Each citizen of Jotuomba plays an integral role in village life. Madalena is responsible for baking bread; each morning she stacks her rolls as Antonio prepares the coffee. The two share a ... See full summary »
Rubén is a lonely truck driver who has been taking the motorway from Asunción, Paraguay to Buenos Aires, Argentina for years, carrying wood. However, today's journey is different because of... See full summary »
Germán de Silva,
Nayra Calle Mamani
During World War II, more than 70,000 Finnish children were evacuated to neutral Sweden to avoid the conflict. "Mother of Mine", the latest from the award-winning Klaus Härö (Elina: As If I... See full summary »
A cross-cultural drama about a wealthy middle-aged Frenchman's yearning for a nineteen year local girl. Raja is an orphan literally and figuratively scarred by life. Fred is an emotionally ... See full summary »
Antoine Sforza, a thirty-year-old young man, left his village ten years before in order to start a new life in the big city, but now that his father, a traveling grocer, is in hospital ... See full summary »
Adele's attempt to recover from a devastating breakup leads to surprisingly hilarious results as she bounces from one lover to the next, but can't escape the vision of her ex. France. Official Selection - Locarno Int'l FF.
Béatrice de Staël
Tsai Ming-liang returns with this latest entry in his Walker series, in which his monk acquires an unexpected acolyte in the form of Denis Lavant as he makes his way through the streets of a sun-dappled Marseille.
Each citizen of Jotuomba plays an integral role in village life. Madalena is responsible for baking bread; each morning she stacks her rolls as Antonio prepares the coffee. The two share a morning ritual of arguments and insults, followed by an amicable cup of coffee on the bench outside Antonio's shop. At midday the church bells ring, summoning the villagers to mass. In the early evening, they all share a meal together. And so life proceeds in Jotuomba, the days languidly drifting into one another. The only variations seem to be in the weather. One day Rita arrives looking for a place to stay. She came upon the village while traveling through the valley, following the unused railroad tracks. She is a photographer, intent on capturing the village's special allure. Initially reticent, the townsfolk gradually open up to her, sharing their stories and allowing themselves to be photographed. Rita is comfortable with technologies old and new, and Madalena teaches her to knead dough by the ... Written by
Some films just beg to be shorter and this is definitely one of them. What you get with HISTORIAS QUE SO EXISTEM QUANDO LEMBRADAS is basically a glorified Twilight Zone premise stretched out to fit feature length: a young photographer arrives to a rural village in the Brazilian county-side full of old people where it's revealed that no one can die. It might have worked if it had been a short film but, as is, there's just not very much there. It never really moved beyond that premise with real plot. To fill up the time, they force in all these stray scenes of exchanges between the girl and the villagers--scenes full of cloying poetry and insights that would be better suited to a greeting card. The girl wanders around, takes some pinhole pictures, watches the villagers do their daily rituals of survival over and over and over again, etc. After an hour of this you just want to yell at the screen: "I GET IT! LIVING FOREVER AND BEING FORCED TO DO THE SAME THING OVER AND OVER AND OVER AGAIN IS BORING AND A HORRIBLE BURDEN!" What might have stood out or worked if it was say, a half hour, gets flattened to lullaby level of tedium in 100+ minutes. That's the dominant adjective for this movie: flat. It just never feels very organic. It's clearly a manufactured film with a manufactured narrative. The writing is very basic and exhaustingly formula driven. I was hoping it would take advantage of all the dark and shadowed possibilities its theme invites or become the real mystery that it promised to be...but there is no payoff. If it weren't for the very lovely lensing provided by Lisandro Alonso's usual cinematographer, Lucio Bonelli, I'm afraid the director wouldn't have much of a film at all. The visuals really do carry this thing. And the actors do a fine job, considering what little they have to work with. I really wanted to like this one, but I'm sorry to say it just put me to sleep. Maybe skip this one and seek out Bonelli's other work instead (like the gorgeous LIVERPOOL).
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