Change Your Image
XxEthanHuntxX
Ratings
Most Recently Rated
Reviews
Amor de Perdição (1979)
The work of a young 70 year old
There is more heart and a wider richness of feeling and sensation in Amor de perdição than in Manuel's other long film The Satin Slipper, and thus makes it a more exciting and stimulating journey through the seas of love and passion in the virtuos storm of Manuel de Oliveira's imperishable signum. In addition, this installment haven't got the theatrical stigma that it predecessor has which, I think, thus distances itself from the film medium and its purpose In comparison to the directors accomplishment of later work to this one, you clearly see a big enhancement in maturity from the later works.
But this film's visual is more fun and it (the film) embraces a more energetic and vigorous Manuel de Oliveira with a clear love for life which I think he lacks in the immediate films following this work, but which he will later pick up with a better precision many years later in his career. When making Amor de perdição, the director is still inhabiting his younger domain of his filmography (which is pretty comedic thus he was already over 70 when making it) and the quality of directing and storytelling in the film do suffer because of it.
But its fun to see his immense unique personal style still developing which have a huge potential. That monotonously and almost incomprehensible beauty, which describes sensations with a bombardment of romantizised and grand words or visually loaded of the most beautiful nature.
Serial Experiments Lain (1998)
Rain
The peak of anime as an art; an avant-garde expressionist tale that deals with technology, religion, postmodernism and existentialism, blurring the line between the real and the virtual via the world of the Wired (AKA the Internet), putting into question the several repercussions it has on our lives and also questioning our existence (particularly that of purpose and identity) and the validity of an omnipotent being.
But Lain is a typical case of style that trumps substance. The anime is unique in its splendid audiovisual style, its excellent use of light and shadows, creating an atmosphere of surrealism, mixing traditional techniques with computer graphics. While the story is lackning substance and the serie never reaches any substantial excitment or climax.
In einem Jahr mit 13 Monden (1978)
Slaughterhouse World
"[...] And Elvira opposes this idea to her that she found in the novel Welt am Draht and which, for the moment, seems very reasonable and relevant to her: the world in which she finds herself is only the model. Of a higher world where reactions are tested by means of seemingly real living beings. " - Rainer Werner Fassbinder, Synopsis of The Year of the Thirteen Moons.
With this cited description, I think its safe to say that Fassbinder perceives and consider the world, as a wretched hell deprived of any order and justice. In the time of making the picture at least.
The film begins by stating that the years with the 13 moons are inextricably linked to personal tragedies, seeming to erode his faith in individual drama as a result of fate and the movements in our stars. Most definetely affected by an emotionally challanging event within his own personal relations. On May 31, 1978, Armin Meier, a young actor and lover of the director, commits suicide by drinking a cocktail of sleeping pills and alcohol, after four years enduring the despotic treatment of Fassbinder and after he write him a letter ending their relationship and offering him a monthly allowance and the apartment they shared in Munich. Six days later, after the discovery of Meier's body by the building's doorman due to the strong stench emanating from the apartment, Fassbinder refuses to attend the funeral of his ex-lover (in view of the general scandal and in his own words,A year with thirteen moons, an exercise of atonement that will lead to the most personal and heartbreaking work of his filmography *.
He almost contemplated leaving filmmaking altogether, however realizing the only way he could get through the suffering and make sense of it all, - was making a film. To explore and his own experience, and conquer his reality. The themes; loneliness, alienation and being a true outsider of this world. He delivers, then, with "The Night with the 13 Moons", one of the most heartbreaking ode to the individual need for acceptance and to the uninterrupted ping-pong between bodies and needs.
It renders so well the heartfelt pain of suffering in life. When everything has gone to hell and a futile try for acceptance becomes fatal. The emotional exhaustion of tearful aggression and anoyance towards the absurd and incomprehensible world. And the fact that this is supposedly what was going on in Fassbinder's life, elevates the film and makes it more profound: this was an artist in despair and trying to find some redemption through his art.
