Reviews by Rath

"I think I've always lived in the cinema." This statement almost closed this autobiography of Agnès Varda. It would have been the best culmination of nearly two hours of "cinema within cinema" unleash a good display of intimate confessions but, almost more of sceneshifter and even visual illusion. For the Belgian director it is one of the clearest examples in their means of theater creation and freedom.

Excited to see again some sequences of his best films, this time accompanied by comments from the director about them. In this regard, I remember an interview with the star of "Sans toit ni loi" (1985), Sandrine Bonnaire, in which, after seeing a private screening of the film, the actress confessed that he was the first who did not recognize themselves same on paper, at that uprooted character played to the point of reaching impress her to tears at the end of the projection. And is that if something can not be criticized at Varda film is its lack of sincerity and self praise its accuracy, bordering or integrated in the documentary. His films open spaces and offers different approaches and perspectives, as those same mirrors that presents along the edge of the beach at the beginning of this documentary must.

Where to begin? As complicated as the cinema of its author, the Lithuanian Bartas. This is the third title of his filmography and is a perfect example of his peculiar style. Along with Sokurov, Bartas is the most recognizable continuation of aesthetics that characterized the seminal work of Andrei Tarkovsky.

The film is a series of symbols related to the troubled recent history of their country. With half of its 80 minutes left over to capture the idea and had gotten a work in line "In Memory of a Day Gone By" (1990), estimable documentary with which he began to make movies. And, even better, fifteen minutes: it would be a perfect graduation work, with the usual condensation of ideas and under the usual cryptic rescued and support provided by a universe of symbols. But to achieve this, it is obvious that should be deleted, for example, most sustained and elongated fixed shots and contemplative sequences so typical way to make Bartas.

Agreeing to an apparent dead time has a certain meaning in any of the movies of this director, can not be said that a chain of them serve for the enjoyment of the beholder, however contemplative cinema fan (like me) it is.

Fiction film that looks like a documentary or vice versa. Either way, what film with urgent desire to communicate something, to express true, new ideas, is no documentary? Here not spare a single plane. Here is, seventy years later, a work that connects with the roots of cinema and the Lumière's cinematograph. Yes, by adding based script and ideological approach. His strong political involvement in key social complaint against South African apartheid does not diminish a fascinating narrative, with different linguistic levels. Pure dignity. Worth mentioning the emotional, "family" performance of admirable Miriam Makeba.

One of the first films directed by Bergman, when he had not yet defined the style and the topics that would make him one of the luminaries of cinema history. As in almost all of those years, his lilting rhythm and action is too linear, almost repetitive. There is little twists to introduce greater incentives that capture attention. Although reaching constants observed characteristics of the work of Swedish director, starting with angst produced by a hostile environment that only hinders its protagonists, preventing the attainment of much desired and pursued happiness. Serial dyes are saved only by the hand of Bergman, who never get carried away and introduces reflections of psychological and emotional depth in moments of inflection. This leads to the fact that he never completely abandoned his characters and the end always a way out that although it appears not to be definitive, at least relieving plays a role in the development of history is presented and, incidentally, favors the subsequent commercial film career.

Special mention for excellent photographic work of Gunnar Fischer in what would be his first collaboration with Bergman. Later would roll together so important titles like Summer Interlude, Summer with Monika, Smiles of a Summer Night, The Seventh Seal or Wild Strawberries, among others.

Adverse criticism Port of Call has received about being an outdated product that has aged badly, I guess that must be the chapter on abortion and consequences of all kinds, but should take into account the society of that time and and very distant year of production.

A notable example of ero-guro, gender Ishii cultivated mainly in the late sixties. Anthology Film has torture as a link, are three separate stories, for my taste better the first, but all of undeniable interest. The staging is very realistic, remarkable quality, especially taking into account their distant date of production. Good observation of detail and color treatment.

With higher (not many) means that in its previous short film a few years ago, "The Diary of an Unknown Soldier", Watkins makes a version as mockumentary of the Battle of Culloden (1746). Recreation is almost like a newsreel, involving the viewer. Maybe if it exceeds the profusion of personal data contenders in reference to the short duration of the film, but the last part is intense, very realistic, beautifully reflecting the military action, as is usual in the English director.

Devastating portrait of the hardships of a school teacher in Malmö (Sweden). And perhaps the greatest defect attributable to the film it is, the lack of responses to a cystic situation. It is not known whether the teacher has continued confrontation before her psychological problems with all students and this is the only cause of their woes. The fact is that the film does not let up or offer solutions and action are interested in the same way that hurts. The work of introspection of the character played by Per Oscarsson and it's own performance are commendable.

Joyful discovery of this Russian filmmaker. Since its first sequence shows that there is an attention to detail and care for the characters through the screen. It seems that this reflects the conviction that Barnet himself in everyday could find the most interesting stories. This film is a good example of this. Interesting comedy with musical accompaniment and very successful actors who always measure up.

In principle, a film starring Noiret, Huppert and Marielle and signed by Tavernier has the mark of excellence. On this occasion the achievements do not reach what could be expected but not disappoint. The pervasive violence is more internalized than visible, looking attenuated by a virulent but always refined humor. It also contributes naturalist strange atmosphere in that torrid colonial enclave. A movie without being among the best in Tavernier, take his place among his works to be considered.

A good start in both the technical and the plot and expectations it offers. From half an hour starts to look artifice, low budget and to the lack of ideas, only mitigated by some humorous detail. The actors, nightmarish. But the worst is reserved for the outcome, a rather sloppy first plagiarism Whale's Frankenstein. The icing on the final sermon. The final feeling is frustration.