Montag, 29. Oktober 2018
Cult Movies 70s
The 70s were the wedding of the Midnight Movies (=Independent, Low Budget, Sex, Violence & good mood). The performance of a Midnight Movie starts at 0.00. At midnight it has to be bizarre and grotesque! Time of obsession! The best thing about it: Midnight Movies are not marketed by distributors, but discovered by the audience! The phenomenon of the midnight performance also plays an important role. When Alejandro Jodorowsky's El Topo experienced a second "commercial" cinema release - not at midnight - the...
Sonntag, 28. Oktober 2018
FREE ON YOUTUBE Divine Trash
Why do we love the early John Waters movies with Divine (if we can love her...)? Because everything is real. Everything you see is really happening. If it were played, it would just be disgusting, but... So the films gain a certain documentary size, precisely because they are "real" people who perform. So if you have a good stomach and don't get sick, you could praise John Waters' early films. Action of all early films: "The filthiest People alive". First and foremost Divine, who looks like a mix of showgirl, housewife and garbage can. A bit like a dominatrix and Hanzo-The-Razer, too. Of course, Divine also gets family members from John Waters: A mother lying in a crib eating eggs and a son including chickens in his sex games. Of course, there is also a lover who likes to watch her son have sex with chickens. Waters' films also offer decent neighbours like the Marbles, who kidnap hippies to get them pregnant by the butler (the babies are sold later). Waters shows us every detail. The most famous scene with Divine: Divine eats dog shit. In real. Short and sweet; whoever lends us the movies of John Waters and Divine in the video store would like to brag about it (show the cover of the girlfriend and boast that the fat transvestite eats dog excrement). No one is surprised that the outtakes of the John Waters and Divine movies are less disgusting than the scenes that stayed in the movie. Then Divine and her son "We Are the Filthiest People Alive" sing Latin in Pigs. Waters and Divine are childhood friends and that's why they worked together. Simple, because there was no budget. Divine and Waters did what they could to provoke. That's how they became famous. For a long, long time the videothecaries of this world had to fear police officers in civilian who could spoil their business with the wonderful films. That is why the last surviving lady of the Maryland film Censor Board has her say in the documentary Divine Trash. An elderly, Christian woman. A singing asshole, artificial insemination, chicken fuck scenes... Enough stuff for this lady. And then the blowjob scene! A 300 kilo heavy transvestite sucks her son out! Is that actually pornography? Richard Kern, his character erotomaniac, notices in Divine Trash that pornography is supposed to be exciting. In Divine movies, however, no one intends to masturbate. When a remake of Hairspray was made, I remember a John Waters interview. He was proud that his characters had finally reached the middle of society. Divine had become mainstream! I'm sure Harris Glenn Milstead (=Divine, deceased 1988) would have found this to be the most beautiful confirmation of his work.
Why do we love the early John Waters movies with Divine (if we can love her...)? Because everything is real. Everything you see is really happening. If it were played, it would just be disgusting, but... So the films gain a certain documentary size, precisely because they are "real" people who perform. So if you have a good stomach and don't get sick, you could praise John Waters' early films. Action of all early films: "The filthiest People alive". First and foremost Divine, who looks like a mix of showgirl, housewife and garbage can. A bit like a dominatrix and Hanzo-The-Razer, too. Of course, Divine also gets family members from John Waters: A mother lying in a crib eating eggs and a son including chickens in his sex games. Of course, there is also a lover who likes to watch her son have sex with chickens. Waters' films also offer decent neighbours like the Marbles, who kidnap hippies to get them pregnant by the butler (the babies are sold later). Waters shows us every detail. The most famous scene with Divine: Divine eats dog shit. In real. Short and sweet; whoever lends us the movies of John Waters and Divine in the video store would like to brag about it (show the cover of the girlfriend and boast that the fat transvestite eats dog excrement). No one is surprised that the outtakes of the John Waters and Divine movies are less disgusting than the scenes that stayed in the movie. Then Divine and her son "We Are the Filthiest People Alive" sing Latin in Pigs. Waters and Divine are childhood friends and that's why they worked together. Simple, because there was no budget. Divine and Waters did what they could to provoke. That's how they became famous. For a long, long time the videothecaries of this world had to fear police officers in civilian who could spoil their business with the wonderful films. That is why the last surviving lady of the Maryland film Censor Board has her say in the documentary Divine Trash. An elderly, Christian woman. A singing asshole, artificial insemination, chicken fuck scenes... Enough stuff for this lady. And then the blowjob scene! A 300 kilo heavy transvestite sucks her son out! Is that actually pornography? Richard Kern, his character erotomaniac, notices in Divine Trash that pornography is supposed to be exciting. In Divine movies, however, no one intends to masturbate. When a remake of Hairspray was made, I remember a John Waters interview. He was proud that his characters had finally reached the middle of society. Divine had become mainstream! I'm sure Harris Glenn Milstead (=Divine, deceased 1988) would have found this to be the most beautiful confirmation of his work.
