pathe

Ricky (François Ozon)

François Ozon is one of the most proiminent, leading contemporary French film–makers. He has produced and directed a mighty body of work including such cinematic greats as 8 Women, Swimming Pool, and (arguably) Potiche. However, his most profound film in recent times is Ricky.

Although this film is quite abstract in its character analysis of its human subjects, I have attempted to detail the scenario in which this tale is set. Our female lead and provocateur, Katie (Alexandra Lamy), works in a factory where she is exposed to the inhalation of corosive and highly dangerous chemicals. A single mother juggling work and the needs of her young daughter, she falls in love with Paco (Sergi López) and also becomes bedridden with illness, about the same time. Concurrently, she discovers that she is pregnant. Upon taking sick leave from work, Katie‘s mental state deteriorates to the point where her reality is vexed and convoluted, upon going into labour. Paco then takes custody of her daughter, in an attempt to provide her an upbringing in a calmer environment. He then finds himself amid a storm of delirious and accusatory behaviour from Katie. She then decides to give Ricky up for adoption. This film is a poignant drama that is swathed in a fantastic depiction of Ricky; a film that raises many questions to ponder (does Ricky exist? Is Paco an imagined version of her Ex–husband?): See it for yourself and draw your own conclusions!

0 CommentsLeave a comment

Miral

From Julian Schnabel; the director that brought such cinematic triumphs as Basquiat, Before Night Falls, and The Diving Bell and the Butterfly to screen. Here comes a film that, although technically flawed presents the Palestinian plight without a cohesive or bias view –to its credit.

The film begins with camerawork from Eric Gautier (Into The Wild, The Motorcycle Diaries) that seems much too frantic for setting such a sombre narrative. However, his hand–held shots are somewhat restrained and the perhaps flamboyant use of various colour–grading techniques is excellent, amidst interesting tracking shots and realtime movement.

Although the film centres around Hind Al-Husseini‘s school for orphaned refugee girls, it’s effort to track the lives of Hind, Hani, Fatima and Miral (each pronounced with titles) leaves one feeling as though Reel 2 was omitted; with the film consolidating proper upon Miral, and Hani to a lesser extent. Complementary to this view are the cameo–like appearances of Willem Dafoe‘s U.S. Army personnel, Eddie, whose under–developed and languishing character borders on irrelevance. Worth noting too is the brilliant Hiam Abbass (The Visitor) as Hind albeit looking almost comical when the character reappears in the film as an elderly woman. As with most of the film though, this criticism fast fades as the film begins to enthrall beyond the first 40 minutes or so.

Anchored with a great range of stock shots and the aforementioned cinematography techniques, the film runs parallel to a curious soundtrack including R.L. Burnside and Tom Waits but ultimately encapsulates an engaging perspective of the Palestinian/ Israeli conflict. Freida Pinto (Slumdog Millionaire) is absolutely amazing in holding this film as her own and plays Miral seductively in the coming-of-age, politically agressive role.

0 CommentsLeave a comment

Black Cat White Cat

I recently regained a grubby grip on this film masterpiece. Emir Kusturica‘s depiction of the charm and chaos between a sprawling Balkans family consisting of rival ‘gypsy gangsters‘ never ceases to amaze. The film consistently cements itself in any respectable top 5 favourite film lists. The film opens on the banks of the Danube, with the seminal techno classic ‘(I‘m a) Pit Bull Terrier‘ -a track crafted from the minimalist group Zabranjeno Pusenje, long before downtempo anthems bum–rushed the Eastern European dance music scene. However, this is just an opening sequence.

Do not be fooled by these wanna–be gangster buffoons and their hilarious bumbling bastardry –the plot opens up as the head of the family, Matko Destanov, unites his mob to make sure his daughter is wed and wed in a proper & timely fashion. The outcomes of these endeavours are heartfelt and often ill–concieved but ultimately, when played out on celluloid they will have you retching with laughter. You‘ll be gagging on your incomprehension of the trials and tributaries (yes, waterways) that the wedding party encounter.

And War…

Having been fortunate enough to traverse Bosnia a few years back; Kusturica‘s film is certainly reminiscent of the uneducated madmen that roam the countryside. Somewhat similar to the bogan or twit, this cariacature of clueless peasants from the Balkans is as interesting and humorous as it is sad and disappointing; with Bosnia a country particularly dire in despair. A place that an 80 year old professor who I stayed with in Mostar deemed “it is everyone against Bosnia. They have us land locked and it is each for their own“. Upon asking how he felt about the Croats, Serbs and other socio–political groups: “How do you think I feel when 100,000 people were slaughtered in this very town during a 2–day campaign“. A chilling reminder of the devastation of war. And it was less than 20 years ago. A ‘contemporary‘ war.

2 CommentsLeave a comment