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

(70th Venice International Film Festival) "La Jalousie" According to Philippe Garrel

A 30-year-old man lives with a woman in a small, furnished rental. He has a daughter by another woman, a woman that he abandoned. A theater actor and very poor, he is madly in love with this other woman. She was once a rising star, but all work offers have dried up. The man does everything he can to get her a role, but nothing works out. The woman cheats on him. And then she lives him. He tries to kill himself, but fails. His sister visits him in hospital. She's all he has left, his sister and the theatre...

This drama by Philippe Garrel is selected to be presented, among other films in official competition at the 70th Venice International Film Festival. Protagonists are Louis Garrel, son of the director and Anna Mouglalis.

From the synopsis of the film the story seems entirely suited to Philippe Garrel style. A simple event,  with "jealousy" as a central phenomenon. Only that in this case ( unlike most films with the central theme "jealousy" ) seems that the real concern is not owned by the subject where “jealousy” falls over, but from the one who cultivates this sense. We are not going to see that  typical drunkard or egocentric man that  denigrates his wife's life with his obsessions. Even the term "jealousy" may seem dubious in this case. " Profusely Love " would be the proper term.

Philippe Garrel started his career very early. When he was 16-year-old, he wrote and directed his first film. During his 10-year relationship with Nico (The Velvet Underground) the two artists, inspired by each were in the top of their creativity. During this period, all his films are semi-autobiographical and deeply under the influence of  "underground" culture.

Garrel is generally well rewarded by the Venice International Film Festival. He has twice won the Silver Lion as the best director with "J'entends Plus la Guitare" in 1991 and with "Les amants Réguliers" in 2005, as well as once has won the FIPRESCI prize with "Sauvage Innocence" in 2001.

Philippe Garrel

By Philippe Garrel I will suggest you "La Révélateur" 1968, an experimental silent film, about a family that has survived from a great evil (undefined) and wander scared through the woods of Munich. Basic idea of ​​the film is that the great evil has not come from "aliens", but from the manifestation to the outside world of that non- human side of human.

Or, for those who don’t feel that comfortable with silent films...I suggest "Les amants Réguliers" that takes place in the same historical background of "The Dreamers" and the protagonist is Louis Garrel ;)...by Led Kasapi

(70th Venice International Film Festival) "Gravity" the return of Alfonso Cuarón

One of the "Three Amigos" returns to the big screen at the 70th Venice International Film Festival with a techno-thriller film inspired by the Kessler Syndrome with Sandra Bullock and George Clooney as protagonists. The opening film of the Festival has a script written by Alfonso Cuarón and his son Jonás Cuarón.

Originally Robert Downey Jr. was selected for the lead role. Plans were changed several times in a row for the female-protagonist until Cuarón finally decided to give this role to Sandra Bullock. Angelina Jolie, Marion Cotillard, Scarlett Johansson, Blake Lively and Natalie Portman were tested for the role before Bullock.

The events take place in space. A medical engineer Dr. Ryan Stone, on her first trip into space, and a veteran astronaut Matt Kowalsky, on his last voyage, must cooperate to survive in a mostly destroyed space shuttle , with limited air and without any communication with Earth.

"Gravity" was scheduled to appear in cinemas on  November 21st 2012, but the post-effects of this film took almost a year to be finished. On  October 4th 2013, premiere for North America, "Gravity" will be presented to the general public in 3D and IMAX 3D.

Alfonso Cuarón has experimented different genres in cinema. From "A Little Princess" or "Harry Potter and the Prisoner of Azkaban" to "Great Expectations" or "Children of Men". All so divers from each other, but all so visibly “painted” by the creative mind of a good director.

Alfonso Cuarón

Personally, in any case, I would choose Alejandro González Iñárritu  instead of Alfonso Cuarón. I keep prefering those who remain faithful to themself ; although a new film by Cuarón, after 7 years off , keeps being a good news.

I would suggest to you “Y Tu Mamá También” as one of the best films of 2000 years ... so you could  understand why I “took the trouble” to write for Alfonso Cuarón. Sometimes there suffices just a single masterpiece, to give someone the title of "Genius"....by Led Kasapi

(70th Venice International Film Festival) ...Waiting for " Tom à la ferme " by Xavier Dolan

After three films "Je tue ma mere", "Les amours imaginaires" and "Laurence Anyways," Xavier Dolan will be presented at the 70th Festival of Venice with a psychological thriller. After three premieres in Cannes, his next film will debut in Venice.It has been selected to be screened in the main competition section at the 70th Venice International Film Festival .

