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Kung-fu master!

  • 1988
  • R
  • 1 घं 20 मि
IMDb रेटिंग
6.9/10
2.4 हज़ार
आपकी रेटिंग
Jane Birkin and Mathieu Demy in Kung-fu master! (1988)
Trailer for Kung-Fu Master!
trailer प्ले करें2:09
1 वीडियो
9 फ़ोटो
DramaRomance

अपनी भाषा में प्लॉट जोड़ेंMary-Jane, a lonely mother in her forties, gets absorbed in a sentimental affair with a 14-year-old boy.Mary-Jane, a lonely mother in her forties, gets absorbed in a sentimental affair with a 14-year-old boy.Mary-Jane, a lonely mother in her forties, gets absorbed in a sentimental affair with a 14-year-old boy.

  • निर्देशक
    • Agnès Varda
  • लेखक
    • Jane Birkin
    • Agnès Varda
  • स्टार
    • Jane Birkin
    • Mathieu Demy
    • Charlotte Gainsbourg
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    6.9/10
    2.4 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Agnès Varda
    • लेखक
      • Jane Birkin
      • Agnès Varda
    • स्टार
      • Jane Birkin
      • Mathieu Demy
      • Charlotte Gainsbourg
    • 10यूज़र समीक्षाएं
    • 23आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • कुल 1 नामांकन

    वीडियो1

    Kung-Fu Master!
    Trailer 2:09
    Kung-Fu Master!

    फ़ोटो8

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    + 2
    पोस्टर देखें

    टॉप कलाकार25

    बदलाव करें
    Jane Birkin
    Jane Birkin
    • Mary-Jane
    Mathieu Demy
    Mathieu Demy
    • Julien
    Charlotte Gainsbourg
    Charlotte Gainsbourg
    • Lucy
    Lou Doillon
    Lou Doillon
    • Lou
    Gary Chekchak
    • Un jeune
    Cyril Houplain
    • Un jeune
    Frank Laurent
    • Un jeune
    Aurélien Hermant
    • Un jeune
    Jérémie Luntz
    • Un jeune
    Thomas Bensaïd
    • Un jeune
    Pénélope Pourriat
    • Une jeune
    • (as Pénélope Pouriat)
    Ninon Vinsonneau
    • Une jeune
    Bégonia Leis
    • Une jeune
    Eva Simonet
    • L'amie
    Judy Campbell
    Judy Campbell
    • La mère
    David Birkin
    • Le père
    Andrew Birkin
    Andrew Birkin
    • Le frère
    André Six
    • निर्देशक
      • Agnès Varda
    • लेखक
      • Jane Birkin
      • Agnès Varda
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं10

    6.92.3K
    1
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    8
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    10

    फ़ीचर्ड समीक्षाएं

    chaos-rampant

    Appearances, desire

    The story here is about a woman falling for the 14 year old classmate of her daughter's, but forget about the story now, it's not a prurient film of course and seeing just a 'social issue' movie would miss the whole point. This is a small exercise on context by Varda but as astute as ever.

    Varda seems to be parodying the notion that her film would have just a social relevance by having the AIDS scare of the time so prevalent throughout - the film is from the late 80s, it evokes a distinct air of the time when youths crowded arcade parlors and TV segments on HIV sounded doom for mankind - or preempts it, perhaps unsure herself if it's not unavoidably going to be that in the end.

    But see something else, about the narrative horizon in which things acquire their significance.

    The woman who simply has these feelings one day that threaten to bring down everything, in context of what she experiences, it's a real affection for the boy, it shakes her in earnest. The boy who acts all grownup around her, bringing her flowers like a man would, later in a hotel plans to seduce her, but Varda has specifically taken care to show that he becomes just a kid with his peers or always off to a video game.

    The film's title comes from a video game that he plays in the arcade parlor, in the game's nested story-within a hero fights monsters to make it all the way to the top level so he can set free a princess kept prisoner. This is of course a deliberate confluence by Varda. We'd like to think of love in this way, as something that frees us, but what if it's sometimes fiction? Meaning, the woman is simply not mindful that the boy inhabits a wholly different context than hers, simply playing a game of love.

    And this is what Varda marvelously depicts later in a scene where the kids are goofing with Nazi paraphernalia in a room. A parent who walked in and thought the kids have strayed into budding Nazism would have only been misled by appearances, inhabiting a horizon in which objects (Nazi stuff) are charged with their narrative significance. But as the scene plays out Varda shows that it's evidently just another game for them.

    This is the exercise, on how phenomena give rise to illusory narrative, on how illusory narrative traps us in illusory significance, chimeras of our desires. It isn't about nostalgia or passionate love. Love doesn't equal truth, unless it's shared in truth. This was a point made in Le Bonheur. In my ongoing project I'm after filmmakers who abet mindfulness, the wisdom that comes from it, and Varda has this.
    8Quinoa1984

    Rest in Peace, Jane Birkin. What a unique product of its time

    I wonder whether I can add more substantively than what Roger Ebert wrote in his review (comparisons to Murmur of the Heart as well, and I assume she and/or Birkin saw that at some point), since that contained many aspects regarding what Agnes Varda is doing here that I pondered when watching this ambitious and challenging film; not, or not merely, for the questions raised in the emotional (and maybe but left ambigious physical) relationship between a 40 year old mother and her 15 year old daughter's friend, but because the depiction of this bond between a middle aged woman and teenage boy both wants us to empathize and to understand it should not be so automatic to judge such a thing (and to be sure many would snap to judge, immediately, without another thought), especially when these are decent and kind people at the center.