The film isnt directly gratifying in an ordinary cinematical way, - its terrifyingly horrible. And targeted in an confrontational way towards whoever in the audience whom want to accompanie him on this downward spiral death-trip. In that sense it's a boldly experimental film. This is a film that may be most daring in juggling tone. The Year of the Thirteen Moonsis is structured in resemblance to acts or episodes of a biblical story, almost theatrical but manages to hold on to the film medium.
The most brutal and ferocious passage remains the sequence of the slaughterhouse: against a background of Handel, Elvira declaims Goethe while on the screen, we bleed, slice, open and skin cattle. I suppose it would symbolize a thesisical metaphor on suffering, how's it feels: the Hurt.
Fassbinder casts on Erwin / Elvira the traits of his unfortunate lover, Armin Meier, while he unfolds himself into the multiple characters that will cause the protagonist's descent into hell: The unpredictable will /movement of our bodies. Fassbinder have chosen a transgender and sensative martyr to attend this role. In his desperate search for love, the protagonist renounces himself and his own masculinity to find nothing but rejection and loneliness. And Volker Spengler sensitively embodies this jaw-dropping role of a heavy angel, almost antipsychological. Its an interpretation -probably- taken from the soul and freed from all forms of paper and false emotion, Fassbinder finds the ideal incarnation of man in the moment of absolute and self-destructive need for acceptance of the present self. Fassbinder is only partially interested in the story of his main character's suffering. He puts one obstacle after the other in the way of a possible empathy on the part of the viewer. The director watches his protagonist burn without hesitation and intention of interfering.
Volker Spengler plays it as a narcissistic and passive aggressive wreck, who speaks autistically to itself in plaintive singsong and presents itself to its tormentors as a grateful target for attack. Seemingly, on the surface, naive, but one can't help to offer ones symphaty and understandment when you have heard his life story.
Sometimes Fassbinder takes his figure by the hand, accompanies it a little and shows understanding. But then he pushes her away again to watch her despair from a distance.
There comes a time when the people who forsake or hurt Elvira don't do it out of spite but out of indifference. Anton Saitz sums up these contradictions: destroyed by Nazism, he destroys others, manages brothels like concentration camps. Feared and hoped for like the big villain of the film, he turns out to be totally childish, preferring to replay a scene from a Jerry Lewis comedy.
The vexating and tricky problem I have is, however, first of all the familiar theme. Life's suffering isnt exactly a new theme of a film but it is on the other hand universal and eternal. Though the envoirment and the characters are in this type of vulgar and astethical style - unique. The film is also, while an enjoyable film experience, as I said, quite ungratifying and anti-climatic. Which creates a irritational odd ball and thought that the film could be more giving.
Fighting Back (1982)
Surprised John didnt die
A relatively intelligent vigilante film about the extremely tricky situation, that is: the
clearance of "punks", as they call them in the movie, and how to handle it. The film doesnt produced a clear answer, but proposes numerous methods on the matter. Highlighting, of course, the protagonist's way. Blending the perennial quest for justice, supposed racism and political power in a true and thoughtprovoking manner. Showing concern and arguments from both sides of the spectrum, reflecting the though and Injust reality extraordinarly well.
"Fighting Back" might seem muddled or chaotic but so is the question its tackeling, so any othe result would just not be staying true to the situation. The outcome is, in my opinion, a great all-over-the-place, wild and haphazardus natured crime-action flic with a, perhaps, too ambiguous but truthfull intention. And maybe a little bit clichéd too. But it doesnt matter when the goal is to offer an enjoyable, dramatic action-packed movie experience. With a charismatic yet brutal Tim Skerritt in the lead role.
Gli occhi, la bocca (1982)
A bereaved mother but an enlightened son
I think its safe to say that this movie shrieks for Individualism and emphasizes the intrinsic worth of the individual. Assailing against the social norm about cohesiveness among individuals and prioritization of the group, or family, over the self. Also rebelling against materialism, where one consider material possessions and physical comfort as more important than spiritual values.
