cinema

Surprise Me!

I’m in love with stories that surprise me. Whether it’s a short story, a newspaper column, anecdote or a movie, doesn’t matter as long as there’s a plot turn that makes me question my own reality. It’s also irrelevant if the surprise is positive or negative, subtle or loud, realistic or pure science fiction – just hit me with it, expand my mind just  bit beyond the borders of a mold it is currently in.

Watching a predictable drama or Jennifer Aniston romantic comedy can be both fun and cathartic every once in a while, but when it comes to movies, the unusual genre hybrids are what keeps this love going strong.

I’ve already heard impressions about Greek director Yorgos Lanthimos’ unusual ways of coming up with stories before I watched one of his films and naturally developed my share of expectations. I knew I would encounter something atypical and was very much looking forward to that.

The first one I watched was The Lobster, a 2015 dystopian drama probably taking somewhere in the near future. I already wrote a piece about that one so I don’t want to repeat myself, I just wanted to stress out how it exceeded my expectations. I was baffled, impressed and entertained in a unique way. It met all my ‘surprise me’ wishes and put Lanthimos on the list of foreign directors I keep yapping about to my friends, pulling their arm and saying: But trust me, it’s unlike anything you’ve ever seen before! TRUST MEEE, go watch it! Read the reviews,  here’s the trailer link, did you watch it? Did you like it? Did you? Isn’t it funny when you realize why the film is named Lobster, is it? Can you imagine this happening to us one day?

And so on.

At the moment I’m impatiently awaiting The Killing of a Sacred Deer, the latest Lanthimos’ work so today I decided the time has come to go back in time and watch 2009 critically acclaimed film Dogtooth. Of course I didn’t expect it to have anything to do with The Lobster, but the cold, sterile atmosphere crept on me right from the beginning and that’s when I was able to recognize a similarity. The feeling of alienation and characters pronouncing the dialogue like reading school textbook lines in a bad play while  turning absurd statements into logical conclusions are shared in both movies.

That is where the comparison ends and the weirdest plot I have ever seen begins (and I’ve seen Martyrs, thank you for asking).

Three teenagers live with their controlling parents, completely separated from the real world. By that I don’t mean they go straight back home from school to do their homework, they never leave home and are literally unaware of other people or anything that’s going on in the world (assuming that it really is our world), the only one who leaves the property is the father who works in some kind of factory. The children (two sisters and a brother) are told they can leave home on the day their ‘dogtooth’ falls out.

They are coming up with endurance games to keep themselves busy, have gathering ‘parties’ by watching old family videotapes that they already know by heart or listening to their grandpa singing. A little spoiler alert – the man they think is their grandpa is actually Frank Sinatra singing Fly Me To The Moon. Those poor kids.

At times it felt like a much more censored and brutal version of  The Truman Show, but the rest of the story is far more original in making levels of absurd hitting the ceiling. I caught myself often getting annoyed by the characters – their way of talking, reacting to pain, following their animal instincts, general lack of empathy or any kind of usual reaction. But then again, there’s no place for normality in a story like this one so who can blame them? Their family dinner time taken out of the context sounds like a bad improvised sketch performed by not too intelligent amateur actors.

Oh and please remember that the cats are the most dangerous animals you can ever encounter and that zombies are small yellow flowers.

Confusion, sex, violence, incest, more violence, confusion and the open ending is how I would put it shortly. At the end of the day,  I’m glad I watched it but the feeling of having a 90 minute physical fight with this film is something I wouldn’t like to go through again.  I think I can finally say I watched something that was just too much for me to absorb or break down to pieces and analyze. But it sure did surprise me, disturbed me, but made me laugh at the most unusual moments, and like I said at the beginning, that’s the most important part.

 

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THE ART LIFE: Stepping Into The Strange World of David Lynch

After five highly productive decades of work David Lynch proved he is still at the top of his game when he returned to our screens with third season of Twin Peaks, a show that changed television history and gathered a cult fan following. Being one of the greatest American directors, Lynch will always be remembered as a leader of postmodern cinema, introducing us to surreal, intense plots in movies like The Elephant ManBlue Velvet or Mulholland Drive. The highlights of his impressive career are easy to find, but how did it all start? At what point did the boy from a typical small town family started to turn into atypical filmmaker we know today?

The answers can be found in a in a 2016 documentary film David Lynch: The Art Lifewhose director Jon Nguyen created it in a form of a one-way 90 minute interview, no one is around but Lynch with the exception of a couple of scenes where he is joined by his curious toddler daughter Lula.

