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what2watch2night · 6 years ago

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State of World; Best of Foreign Films 2018 : CAPERNAUM And More...

Foreign films that make their way around the world via film festivals and eventually ending on being their countries contender for the Academy Awards are usually the finest of their kind.

In addition of often bringing new or culturally different perspectives on various topics that happen to be universal, they are also good windows into the world at a time (if contemporary and not retelling historical event; like "the usual" WWI or WWII European - or more like French! - film telling kinda the same things in a different way ...unless they do it "DUNKIRK style"; revolutionizing the war-pic! Or being a biography, although there are few special cases!).

Thus, this year is no exception, and more, as six remarkable films (that are some of the best films of 2018 overall) stand out in telling very unique stories showing the universality of humanity wrapped up in cinematic masterpieces...

The Best Foreign Film Seen This Year: CAPERNAUM

CAPERNAUM by Lebanese actor/director Nadine Labaki might simply be this year best film (and maybe one of the best ever in its genre). After the Jury Prize at Cannes in May (where it received profuse acclaims after its premiered) there was very little doubt that it will be Lebanon official entry for Best Foreign Film at 9st Academy Awards and make wave everywhere it will be shown.

Its premise is quite simple on the surface, as it opens as a somehow surreal courtroom drama where a kid is suing his parent for bringing him to life, only to make way for the rich, complex, extraordinary and gripping story it tells to come to its conclusion.

The film, set in Beirut, revolves around Zain (Zain Al Rafeea) looking like a sad-eye innocent child but is fierce and mature beyond his years; he might be 12 years-old but he has no birth certificate, papers or proof of his age or existence... He lives in a rickety house with his many siblings and abusive parents; they all have to work (even the children... instead of going to school) or do whatever they can (including illegal activities) to make money or simply to survive.

His already complicated and chaotic young life turns for worse the day his parents decide to "sell" his (only) 11 years-old sisters for rent and few chickens. Furious and powerless, Zain decide to run away from home in order to find a way to "free" his sister and make a better lives for themselves. From there the kid goes on a journey in the streets of Beirut, from amusement park to slums and meeting all kinds of good & bad people. Among them, will be one of the only person willing to help him, Rahil (Yordanos Shiferaw), an illegal immigrant and mother of the very expressive toddler, Yonas, that Zain will end-up taking care of. Through numerous events and (mostly bad) encounters, Zain will show immense courage and resourcefulness facing adversities until the day he ends up in court suing his parents.

Zain is a hero of a kind in a story that might seem incredible but in movie that feels very grounded with an almost documentary approach drawing inspiration from real events and tackling serious issues such as the cause of destitute children living in the street or in unsafe environment, refugees, undocumented migrants, hopeless parenting, and more that add to the vicious circle or poverty & violence.

CAPERNAUM itself is an achievement by its director who knows how to play with the emotions by combining a remarkable narrative and a compelling visual; from aerial shots of the city, bringing grandeur and levity when needed, to tight, almost "claustrophobic, shots of crowded desolated place/people highlighting distress, hopelessness and the tension.

The film is worthy of a classic Hollywood film, with moments of extreme sadness and touch of humor brought mostly by Zain "suffering no fools” attitude and his relationship with the baby. It MUST be said that the film nearly solely rests on his tiny shoulder and, Zain (the actor) was perfectly cast and gave the best performance of the year (and yet his name will probably never appear on any award lists ...) Actually the whole cast of basically non-actors - found on the street by Labaki - is perfect and it most likely have helped that, sadly, their own situations were not far remote from those of the characters populating CAPERNAUM.

MORAL OF THE STORY: CAPERNAUM will without a doubt have an effect on all viewers and most will possibly shed a tear at the end (or sob shamefully through various heavy scenes), it is the kind of difficult or depressingly beautiful yet entertaining film that inviting people to think and be hopeful that, thanks to this kind of story, changes might happen...one day...

Award-Worthy Must-see Films

SHOPLIFTERS

From Japanese maestro Hirokazu Kore-eda who never once disappoint, here is another film that will prove this right!

This year Palme d'Or , SHOPLIFTERS, is a kind of quintessential Cannes Film Festival winner; it hit all the perfect notes, pulled all the right string, balanced grandiose "Hollywood" scenes with intimate grounded moments, it delivered a fascinating and very touching story, it was impeccably acted by a great ensemble and on top of that it had a pleasant-looking aesthetic complimenting its contemplative aspect.

This story of a family of otherwise hopeless stranger living together and supporting each other like a joyous band of misfit through highs and lows has the delicateness, subtlety and elegance of the finest of Japanese cinema while depicting very real, though and dramatic situation.

