Reviews by Rath

Rudi Rosenberg, director of this film, made ​​his acting debut while still a child in small roles in both film-and television-before turning to management, as two short films. In both films explore the world of adolescence. The first, "13 ans", filmed in 2008 with child actors and comedic, like a draft "Aglaee" held two years later. In the latter, the complexity of older characters in his mid-teens, offers greater narrative content.

"Aglaee" part of a fact only apparently trivial. This is a group of guys who improvises a bet in the courtyard of the institute, with the sole intention of having fun but, this time, take as its subject a classmate with a physical disability.

Supported by the effective and credible long interpretative work of its young actors, the film made ​​a laborious study of their different personalities, that age when the permeability becomes clearer sentimental and emotional vulnerability is much greater than any other. but this does not mean that the film falls into any kind of easy sentimentality or moralizing, a more adult. On the contrary, "Aglaee" takes a surprising plot twist at the end of its 20 minutes, showing that the adolescent's psychological complexity is no sign of weakness or confusion of life, and that under the skin of his actors is teeming, brimming with sensations, a humanity in full transformation.

"Dripper" is an animated short film of a very young French director. His story is original and the rate of exposure, dizzying. With a drawing nervous moments captured in a color-free amalgam rabid as befits its leitmotif, a tribute to American painter Jackson Pollock.

His argument and explains some of his stylistic license full load: New York, 1950. Jack, a passion for painting, robs museums throughout the day. Draw pictures and then hidden at home ...To eat them!

French short film interesting. Simple drawing, black and white, but pleasing to the eye, good overall outline and detail very well made, including the general shading.

The story, based on a fact, if not banal, everyday at least it becomes a very original idea where the perception of reality becomes unreal and absolutely fantastic, through the imagination of a child.

"Specky Four-Eyes" has a double meaning, apart from the purely visual, which is manifested in an almost philosophical background that shows things like the loss of imagination from the adult world.

While on vacation in a resort town, five children occupy part of his time spying on a pair of young lovers. Unfortunately, children are too far and end your curiosity for meddling too much in the life of that girl that everyone is in love.

The second short movie in Truffaut's work, shot two years before his first (for me, the better) great film, "Les Quatre cents coups" (1959) seems a little sketch of this film, as both explore the world of childhood, a theme dear to the French director.

Despite its shaky, uneven script, "I mistons" can be seen with pleasure. It also contains abrupt tone, sharp and cutting characteristic of the first productions of the Nouvelle Vague. There isn't a minor curiosity in its protagonists recognize some very young Gérard Blain and Bernadette Lafont.

"Container" looks like a container, yes, but expressive of confusion. With an alleged dirty aesthetic, they are presented black and white images, sometimes fast-paced, narrated by a plaintive female voice adds more ambiguity to everything that shows the movie.

The message is of course difficult to penetrate the viewer, you get to be really interesting because it seems to follow the contrary, the disaffection of the main protagonist and his companions strange life.

Valuing the movie from the perspective of orthodox experimental film, can be found in it a certain appeal in its dislocated, original presentation. But 72 minutes of projection ultimately undermines the patience or at least, a sincere interest in what you are seeing ...

In short, it is difficult to recognize here, even though his bold proposals films, the director of movies like "Lilya Forever" or "Fucking Amal", especially when previous films this "experiment" Moodysson long time and seemed to hold dusting over the night of horrors.

Encounters and disagreements in family. A couple with a young daughter. There is much love in the relationship of all but the father has problems with drugs and just making life on your own. Years later return to reconnect with his daughter, as a teenager.

The film is followed with interest. They are very well reflected the relationships between all members, up emotions, moments of happiness as the voltage, without grandstanding in terms of their presentation. Also its fine young actors made ​​their characters, endowed content.

The only dramatic climax, it is an unnecessary added at the end of the film and hampers somewhat the general content, gives it a somewhat artificial way, too gimmicky, in a film progressed so far with excellent pace. Better to have been left open-ended, meaning "life goes on ..." and the easy to employ.

While in France the Lumière brothers first movies exhibited through its newly patented Cinematographer, Berlin brothers Max and Emil Skladanowsky, bioscopio invented the first version of the movie projector, which projected eight frames per second.

