A Liberdade é Azul (Krzysztof Kieslowski, 1994)

Quando a personagem da Juliette Binoche acorda na cama, é como se começássemos a fazer um tour pela expressão humana. O nosso guia obviamente é a câmera, e é um guia bem indiscreto. Ele circula pelos poros a procura do maior encadeamento da dor, e nós somos turistas segurando máquinas fotográficas à procura do melhor ângulo. “Aqui vemos uma sutil tremida de queixo. Não vai durar muito, viu? Parou. Não me perguntem por que, mas isso sempre acontece. Agora se me acompanharem até aqui... Observem esse olhar. Conseguem acreditar que existe um ser vivo esmagado por ele? Ah, e não se aproximem muito para não serem sugados para o oco infinito que ele carrega. E nada de alimentar os animais”. Kieslowzski vai além de filmar a carne como simples carne, ele praticamente usa a câmera como uma seringa enfiada na medula. Ao em vez de puxar qualquer líquido dela, ele traz qualquer coisa que não seja física. É a melancolia ganhando contornos.

Ao sair do quarto do hospital ela minimiza sua vida a um estado de conta-gotas. “Menos um dia. Menos dois dias. Menos dois dias e 6 horas”, e isso fica bem evidente em uma cena especial, quando ela está sentada em um banco na rua e olha uma senhora, muito velha, com o corpo inclinado, se arrastando pela rua, fazendo um esforço descomunal apenas para largar uma garrafa no lixo reciclável. Ela não a observa com pena, mas sim com inveja. Com uma nostalgia inversa, em saber que ainda resta esperança “eu ainda vou envelhecer e morrer, pena que falta tanto”. Ela praticamente renuncia todos os sentimentos e espera a hora chegar.

É uma pessoa que sente uma dor constante, que não da trégua, que é capaz de fazer uma espécie de “pacto” com a dor física se automutilando “eu deixo você entrar em cena, desde que consiga monopolizar meu corpo. Nem que seja por míseros segundos, por favor”.

Não tem como resumir o filme de outra forma, ele é um tratado sobre a dor, sobre a perda, sobre a incapacidade de viver mesmo sobrevivendo. E uma atuação monstruosa da Juliette Binoche. Um dos filmes mais sufocantes que já assisti.

4/4

Thiago Duarte

The Wordpress page’s layout has changed- quite a bit. Just noticed it a minute or two ago, when I was trying to log in. I wasn’t even sure if I’ll be able to guess my password at one go. Yes, it’s been that long. I started on this new job about three months back and it’s been an uphill battle to try and wake up by 7 am and be in office by 8 am. I’m proud of the fact that I’m almost always on time. And what is my job related to? IT of course.

My folks came over from India for a couple of weeks. I finally took my long, impending trip to New York City. I so wanted to watch Woody Allen perform at Hotel Carlyle. Lallo, you can be happy now. Good enough reason to visit NYC again. I could write pages and pages about my trip. Unfortunately, I really don’t have the words. Some of the places that I visited- Times Square, Brooklyn Bridge, Manhattan Bridge, Queens, Soho, Liberty Island and The Status of Liberty, Ellis Island, Empire State Building, Wall St, 5^th Avenue (did lots of “window shopping”), ate Brooklyn style pizza in some Italian restaurants, walked by foot and traveled by the famous subways all the time, ate honey roasted almonds, learned how to read the complicated subway map, Trinity Church, Ground Zero (site of WTC) of course. It's only when you are in Manhattan that you realize how easy it is to fall in love with this city and New Yorkers. Woody Allen, this trip was for you.

Also heard that J.K Rowling is releasing “The Tales of Beedle the Bard” for everyone. I’d already predicted this, in fact. Who's buying the $100 leather bound version?

I did some movie watching too! My top favorites are The Dark Knight (9.5/10), Turtles Can Fly (9/10), Terminator 2 (9/10), and Omkara (8.5/10). And finally, I bought the entire collection of Decalogue by Krzysztof Kieslowski off Amazon.

Now for some NYC pics-

[gallery]

]]> http://diariodelvago.wordpress.com/?p=144 Sun, 10 Aug 2008 12:32:53 +0000 misza http://diariodelvago.wordpress.com/?p=144 Fragment programu TVP "100 pytań do" z 1989 roku z udziałem Krzysztofa Kieślowskiego:

Iwona Kłysz-Ciszewska (TVP): Jeżeli film dla pana jest rodzajem rozmowy, to o czym chciałby pan jeszcze porozmawiać z widzami i jeżeli pan ma jakiś taki temat, nad którym chętnie by pan popracował, całe miesiące, to dlatego, że ten temat jest ważny dla pana, interesujący, czy może ważny dla nas wszystkich?
Krzysztof Kieślowski: Proszę pani, zawsze mam nadzieję, że jeżeli temat jest ważny dla mnie, to może jest ważny i dla pani. A jeżeli nie dla pani, to może dla pana albo dla pana.
Iwona Kłysz-Ciszewska: Ale czym się pan kieruje?
Krzysztof Kieślowski: Tym, że żyję w tym samym kraju, w tym samym czasie czy na tym samym świecie, co pani i państwo i jeszcze ktoś za granicą - tym samym.
(...)
Krzysztof Kieślowski: Ponieważ już zrobiłem, skończyłem, akurat przedwczoraj, ostatnie jakieś prace związane z tymi filmami (mowa o cyklu "Dekalog" przyp. red.), więc nie może pani wymagać, żebym po dwóch latach grzebania się w tych dziesięciu tematach, w tej chwili mógł pani od razu powiedzieć, co następne. Nie wiem. Nie wiem, w tej chwili... Zawsze muszę mieć jakąś przerwę. Nie po to, żeby odpoczywać nawet, bo to nie chodzi o to, żeby odpoczywać, chodzi o to, żeby po prostu, jak mówi Hania Krall, "nażyć", coś "nażyć". Czyli pochodzić, popatrzeć, powąchać, podotykać, poznać, posłuchać. Co słychać. Co się dzieje. Muszę mieć na to czas. Tylko z tego czasu właśnie, tylko z tego "nażycia" może się urodzić coś w rodzaju następnej myśli, że warto byłoby może się zastanowić nad tym czy nad tamtym.