The visual focus is on Lynch while he is painting or creating small sculptures or just sitting quietly while smoking in his cluttered Hollywood Hills studio – the place he feels most comfortable in. The footage of the creative process, getting his hands dirty, painting with fingers, sawing wood or cutting out pieces of it while he is narrating key events from his life. He talks about childhood, teen and later years, about ideas and why art and happiness go hand in hand. At the same time, there’s a lot of old video and photo material following his stories, but also examples of his dark and eerie paintings and illustrations. Some moments are quiet, we watch whatever he is working on and are left to think about it for ourselves, nothing is imposed.

Discovering Dreams

Through the film we chronologically follow Lynch’s life from childhood and formative years to early adulthood. He is not an ordinary storyteller since the information he delivers doesn’t necessarily come in a logical way or have an expected pinnacle moment. Of course this is no surprise coming from the man who spent his filming career deconstructing the usual narrative structure and abandoning the mainstream rules.

The film starts with Lynch remembering happy childhood days, praising his loving parents and the sense of limitless freedom and support they provided for him and his siblings. The way he described a particular anecdote from that period about encountering a strange naked woman while playing outside especially stuck with me because it sounded like a twisted dream sequence or something I might have seen while watching Twin Peaks.

'Twin Peaks' [Credits: Showtime]

The director proceeds talking about the effect of his family moving to a different city. Those early teenage years are remembered as dark and unhappy because he developed some health problems, started to hang out with the bad kids, smoking and drinking, going out of control and disappointing his mom. But also at that time, while still being a stubborn, rebellious teenager Lynch started to develop a fascination with the world of dreams, that keeps inspiring him up to this day.

I never studied. I never did anything.I hated it so much. I hated it like… powerful hate. The only thing that was important was what happened outside of school and that had huge impact on me. People and relationships, slow dancing parties… Big, big love and dreams. Dark, fantastic dreams. Incredible time.

The Art Life

After learning one of his friends’ father was a painter, Lynch realized that being an artist can be a real profession, so that is when he firmly decided that painting is all he ever wanted to do in life. That painter was called Bushnell Keeler and he will play an important part in supporting Lynch in developing his career later in life. Visiting a painting studio for the first time Lynch described drawings, paintings and everything else in that place as ‘an art life going on right before your eyes.’ That is when the roots of obsession with art and the whole concept of ‘art life’ and happiness that comes along with it started to form.

[Credits: Janus Films]

I had this idea that you drink coffee, you smoke cigarettes and you paint. And that’s it.

The best part of this documentary for any aspiring artist is when Lynch talks about his beginnings as a painter when his work was really bad and he knew it, but it was a process he needed to grow through in order to find his own way of expression, so he just kept painting until that happened. The most important element in doing what you’re passionate about is dedication.

After graduation Lynch moved to Boston and went through a short experience of agoraphobia when he stayed in for two weeks and listened to the radio because he was physically and mentally unable to do anything else. He managed to get through that crisis, but says there’s always a certain level of nervousness when leaving home, even today he is the happiest when he doesn’t have to go out and stay in the world he created.

Moving to Philadelphia to pursue the art spirit and enrollment into Academy of Fine Arts were another important step for Lynch. While talking about living in a new, dark city that scared him, he describes weird and unpleasant encounters with neighbors, for example with a woman who would go around in her backyard squawking like a chicken. In moments like these, even though this is an intimate and honest portrayal, the viewer can never be sure if it really happened – Lynch lets us wonder about those events using his great capacity for telling surreal stories.

[Credits: Janus Films]

“Oh, a moving painting, but with sound”

The love of painting came first and remained his main occupation, until the day when Lynch, while observing the big painting he was working on at the time, started seeing movement and hearing the sound wind in the background. That’s when the passion for film making and storytelling started and led him forward in his career.

Homemade videos that show Lynch filming his first wife Peggy playing with his daughter show his personal side, but even then you can’t clearly separate the artistic and family man persona because he seems to think about art all the time.

The life changing moment in Lynch’s life was getting a grant from the American Film Institute at the time when he had to find a ‘normal’ job in order to provide for the family. He was unhappy and felt empty because there was no time left for painting and doing what he loved. The grant made it possible to continue his education in California and completely dedicate himself to visual art.

