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Category: Cinéma - Movies
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Published: Thursday, 25 October 2018 20:47
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Written by Gilbert Seah
TIFF Cinematheque Present - The films of INGMAR BERGMAN
A must for all those serious about cinema, Ingmar Bergman films demonstrate the art of cinema and the influence of a director’s life and religion on his craft.
Bergman has also been an influence on many a filmmaker, most notably Woody Allen, Margarethe von Trotta, Olivier Assayas, Mia Hansen-Love, Ruben Ostlund among others. Allen has made films like STARDUST MEMORIES which is definitely Bergman in tone while von Trotta has made SEARCHING FOR INGMAR BERGMAN, a documentary on the Master’s work. It is a pity the doc is not screened as part of this retrospective as it would serve as the perfect companionship. The doc was screened at this year’s Toronto International Film Festival and hopefully will get a theatrical run soon.
This exhaustive series screens almost every Bergman film, which needless to say should be seen on the big screen. The cinematography by Sven Nyquist,who has worked on most of the Bergman’s films is nothing short of astonishing.
Bergman’s films range from the playful like the most entertaining FANNY AND ALEXANDER to his most serious (about death WILD STRAWBERRIES, CRIES AND WHISPERS and of course, THE SEVENTH SEAL with the grim reaper or relationships PERSONA) to his kind of action/revenge flick, the excellent THE VIRGIN SPRING). A warning is that the films are not an easy watch - many are ultra-grim, except maybe for FANNY AND ALEXANDER which runs more than 3 hours in length.
Religion plays part in Bergman’s films. His childhood is best exemplified in FANNY AND ALEXANDER.
For the complete program schedule, ticket pricing, venue and showtimes, please check th Cinematheque website at:
tiff.net
Capsule Review of Selected Films:
CRIES AND WHISPERS (Sweden 1972) ***
Directed by Ingmar Bergman
Though the only foreign film to be nominated for a Best Picture Oscar, CRIES AND WHISPERS is one of my least favourite Bergman films. Though the cinematography here by Bergman regular Sven Nykvist is one of his best works, the film is too artsy for my taste. The story follows three sisters, played excellently by Liv Ullmann, Ingrid Thulin and Harriet Anderson, one of which is dying from an unnamed ailment. She is closer to her maid that the oner two sisters though she (Agnes) tries to reconcile the problem after her death. There are lots of heavy breathing, moaning and groaning and of course, crying and whispering, which I think could be quite laughable at times. Religion is always at the forefront again. There are hints of lesbian love and incest though thankfully Bergman spares the audience any sex scenes. All a very sordid and gloomy affair.
Trailer: https://www.youtube.com/watch?v=6Pw7FYex5pQ
FANNY AND ALEXANDER (Sweden 1982) *****Top 10
Directed by Ingmar Bergman
FANNY AND ALEXANDER is the film that has been on many a critics Best Film list. Personally, its stands as my best Bergman film, even to say that it is one of my 10 best films of ALL TIME. The film is pure delight from start to finish despite its over 3 hour running time (The film was originally made for television). The first hour is light and cheerful (rare in a Bergman movie) as the wealthy Swede family celebrate Christmas among the family and servants. This is Christmas in Sweden with all the food, decorations, dancing and celebration. At the hour mark, the father, Oscar dies and the mother marries a wicked over-religious bishop who moves the mother and children into his own house, demanding that every personal possession be left behind. “I worry for the children’” says the grandmother, prompting the worse to come. Alexander, particularly suffers the wrath of the bishop. The bishop’s household is also the epitome of evil. I have seen this 3-hour film three times, and it is pure ecstasy each viewing.
Trailer: https://www.youtube.com/watch?v=IkszXVEUHco
HOUR OF THE WOLF (Sweden 1968) ****
Directed by Imgmar Bergman
The HOUR OF THE WOLF is a bewitching hour. As described by the Master, Bergman himself: "The hour of the wolf is the time between night and dawn. It is the hour when most people die, when sleep is deepest, when nightmares are most palpable. It is the hour when the sleepless are pursued by their sharpest anxieties, when ghosts and demons hold sway. It is also the hour when most children are born." His film captures this hour vividly through the life of painter on the verge of madness played by Max von Sydow. It all happens when the painter mysteriously disappears and his pregnant wife (Liv Ulmann) discovers his diary and hence his thoughts of his affair with another woman. HOUR OF THW WOLF traces the painter’s decent into madness (one of the film’s best segments involve him and his wife attending a dinner party where everything drives him crazy). Bergman does what he does best here - shows the demons in an individual.
Trailer: https://www.youtube.com/watch?v=d6aNUjm7Y2I
PERSONA (Sweden 1966) **
Directed by Ingmar Bergman
PERSONA, quite similar in tone to CRIES AND WHISPERS is again, one of the least favourite of my Bergman films. The film follows an actress played by Liv Ullmann who is recovering in a hospital before being cared fro by a single nurse, played by Bibi Anderson. The two move into the doctor's beach house where the two continue the actress’s convalescence. The actress initially never talks but slowly opens up, which gives the chance for the nurse to go on and on about her youth and adventures including an abortion and a sexual fling with a young stranger that gave her the best sex in her life. Needless to say, the two torture each other.
