Install Robertshaw 300-208

Melancholia (Lav Diaz, Philippines 2008)

" Why is there so much sadness and too much sorrow in this world? Is happiness just a concept? Is living just a process to measure man's pain? Are we ever going to see each other again? I'm not afraid of death. I'm more afraid that I will not see you again. '"

These words, which may be the motto of the entire film, Renato writes on the panic flight into his diary when he is at the film's hunted in the forests of Mindoro as a left activist of military units. But this when we are already over 7 hours in the film, at the very end of this eight-hour long movie monster. It should start at the beginning ...

MELANCHOLIA is a movie where at the beginning several Person absent or have disappeared. These are missing, wanted, mourned. Zone: Sagada, a small town in which meets casually the newly arrived prostitutes Alberta (Angeli Bayani) on the pimp Julian (Perry Dizon), which then make their city by tail curves also meet the pleading for charity nun Rina (Malaya Cruz). Julian is interested in contacting her, she tries to integrate into its machinations, one imagines violence in the air. Julian himself earned his money with the staging of live sex shows for tourists, including a local couple is at his disposal. Where the film wants to go, allows himself to say at all at home after the first two hours. It rains all the time.

In the second part of the coarse members adjustable in three parts of film, we are weeks later, again in Manila, in a writer and filmmaker and a head teacher. Amazingly, these figures are the same people as expressed in Sagada. One learns that Julian and Alberta are members of a left terrorist cell that was immersed in Sagada with false identities - even to cope with the loss of their loved ones cope (Julian misses his wife Patricia). Rina but the nun, is now gone. Panic makes to Alberta in search of her, of which Julian will first hear of it. In a second narrative thread, Alberta is looking for their Adotivtochter Hannah, who ran away from home is. They entered service with a few other girls as Straßenhure. Julian, meanwhile, wanders through the city, comes in a big rain and breaks down emotionally, played fantastically by a river under a gray concrete bridge.

are the third part of the film we are in a subordinate prologue in which, as already mentioned, is about the hunt for the activists. Renato Alberta is so far gone as understood, husband.

the Aesthetics: Diaz works with digital camera, in black and white, without extradiegatische score and long shots. With very long shots. The first of the film takes a good 8 minutes, and subsequently settles it between 6 and 12 minutes. The camera is mostly static: one sees a picture, a scene and will spend the next few minutes there. The actors bertreten the scene, go down, play through without cuts.

The effect on the audience is unique. Once you overcome the first hurdle, the movie actually feels like to do justice to life, it goes on completely in it. It sucks the scenes to himself, looks around, can literally "see enough." The initially feared Arthouse, many often used as a synonym for boredom is, will not start. If we get involved in the stillness of the film, every movement is an event, each Authentic conversation, within the contemplation of each section into a sensation.

MELANCHOLIA is a film, which concerns the loss of people to search for a form of personal terms with the past. This plays into the political and social reality in which people have the same deal in their role as a rebel with her martyr status. That the film still appeals to many more issues, of course by itself - but I am not able to gather these bundled and conclusive. MELANCHOLIA me so far was a totally new cinematic vision, experience and experience (in which film and life overlap). As for me even a bit puzzled: I miss him already and would like them to look right again.

very end, in a kind of epilogue, Alberta is running at nighttime river. It is believed that she was again looking for Hannah. But this is wrong. Asks the passer-by Julian, who is now also among the missing. All you encountered people appear to be in a trance to find and make funny movements. When she finally finds Julian dirty, sitting in the mud at the river, said that Julian is not to be. Julian has now become a god, the god of melancholy. Then he walks away.

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Nausicaa of the Valley of the Winds / Nausicaä of the Valley of the Wind / Kaze no tani no Naushika (Hayao Miyazaki, Japan 1984)

In the not too distant post-apocalyptic future, man has the earth in the so-called war the seven-day destroyed the fire thoroughly . The people fighting for survival, but not only against each other but also against the driving around everywhere toxic spores that are toxic fungal forests, the so-called sea of rotting , set apart. The animal world has now finally conspired against the aggressors, that is, the people. At least what's left of them remained: insects and all manner of mutant animals Zeuch are dangerous, the giant Ohmus, acting as Horde bulldoze everything that stands in the way.