[Credits: Janus Films]

Lynch moved to Los Angeles to attend a training program in the Center for Advanced Film Studies describing the experience as unbelievable and inspiring. Creating new worlds and capturing them on film was now part of his daily routine.

The last couple of minutes are dedicated to the making of his first feature film – surrealist horror Eraserhead. His family thought he was losing time with it and should find a real job to earn money. He knew the time spent on filming it wasn’t lost and was determined to finish the movie while fully enjoying the process, describing everything about it as beautiful.

 

Eraserhead to me was one of my greatest, happiest experiences in cinema.

[Credits: Janus Films]

The impression after watching this unique documentary and getting to know David Lynch’s life and career on a personal level is very similar to being immersed into his work – you experience the fascination, thrill and mystery. Every person who is in a way involved into art making can learn a lot from this feature, there are two things I would like to point out – creating is important because it gives us a real sense of freedom and mistakes are necessary because they lead us towards what we’re trying to achieve.

He is letting the viewer in, but not inviting him to stay too long, only to have a long peak through the window, because at the end of the day – this is David Lynch, a talented, crazy imaginative artist that dares to visit places others have yet to discover and all that while we watch him sitting calmly, puffing away smoke and keeping his cool appearance.

 

Originally posted on Creators.co

 

Godard: ‘I get high staring at posters in the streets. I get high on people.’

Note: Godard who has just finished shooting his lates film One Plus One, agreed to meet Hermine Demoriane for this interview but would not consent to it being recorded. “What you don’t remember, make up”, he said. Excerpts from the interview follow.

We have a lot of professional filmmakers who would be better off doing something else.

 

HD: You have said everybody should make movies.

JLG: No. I did not say that,  I said more people should. There are not enough films. Look, there is no black cinema at all. Stokely Charmichael should make a film. But he can’t. Even if Mao sent him the money he would not find a distributor. There aren’t any films from the workers, either. I’d like to hand over my unit, lock, stock and barrel and let some of them get on with it. We need films FROM people, not FOR them. In the meantime, we have a lot of professional filmmakers who would be better off doing something else.

HD: What do you think of Claude Givaudan’s experiment?

JLG: Very good. You should be able to go into a shop and buy the latest Godard, take it home and project it with no more fuss than reading a paperback. In two years time we may be putting cassettes of our own films into TV sets.

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HD: You have said England was an American colony. Does this apply to its films?

JLG: There are no English films. There are American films set in London.

HD: What do you think of American cinema, then?

JLG: The most conservative in the world. It works on worn-out formulas totally irrelevant today. Its only aim is to lift people out of their environment for a moment and persuade them the world is a beautiful place so they keep quiet and allow the system which begats such films to continue.

HD: You didn’t even like Bonnie and Clyde?

JLG: Average. Very average.

HD: And the cinema in France?

JLG: Very conservative, too.

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HD: What do you reckon is the way to break the monopoly of the big companies?

JLG: Either drop a bomb or them or buy them.

HD: You have just made a film for French TV. Would you like to do more?

JLG: I see no difference between cinema and TV films. I would like to make more, yes, but I doubt if they’d get shown. TV is governmental, and not only in France. Governments are always clever enough to take it over. Consequently TV would be the same in Cuba as it is in Greece. I think opposition parties should have an equal influence.

HD: Do you believe that hippies could be a force to purge Capitalism, as the Red Guards purged Soviet Communism?

JLG: The hippies will do nothing until they are politised.

HD: They need a Mao?

JLG: Not necessarily. Only to get educated politically.

HD: The demonstration at the first night of the Green Berets proves that something is burning.

JLG: Yes, that was excellent. I wish someone had told me, I would have gone.

HD: Do you think the uprising could come from England eventually?

JLG: Yes, it is good here because there are plenty of people with money and open minds. But alas, they don’t use their minds, and they are usually corrupted by money. People could do things but won’t. Look at the Beatles for instance. And Peter Brook. He should have put his Marat/Sade outside Buckingham Palace.

HD: Are you aware to have prophested Sorbonne in La Chinoise?

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JLG: No. Prophesy is a mild form of fascism.

HD: What about your next film?

JLG: It is going to be produced and shot in America. That’s all I know about it. Except the title. I’ve got that. An American Movie.

HD: Have you ever taken acid?

JLG: No. Not interested. I get high staring at posters in the streets. I get high on people.

HD: Exactly what my mother says. Thank you.