No właśnie. Coś "nażyć". Zauważyłem, że jestem plagiatorem. Podkradam wszystko, co wyda mi się w danym momencie interesujące w życiu. Wykluczmy na chwilę umiejętność obserwacji z cech pozytywnych czy też zalet, abym mógł swobodnie powiedzieć na temat mojej umiejętności obserwacji, bez obaw posądzania mnie o megalomanię. Wydaje mi się, że potrafię patrzeć. Że dostrzegam czasem rzeczy, które niekoniecznie dostrzegają inni ludzie. Nie mówimy tu oczywiście o UFO, duchach, skrzatach i innych nadprzyrodzonych bajkach. Chodzi o "dzianie się", o życie, zdarzenia, słowa ludzkie, reakcje ludzkie, zachowania, przypadki, zdarzenia losowe (-> http://diariodelvago.wordpress.com/2008/06/03/bog-los-przeznaczenie/ ) i inne sprawy. Rzeczy, na które nie każdy zwraca uwagę - gesty, mimika, czasem tempo oddechu. Wyłapuję je jakoś i dzieje się to samo od siebie. Wykorzystuję je potem, czasem tylko te gesty, czasem całą sytuację, pewnie trochę koloruję, ubarwiam, dodaję jakieś wątki, ale to wciąż wszystko oparte jest na życiu. I mam ideę. Mam zarys, pomysł, zalążek, impuls i jakkolwiek jeszcze to nazwać.

Natomiast inną sprawą jest pisanie. Nie umiem się zmusić, boję się, jestem wręcz przerażony próbą rozpoczęcia pisania tego, co wydaje mi się spisania warte. Bo w głowie to wydaje się świetne, ciekawe i ważne. Pochłania mnie i wydaje się absolutnie warte poruszenia. Jednak na papierze wychodzą braki, braki logiczne, wychodzę też moje prywatne braki pisarskie, wychodzi cały komplet niedomówień i niejasnych sytuacji, które trzeba jakoś rozwikłać, trzeba je jakoś wyprostować, czasem nawet specjalnie dorobić dany szczegół, żeby puzzle składały się w obrazek. I to jest straszne, to napawa mnie lękiem, że nie będę w stanie w pełni przelać tej idei, że nie uchwycę w pełni zalążka, impulsu, że opiszę coś słabszego i nie będę umiał tego uchwycić, co gorsza - będę miał tego całkowitą świadomość.
To tchórzostwo, zdaję sobie sprawę, ale pamiętam przestoje w pisaniu scenariusza na wstępny. Pamiętam niektóre noce, kiedy nie byłem pewien co chcę napisać dalej, jak chcę pociągnąć scenę, jakie dialogi mają być. Leżałem tak, wierciłem się co chwila i gadałem do siebie na głos, rozważałem różne sytuacje. I każdą jedną odrzucałem. Pamiętam, że musiały minąć dwa dni, żebym znów kontynuował. Ciąg dalszy nastąpi.

I'm watching Red by Krzysztof Kieslowski, finally. I'm so excited to finish this series- the first few were incredible. The ice cream I got was this gelato, a chocolate jalepeno. It's actually very good- it's chocolate, a deep chocolate, but then it has jalepeno's mixed in, so you end with a spicy aftertaste.

My fish bowl is cloudy. I wonder if its because they're not really eating very much food. I don't feed them a lot, but we'll see. I'll figure them out;-)

Figuring out life is confusing. I guess...I'm thinking a lot, but I don't really have the words to express what I'm thinking. I hate that. It makes me want to lock myself up in my house and not go anywhere. (Perhaps that's one of the reasons I'm not at Founder's...not merely my tiredness.)

Oh. So a thought I had a few weeks ago that might fit in here-sometimes life's like a puzzle. You're trying to put it together, but you don't have all the pieces. Theoretically..life really is a big mosaic of little pieces. Sometimes you don't have all the pieces at the moment....and you find them later. Or maybe you don't find all the pieces, ever...but it's okay to have a life with some pieces missing

Speaking of being tired- picture of my exhaustion: I threw my work clothes in the laundry and went upstairs to get a snack. While in the kitchen, I realized I didn't put any detergent in the machine. (So why am I watching a movie instead of sleeping?)

]]> http://nouvellepunk.wordpress.com/?p=24 Mon, 04 Aug 2008 01:42:03 +0000 unpopularpress http://nouvellepunk.wordpress.com/?p=24

Il film di Kieslowski è un affresco sulle possibilità della vita. Attraverso immaegini suggestive il film ci mette di fronte al doppio possibilie di ogni singolo atto della nostra esistenza. Non c'è nessuna retorica dietro la costruzione della doppia vita di Veronica, perchè il racconto è lasciato alle immagini, alle allusioni, ai semplici gesti della vita quotidiana.

Il film parla al cuore più che al cervello, attraverso lo stimolo dei nostri principali sensi: la vista (stimolata dalle scelte cromatiche sempre altamente suggestive di Kieslowski) e l'udito (attraverso la musica di Zbigniew Preisner, vero pilastro narrativo del film).

Per questa sua irrazionalità sensitiva il film necessita dunque di un altro narratore, all'interno della storia: Il burattinaio che aiuterà a comprendere, o meglio a gettare in un alone di mistero più fitto, la doppia vita della protagonista. Sarà lui, infatti, a muovere i fili della storia, facendo oscillare la compresione del film e lasciandoci sospesi come fantocci di porcellana.

Volevo dare al corpo una prova d'amore e ringraziarlo per tutta la fatica di con-tenere tutte le voglie di quella "fiera", che ci(r)cola dovunque, nel pianeta uomo/donna di ogni singola persona.

Ringrazio questo mio piccolo

meraviglioso

abito      che m'incorpora         ed è
il corpo    che mi  ospita        da così tanto tempo
e rapido si alleste con  giardini e attrezzi
che  ripristinano gli alloggi della vita ad ogni assalto dell'età .
Dentro, si, e fuori di me ha costruito ponti che  ho creduto di attraversare
mari di emozioni in cui ho pensato di affogare
montagne cristalline di piacere in cui scivolavo in tutti i sensi
foreste di ansie dipinte dall'ombra
scardinato paure innestando in me  desideri
collane di preghiere e strane orazioni
da rivolgere a uomini tali e quali a me.
E poi altri, abiti come me di un corpo

 con grande facilità e noncuranza

mi hanno detto in una parola che si trattava
di anima.
Mai vista      da queste        parti.