An affectionate play of two humans: Lou Castel and Angela Molina seized in a beauteous endearment, which only allures one's fondness further more by the minute. The principal message really shine's through brightly and with full of delight. Even so, before the demonstration of this magical spectacle, the story is a bit hard to grasp, looking very odd and one were utterly confused about were exactly the director's attention had gone.
Une femme en Afrique (1985)
The Couple lost in Africa
Genius storytelling, haven't seen anything quite like it before. The film offers us a glimpse of everyday life in the beautiful desolated african landscape, as well as a nocturnal insight on the cities gorgeous primeval architecture. In addition, Raymond also invites the viewer for a capricious love story, aloof and very tricky, but the most Interesting and charming one I've seen on film. With a ravishingly real performance.
Lekce Faust (1994)
Funny Faust
This conscious, humorous, inventive, surreal retelling of the Faustian myth is a magical piece of work. It can be enjoyed at various levels: a man sells his soul to the devil for power, experience, pleasure and knowledge. This with exquisite dream-logic surrealism, settings abruptly changes whilst circumstances stay the same, finding yourself doing things beyond your control, and finally, the fascinating blend of realism, surrealism, stage-acting, historical settings, puppetry, stop-motion and claymation and the seamless shifting between them. Brewed magnificently togheter in an surprisingly outstanding ending, with a marvellous flow in both storytelling and visuality while tackling philosophical questions in a fierze rigorous manner yet with a fun playfullness. Unfortunately, the begining is not as good as the latter half. Those supposedly enigmatic scenes doesnt blend well with the rest.
Berlin Alexanderplatz (1980)
An Odyssey
Berlin Alexanderplatz develops a complex and intriguing existential character study of a weak-willed, violent, naive man, and his journey through misery, betrayal, love, lack of opportunities, crime and other worldly phenomenon. The epilogue, Fassbinder's surreal interpretation of this story, on the other hand, is unfortunately a failed attempt at a surreal adventure. But the series as a whole was substantially rewarding.
Limite (1931)
Aimlessly
Extremely creative film way before its time. With a very unique narrative, coming out of the earlier days of cinema. Influenced by poetic literature from an ingenious director. Sparkling with imaginary and poetism in its very silent visual but story rich imagery. Hard to rate this title, with the first half being a great deal lesser interesting than the latter. But with a striking originality so early in the industry. I would, if I could, rate "Limite" ~ 7.7.
Noon o Goldoon (1996)
In Search of Young Policeman
Extremely foreign and strange atmosphere and narrative in these Iranian films. Though it is nothing but widely fascinating to see. The endeavour of this film is complex, despite the film's simple display. Its extreme beauty is hard to explain but lies in all kinds of creations both tangible and abstract, the meekness of its caution, its charming values, its child-like state, its seriousness, its comedy and every other scent of its bloom. "A moment of innocence" is inexplicable human with life's kismet inwoven in every corner of existence, opposing providence with apathetic actions leading to a mysterious destination. The film shows humans different momentums and how they somehow meet to then share their present breathing togheter, for better or worse. And the regrett and guilt following this cycle. But also how to "save mankind" from not suffering the same fate as one did years ago. This philosophy makes a great manifestation of itself in the twist at the end of the film. Screaming of love and innocence but also lurking with a depressing fate. Sure, the film is pretty perfect, clever and original but minimalistic.
Le roi et l'oiseau (1980)
The Bird And The Tyrant
Technically and storytelling-wise: A perfect masterpiece. But isnt wasnt very philosophically giving, for me at least.
Kanashimi no Beradonna (1973)
Beautiful
A feministic potration and idolization- Interwoven love story, Interwoven history of medieval witchcraft as an act of rebellion against the oppression of feudalism and the Roman Catholic Church. This rebellion took the form of a secret religion inspired by paganism and fairy beliefs, organized by a woman who became its leader - Belladonna, born out of sadness and oppression. But the young, beautiful, innocent woman's sexuality is unlocked through a numerous painful processes. Often she struggles against this awakening of physical desire-but when she lets go and gives in, she gains power, especially over men. Her presence threatens the dominant order. And thus she is sent to her death.