Donnerstag, 25. Oktober 2018
FREE ON YOUTUBE Walter Hill - The Warriors
FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Here comes a variant of Walter Hills Warriors, which has been traced by rotoscopy. Appropriate, because even Hills Original doesn't look real, but like an artificial ballet. The Warriors from 1979 (the year in which all the big gang movies saw the light of day) is a speciality! This work about the street war in New York turns into a single stylistic exercise of mannerism. Hardly a moment when we want to believe that the Warriors, their enemies, even the streets where they fight, are real. I don't think it was Walter Hill's intention to accept that. That's why The Warriors is so unusual, because we get a "Male Rampage" action movie presented as a ballet, as an opera piece in different acts. A typical Walter Hill, because even his first movies were far away from reality. Here everything is myth, legend, even a living statue. Hill stylizes so much that every life is kept out of its tableaux. There are great choreographed scenes and a lot of energy, but when the Warriors talk to each other, you think you have a fairy tale in front of you. Before the fight, they position themselves in a row. Then the leader speaks, then his deputy, finally the third in the row. Only then is the fight started. And the police? Just as exaggerated! Here they fight in symbolic places, not in Brooklyn or anywhere else. I was astonished by the cast, because only a few gang members seem to be able to hit it at all. Most of them just look wonderfully disguised. All this was sold by Paramount in 1979 as an action movie. Seriously? How about that? How about that? The Warriors, a masterpiece of the avant-garde by Walter Hill (with a lot of scraping).
FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Here comes a variant of Walter Hills Warriors, which has been traced by rotoscopy. Appropriate, because even Hills Original doesn't look real, but like an artificial ballet. The Warriors from 1979 (the year in which all the big gang movies saw the light of day) is a speciality! This work about the street war in New York turns into a single stylistic exercise of mannerism. Hardly a moment when we want to believe that the Warriors, their enemies, even the streets where they fight, are real. I don't think it was Walter Hill's intention to accept that. That's why The Warriors is so unusual, because we get a "Male Rampage" action movie presented as a ballet, as an opera piece in different acts. A typical Walter Hill, because even his first movies were far away from reality. Here everything is myth, legend, even a living statue. Hill stylizes so much that every life is kept out of its tableaux. There are great choreographed scenes and a lot of energy, but when the Warriors talk to each other, you think you have a fairy tale in front of you. Before the fight, they position themselves in a row. Then the leader speaks, then his deputy, finally the third in the row. Only then is the fight started. And the police? Just as exaggerated! Here they fight in symbolic places, not in Brooklyn or anywhere else. I was astonished by the cast, because only a few gang members seem to be able to hit it at all. Most of them just look wonderfully disguised. All this was sold by Paramount in 1979 as an action movie. Seriously? How about that? How about that? The Warriors, a masterpiece of the avant-garde by Walter Hill (with a lot of scraping).