Dolan and Michel Marc Bouchard (author of the drama) have adapted both the screenplay for the film. "Tom à la ferme " will be a film unlike those films we have seen so far by Dolan.

In this psychological thriller Stockholm Syndrome, mourning and latent violence permeate a story of lies and imposters. A young ad executive travels to the country for a funeral and discovers that no one there knows his name or his relationship with the deceased.Set deep in the farmlands of Quebec, " Tom à la ferme " tells of the growing fissure separating city and country and the respective natures of the men that reside there.

First impression, after reading this simple plot, is that this film seems a bit "darker" than the other films of the 23-year-old director. In the heart of the three previous films proceeds  a common human drama (those that  we encounter almost every day to ourselves or to people around). There are two or three characters and all the drama forwarded through their interaction. But " Tom à la ferme " seems to be more comprehensive. If the first two films "Je tue ma mere" and "Les amours imaginaires" are almost autobiographical, where the main characters are not more than 25 years old; in "Laurence Anyways" there is  a kind of fracture (and increased directing  skills). Although "Laurence Anyways" is  the less estimated of the three films so far by Xavier Dolan.

I think " Tom à la ferme "  will be a test for the director himself. Let’s  Wait and see if this film will result  a success like "Je tue ma mere" and "Les amours imaginaires" or there will be another "Laurence Anyways". If this happens, the second possibility,  Xavier Dolan probably must  continue to create semi-autobiographical films for a little while and then again later he may try any other genre.

Waiting for " Tom à la ferme " , I suggest you to see "Je tue ma mere" (if you haven’t seen it yet, of course) ... to understand why there are so many “great expectations” for this sapling gay artist.

* After being shown at the Cannes Film Festival in 2009,"Je tue ma mere" received an eight-minute standing ovation. (not that bad, right?) ;)...by Led Kasapi

A PIER PAOLO PASOLINI tribute, by Abel Ferrara

Abel Ferrara acts like a man. As he has mentioned many times that Pier Paolo Pasolini was one of the most inspiring figures for his works, he decided to dedicate him a film.

And who better than Ferrara, who among other stuff  has directed a porn film where the protagonist actress was  his girlfriend (of that time), can respond to Pasolini’s controversy?

It seems like the director has officially entrusted Willem Dafoe  for the role of Pasolini. For me personally, he could have chosen someone less American than Dafoe. Not because I have doubts about his dramatical mastery, but because I would like to see any European actor (preferably Italian) in the role of Pasolini, so long as  Pasolini himself was a strong critic of consumer culture, with which America embodies herself (even if we do not agree to this kind of “embody”). And more likely that anti-consumerism killed him. That disobedience "ate him".

The film focuses on the last days of Pasolini, in November 1975. As the master returns from Sweden in his hometown, at a dinner between friends someone tells him that he must immediately stop criticizing Christian Democrats. Pasolini says offended that he does not care how it is going to end, someone should be there to criticize that “puppet” government. End is known.

Only in 2005 these facts were made known, throwing new doubts over the distant murder of 1975. Although after "Salo", even if  the political motives of  Pasolini's murder were not spoken loudly , they were intended. "Salo" is his final mockery to consumer culture, to all those paunchy or slender bourgeoisie members, fascism and moderated fascists who label themselves capitalists.

Pasolini was a declared communist, not since the beginning, but after witnessing from nearly those  inhuman massacres against Jews by the Nazi-Fascists. His communism was different from that of others. Even among the Communists themselves he was a divergent man, after  his statements  against allowing abortion, or even more after his criticism of the student movement in Italy in '69 (in this case Pasolini was on the police side cause they were the true proletariat).

I bolded the  political profile of Pasolini, because this profile shows that Pasolini, like all the great personalities of all areas, at all times, never becomes an integral part of any group, at the point where the group's principles interfere with his own principles.

Pier Paolo Pasolini is an example of the intellectual man, who does not easily compromise, one of those  kind of intellectuals who will be always a minority in this dark, letterless world.

Abel Ferrara is a high-toned director, perhaps one of the best of our time. We can not blame him that "no one decided to eat him because of his disobedience." This may be his subconscious reason to devote a film to someone who sacrificed too much because of  principles similar to his own ones (I continue to insist, only in appearance). But after all, only form is visible for all (in art), so I think we are going to watch a good movie.

Filming starts in 2014, immediately after "Welcome to New York".

