camurrist

if Greenaway warned that after a 100-year-history, the cinema as a medium has still not have been expressing itself, then I think he has probably not watched this piece. and not as just in case i trouble his majesty Greenaway from his dusty throne, because the deep research of a perfect aesthetic, the most precise Mise an scene of every portion of the screen, the attention for photography of a moving picture, this movie finds in the simple image of the nature, showed in its more disturbing instant, that one still not touched and compromised from the dirty human presence. Spring,Summer, Autumn, winter..and spring is a story of one life and many, in his simplicity, nonsense, brutality and sentimentality, categories of feelings, that move us away and sometimes closer to the animals and nature's world. There is a deep austerity and spiritualism throughout the film, so you learn from the beginning to respect the rules of the story, that is to accept to know and believe just on what you see, nothing more is strictly important. The rhythm follows the slow rituals of Buddhism, in its everyday's experiences of difficulties, prices, and of course lessons. the strong symbolism with animals involved the pleasure to discover the secret of a second plot in the story. The director Ki Duk Kim, who plays the "winter" protagonist, builds up an optic masterpiece that reminds me a lot on Greenaway,to watch in religious silence in the dark.but he uses also interesting narrative instruments; like Jarmush, quietness, silence of pure mute images and the art of repeating, are more than enough to explain a story of an infinite spiral. it's a movie that let you the time to think about the banal tragedy that is our life seen from outside, from a forgotten world, which is depict by a delightful photography. I get more and more impressed of such a simple movies, that can express nearly everything in two hours, just developing a clear idea, simple in its geniality, from which you can not easily separate, even when the light are finally on. a movie to reflect, which stand to cinema, like Kundera's "The Unbearable Lightness of Being" stand to literature. vote:9 Stefano

The dark side of the love. Desire of possession, weakness and psychological games between two lovers in a 2004 Verona pretty far from the Romeo and Juliet one's. Garrone strikes, in spite of the bitter critics he received during the 54.Filmfestival in Berlin, where the film was presented. A majestic photography and a deep care of particulars make the film a small esthetical masterpiece, which make oneself forget, the strong north-east Italian accent of the two main characters. There is a lot of work behind the two main actors, but sometimes you have the feeling they are a little too shallow in comparison to the deep thoughts they do. The theme of anorexia is a sort of taboo in our society, but Garrone deals with it with a lot of maturity and sometimes irony, which bring the audience even deeper in the darkness of the story, until the wonderful monologue which close the curtains. Provocative, but real, Garrone is a tough director.

Vote: 7