The movie is divided between past and present with continuous flashbacks temporary. The past tense is recreated with techniques reminiscent of the first silent film, with all its technical and funny tricks, of course, black and white diluted. Here tells the story of the development of new apparatus for projecting movies in an old warehouse and the various vicissitudes that accompanied it. The zeal with which he wanted to preserve his invention was not copied by any industrial spy, and the whole of history is presented through a little girl, the daughter of one of the brothers. Unfortunately, his invention was delayed and became technically witnesses in Paris of the first screenings in the cinema hall of the Lumière.

The present tense is gaining ground towards the end of the film and shows the production team, including Wenders himself at home in that same girl that served as a narrative link, now converted into her eighties, which is crumbling memories with incredible lucidity and enormous sympathy at the same time. This is probably because I prefer to point the great sense of humor of the old woman, who says, roughly: "Well, the film is well made ​​... despite some license taken you. For example, my father never wore glasses, but well, it gives a more intellectual appearance... "

"71 Fragments of a Chronology of Chance" "is the third part of Haneke's trilogy about the violence in modern society. Although this time does not develop a single story, but several, in the end will match much of their different players in one dramatic point.

Also for this reason, the movie shows a broader records, but always with an overview of the problems that afflict developed societies: isolation, aggression, lack of values​​, boredom, fear, rejection ... and again violence, carried to its logical, and dramatic response to a very complex conflict solution.

The way of putting it is always characteristic of Haneke film, through close-ups, sometimes sharp, sometimes painful and always marked by a sharp social criticism. But as the director he once stated:
"... My movies are a slap in the face."

Second part of Haneke's trilogy on violence in modern society, after "The Seventh Continent" (1989) and immediately prior to "71 Fragments of a Chronology of Chance" (1994). "Benny's Video" (1992) is another twist, also devastating in the dissection of the welfare society. For the most unsettling film is Austrian director, serving radical situations, limit, raises questions that are not closed.

After an event of extreme gravity of a criminal act, we see the author, minor, that seems to have any consciousness of their responsibility in it. His father showed the same coolness in the time of the subsequent decision making. Meanwhile, the mother is in a kind of trance state, between nervous laughter and tears, unable to react at all. The solution is not simple but it's not really important. All selfishly trying to keep their personal welfare, no other approaches.

The movie link to "Cache," which seems to close a longer series, through the camera, a symbol of modernity, which scrutinizes all traces of personal privacy and is installed in Western culture, and more specifically, in youth, through the mobile phone. Recordings of gratuitous violence that record today, many young people with them just for fun is a sign that Haneke was not far off track in his social analysis of the other kind of everyday cruelty to come.

The first movie by Michael Haneke (proper, having already made ​​some films for German television) is a treatise of intent, a good example of the interest which the Austrian director channeled all his subsequent films.

To be specific, although the film is divided into three parts, may dissected in half in terms of plot development. A first half to show the daily life of a bourgeois family, a couple with a young daughter, and a final part to detail the self-destruction which has no choice.

"The Seventh Continent" is based on a real event and dissects the tedium of Western life in a drab and unbearable parade of daily habits that lead to a horror vacui which leads to more pessimistic existential questioning.

Based on static shots, the film is becoming a film-essay that characterizes the work of this philosopher by training who is Haneke. Mechanical repetition of acts from sounding the alarm clock at 6 am familiar, and from here, the exposure of tics of the "welfare state" that lead to selfishness and then to self-absorption and personal alienation. The consumer factor is well developed in the action, with its surplus of all kinds, starting with the purchase in the supermarket, at the family table, but almost no boost communication between its members.

The weakest aspect I see in this as in other films of Austrian filmmaker exhibition is its excessive cold, mechanical at times, where events are happening without any prior explanation as to, if not justify, at least give them some sense. Not given any opportunity to the characters, sometimes closer to robots than humans. Not examined in depth and even less reason is put forward to explain their actions. This gives the final product a sense close to parabola. When the last shot reveals a TV as a sole survivor, this suspicion seems confirmed.