In many way the film not only acts as a mirror of nowadays Japan but it opens up the discussion about many current issues in Japan that will also resonate globally. From people living precariously in the city trying to secure financial stability (or avoid being homeless), to child abuse or abandonment, to the cause of the lonely/unhelp elderly; it is extremely timely and will speaks to many viewers.

MORAL OF THE STORY: Although SHOPLIFTERS might not live up to the hype of people/connoisseur who were expecting it to be the "best of the best" or the best of Kore-eda (hard to beat LIKE FATHER LIKE SON emotional appeal!) maybe due to its third act, but ultimately, and at the bittersweet end of it, we all have to admit that the film is an undeniable masterpiece that deeply appeals to our humanity ...

WOMAN AT WAR

We are now getting accustomed to those hidden-gems from Iceland, very grounded in reality, tackling serious/deep subject (that would otherwise be, like the young are saying, "depressing AF") yet provoking extreme laugh in scenes that would appear straight out of an off-beat dark comedies for "serious adults" (as seen recently in films like RAMS or UNDER THE TREE), and so this year quirky Icelandic title for Best Foreign Film by Benedikt Erlingsson is following this tradition and will leave a long-lasting impression on any viewer whether or not they agree with it.

WOMAN AT WAR is the story of Halla (Halldóra Geirharðsdóttir), a middle-age woman with a “take no prisoner” attitude, choir conductor officially and extreme environmental activist (or eco-terrorist) known as the “Mountain Woman” anonymously. For some Halla will be the modern hero we need but for other a criminal, so the story is set up as "Robin Hood dilemma" of sort. Conveniently or inconveniently, as her "side project" takes over her life, Halla is granted a last minute adoption of a Ukrainian little girl and conveniently for her, her twin sister Asa will not only be the next of kin, but also the next in the adoption line if she cannot secure it... Asa, also played brilliantly played by Halldóra, is a yoga teacher bohemian woman who has plans to go on a retreat in Asia (another piece of information that will come in handy towards the end) and has somehow the same value but a very different approach on how to solve problems. She is more "passive" more thoughtful but maybe less effective.

The story will get crazier and bigger as the whole country will hear about Halla’s acts of sabotage (or eco-terrorism); the Chinese are involves; the Americans,; the FBI, and soon enough the whole world is watching... However, only few characters will come into play and help Halla on her quest to take down "big corporation"; a choir member who is also a politician helping her orchestrating her coups and a sheep farmer who might also be a "distant cousin", because, of course, it would not be an Icelandic movie without herds of sheep and a good Samaritan farmer!

Nevertheless, the film is not without cliches but it uses them wisely as what makes it so fun & funny is also what makes it so predictable in its jokes and slapstick; so what comes as a surprise get turned into repetitive "memes". Although this predictability might cut the fun short for some, other "easy-laughters" will have a field day with the foreign national /alien (who might as well represents the "unwanted" immigrant) always at the wrong place at the wrong time (it is a mystery why this guy is not suing anybody - the whole country - for all kind of things...) or the musicians "reveal". This last element, or the witty use of a live on-screen band and traditional singers to set the mood and act as a viewer, commentators and continuity of the character inner feelings through music, is actually one of the highlight of the film.

MORAL OF THE STORY: WOMAN AT WAR is the kind of film creating "conflicting emotions" as it acts as some kind of philosophical thesis on the moral of the protagonist action but at the same time "messes" with moralities! At the end, one might think, it would be too easy to root for our protagonist as half the theater will be cheering at her act of "eco-terrorism" or felling sad that she might have to pay for her crime, but then there will be doubt knowing that other viewers might rightfully think this movie is basically: 'white woman commit crimes and get away with it - while brown foreigner always "funnily" get caught...' A dicey stand to take for an otherwise great movie that boldly deals with universal subjects such as the environment, the link between the economy and ecology, the eco-friendly “conservative�� way to preserve the resource vs the "environmental-nuts" and their radical methods ...

YOMEDINE

This film is the perfect “happy-sad movie” and there is no doubt that if this was a Hollywood production (and bonus point if it had able actors portraying disable characters) it would have been the talk of the town and a sure Oscar best picture nominee bet... Actually it would have a shot at being a winner as it has all the elements of the great classics: A story of an unfortunate hero befriending a kid while going on a personal journey and an epic quest traveling a country, passing through all kinds of incredible landscapes in order to find his family...

On top of that, YOMEDINE by acclaimed director, A.B. Shawky, focusing on Egypt necessitous, people living in the street, the beggars, the trash diggers, the underrepresented disabled or sick sticking together like a band of misfits (an aspect that it shares with SHOPLIFTERS or even CAPERNAUM), is a film that will have its load of (non-gratuitous) miserabilism with many sad - very very sad - BUT beautifully human moments,.