The object of the film seems to purely be a simple and impressive formula of the Sorceress's way of life, which sadly is darkend by the very elaboration of their ruled existence. The film sympathizes with the sufferings of peasants and women in the Middle Ages, or, most possibly, throughout all ages. The strong point is to start, not from the devil, from an empty conception, but from a living reality, the Sorceress, a warm, breathing reality, rich in results and possibilities. A topic which the film contains, the showing of people refering or confusing Belladona's transformation to the devil's work, or to be more exact, the root of her shapeshifting. Which thus shouldn't be confused with the devil because rather its the oppressor. Its shows the ignorant.
The films also blends severe nudity in with its narrative, which could be explained as part of the rebellion and a seemingly violent outcry against everything that is consider tabu and holding the individuals restraint, prohibiting their freedom and keeping them locked in chains. Showing (sex) as one of the pleasures life has to offers. In addition, the film presents dancing and music as one of the cures for the deadly plauge, which is too, an enigmatic pleasure of life, which either can't be explained.
Apart from the story faultering quite a bit from its lack of focused narrative but also deficient meaning when reflecting the visuals. Fortunately, the brilliant visual artistry is enough to keep the audience enraptured In a spellbinding torrent of beautiful flowing- aquarelle artworks. Containing both vivid, erotic and grotesque imagery, including rape, orgies etc. As well as feminine beauty - dangerous, seductive and delicious. A beautiful combination of: A magnificent mixture of water colour, as well as regular animation, an Idyllic torrential flow in moving object, poetic storytelling and accompanied by a very 1970s score by the avant-garde jazz composer Masahiko Satoh.
A wonder of the film is the physicaddlic element which creates an atmosphere of surreal, hallucinogenic and delirius experience, of godlike/mysterious insanity-inducing proportion. It shows something out of human direct-understanding but consciousness.
Extremely stylistic as well as original - work of art. An animation style I have never seen on film before, but one of, if not, the best.
Punishment Park (1971)
Peter Watkins did this!?
Over the top melo-dramatic story and character's reactions and development by cause of vague and probably non-existing motives for the violence. This foolishly absurd and non-sensible theme reaches the point of irritation, which ills the film a bit.
But the acting and the realism to the actual story construction is one of the most credible and realistic staging I have ever seen in a movie. The film's topic and subject matter is well presentated in a fitting environment with moderate arguments at both sides. I didnt find the characters opinion that profound to be honest. But their behavement does most the talking.
Mémoire des apparences (1986)
If that's what you want to call it...
Ruiz explores memories, the experience of life as a series of interconnected images, facts, and history through the metaphor of cinema. With multiple intertwined layers, Ruiz builds a movie that behaves like mnemonic associations. Similar behaviour and following the same logic as in a dream. As usual with Raul's movies of course. Absolutely magical. You cant help but gaze as the master director uses lights, shadows and angles to create a nauseous environment. The movie unfortunately didnt catch as much interest and fascination as the directors other films I've seen, on the other hand, it was absolutely more philosophical and telling. But maybe I have to do the film justice and not watch it on a VHS rip with burnt in subtitle.
Dalla nube alla resistenza (1979)
And time continous...
The first segment, I thought was awesome, with some great philosophical value in its dialogue and brilliant camera placement. A very odd film indeed, with a narrative of splendid originality. The actor(s) dialogue might appear akward but that is just Straub exploring the boundaries of cinematic expression.
The second segment I didnt get much from. I didnt see the director(s)'s showing parallels between the two - as clear as other reviewer supposedly have.
'From the Clouds to the Resistance' is definitely a new kind of movie for me and I'm looking forward to checking out more of the director's work.
Napoléon vu par Abel Gance (1927)
France!
