In the last days of 1999, after a few shots of a French supermarket, abundant in food and color, we hear Dramane compose a letter home to his father in Mali whom he then visits in the ... See full summary »
Bamako. Melé is a bar singer, her husband Chaka is out of work and the couple is on the verge of breaking up... In the courtyard of the house they share with other families, a trial court ... See full summary »
The wife of Nasim, an Afghan immigrant in Iran, is gravely ill. He needs money to pay for her care, but his day labor digging wells does not pay enough. A friend connects Nasim to a two-bit... See full summary »
When a young girl becomes lost in the hustle and bustle of Tehran, her journey turns into a dazzling exercise on the nature of film itself. In this ingenious and daringly original feature, ... See full summary »
Mina Mohammad Khani,
Three men, three women, opposites, possibilities, and tastes. Castella owns a industrial steel barrel plant in Rouen; Bruno is his flute-playing driver, Franck is his temporary bodyguard ... See full summary »
The 'dreamer' is Jacques, a young painter, who by chance runs into Marthe as she's contemplating suicide on the Pont-Neuf in Paris. They talk, and agree to see each other again the next ... See full summary »
Guillaume des Forêts,
On the seacoast of Mauritania, some wait to go to Europe. Khatra, a spirited boy, wants an electric light so he can read at night. A stoic older man, Maata, tries to wire the room. Abdallah, a youth on his way to Europe, says good-bye to his mother. Nana looks back on the death of her daughter and her trip to Europe to inform the father. A girl takes singing lessons. Rooms have small windows, looking out onto foot traffic; transistor radios provide some link beyond. Huge ships anchor in the distance. The train comes through, stopping briefly. Offering a cigarette is a gesture of hospitality. Sand dunes and the ocean dominate the landscape. Hope springs amidst small expectations.Written by
While this may sound totally implausible to most, the film this most resembled, for me, was Claire Denis's recent release FRIDAY NIGHT (VENDREDI SOIR), a French European film with little or no dialogue, but it is an impressionistic mosaic which the viewer can follow. Here, in a film that, culturally, more closely resembles an Iranian film, like THE DAY I BECAME A WOMAN, it is literally an odyssey of images, with little to no narrative, only the images tell the story, and it ends up being an exhilarating experience, suitable for nearly all ages, that is a rare treat "outside" experimental film. This is one of the most tender, gentlest films I've ever seen, which relies in large degree, on the West African music which is featured prominently throughout, particularly at the finale which I found excruciatingly beautiful. A rare treat.
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