Sonntag, 21. Oktober 2018
FREE ON YOUTUBE Andy Warhol - The Chelsea Girls
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM FREI AUF YOUTUBE) Warhol is best understood on a Sunday morning on Weser Street. That's how it goes: If you break Andy Warhol's art down into its individual parts, none of them have any intrinsic value. To find Chelsea Girls great, you must first believe that Chelsea Girls is definitely a great masterpiece (= made by Andy Warhol). The film itself can't convince you at all. Three and a half hours split screen. Probably just improvised. Badly filmed and hardly reworked. Warhol has no message. He doesn't want to tell us anything. He has no technique either. If Chelsea Girls had been shot by Herbert Müller from Berlin Reinickendorf, Andy Warhol would probably have agreed as well: This film is simply bad. To understand Andy Warhol and Chelsea Girls, you now go back to Weser Strasse, Neukölln. All full of party lions. Fashionably up to date. It is hard for us reasonable people to criticize them because they are much better dressed and have a high social acceptance. Just like Andy Warhol back then. We do not understand Warhol, but we believe we should do it better. It is consensus. That's why we still say at parties today that we like Chelsea Girls. We have weakened our senses, whether a film is good or bad. Uniform. Warhol's movie has neither title nor credits. The soundtrack is unclear, hard to understand. It starts in black and white and ends in color. The film is either overexposed or underexposed. Sometimes it zooms in on an unimportant detail (and ignores the important ones). Warhol's superstars like to undress, are sadistic, masochistic or addicted to drugs. Warhol tricks us, makes his movie seem pregnant with meaning and profound. Above all, it's fashionable. That's what every Neuköllner "Hipster" on instagram does exactly the same way. Of course, Chelsea Girls isn't a real New York Underground movie. Certainly most of the party lions on Weser Street aren't "underground" either, in the sense that they make some kind of cultural contribution. Warhol's film is underexposed, while the hipsters from Weser Street are undressed. Does Chelsea Girls have any artistic purpose? No. Not at all. Absolutely not. You just have to promenade along Weser Street to understand that.
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM FREI AUF YOUTUBE) Warhol is best understood on a Sunday morning on Weser Street. That's how it goes: If you break Andy Warhol's art down into its individual parts, none of them have any intrinsic value. To find Chelsea Girls great, you must first believe that Chelsea Girls is definitely a great masterpiece (= made by Andy Warhol). The film itself can't convince you at all. Three and a half hours split screen. Probably just improvised. Badly filmed and hardly reworked. Warhol has no message. He doesn't want to tell us anything. He has no technique either. If Chelsea Girls had been shot by Herbert Müller from Berlin Reinickendorf, Andy Warhol would probably have agreed as well: This film is simply bad. To understand Andy Warhol and Chelsea Girls, you now go back to Weser Strasse, Neukölln. All full of party lions. Fashionably up to date. It is hard for us reasonable people to criticize them because they are much better dressed and have a high social acceptance. Just like Andy Warhol back then. We do not understand Warhol, but we believe we should do it better. It is consensus. That's why we still say at parties today that we like Chelsea Girls. We have weakened our senses, whether a film is good or bad. Uniform. Warhol's movie has neither title nor credits. The soundtrack is unclear, hard to understand. It starts in black and white and ends in color. The film is either overexposed or underexposed. Sometimes it zooms in on an unimportant detail (and ignores the important ones). Warhol's superstars like to undress, are sadistic, masochistic or addicted to drugs. Warhol tricks us, makes his movie seem pregnant with meaning and profound. Above all, it's fashionable. That's what every Neuköllner "Hipster" on instagram does exactly the same way. Of course, Chelsea Girls isn't a real New York Underground movie. Certainly most of the party lions on Weser Street aren't "underground" either, in the sense that they make some kind of cultural contribution. Warhol's film is underexposed, while the hipsters from Weser Street are undressed. Does Chelsea Girls have any artistic purpose? No. Not at all. Absolutely not. You just have to promenade along Weser Street to understand that.
Cult Movies 80s II
More than any other decade, the 80s were the time of great cult movies. Of course, the invention of home cinema made it possible to celebrate the Blues Brothers at home. Characteristics of cult films: 1. Clear distinction from mainstream films. 2. beautifully provocative! 3. orientation towards a niche audience (keyword: counterculture). So you have seen something extraordinary and want to join a cult afterwards. Have fun!
More than any other decade, the 80s were the time of great cult movies. Of course, the invention of home cinema made it possible to celebrate the Blues Brothers at home. Characteristics of cult films: 1. Clear distinction from mainstream films. 2. beautifully provocative! 3. orientation towards a niche audience (keyword: counterculture). So you have seen something extraordinary and want to join a cult afterwards. Have fun!
Cult Movies 80s I
Practically from the moment I saw him for the first time at the age of thirteen, when in 1984 I put the entrance fee on the counter of the musty box office at the Filmbühne Wien on Kurfürstendamm, I knew what my absolute favourite film was...
Practically from the moment I saw him for the first time at the age of thirteen, when in 1984 I put the entrance fee on the counter of the musty box office at the Filmbühne Wien on Kurfürstendamm, I knew what my absolute favourite film was...