On the other hand, the film reaches comedic height through the incongruous duo many ups and more downS, and like mentioned earlier, it has a lot of very "classic Hollywood moments".

Last but not least, the very touching film, although grounded in this bleak reality, is quite the entertainment; filled with fun and heart-warming situations involving a leper (Rady Gamal) and an orphan (Ahmed Abdelhafiz) playfully self-named Obama. (Seriously the image of an old-man and a kid travelling across country with a donkey while fending for themselves and finding happiness where they can; how much "old-school Hollywood" can it gets!)

MORAL OF THE STORY: This masterpiece of Egyptian Cinema (also representing its country for the 91st Academy Award - so maybe maybe maybe it will end up being nominated somehow!) was also part of the Cannes roster this year, so some might have heard of it and will get a chance to see it (or hopefully want to) but as it might sadly not get as much attention as other foreign films, most will never hear a peep about it... Which might actually be the best way to see YOMEDINE! Unspoiled and ready to be captivated by this vivid, realistic yet incredible part road-trip, part dramedy and 100% unique story...

Meritable Mentions

AT WAR

One word: intense

This film by Stéphane Brizé and featuring an all-out Vincent Lindon is an adequate successor to their previous exceptional collaboration THE MEASURE OF A MAN and it might be the closest thing we can get to a documentary about (the very french thing that is) going on strike.

Few scenes in and viewers might not be sure whether they are watching the real thing or very raw reenactment of true events as the camera and narrative offer an intriguing mix of few contemplative, cinema-verite style scenes in an energetic and "loud" socialism-realism project that focus on the behind-the-scenes of our protagonist fight to save his jobs and a factory. The filmmaker meticulous attention to details and desire to make a powerful and truthful statement is meritorious, and additionally, all the cast and all the other component of this film appear to be truly "at war" as there is no misstep, everything feels like it is at 100% all the time.

The film might be a bit too much or overpowering/overwhelming for some but it is a one-of-a-kind experience that will not leave viewers indifferent to the plight of workers fighting for their jobs...their lives.

All in all, AT WAR Might be the better French movie of the year! [sorry but between MEMOIR OF WAR and COLD WAR it’s always "same old same old"… Can we just stop rewarding European films doing slow & sad, and above all, deja-vu or "deja-told-this-way" movie of white people suffering and war and stuff...We know it was terrible but do we need 10 films about it every year!? FANTASTIC WOMAN was a nice welcoming change so let's hope they follow that way this year...(with CAPERNAUM!)]

ALA CHANGSO

Another film flirting with the documentary style, ALA CHANGSO, being one of the rare film from Tibet (to be seen oversea) will naturally offer viewers something quite singular.

It is a very emotional film that uses a soft and subtle approach to, regardless, achieve a poignant result. The director, Sonthar Gyal, tells this very intimate story, sets in a rural area, following a reconstructed family journey as the young mother Drolma (Nyima Sungsung) decides to go on a strenuous pilgrimage to the mountain city of Lhasa while sick. As expected, the road will be long, full of obstacles and they will face many challenges and heartaches as the unstable 10-year-old son Norbu (Sechok Gyal) will try to make sense of things.

Filmed elegantly, ALA CHANGSO, takes its time and makes no judgment in a contemplative exposé depicting the lives of its characters and acting genuinely as a window into a way of life. In this physical and spiritual adventure of a kind that values and questioned human connection, the kindness of strangers, faith and "its price", the film finds its truth and purpose.

Additional Must-See Materpieces

ASH IS PUREST WHITE

BIRDS OF PASSAGE

SHADOW

(Films seen at VIFF 2018)

*ROMA is not included here in this selection for obvious reasons!

#CAPERNAUM #AT WAR #ALA CHANGSO #WOMEN AT WAR #YOMEDINE #FILM #Film Review #film recommendation #foreign film #MOVIE #movie review #Movie Recommendation #viff 2018 #viff18

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losersclub1958 · 6 years ago

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一些去电影院的2018.

去年阅片量59. 但首先还是说剧集吧。补上了五年前一直想看的Elementary。

1、Elementary 2-6

从酗酒侦探马修那里我就一直觉得各种互助会非常有意思；让福尔摩斯作为一个二十一世纪纽约的瘾君子，华生则是一个职业的、冷静的治疗者，眼距略宽，不停地问他：“对此你作何感想？”我们谈论各种上瘾，酒精上瘾、药物滥用，言语即治疗，非常的逻各斯中心主义，但或许有用；又或许只是更深地依赖与沉溺。对此你作何感想？