But the reclusive People of the Valley of the Wind , which is ruled by the princess Nausicaa, has retained his humanity. Especially the princess, who shall, in its flight gliders, gull, for law and order. It is one of the few who has realized that the man has himself to blame his misfortune. Is he there yet who has so thoroughly poisoned nature.

NAUSICAAs The success enabled the establishment of the Miyazaki Studio Ghibli, the most successful and internationally famous animation studio in Japan. NAUSICAA with very many of the themes in themselves, which should characterize the films by the studios in the following years. Krative a future story in which the layers of time undermined apparently, are morally upright, innocent sympathy characters who fight for good, an exuberant creativity and loving design of the created worlds, and your hearts, stirring often to tears plot. The Studio Ghibli is also one of the cornerstones of the anime missionaries who taught the Western hemisphere that animated films do not necessarily children's films. Unusually for our culture are still a number of things - from the common female heroine - which we know to catch up quite entertaining light-hearted way, the door to an easier understanding of its phenomena, such as the phenomena As for the animated nature, a bridge to Shintoism. Moreover, the films are characterized by a fusion of Eastern and Western mythology (as here of ancient Greece), often also by the scenes.
So is the strong pacifist message of this eco-fantasy war-tale precisely why never cheesy, because the emotion is manifested in the breath-making search of the heroine of her way before the destruction, and not in the hackneyed phrase with meaning Staged Dia- or Monolge which wohlschmückende insights on the radiation of the silver light sword zealous herzutragen the right are used to. Nausicaä is a great, entertaining movie that you see is definitely should, if one is interested in such movies.

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Fallen Angels / Duo luo tian shi (Wong Kar-Wai, Hong Kong 1995)

A young woman (Michelle Reis) wanders through the night in Hong Kong: it is on the way to a shabby hotel where they set up at a job, and just for that. The movements are fluid, fast, experienced. Then he comes, the Killer (Leon Lai), prepares to takes its time, then it goes off. Somewhere someone must always be killed. With mechanical precision, he carries out the order, a hot shooting, danger, speed comes before beauty. The loneliness of the long-time killer.

FALLEN ANGELS is the cinema trip in general. Genre, noise, open narrative. Nothing is explained, everything is done, somehow, without being justified. The story formed in the course of seeing. That it is a tragedy, one notices until later. And such a love tragedy. Because the agent is in love with the killer, but he forbids all this. They never meet, everything is anonymous, cold business.

There he meets the drift Erin. Blonde hair, seduction, slash right angle. And then the second narrative, where the comedy comes in the film, though, this is perhaps exaggerated: an ease at least that balances the hypnotic side. Takeshi Kaneshiro. It is perfect for this character between silly seriousness and absurdity, irreverence, pulsating heart. The adrenaline rush for the second half of the film. One that I like less than the beginning, this breaks everything apart a little confused. The gained clarity dissolves again into the fragment, we do not know where you want the movie.

This film is the film by Christopher Doyle. Without him the film would not be what it is. Doyle is ecstatic, courageous, original, creative, energetic. He is also completely unpretentious, the staging is not (yet) on stilts. He is the best cinematographer for this film. And: FALLEN ANGELS is perhaps the best movie of Wong Kar-Wai, he is, like the amazing predecessor CHUNG KING EXPRESS - from which he shows -,...: a film from Hong Kong.

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Dream Home / Wai dor lei ah yut ho (Pang Ho-Cheung, Hong Kong 2010 )

fact that the bank employees and a telephone saleswoman Cheng Lai-Sheung (Josie Ho) can not afford to since childhood-awaited apartment with sea view at the Victoria Bay in Hong Kong - and the although they work with two jobs to death - this is close to quadratic means to reduce the value of the property. For Suddenly several residents of the residential tower to be cruelly murdered as found.

DREAM HOME characterized above all by its incredible brutality against the background of a highly topical social criticism. Not only are destroyed as almost everywhere in China in historical sites by the so-called turbo-capitalism, but also the well-known gap between rich and poor is getting bigger, the pressure increases exponentially to the individual. There is still keeping up is hard for one of the characters of the film possible. Against this background developed Pang (EXODUS, BEYOND OUR KEN) a satirical Slasherthriller that unfolds only gradually.

