Gaspar Noe " Le temps detruit tout "

Gaspar Noe

I don’t think that I'm the only one here waiting for another movie from this mustache man. Rumor has it  that he is going to remake " The Boat That Rocked " of Richard Curtis , that I personally liked . There is a quote there that scares me and drives me crazy : " We're on the top now ... " .

However probably the source is not reliable as long as the same news is not published in any other serious site except for " the studio exec " . Well, even if it is reliable ... a remake ? Really ?

Probably you’re gonna ask: What’s wrong with the remake ? Nothing. I just keep lying to myself  that Noe still got original ideas that can blow us down .

* For casual readers ( not NOE - knowers , neither NOE - lovers )

Noe can be defined as anything but boring . Strange , violent, perverse , cold , lonely , multi- color , master of image , in the short term he’s a kinda modern-Fassbinder .

For those who have never heard of Fassbinder , what to say ... May God have mercy on you : P

Anyway , back to Noe .

Enter The Void

This bald-headed perverse is the author of three feature-length films :

" I Stand Alone " in 1998 ,

" Irreversible " in 2002 and

" Enter The Void " in 2009 .

All the three above must be watched. They are linked to each other with a logical thread, made of  three sub-threads : emptiness , loneliness,  rotating camera .

I prefer " Enter The Void " because of those contagious hallucinatory images .

* For those who love  Gaspar Noe (including myself) and for other demons

Someone got to bring in his mind that " Le temps detruit tout " .

None of us is eternal ... neither you mon tres cher ... neither you .

We are starving for a new “creation” of you. And with “creation”, I don’t mean video clips ( with all respect ) .

Bela Tarr is so enough to us, we don’t need another one ( if you know what I mean )

( and if you don’t ... ) for now he’s the only one allowed to give up on everything whenever he likes.

* To conclude

Once, somewhere in a book of stories of my little sister, I read something like :

               " Time eats everything ... even her own children

                 ... And when devours all ,

                 She tears herself apart " .

I would like to quote the author , but I don’t remember . Only know that he was Italian ;)

                                                                            by Led Kasapi

Mulholland Drive , a few details that probably you haven’t noticed ...

Let’s begin from that which I call the essence of this film . 

When I hear around some people saying that Betty and Diane are the same person , I really want to add: " We know this... anything else ??!! " 

According to my "gospel"… Betty and Rita are the same person . 

Since Lynch has left us a free hand in the perception and interpretation of this film I will respect him until the end , and I will dare to repeat what I just said before . Betty and Rita are the same person . 

David Lynch

If you  see the movie with a normal attention then easily realize that Rita and Betty are the same “thing”.  One is the alter - ego of the other. 

At first you conclude that Rita is the alter - ego of Betty, then even the vice-versa makes sense . 

But what about Diane ? ...you may ask. 

Diane is much more than simply an alter- ego . She’s  Betty’s doppelganger . It's what she sees in the mirror and doesn’t like . It is her fear , her obsession , her weakness . 

Into that party at Adam’s ( director ) house, Diane is almost nonexistent , as no one cares about her or her feelings.  And she does nothing to resist this fact . Oh yes , I forgot ... she cries .

She seems powerless versus Rita . As a person who doesn’t exist , and consequently she has no objective reasons to oppose her own " fate ". Like a phantom . 

Diane feels and looks so mistreated, as only through a vivid nightmare one can feel like that . 

So… Betty , Rita and Diane are almost the same “thing”. 

If we may ask :  Would Jean-Luc Godard be the same man that we know today without Anna Karina ? 

I don’t think so... 

Please, don’t  tell me you haven’t noticed the physical similarity between Adam Kesher ( director ) and Jean - Luc Godard . 

And there are not only physical similarities . Adam Kesher has a kind of “slavish relationship” with almost every women of the film. 

What about that moment in bed , before girls leaving to " Club Silencio " ?

Does Betty resembles to anyone? ?!! 

I don’t know what you think, but to me it feels like I’m watching Bergman’s Alma ( Persona ) into an all-color film... 

However , 

Mulholland Drive remains a super -film ... even without going “that deep” ;)…by Led Kasapi

La Jetee 1962 (a must watch)

...because Chris Marker thought that images are more useful than words...sometimes...

Synopsis:

A man (Davos Hanich) is a prisoner in the aftermath of the Third World War, in a destroyed, post-apocalyptic Paris where survivors live underground in the Palais de Chaillot galleries. Scientists research time travel, hoping to send test subjects to different time periods "to call past and future to the rescue of the present". They have difficulty finding subjects who can mentally withstand the shock of time travel, but eventually settle upon the prisoner, whose key to the past is a vague but obsessive memory, from his pre-war childhood, of a woman (Hélène Chatelain) he had seen on the observation platform ('the jetty') at Orly Airport shortly before witnessing a startling incident there. He had not understood exactly what happened, but knew he had seen a man die.

After several attempts, he reaches the pre-war period. He meets the woman from his memory, and they develop a romantic relationship. After his successful passages to the past, the experimenters attempt to send him into the far future. In a brief meeting with the technologically advanced people of the future, he is given a power unit sufficient to regenerate his own destroyed society.

