Hungarian animated feature Feherlofia (1981) manifests an unusually consistent, highly simplified style visibly influenced by imagery of old Indian and Mayan culture, and possibly art of other ancient nations in Africa and Oceania. The visual stylization clearly establishes the mythical tone of the story that comes even with the proper delight in erotic allusions (most of the time rather hardly concealed).
The film also shows off its awareness of the cinematic potential or rather its extension by means of animation. Hence we witness numerous complete transformations of image and also get details like the one when a character looks at other two through the fingers of his hand, as he covered his eyes in fear before.
Considering the slow-paced narrative that dwells on the appropriate repetition of certain tasks and most of the time appears more than clear, you might find yourselves enjoying the film purely as an audio-visual trip. That is also why we recommend to watch Feherlofia without the original audio and to use soundtrack such as some neat Four Tet compilation. You might find yourselves in the place of those who found the dark side of the rainbow.
Available on Youtube
PP¬ 1 of the most enjoyable films
PP¬ Cause I’m Alex, O my Bro’er (theatrically flies away)
After a few similar conversations I am able to translate his ideas on the film.
He thinks that because of the way the film was made (and the book written) you enjoy it despite its violence and cynicism.
Leos Carax’s short full of the most amusing controversions, and the film of choice for Pleasure Parrot.
‘This mo(N)vie chains the B’ts of absurd jokes like a song. + The splendid pride of the bizzare X’istences.’
Truly, the film celebrates and enjoys the transgressive element. The grotesque creatures of the film emerge from the sews as an undercurrent to Japanese neat calmness and rationality. Merde and Voland resist to the sensibility and correctness of their civilized persecutors with an apparent pride, knowing that their freakishness is much more enjoyable (yes, for the film viewers) and ultimately true to the behaviour of ordinary people. The TV news show how the crowds react on each step in Merde’s case, and the uproar in the streets does not quite seem to fit the calm and composed demeanour of the reporters. Madness and disorder are an inseparable counterpart of a controlled system, and Carax pictures them as much more attractive when displayed openly than when they are suppressed and denied by the reason.
For all those who love a sting of a little outrage, here is our ‘tres joli petit garҫon‘.
(Little link for those who find the soundtrack somehow familiar.)
Wim Wenders’ film available on vimeo. Absolutely lovely!
As if the several great directorial personas actually encompassed and cherished the different identities and shades of the phenomenon called Cinema (and surely, that is also the truth).
Godard begins as the collosal magician, who is only interested about the context and meaning, and as soon as nothing gives him a food for thoughts he will depart.
Herzog, being a one-man tragedy in himself, takes off his shoes, but then admits that the situation is not really THAT bad, and choke us with a pillow.
Spielberg talks to us with a brilliantly ego-centric posture of a prince of capitalist film industry. He allows us ‘one shot in the forest’ (29:50) (I can’t stop laughing).
Personal favourite is Antonioni. Being an extremely charismatic and elevated speaker (despite he says he is not a man of theories), he provides a contemplated and incredibly accurate prediction, and still present a great amount of vitality and will to cope with anything that is about to come.
I am omitting several filmmakers who got slightly shorter parts in the film. However, they all stand for very distinct and obviously completely valid opinions on the future and workings of Cinema.