Donnerstag, 18. Oktober 2018
FREE ON YOUTUBE David And Lisa
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM FREI AUF YOUTUBE) This is one of the most beautiful love films I've ever seen! A work full of tact and insight! Not least a film about psychological problems. About schizophrenia. David (Keir Dullea), a young, cultivated, somewhat arrogant man, is brought to a mental hospital by his mother, who takes precautions. David cannot bear to be touched by anyone. There he meets Lisa (Janet Margolin), who suffers from a so-called endogenous psychosis. Lisa is schizophrenic. She thinks she is two girls and speaks backwards in verses that rhyme. But David reaches Lisa. She knows his weakness and he knows hers. A love that slowly builds up without compulsions and that is presented without clichés. Finally David can bear to be touched and Lisa is able to reveal her feelings. Free from false drama. Never maudlin, but very touching! David seems almost icy in his fear of touch and death. Lisa, on the other hand, is of beguiling beauty and has a strong need for someone to help her. Director Frank Perry has a feeling for what is important. He saves everything unnecessary. His film never sounds like a pseudo-physician's report. Interesting is the fact that Eleanor Perry's script was taken from the records of a psychiatrist. David And Lisa was a cult film among students in the 60s. An early indie that anticipated New Hollywood and later movements.
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM FREI AUF YOUTUBE) This is one of the most beautiful love films I've ever seen! A work full of tact and insight! Not least a film about psychological problems. About schizophrenia. David (Keir Dullea), a young, cultivated, somewhat arrogant man, is brought to a mental hospital by his mother, who takes precautions. David cannot bear to be touched by anyone. There he meets Lisa (Janet Margolin), who suffers from a so-called endogenous psychosis. Lisa is schizophrenic. She thinks she is two girls and speaks backwards in verses that rhyme. But David reaches Lisa. She knows his weakness and he knows hers. A love that slowly builds up without compulsions and that is presented without clichés. Finally David can bear to be touched and Lisa is able to reveal her feelings. Free from false drama. Never maudlin, but very touching! David seems almost icy in his fear of touch and death. Lisa, on the other hand, is of beguiling beauty and has a strong need for someone to help her. Director Frank Perry has a feeling for what is important. He saves everything unnecessary. His film never sounds like a pseudo-physician's report. Interesting is the fact that Eleanor Perry's script was taken from the records of a psychiatrist. David And Lisa was a cult film among students in the 60s. An early indie that anticipated New Hollywood and later movements.
Sonntag, 14. Oktober 2018
FREE ON YOUTUBE Juraj Herz - The Cremator (engl. subt.)
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM WITH ENGLISH SUBTITLES FREE ON YOUTUBE) This is the story of a man who is driven to the peak of his career by the spirit of his time. Everything happens by itself; he gets a huge crematorium with massive ovens and all the facilities for mass burning. It is the story of a man who believes he feels the drop of German blood strengthening in him. Even the problem of his beloved half-Jewish wife and children seems solvable to him... Prague, end of the 30s. Karl Kopferkingl leads an orderly life in which everything has its place. He loves his family and his work of cremating corpses. Thanks to his Buddhist faith, the cremator is convinced that it shortens the path to the Kingdom of Heaven to be cremated in 90 minutes instead of time-consuming rotting in a coffin. When the Biedermann hears about the successes of a certain German party at the same time, he considers whether he really has already made enough people happy? The horror sneaks up on us deliberately in Juraj Herz's second film. In passing, the monstrosity behind the façade of the pestering citizen is unleashed - with success, because we have long been in his head! The fascism parable involves us in the events, even deceives us, because we become accomplices. How mean can cinema be? Juraj Herz tells this grotesque story using the typical means of Eastern European cinema of the 1960s; a mixture of theatrical irony and bloated film technology. A cinema that sets its own limits. The Cremator in the pretty DVD edition of the label Bildstörung is one of the greatest discoveries in our video library! In the staircase area I have set up a film series with films of the Eastern European new wave of the 60s. For the geek: Please watch them all! Each of them is really worth it!
