#fred kelemen

[davidhudson]

Happy 60th, Fred Kelemen.

Moscow, 2015.

[wetgeliscasualinterval]

A torinói ló (2011)

Directed by Béla Tarr

Cinematography by Fred Kelemen

[tpthvn]

Frost (1997) Fred Kelemen

[lamiaprigione]

A torinói ló (2011)

[sesiondemadrugada]

The Man from London (Béla Tarr & Ágnes Hranitzky, 2007).

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[addictivecontradiction]

Suspiria, 2018

[modernerealisateur]

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[thecinematicshots]

The Turin Horse (2011) Cinematography: Fred Kelemen

[davidhudson]

Happy 58th, Fred Kelemen.

[ricardoluizshadowsmetal]

O Cavalo de Turim (2011)

Direção: Bela Tarr,  Ágnes Hranitzky

Roteiro: László Krasznahorkai

Elenco: Erika Bok, Mihály Kormos, Janos Derzsi

Cinematografia: Fred Kelemen

Nacionalidades: França, Suiça, Hungria, Alemanha 

“Turim, 3 de Janeiro de 1889. O filósofo Friedrich Nietzsche sai de casa. Ali perto um camponês luta com a teimosia do seu cavalo, que se recusa a obedecer. O homem perde a paciência e começa a chicotear o animal. Nietzsche aproxima-se e tenta impedir a brutalidade dos golpes com o seu próprio corpo. Naquele momento perde os sentidos e é levado para casa onde permanece em silêncio por dois dias. A partir daquele trágico evento Nietzsche nunca mais recuperará a razão, ficando aos cuidados da sua mãe e irmãs até ao dia da sua morte, a 25 de Agosto de 1900. Partindo deste evento, o filme tenta recriar o percurso do camponês, da sua filha, do velho cavalo doente e a sua existência miserável.”

Um filme cru, melancólico e idiossincrático, que narra à angústia da existência, numa vasta dimensão filosófica que nos castiga a todo o momento. Em alguns momentos do filme, meu espirito foi tomado por uma estranha angustia e até mesmo por uma aguda insipidez, fazendo com que eu me tornasse desatento em algumas partes da película. Embora seja monótono, tudo no filme é relevante e filosófico.Tudo é feito intencionalmente, para imergir o telespectador num poderoso vazio fatalista.

Assistir filme :

[johnnymundano]

Suspiria (2018)

Directed by Luca Guadagnino

Screenplay by David Kajganich

Based on the screenplay Suspiria by Dario Argento and Daria Nicolodi

Music by Thom Yorke

Country: United States, Italy

Running Time: 153 minutes

CAST

Dakota Johnson as Susanna "Susie" Bannion

Tilda Swinton as Madame Blanc

Tilda Swinton as Mother Helena Markos

Tilda Swinton as Dr. Josef Klemperer (as Lutz Ebersdorf)

Mia Goth as Sara Simms

Angela Winkler as Miss Tanner

Ingrid Caven as Miss Vendegast

Elena Fokina as Olga Ivanova

Sylvie Testud as Miss Griffith

Renée Soutendijk as Miss Huller

Christine LeBoutte as Miss Balfour

Małgosia Bela as Mrs. Bannion/Death

Fabrizia Sacchi as Pavla

Jessica Harper as Anke Meier

Chloë Grace Moretz as Patricia Hingle

Jessica Batut as Miss Mandel

Alek Wek as Miss Millius

Vincenza Modica as Miss Marks

Vanda Capriolo as Alberta

Brigitte Cuvelier as Miss Kaplitt

Gala Moody as Caroline

Anne-Lise Brevers as Sonia

Sara Sguotti as Doll

Halla Thordardottir as Mascia

Olivia Ancona as Marketa

Mikael Olsson as Agent Glockner

Fred Kelemen as Agent Albrecht

(The Waltz of Guilt: I was so enraptured with Suspiria that I failed to screengrab. IMDB is where I went.)

Nu-Suspiria vs Ur-Suspiria

Suspiria (2018) is a stately paced, grimly hued, intermittently gore drenched and impressively disciplined dance through generational guilt, the abuse of power and how monsters gestate within the everyday. It is the gloriously impossible cinematic bastard lovechild of The Red Shoes (1948) and Possession (1981). Fun stuff, bring the kids! Actually don’t, they’d only be bored and there’s also some proper rough stuff on show. Hoof! Oh aye, Suspiria is also an arthouse refurb of Dario Argento and Daria Nicolodi’s 1977 original. I loved the original sumptuously coloured frightmare, but I also adored the dourly garbed melancholic dancetastic update. Judging by the reception of Nu-Suspiria I am in a minority, luckily Nu-Suspiria has the courage of its convictions and dances like nobody is watching anyway. Nu-Suspiria dares to be different; it dares to be a Suspiria for the 21st century, and I liked it. I liked it a lot. Nu-Suspiria pays Ur-Suspiria the massive compliment of taking its skeleton and fleshing it anew with a vibrant, dark energy poached from history itself. Ur-Suspiria turned its back on reality with magnificently fanciful results. Nu-Suspiria faces reality full-on and the result is equally glorious, just… different. Vive la difference, yeah?

