An exquisite salmagundi of moral grey shades, A Separation explicitly hands off judgment to the audience in the opening scene, as Simin and Nader sit before a judge and address directly to camera their cases for and against divorce. She wants to emigrate, to raise their daughter, Temeh, away from the difficulties and repressions of […]
AFI FEST 2011 Film Review: The Turin Horse (Dir. Béla Tarr, 2011, Hungary)
In an alternate universe, a Turin Horse will become the name for a movie that turns out to have nothing to do with its title. Slow-cinema maestro Béla Tarr’s latest (last?) opens with a blank-screen voiceover relating the semi-apocryphal story of Nietzsche’s madness-inducing encounter with a mistreated carthorse, and declares that “of the horse, we […]
AFI FEST 2011 Film Review: Hanaan (Dir. Ruslan Pak, 2011, S.Korea/Uzbekistan)
The main draw of Hanaan is its ethnic exoticism: a Korean cop in the urban/industrial wasteland of Tashkent, Uzbekistan, which is certainly not something you see every day (Stalin forcibly relocated thousands of Koreans to populate the USSR’s Asian republics). The story feels well-worn, however – like something from an American movie, as one character […]
AFI FEST 2011 Film Review: Eyes Without A Face (Dir. Georges Franju, 1960, France)
What with the whole skin transplant element of Almodóvar’s latest, it was no great surprise that in his capacity as Guest Artistic Director of this year’s AFI Festival, he should pick as one of his personal screening choices, the wonderful medical horror film Eyes Without A Face. It is a most unusual film, in […]
AFI FEST 2011 Film Review: Almayer’s Folly (Dir. Chantal Akerman 2011 Belgium/France)
It boded so well. The credits play over a serene beam of moonlight on the water, while an excerpt of Tristan and Isolde tinkles gently; then we’re thrown into a noisy neon Malayan karaoke club/shack, where an unexpected, very public murder is followed by an even more unexpected, somnambulant Ave Maria. But Chantal Akerman, taking […]