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Film of the Week - Feb. 2

The secret of his eyes of Juan José Campanella

Synopsis

Benjamin, a former employee of the Ministry of Public Buenos Aires, he retired to write a novel. As a subject has chosen the unsolved murder of a young woman occurred just months before the start of the military dictatorship of Videla. Between past and present, memories of the 70s and love for a colleague, Benjamin tries to unravel the mystery, and so of his life.



The secret of his eyes, the film Argentine winner of last year 's Oscar for Best Foreign Language Film (in spite of such masterpieces as The White Ribbon and The Prophet, film closure of the nucleus), is a work by special charm. It is a traditional story from the plant, with flashbacks and events in the present tense influenced by past ones, and inspired a popular pace, according to its director, the Italian cinema and American cinema of the 70s.

Maybe that's why "classic" components which differs from the films of other directors of the new generation, which belongs to the same Campanella, the various Burman, Trapero Martel who collect and participation in festivals count, but they are rarely distributed outside of their country. As in the Italian cinema of the times of Gassman and Manfredi, then Campanella has a fondness for big players, a kind of acting class and seductive: acting, so to speak, that can provide an interpreter as Darín Ricardo, who is one of the most star in Argentina and that of your eyes Secret embodies the figure of a little 'sweet and a bit' tragedy of a man in this tired, sometimes desperate, that sets in motion a mechanism to avoid going down slope, with its qualities of humanity and the light that flashed in his eyes.

Beyond all these elements that make the film work and sound perfectly crafted, halfway between the auteur and entertaining thriller, what characterizes it most is the reference to the recent history of Argentina, a position a tragedy and uncertainty that make it a perfect subject, however painful, to the cinema. The secret of his eyes enters the living flesh of the company with issues such as corruption, the feeling of revenge and power, filtering them in the manner of classic cinema through a love story whose importance in the plot comes and goes depending on the moment.


This is because the various floors of the story, between the fiction of the novel that the protagonist writes and real facts that you inspired in part by the story of the investigation and, precisely, the love story between the memories of thirty years elapsed between dictatorships and democratic transformations painful, meet and merge with the investigation and section tribunalesca that seems to prevail. Whether this has to do with the development of memory that involved the entire Latin American continent, Argentina so striking for the processes to those responsible for genocide, it seems clear to us, but the director is an issue which is not party intentionally writing the screenplay from the book of Eduard Sacher his usual co-writer. Without revealing the plot, one could say that the structure of the film has to do with the complex mechanism of cancellation of the past happened in the country and the vigilant prosecution of those responsible and not a single murder. It has to do with the moral rigor of a country through its protagonist feel not to have lost dignity and who tried to rise again after the dictatorship and the collapse of the economy.


If once, in fact, the worst enemy of memory was the time, now is the avalanche of information that sometimes confuses and mixes everything into an eternal present. On this ground, on which the film still has many cards to play, especially in countries with memory have an account, The secret of your eyes is a perfect example of this work he uses with skill genres (police and melodrama in particular) to dig into the memory.

to continue to live because it is easier to avoid thinking about the past. There seems to value more than the film that is now proceeding romantic, now full of suspense, always with interpreters is available to fill the screen with their presence.

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Film of the Week - January 26

About Elly of Asghar Farhadi

Synopsis A group of friends in Tehran, forty married and wealthy, is organizing a trip out of town to celebrate the return of Ahmad in Iran, returned from Germany after the divorce from his wife in Germany. Elly also invited to the holiday, a young friend recently known, in the hope that between el'invitato you can be born a special relationship, but when she disappears without a trace, perhaps drowned at sea probably escaped from his family ties and the certainties of the crumble.


About Elly is the international title of an Iranian film of 2009, which was successfully presented at the Berlin Festival, which is called original Darbareye Elly. Would be translated "About Elly," and frankly do not see why the Italian distribution has not named (maybe because with a title like that someone might mistake it for a Hollywood comedy). But not too angustiamoci, is already About Elly something has come in Italian cinemas, and later in the film club circuit, more than a year and a half after its first public screening.

The peculiarity of the film is that it does not belong to the iconography of Iranian cinema standard. There is no fact in the film, the fixity of the typical look of that film, there is concern for the disadvantaged classes, there is the constant presence of the nation state to suppress individual freedom. Or rather, there is each of these things, but for once hidden beneath the surface of a work of bourgeois setting, with characters belonging to the wealthy class and involved in a sentimental drama that gradually becomes the chronicle of a disappearance.

Some interpreted this as the narrative structure is a clear homage to a classic Italian The adventure of Michelangelo Antonioni, with the center of the story a group of young people on holiday, with the disappearance of a girl who disrupts the lives of all and radically changed the relationships within the group. The difference is that, where Antonioni threw the very existential, Asghar Farhadi, director of Ahmadinejad in Iran, can not help but be more specific, and talk about the world and the society in which its characters, although not too different from Western, are forced to live.
It is in this way, through the trigger mechanism of a clear narrative (the disappearance of a person), the film shows the merciless portrait of the constraints to which every individual is subjected in a society permeated by the control of the state and religion .

The drama is not is never fully revealed, the identity of the characters involved remains ambiguous, as the resolution of the case: but just the perception of the doubt, the hole in the veil of normality that people are trying to create around himself to undermine an entire world and its values. The vacuum is built on the existence of the protagonists of About Elly is revealed in all its depth when fear makes them naked and in particular hints at the possibility of punishment and repression. It does not happen anything illegal or scandalous in the film, but the same idea that it could happen already enough to create havoc and suffering.

For us western light years away from the subtle, pervasive, and that is even more violent suppression of freedom, it is impossible not to think about the riots and the reactions that followed the presidential election two years ago or more episodes to come Recent Sakineh the process or to imprisonment of the director Jafar Panahi . It is impossible not to think that the protagonists the film, educated, urban and affluent, are not the same protesters who have poured into the streets of Tehran after the announcement of Ahmadinejad. But the film Asghar Farhadi not observe them from afar, as a whole, as a social and political, but up close, one by one, caught in a moment of personal crisis and family says a lot about each of them or the fragile balances (on unseen hypocrisy daily) that support the dominant moral thirty years after the Islamic revolution. Generating, on the story, a tangle of inextricable embarrassment and pain as well be taken for the cultural distance, an almost metaphysical. Even if everything in the film (which never names faith and precepts religious) tells us about history, practicality, a here and now than ever, perhaps the Iranian cinema has shown more explicitly.

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Film of the Week - January 19

Somewhere Sofia Coppola

Synopsis

Johnny Bravo is a Hollywood star: he lives in the legendary Chateau Marmont hotel, spends his days between alcohol and women, makeup sessions and press conferences, receives invitations from around the world and also has an eleven year old daughter who rarely seen. Only when it is to spend more time with her understand what is the affection and, above all, what's enviable life is really an insignificant number of events.

Somewhere, the film won the Golden Lion last Venice, represents a new foray Sofia Coppola physical and moral vacuum in the film, after Lost in Translation (2003). Telling the story of a non-actor that profligate spending days with his daughter and realizes he wasted his life, Coppola returns to the alienation and irony of his most famous film, return even the stillness of the gaze and amazement wounded in front of the flashy costumes and phony show business.

For this reason, the film does not look like the original or surprising, but the screen lights up with its minimal. Sofia Coppola has talent, no doubt about this, and although he works more on the same elements (the loneliness of the individual in the face of reality and history, the disconnect between perception and experience, the dialogue between innocence and wonder ), his film is great fun and who knows how to move sections.

From The Virgin Suicides Lost in Translation to the Coppola has always imposed bully his world apart. Actor Johnny Mark, as the Italian-American director, lives in the legendary Chateau Marmont camped, built in '27, smelling of legends, ancient and European enough to be out of fashion: the stars, from Boris Karloff to Greta Garbo, James Dean Marilyn Monroe, Paul Newman, who lived at certain times of the lotus lives in small apartments who know Loire Valley. A simple place, as it often is Los Angeles where John Belushi thought well of tangled until his death in 1982. This is where Johnny Mark lives his non-life, low-cut but unable to lift ourselves from the world outside, inside the system but only able to suffer it. Are tangled up, drunk and falls asleep in front of the lap dance of two popcorn venus (in one of the most brilliant scenes the film, in which one understands the trick of seduction portable and removable), entertainment for children of the divine catatonic, required to set photographs and press conferences surreal. Johnny Mark is a "nullity", has done drama schools, is a star by accident, not by chance that we hear things like: "I am not a person." But it is pretty and like, girls like eating cake, with acts from automatic, and goes to sleep between my legs last conquest. Until