The film draws especially his interesting but unfortunately sometimes jaded from looking camera, and the really incredibly cruel Gore Fest, which will here be fired. That the atrocities of the sovereign acting Josie Ho (which appears here as a producer and himself the center of the film makes - this also contributes) to run, makes the show not less.

The weaknesses of the film are just as striking. The script is intricate ways, which is initially exciting, but that with about half from its continuous jumps in time (and out of necessity eingeblendten date ads) sucks. The film is a one-woman-show, the demoted all minor characters. Childhood memories have failed far too cliché and cheesy. The scene set in urban architecture is included in the Plotfluss not satisfactory. Also on the interpretive level can be transmitted only a top-down conflict on the social situation - this is too little and remains unsatisfactory. And the main problem: the truly incredible brutality that is here but in a creative way, but it exhibited extreme. But can not find filminhärent Notwendigleit and leaves a very stale aftertaste - A cynical accusation would be very appropriate, however, DREAM HOME. The social criticism stunted as for alibi.

remains behind a film of a director, who had come to know as Auteur loving genre productions. DREAM HOME, while still genre, but still a big step toward mainstream blockbusters and event. He has no more of the Spartan reduction, for which we learned to love Pang.

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In Public / Gong gong chang suo (Zhang Ke Jia, China 2001)

In this short film is only 30 minutes there is no standard plot, no actors, no lighting, no score. Only one camera and its document.

A bus terminal: wait a few others to come. A man is nervous, he receives his wife and son returning from the trip. Then a bus stop in the coal mining town has become gray. Constantly heavy laden trucks drive past. In the background the city, apartment buildings. The bus arrives, people get out, one, a woman missed the bus. Then a train station waiting room, an old officer sits grinning in a wheelchair, the ticket woman tears off cards. Cut to a dance hall, older couples turn in circles.

IN PUBLIC is thus documentary cinema, to capture another piece of the puzzle in Jia Zhang-kes project that contemporary China by a form of documentary realism and present. A film that may come in its sober participation of everyday life in the face. One approach, in which "the story" formed in the mind of the viewer. The film returns the question, "what film is," so the viewers and sour-faced so those who want to get a story in the traditional sense necessary. Questions rather than answers. Sure, why should we ever see a bus station somewhere in the long hinterlandigsten China? There are just other issues raised here. And then I have to say, I could even look at something for hours.

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A Conversation With God (Tsai Ming-Liang, Taiwan, 2001 Video, 30 ')

The basic idea Tsai was to film a so-called human "medium", which the gods is in contact. He had hoped to be, it can capture with the camera. Aesthetically, a simple, realistic video camera view: the camera as the eye. Sitting on a scooter, he begins to film, and on his way through the city at night is done all sorts of unexpected: he is stopped by a ritual procession in which a young man by Flagellation in a trance-like state device or a karaoke game house, which turns out the light, etc. In the second half of the film is quiet and he focuses on details: The leaves, bugs, dead fish in the grass. He films empty road underpasses and rotten fish at the river bank, and finally the medium that expresses in a fascinating way spastic and blessings in a trance with a brush full of pictures smears (which are probably hawked later). Handling like a conveyor belt.

What will we say it all? You just do not always accurately, and sometimes looks like a holiday video. Then again, in both the film framing "contacts" very fascinating. But here is the camera position, the box beside and one, the other looking over your shoulder.

" I decided to use the most basic and simple way of filming. This changed the way I saw things. Filming the underground passage, I did not consider it to be filming but rather using the camera as my eyes. "

So he stays here his realism prescribed project, an interminable search for the filmmaker to deal with the inevitably mediated reality. Even in his 1992 debut film released REBELS OF THE NEON GOD he formulated his aesthetic program: this was an attempt "[to] make a feature that was even more documentary, even more real , about everyday life in Taipei. "So the film is but it is also entirely in the tradition of art cinema, more questions than it answers. The contact with the audience but, unfortunately, likely to fail the most part.