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Thursday, June 17, 2021

Chaitanya Tamhane, The Disciple, 2020

Chaitanya Tamhane, The Disciple, 2020
(source: Hindustan Times)
no copyright infringement intended



I watched The Disciple on Netflix and I will come with a few remarks. But, before that, here is a wonderful review, authored by the film critic Babu Subramanian:








(Chaitanya Tamhane)

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Tuesday, June 15, 2021

Chaitanya Tamhane, Court, 2015

Chaitanya Tamhane, Court, 2015
(source: Indian Express)
no copyright infringement intended









(Chaitanya Tamhane)

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Sunday, June 13, 2021

Chaitanya Tamhane

 


There is no such thing as realism. Everything is an impression.
Chaitanya Tamhane
(source: The Wire)
no copyright infringement intended







(Indian Cinema)

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Thursday, June 10, 2021

Sokushinbutsu

 






(Church in America)

Abbas Kiarostami, 24 Frames, 2017

 

Stillness and life
Abbas Kiarostami, 24 Frames, 2017
(source: Mehrnaz Saeed-Vafa in the web site of Jonathan Rosenbaum)
no copyright infringement intended


A few scattered thoughts.

Watching 24 Frames I understood another of Kiarostami's works, Five Dedicated to Ozu. It was a collection of five propositions on cinematic purposes, gathered together as a tribute to the great Japanese master - while also a reference to Ozu's own ways in the movies' art.

Here in 24 Frames Kiarostami takes again his propositions, like a painful meditation about the subtle interactions between stillness and life. Painful, because 24 Frames is much more than an experimental movie: it's a cinematic experiment. An experimental movie is made to be screened in front of an auditorium, risking to be rejected, or accepted . A cinematic experiment is produced in a laboratory, and only some buffs will be there, to witness a birth drama, in all its pains. 

Each frame is perfect in its absolute stillness. The action comes and passes, as an accident, in total brutality. The frame remains unaware of what's taking place. The action is unaware of the frame. And despite their mutual unawareness an interaction is born: stillness and life become movie.





(I'm in the Mood for Kiarostami)

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Wednesday, June 09, 2021

Zombies

 






(Church in America)

Tuesday, June 08, 2021

Sara Siadat nejad, My Tree, 2007

 

A tree is brought to life by a painter
(source: My Tree)
no copyright infringement intended



Reality and representation - a theme meditated in so many of Kiarostami's movies - there is a tragic gap between the two, and it cannot be passed - a theme recurring throughout the modern art. And Sara Siadat nejad comes here with a wonderful replica - the representation created by an artist becomes reality - a reality of her own - inciting us to accept it, to make it also our reality - and to rejoice.

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Death of Richard Rubenstein











(Church in America)

Monday, May 31, 2021

Ashgar Farhadi

Ashgar Farhadi
photo by Manfred Werner
(image source: wiki)
no copyright infringement intended
 








(Iranian Film and Poetry) 

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Sunday, May 30, 2021

Mohsen Makhmalbaf, The Gardener

 

(image source: pinterest)
no copyright infringement intended


... a surreal film made using documentary-style techniques via the cameras of father and son (the Makhmalbafs) (imdb) ... like living the forbidden dream ... the cinematic approach calling in mind Parajanov and his Sayat Nova ... Paula Asadi's apparition in the movie, a diaphanous dance, like she's coming from a god, impossible to define ... a prophetess telling an ethereal message ... and the birds drawing high in the sky paths seeming to go towards an unknown deity ... Baháʼí originated in Iran, where it is now forbidden, it is hosted by Israel, a land forbidden for Iranians ... a forbidden faith, beautiful as a forbidden dream, in a forbidden land ... a conversation between the two cameras (surajchew) ... and the impression that the movie is made just in front of your eyes, through trial and error ... a cinematic journey, inviting us to meditate together with them, about faith and reality, about the link (illusory? certain?) between the mundane and the beyond ... the father and the son are both agnostics, however their difference of age makes the difference ... for the father all he witnesses in the Baháʼí Gardens puts into question his ways ... the son is a rebel, with clear-cut certitudes and definitive answers ... we all passed through his age ... we all were once rebels ... and the meditation is ultimately not only about a religion (or any religion), it is about the path between objective and illusion ... our objective universe and the universe of art, or of faith ... but this is common to all great Iranian filmmakers ...









(Mohsen Makhmalbaf)

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