 

*Interview with Jean-Luc Godard by Hermine Demoriane, published in IT (International Times) no. 39, 6-19 September 1968

All About My Favorite Director: 5 Reasons why Pedro Almodóvar is a Creative Genius

Cannes Film Festival is about to begin, introducing the impressive selection of films competing in different categories with everyone’s attention especially directed towards the potential Palme d’Or and Grand Prix winners.  What makes the 70th edition of the most acclaimed European film festival even more exciting is that Oscar-winning director Pedro Almodóvar  has been named president of the jury, becoming the first Spaniard to be given that honor.  The prolific director has had six of his films shown at Cannes throughout the last two decades, winning the best director prize for All About My Mother (1999) and best screenplay for Volver (2006).

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Even though his films are exclusively in Spanish, that didn’t stop them from getting worldwide recognition from both critics and the audience. What is so appealing and unique about Almodóvar’s films that makes everyone who has seen at least one always come back for more? I’ll try to break down the director’s trademark characteristics in 5 key points.

 

Every genre is his genre

The problem is that I work in more than one genre. It’s impossible for me to aim for a single one because, for me, comedy is mixed with tragedy. That’s very Spanish, the way in which comedy and tragedy are inextricable from each other.

Transferring his eclectic taste into movies turned out to be a big creative success.  There are no  boundaries in Almodóvar’s stories, the viewer is often surprised by the way in which the story is developing. Also, his films are a great example of how the art of movie making is all about freedom of expression and having fun while creating the amusing plots and characters. This blend of genres is evident in every period of Almodóvar ‘s career- the early love stories mixed with provocative eroticism and political statements, to his newer films that contain mystery,  thriller, black comedy and horror elements. No one incorporates romance and suspense as skillfully as Almodóvar  resulting in emotional romantic thrillers like Broken Embraces or mystery melodrama Volver. 

 

 Memorable female characters

I feel that I can tell a richer and more entertaining story with women.

It’s not jut that he puts women in the spotlight as main protagonists, he makes them believable and goes well beneath the superficial explanations of what drives a character to act the way she does. Penélope Cruz, one of Almodóvar’s favorite actresses praised him as someone who perfectly understands the female universe and makes them feel protected so that is why she enjoys collaborating with him. The key of this capability stems from director’s childhood experiences,  he explained many times that he grew up surrounded by powerful, strong women.

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During the promotion of his latest feature Julieta, the Spanish filmmaker criticized Hollywood for sexism and not creating enough complex roles for women of all ages. On the other hand, some of his critics say he focuses on women too much, while his heterosexual male characters seem questionable and incomplete.

 

Visual style

Almodóvar’s filmmaking style may not be everyone’s ‘cup of tea’, but no one can deny that he has an amazing sense for details and using colors as an important addition to storytelling. Quirky characters are not based solely on their dialogues and expression, the visual representation means a lot in how the viewers interpret their actions. The first example I think of is Lucia from black comedy Women on the Verge of a Nervous Breakdown whose mental instability was emphasized by over the top make up and costumes, turning her into hilarious, almost grotesque character.

Almodóvar has never been afraid of using ‘too much’ color, he openly flirts with elements of kitsch evoking traditional Spanish culture,  but in a modern, progressive environment. Through years of making movies he learned how to control those exaggerated visuals in order to improve the film’s plot, but has continue to  employ the bright colors, no matter if it’s the clothes, make up, lightning, a chair, a telephone, etc.  The trademark of the majority of his work is the use of red which is directly connected to everything is so typically Spanish, but also draws attention to specific details, creating a tense atmosphere, and  simply works out so well in front of the camera. One of Almodóvar’s  most successful international features Everything about my Mother is the best illustration of the power of red. It represents strong, bold women and their life stories through dealing with broken relationships, love, motherhood, friendship, loss, etc.

 

Breaking the taboos

As much as he is not scared of colors, the Spanish filmmaker also doesn’t stray away from the unusual and hidden parts of human nature. A part from that, he creates space for characters who were in most cases pushed away from the mainstream – the homosexuals, transsexuals, transvestites. Ever since his debut 1980 film Pepi, Luci, and Bom Almodóvar  has been promoting artistic, individual and sexual freedom, questioning the social conventions and tackling stereotypes. It is impossible to forget elements like Gael Garcia Bernal’s transgender character Zahara and dealing with sexual abuse in Bad Education,  the deconstruction of identity in All about My Mother, challenging mother stereotypes in Volver, getting involved with the creepyness and obsessions in The Skin I live in, or experiencing painful feelings of guilt in Julieta.

