Peter Keough
There’s no place like home at two local film festivals.
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A lot seems to be going on beneath the surface, but the surface itself is so beguiling, with the scenery, sea, and sunsets rapturously shot on digital cameras by cinematographer Artur Tort, and with the alternately lulling and agitating soundtrack, that the urgency tends to lapse.
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In this complex and enigmatic film, director Davy Chou has skillfully conjured up both a sense of time’s passage and a mood of timelessness.
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Polish director Krzysztof Kieślowski’s marvel universe explored in Three Colors.
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These films provide a glimpse into the workings of a culture and society increasingly cut off from the rest of the world as well as a taste of a cinema that had once been among the world’s greatest and which may one day be again.
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Two recent film releases, both submitted by their countries for the Best International Feature Film Oscar, offer variations on no-man’s-land.
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From Mobile to Mars, from the mind of Robin Williams to the rise and fall of a Pez entrepreneur, and with a side trip to Newton South High.
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Inevitably, by recasting Petra von Kant as a version of Rainer Werner Fassbinder himself, François Ozon has rendered the film self-consciously cinematic.
Read MoreYou may never taking the family on a ski trip again after watching Swedish director Ruben Östlund’s icily satiric study of a family’s breakdown after a near-disastrous avalanche.
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Film Commentary: You Know It When You See It — Desire and “Blue is the Warmest Color”
Without its many steamy lesbian sex interludes tarting up what could otherwise be classified as a routine narrative, would “Blue is the Warmest Color” have garnered so many rave reviews and prizes?
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