Oppure

era quella         bestia  magnifica
dalle mille teste e milioni di occhi
che rivolgeva la bocca

tra il padiglione dell'orecchio e la fiera dell'ingorda

mia ignoranza.

musica di zbigniew preisner

Yhteisessä kokemuksessa on iso osa elokuvissa käynnin viehätystä. Samantapaisen tunteen kokee silloinkin kun katsoo elokuvaa televisiosta. Sitä tunnetta ei enää ole kun katsoo elokuvaa kotona dvd:ltä.

Istumaan jättävistä elokuvista tulevat mieleen ankaraa kevyemmällä muistelulla esim. Alain Corneaun Kaikki elämän aamut, Kieslowskin Sininen, Nicholas Roegin Kauhunkierre. Muttei yhteinen kokemus naurustakaan pahene. Yksi ikimuistoisia elokuvakokemuksia on Marx-veljesten Päivä sirkuksessa Porthanian isossa salissa kauan sitten. Tämä elokuva ei jättänyt istumaan, Grouchon päivällispuhetykityksessä koko sali räjähteli tuoleiltaan samassa rytmissä.

Ja aina kun elokuvista puhuu, ihmettelee mielessään kuinka elokuvissa käynnin rytmi on päässyt niin laiskaksi. Lupaan parantaa rytmiä. yks-kaks-kol...

And so Kieslowski's THREE COLOURS trilogy draws to an end with what is many peoples favourite instalment. I'm torn, having watched each of the 3 films twice, as to which one leaves the biggest dent on my cinematic pleasure receptors. Each film has something completely independent of the other two but at the same time they are strongly linked by the most subtle, yet powerful of methods. This is what, for my mind, makes Kieslowski a Bergman of my generation. His seemingly effortless ability to create a cinema that is artistic without pretension, opinionated without cliché and beautiful without sentiment, elevates him above the vast majority of his peers.

Out of the three films, RED is the more complex in terms of storyline. We have a juxtaposing between 2 very different relationships that is hinged by the character of Joseph Kern (Jean-Louis Trintignant) who is an ex judge. His post retirement time is spent listening to the phone calls of those around him and from the solitude of his own prison, he is unknowingly involved in the lives of so many (he is never seen interacting with the outside world, other than when he is taken to court by the locals). Although the theme of RED is "fraternity", and is probably the most easily recognised of the three, there are tangents exploring the effect that luck, or fate has on the existence of everyone.

Irene Jacob is superb as Valentine Dussaut who herself, is trapped in a telephone relationship. Her many conversations with her distant lover displays a connection of relative unrest, there is no tenderness, no affection. It is ironic that Valentine finds companionship with a man spying on others whose relationships are being conducted on the telephone.

The meeting of Valentine and Joseph is again, born of a lucky or more probably unlucky situation, she knocks over his dog. I have to say, the performance of the dog in this scene is superb. The way it lies limply in the road whimpering (granted, the whimpers could have been added in post) is incredibly life like.

The initial interactions between the 2 uncomfortable but they develop an understanding and connection that is deeply touching. Joseph has nothing other than the conversations he can never join in on, and Valentine has an overbearing lover in another country who can offer her nothing in the way of one to one affection. In each other they find a little of what's missing in their lives. Completely honest performances make this coming together believable and gives the end of the picture a powerful climax.

Running alongside the story of Joseph and Valentine is that of Auguste and Karin. Auguste lives across the street from Valentine and their paths cross without any real personal interaction, Valentine notices he has left the headlights of his jeep on for instance. Karin runs a personal weather reporting call service which is listened to by Joseph. The subtleties of these connections are brought together in the last act of the picture but, never being one to spoil things, I'll leave that for to find out for yourselves.

Below is the great scene that shows Valentine discovering Joseph’s secret pastime. There is a real uneasiness about this exchange which is a joy to watch...

En 1989, cuando el Decálogo era visto por primera vez en Nueva York, Samir Hachem le pidió a Kieslowski que nombrara las diez palabras con que se quedaría si todo el resto de palabras le fueran arrancadas. Él dijo:

Amor, odio, soledad, miedo, coincidencia, dolor, ansiedad, Dios, responsabilidad.

Cuando se le dijo que había nombrado sólo nueve, añadió:

Inocencia.

After watching WHITE this morning I did a little research to see what the general feeling of the picture was, too see how it sat alongside my own. The general concensus is that, compared with BLUE, WHITE is conventional, simplistic and straight. There's something in this argument but I think it too easy to write this part of the trilogy off as the runt brother to BLUE and RED. It is surely the case that the bookend films are more abstract and artistic in their execution but it should be considered that the WHITE picture deals with equality; the very thing mankind is worst at. Realising and accepting this makes the direct approach of the film not only easier to take, but allows it to sit very nicely as a contrast against the other two. That is not to say the film is flawless of course.
We start in Paris with Karol Karol (Zbigniew Zamachowski) stumbling his way to an appointment, we soon learn that it's a divorce hearing but before we do, we are given a piece of metaphoric information (via a passing pigeon) that indicates how the proceedings are going to go, see below.

It quickly becomes apparent that the differences between the couple (Karol has been unable to consummate the marriage) are irreparable and that this is, most definately, the end of the road for them both. Dominique (Julie Delpy) is great in this scene, portraying a coldness towards her husband that, if you've ever been on the receiving end of a "dumping", is right on the money. Oh, we also find out in this scene that Karol is polish and Dominique, a native of France. It's a very important detail.

