A man returns to visit his native Sicily after living in New York for a long time. He learns about the Sicilian way of life from stylized conversations with an orange picker, his fellow ... See full summary »
After making the domestic servant pregnant, a woman who doubles his age, a young man of only seventeen years from the German bourgeoisie is sent by his family to the United States in order to avoid a huge scandal.
In expressive, melodic tones, the fraternal pair debate God's true message and intent for His creations, a conflict that leads their followers - in extravagantly choreographed song and dance - towards chaos and sin.
It is late at night and a married couple has just returned home from a party, where they met a former school friend of the wife and a famous singer. The husband has been charmed by the ... See full summary »
Composed in six parts, Communists (Kommunisten) re-ignites scenes from the diverse filmography of Straub and Huillet, moving from Switzerland to Italy to Egypt, to chart a story of resistance across the 20th century.
A shot from a car coursing through Rome in 1972 opens this interpretation of Brecht's unfinished experimental novel The Business Affairs of Mr. Julius Caesar. In a second part set in ... See full summary »
If Theater is 1 and Cinema is 2, Joao Cesar Monteiro's directorial style is at 1.7 and from what I have seen so far, Straub/Huillet's is a magical 1.3. And even if on the other side of the spectrum, their films also invoke similar reactions as Monteiro's, that comes from witnessing Cinema that is unique and unlike that is commonly known of. Their(S/H) shooting style is always sparse, simple, and every frame is like a theater, they just borrow the flexibility of angles and the freedom of stage preparation from films, and create their own brand of 'moving theater'. Antigone is most definitely a Brechtian film, as is Dalla Nube , and again, a recreation of the mythological play Antigone by Sophocles. The film retells the tragedy with moving lines, delivered with utter poignancy, acted out to his heart by Werner Rehm, as the tyrant Creon, and also by all other characters. In this film though, the elements for theater are in full glory, more than in Dalla Nube and the stage is awesome - the entire film is set in an amphitheater on a mountain cliff, never moving out. The play captures its subjects beautifully, and the characters move in sync with their words and surroundings, creating an experience that thrives on choreography, and less on conventional paradigms of a movie. The content is well executed, as the play takes shape in all its paradoxes and futilities, and man, did I enjoy losing myself in the mesmeric power of words again! Straub/Huillet has certainly hit a soft spot, through two films that are not for the impatient, but in its fruition, richly rewarding. Amongst other tiny signs of mastery, it is tremendous how Straub/Huillet execute the 'stage-touch' by simply letting his characters exit the scope of camera before moving on. Gives you a moment to think about what just happened, another important aspect of the theater. If you are tired of films, watch this play.
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