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paulmartin-2

Juli 2005 ist beigetreten
Big fan of independent, foreign language and well-made mainstream cinema. Check out my blog.
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Korkoro

Korkoro

7,2
8
  • 13. März 2010
  • Gatlif tackles the war

    I've seen half a dozen or so of Tony Gatlif's films and I've enjoyed them all - in fact his previous film, Transylvania, was my equal favourite cinema release of 2008. While Gatlif's work documents the way of the Roma (gypsies), the themes are universal: celebrations of music, culture, ethnicity and so on. It's the dramatic and visual way in which Gatlif portrays these elements that has much impact for me.

    Korkoro certainly doesn't disappoint. The visuals are beautifully rendered, and the frame is used wonderfully - sometimes with extreme close-ups, sometimes panoramic. Like Robert Guédiguian's latest film, The Army of Crime, the film is set during World War II. According to the end credits, an estimated 250,000 to 500,000 of Europe's 2 million pre-war gypsies died at the hands of the Nazis. This story follows a wandering family of 15 of those.

    The Germans in occupied France decreed a law forbidding the movement of itinerants and this family find themselves stranded in a town where they seasonally perform farm work, before they are imprisoned in a camp. The family has the sympathy of the town's mayor - who provides land for the family - and the local teacher, Mademoiselle Lundi (Marie-Josée Croze), who is based on the real-life resistance fighter Yvette Lundy.

    I love this film. Not only does it have all the trademark Gatlif traits: wild depictions of gypsy life, wild music and spurts of insanity, but its presentation of the rarely depicted and tragic part that the Roma played in WWII combine to make this a lovely story.

    Some of the visuals are amazing, like a sick horse and its gypsy treatment (it'll have you wondering how the hell they got animals to 'act'). The cinematography is superb. The acting is strong and Croze's role is especially beautifully understated. Well worth seeing.
    Die Verbannung

    Die Verbannung

    7,5
    9
  • 26. Okt. 2008
  • Emotionally devastating - must-see cinema

    I have only just learnt that Zvyagintev's The Return was his feature film debut. It really impressed me with it's sparse and elusive narrative, filled with mystery and ambiguity. It is visually spectacular, with a strong Eastern European aesthetic that one can't look away from. The Banishment is no less a film.

    This is a much more ambitious effort than Zvyagintev's debut. Again he has crafted a story that is highly enigmatic. It stars Konstantin Lavronenko, who played the role of the absent father returned in The Return. Alex is a man with a shady past and his brother Mark (Aleksandr Baluyev) is of the same ilk. When Alex's wife, Vera (Maria Bonnevie), reveals she is pregnant and that he is not the father, a sequence of events unfolds that will have you on the edge of your seat. "If you want to kill, kill. If you want to forgive, forgive", says Mark.

    The tension is palpable, magnified by the sparse dialogue. In one sense, words are not needed as the body language says it all. Yet in another, the inability of the protagonists to bring out into the open what needs to be said leads to unforeseen consequences. This is both thematically similar to Nuri Bilge Ceylan's similarly excellent Three Monkeys and stylistically they also share much in common. As in Ceylan's films, Zvyagintev shows great confidence in telling a story, taking his time to create a palpable ambiance. At 157 minutes, the film is quite long, but always engaging.

    The cinematography is stunning throughout, with excellent use of the widescreen. There is one tracking shot in particular that left me breathless as the camera seemingly floated through space. I can recall only twice where the camera movement impressed me so: the caravan sequence in Noise and the various tracking shots in Soy Cuba. The use of darkness, light and shade are used to great effect. The music is haunting, reminding me of the Gothic sounds of the music of Enigma. It renders the film with a sense of tragedy of biblical proportions.

    Zvyagintev is a magnificent talent that just can't be ignored. If you see only one Russian film this year, make it The Banishment.
    Der Sohn des Waffenmachers

    Der Sohn des Waffenmachers

    6,7
    8
  • 31. Aug. 2008
  • Beautiful story

    This film is an impressive accomplishment by Gilmour. Sure, it's a little rough around the edges, but that also has its appeal, especially given the extremely difficult circumstances under which the film was made. Gilmour travelled to the North West frontier of Pakistan, where foreigners are not allowed. At great personal risk (and with ongoing risk to the local villagers), Gilmour filmed in a clandestine manner using nonprofessionals.

    It's a simple story, not unlike many Iranian films. An eleven-year old boy, Niaz, works for his father, Sher Alam, an old Mujhadeen who fought against the invading Russians during the long war against Afghanistan. Sher Alam makes guns but Niaz just wants to go to school. I love the way the film assumes the child's perspective. Niaz doesn't want much, but he wants it bad. There's a heart-breaking struggle to achieve his seemingly unattainable goal, and the cultural aspect woven into the film is beautiful.

    My seven year old also enjoyed Son of a Lion. There is one brief scene where an animal is slaughtered and we covered his eyes (and ours) for it.

    All kudos to Gilmour for making this film. This is an example of world cinema made with passion and commitment, with respect for both the subjects of the film and the audience. Gilmour has no background in film-making. He spent time with these people and decided he wanted to tell a fictionalised version of their story. I highly recommend it.
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