Late Bloomer (Osoi hito)

Dir: Go Shibata, 2004. Starring: Masakiyo Sumida, Naozo Hotta, Mari Torii. Asian Cinema.

Picture, if you can, a film with the nightmarish quality of a Harmony Korine movie in Japanese, with a bit more focus on the characters and plot, that is deliberately presented as an avant-garde horror film. Late Bloomer is about as close to that combination as you're ever going to get. Not only is it toxic and arresting like the films of Korine, who I'll admit is one of my favorite directors, but the film is extremely off-putting.

As far as craft goes, it is shot in black and white (needed, I assume, for the eerie quality and mass bloodshed), with out-of-date dissolves and overlapping images that I haven't seen in years. The soundtrack is also jarring, mainly consisting of minimal electronic and death metal.

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Edythe Smith
Jun 22, 2010 5:51pm

Sympathy for Mr. Vengeance

Dir: Chan-wook Park, 2002. Starring: Kang-ho Song, Ha-kyun Shin, Doona Bae. Asian Cinema.

Sympathy for Mr. Vengeance is perhaps one of the best anti-hero films I have ever seen, based on concept alone. Chan-wook Park's Vengeance Trilogy is unlike most others because the plot, actors, and characters are all in no way linked or the same, but each film circulates around revenge. Ryu (Ha-kyun Shin) is a young deaf-mute who lives with his sister in a seedy apartment complex. His ambition was formerly focused on art school until his sister fell ill and needed a kidney transplant. He quit school and began working as a manual laborer in a factory in order to save up for her operation. Unable to give her one of his own kidneys because their blood types don't match, Ryu takes a chance and, using all the money that he has saved, tries to purchase a kidney from an illegal organ supply group which offers to give him the kidney he needs in exchange for one of his and 10 million won. But after waking up from the operation, he finds that the group has split with his clothes, money, and kidney.

Disheartened and furious about yet another streak of bad luck in his life, he vows to kill the people who wronged him. While visiting the medial center he frequents to find a donor, he receives the great news that they found a proper donor, which is hard to do in such a sort amount of time. The only problem is that Ryu has just been fired from his job and the operation costs 10 million won. Together, he and his girlfriend Cha-Yeong-mi (Doona Bae) decide to kill two birds with one stone by seeking vengeance on the illegal group and kidnapping his former employer's daughter for ransom in order to pay for his sister's operation.

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Edythe Smith
Jun 21, 2010 4:02pm

Punishment Park

Dir: Peter Watkins, 1971. Cult.

The ability to suspend disbelief is easiest to do when you're watching films about global conspiracies, justice systems, and especially politics. Having movies like this be shot in a documentary style only aids this experience. After seeing this movie, I can honestly say that I haven't been this motivated to discuss politics and justice in a long time, and I'm glad that a film could have the power to stir the pot. Punishment Park is set in 1970, a year before the film's release. Nixon is president and we are currently occupying Vietnam. Due to the war, America is going through a brutish and frightening phase where even a handful of politicians are resigning from office over their disgust with the nation's actions towards its outspoken citizens and the overall progress of mankind. With new laws and the proposed threat of Russia, there has been a complete re-working of the justice system in which American citizens have lost basic freedoms that were once seen as the staple of American life. These new laws include the "cancellation of immunity," stop and frisk laws, activation of detention camps, the ability to overrule basic amendments of the Constitution during trial, and the McCarran Act—a real law developed in the '50s that called for the ability to investigate Americans who posed a threat to national security, and was later dismissed and "revised."

Individuals seen as a threat to national security include those who start riots or do any sort of activism that carries a violent message; those evading or refusing the draft; those charged with Communism; and even a privileged 19-year old whose pop music is accused of having harmful messages and promoting violence. As a particular group of people are being given a ludicrous trial by a bonkers committee of trustees, a batch of people who have already received their own trials are being transported to Punishment Park—the alternative option to a prison sentence after being found guilty.

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Edythe Smith
Jun 15, 2010 4:42pm

Paradise Now

Dir: Hany Abu-Assad, 2005. Starring: Kais Nashif, Ali Suliman, Lubna Azabal, Amer Hlehel. Asian Cinema.

The marriage between religion and politics has no known date. To explore this link with films is to visually investigate the times and reasons for which people intertwine the two in order to make sense of their disrupted lives and societies. Hany Abu-Assad's Paradise Now is the story of two friends whose lives have been torn apart by institutional violence and injustice. At first glance, they appear to be unaffected by their environment until a commitment made years before manifests the horrific day when they are called upon to become martyrs for a cause that they don't fully understand.