Maybe its disgraceful to the films creator(s) to watch this film on my 5.7 inches mobile phone, lying in bed at midnight. Because this masterpiece was obviously meant for the big screen. But either way its cozy as hell to watch a - 5.30 hour long master spectacle of the epic adventure of Napoleon Bonaparte, and follow him over the ocean and throughout France - thinking if Im going up for school tommorow, or just gonna see this whole movie through and announce my abscense instead. A director with a grand vision and an unbelievable patriot making a movie about, maybe the greatest revolutionary to have ever lived, Napoleon.
Der Rosenkönig (1986)
The Dreamer and the Gardener
Der Rosenkönig is a celebration of death at work and the beauty of destruction. Magdalena knew she was going to die soon, and in this film, we feel her struggle between life and death. This, unjustifiably - in the minds of the people involved, provides an excuse for endless painful poetic reveries and artful imagery, including depiction of a crucified dead/dying cat (who was obviously killed for this movie), graphic cutting/mutilation scene (of a human), as a twisted metaphor for forced romantic idealism. The film is very powerful and beautiful with its numerous allegorical elements sush as blood on roses, an insane mother plagued by cats and mice, heavy-handed religious symbolism, rose symbolism, a statue of the cracked virgin on which a white mouse perches, broken stained-glass windows, cobwebs, burning fire, the scorching sun, etc. Compositioned with elaborate and the splendor of the sublime photo of Elfie Mikesch while the soundtrack alternates from delightful waltzes, fados or arias to operas. The adoration of the male body is the central motif of the painting in The King of the Roses, and the film quite clearly strives for this too.
The film is, in its finale, so succumb in misery and suffering hence the romantique and beauty its trying to show off, ultimately becomes pathetic, a figure of obsession, if you will, and at most, forms an arrogant substance of darkness without 'real' affection and love. Sure, its an exceptionally great motif (finding beauty in the suffering), but its ULTIMATELY blunders, thus, the confused creators, are holding considerably more strings than they could've hände. But, at least they tried! What the hell do I know?
Un homme qui dort (1974)
Distinction between healthy solitude and loneliness
Words cannot describe how absolutely genius and philosophically outstanding this film is, and the extreme effect and impression it had on me. A feast to the eye and with a script that is a magnificent essay on the existential subject, extremely detailed, wordly livefull and very intelligent. I don't know what words to use or how to formulate myself, that could do this film justice. But I'll try to write down at least concisely what the movie is about for my own sake in the future. The movie masterfully portrays the destructiveness in isolation, motivating the power and freedom in solitude, but explaining alienation as a confusion, and a darkness in which one immediately got lost and goes astray.
Lacrima Christi (1980)
Tears of Christ
The divinely, celestial and poetic manner of
which the movie is sculptured, refering to the enigmatic and infinitely fascinating use of sound, lighting, pacing, colour, potraying and constructing images and the mysterious physical elements, makes the movie appear to be of some terrestial origin. The director wanting to present the different perception and utilization of, for example, a wine glass or a piece of cloth, moving it in all directions and from all angles, embracing it from all sides. He want to turn everything in the world upside down, tear it inside out, reverse time - create visual chaos and to some madness and see how nature manages and behaves. How the universe operates. Though, unfortunately I couldn't help but to feel the movie debouching out in tediousness and becoming boring after a while.
Conclusion: still abstract and suggestive but not much satisfaction is produced, thus, the movies surface is repeatedly the only thing that is in focus. Only uncertaintese arises no gratifications, and because of that the movie didnt work, for me at least.
Simone Barbès ou la vertu (1980)
What is virtue?
So, to present the film. I'll try to be concise. My life (the director's: Marie-Claude Treilhou) brought me to experience a lot of very diverse situations, including at a time working as an usher in a movie theater, which is the movie theater where this film was shot. And I wasn't in that theater to observe anything, I was there to make a living. Suddenly when I was working in this theater I became conscious of the incredible situation which I was in, that had an extraordinary richness for revealing things.