It is this scene and the scene in the hairdressing salon that leads some reviewers to a conclusion that the film is misogynistic, I disagree with this angle. It is the case that Dominique disappears from the picture for the whole of act 2 but her presence is always felt. She is the catalyst for everything Karol does and reference is constantly made. Whether it be the bust that Karol steals bearing similar features or phone calls made in the dead of night, she is always there, driving Karols actions and feelings. It may well be that we do not get as complete a picture of Dominique as we do Karol, but that is not the equality we are dealing with here. In order for equality to be established, or Karols' interpretation of it, we must stay with him as he is the one, in his own mind, who has been wronged. The point of Dominique being portrayed as cold is correct but it works as she is the one ending the marriage so therefore, will be the party who seems distant and devoid of emotion. It's how things work in the real world and I don't think it missrepresents Dominique as a person.
Things go from bad to worse for Karol as, soon after the unceremonious rejection by his wife, his bank accounts are frozen, he is rendered homeless and, after breaking into his ex wife's salon for a sleep, is framed for arson (she sets fire to the curtains and indicates she's phoning the cops) when she finds him there. This is the most questionable scene in terms of motivation, it just doesn't make sense and leads to nothing.
It is at this point, though not yet his lowest, that Mikolaj discovers him in an underground station. This is quite a nice "meet cute", Karol is playing a Polish song on the paper and comb to try and earn a few francs when Mikolaj recognises its Polish origin and, being Polish himself, befriends the down on his luck countryman.

I'll not go into what happens in the last half of the picture as it really should be seen. Lovefilm are excellent at sending things in order so get it on your list, or buy it, or steal it.... Whatever you see fit.

The scene below shows Karol "arriving" back in Poland having decided, with Mikolaj, to find other means of getting onto the plane. It never quite went to plan.

So back to the start I go.....

THREE COLOURS: BLUE is the first of the trio of films that follows the order of the French flag, Blue White and Red. This is a stunning, contemplative start that sees Juliette Binoche play Julie, a woman of inner strength who is forced to deal with the grief of losing her composer husband and daughter in a car crash that the protagonist herself, survived. Kieslowski crafts the mood of this film so completely that when watching it, you find yourself immersed in the plight of Julie as she rebuilds her life. She is in all but 1 of the scenes which pulls you into her world although when there, you get the feeling she'd rather be alone.

Solitude seems to be a comfort for Julie with many long scenes involving only Binoche, the melancholic score and Kieslowski's aesthetic lending weight to a state of mind, a raw emotion, a memory or an intention. Her lover, friend and eventual collaborator Olivier (played by the late Benoit Regent) drifts in and out of the story but plays an important part in the journey she embarks on. This journey is beautifully photographed by Slawomir Idziak who has worked on a wide range of stuff including BLACK HAWK DOWN and HARRY POTER AND THE ORDER OF THE PHEONIX. The score, which is like another character in this film is provided by Zbigniew Preisner who's credits include another of my favourite films EUROPA EUROPA.

The following scenes demonstrate perfectly the feeling of the film. Julie looks at a piece of score written by her late husband, look out for camera tracking along the notes, as each note passes, it drifts out of focus and disappears. The note of the moment is important and sharp with the past and future being unclear, very much Julie's mindset at that time.

The scene below is a good example of the solitude and fragility of Julie's existence. Within that fragility however is a strength that comes from within. The use of music here is masterful combined with light and an actress giving so much with so very little.

Top! do Leitor:

Fábio Rockenbach

Tops! da Equipe:

Jailton Rocha

A década mais marcante para mim. Comecei a ver cinema nela, e depois cresci vendo e revendo filmes dessa época, com isso, esses filmes do top são mais que especiais. O primeiro e segundo filmes é meu TOP 1 de todas décadas.

01. De Volta Para o Futuro Parte II (Robert Zemeckis, 1989)
02. De Volta Para o Futuro (Robert Zemeckis, 1985)
03. Sexta-Feira 13 (Sean S. Cunningham, 1980)
04. Era Uma Vez na América (Sergio Leone, 1984)
05. Os Caçadores da Arca Perdida (Steven Spielberg, 1981)
06. Depois de Horas (Martin Scorsese, 1985)
07. Os Intocáveis (Brian DePalma, 1987)
08. Scarface (Brian DePalma, 1983)
09. Conquista Sangrenta (Paul Verhoven, 1985)
10. Star Wars Episódio V - O Império Contra Ataca (Irvin Kershner, 1980)

Adney Silva

Assim como quase todos do nosso blog (e, acredito eu, muitos dos que comentam nele) passei toda a minha infância na década de 80. E isso significava horas maravilhosas em frente a televisão graças as tão queridas Sessões da Tarde. essas sessões servram, para muitos, como a iniciação nesse mundo maravilhoso (minha primeira ida ao cinema foi aos cinco anos, em 1985). Mas isso não significa que essa década foi feita apenas de blockbusters ou de comédias adolescentes. Foram produzidas nessa época pérolas cinematográficas maravilhosas, desde um filme p & b com as cenas mais realistas de boxe já feitas, até um dos manifestos anti-guerra mais contundentes e ímpactantes do cinema, além das OP incontestáveis do "quadrilátero maldito" Carpenter, Verhoeven, de Palma e Cronenberg. Com vocês, os escolhidos.

01. Touro Indomável (Martin Scorsese, 1980)
02. Eles Vivem (John Carpenter, 1981)
03. Vestida Para Matar (Brian de Palma, 1980)
04. Robocop (Paul Verhoeven, 1987)
05. Vá e Veja (Elem Klimov, 1984)
06. A Mosca (David Cronenberg, 1986)
07. Indiana Jones e o Templo da Perdição (Steven Spielberg, 1984)
08. Faça a Coisa Certa (Spike Lee, 1989)
09. Uma Cilada Para Roger Rabbit (Robert Zemeckis, 1988)
10. Curtindo a Vida Adoidado (John Hughes, 1986)

Daniel Dalpizzolo

Uma pena eu decidir ser racional num momento como esse e não entupir essa porra somente com filmes do De Palma, do Cronenberg e do Carpenter, porque a idéia é mais tentadora do que se pode imaginar. Somente esses três - e ainda tem muita coisa incrível que ficou de fora - já seriam o suficiente pra justificar a importância do cinema dos anos 80 - os filmes citados teriam espaço de sobra nos tops das décadas seguintes.

