"With 'her', you'll be fine."01 January 199630 mins
Signals like the moon, streetlights like stars. The camera warmly captures the winter night roads, and the director's eye is also that of a director looking at two people who are more than friends but less than lovers. When Sakai chooses what is most important to him without hesitation, i.e. when he accepts the responsibility of loving her, the period in which she "had chosen" to leave him gives the story a deeper depth. A film that uses unrealistic motifs but depicts the birth of happiness in a sufficiently realistic way.
When Hydro-Québec announced its intention to proceed with the enormous James Bay II hydroelectric project, the 15,000 Cree who live in the region decided to stand up to the giant utility.
A jaded Lower East Side couple have become bored of straight sex, in a bid to spice things up, they decide to imitate some rough sex scenes as seen on TV.
BEAUTIFUL FUNERALS is a hand-painted double-step-printed film composed of 1) dense blackness variously punctuated by brilliantly colored jewel/flower-like shapes AND 2) interruptive white sections which are fuzzily dotted with blurred whites and criss-crossed by black "brushstrokes" and hard-edge straight black and white lines.
The dynamic PR-agent Hannah is starting up her dream-job in the Hochstedt Company producing toys and soon falls in love with her firm's junior executive director, Wolfgang.
Set on May 18, 1993—the day on which Denmark voted to join the European Union, just a few months after they'd voted not to do so—the film follows eight or so disparate Danes (an escaped mental patient, a newly-famous singer, a business executive, and their assorted families and cohorts) as they unwittingly alter one another's lives, for better and for worse.
An old tango singer tries to contact his teenage son. A woman who is death or the Devil appears to him and asks him to sell his soul to connect with his son again.
An examination of the evolution of commercials as an artistic medium, featuring interviews with media luminaries who relate how the in-your-face stylistic conventions of commercials have influenced feature films and the visual arts.
Director Mohsen Makhmalbaf claims to have never seen a movie before making his first film. Doubtful as it sounds, this boast matches perfectly with the controversial artist's personae.
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Have you watched The Leading Hand yet? What did you think about it?