Follow That Dream (Into a Shower of Guts)!

It’s 1977 and young American lass Susie Bannion (Dakota Johnson; impressively limber) follows her dreams of the dancing life from her insular, artistically repressed Mennonite community to the insular, artistically uninhibited dance community of the Tanz Academie in Berlin. The Tanz Acadamie is a dance academy (obviously) and also a female commune, run by a number of mumsy figures. One of these, Madame Blanc (Tilda Swinton; icily precise), immediately recognises something special about the trembling ingénue and begins to prime Susie for a very special purpose. Whether that purpose is to dance up a storm for some OAPs at a Wednesday matinée or something far, far darker isn’t ever really in question. Pretty much everything else is in question; will Susie succumb, what happened to Patricia (Chloë Grace Moretz; doomed), can good come from evil, can you accept Tilda Swinton latexed up as an old man, why do good people go bad, why isn’t there more dancing in horror movies, and what’s with all this terrorism stuff anyway? 

Every Skull Wears a Smile.

Fans of old timey musicals and just plain old timers will note that in Suspiria, like many a waif in many a musical, Susie starts out with only her dreams and the shoes on her feet, but her untapped and untrained talent blossoms and astonishes her peers and tutors alike. Yes, superficially Suspiria shares much of the structure of lighter dance fare, with everything leading up to a climactic dance where Susie shows everyone just what she can do and steals the show. Just what Susie can do and quite how she steals the show, however, will come as a real eye opener, I think. Suspiria certainly flabbered my gast harder than anything starring Ginger Rogers ever did. Given the meaty sequins of horror stitched into the dark leotard of Suspiria this structural similarity can safely be taken as satire; it can definitely be taken as the closest Suspiria gets to comedy. Which is fair enough, Berlin in 1977 wasn’t exactly laughtertown. It being rife with terrorism and terrorism being a bit of a downer.

For One night Only: The Red Army Faction Dance Troupe!

That’s two mentions of terrorism so far, because it’s fundamental to Suspiria is why. The spectre of ‘70s terrorism saturates Suspiria and initially this is a bit puzzling. It’s as though every TV and every radio only carries reports of the seizing of a plane by the RAF (the Red Army Faction, not the Royal Air Force; I admit I was initially puzzled too). A few posters on the girls’ walls aside, the world of Suspiria is free of time specific pop culture references; all there is in the world of Suspiria is the terror within the Tanz Academie and the terrorism without.  It soon makes sense though. After all, as Jesus didn’t say, the terrorists will always be with us. They were with us in 1977. They were there before 1977 and they are with us still today. Different terrorists, but still terrorists. Evil evolves.

The Matryoshka Dolls of Evil.

And Suspiria, it becomes apparent, is all about how Evil may well evolve but its most reliable trick is to hollow people out and replace their essence with an adulterated doppelgänger. The mechanism for this, usually, being the abuse of power, and with the doings of the Tanz Academie matriarchs we see this in eerie action. What appears to be an egalitarian utopia is quickly revealed to be riven by factional infighting and, worse, the apparently benevolent den mothers are in fact parasites gorging on their wards’ youth and energy. The young are infected and corrupted from within until they echo the evil of their elders. As it is for satanic dance troupes, so it is for terrorists. As it is for terrorists, so it is for fascists.

Fake Face, Real Heart.

Yes, fascists, those massive arseholes without any redeeming features whatsoever. For in addition to terrorism, Suspiria is about the psychological scars marring Germany’s populace post WW2, that is, obviously, those who survived. Where there are survivors there is also guilt, alas. Dr. Josef Klemperer (Tilda Swinton in a wrinkly mask) is one such survivor. Now, it could be argued that Tilda Swinton made up like an old man is a bit too literal a personification of Suspiria’s core theme (basically: appearances are deceptive, yah?) to be anything other than laughable. But in Suspiria’s defence Tilda Swinton’s performance as an old man is kind of magnificent. Everyone else in Suspiria just seems (deliberately, I think) more like a symbol rather than a human being, except Tilda Swinton in a wrinkly mask. Klemperer’s search for the fate of his love, Anke (Jessica Harper; cameotastic), his acceptance of her fate and the price it extorts is Suspiria’s bone bleachingly sad illustration that only the good feel guilt. Evil couldn’t care less; that’s why it’s Evil. 