Trailer: https://www.youtube.com/watch?v=3rtSjV_gFkw
SUMMER WITH MONIKA (Sweden 1953) ***1/2
Directed by Ingmar Bergman
The lesser known work, SUMMER WITH MONIKA is Bergman’s teenage romance. The film begins with flirty Monika (Harriet Anderson) asking for a match from Harry (Lars Ekborg) in a coffee shop. This leads to an evening at the movies and love that soon blossoms. In the coffee shop, an elderly mane warns of the turmoil of spring just as the teens laugh and prepare for good times. The contrast of life’s outlook is so different from the old and the young. But the you g eventually grow older and Bergman sows that misery is part of life, as Harry’s anther blurts out int one scene; “Suffering is part of life”. The two lovers eventually escape on a stolen boat to spend a summer idyll in the archipelago. Then life takes a turn as Monika finds herself pregnant. The two marry, and matrimony rears its ugly head. Bergman over emphasizes the emotions of his teen characters - Monika not only sobs during the teary moments in the movie but uses a hanky to wipe away tears followed by her blowing her nose. Harry’s yawns by contrast are big ones. Despite the lack of nudity, Bergman’s film is very sex and erotic.
Trailer: https://www.youtube.com/watch?v=S00-c-Rd-K4
THE VIRGIN SPRING (Jungfrukällan) (Sweden 1960) Top 10 *****
Directed by Ingmar Bergman
THE VIRGIN SPRING in retrospect plays like a classic art-house version of TAKEN where the father goes on an all-out revenge against the perpetuators of the crime committed on his daughter. Bergman knows how to draw his audience into his story and by the time the father lifts up his weapon (a butcher knife) against the villains, the audience is right on the point of cheering him on and violently. THE VIRGIN SPRING is the harshly beautiful rendering of a 14th-century legend. While taking candles to her church, the virginal young Karin (Birgitta Pettersson) is brutally raped and murdered by three goatherds. The assailants later unknowingly take shelter at the farm of her father (Max von Sydow), who realizes their identity when they try to sell his daughter’s clothes. Bergman’s attention to detail is another reason this film is so perfect - from the eating utensils to the furniture of the 14th Century farmhouse. The film won both the Academy Award and the Golden Globe for Best Foreign Language Film, and is Bergman’s most commercially accessible film.
Trailer: https://www.youtube.com/watch?v=5Ea
WILD STRAWBERRIES (Smultronstället)(Sweden1957) *****Top 10
Directed by Ingmar Bergman
Arguably Bergman’s best film, WILD STRAWBERRIES opens with Professor Borg’s voiceover describing his life, he a 79-year old widowed doctor with a son with no children. He is looked after by a good housekeeper of 40 years service. Bergman demonstrates his prowess at drawing the audience into his characters. When the film begins, Borg has a nightmare - one that is classic Bergman. Borg is walking down an empty street of deserted building when he looks up at a click with no hands. He looks at his pocket watch, which turns out has no hands either. A horse bearing coffin comes around the corner with the coffin falling off right i front of Borg. A hand reaches out from the coffin t grab his hand. Borg opens the coffin to see the face of the corpse as his own. This opening sequence is nothing short of genius. The film then follows Borg en route to receiving his honours in Lund as he is accompanied by his pregnant daughter-in-law Marianne who does not much like him and is planning to separate from her husband, Evald, his only son, who does not want her to have the baby, their first. One of the best films eve made about old people facing death.
Trailer: https://www.youtube.com/watch?v=fs_j7y_QyM8
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Category: Cinéma - Movies
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Published: Tuesday, 04 September 2018 20:43
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Written by Gilbert Seah
Toronto International Film Festival (TIFF) 2018 Capsule Reviews of French Films
The Toronto International Film Festival 2018 version runs from Thursday6th September for 11 days till the 16th with the whole list of Gala Presentations and smaller films to whet very moviegoer’s appetite. Stars will line the red carpet following their films. So expect Bradley Cooper and Lady gaga to be seen with their film A STAR IS BORN as other stars and directs who are only too pleased to do a Q & A with the audience.
Ticket pricing is getting more complicated with a different tier in prices depending on whether a screening is evening or day or rush or for a regular or e capsule reviewed.premium feature. Best to check the website at:
tiff.net
Below are capsule reviews of selected Frenchfilms that are screened at this year’s TIFF. This article will be updated daily as new films are capsule reviewed.
French films are those shot wholly or paryially in French or films with France listed with a co-production credit. For a more complete set of capsule reviews inclduing non-Frecnh films, please chck our sister website at:
https://afrotoronto.com/index.php?option=com_content&view=article&id=1793&catid=67
CAPSULE REVIEWS:
CLIMAX (France 2018) ****
Directed by Gaspar Noe
Gaspar Noe (CARNE, SEUL CONTRE TOUS, ENTER THE VOID) shows what genius can be done with a troupe of dancers obsessed with their art. The film begins with interviews of individual members followed by an incredibly executed dance in synch to the amazement of the audience. