Gideon Koppel’s documentary looks at vanishing traditions in rural Wales. It sounds familiar and the vibe recalls Silent Light, but any documentary that uses Aphex Twin’s music will eschew the obvious. This trailer’s simple episode suggests a smart, witty, and altogether down-to-earth approach.
Archive for May, 2009
Leave it to the Japanese to make a biopic about a manga artist. Shinichi Abe battled both alcoholism and mental illness to become a star in his field. This drama examines his relationship with his usually unclad model Miyoko, played by the alluring Mari Machida. Kenji Mizuhashi plays the artist wielding his pen long after the ink has run dry. Visit the official site.
“There’s this bloke. Name of Holmes. Sherlock Holmes. From down Baker Street way. He’s a queer geezer …” Looks like director Guy Ritchie has kept his mockneyisms in check. Any similarity between Robert Downey Jr.’s prize-fighting ‘tec and Basil Rathbone’s snooper boiled in aspic is purely accidental.
Have you ever fancied being trapped in a holiday camp with a load of noise/indie rock fans? Squally is considerably more interested in whatever happened to Jonathan Caouette, whose autobio-doc Tarnation wowed so many years ago. Answer: he’s made this film celebrating the annual All Tomorrow’s Parties camp fest. Performers include Sonic Youth, Grinderman, Portishead, The Mars Colta, Akron/Family and young people acting out.
The long-awaited return of Beat My Heart Skipped director Jacques Audiard. Tahar Rahim is the French-Arab thug given a criminal education inside the big house. Any similarity between the prison and Guantanamo, Malik and a certain other divine mouthpiece are surely coincidental. Screening at the 2009 Cannes Film Festival.
Young Hubert’s tortured life is made all the more unbearable by mother. Sounds like a familiar story. Except that Hubert and mom’s contentious relationship almost verges on a mutually-assured-obsession. Outside the family warzone, Hubert endures growing up gay and Canadian. With its fantasy sequences, dramatic strings and overall histrionics, the trailer suggests a Savage Nights for the 21st century. The overheated achievement is all the more impressive considering that writer-director-star Xavier Dolan is a mere 20 years old. Roll over Orson Welles and tell Harmony Korine the news! The plum role of mother Chantal is played by Anne Dorval, who has won a pair of Gemeaux awards for her work in the Zone 3 TV show Le coeur a ses raisons. Due to screen at this year’s Cannes Film Festival.
There are many who would argue that Helmut Berger shouldn’t be let in front of a movie camera. But the star of The Damned (and Lucino Visconti’s boyfriend) carries a lot of history. It’s used to effect in this Austrian drama, where his octogenarian dry cleaner falls for a 16-year-old estate thug. The kid’s neo-Nazi activity reminds Berger of his own fascist past and the one that got away. Directed by former Vienna Boy’s Choir member Peter Kern, who received a German film award for his role in Syberberg’s 1977 Hitler – A Film From Germany.
With the exception of Pre, watching people run isn’t the most aesthetically fulfilling activity. There’s a lot of sweat … blood vessels … wobbling bits. The filmmakers behind Hood to Coast don’t explain why we should be interested in this relay race, which takes place every August and runs from Oregon’s Mount Hood to the ocean. Instead, they expect us to be interested in the quirky group of runners the event attracts. What results are a series of portraits of individuals who range from the irritating to the inspiring. For gym rats only. Directed by Christoph Baaden.
Country lass Delia (Andrea Bosneag) wins a soda-sponsored contest and travels with her family to Bucharest to collect the big prize–a new car. The organisers will only cough up the car when the lucky winner participates in a commercial. Delia and her parents are at odds over what to do with their spoils, and collecting the automobile in the big city becomes fraught with mirthful satire. Radu Jude is the director whose debut feature is yet another sign of the Romanian cinema’s vitality. Written by Jude with Augustina Stanciu, who also functioned as art director on the production.