There was the off screen voice, there was the little theater stage on which the usher where, because I was working with Ingrid Bourgoin who was also an usher and eventually played the role of Simon Barbes in the film. So Ingrid Bourgoin was already an extremely strong, natural character. And then there is the fact that we were located looking up from a low angle at the street, which was kind of like a natural screen. So outside we had this nocturnal reality and we were between the two - what was happening in the movie theaters and outdoors. And this incredible circulation, this traffic, this diversity - provided an extremely rich opportunity to talk about society. There was the representation of day, the representation of night. There was real reality, fake reality. There were metamorphoses. The very theatrical possibility of sudden shifts.
So I had, in front of me, this very theatrical rich situation that was also an opportunity to talk about a certain time period, the time period were we are suddenly tipping over into mass pornography. And to tell the truth, it's also a love film. A film about love if you will. It's certainly a film on love. In the background you have this wedding dress-store outside on the street, and inside the movie theater you have, if you will, the backstage of the marriage. And between the two you have these two kinds of witches who are trying to not fall into total despair, by playing out or acting out a fantastic comedy between themselves and with the customers of the movie theater. And that's really the only solution - to play or to act, and have always been that way. The whole film, in a sense, is an extension of that, this movement between romantic love and then sex with all its flaws, sadness and obscurities.
Kenpuu Denki Berserk (1997)
Angry dude with sword!
Im basing this review solely on the anime, thus I have not read the manga.
Berserk lags far behind regarding the depth in character studies and psychological developments comparing to other series. And the changes that do happens way to slowly, when the anticipated change of the main character at last occurs its already too late to really grasp that he actually has. The characters construction, in this serie, are also very clichéd, stereotypical and extremely one-dimensional, in addition, their personality have been used too often in movies already to arouse any excitment. The character is too transparent, her true motives and feelings are predictable from the start of the series. Only Griffith's character is really interestingly fleshed out. More and more information about the leader of the Hawks is given with each episode. But Griffith remains shrouded in a cloud of mystery, something isn't right about this character. His weird eyes and the supernatural, emotional dominance he has over his army make him a fascinating character. His true nature remains hidden until the shocking end of the series.
What lifts the series above the average is the profound ending and its prime philosophy. Director Naohito Takahashi throws out all he can possibly imagine to completely overwhelm the viewer with a grand surreal finale. In this final sequence, the few vauge hints the viewer got of the series interesting philosophical views all falls into a translucent manifestation. With the last two episodes, it turns out that "Berserk" has much more depth than expected.
The first, and biggest theme in the world of Berserk is that of fate, and how everything must follow a predetermined course. This has shades of the philosophy of Determinism, which states that everything that defines who we are, our actions and decisions, come from outside of us. This means that free will is an illusion. "In this world, is the destiny of mankind controlled by some transcendental entity or law? Is it like the hand of God hovering above? At least it is true that man has no control; even over his own will." When watching Berserk, always keep these words in mind... in the end, they will make sense in a brutal and unforgettable way. They proceed to incline that the lives of humans are small and described as reflections on the surface of a river of causality, completely incapable of altering the course of the river in any way. 'Berserk' tries, especially in the last two episode but essentially throughout the whole serie building up to it, to explain a existential philosophy of humans all deepest emotions and the inescapable fate of the world we live in. It shows the human condition fleshed out, expsosing the haunting and horrifying but natural and instictive inside. A lot of the story is also about a mans own dream and how he should treasure it. But what does it mean, the difference between a reflection on the water, and a fish causing ripples?
Pierrot le fou (1965)
Vivre sa vie!
The film on the surface beholds Idiosyncratic dialogue, but Godard know the actors are just speaking nonsense, because apparently words have some sort of meaning. The directors loosely abstract ideas and whimsical storyline does all for the best and serves as a playful landscape for the mystifying impulses. The rare and baffling feeling of complete trust for the director swept over me, and an ectasy like state followed throughout the rest of the picture.