The story takes place in modern times with the Muslim dominated Palestine being in a constant state of war with the Zionist/Jewish society of Israel. Said (Kais Nashif) and Khaled (Ali Suliman) are two childhood friends who agreed as teenagers to carry out a suicide bombing together for an organization which has been plotting its next attack for over two years. Each man, now in their early twenties, is visited separately by their messenger Jamal (Amer Hlehel) and told that the bombing will happen in less than 24 hours. The two begin saying goodbye to their families in order to prepare for their brief training.

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Edythe Smith
Jun 15, 2010 4:03pm

Wittgenstein

Dir: Derek Jarman, 1993. Starring: Karl Johnson, Clancy Chassay, Michael Gough, Tilda Swinton, Kevin Collins. Cult.

Ludwig Wittgenstein is perhaps one of the more neurotic and bizarre philosophers that I’ve read thus far. Seeing any kind of interpretation of his life and measures of reason would be an oddly enjoyable migraine. Thankfully, our good friend Derek Jarman made a sort of homoerotic comedy that attempts to interpret his life and philosophical debates. I took the risk and gave it a try simply because Jarman himself seems to be a bit of a philosopher (perhaps if he had a favorite, it might be Wittgenstein). In what films I have seen of his, all of them tend to be laden with personal unease from his psyche. In that sense, his films are very exclusive and cater to his beliefs and sexuality. Watching Wittgenstein was sort of like sitting in a room with the director debating various issues and it just so happens that his side of the argument is better served through tangible images, rather than words.

To make a long story short, you might not enjoy Wittgenstein if you don’t care for his philosophy (or philosophy in general), much less a farce of it. Aside from the content, the film’s style might also be off-putting. It’s sort of like a stageless play where everything is set against black, similar to Lars von Trier’s Dogville, but even more minimal in terms of props and stage design.

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Edythe Smith
Jun 7, 2010 6:04pm

Caravaggio

Dir: Derek Jarman, 1986. Starring: Nigel Terry, Dexter Fletcher, Sean Bean, Tilda Swinton, Spencer Leigh. Cult/Gay Cinema.

To be considered the "second coming" of anything is a huge weight to carry upon one’s shoulders. Caravaggio is the story of Michelangelo Caravaggio (Nigel Terry), a painter who is seen as the new Michelangelo amongst his supporters, and a priest who discovered him while he was a teenage prostitute. The film shifts between three stages of Caravaggio’s life: his adolescence, his middle-aged years, and finally, his last few days on his deathbed where he dies slowly, in agony and in exile. The entire film is set in a timeless Vienna, part regal and part modern, which seems to be the norm in Jarman’s films.

In his adolescence, Caravaggio (Dexter Fletcher) is a hustler, using his paintings to make extra money on the streets or taking direction from his "guardian" to return home with the male buyers when their interest is not in his paintings. His work is mainly mimetic and consists of still-lifes of fruit or people, and eventually falls into the hands of a priest whose church looks after Caravaggio once he becomes gravely ill for the first time. He then begins a sort of commission for the church in exchange for money and support, ironically or purposefully similar to the late Michelangelo in reality. This sponsorship continues into his adulthood, but his work changes from the simply mimicry of objects and people into the bold representations of them. With each painting, he uses live models to recreate sorrowful, if not gruesome details of the human condition.

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Posted by:
Edythe Smith
Jun 7, 2010 4:42pm

Extreme Private Eros: Love Song 1974

Dir: Kazuo Hara. Documentary. Japanese.

Ever wish you could meet a strong-willed Japanese feminist from the '70s? Now's your chance. Director Kazuo Hara introduces us to a woman named Miyuki Takeda—his former lover, and one of the most impressive subjects to ever be captured on film. After leaving him and taking their child to travel from mainland Japan to Okinawa, Hara decides that the only way to stay connected with her and understand what happened in their relationship is to document her and those who enter her life after their time together. So from 1972 to 1974, Hara frequents Okinawa to film her, doing so with grace and capturing some amazing footage of locals as well.

In 1972, Miyuki begins a new relationship with a woman named Sugako. His presence throughout this segment caused tension and unease with the couple as their disoriented and sometimes abusive relationship unfolds onscreen. In this section of the documentary we are able to see an enormous transformation with Miyuki. Not only has she decided to abandon all aspects of her personality that would classify her as a "good wife," but also everything and anything that could prevent her or her son from becoming anything short of radical.

