A discontented Parisian teenager in search of a father with (Mathieu Amalric) and (Fabrizio Rongione) as his, respectively, callous and gentle alternative paternal options, and (Natacha Régnier) as his single mother.
At the height of his career, Alexandre decides to set off for Italy with the idea of completing of a book on Borromini. Along with his wife Alienor feels her relationship with Alexandre is ... See full summary »
Director:
Eugène Green
Stars:
Fabrizio Rongione,
Christelle Prot,
Ludovico Succio
An ogre keeps in his castle two children, whom he intends to eat. A knight and his companion will try to save them, and will be assisted by the ogre's wife, who thus will also get rid of her husband. A medieval story in contemporary settings.
Re-adapting the themes of first love, the intoxication of desire, and failed ideological revolution to the May 68 generation through a chronicle of the parallel lives of a pair of childhood friends: pragmatic Henri and idealistic Jules.
The countenance of Joseba Sarrionandia is multi-faceted, not only for having dabbled in all literary forms of expression, but for having been capable of creating his own imagery, composed ... See full summary »
Hermia & Helena is a film of dead ends and new beginnings, navigating different hemispheres and languages with amorous detours, where the written words of Shakespeare clash with the entanglements of modern, digital life.
An intersectional narrative of two families in Brooklyn and the unraveling of unspoken unhappiness that occurs when a young foreign girl spending time abroad upsets the balance on both sides.
Director:
Alex Ross Perry
Stars:
Emily Browning,
Adam Horovitz,
Mary-Louise Parker
During the 20's, at the request of one of his employers, the poet Fernando Pessoa conceives an advertising slogan for the drink Coca-Louca, which panics the authoritarian government of that time.
A discontented Parisian teenager in search of a father with (Mathieu Amalric) and (Fabrizio Rongione) as his, respectively, callous and gentle alternative paternal options, and (Natacha Régnier) as his single mother.
Le rat Gargantua a quitté le tournage en parfaite santé et s'est retiré dans sa villa sur la Côte d'Azur. [In English: The rat Gargantua left the shooting in perfect health and retired to his villa on the French Riviera.] See more »
Intrada
["Missa Sancti Wenceslai (Svatováclavská mse)]
Composed by Adam Václav Michna z Otradovic
Performed by Capella Regia Praha, direction by Robert Hugo See more »
The poster shows a woman sitting on a donkey being lead by a man and, in this instance, a boy and with a title like "The Son of Joseph" and characters called Marie and Joseph you might be forgiven for thinking Eugene Green's film is a modern take on the Christ story, (the chapter headings also allude to the Bible). However, the link is a tenuous one at best as young Vincent goes in search of his biological father. With all the characters speaking as if to the beat of a metronome and behaving a little like robots it often feels like a comedy minus the jokes, a parody of French art-house cinema which it may well be since its director is actually American though long domicile in France. Of course, you could take it seriously as some sort of religious allegory, (the clues aren't just all there but very much in your face), ot just enjoy it as some kind of piss-take or just abandon it altogether since, to be honest, it's not all that lively. The choice, as they say, is yours.
0 of 0 people found this review helpful.
Was this review helpful to you?
| Report this
The poster shows a woman sitting on a donkey being lead by a man and, in this instance, a boy and with a title like "The Son of Joseph" and characters called Marie and Joseph you might be forgiven for thinking Eugene Green's film is a modern take on the Christ story, (the chapter headings also allude to the Bible). However, the link is a tenuous one at best as young Vincent goes in search of his biological father. With all the characters speaking as if to the beat of a metronome and behaving a little like robots it often feels like a comedy minus the jokes, a parody of French art-house cinema which it may well be since its director is actually American though long domicile in France. Of course, you could take it seriously as some sort of religious allegory, (the clues aren't just all there but very much in your face), ot just enjoy it as some kind of piss-take or just abandon it altogether since, to be honest, it's not all that lively. The choice, as they say, is yours.