Duszejko (Agnieska Mandat), without a first name is what the woman protagonist in Agnieszka Holland’s film ‘Spoor’ calls herself, and would prefer others to address her as; a quaint old woman who has taken to teaching English to school children in a lonesome mountain village in the Klodzko Valley in Poland. She used to build bridges once, we are told, hinting of a former career in engineering. Holland sets her film going with the sudden disappearance of Duszejko’s pet dogs, who never return after wandering off on a routine morning stroll with her. Continue reading “Spoor (2017) Polish Movie Short Review”
What do you do when someone who had finally made your lonesome life tick, disappears all on a sudden? What do you do with all the stony silence that remains? What do you do with the million unanswered questions that squirm around in your head? What do you do with all the bitterness, anger and numbness that ravages you from right within? Continue reading “The Cakemaker (2017) German Movie Short Review”
Majid Majidi’s crash landing on Bollywood grounds takes the viewers by surprise, as his Hindi film ‘Beyond the Clouds’ strikes an uncanny resemblance to many a Bollywood underworld flick, raking up reminiscences galore for the Indian audience. It is this bland familiarity that works against the film, and for those of us who had grown up on the stark brilliance that underlay ‘Baran’, ‘Children of Heaven’ and ‘The Colour of Paradise’, the disappointment is likely to be even more intense. Continue reading “Beyond the Clouds (2017) Hindi Movie Short Review”
Asher (Asher Lax), in Matan Yair’s feature film directorial debut, is a fretful teenager with a penchant for causing trouble and grappling with multiple issues, his studies being just one among them. When Rami (Ami Smolarchik) walks into his class as his teacher in literature, Asher finds his attitudes and beliefs questioned, and in no time rediscovers an interest in learning. Continue reading “Scaffolding (2017) Israeli Movie Short Review”
The opening scene of Ilgar Najaf’s ‘Nar Bagi’ (Pomegranate Orchard) has a young boy reading out the letters at an eye clinic, and the doctor and the mother discovering that perhaps the boy could be color blind. Jalal (Hesen Aghayev) and his mother Sarah (Ilahe Hasanova) walk back home with this stark realization, only to find out pretty soon that the boy’s father Gabil (Semimi Farhad), who had vanished without a trace twelve years back, is finally back . Continue reading “Pomegranate Orchard (2017) Azerbaijani Movie Short Review”
Its astounding to see how all the love that bound two individuals so close together not long back, gives way to hate of a vicious kind, where one starts to abhor the presence of the other in unimaginable ways. Andrey Zvyagintsev ‘Loveless’ is a stinging take on the abomination and loathing that human beings are capable of, conveniently strangling every memory that they would associate with a love that had been long lost. Continue reading “Loveless (2017) Russian Movie Short Review”
Conor and Jock in Peter Foott’s ‘The Young Offenders’ have to be the most adorable dingbats that I have seen on screen in years. Set in the city of Cork, the film talks of these daft teens who have just turned fifteen, who are the bestest of friends, who have the weirdest of dreams, who claim to have an identity as distinct as possible from the other, and yet who share the same pair of briefs.
Set in 1983, ‘The Mule’, directed by Tony Mahony and Angus Sampson, follows Ray Jenkins, a televison repairman, who returns to Asutralia after a visit to Thailand, with a few heroine filled condoms resting in his stomach. At the Melbourne airport, trouble awaits for the first time smuggler, and he is detained by the customs officials.
Israeli film maker Yariv Mozer dabbles with sexuality in his film ‘Snails in the Rain’, and comes up with a redolent piece of film making. Based on a short story, ‘Snails in the Rain’ demonstrates how easily conventional sexual prototypes could be broken down.
Tobias Nolle in his film ‘Aloys’ treads on unfamiliar territory and lets his protagonist Aloys Adorn (Georg Friedrich), a loner private investigator, test his own limits in human interaction. Dabbling with magical realism, ‘Aloys’ is a densely dark film that lurks around the unexplored corners of the human psyche.
It’s not just the superlative performance from its lead actor Brendan Gleeson that sets the Irish film ‘Calvary’ apart, but the plenty of deliberations that it leaves in its wake on god and religion and a tiny village and its inhabitants that grapple with faith, or rather what is left of it.