments!' posts don't come off as desperate. I'm just a very chatty person, what can I say? Since we are all becoming cyborgs, comments feel closer to conversation all the time. One day we will all forget how to speak. We will grow extra sets of fingers for more typing speed. Evolution will shrink our hands so that we can text with greater ease on our tiny devices.

First, I wanted to thank everyone who offered up music suggestions ♪ ♫  in the Grammy Awards post. I've already started investigating your recommendations since I usually have at least one "music of the year" or "music video of the year" posts in late December.  Keep 'em coming.

Last year about this time the public was going wild for The Blind Side and I included an "Overheard" conversation about it. Broooooke recently discovered the year old post and feels bad that Sandra got such flack for winning because the performance (if not the film) holds up. I would love to include more of those overheard posts but I'm telling you it is SO hard to eavesdrop in NYC. You're oft thwarted by noisy subway trains and traffic and whispering (damn you quite people in noisy cities!). Just last week two older men in suits right next to me on the subway were discussing the Oscar race. I was dying to eavesdrop but alas... major subway noise and then my stop.

A related note on Sandra B: Rebecca finds it odd that people lament the Academy's refusal to give older women the Oscar in the Annette Bening post but also bitch about Sandra's win. Sandra was 45 when she won. But more on this age & oscar topic this week ~ Article in Progress. 

Viggo & Fassy on the set of A Dangerous Method

Patrick F recently declared it a life goal to see all of Viggo Mortenson's movies. I was just thinking about Viggo yesterday and how long it took him to get really famous. It was a by-association thought. I was watching Fish Tank (so good, right?) and dreaming about seeing Viggo and Michael Fassbender as Freud & Jung in A Dangerous Method or The Talking Cure or whatever David Cronenberg is calling that psychiatric bio these days. They seem like such ideally paired co-stars to me.

Cal read the whole Undertow interview -- that's the Peruvian Oscar submission -- and loves that more Latin American movies are getting international attention "Before it was only Argentina and Brazil." Troia recently saw the movie, too, and thinks it one of the most moving of 2010. I bring this up now after the fact because I'm assuming we're going to hear about the foreign film finalists from AMPAS any day now. I love following the foreign film race but I'm not sure about this whittling down process where suddenly 50+ movies are evicted in the last month before the actual nominations. Imagine being on the campaign trail and then >boom< 'Sorry, you're out before nominations are even announced.' My current 9 predicted finalists are here but this category often holds surprises so no one knows anything.

That Helen Mirren "women in hollywood" speech sure has been making the web rounds (though there weren't many comments here on it.) Still, Manuel recalls the first time he saw the delightful Helen Mirren (Prime Suspects) and was hooked ever after. Mirren only gradually entered my consciousness. The first thing I remember seeing her in is White Nights (1985) where she met her future husband, the director Taylor Hackford. I was kind of in love with Mikhail Baryshnikov at the time (she played his wife) and I only remember two things about the movie today.
  1. A shot of Misha stretching to warm up where he lays his head against his entirely vertical leg. As if this is something the human body is supposed to be able to do! 
  2. This scene where Misha dances for her and she cries from the beauty of his movement. Or at least that's how I remembered the reason for her tears.
Why the Misha love? Blame childhood in the 1970s. It's probably impossible to imagine for anyone born in the 90s when the only people constantly discussed seem to be reality TV show stars but yes... a ballet dancer was once mega-famous to the point where teenager had posters of him on their walls. I wonder if Black Swan will inspire a mini-fad of renewed interest in ballet? If so that'll sure help Benjamin Millipied from Black Swan.

Odes to Emaciation: Christian Bale's Insane Actorly Commitment
I was just about to go into several interesting comments from the latest link roundup but I could do this all day and I have to move on. See.... in about 4 or 5 hours things start getting really crazy with the awards calendar... but maybe Sheila isn't the only one who is less than excited to see the madness begin. She writes
Ahh, these bullshit awards leave me cold. Why do people fawn over them so? Think of all the past great performances that were left out and you get the message. It's all about timing, timing, timing, especially now...
Timing is indeed the magic element. She's not far off with one key example: Christian Bale's "posterboy routine for committed actors" is finally catching up with him in terms of awards heat. 
Are you as chatty this morning? If not, have another cup o' joe.

The Child's Eye

October of 2010 is scheduled to see the release of the newest installment in The Eye franchise.  A Child's Eye is written and directed by the Pang brothers.  It will be the first Asian digital 3-D film.  The offical synopsis of the film  and a few stills follow.  

 A series of unfortunate events - a political crisis, blockades of international airport and roadblock totally disturb the plan of six travelers in Thailand. Unwillingly, they stayed in an aged and shabby hotel. From the moment they checked in, they came across three weird children and a puppy, and strange things started happening one after another...







































Djinns named changed to Stranded




The French horror film Djinns has been retitled to Stranded.  It deals with a group of Ferench soldiers sent into the desert where the come face to face with the legendary Djinns.  The official synopsis are below as well as an original poster for Djinns.