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM WITH ENGLISH SUBTITLES FREE ON YOUTUBE) This is the story of a man who is driven to the peak of his career by the spirit of his time. Everything happens by itself; he gets a huge crematorium with massive ovens and all the facilities for mass burning. It is the story of a man who believes he feels the drop of German blood strengthening in him. Even the problem of his beloved half-Jewish wife and children seems solvable to him... Prague, end of the 30s. Karl Kopferkingl leads an orderly life in which everything has its place. He loves his family and his work of cremating corpses. Thanks to his Buddhist faith, the cremator is convinced that it shortens the path to the Kingdom of Heaven to be cremated in 90 minutes instead of time-consuming rotting in a coffin. When the Biedermann hears about the successes of a certain German party at the same time, he considers whether he really has already made enough people happy? The horror sneaks up on us deliberately in Juraj Herz's second film. In passing, the monstrosity behind the façade of the pestering citizen is unleashed - with success, because we have long been in his head! The fascism parable involves us in the events, even deceives us, because we become accomplices. How mean can cinema be? Juraj Herz tells this grotesque story using the typical means of Eastern European cinema of the 1960s; a mixture of theatrical irony and bloated film technology. A cinema that sets its own limits. The Cremator in the pretty DVD edition of the label Bildstörung is one of the greatest discoveries in our video library! In the staircase area I have set up a film series with films of the Eastern European new wave of the 60s. For the geek: Please watch them all! Each of them is really worth it!
Mittwoch, 10. Oktober 2018
FREE ON YOUTUBE Black Box BRD (engl. subt.)
FREE ON YOUTUBE (YOU FIND THE WHOLE FILM WITH ENGLISH SUBTITLES FREE ON YOUTUBE) Stupid! Someone "borrowed" our DVD Black Box BRD and didn't bring it back. We'll reorder it as soon as possible! The private catastrophe of two men triggers the fight of the RAF against the FRG. Two men who could hardly be more different. On the one hand, Alfred von Herrhausen, trained in an NS elite school, later board member of Deutsche Bank. A businessman whose judgement also carries weight in politics. Towards him: Wolfgang Grams, a child from simple backgrounds who rebelled against "normality" as a teenager. He will join the hard core of the RAF. Who wouldn't be tempted to make a biased film with this material? But not Andreas Veiel, whose Black Box BRD does NOT derive feelings from facts. Let us now approach these two men - through stories by friends and relatives - the picture becomes blurred. Neither of the two is as clear as we thought. Herrhausen is not only a cold capitalist, but also a charming bon vivant. He often cannot cope with the merciless practices of his business friends. And Grams is not only an aesthete and "revolutionary", but also a fanatic. He dreams of being able to strangle his opponents with bare hands. They stand up for their ideals, but also suffer from inner conflict. Also Grams. Black Box BRD is not a simple attempt to set the life of a murderer against that of his victim. By the way: Was Grams at all involved in the assassination of Herrhausen? Veiel does not even speculate at this point. Dark hatred and feelings of revenge have no place in this documentary. When the relatives cry in front of the camera, the camera doesn't stop because we spectators have to satisfy our voyeurism. She continues filming as the narrative continues. Fortunately, we are also spared a kind of educational film (with the obligatory stipendium from the off). Do we need thinking aids? I think we can make our own picture. Sometimes Black Box BRD is even funny, for example when another bank board complacently babbles about the "Er A Ef" or when a former "revolutionary" theorizes in his bourgeois allotment garden that Herrhausen had to see in his function at that time. Not least Helmut Kohl, who raves about the "patriotism" of Alfred v. Herrhausen. Veiel keeps all this together with a lot of creativity. It results in a seamless whole. Above all, he captures the restlessness of his two main characters. Grams like Herrhausen was in motion until the end, whether on journeys or on the run. So Germany must have been at the height of the fear of terrorism. Headlines, hate letters - and ordinary, perhaps boring people turned into infamous enemies of the state who were hated by strangers.
