Chris Knipp
10-26-2009, 06:19 AM
This won't include much because I've gotten sick in Paris and am coming home early. I have seen a few interesting films and will write short comments on them here when I get the time and energy:
In London:
The Conformist (Bertolucci 1971) The famous adaptation of the Alberto Moravia Novel about a Man Without Qualities (played by Jean-Louis Trintignant and with Stefania Sandrelli and Dominique Sanda) -- seen in a beautiful print at the National Film Theatre. A bit empty perhaps, but one of the most beautiful films of its time.
Fish Tank (Adnrea Arnold 2009) Co winner of the Jury Prize at Cannes, nominated for the Golden Palm, this is a naturalistic study of a girl (remarkable newcomer Katie Jarvis) who gets in over her head with her young mom's handsome boyfriend (Michael Fassbinder). Unpretentious but very strong filmmaking.
Katalin Varga (Peter Strickland 2009) A brutal revenge tale written and directed by English newcomer Strickland and filmed in Romanian, this was the Silver Bear winner in Berlin this year. Somewhat dubious tale, but effectively stark style.
One-Zero/Wahed-Sefr (Kamla Abu Zekry 2009). Ensemble film set in conetemporary Cairo, a critical and popular success there, seen at the NFT as part of the London Film Festival. Nothing exceptional but a juicy sample of what Egypt thinks is significant filmmaking. The finale is amusing, and somewhat parallels that of Panahi's Offside.
In Paris:
A Prophet/Un prophète (Jacques Audiard 2009). This study of the in-prison formation of a future crime boss -- (Tahar Rahim's young Arab trained by Niels Arestrop's Corsican Mafioso) won the Grand Prize of the Jury at Cannes this year.
L'Affaire Farewell (Christian Carion 2009). Mediocre French spy movie set in Russia in the early '80's starring hearthrob Guillaume Canet (who helmed the good thriller Tell No One) and a leaden Emir Kusturica. Novelties include Fred Ward cast as Ronald Reagan and Willem Dafoe as the US CIA boss (a US audience would probably buy neither), with dialogue in French, Russian, and English. This was a bad choice and I have no further comments. The excellent Niels Arestrup is wasted in a routine role.
Happily Ever Afters (Stephen Burke 2009). Silly Irish comedy about a double wedding whose two couples interact, this little film redeems itself by the way it ends in comedy's classic sense of human union, and the bright, colorful cinematography is elegant.
Mademoiselle Chambon (Stephane Brize' 2009). This is a subtle study of frustrated love between Jean, a a simple, sincere French mason (Vincent Lindon) with young son and wife with another kid the way who falls for his boy's schoolteacher (Aure Atika), who plays the violin and offers Jean a taste of sensitivity his life lacks. A bit slow, but there are moments that evoke classic film traditions, and Lindon's excellence in playing the strong silent type carries the day.
La Nana/The Maid (Sebastian Silva 2009).This has a suggestion of Celina Murga's A Week Alone in its study of the oblivious Latin American upper middle class, but it's mainly the strange psychological study of a housekeeper so repressed and jealous of her status that she sabotages assistants who are brought in, till a psychologically healthy one brings her out. Authentic feeling, and a fine lead performance by Catalina Saavedra, if the ending leaves one hanging a bit. As Oscar Jubis reported in his MFF review, this was a prizewinner at Sundance and did get US distribution; more limited showings in France.
In London:
The Conformist (Bertolucci 1971) The famous adaptation of the Alberto Moravia Novel about a Man Without Qualities (played by Jean-Louis Trintignant and with Stefania Sandrelli and Dominique Sanda) -- seen in a beautiful print at the National Film Theatre. A bit empty perhaps, but one of the most beautiful films of its time.
Fish Tank (Adnrea Arnold 2009) Co winner of the Jury Prize at Cannes, nominated for the Golden Palm, this is a naturalistic study of a girl (remarkable newcomer Katie Jarvis) who gets in over her head with her young mom's handsome boyfriend (Michael Fassbinder). Unpretentious but very strong filmmaking.
Katalin Varga (Peter Strickland 2009) A brutal revenge tale written and directed by English newcomer Strickland and filmed in Romanian, this was the Silver Bear winner in Berlin this year. Somewhat dubious tale, but effectively stark style.
One-Zero/Wahed-Sefr (Kamla Abu Zekry 2009). Ensemble film set in conetemporary Cairo, a critical and popular success there, seen at the NFT as part of the London Film Festival. Nothing exceptional but a juicy sample of what Egypt thinks is significant filmmaking. The finale is amusing, and somewhat parallels that of Panahi's Offside.
In Paris:
A Prophet/Un prophète (Jacques Audiard 2009). This study of the in-prison formation of a future crime boss -- (Tahar Rahim's young Arab trained by Niels Arestrop's Corsican Mafioso) won the Grand Prize of the Jury at Cannes this year.
L'Affaire Farewell (Christian Carion 2009). Mediocre French spy movie set in Russia in the early '80's starring hearthrob Guillaume Canet (who helmed the good thriller Tell No One) and a leaden Emir Kusturica. Novelties include Fred Ward cast as Ronald Reagan and Willem Dafoe as the US CIA boss (a US audience would probably buy neither), with dialogue in French, Russian, and English. This was a bad choice and I have no further comments. The excellent Niels Arestrup is wasted in a routine role.
Happily Ever Afters (Stephen Burke 2009). Silly Irish comedy about a double wedding whose two couples interact, this little film redeems itself by the way it ends in comedy's classic sense of human union, and the bright, colorful cinematography is elegant.
Mademoiselle Chambon (Stephane Brize' 2009). This is a subtle study of frustrated love between Jean, a a simple, sincere French mason (Vincent Lindon) with young son and wife with another kid the way who falls for his boy's schoolteacher (Aure Atika), who plays the violin and offers Jean a taste of sensitivity his life lacks. A bit slow, but there are moments that evoke classic film traditions, and Lindon's excellence in playing the strong silent type carries the day.
La Nana/The Maid (Sebastian Silva 2009).This has a suggestion of Celina Murga's A Week Alone in its study of the oblivious Latin American upper middle class, but it's mainly the strange psychological study of a housekeeper so repressed and jealous of her status that she sabotages assistants who are brought in, till a psychologically healthy one brings her out. Authentic feeling, and a fine lead performance by Catalina Saavedra, if the ending leaves one hanging a bit. As Oscar Jubis reported in his MFF review, this was a prizewinner at Sundance and did get US distribution; more limited showings in France.