01. Eles Vivem (John Carpenter, 1988)
02. Vestida Para Matar (Brian De Palma, 1981)
03. Depois de Horas (Martin Scorsese, 1985)
04. Veludo Azul (David Lynch, 1986)
05. Memórias (Woody Allen, 1980)
06. Videodrome (David Cronenberg, 1982)
07. Era Uma Vez na América (Sergio Leone, 1984)
08. Tenebre (Dario Argento, 1982)
09. Fitzcarraldo (Werner Herzog, 1982)
10. Faça a Coisa Certa (Spike Lee, 1989)

Marcelo Dillenburg

A década de 1980 traz a mais peculiar combinação entre os filmes que marcaram a minha infância, naquelas saudosas tardes em frente à TV, e os grandes filmes "sérios" que eu só fui descobrir, e apreciar, anos mais tarde. O ponto comum é que todos os filmes da lista possuem méritos suficientes para sobreviver a inúmeras revisitas, e continuar me agradando como cinéfilo e como filho da década em questão.

01. Amadeus (Milos Forman, 1984)
02. Faça a Coisa Certa (Spike Lee, 1989)
03. Aliens – O Resgate (James Cameron, 1986)
04. Os Caçadores da Arca Perdida (Steven Spielberg, 1981)
05. Era uma Vez na América (Sergio Leone, 1984)
06. Guerra nas Estrelas: Episódio V – O Império Contra-Ataca (Irvin Kershner, 1980)
07. Ran (Akira Kurosawa, 1985)
08. O Iluminado (Stanley Kubrick, 1980)
09. Curtindo a Vida Adoidado (John Hughes, 1986)
10. De Volta para o Futuro (Robert Zemeckis, 1985)

Vinícius Laurindo

Ok, o cinema oitentista foi extremamente divertido e pode muito bem ser simbolizado por um pipocão. Mas também foi uma época repleta de privilégios cinematográficos: De Palma emplacou um combo de qualidade quase alienígena; Wenders elaborou a mais refinada atualização de Rastros de Ódio; Tarkovski levou seu caráter devastador às últimas conseqüências a fim de encerrar sua monumental filmografia; Leone ergueu um evento de gênero equivalente a uma trilogia; e, acima de tudo, um milagre polonês de aproximadamente dez horas de duração. Isso, sem contar as menções honrosas, tais como O Dinheiro, Faça a Coisa Certa, Fitzcarraldo, Dublê de Corpo; Touro Indomável, A Mosca, A Lei do Desejo, Eles Vivem, Enigma de Outro Mundo, Videodrome, Depois de Horas e Gosto de Sangue.

01. Decálogo (Krzysztof Kieslowski, 1989)
02. Vestida Para Matar (Brian De Palma, 1980)
03. Veludo Azul (David Lynch, 1986)
04. Vá e Veja (Elem Klimov, 1985)
05. Crimes e Pecados (Woody Allen, 1989)
06. Paris, Texas (Win Wenders, 1984)
08. Um Tiro na Noite (Brian de Palma, 1981)
08. Gêmeos - Mórbida Semelhança (David Conenberg, 1988)
09. O Sacrifício (Andrei Tarkovski, 1986)
10. Era Uma Vez na América (Sergio Leone, 1984)

Pedro Kerr

A década de 80 foi bem particular. Alguns dizem que foi a década perdida, década obscura. Sem ficar nessa divisão entre os filmes que fizeram sucesso na sessão da tarde e os outros ditos mais sérios, tem muita coisa em comum entre esses dois lados, um exagero, um desprendimento, que talvez seja o que torna essa década querida.

01. Um Tiro na Noite (Brian De Palma, 1981)
02. Veludo Azul (David Lynch, 1986)
03. Eles Vivem (John Carpenter, 1988)
04. Gêmeos - Mórbida Semelhança (David Cronenberg, 1988)
05. Os Caçadores da Arca Perdida (Steven Spielberg, 1981)
06. A Morte do Demônio (Sam Raimi, 1981)
07. Faça a Coisa Certa (Spike Lee, 1989)
08. Era Uma Vez na América (Sergio Leone, 1984)
09. Depois de Horas (Martin Scorsese, 1985)
10. Tenebre (Dario Argento, 1982)

Thiago Macêdo Correia

Não sou da turma que fala mal da década de 80. Na verdade foi bastante difícil montar este top, tendo que deixar Bergman, De Palma, Cronenberg e Allen de fora. Mas os filmes que figuram na lista abaixo listada foram muito bem escolhidos, sendo quase todos eles obras de indubitável valor estético e de reflexão pungente (e um deles entra como um dos favoritos no quesito saudosismo). Acabou que a divisão ficou equilibrada entre os realizadores norte-americanos (os "donos da década", com seus filmes pop) e russos, poloneses, alemães (detentores dos primeiros lugares).

01. O Sacrifício (Andrei Tarkovsky, 1986)
02. Não Matarás (Krzysztof Kieslowski, 1988)
03. Paris, Texas (Wim Wenders, 1984)
04. Era Uma Vez na América (Sergio Leone, 1984)
05. Touro Indomável (Martin Scorsese, 1980)
06. Caçadores da Arca Perdida (Steven Spielberg, 1981)
07. Faça a Coisa Certa (Spike Lee, 1989)
08. Fitzcarraldo (Werner Herzog, 1982)
09. Gosto de Sangue (Joel Coen & Ethan Coen, 1984)
10. Curtindo a Vida Adoidado (John Hughes, 1986)

Luis Henrique Boaventura

Impossível pra mim separar o cinema dos anos 80 do que se passava às tardes na década seguinte. Quem teve boa parte da sua infância dividida por vinhetas de Sessão da Tarde não consegue manter a 'razão' (como se fosse necessário...) e ignorar que o que realmente o emociona é ver e ouvir Stand By Me ou Can't By me Love a um balde de pipoca de distância da TV. E ainda assim, mesmo sem o reforço eloqüente da nostalgia, restam obras-primas absolutas como Era uma Vez na América, Tenebre e Depois de Horas...

01. Trilogia De Volta Para o Futuro (Robert Zemeckis, 1985/1989/1990)
02. Era uma Vez na América (Sergio Leone, 1984)
03. Conta Comigo (Rob Reiner, 1986)
04. Tenebre (Dario Argento, 1982)
05. Depois de Horas (Martin Scorsese, 1985)
06. O Iluminado (Stanley Kubrick, 1980)
07. Veludo Azul (David Lynch, 1986)
08. Curtindo a Vida Adoidado (John Hughes, 1986)
09. Nascido Para Matar (Stanley Kubrick, 1987)
10. Amadeus (Milos Forman, 1984)

Amílcar Figueiredo

Foi a década em que o pessimismo invadiu os corações e as mentes das pessoas. A Era de Aquário não chegou, afinal de contas, e todo aquele free love dos anos anteriores não impediu a Guerra Fria, a fome em massa e outros horrores. Que bom que tivemos grandes filmes para compensar isso, mesmo aqueles que não couberam na lista dos dez mais: A Mulher do Aviador (Eric Rohmer), A Lei do Desejo (Pedro Almodóvar), Crimes e Pecados (Woody Allen), Ran (Akira Kurosawa), Gosto de Sangue (Joel e Ethan Coen).