Another important element is humor that is born out of unexpected, absurd, generally considered tragic situations showing the importance of context, for example the rape scene in Kika, or suicide attempt in High Heels. Despite of these chaotic events, the viewer continues to form emotional bonds and empathy towards the fabulously eccentric characters and that is what makes Almodóvar ‘s work authentic.

 

  The choice of music

It’s no secret that films in general wouldn’t be nearly as exciting and touching if they weren’t accompanied by music, so it’s no surprise that Almodóvar  doesn’t leave anything to chance in this department. He carefully chooses songs by his own preferences and is often led not by the artistic quality of music, but its references and emotional value. Original soundtracks for his movies have become hits of their own thanks to the collaboration with talented composer Alberto Iglesias.

Some of Almodóvar’s films are so strongly connected to their soundtrack that after watching them, we automatically connect actors and characters with a certain song proving music is inseparable from narration. When I think of the closing scenes of Talk to Her, I immediately hear the music, the dancing couples gliding through the stage appear afterwards. The most recognizable scenes have become so popular precisely for their musical intervals, like the incredible tunnel scene from All about My Mother which stays with you long after you’ve seen the film or Penélope Cruz owning that melancholic musical scene in Volver. For me, the most rememberable due to not only music, but costumes and incredible acting abilities is Gael Garcia Bernal’s performance of Quizas in Bad Education. 

 

Originally posted on Creators.co

 

 

 

Quentin Tarantino’s Badass Female Characters

Gender pay gap, hyper sexual objectification, dumbing down of female characters, lack of quality screenplays for women, these are just some of the issues film industry is still dealing with. Lately it seems things are moving forward as more actresses are candidly speaking up about the problems they are facing and bringing them to international spotlight.

Although Quentin Tarantino holds an image of the ‘enfant terrible’ of American cinema, his movies are often labeled as too violent, brutal and unnecessary bloody, he is also one of the most important modern directors and screenwriters. In opposition to all the violence and hundreds of gallons of blood , there is an interesting fact I appreciate very much – when you ask someone to name five iconic characters from Tarantino’s films, more than half would most certainly be female. Intelligent, cool, independent, strong, sometimes very dangerous, sometimes caring and sensual, we admired them all. Who would have thought after Reservoir Dogs came out that Tarantino would become a sort of a feminist hero.

To honour the Hollywood’s favorite ‘basterd’ on his 54th birthday I am bringing you some of his most remembered heroines that continue to inspire.

Jackie Brown

Aw, the milk went bad while I was in jail.
This is his third film, but the first in which Tarantino decided to place a woman in the lead, and oh, what a wonderful decision he made. During the ’90s period actress Pam Grier was used to appearing in smaller roles, but came back in style with a captivating performance in crime thriller Jackie Brown where she managed to outshine acting legends like Robert DeNiro and Samuel L. Jackson. Jackie is a middle-aged flight attendant who is actually working for a gun dealer Ordell Robbie by smuggling money across the border. After she gets caught, Jackie agrees to cooperate with the police in order to catch Ordell and avoid jail time. At the same time, she realizes her crazy boss wants to kill her, so that’s when she comes up with a not so simple plan… Smart, daring and charming woman who doesn’t want to depend on anyone, that’s why Jackie Brown will always deserve an important place on a groundbreaking female roles lists.
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 Shosanna Dreyfus

My name is Shosanna Dreyfus and THIS is the face… of Jewish vengeance!

Tarantino made Inglorious Basterds so that he could play with the darkest part of the 20th century and deliver his version of WWII events in his distinctive, attractive way. The key character is Shosanna Dreyfus (Mélanie Laurent), a young Jewish woman who happens to be the only surviving member of her family that was murdered by Nazi’s. Years after the soldiers found them in their hiding place and committed a bloodbath, she meets a German war hero and gets an idea for a revenge plot with a goal to kill the Nazi top commanders like Hitler and Goebbels. Her will power and fearlessness is astounding, along with her ability to keep focus on the way of reaching her final objective.