The North African Desert of the Sahara - 1960. Soldiers are sent on a rescue mission in the desert. Trapped in a sand storm, isolated from their commander, they run into Algerian rebels. As they seek shelter in an uncharted village another, invisible, threat comes out from the desert -- the Djinns. As their ranks are decimated, they'll face the longest night of their lives.



Chaser

My review for Chaser is up at associated Content here is an excert and link backl to the review, hope you like it

Chaser is a South Korean thriller that is bloody enough to stand up with the best horror film. Kim Yoon-Suk stars as Jung-ho, a disgraced cop turned pimp, whose girls have started to go missing. At first thinking they have simply ran away with money he had loaned them, he becomes suspicious when Mi-Jin, one of his remaining girls, goes missing.


read the whole review

Martyrs

Over the recent years movies such as Hostel and the Saw franchise have pushed blood and gore to new heights. Gore hounds have been pleased by this move away from PG-13 horror into more adult fare. Remakes such as The Texas Chainsaw Massacre and The Hills have Eyes, while light in substance have been heavy with violence and gore. This American fare still cannot compare with some of the violence and gore coming from across the Ocean. The French especially have shown great skill in producing extreme blood and gore, many times without sacrificing an absorbing storyline. The latest installment to French horror is Martyrs.

Martyrs is a 2008 film by French director Pascal Laugier that was released in the United States on DVD in April 2009. Martyrs was screened at Cannes in 2008 and an American remake, sadly, is being negotiated.
The film revolves around Lucie and Ana, two best friends seeking revenge for the horrors inflicted on Lucie as a child. Their plans spiral wildly out of control as Lucie’s past continually haunts her and we are left to decide what is real and what is in her mind. At least we are left to wonder until the second part of the Martyrs, when things go from bad to nuclear.

The story begins with Lucie escaping from an abattoir in which she has been imprisoned and tortured. Then it cuts to news coverage of her escape where we are told that she has been horrendously tortured, yet she has not been sexually abused. Lucie is placed in an orphanage where she befriends Ana. Even in the safety of the orphanage, Lucie cannot find peace as she is continuously tortured by a creature that only she, and the viewers, can see.

Martyrs then shifts fifteen years into the future into what we assume is a normal family home. The family is enjoying a typical breakfast, discussing family matters when suddenly a young woman bursts in and slaughters the entire family. We soon discover that this is Lucie, who believes the family to be responsible for her torture due to a newspaper clipping. After her murderous spree she calls Ana who comes to help her clean up the scene. We find that the creature is still haunting Lucie and inflicting horrible wounds upon her. Ana meanwhile, is disturbed by the violence and questions if the family was actually guilty.

Ana find that the mother is still alive and tries to help her escape. Lucie discovers them and brutally kills the mother. After killing the mother, the creature reappears. We discover that the creature is actually a manifestation of Lucie’s subconscious guilt over not rescuing a fellow captive when she escaped. With her quest for revenge now sated the creature drives Lucie to commit suicide. Ana. grief stricken over the loss of Lucie remains in the house, presumably awaiting arrest when the bodies are found. Ana is left with nothing but the knowledge that she is alone and has unknowingly helped in the slaughter of an innocent family. Then she finds the secret door to the underground storage and the horror of Martyrs really begins.

Do not go into this film expecting an easy viewing experience. Martyrs is not a movie on par with Hostel and other “horror porn” that uses blood and gore just to titillate. Don’t expect a happy ending in any traditional sense. While Ana may have found her measure of peace and even revenge, we the viewers don’t get off that easy. Martyrs is a movie where the pain and torture is all too real. What is just off screen may be worse than what is on, but the one screen torture is enough. It will make you wince and it will make you pray for the end. You will look for the “out” for Ana and it will not be found. Martyrs is a film that pulls no punches. The director has stated that many actresses turned this film down due to it’s content and I can easily understand why. Art is not safe and Martyrs is not a safe film. It will haunt you. It leaves you with a certain amount of ambiguity at the end, but in no way leaves you with any hope for the characters, or for any of us really.

The film received a 18+ rating in France which is akin to a NC-17 rating in the states. The rating was appealed by the film makers and cries of censorship have arisen over the decision. The French Society of Film Directors (SRF) have also asked theMinistry of Culture to re-examine the decision remarking that "this is the first time a French genre film has been threatened with such a rating." The Union of Film Journalists has also protested the rating. While Martyrs is definitely not a movie for children, it is not torture porn. It is a film with a well crafted story. A brutal and unflinching story, but never less a great story and should receive a rating that allows people to make their own choice about whether to see it or not. Not everyone will be able to stomach Martyrs, but if given the chance between the latest Saw installment, consider seeing Martyrs instead.

Martyrs stars Mylene Jampanoi and Morjane Alaoui who deserve praise for their willingness to take part in the movie. It was directed by Pascal Laugier who also directed the fantasy horror film Saint Ange and a making of documentary of The Brotherhood of the Wolf. An American remake of Martyrs is apparently in negotiation and while American remakes of foreign language films seldom if ever rival the original, at least it might bring the original to the attention of a wider audience. Take a chance and see a movie that isn’t safe and Martyrs definitely fit’s the bill. The film ends with the Greek definition of Martyrs as those who watch. Appropriate that all of us who watch this film are indeed Martyrs.