hakkikurtulus

A great and very touching film. Similraties can be find between "le journal d'un curé de campagne" of Bresson, "winter light" of Bergman and that wonderful "la messa è finita". It was strange to me to find out a Moretti film which has not got a very determined autobiographical narration. This film is not "hilarous" or even "funny", it is about the ability to faith, to believe in someone, to love someone. The ironic face of Moretti is on the background: A confused Italian society panorama with its lots generations, wit its moral values between a traditional Catholicism and a capitalistic and individualistic vision of a society. A film of spring, but the feelings that it brings are more like the feelings of autumn. It is melancholic. It is harsh. It is about a young man who believes and who dares to return: Turning back to an island that the winds blows so powerfully that the church is attached to the soil with the chains. young man who has alienated from the world of his childhood. Rome of his memories does not exist anymore. His family, his parents, his brothers and sisters, everything about his past has changed. So a film about changing time. A film about someone who is not able to understand what is going on between the couples, who is daring to investigate the sense of love and being a couple.

A very well-written film: Screenplay is literally good. Not just a portrait of a man or a panorama of a society, but also the stories of happiness-es and sadness-es. A film about inner-life's. It is highly bergmanesque -- A film that ends where it begins. A film as a gallery of strange characters from the misanthrope brother to ex-communist. A very courageous film proves the talent of Moretti which can be situated among Bresson or Bergman. (Not only Allen and some other comics.)

As a grand fan of Haneke, I went to this film without looking to the critiques. I know that his "German rigidity" can be incomprehensible for the Anglo-Saxon and French point of view. But after one hour, I quited the film, that is one of the worst screenplays that I have ever seen, Haneke's abstraction that works very good in "Die Klavierspielerin" does not work at all in this film. Nearly all of the elements of the story has no context. The plot is more than abstract or far from comprehension, it does not exist. I think I understood what was he trying to do, but I should admit that it is a shame for such a great director. Haneke should have written this screenplay with an amnesia for the basic rules of dramatic construction. There are NOT any explanation of the events in the film. But even Bunuel or Lynch have to explain the events in their films. And they do so, that's why they are great directors. So did Haneke. But how can we explain the passage between the Parisian bourgeoisie and the third world? Haneke's "I do it, and it's OK" is just makes his film unbelievably forced to disturb the public. Haneke used to not to force the spectators to disturb them. That was natural, let's say existential in his films. Please see again "The Seventh Continent", "Benny's Video" or "71 pieces of a hazardous chronology". Those are masterpieces of the contemporary cinema. But "Les temps du loup" is just a complete failure. The fascination of the admirers of this film are astonishing to me. I highly recommend to compare to "German Haneke" with the "French" one. I wish to see a Heneke coming back to his roots in Vienna.

I think, this film is a passage in Ceylan's work. With its triology Koza (Short film), Kasaba and Boredom of May, Ceylan represents us his roots, a villagious life. His first three film were "meditative", they were about the nature and the nature of human(ity). "Uzak" (Distant) traces the same; but it differs from the others with its "urban" atmosphere. After seeing his first three films, I have thought that if Ceylan can make a good film in another "place" from his town, he would certainly be one of the greatest creators of the contemporary cinema. I think with "Uzak" he proves his talent. We can also observe that with this film, his "mise en scene" and photographic gaze were developed.

"Uzak" is very Bergmanesque. Ceylan uses the whispers, the cries, the bells and so many "other voices" coming from his town (The barks of dogs, etc.) This is an "another" film which proves that an enigmatic cinematographic world, a fusion of Kiarostiami, Tarkovsky and Bergman coming from a gaze of an Istanbulite melancolic photographer. (The director Nuri Bilge Ceylan is also an photographer.)A must see in this dirt and lack of creativity in contemporary film as an art.

This hopeful German film is one of the most "German" film of the year with "Das Verlangen". Like "Das Experiment" or the others, fortunately, it has not got (so m)any Hollywood clichés.

Director's cinematographic time reherseals, aesthetic angle-reverse angles and the delightful performance of beautiful young actress Kathrin Kuhnel, makes that film remarquable.

Truffaut's this masterpiece is a novel adaptation. Truffaut's skillful story-telling meets with the magnificent performance of Léaud. The story seems to be melodramatic. Truffaut's biggest success in that film is the narrative clearness and "economy". Truffaut uses very subjective plots, but he never leaves the spirit of the story. The contrast of two sisters and the different point of views of English Ladies and the French gentleman creates the brilliant dramatic effect.Truffaut is also very successful about underlining the Freudian relationship of Anne and Muriel and their attitudes towards their mother.

This well built French drama narrates us a story passes in a village. The erotic thriller has four main characters: A boy who is just at the age of the sexual activity. A mad man and two women.

The film has two contrasts: The boredom of the village has a contrast with the green attractiveness of the beautiful nature. The women have also a contrast about their sexual decisions: One of her hesitates about her virginity, the other one makes love with two guys.

This film remembered me some scenes of Bresson's Diary of a Country Priest.

This well performed and directed sweedish drama, presents us the pureness of sweedish provincial life around a farmer who have not got any sexual relationship before that pathetic woman. The film proves to me, why I am an admirer of sweedish women. A sharp nose and deep blue eyes... A quality romantic film worths seeing.

This well built French drama clearly narrates a story of a passion. I think "La répetition" is one of the best films that have ever been made on the passion of a woman to another one. The interesting point about that is the passion has not got counter-love or passion from the desired woman.

A story of women, from a woman which reflects perfectly, the ununderstandable relation of passion, hate and rivalry between two friends.

With a brilliant image perception, Cox narrates the biography of a miserable Polish dancer from his letters. The cinematographic expression is similar with Greenaway and Tarkovsky. A magnificent example of film as an art.

A complete masterpiece by one of the most important documentary makers of Holland with Joris Ivens. The film consists of an inner and outer journey around the world of a man who knows that he is going to die soon due to the prostate cancer.

Keuken searches in Nepal, Africa, Brazil, NY, Holland and in San Francisco, for the cure to his sickness. But meanwhile he tries to finish his last project. A resume of his life and work.