Fictionalized account of the adventures of hired gunman Antonio das Mortes, set against the real life last days of rural banditism. The movie follows Antonio as he witnesses the descent of ... See full summary »
Geraldo Del Rey,
The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but ... See full summary »
Marlon Riggs, with assistance from other gay Black men, especially poet Essex Hemphill, celebrates Black men loving Black men as a revolutionary act. The film intercuts footage of Hemphill ... See full summary »
This documentary movie is about the battle of San Pietro, a small village in Italy. Over 1,100 US soldiers were killed while trying to take this location, that blocked the way for the ... See full summary »
Slovakia during WW2. Tono lives a poor life, but the authorities offer him to take over the Jewish widow Lautman's little shop for sewing material. She is old and confused and thinks that ... See full summary »
Pollet and Schlöndorff imagine the Mediterranean as a supernal arena.
"Pays multiples faussement endormis" (A host of countries wrongfully put to sleep) - as the narration goes.
The calm of the Mediterranean is an illusion, as envisioned by the metaphor of dragons-teeth in a harbour ("both calm and disturbed"). There are moments of tender beauty such as Seurat-ian water, and scenes from a wedding. The rest of the movie shows ruins, including World War II detritus and the temple at Vassai/Bassae, extremely bloody bull-fights, and an otherworldly hospital.
Méditerranée is morbid, insect buzzing is as much the soundtrack as the composed one of Antoine Duhamel. It's not much of a surprise that it didn't really get distributed outside Europe. Pollet's movie l'Ordre, which is a documentary about a leper colony, is further evidence of his obsession. The cycle of life is turned into something macabre, with the idea being that an impostor is waiting to take over the reins from you.
The imagination of the directors is a huge conceit, an outmoded conceit. Viewers who think that Méditerranée quotations in Godard's recent Film Socialisme show otherwise, think again, Godard was always of the same cloth as Pollet, quoting TS Eliot in Eloge de l'Amour, seeing Roman soldiers march over the landscape. It's an imagination that I lost myself in though, but accepting a cultural narrative like this is going to be a tall order for most in a post-modern era.
5 of 6 people found this review helpful.
Was this review helpful to you?