Cleo arrives on the scene, eleven years, his daughter. And the film is a remake of Lost in Translation , if possible, even in the most lucid discussion of the existential void of its protagonist. Sofia Coppola fishing in the archive memory of Francis Ford , when my father dragged her for hotels all over the world. But I also think the film that Coppola did when his father began to make great cinema in the '70s as a friend and colleague Peter Bogdanovich that with the magnificent and forgotten Paper Moon already recounted the difficult relationship between a father and baby daughter as a funny comic-philosophical treaty to Peanuts, as if the characters were so many Snoopy, Charlie Brown, Linus or intent to look at the stars around while someone is agitated.

The only time the Coppola seems to tread in the hand out the game easy but always fascinating irony, grotesque and absurd, is when the Hollywood star and her daughter flying to Italy to withdraw Telegatto. The situation is a bit exaggerated and even 'demeaning (ok that sucks, but do not put stuff like that scene in that way even in the days of Ocean's Eleven), but it makes a precise dramatic separation between reality and his sham. What you see at the cinema (and television) is a miserable-looking curtain raiser between the appearances of obscene Simont Ventura, Maurizio Nichetti, Nino Frassica, Valeria Marini and Laura Chiatti that will play well for those concerned ironic, but for the Coppola represent the recurrence of a nightmare that he must have scored when he accompanied his father at an award ceremony.

The film then takes over the story again and incarta nothing left except the knowledge that everything flows, nothing remains in his hands who tried to seize on this (his father abandoned his daughter again and knows it can be missed at any moment). The only sure thing is the camera, the unique look, the only real presence in the film, the only instrument able to conceive the annihilation of the inner character.

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Film of the Week - January 12

addition to the rules - The Messenger
Oren Moverman

Synopsis
Sergeant Montgomery returned from Iraq have received a new assignment: along with Captain Stone will announce to the families of the fallen death of their relatives. A terrible job, hard to bear, William tries to do with posting until it falls in love with one of the women who announced the loss of her husband.


Released last April after nearly a year of incubation, despite the award for best director at the Berlin Film Festival 2009, addition to the rules - The Messenger is one of the great American films of recent years and especially one of the few truly successful works on the war in Iraq.
After so many unnecessary or botched film ( Lions for Lambs or In the Valley of Elah to make an example of two works decent but out of time), the directorial debut of screenwriter Oren Moverman (formerly canditao all ' Oscar I'm Not There), addresses this conflict by a dramatic and controversial point of view. In fact, the film tells the life of those soldiers who have the thankless task of communicating to families facing the death of their relatives: the issue is one of those powerful, which can not remain indifferent, and if possible the film, with its expressive dry , with its ability to convey the emotion and pain on the scene, often using a fixed platen and the sequence makes it even more urgent and intolerable.

addition to the rules is a shot in the chest, a sort of "Ludovico treatment" for the heart, as much as that of A Clockwork Orange it was for the eyes and morality. Overman forces its viewer to look at what you would never see, what, eg, Steven Spielberg in Saving Private Ryan filmed from a distance, in silence and in silhouette, with a woman who came to know of death of her son in war and slumped to the ground overcome with grief. Moverman instead choose to stay with the characters, with the messengers and the victims' side ", located behind the two main characters and the machine that shakes between. In this way, it shows a subjective point of view almost the suffering of others, the consequences of historical madness live on the body of the people involved. The camera does not detach, never interrupts the flow of the scene, but chooses to challenge the highest level of emotional tolerance, perhaps to overcome it and so confront the real consequence of war: the pain and helplessness of those who remain of the beholder .

Because impotence is primarily ours, for us viewers who watched the movie (or listen to or read a news story) and we have nothing else to do but watch, worry or become indignant, but never really suffer. Beyond the rules , however, calls for an investment of responsibility on the part of the viewer. Calls on hold and courage. The stars are the messengers, the relatives of the victims and the suffering we witness the viewers. If you try for once genuinely sorry to see the intolerable length of a scene of grief or surprise, will be the compensation for all the dramatic news digest dinner time, or in front of the computer screen, and immediately forgotten because distant from us.

For once, we'll look and ask why the we are doing. The cinema is at the bottom of this.