Montag, 8. Oktober 2018
FREE ON YOUTUBE Rana's Wedding
FREE ON YOUTUBE (YOU FIND THE ALL FILM WITH ENGLISH SUBTITLES FREE ON YOUTUBE) Rana's father will be at the airport at four. She can either marry or leave the country with him. The father gives Rana a list of candidates; men who have asked for her hand. But she only loves Khali. Can she find him? And she manages to make all the preparations for a wedding: Invite the relatives, choose a dress, do their hair? Everything before 16.00? Are we in a romantic comedy, brand Hollywood? By no means! Yes, we are in the middle of a romantic comedy, because romanticism survives in the conflict between Palestinians and Israelis. No, it's a film from Palestine and yet a little different. Rana's Wedding is set on both sides of the armed border between Jerusalem and Ramallah. A comedy against the background of checkpoints, soldiers, street burials and the normal state of siege. Rana (Clara Khoury) is a 17-year-old Palestinian, her lover Khalil (Khalifa Natour) a theatre director around the age of 40. Ranas father has doubts about the marriage, but the couple invokes the Islamic law that they may marry if they inform the father in the presence of a registrar. So Ranas has to find Khalil and a registrar and then the father. All at the same time. That means driving back and forth, past roadblocks and barbed wire. By the way we notice how the Palestinians are watched suspiciously every day. Interestingly, Rana's Wedding is not a film that emphasizes politics. Politics is everyday life in Palestine, with comedy in the foreground. Just as complicated as her country is Rana herself: Sometimes she seems to be older, then again like a child. To fix her hair, she risks missing the deadline. And the premise? Does her father really want to leave the country at 16.00 or just set a deadline? Does all this happen at the last moment or would preparations have been possible? We will not know how the father thinks. Who he is just as little. Surprisingly also Khali's reaction. What would you do if a woman took you from the theater stage to marry immediately? We have to accept this somewhat constructed action because it is an instrument to create tension. Even more tension is created because Rana is sometimes in no hurry. The strength of Rana's Weddings lies in the observation of details. Little boys throwing stones at the barricades, soldiers shooting back. Is this what life in Palestine looks like? Unbelievable! Oh yes, and when Rana forgets her suitcase once, the police have blown it up. After all, there could be a bomb in it. However, Rana's Wedding does not preach, but observes. A beautiful RomCom, but above all a fascinating contemporary document! We get a much clearer picture of the Palestinian settlements off Jerusalem than the news could ever offer us. Palestine is in a permanent state of emergency and yet people have the same goals and desires as we do. The political situation, however, deprives them of air to breathe. They may not even notice that this country is like a vacuum. But who can survive like that in the long run?
FREE ON YOUTUBE (YOU FIND THE ALL FILM WITH ENGLISH SUBTITLES FREE ON YOUTUBE) Rana's father will be at the airport at four. She can either marry or leave the country with him. The father gives Rana a list of candidates; men who have asked for her hand. But she only loves Khali. Can she find him? And she manages to make all the preparations for a wedding: Invite the relatives, choose a dress, do their hair? Everything before 16.00? Are we in a romantic comedy, brand Hollywood? By no means! Yes, we are in the middle of a romantic comedy, because romanticism survives in the conflict between Palestinians and Israelis. No, it's a film from Palestine and yet a little different. Rana's Wedding is set on both sides of the armed border between Jerusalem and Ramallah. A comedy against the background of checkpoints, soldiers, street burials and the normal state of siege. Rana (Clara Khoury) is a 17-year-old Palestinian, her lover Khalil (Khalifa Natour) a theatre director around the age of 40. Ranas father has doubts about the marriage, but the couple invokes the Islamic law that they may marry if they inform the father in the presence of a registrar. So Ranas has to find Khalil and a registrar and then the father. All at the same time. That means driving back and forth, past roadblocks and barbed wire. By the way we notice how the Palestinians are watched suspiciously every day. Interestingly, Rana's Wedding is not a film that emphasizes politics. Politics is everyday life in Palestine, with comedy in the foreground. Just as complicated as her country is Rana herself: Sometimes she seems to be older, then again like a child. To fix her hair, she risks missing the deadline. And the premise? Does her father really want to leave the country at 16.00 or just set a deadline? Does all this happen at the last moment or would preparations have been possible? We will not know how the father thinks. Who he is just as little. Surprisingly also Khali's reaction. What would you do if a woman took you from the theater stage to marry immediately? We have to accept this somewhat constructed action because it is an instrument to create tension. Even more tension is created because Rana is sometimes in no hurry. The strength of Rana's Weddings lies in the observation of details. Little boys throwing stones at the barricades, soldiers shooting back. Is this what life in Palestine looks like? Unbelievable! Oh yes, and when Rana forgets her suitcase once, the police have blown it up. After all, there could be a bomb in it. However, Rana's Wedding does not preach, but observes. A beautiful RomCom, but above all a fascinating contemporary document! We get a much clearer picture of the Palestinian settlements off Jerusalem than the news could ever offer us. Palestine is in a permanent state of emergency and yet people have the same goals and desires as we do. The political situation, however, deprives them of air to breathe. They may not even notice that this country is like a vacuum. But who can survive like that in the long run?
