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Ten Minutes Older: The Trumpet (2002)

7.3
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Cast

Cast overview, first billed only:
...
(segment "Dogs Have No Hell")
...
(segment "Dogs Have No Hell")
Marko Haavisto ...
(segment "Dogs Have No Hell")
Ana Sofia Liaño ...
(segment "Lifeline")
Pelayo Suarez ...
(segment "Lifeline")
Celia Poo ...
(segment "Lifeline")
José Antonio Amieva ...
(segment "Lifeline")
Fernando García Toriello ...
(segment "Lifeline")
...
(segment "Int. Trailer Night")
...
Bill (segment "Twelve Miles to Trona")
...
Kate (segment "Twelve Miles to Trona")
Yuanzheng Feng ...
(segment "100 Flowers Hidden Deep")
...
(segment "100 Flowers Hidden Deep") (as Geng Le)
Qiang Li ...
(segment "100 Flowers Hidden Deep")
Jin Zhang ...
(segment "100 Flowers Hidden Deep")
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Storyline

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Genres:

Drama

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Details

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Language:

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Release Date:

19 December 2002 (Germany)  »

Also Known As:

10 minut pózniej - Trabka  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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| (Technicolor)
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Did You Know?

Trivia

'Victor Erice''s segment was originally filmed in color. At the eleventh hour the director decided to print it in black & white. See more »

Connections

Followed by Ten Minutes Older: The Cello (2002) See more »

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User Reviews

Mostly wonderful
29 April 2003 | by (Taipei) – See all my reviews

A mostly very recommendable collection of shorts by some of the most renowned arthouse directors. In DOGS HAVE NO HELL a man starts a new life with the woman he loves. Aki Kaurismäki delivers, as usual, grand melodrama in the most deadpan manner. Wonderful photography. Werner Herzog's documentary is his usual ethno-cliche crap: Modernization blows away the culture of a small hunter-gatherer group. Herzog mourns this but uses evolutionist-colonialist vocabulary like "tribe" and "stone age" - he obviously never realizes that his perspective overrates the power of Western culture in the same way as die-hard modernizers do. Embarrassing.

Jim Jarmusch's vignette about movie making combines a calm view of everyday situations with some subdued comedy. Quite unassuming and more complex and substantial in hindsight. Wim Wenders returns to his roots: 35 years after his early shorts we are once again in a car for almost the entire film and listen to rock music. Just this time we get an exciting plot, beautiful retro-psychedelic visuals and a poetic near-death moment: Wenders shows all his abilities.

Spike Lee reports irregularities of the last US-presidential election, quite frightening of course, beautifully shot, but a bit out of place here.

Chen Kaige's 100 FLOWERS HIDDEN DEEP gives us a little parable about the change of modern Beijing, which is a bit silly at first (and includes some awful computer animation), but has a further dimension: The worker's pantomime and the old man's effeminate gestures are stylistic devices from Peking Opera, an art form of the past, virtually surviving "hidden deep" in cinema.

But the one piece overshadowing all the others is Victor Erice's LIFELINE, a portrait of a peaceful afternoon in a Spanish village in 1940, with death and destruction always close at hand: Children play, farmhand reap dry grass, old men play cards, while a baby starts to bleed to death. The beauty and poetic power of the images and sounds is outstanding, only comparable to Tarkovsky (another director with a genuine feel for life on the countryside). Marvelous.


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