    What I focused on and admired was the intrinsically personal nature of what was in the frame, and what is on the margins ("deviant" sex as a moral issue) as the socio-political waking nightmare of the time visa-vi the height of AIDS (and that uncanny and almost funny-in-naivete moment where the kids are talking about uh fascist imagery kind of and Julien draws a cartoon Hitler, yikes, thanks mom for keeping that in the movie). This is a film where the director very consciously after all has one of her closest friends at the time starring in (and Co writing) an unsentimental melodrama about a relationship her character forms with a boy played by the director's son, and Birkins own kids and parents are in the film playing the character's children and parents, and there's equal time given to the inner emotional lives of both the woman and the teens.

    It's the kind of film I wish I had read more up on (or watched one of Varda's charming introductions and interviews) since taking it on its own terms the lines between a kind of story that Varda had explored before, in a way, ie Le Bonheur and the difficulty of how ones heart can lead one into disarray and tragedy, and almost a kind of not documentary but a (forgive the Sly & Family Stone reference) "family affair" of a kind. One could also argue Varda casting her son shields from criticism, like "hey, you can't attack what's happening here, not only do they consent they're my BFF and kid, after all." Not that I can see that many critics doing that given how sensitively Varda shows us the events as the unfold and unravel, but they could is the thing.

    I do think once this relationship does come undone, Varda and Birkin, perhaps to save some time in narrative economy in a tight 80 minutes, use narration from Mary Jane to explain whats happened, and it feels a little anti-climactic, not to mention what we see as Julien's accomplishment with the video game. On the other hand, Kung-Fu Master isn't a film about the salacious details of such a pairing, and to Varda's credit there is never anything explicit or sexual or anything that goes beyond kissing and hugging, so it is focused very squarely on character and what it means to have emotional immaturity (ie the "coolness" Julien sees of smoking *cigarettes) and a nostalgia for young love for Mary Jane, and that makes the film work for me.

    It's not a major work, but it is a good one and successfully navigates a tricky subject and makes it profound by making it about joy and heartache and the simple fun of being together on a beach or making funny sounds and watching someone play a video game. And I'll lastly add (the now late) Birkin and Demy give affecting, totally natural performances here.

    (*Maybe Varda approved of that. Did Mathieu's dad, Jacques Demy? Lord knows).
    8adhirox

    7.8

    The plot is understandable for the initial 50 minutes or so. The emotions and feelings that are not meant to be shared or are considered taboo are brought out innocently and "understandably". But it all changes once the plots takes you to London. It remains no lonher 'understandable" and begs the viewr to as the question: "why?'. Birkin's mother's suggestions of handling her emotions still baffles me, and I just can't imagine that conversation happening in any way. That scene and then the subsequent 20 minutes before the end just doesn't do it for me and what could have been a genuine story of desire, feelings, boundaries, temptations, ethics etc., turns into something unrealistic and unbelievable.
    8mjneu59

    not unlike Lolita in reverse

    There's a good reason why the English language title for Agnes Varda's new film was borrowed from a video arcade game. Beyond the obvious metaphor of the game itself it spells out very clearly the lack of pretension in Varda's story of a forty-year old housewife who falls in love with a fourteen-year old schoolboy. On its surface the film is about an older woman recapturing the passions of youth, and a young boy's awkward reaching out toward maturity. But underneath is a thoughtful look at the erosion of old-fashioned romantic ideals in an age of safe sex and AIDS awareness, a fact Varda gracefully acknowledges in the final, chilling scene, which (in a subtle way) shows the darkest side of adolescent peer pressure. It's a quiet, undemonstrative drama; Varda has a poet's sense of how much to say and how much to leave unsaid, and the few remaining words she leaves in the capable hands of a first-rate cast. In a daring casting decision the director's own son handles the role of the teen lover, and with surprising skill for a kid his age.
    9debblyst

    Delightful, witty, unconventional manifesto on passionate love

    The idea for "Kung-Fu Master" was proposed by Jane Birkin in Agnès Varda's tribute documentary to her, "Jane B. par Agnès V." (1987). Birkin suggests a film in which a 40-year old woman would fall hopelessly in love with a teenage boy, suggesting herself and Varda's and Jacques Demy's son, Mathieu, for the leading roles. That very same year, the idea would develop into the rapturing, bewitching, winning "Kung-Fu Master", a film unlike any other ever made.

