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A film about love and gender. This documentary is set in the New Marilyn night club in Tokyo, Japan - where the hosts are women who have chosen to live as men. They can only make their ... See full summary »
In this surrealistic movie from the director of My 20th Century, the French police seek help from Simon, a visionary living in Budapest to solve a murder case. Whilst in Paris, Simon falls ... See full summary »
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Ornette: Made In America captures Ornette's evolution over three decades. Returning home to Fort Worth, Texas in 1983 as a famed performer and composer, documentary footage, dramatic scenes... See full summary »
Fort Worth Symphony Orchestra
Mossane is a beautiful 14-year-old girl who has just reached marriageable age in a village in Senegal. She has many suitors, including a simple-minded farmer's son who plans to drag her ... See full summary »
In this first project of Kim Longinotto while she was a student at Englands National School of Television and Film she filmed the daily life in a girls boarding school situated in an old ... See full synopsis »
Pusan Film Festival Reviews 9: Hamaca Paraguaya (Paz Encina)
Here is a film that's created a polarizing reaction at film festivals, where some are inclined to take its painfully dull miserablism as brilliance. It's difficult for me to say that a film of serious intent is completely without merit, but "Hamaca Paraguaya" comes close. I can only guess that the film is an attempt to somehow capture the feeling of growing old and slowly dying, as that's exactly how I felt while sitting through it. First time director Paz Encina pulls off the dubious feat of making festival entrants Tsai Ming-liang, Apichatpong Weerasethakul, and Aki Kaurismaki look like directors of epic action pictures.
I'm quickly becoming hostile to the static long-shot held for an interminable length of time. Within the span of the film's nearly 10-minute opening shot (the first of less than thirty), with a pair of old people sitting on a hammock in a forest clearing mumbling repetitively in voice-over, the realization dawned that this 75-minute film was going to be a long haul. There are moments where the film very, very briefly acts like it might do something of interest, but those hopes are quickly dashed as the camera returns to the clearing, the hammock, and the mumbling old folks.
Why would a young woman, making the first film in her impoverished country since the 1970s, make one without a pulse? Anything of relevance that the film has to say about war, sorrow, and aging, loses all impact due to its deliberately alienating design. New art from obscure places should be encouraged, but art needs much more than what was on display in this film.
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