Fake Gore, Real Horrors.

Despite being a horror movie Suspiria isn’t about cartoon Evil. Bravely it takes on real world Evil; how it can happen and what it costs. There’s a lot of red meat on Suspiria’s bones, too much for some. Me, I suggest you get stuck right in and fill your boots. Somewhere in its unapologetically self-indulgent sprawl Suspiria baldly states one of its core propositions - that folk are all too eager to believe the worst is behind us; unless we learn from the past we should fear the future. And we never learn from the past. But the human dance isn’t over yet. In amongst its gore, pain and horror Suspiria dares to suggest we might just surprise ourselves before the final curtain falls.

TL;DR: Suspiria (2018) was awesome.

[whileiamdying]

FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE/ SEPTIMA EDICION

Un mapa del cine del mundo

Clarín.com 12/04/2005 - 0:00

Africa y Oriente Medio

Una de las mejores películas de Cannes, Mooladé, del octogenario senegalés Ousmane Sembene, es una de las cumbres del cine de ese continente. El iraní Abbas Kiarostami se pone radical con los planos fijos de Five, el israelí Amos Gitai trae el drama Promised Land, y el palestino Hany Abu-Assad, la literalmente explosiva Paradise Now.

Lejano Oriente

Por el lado del cine de acción asiático, el BAFICI ofrece un policial de Johnnie To (Breaking News) y el premiado thriller del coreano Park Chan-wook (el sorprendente Oldboy). Pero el fuerte son autores como el chino Jia Zhangke (The World) el coreano Kim Ki-duk (3-Iron y Samaria), el tailandés Apichatpong Weerasethakul (la asombrosa Tropical Malady), el taiwanés Tsai Ming-liang (The Wayward Cloud, sobre el mundo del porno) y el japonés Hirokazu Kore-eda (la angustiante Nobody Knows). Habrá sorpresas de Malasia (The Beautiful Washing Machine), Tailandia (Beautiful Boxer), Filipinas (Women of Breakwater) y Corea (So Cute), y animación de Hong Kong, con la brillante McDull, prince de la bum.

América latina

Tras su paso por Mar del Plata, llega Machuca, la exitosa película del chileno Andrés Wood. También se verá Contra todos, del brasileño Roberto Moreira, sobre una familia de clase media de San Pablo. Habrá un documental de Eduardo Coutinho (Peoes) centrado en los sindicalistas que combatieron con Lula en los '70; la coproducción chileno-argentina Mi mejor enemigo, de Alex Bowen, sobre el casi conflicto del Beagle, y el filme mexicano Relatos desde el encierro, sobre las prisioneras en la cárcel de Puente Grande. Justicia, de Ramos Agusta (Brasil); El escolaso, de Federico Beltramelli (Uruguay) y Toro negro de Pedro González Rubio (México) completan.

Europa

Francia trae pesos pesados como Alain Resnais (Pas sur la buche), Agnes Varda (cinevardaphoto), Jean-Luc Godard (Notre musique), Chris Marker (Chats perchés), Raymond Depardon (Profiles Farmers: Daily Life), la dupla Straub-Huillet (Une visite au Louvre) y Olivier Assayas (Clean). Los alemanes Harun Farocki y Fred Kelemen traen sus respectivas Nothing Ventured y Fallen, en tanto que de España llegará Cachorro, de Miguel Albadalejo. Regresa el italiano Vincenzo Marra con Vento di terra y Goran Paskaljevic trae su dura Sueño de una noche de invierno. La irlandea Omagh (sobre un atentado del IRA), el drama sueco-danés Day and Night, de Simon Staho, y la película de acción subterránea Kontroll, de Hungría, completan el listado.

Estados Unidos

Algunos de los grandes nombres del cine independiente norteamericano vienen con trabajos que no están a la altura de sus clásicos, como The Girl From Monday, de Hal Hartley; Silver City, de John Sayles; Palindromes, de Todd Solondz, o A Dirty Shame, de John Waters. Mucho más interesante es Undertow, otra exploración por el sur de David Gordon Green o Mondovino, en la que Jonathan Nossiter se mete con el negocio vitivinícola. Kevin Bacon se luce en The Woodsman, de Nicole Kassel, y The Heart is Deceitful Above All Things es un tómelo o déjelo explosivo de Asia Argento. Imperdibles son los documentales Capturing the Friedmans, de Andrew Jarecki y Dig!, sobre la rivalidad entre dos bandas de rock estadounidense.

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The Man from London (Béla Tarr & Ágnes Hranitzky, 2007).

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