Upon his return, with his mission accomplished, he discerns that he is to be executed by his jailers. He is contacted by the people of the future, who offer to help him escape to their time permanently, but he asks instead to be returned to the pre-war time of his childhood, hoping to find the woman again. He is returned and does find her, on the jetty at the airport. However, as he rushes to her, he notices an agent of his jailers who has followed him and realises the agent is about to kill him. In his final moments, he comes to understand that the incident which he witnessed as a child, which has haunted him for his entire life, was his own death.

 

no opinion added, create yours ;)

" Beat " Films...

The authors of " Beat Generation " , widely known for their unique style not only in writing but also in life, have inspired many subsequent creators . Dissipation , hallucinogens and knowledge . Three things that rarely stay together in the same "community " .

I will mention three films . " Naked Lunch " by David Cronenberg , of 1991. " Howl " by Rob Epstein and Jeffrey Friedman in 2010. And " On the Road " by Walter Salles in 2011.

" Naked Lunch " and " Howl " immediately shift away " On the Road " . There 's something that doesn’t convince me about this movie . Like this film gives too much importance some transitional moments in the book and not focus on the core , which left really deep traces in Jack Kerouac’s creativity . But it has some good moments . I’m referring  to those musical fragments that occasionally erupt among the general monotony of the film .

" Howl " is unique in its kind . Experimental , because it includes several cinematic techniques . And it suits best Ginsberg himself. Rambling . Multicolor . With drawings . Deeply felt . Profound ( Yes, it is so ) . I have a certain impression that even Allen Ginsberg himself would have liked it ( if he was alive today, of course) .

" Naked Lunch " ... ah , " Naked Lunch " . Horror seeming . ( WTF ? ? ? ! ! ! ) . If the cinematic techniques gave " Howl "  that prettiness, in the case of " Naked Lunch " all film composition is wonderfully strange .

David Cronenberg

Based on the novel of the same name of William S. Burroughs , it is more a kind of a unique creation of Cronenberg for William S. Burroughs . For the man known as Old Bull Lee in Kerouac’s  novel . That all these others sat at his feet . Who dragged his long thin body around the entire US and most of Europe and North Africa, only to see what was going on. Who had tasted all sorts of drugs . Who had read everything readable . Who spent all his time talking and teaching others . Who made all these stuff ​​not only out of necessity , but because he wanted to. And that goes almost unnoticed in that Salles film ( the strongest reason why I am not convinced of that film ) .

A formidable design that beautifully combines excerpts from the novel with fragments by William S. Burroughs’ real life and monsters drawn directly from the rich imagination of David Cronenberg . Accompanied by an excellent performance of Peter Weller .

According to me " Naked Lunch " is on the top . But it can share anytime its first prize with " Howl " .  As for " On the Road " ... Just No. By L.K

A Serbian Film...WTF?!

I just saw it. I will try to be as objective as I can ( mission almost impossible for a persona , but anyway ). About a month ago I read something on the internet about this movie. Seeking some additional  information for "Salo", this film came as a google recommendation , among several others . All horror ( genre is almost never the right one ). Shocking , brutal, and other epithets like these. But to be as objective as I can, keeping the word i gave to you above , the same adjectives are given to all "horror" films that have blood or bugaboos scenes.

Now to get in the topic...if there is a film that fully deserves these epithets, voila, this is it . Almost every scene is so shocking, and if there is a kind of philosophy beyond what it seems to be, you have to squeeze your brains...again and again without success, cause the images are that shocking that will not let you think clear.

When we all think that in art is experimented and  proved almost everything, here comes “the Srdjan Spasojevic” proving the opposite and staying triumphant in front of everybody .

The film was released in June 2010. In many countries it was banned because it appeared to violate some very important norms of  law, especially children’s rights. Another explanation given by critics to justify their anti-serbian-film mien was that all that violence remains unwarranted in any case. That could be overcome if hiding any major noble idea behind. Like "Salo" eg ( I say this ) .

Director himself stated that this film embodies the postwar situation in Serbia, especially the cinema situation. Where people are not free as stated  but the Serbian government is acting as a " Vukmir " for its citizens . And various investors from the West are willing to pay hefty sums for movies with no artistic value at all, but with some significant sick political messages .

More or less, so spoke Spasojevic for his film. But Dragan Bjelogrlic ( a great Serbian director ) deems  that Spasojevic is just another “rich daddy’s boy”  which in his free time makes movies like "A Serbian Film", without having any special connection avec filmmaking. And we all know " who " has become rich in the early 90s in the Balkans , goes on Bjelogrlic .

Well , nobody’s wrong. I'm trying to summarize in a few lines the conclusion I drew from the above film and criticism .

According to me, Spasojevic just wanted to be noticed by audiences and critics, aiming even world fame. Then he invented all these theories of  "pressure" from politics and those Serbian cinema’s problems...which are all true, but simply...he had not this stuff inside his mind during the filming. Even the title "A Serbian Film" has no specific meaning. It is just a general title that attracts the crowd’s attention .

I do not know why even after being convinced of all above, still feeling an inside need to applaud this guy . A sapling director from the bitter sweet Balkans ( where I live myself ) makes the whole world talking about him in a very  little time. And it should be said that the film has some breath-taking plans.