Terra em Transe (1967)
The earth is shaking
Glauber Rocha is crazy, and here he explores his favorite subject - politics. Rocha shows, I think, that the line between poetry and politics can be blurred, and that they can and is being aproached the same way, in a sense that both dont have a definitive solution and people form different kind of theories. Glauber brilliantly potrays this paradox, and the film is a answer to the great mystery. Its a political essay as well as a cinematic masterpiece. Its poetry and psychedelic merged in to a transic account, following the same logic as in a dream. Godlike.
In the film, Glauber will prepare an analysis, seeking to reflect on the reasons that led to the 'Collapse of Populism in Brazil' in 1964. "Terra em Transe" criticizes social classes and uses 'Theory of Populism' to explain the reasons for the victory of the Coup. Rocha suggests that, the Military Dictatorship installment in Brazil after the Coup of 64', he did not believe that armed struggle would be the best way to defeat the it, because the dictatorship was becoming increasingly repressive and increasingly closed all channels of popular participation in the country's political life. So, what is the way out that Glauber points out to get Brazil out of that situation? In fact, he doesn't know and, precisely because of that, he doesn't point out any solution, he just tries to portray the complex situation with an extraordinary poetic approach.
Brazil was in a situation of impasse and that there was no solution for it at that time. It shows the vision of a political and social situation in Brazil at that historical moment, which was based on the knowledge of some aspects in the Brazilian reality at that time, as well as making it clear how the country came to this situation and what were the main dilemmas and impasses facing the Brazilian nation.
I have decides to add some qoutes at the end of my review to confirm this political thesis of the films intention:
Porfirio Diaz becomes Dictator of Eldorado and says "They will learn! They will learn! I will rule this land. I will put these hysterical traditions in order! By force, for the love of force! By the universal harmony of hells, we will reach a civilization!" Such speech well sums up the reactionary and fascist thinking of a large part of the country's ruling classes and is still very current.
Desperate with the Coup victory, Paulo insists on promoting an armed resistance, but that will be useless, as the Coup has already been victorious. He wonders how long we will endure all this suffering. Sara asks 'What proves her death' and Paul replies 'The triumph of beauty and justice'.
Gertrud (1964)
Amor Omnia
Minimally staged with restrained performance, so focused on its subject that it ignores everything else, but that is probably the director's intent. These people (the actors) arent more real than the words in a book or in a play, and thus eliminates the whole meaning of Inventing cinema, and can be described more elaborate and intimately in a book. But one cannot look past that it is one of the greatest explorations of love ever put on the big screen. It bears a profound and immersurable depth, highly philosophical, with a ever so developed view on both love and life.
Obrazy starého sveta (1972)
Unnoticed World
Pictures of the old world" is a non-fictional movie consisting of dialogues with old people who haven't been "deformed by civilisation." The film tries to find answers to questions of human existence. People featured in the film tell their life stories that are linked to their ancestors' customs. The film is a poetic visual essay with entire lifetimes of experience on human existence. Hanak documents the textures of their faces, hands, and landscape's predominate alongside an obstinate vitality and desire for life. The director crafts a distinctive polyphony of human stories in a world unsullied by ideology. The will to live and overcome life's hardships is moulded in Hanak's vision into a celebration of authentic humanity.
At odds with the Communist propaganda of the time, its depiction of poverty punctuated with alcoholism, religion, and the hardships of the subjects lives, resulted in the film being withdrawn from release. Condemned for its aesthetics of 'ugliness', the film remained banned for many years. However, Hanak's film is not a polemical film. It attempts to address fundamental levels of human experience - its power and beauty lies in its tender studying of a people who seem to have been forgotten by their society.
The film combines images taken with a camera by a photographer called Martin Martincek, and Hanak's own footage, and alternates between the two in a very professional way. The result of this contradictorial filmmaking approaches with the use of collage effect ultimately establishes and defines the film's unique poetic style. The director also uses music, song, synchronised and non-synchronised sound and background noise, significant details and local scenery taken both from photographs and exteriors. Hanák observes the individual characters in relation to their surroundings, but he seeks, and finds, the core and depth of their security in the people themselves. What has value in life?, he asks them.