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2、两部马丁·麦克唐纳；三块广告牌和七个神经病

距In Bruges已经过去了好些年。而你仍然无法摆脱着迷于某些执拗、黑暗以及故作天真。

以及善意是如何体现？挪用爱因斯坦的那句话，“人性大概也不能算是恶意的，但它真的表现得很微妙……”除此之外，一切都是可疑的。

3、水形物语 / The Shape of Water （2017）

1962年10月10日的人鱼解放行动，距美国确认苏联设在古巴的导弹发射场上装载的是核武器还有5天，距肯尼迪广播讲话还有12天。但这次冷战时期，古巴导弹危机期间发生的跨物种恋情，最终能否打破生殖隔离呢？自我与他人、他者的距离有多远？

4、青年马克思 / Le jeune Karl Marx（2017）

更多的是一個十九世紀哲學史的劇場版，青年黑格爾派蒲魯東巴枯寧都非常親切。但更为有趣的则是，片尾那首Bob Dylan与新世界的马克思主义，全部在电影院被删得干干净净。这件事也真够讽刺的。以及再次提问恩格斯夫人的避孕大法。

5、银翼杀手 / Blade Runner（1982）

Philip k.Dick的第一次具象化，继续提问人与记忆与感知的真相。“这些都将在转瞬间消逝无影，如同雨滴中的泪水”；而如果未来世界只剩下雨水。

6、邪不压正（2018）

很抱歉我是觉得必须读过小说以后才明白姜文的改编意义在哪里。小说本身仍然是非常正式的进化论，从武林与冷兵器，到现代国家与现代武器；而这恰恰是姜文绝对不会去拍的。这使得我们在电影中看到的全部是荒诞：国家在哪里，家仇又有多大，甚至小说中理所当然作为主导的男性视角都顺便被颠覆。与小说中一直重复的“这个北平结束了，这个时代结束了”相比较，彭于晏更像是个新时代的ABC，体现出某种新鲜与无根性（这也是我认为这具美好肉体被用出了新高度的原因）。从某种意义上来说，姜文的这次改编简直就是“生命中不能承受之轻”；甚至萨宾娜的质疑（“最后就是这种空空如也吗”）也自觉不自觉地体现了出来。唐凤仪那最后一跳多少有些突兀，却似乎成为了这种颠覆与轻灵慌不择路的一次落地。

7、小偷家族 / 万引き家族（2018）

借用胡适对于婚姻模式的区分，小津电影中的家庭更多还是“根于名分”（典型就是儿媳与公公；血缘也是归入名分的）的传统／东方类型，但是却有一种庄严、悲壮（费孝通说昏礼如同战士授旗）的寂寥；“小偷家族”则暗暗激进到全属“自造”／“选择”，其实就是嬉皮士大家庭吧，只做爱不作战（偷窃不就是对于现存制度的“不作战”吗？）和平与爱万岁万岁万万岁。

这种超越了血缘，可以自己选择的羁绊使得这部家庭片反而具有了反思家庭制度的意义，大概是可以比较安心的看下去我的第一部是枝裕和的原因吧。

8、神奇动物：格林德沃之罪 / Fantastic Beasts: The Crimes of Grindelwald（2018）

成长不也是把面目模糊的伏地魔变成（回溯为）清晰（甚至不乏英俊的）汤姆里德尔和格林德沃吗？成长即回溯，知识即记忆，自由即奴役，爱情即伤害。

只有当我们失去对于恶行的理解能力的时候，才是我们死且死于恶死的日子。

9、阿拉姜色 / Ala Changso（2018）

估计会是今年最被低估的电影。虽然又是朝圣的情节，但朝圣的路上不是只有（不断被单一化的）信仰，而是充满了冲突、疑虑与缺憾。这是最让人欣赏的地方。

并且因此又看了松太加的另一部“河”。也非常喜欢。这部电影用藏语讲了一个��民族的代际问题：上一代的儿子学会接受出家的父亲、下一代的小女儿学会接受断奶以及另一个生命进入家庭生活、以及接受死亡。那种暗中的愤怒与恶意（有了天珠就会有弟弟妹妹；把天珠埋到地下，另一个小宝宝就不会来了）与豆瓣青年别无二致。提前到达的夏季牧场逐渐解冻，河流逐渐解冻，比喻虽然有些直白但仍然有感人的力量。最后，虽然对于小女孩的心理、语言铺陈较多，但最有意思的却是爸爸看着爸爸的爸爸，老修行者的身影总是在侧面、在倒影、在远处呈现。那就是你们所说的原生家庭，我们可以不断地看到它，但永远不能直视它；我们可以不断的说起它，但永远无法真正的谈论它。（那些装模作样的讨论都只是浮光掠影的虚妄）

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10、米花之味（2017）

四星。但是靓仔宋雨喆唱着“我承诺不要太悲情”，这部电影在少数民族、离家女性与留守儿童等常常沉重而刻板化的议题中保持着的淡雅风味，似乎很难得。

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