01. Vá e Veja (Elem Klimov, 1985)
02. E.T. O Extraterrestre (Steven Spielberg, 1982)
03. Veludo Azul (David Lynch, 1986)
04. Gêmeos - Mórbida Semelhança (David Cronemberg, 1988)
05. Faça a Coisa Certa (Spike Lee, 1989)
06. O Túmulo dos Vagalumes (Isao Takahata, 1988)
07. A Balada de Narayama (Shohei Imamura, 1983)
08. Um Tiro na Noite (Brian De Palma, 1981)
09. O Desespero de Veronika Voss (Rainer Werner Fassbinder, 1982)
10. Amantes (John Cassavetes, 1984)

A liberdade é azul (1993) é o primeiro filme da chamada Trilogia
das Cores, do cineasta polonês Krzysztof Kieslowski

e estrelado pela atriz francesa Juliette Binoche. A trilogia, baseada nas três
cores da bandeira francesa e nas três palavras do lema da Revolução Francesa -
liberdade, igualdade e fraternidade -, foi completada com os filmes A
igualdade é branca (1994) e A fraternidade é vermelha(1994).
Binoche faz o papel de Julie, a esposa de um renomado maestro e
compositor francês que morre, em um desastre automobilistico, com a filha do
casal de apenas três anos de idade. A mulher, única sobrevivente da tragédia,
vê-se então na terrível situação de ter que lidar com essas perdas e seguir sua
vida, recebendo a encomenda de finalizar uma composição para coro e orquestra
que havia sido encomendada ao seu esposo, uma "Canção pela Unificação da
Europa". A tarefa levará a protagonista a descobrir detalhes da vida do esposo
que ela desconhecia, e a se envolver com um outro homem, amigo do casal, em meio
ao turbilhão de dor e amargura de seu luto.
trailer : http://br.youtube.com/watch?v=Clu4AoXL7_o

What crushed me most was the intensity of the familiar feeling about "missing piece", a sense of being dislocated in the world, constantly  and melancholic searching for something, someone.

I was not thinking about the way or possibility to find my double as a matter of image, each one has a resemblance of another person, miles away or someone who just lives around the corner, that´s not what inspire my perception of double. I can remember me always as a talk active and melancholic person, worried about the humanity, trying to make political and philosophical ideas to be part of my life, as a  way to help my daily life once I was constantly in the urge of a private revolution. Dealing with
desperation, poetry, silence and searching was my identity.

Sometimes , after a day at the university I went walking trough the streets with such a ferocity mind, observing people chatting, waiting for the bus or drinking a coffee , this was for me my introspective film making . Who are these people? Where are they going now? what they are feeling? Fragments of my own personal inferno. I was trying to find reasons for my mist inquietude, looking for me and the jamais vu atmosphere that it was in my path all the time.

"I watch you through the window"
 

What is love? Is it the inevitable sensual desire that arouses? Is it only bodily game played by the hormones? Can science explain all loves? Or is it something that transcends reasoning? These are issues explored in Kieslowski's Krótki Film O Milosci (1988). Released as an extended version of an episode from Kieslowski's phenomenal TV series Dekalog, Krótki Film O Milosci was shamelessly ripped off (including the title) for the Indian version Ek Choti Si Love Story.

Tomek, a nineteen year old boy whose parents have left him, lives in the house of a friend with the latter's mother and works at a post-office. Tomek passes his time by watching his neighbour Magda through a telescope everyday. Magda (aka Marie Magdalena, get the point?) is a middle-ager who has a number of men visiting her regularly. Hobby turns into obsession as Tomek starts pinching Magda's letters, delivers false notices and hides milk bottles so that he can see her now and then. When the truth is revealed to Magda, she asks Tomek the reasons for his spying. Tomek says that he has no intentions of sleeping with her and he truly loves her. Magda is of the opinion that there is nothing called love and wants to teach this to Tomek. After a unsuccessful sexual encounter, Tomek is humiliated and slits his wrists. Roles reverse as Magda starts worrying about Tomek and keeps watch on his room using binoculars. The final scene (which was made to differ from Dekalog VI) has her acknowledging the fact that there is something called love and it needs no reason.

The film cleverly uses point of vies to develop its characters at various points in the movie. Like all Kieslowski films, chance and fate play important roles in the development of the events. Never over the top or judgmental on its characters, Krótki Film O Milosci is marked by top-notch performances by the leads Grazyna Szapolowska and Olaf Lubaszenko. For its effort, the film won The Golden lion at the Poland Film Festival.

• Martedì 27 maggio IL DECALOGO 5 e IL DECALOGO 6 (1988 ) regia di Krzysztof  Kieslowski
• Martedì 3 giugno QUERELLE DE BREST (1982) regia di Rainer W. Fassbinder
• Martedì 10 giugno E LA NAVE VA (1983) regia di Federico Fellini
• Martedì 17 giugno NOSTALGHIA (1983) di Andrei Tarkovsky

Primo appuntamento martedì 27 maggio ore 21.00 alla sede di Rythmus.