Samstag, 6. Oktober 2018
FREE ON DAILYMOTION Woody Allen - Love And Death
Donnerstag, 4. Oktober 2018
Filmliste zu Terry Gilliams The Man Who Killed Don Quixote
To really enjoy a fantasy comedy like The Man Who Killed Don Quixote, I have to remember how I saw the world as a child. What is more beautiful than to take the mind of a child literally or to capture it in pictures? Terry Gilliam does that with his pictures and of course his effects. We adults would call The Man Who Killed Don Quixote a special effects film. Behind it hides the typical Terry Gilliam humor and some satire. Of course, this isn't a children's film, but one that is fascinated by children. That is to say, a tribute to the spirit of a child. It's from this point of view that I have compiled this list of films.
To really enjoy a fantasy comedy like The Man Who Killed Don Quixote, I have to remember how I saw the world as a child. What is more beautiful than to take the mind of a child literally or to capture it in pictures? Terry Gilliam does that with his pictures and of course his effects. We adults would call The Man Who Killed Don Quixote a special effects film. Behind it hides the typical Terry Gilliam humor and some satire. Of course, this isn't a children's film, but one that is fascinated by children. That is to say, a tribute to the spirit of a child. It's from this point of view that I have compiled this list of films.
Mittwoch, 3. Oktober 2018
FREE ON YOUTUBE Alejandro Jodorowsky - Santa Sangre
Above all, Santa Sangre is a return to the wild days of cinema when it could still be scandalous and unique! Santa Sangre is a movie I've never seen before! Very bloody, glamorous, glorious! Basically, Santa Sangre is a film about the mystery of the night. Jodorowsky returns to his roots and offers a two-hour trip, an excess for the senses. In Mexico, Fenix travels with his father's travelling circus. The father is a strong man with tattoos, the mother an acrobat on a trapeze, wrapped in her curly mane. She is also something like the leader of a secret cult of women devoted to a goddess without arms (a man hurt her, took her arms). The blood of this saint: Santa Sangre. As the mother swirls through the air on the trapeze, she watches her husband leaving the circus with another woman (full of tattoos). She follows him, kills the woman and gives the husband poison. He cuts off her arms and finally commits suicide. Years later we meet the son again in a mental hospital. He sits on a tree and refuses any form of communication. The mother manages to bring him back into the world, where he meets a deaf-mute girl. His way out seems like a symbolic trip for Freudians, because he mutates into the slave of the mother without arms. While they perform together in a nightclub, one wonders whether all this is actually happening? But Jodorwosky won't answer these questions for us, instead he throws us into the whirlpool of events that drive the film forward. Unforgettable the scene of the elephant burial...
Above all, Santa Sangre is a return to the wild days of cinema when it could still be scandalous and unique! Santa Sangre is a movie I've never seen before! Very bloody, glamorous, glorious! Basically, Santa Sangre is a film about the mystery of the night. Jodorowsky returns to his roots and offers a two-hour trip, an excess for the senses. In Mexico, Fenix travels with his father's travelling circus. The father is a strong man with tattoos, the mother an acrobat on a trapeze, wrapped in her curly mane. She is also something like the leader of a secret cult of women devoted to a goddess without arms (a man hurt her, took her arms). The blood of this saint: Santa Sangre. As the mother swirls through the air on the trapeze, she watches her husband leaving the circus with another woman (full of tattoos). She follows him, kills the woman and gives the husband poison. He cuts off her arms and finally commits suicide. Years later we meet the son again in a mental hospital. He sits on a tree and refuses any form of communication. The mother manages to bring him back into the world, where he meets a deaf-mute girl. His way out seems like a symbolic trip for Freudians, because he mutates into the slave of the mother without arms. While they perform together in a nightclub, one wonders whether all this is actually happening? But Jodorwosky won't answer these questions for us, instead he throws us into the whirlpool of events that drive the film forward. Unforgettable the scene of the elephant burial...
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