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Short Review

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.

FConsidering 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

 

Werner Herzog travelled to Antarctica, where he met the strangest kind of people, unusually inspired and having an enormous power to lead their lives alongside this momentum.

There are particular things about this film that enchant me:

Herzog’s voice, seemingly uncertain around English and peculiarly unfitting to the florid expressions he uses in his voiceover.
I do not think I will ever forget the couple of comforting words he had for Libor Zícha, Czech exile, who was not even able to talk about the ‘drama’ he lived through escaping from behind the iron curtain.

Astonishing music chosen so well that it seems inherent to the image, giving it magnificence you could possibly feel while watching certain Malick’s images, except that Herzog’s thoughts of Christianity point towards Tarkovsky and penetrate deeper into European’s mind, since we instinctively do not believe in American spectacle.

Disorientation of the little penguin you cry for. I am sure you will know the feeling.

EatEotW

These impressions, however, only contribute to form Herzog’s giant overarching question about human origin and destiny, which overwhelm you and makes you feel a little uneasy. It might be that the end of human race is scientifically assured, but the choir at the very end of film sings about LIGHT and the message is not that of resignation.

Irský film In Fear (2013) – mám dojem, že je potřeba zvýraznit lokaci, neboť lokace zvýrazňuje film – sympatickým způsobem odpovídá rozměru své produkce. Tváře jsou občas nasvíceny světlem, které by pro Hollywood bylo „zatraceně bledý“. Člověk má občas pocit, že má špinavé brýle, ale ne, jen hloubku ostrosti někdo nastavil na „zatraceně krátká“. Podobné detaily jsou ale velmi silně spojeny s náladou filmu s menším rozpočtem, který se navíc vyhýbá jakémukoliv pejorativnímu smyslu toho slova.

Strach z nadpřirozeného, který se pomalu změní v přirozené, na mě dělá mnohem přijemnější dojem než strach z nadpřirozeného přecházející do nadpřirozeného lekacího nesmyslu – Sinister (2012).

A Alice Englert vypadá trochu jako trochu skutečnější Ellen Page s krásnejma nohama.

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Irish film In Fear (2013) – The location should be emphasized mainly because it emphasizes the mood of the film – decently fits the scale of its production. The light on faces could sometimes be very much ‘bloody pale’ for Hollywood. Other time one thinks that he forgot to clean his glasses before he finds out that it is just the depth of field that is ‘bloody small’. But these details very strongly relate to the atmosphere of a film with a smaller budget, without any pejorative meaning of the term.

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XXY (2007), argentinský film Lucíi Puenzo se zabývá otázkou pohlaví a sexuality. Zpočátku se zdá být mírně přímočarý a člověk očekává jakousi napnutou romanci, zjitřenou mystyckým kouzlem osobnosti hlavní hrdinky a mořskými želvami. Pak se ale odebere do velmi odlišných končin.

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Ztraceno v překladu ukazuje jeden obraz stále znovu. V popředí je člověk a v pozadí je město, nebo možná, protože hledíme skrze sklo, na kterém se všechno odráží, je to naopak.
Hraje v něm vtipný Bill Murray a překrásná Scarlet Johansson, ale hlavní důvod proč ho teď právě chci vidět znovu je ten, že ukazuje pocit osamění a jedinou cestu jak z něj ven tak přesně.
Jeden nemusí jet až do Tokia aby ho zažil, myslím, že stačí i cizí město.

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Lost in Translation shows one particular picture many times. The picture has a human being in the foreground and a city in the background. Or, possibly, it could be the other way round.
There is the funny Bill Murray and gorgeous Scarlet Johansson, but the main reason why I want to watch it again is that it shows the feeling of loneliness and the only way out of it so precisely.
One does not have to go all the way to Tokio to feel like that, a different city could do.