Anno: 1988
Titolo Originale:DEKALOG PIEC
Episodio: NON UCCIDERE
Durata: 57'
Nazione: POLONIA
Genere:    DRAMMATICO
Produzione: TELEWIZJA POLSHAW (WARZAWA) SENDER FREIES BERLIN (BERLINO)
Distribuzione: MIKADO FILM (1990) - GENERAL VIDEO, SAN PAOLO AUDIOVISIVI, L'UNITA' VIDEO

Regia: Krzysztof Kieslowski
Attori: Miroslaw Baka, Krystyna Janda, Jan Tesarz, Zbigniew Zapasiewicz, Krzysztof Globisz, Aleksandar Bednarz, Adzislaw Tobiasz
Soggetto: Krzysztof Kieslowski, Krzysztof Piesiewicz
Sceneggiatura: Krzysztof Kieslowski, Krzysztof Piesiewicz
Fotografia: Slawomir Idziak
Musiche: Zbigniew Preisner
Montaggio: Ewa Smal
Scenografia: Halina Dobrowolska

TRAMA: Per le vie di Varsavia, un ventenne inquieto e disoccupato, Jacek, commette atti di vandalismo e poi uccide un tassista. Arrestato, Jacek viene difeso d'ufficio da Piotr, un giovane avvocato che, al proprio debutto davanti al tribunale ed in linea con le idee da sempre professate, cerca di evitargli la pena di morte prevista dall'ordinamento giudiziario dello Stato. Ma questo delitto e le circostanze di esso, oltre che la sua efferatezza, non consentono ad Jacek alcuna clemenza. Alla brutalità di quel crimine assurdo e feroce s'accompagna l'eccesso di una morte per impiccagione dapprima comminata e poi diligentemente preparata dai suoi esecutori. Scoprendo troppo tardi che Jacek era un giovane traumatizzato a causa della tragica morte della piccola sorella perchè investita da un trattorista ubriaco (questo avvenimento aveva causato innegabili disturbi nella personalità del proprio assistito) al giovane avvocato non resta che manifestare la sua furiosa protesta contro questo modo violento e crudele d'intendere e di applicare una giustizia punitiva da parte degli uomini.

Note PREMI: FESTIVAL DI CANNES1988, PREMIO SPECIALE DELLA GIURIA.
EUROPEAN FILM AWARDS 1988, MIGLIOR FILM.

Anno: 1988
Titolo Originale: DEKALOG SZESC
Episodio/Episodi: NON COMMETTERE ATTI IMPURI
Durata:    58'
Nazione: POLONIA
Genere:    DRAMMATICO
Produzione: TELEWIZJA POLSHAW (WARZAWA) SENDER FREIES BERLIN (BERLINO)
Distribuzione: MIKADO FILM (1990) - MULTIVISION, GENRAL VIDEO, SAN PAOLO AUDIOVISIVI, L'UNITA' VIDEO
Regia: Krzysztof Kieslowski
Attori: Stephania Iwinska, Olaf Lubaszenko, Jan Piechocinski, Grazyna Szapolowska, Piotr Machalica, Stanislaw Gawlik, Rafal Imbro
Soggetto: Krzysztof Kieslowski, Krzysztof Piesiewicz
Sceneggiatura: Krzysztof Kieslowski, Krzysztof Piesiewicz
Fotografia: Witold Adamek
Musiche: Zbigniew Preisner
Montaggio: Ewa Smal
Scenografia: Halina Dobrowolska

TRAMA: A Varsavia, il diciannovenne Tomek, impiegato alle poste, al suo ritorno a casa, ogni sera, spia con il binocolo Magda, la trentenne inquilina del palazzo di fronte, una donna bella, indipendente, sessualmente libera e disponibile ad incontri con diversi uomini nel suo domicilio. Ossessionato dal desiderio per questa donna, Tomek le invia avvisi di pagamento inesistenti; le manda a casa dei tecnici del gas con il pretesto di una fuga (ma solo per disturbare i suoi incontri d'amore); accetta un secondo lavoro come fattorino, pur di vederla al mattino per consegnarle il latte. Riuscito finalmente ad avvicinarla, a dichiararsi ed ad entrare nella casa della donna Tomek fallisce nel tentativo di amplesso con Magda. Umiliato, disgustato e disperato il giovane, dopo aver tentato il suicidio, sparisce. Magda, inquieta per la sua assenza, lo cerca e adesso è lei che tenta di spiarlo. Quando dopo molto tempo Tomek, ormai disamorato di Magda, la rivede all'ufficio postale, con freddezza dichiara alla donna di aver smesso di spiare il suo corpo ed i suoi amplessi.

Recuerdo que Kieslowski recuperó a Emmanuelle Riva para que interpretará a la madre de Juliette Binoche en 'Azul'.

A liberdade é azul (1993) é o primeiro filme da chamada Trilogia
das Cores, do cineasta polonês Krzysztof Kieslowski

e estrelado pela atriz francesa Juliette Binoche. A trilogia, baseada nas três
cores da bandeira francesa e nas três palavras do lema da Revolução Francesa -
liberdade, igualdade e fraternidade -, foi completada com os filmes A
igualdade é branca (1994) e A fraternidade é vermelha(1994).
Binoche faz o papel de Julie, a esposa de um renomado maestro e
compositor francês que morre, em um desastre automobilistico, com a filha do
casal de apenas três anos de idade. A mulher, única sobrevivente da tragédia,
vê-se então na terrível situação de ter que lidar com essas perdas e seguir sua
vida, recebendo a encomenda de finalizar uma composição para coro e orquestra
que havia sido encomendada ao seu esposo, uma "Canção pela Unificação da
Europa". A tarefa levará a protagonista a descobrir detalhes da vida do esposo
que ela desconhecia, e a se envolver com um outro homem, amigo do casal, em meio
ao turbilhão de dor e amargura de seu luto.
trailer : http://br.youtube.com/watch?v=Clu4AoXL7_o

 

Krzysztof Kieslowski's Three Colors: Blue (Trois Couleurs: Bleu) is a movie that makes no attempt to disguise the ambiguity of human actions made under emotional duress. It lays bare the emotional vulnerability of humans in the face of personal disaster which every human is more or less susceptible to.

The movie is slow to start... at least I found it so. I almost switched channels but then I'd heard so much about this movie that I wanted to sit through it and judge for myself if it was as great as made out to be. Well, I wasn't disappointed in the end, but I certainly had this feeling that I'd missed out on something. Maybe if I watch it later, it'll click right into place. That, or else, the movie is a bit overrated.

One thing I found innovative in the movie was the blacking out of the screen for almost 15 seconds before lighting up back to life. Each time it was of the same length... I've lost the recordings but I guess it was around 15 seconds or so. However I'm not very sure about the artistic significance of the blacking out. For all I know it could be due to some fault in the picture tube of the set.