Srdjan Spasojevic

As for that Dragan Bjelogrlic theory, that in the Balkans anyone who has moneys can not only make a movie ( a metaphor made by me basing in Bjelogrlic’s words ) but he can also sign a brand-new Constitution for the Republic, well ... so is exactly the situation. But Srdjan Spasojevic does not seem the typical case. This guy may be not a philosopher, nor the typical artist who comes from the east telling random tales about his  people (sort of soap operas) and then the West finds them so exotic and the unknown automatically is confused avec art .

But let us give Caesar what’s his... Does " Pulp Fiction " seems to you deeper than " A Serbian Film "? ... Nah. And if we’re talking about imagination "A Serbian Film" passes 100 - fold .

If you have not seen it yet , go on. At least you will see a film that fully deserves shocking and brutal epithets , obtained illegally from other quite normal films.

Suggestion: Watch it alone! Sotto voce...if there are people around....shshsh...by Led Kasapi

Mes tres chers, i've been on holidays (albanian beautiful southern coast)....on these hot days of summer everybody needs to feel positive.....so let's not go too deep on "hard subtitled films" (and i still hate this phrase, even on my best positive energy) ....anyway...let all of us see "Midnight in Paris" of Woody Allen , and let all get drunk with that City of Lights a nuit ;)

I am curious (Yellow) 1967 Vilgot Sjöman

Yeah, just like that, I'm curious. Curiosity drives me to see these kind of films. In my case, more likely it would be "I Am Curious (Red)".

The whole construction of this film intrigued me. Characters with their real names. Almost with their real lives. The personage’s characters are almost identical to actors’ characters who play these personages. There is hard to understand what scenes are created specifically for the film and what scenes develop naturally.

Into the film’s "style" seems clearly a kind of influence from "Nouvelle Vague". Wordplay. Atypical chronology. Plus, in some moments Lena looks "too fashion" for her style of living. Almost as "fashion" as Anna Karina in the films of Jean-Luc Godard. As though giving a buffet to the social class they come from.

The film was banned in some countries (in those years) including the U.S. Allegedly because of  the  pornographic content. Or those Lena’s theories about social classes and non-violence were more "decadent" than pornography on that time?

I like to believe that the real reason was the answer to this rhetorical question. I may be wrong.

Blonde Lena, sometimes full of confidence , at times so grumbler, sometimes nestled under her  idyllic shell, at times a real activist exposing the most pressing problems of the time, remains in all cases "curious". Curious about what is happening inside her and curious about the world around.

Questions that makes Lena at the beginning of the film are shocking, not only for that time, but also for today.

"Do we have a class system in (Sweden)?" => Sweden can be replaced with any state.

And another: "What are we going to do about it?"

In a world where the class hierarchy is a normal phenomenon, even vital (at least so they told us) for the human society progress, asking questions like "What are we going to do about the class system?" is to deny the essence of the existence of this society, society itself.

So, if we eradicate capitalism (since at first glance it seems like there is its fault) ...then what? Even the cave men had a hierarchy. Namely we can not blame only over capitalism, this issue seems a little bit more complex. Guiltiness consists to that  human ego that feels completely self-satisfied (everything is a matter of perception) only when it breaks someone else’s ego.

In other words, riches do not experience any great fun to see others being poor and powerless. They just want  to be rich and powerful themselves. But always is needed a referral system. If there will be no poor, hence there will be no rich. Because, compared to who, they will be rich?

It seems deeper than it should be, right...?

1. Vilgot Sjöman was born in a simple working class family.

2. Lena’s conflict with her father.

... These reasons are more than sufficient to go that deep in the case above, which for me is the arbor of the film.

Martin Luther King Jr.

I do not believe that Martin Luther King Jr. was a random choice. The film has come out in '67, uffa, (and then they say it was  banned for pornography!!!). The two Lena’s dreams are the two major wounds of  humanity, at least for that time (some progress has been made today) Afro-Americans’ rights and Women's rights.

Even in Sweden of "social democracy" we see a decaying society (occasionally beautiful in appearance). A society that generally agree with what “majority” says and makes and that hardly shows any kind of interest on what is happening around the world. They go for happy holidays in Spain, at a time when Spanish people suffer under General Franco's regime.

As for that controversial sexuality in this movie ... there are some interesting positions.

Even Lena herself is quite interesting, especially about how she sees herself (sometimes she has a low self-esteem) ...like the three-quarters of normal women, or even normal people.

I myself can sit all day long watching naked Lena and Börje, having sex in strange positions, even from the most vulgar ones (if you want to call it so) ... and still there I find Art.

Vilgot Sjöman

Usually I have a negative feeling of sex scenes in Hollywood films, although they have almost no sex at all within, being that "glossy" , they make you feel a bit weird (in a sort of way). And Art is the only thing I can’t see in these cases.

There is also an "I Am Curious (Blue)", but I will not see it soon. I want to keep a little more these extravagant hyper-emotions of "I Am Curious (Yellow)".

From me, this film has a big like (who cares what the world says) ...by Led Kasapi