It is, perhaps, a cliche belabored investigate how films speak to each other in time and space. However, it is difficult not to observe the time where films speak simultaneously with each other to be immediate in space by being programmed in the same film festival. This is the case at the Toronto International Film Festival (TIFF) 2010 where three films addressed different stylistics source of suffering, of poetry: Poetry (Shi, 2010 Korea South), German, Austrian / Estonian co-production The Poll Diaries (2010) and film Russian Silent Souls (Ovsyanki 2010). In a Word, poetry was morbidly filament, elegiac Silent Souls and The Poll Diaries (even if they are so beautifully). I am very pleased that all three will speak on each other once more at the International Festival of the Palm Springs film in 2011. The Poll newspapers (Germany / Austria / Estonia 2010)-I spoke with Chris Kraus on his fourth feature survey logs, semi-fictional in turn-of-the-century Estonia illustrating the effect of historical turbulent sensitivity Oda Schaefer, tender story girl whose destiny as a poet is influenced by its interaction with an injured Estonian anarchist her health nurses. Reconcile indiscretions aristocratic family with concern of compassion for the oppressed, innate poetic sense of Oda is inflamed when it is forced to recognize the scientific inhumanity, political injustice and inequality.Poetry / Shi (South 2010 Korea)-their brief synopsis for Lee Chang-dong, the latest masterpiece, famous TIFF said: "" Rhyme and crime mix in poetry, moving portrait of an elderly lady elegant in the early stages of Alzheimer's disease as a lyric take on creative discovery and a compelling look at juvenile violence.""
Sending MUBI poetry premiered at the Festival de Cannes, Danny Kasman observed: "films on the artists or someone artistic creation are incredibly difficult to pull off the coast." It has something to do with the audience - checking if we just hear someone is a great painter or writer, we find a word for her film, but if we are see painting or writing, suddenly the viewer can cast instant judgment on this work and, consequently the character and honesty of the film itself. Lee film at risk while including two artistic creation - we see our heroine thinking and poetry - composition and art too, because it reads finally we its composition. The movie succeeds on both accounts and something even more difficult too, which is a painting of the character as a spirit of free almost crude or daft, which makes the credibility of the composition, the creation and exhibition something requiring a great subtlety and nuance Yun Jung-hee. That his work is before even finished his poem, simply to explore the world around him and how its new comments begin to drop by his conversation, is a kind of stage director and actor feat. Also at MUBI, David Hudson gathered the subsequent examinations of Cannes (where poetry won best screenplay), as well as favourable resounding reviews of the film at the Festival of New York (NYFF) film projection.
Me, I took the film of his first American North in the TIFF format. Straight off, I was struck by the stories frequency film spring from the body of a young girl of death; a thematic area - if not a genre - to itself. Poetry, is the corpse of Agnes girls floating on the River. She committed suicide after being raped by a gang of boys. In some ways, it is his spirit that informs the desperation of the Mija write a poem before she loses his mind to Alzheimer's disease. In the role of Mija, Yoon Jeong-hee - emerged a retreat from 16 years - permeates his performance with a nostalgic sweet sadness. One of my favorite images of poetry when Mija - struggling for inspiration - located next to the River Bridge which Agnes jumped to his death. With the notebook in hand, Mija sits about to write; but a sudden rain arrives before the inspiration. The Mija empty notebook white pages become surprised by the dark drops of rain; image film simple poetry. In addition, the fleetingness of the human experience is aligned with the natural cycle of growth and decay, easily becomes one of the most basic models of poetic; expression i.e., the fate of flowers and fruit becomes the destiny of human beings or - as the Mija itself in a moment of insight senescent - human "apricots are milder once they are fallen branch."
Silent souls / Ovsyanki (Russia 2010)--troisieme Aleksei Fedorchenko film thematically aligns Lee Chang-dong of waterfront in his daydreams mesmerizing emphasizing obscure a small community of Finno-Ugric people, the Merya pagan practices, which - as explained in its official for TIFF - Dimitri Eipedes "never obtained in their passion for the water settle on the banks when and where they could" description and all the because that "they believe death by drowning in the ultimate liberation." Silent souls became the film version of a novel written on refoule machine to write a father perched on the sides of dead fish: for walnut, to drown, drown....
Once again to MUBI, David Hudson collected reviews of Venice and Toronto 2010, then NYFF. Even at MUBI, Danny Kasman weighs regardless of the North American premiere of TIFF, observing that art cinema risks blowing small film subjects out of proportion to the magnitude of the distortion. He praised Fedorchenko "retains the meaning intact scale" and remains firm in its simple story of two men to disperse the ashes of a woman, they have enjoyed. "Compositions are widescreen", Kasman described, but it's always roads, rivers, gateways and routes extend into the Centre and the distance; the weight of the shots solemn grey fixed camera of a quiet, almost nostalgic tone by this indicator continues to travel and death. ?
Cross-posted on the class of the evening.
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