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Mia Wallace

Three tomatoes are walking down the street-a poppa tomato, a momma tomato, and a little baby tomato. Baby tomato starts lagging behind. Poppa tomato gets angry, goes over to the baby tomato, and smooshes him… and says, Catch up.
This small tribute can’t be completed without HER, the ultimate style icon and every girl’s dream Halloween costume choice. Uma Thurman and Tarantino surely had a special chemistry between them on the set, and we can all be grateful for that. She is not a main protagonist, but is the most recognizable one, her face is the visual and spiritual representation of Pulp Fiction. Mia is a mobster Marsellus Wallace’s wife who wanted to be an actress, is totally in love with Amsterdam, smokes a lot and also likes to snort cocaine. Her style is simple, but seductive, she is smart, has a great sense of humour and she’s definitely got a way with words. And as you already know, she can dance like no other.
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Zoë Bell

You guys look like shit. Who died?

One of the leads in Death Proof, maybe not Tarantino’s most acclaimed work, but certainly the most ‘girl power’ statement movie . Also, Zoë is the only one starring under her real name because she is actually playing herself – an energetic, talented stunt double who made me want to get out more and get involved in a sports activity for a change. Tarantino was amazed by the skills she presented while doubling for Uma Thurman in Kill Bill, and how could he not be – just remember those crazy adrenaline-filled Death Proof scenes where she’s strapped on the hood of a speeding car. Zoë also appeared in other Tarantino’s works: Inglorious Basterds, Django Unchained and The Hateful Eight, showing a range of talent, breaking stereotypes and just staying true to her cool, bold presence.

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The Bride

Those of you lucky enough to have your lives, take them with you. However, leave the limbs you’ve lost. They belong to me now.

Beatrix Kiddo (Uma Thurman), code name Black Mamba is one of the greatest action movie characters of all times which means a lot because that kind of roles are usually reserved for male actors only. She is a former member of an elite team of extremely well-trained assassins who finally wakens from four years spent in a coma after she was shot in the head by her former boss and lover called Bill. Kiddo creates a list of former colleagues who have betrayed her and begins her ruthless mission of killing every one of them showing impressive fighting skills along the way. Her dynamic, blood soaked quest for vengeance is divided into two volumes, culminating in an epic ending. That kind of firm determination in a character is rarely seen and has to be appreciated, Kiddo is passionate and dangerous, scary, but makes you sympathize with her after all the trauma she’s been through. Finally, the list of awesome women who are not afraid to attack first is what gives this movie a big credit in establishing a different kind of a female presence on the big screen, showing everyone that women can kick ass, as well.

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Originally posted on MoviePilot

Keep Your Reality Away From Me

Ricochet is such an awesome word, repeat it out loud for at least 15 times, amazing. Next thing you know, David Guetta’s Titanium is playing in your head  for the rest of your life, you’re more than welcome!

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I’m bulletproof, nothing to lose
Fire away, fire away
Ricochet, you take your aim
Fire away, fire away

But I digress, my mind is super fast but lacks focus, even more than usual, much more. I had five and a half biiiig cups of coffee (with just a hint of milk) since this morning and as we are approaching 6 PM, heart attack is starting to look like a logical ending to this lovely evening. I slept for two hours last night because I was watching the Oscars, just like I did the year before and the year before that. I am a hypocrite, I know. I am aware of it, so that makes it acceptable. More importantly,  for some of us Europeans the last Monday morning in February tastes like coffee, sugar and dark circles under eyes sprinkled with a dash  of hysteria. Sleep deprived, but determined that it was worth it, armed with fresh knowledge deriving from the center of the La La Land, a place that never truly existed, but it feels good to believe it’s for real. It’s very similar to religion and just like religious rituals, there is always a certain sacrifice a person needs to undertake.

To me, the best part about the Oscars and similar, highly mediatized events is the projection of safety and false togetherness, a sense that everything is OK and that unity and tolerance and art will prevail even when the highlight of the evening are racism, borders and bigotry. It’s hard not to feel joy after people of different races have shared the stage, handed and received awards and delivered inspiring, almost revolutionary speeches. Almost. Of course they mostly represent a privileged group of people which doesn’t share the rest of the world’s crucial problems, of course they write speeches in advance, of course they enjoy the attention…  but at least they are, in a way, giving a voice to those problems. Those messages circle the world in juxtaposition with all the hottest Ryan Gossling memes and that is not neglectable.