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Edythe Smith
Jun 1, 2010 8:29pm

Nénette et Boni

Dir: Claire Denis, 1996. Starring: Alice Houri, Grégoire Colin, Valeria Bruni Tedeschi, Vincent Gallo. Foreign.

Sublime and well-stylized, Nenette et Boni is like being trapped in the mind and lucid dreams of a French teenage boy in present day. Obviously one cannot think of male youth in France as one exact personality, so to help get a better understanding of Boni, let’s just say that he meets the equivalent of a "bro" here in the States. Boni (Gregoire Colin) is obsessed with the macho lifestyle that has been heavily influenced by current American hip-hop. He shares the general ode to womanizing, nice things, rough sex, and especially the overall "I do as I please" sort of moral. He lives in his deceased mother's house and is out of contact with his father, who moved away with his younger sister Nenette after their parents’ divorce. During the day he operates a pizza truck and spends every moment of his free time fantasizing about a married woman (Valeria Bruni Tedeschi) who runs local bakery with her husband (Vincent Gallo).

Nenette (Alice Houri) is his estranged sister who has recently run away from her boarding school. As a minor with nowhere to go, she returns to her childhood home only to greet her disgruntled and immature brother with disdain. He agrees to let her hide out in the home only because she confesses that she is carrying a child, but he consistently bullies her and threatens to send her back to their father, comically nicknamed "Mr. Light Bright" for owning a decorative lighting store, which Boni vandalizes on occasion. But throughout their re-acquaintance, new tensions are added by their father who wants Nenette to return home when he discovers that Boni is hiding her in his ex-wife’s home. So here an odd allegiance takes place between them, fueled both by their mutual hatred for their father and the new marriage-like domestic roles that they've taken on.

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Edythe Smith
May 24, 2010 6:33pm

Irma Vep

Dir: Olivier Assayas, 2996. Starring: Maggie Cheung, Jean-Pierre Léaud, and Nathalie Richard. Foreign.

"Cinema is not magic. It’s a technique and a science. A technique born of science and the service of a will. The will of the workers to free themselves." — Irma Vep

When you come from a culture that has accepted a standard of taste, how do you produce something radical? Irma Vep is the story of Rene Vidal (Jean-Pierre Leaud), a director who has fallen out of favor in French cinema. The film juxtaposes two stances of French cinematic taste: those who see old-fashioned and beautiful cinema to be superior, and those who detest the old and want to make room for the new. In attempts to revitalize his career, Rene decides to direct a silent re-make of Louis Feuillade’s silent film, Les Vampires (1915). In choosing a woman to play the film’s heroine, Irma Vep (an anagram for vampire), he wants to find someone with the grace of a feline and the edge of a thief, ultimately deciding not to use a French actress.

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Posted by:
Edythe Smith
May 24, 2010 6:13pm

Ma Vie en Rose (My Life in Pink)

Dir: Alain Berliner, 1997. Starring: Georges Du Fresne, Michèle Laroque, Jean-Philippe Écoffey, Hélène Vincent. Gay Cinema.

Ludovic is not a boy. God had a great big book and under the name Ludovic Fabre, "girl" was written next to it. God sent down Ludo’s other X chromosome, but it just got lost somehow…at least that’s what Ludo thinks. Ma Vie en Rose is the sweet and accurate tale of a family torn apart by the fact that one of their number will do anything to convince himself and his community that he was always meant to be a girl.

Hanna and Pierre Fabre (Michèle Laroque and Jean-Philippe Écoffey) move into a wonderful suburb and are now next-door neighbors with Pierre’s boss, Albert. They have a daughter and three sons, the youngest of them all being Ludovic (Georges Du Fresne). For years, Ludo has been convinced that he is a girl and waits patiently for his transformation, and comically, his first menstrual cycle. His family tries delicately to dissuade him from that belief but, in failing, they hope that he will simply grow out of it. For show-and-tell at school, he brings dolls and successfully confuses or convinces the children there that he is, or will become, a girl. During play, he dresses in only the prettiest princess dresses with lipstick and jewelry or dances in a wedding gown, hoping that when he comes of age he can marry his neighbor’s son. The only problem is that their neighbor's son is the child of his father’s boss—a sheepish and traditional family man who forbids his son to play with Ludo.

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Posted by:
Edythe Smith
May 17, 2010 4:41pm
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