The music is brilliantly haunting... something that is hard to dismiss for quite sometime afterwards. It features some magnificent camera work also. The flutist playing by the street on the corner was shot at an amazing camera angle, taken from the restaurant. One could see the entire length of the adjoining street across the corner alongwith the street facing the restaurant. It has to be the pictorial equivalent of the word brevity.

The cat and mouse episode weaved into the story was a clever ploy that required no extra effort yet conveyed everything that was intended. There always are certain things we don't want to do but since they have to be done, we make someone else do it for us reassuring ourselves that we never were a part of the messy affair. And then the bungee jumping program on the television where an old man is pushed off the edge to go hurtling down towards the ground... the alluding imagery surely was something to watch out for.

The last scene in the movie reminded me of Donnie Darko.... the camera spanning over all the characters in various stages of their lives... people in the middle of their actions... plethora of emotions on display. And the closing song was just brilliant... If I remember correctly the lyrics were something on the lines of...

Tongues shall cease...
Knowledge will wither away...
Prophecies shall fail...
Faith, hope and love...

Oh, and I almost didn't know that Julie Delpy was in the movie till the credits rolled out. And I think she also had something to do in the music department. Nothing surprising at all considering her talents.

This was my first Kieslowski movie and I was well, satisfied. If it is better than I think it is, then I need to see it again. Maybe things will brighten up the second time around. And if I didn't mention that Binoche was flawless in the entire movie, that's because nobody needs to be told that.

Message of the movie: We are all subject to the whims of nature and time.
Second opinion:            (Wo)Man is a social animal.

The trailer here...

Each juror was polled. "Was this and is this now your verdict?" the clerk asked. "Yes," the man heard twelve times.

Everything had changed and nothing had changed. A doomed man had been christened and yet his heart kept beating. In 90 minutes I would be hungry and stuck in traffic.

A deputy led the man to the holding cell. On the way, the man passed a prosecutor. Both men were wearing suits and they looked the same.

The sameness of the two men, the equality of their desire to live, made me understand how George Orwell felt when he witnessed a hanging. He watched as a prisoner was led to the gallows. On the way, the prisoner stepped aside to avoid a puddle. When Orwell saw that, he "saw the mystery, the unspeakable wrongness of cutting a life short when it is in full tide."

Orwell doesn't tell us about the prisoner's crime, but I'm not sure that that's fair. I'm not sure that any critique of the death penalty can be fairly considered if one does not also consider the acts that incurred it.

In this case, four people had died. One had suffered a beating so severe that the bottom half of his face had literally been torn away. He was found sitting on the couch where he had been attacked. Parts of his jaw were lying in his lap. Full teeth. The roots. The parts of teeth that people were never meant to see.

Attention must be paid to such a crime, but to invoke killing as justification for killing seems dishonest. Do we value life, or don't we? If so, there can be no greater statement in support of the sanctity of life than the refusal to destroy even the most despised among us.

Also, let's not seek to avoid responsibility for what we do by pretending that death sentences are required by law or justice. The truth is that behind it all is a person who makes a choice. The law should not be used as a shroud to hide the truth that we are the law.

In his fifth decalogue, Krzysztof Kieslowski introduces us to a young lawyer whose client has been sentenced to death. The appointed hour has arrived. The lawyer is having one final meeting with the client, but really there is nothing to say. Still, when a guard knocks on the cell door and asks the lawyer if he's ready, the lawyer says "no." A few minutes later, the guard knocks again. "Are you ready now?" "Tell your boss," says the lawyer, "that I am not ready. Tell him that I will never be ready."

What next for the guard? Someone must decide. If a killing is to be done, someone must choose to do it.

This is a series of ten shorts created for Polish Television, with plots loosely based upon the Ten Commandments, directed by Krzysztof Kieslowski. Two of these, Dekalog 5 and 6, are shorter cuts from the feature-length films - Krotki film o zabijaniu (A Short Film About Killing) and Krotki film o milosci (A Short Film About Love), respectively.

They deal with the emotional turmoil suffered by humanity, when instinctual acts and societal morality conflict.

A discussion on the film will follow the screening.

Event: Decalogue by Krzysztof Kieslowski
Venue: Tollcross Community Centre, Tollcross Primary School, 117 Fountainbridge (off Lothian Road at Superdrug)
Date/Time: Monday 21 January, 6pm, FREE

Bleu is a film that is part of the highly regarded Three Colors Trilogy. It's called so because the three colors match that of the French Flag. Interesting because it is directed by the Polish Krzysztof Kieslowski. Rather than an entertaining plot, we’re treated to heart wrenching disaster. On top of the disaster, writer/director Krzysztof gives us some candy as a viewer. He teases us with the color blue, which is frankly in every scene of importance. I had heard about this film from a professor of mine and was intrigued at precisely this dynamic. Initially, my inclination was that it’d be a distracting element and the plot would suffer.

Every moment of Bleu is fitting. We start off on a high then hit a low.  Within th first ten minutes, we join Binoche at the decision making point as she copes. The title of the film is perhaps the best way to express the state of the main character. Binoche stars as a woman going through trauma. She experiences a loss that would rattle the emotional make up of anyone. Becoming of such trauma, she severs her former life for a new one. She hurts her self just to feel, as well as engages in unemotional sex. Her life is fragmented and she’s hard to identify with. I’ve never had a loss like this, but I imagine she did her research. She’s an excellent actress I just find this role a bit much for any one. It’s hard to be in someone that doesn’t want to be anything.

Besides the “Blue Element” Kieslowski directs a good film. The plot is fragmented but that’s the point, Binoche’s character at a cross roads. Camera movement is standard, and the beauty of a city like Paris does most of the work for you. It’s pretty artsy, and if you aren’t a fan of Binoche, you may want to skip it. That being said I love her work. Chocolat and Dan in Real Life are wonderful. She’s the quintessential French actress with the short hair and the devilish grin. She provided a mold that I now see Audrey Tautou fitting in.

I’m looking forward to the other two installments of this series. It came very highly recommended and the women stars of the other two films have me intrigued. I haven’t heard of this kind of work before, but I imagine the gimmick worked. The other two films are titled Bialy (White, starring Julie Delpy), and Rouge (Red, starring Irene Jacob), look for their reviews in the coming weeks!