    Mary-Jane (Birkin), 40, divorced, independent, living with her two daughters (her real-life daughters, 16-year-old Charlotte Gainsbourg and 5 year-old Lou Doillon), suddenly finds herself terribly attracted to one of her daughter's schoolmates, 14-year-old Julien (Mathieu Demy), and vice-versa. From then on, Mary-Jane and Mathieu find the unlikeliest ways to meet (including Mary-Jane bumping her car on Julien on purpose!) as they face love's highs and lows, trying to make it thrive against society's ponderous prejudices and Julien's own inevitable "growing up".

    The film is a hoot from start to finish. The title is a reference to the Arcade video game, where a Kung-Fu Master must endlessly fight increasingly dangerous obstacles and enemies (as must Julien and Mary-Jane) to save his captive sweetheart, who is kept tied up, perennially crying for help. The opening sequence of the film, in which Mathieu Demy in full Kung-Fu costume skilfully simulates the robotic choreography of the video game hero is delightfully funny and wins you at once. The dialog sparkles with jeux-de-mots and a mix of English and French sense of humor.

    Jane Birkin was probably never more beautiful or appealing than here, her angular, bony beauty serving her emotional transparency and complete commitment to her role. Mathieu Demy, inexperienced, is nevertheless charming, well-cast and never phony in his difficult role. Varda's direction of her own son is amazing: it looks as if she's discovering his acting potentialities and the first signs of manhood along with Mary-Jane and ourselves. The cast includes Birkin's family (parents, siblings, nephews, daughters etc), who appear nonplussed with the touchy issue and ultimately even help the odd couple. Charlotte Gainsbourg shines with her urchin face, special talent and sensibility; she's a natural. Baby Lou Doillon is lovely throughout, adding to the feeling of spontaneity that gives the whole film a slightly magical touch, as if we were watching improvised scenes, not scripted ones. Mary-Jane's and Julien's scenes together are far from risqué, but filled with emotional rapture, originality, humor. Sex is implied, but never at the core of things; love -- romantic, throbbing, unconventional love -- is.

    "Kung-Fu Master" is a fable about the nature and possibilities of romantic love in obtrusive circumstances, and MAYBE it hints that women, girls and boys are better suited for it than grown-up men (which is probably true!). When Mary-Jane and Julien go to a desert island so that they can fully experience their love far from society's burden, we can see why they're at once sacred (they're pure, unbiased by interest, conventions, hypocrisy) and doomed (their love can only exist fully and freely away from conventional society). The film's ultimate goal may be to translate women's infinite, inexhaustible talent for loving and teaching love, regardless of how unlikely the object of their love is, or how powerful the enemies, or how complicated the obstacles; women are the invincible, undisputed Kung-Fu Masters of love, even if/when they don't win.

    This is arguably Varda's and Birkin's finest hour; they have made a film that is a triumph of poetic sensibility filled with humor and intelligence; it's a tribute to feminine pride (no man could EVER make a film like this). Enchanting from start to finish, always surprising, never tacky or schmaltzy, "Kung-Fu Master" is a one-of-a-kind film just waiting to be (re)discovered -- but most likely destined to be locked away, in these hypocritical PC times of ours that furiously prevent renewed access to films as brave as this unless they're scandalous (which KFM is not). If you can find it, do see it by all means: and pay special attention to the beautiful, subtle, rich finale. Beware, though: "Kung-Fu Master" may be hazardous to your cynicism and conventionalism, and may restart your belief in l'amour fou.

    इस तरह के और

    Jane B. par Agnès V.
    7.2
    Jane B. par Agnès V.
    Jacquot de Nantes
    7.6
    Jacquot de Nantes
    Les cent et une nuits de Simon Cinéma
    6.5
    Les cent et une nuits de Simon Cinéma
    Mur murs
    7.4
    Mur murs
    Documenteur
    6.9
    Documenteur
    Daguerréotypes
    7.6
    Daguerréotypes
    Les créatures
    6.4
    Les créatures
    Les demoiselles ont eu 25 ans
    7.0
    Les demoiselles ont eu 25 ans
    La Pointe-Courte
    7.0
    La Pointe-Courte
    Sans toit ni loi
    7.6
    Sans toit ni loi
    L'univers de Jacques Demy
    7.3
    L'univers de Jacques Demy
    L'une chante l'autre pas
    7.4
    L'une chante l'autre pas

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Director Agnès Varda later admitted the title 'Kung-Fu master!" was terribly misleading on a commercial viewpoint. Some foreign distributors even bought the film on the wrong impression it really dealt with the wild adventures of martial arts warrior.
    • कनेक्शन
      Featured in Jane B. par Agnès V. (1988)
    • साउंडट्रैक
      Someone to Love
      Written by Catherine Ringer and Fred Chichin

      Performed by Les Rita Mitsouko

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल13

    • How long is Kung-Fu Master!?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 9 मार्च 1988 (फ़्रांस)
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      • Kung-Fu Master!
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    बदलाव करें
    • चलने की अवधि
      1 घंटा 20 मिनट
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    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Jane Birkin and Mathieu Demy in Kung-fu master! (1988)
    टॉप गैप
    By what name was Kung-fu master! (1988) officially released in Canada in English?
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