 But.. .I am still a fanatical worshipper of the “philosopher-artist”, and Mr. Ferrara is not one of these guys. Pasoloni was ;)...by Led Kasapi

Akira Kurosawa's Dreams 1990

I didn’t select randomly "Dreams" by Akira Kurosawa. I could choose between "Drunken Angel", "Rashomon", "The Hidden Fortress", "Seven Samuari", "Dodesukaden" or "Kagemusha" to talk about the genius of this master appreciated worldwide. Of course I also appreciate all of these films with no exception. There are a variety of scenes that I can’t erase of my mind. But however ... I selected "Dreams" (Yume), though it has received no international price. And anyone with reason may say that it does not fully represent Kurosawa's style of filmmaking.

Why "Dreams", when there are all those titles mentioned above?

Because  "Dreams" has left a long lasting smile on my lips. And sometimes one needs to overlive this. This film has not that epic pomposity that characterizes most creations of the Japanese genius. It's almost childish. I have also seen a dream similar to the first one " Sunshine Through The Rain" long time ago.

“Dreams" seems to be so perceptible and tender. What has amazed me when I noticed the year when the film was realized was that Akira remained unchanged until the end. Maybe in ‘90 years people expected something more high-tech. But no, Akira remains Akira. Even when Warner Bros. has the distribution rights for the film , still Akira remains Akira. My first impression was that the film should been realized during the late '70s. But the genius pays attention to image details, even when this is not a trend. Even when to the world are served only meanless beautiful stories, but so poorly composed (of these films we see today, at their very best you remember any mot, but no image).

Sunshine Through The Rain

The Peach Orchard

The film consists of eight dreams:1.Sunshine Through The Rain,2.The Peach Orchard,3.The Blizzard,4.The Tunnel,5.Crows,6.Mount Fuji in Red.7.The Weeping Demon,8.Village of the Watermills.

The Blizzard

In the first two dreams " Sunshine Through The Rain " and " The Peach Orchard ", the dream owner  is a kid. And it seems that magic realism that runs throughout the film, here becomes even more magical. All those dreams, except the fifth and the last, are accompanied by a kind of fear and anxiety. Same to  that bad sensation that we all have experienced at least once while dreaming. But the fifth dream " Crows " and the last one " Village of the Watermills " both create a state of peace and harmony that looks like will never end. It's a similar sensation to that tranquility that one can only experience in a dream, completely detached from th

e real world. In the first two dreams (kid) anxiety naturally interlock with inner harmony. Because only a child can experience these two extreme states at the same time.

Crows

Mount Fuji in Red

Steven Spielberg and Martin Scorsese had a strong hand in facilitating this film. Spielberg was one of the producers and Scorsese was Van Gogh in " Crows ". I’ve always thought that Spielberg is an overrated director. But I don’t lie if I say that I just tripled my respect immediately when I found out his role in making Akira Kurosawa well-known in the United States of America.

The whole film is nothing but the vital human journey , but in another dimension. As a step beyond what we see every day. And this dimension is reflected very well to our dreams.It’s a real life parallelism...vestured by a magic veil.

The Weeping Demon

I think the last two dreams are related to the hereafter. In both versions. Heaven and Hell. In      " The Weeping Demon " is shown a version of hell on earth. On a raped, broken and destroyed land. With no greenery, just a couple of carnivorous plants here and there. This part is Akira’s appeal to stop the destruction of Earth. Demon shows that at the beginning he was a human being. Later he turned into such a creature, as a result of pollution.

Village of the Watermills

Quite the contrary to " Village of the Watermills ". A small terrestrial paradise. No technology. Full of greenery and flowers. Simple and friendly people who live in harmony with each other. And I don’t know why I do believe that lack of 'high-tech' in this film is not a random choice."

The Tunnel

The Tunnel " is a similar fragment to the rest of Kurosawas creativity. An officer in the hereafter gates facing with his dead soldiers. All pale, dead, marching proud. The officer asks them to go back in the dead land, because only thus will find peace. But only when they hear the command like once in the army, they respond to the officer. They don’t obey when he speaks with a normal tone. Maybe they can’t hear. But for sure they may hear and respect their officer voice when he talks like a commandant.  Because Akira never forgets to tell us the Samurai noblesse of his people.

Akira Kurosawa

All this strong symbolism, but treated so naturally maked me choose "Dreams" and not any other film by Akira Kurosawa.                                                I keep being in love, but so badly with this Akira Kurosawa ;) ... by Led Kasapi