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And also, along with the scripted drama, there was the non planed pinnacle in form of strange faux pas at the very end of the show, which I haven’t seen live because I turned off the TV as soon as I heard that La La Land won the best picture award and finally went to sleep. Perfect timing as always.  I was sad when I realized I was only a few moments away from witnessing live the biggest award mistake in the history of  our time (I know I am exaggerating, but that’s the point!), although I was very happy to learn this morning that Moonlight is the actual winner. Oh the drama, the glamour, the humour, the controversy, Trump, botox, Mahershala, Matt Damon vs. Jimmy Kimmel, Jennifer Aniston who looks like Iggy Pop, the awkwardness, tears and gold – this year’s Oscar season had it all. 

Good night and see you next year!

 

Yours truly,

xoxo

 

 

Crazy for Godard

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There are movies you can watch with one eye closed, while texting your crush or thinking about your grocery list. There are movies you can watch with a bunch of friends and comment, laugh, talk about something else for a while, get up to get some more popcorn. There are movies who don’t demand your full attention, they are here to present a certain plot and try to entertain you while on the greater scale their sole purpose is to earn as much money as possible and then fall into the oblivion. Everyone who had at least a brief encounter with Jean-Luc Godard‘s movies is aware, of course, that this is not the case.

The average mind raised on the typical American style cinematography will get confused after five minutes, get bored after twenty and is most likely to give up from watching the movie after 45 minutes. But that’s no surprise and doesn’t mean that the average mind is stupid or uneducated. Godard’s work is an acquired taste, the one that when/if the viewer accepts it and gets to know it, falls in love more and more until you start looking at the everyday life scenes through Jean-Luc’s glasses.

That started happening to me after I watched Une femme est Une Femme (A woman is a Woman, 1961), my first Godard experience. I was a bit puzzled at first but it was love at first sight – the story, Anna Karina, Belmondo, the clothes, dialogue, colors, language… Freedom! Freedom is the key, freedom from the overpayed, overplayed, predictable script, nonchalant deconstruction of what is considered ‘normal’ or ‘succesful’. Godard himself says it all in one simple sentence:

“Improvising on the set is different from faithfully following the script.”

C’est vrai.

The last one I’ve (re) watched is also one of the most important French new wave titles – Pierrot le Fou (Pierrot Goes Wild, 1965).  It’s one of those movies that stuck with me and will always be important, also this time I had a chance to watch it in the cinema, on the big screen. What an experience, not even drunk people talking pretty loudly or leaving in the middle of the film couldn’t spoil the good feels and my overall excitement. If an extraterrestrial finally visits our beautiful planet one day, I suggest playing Pierrot for him/her/? to explain what ART means. You can’t define it in one word, it can be completely subjective, but once you come across it, you know it’s here.

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What I like the most about this film is the criticism towards Americanization, war and consumerism. We are so obsessed with things and accumulating stuff we don’t really need. We all know that, we’ve seen Fight Club for god’s sake, but still we remain clueless. I’m looking for winter coats online as we speak and I get that adrenaline rush because I’m in a hurry to pick the PERFECT one, the one that DEFINES me and at the same time I hate myself for it, but also can’t help it. Ridiculous, it’s like being stuck in between two worlds. That’s why artist that present sober critics to their public need to be even more appreciated. They are not just artists who create something for themselves and a small circle of people, they represent the state of society in general. Through the words, music, images and beautiful or funny scenes they can comfort us, but also implement a warning sign in our mind that something needs to be changed.

Like all great works of art, Pierrot le Fou is still very much relevant, I always laugh at the statement:

“Now we are entering the age of the ass.”

We are very much in that age and it seems like we will be in it for a while longer, don’t we? It’s hard to come out and look up, I guess.

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To conclude, i really think everyone should find some free time and dedicate it to watching good, classic movies, and not just so they can boast about it and act all ‘intellectual’ in front of others, it should be completely opposite, actually. Watching Godard helps me create my own little world, draw inspiration from it and learn. Finding out that  improvisation can coexist with author’s  control over  his work and what he’s trying to achieve is something I didn’t know before Godard, and now I very much appreciate. It is the unique pleasure of letting the viewer feel whatever he wants to, find his own way through the two hour movie watching experience without pulling his hand like he’s a kid about to get lost in the shopping mall. Let him get lost on purpose to find something new and exciting, that is the goal.

There are many little joys we all need to give our life true meaning, the memory of coming out of the cinema, snapping my fingers while singing quietly Ma ligne de chance is and always will be among my favourite instant mood boosters. And the best part is, I have yet to discover the rest of the ‘nouvelle vague’ familly – Truffaut, Chabroul, Rivette….

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FIN.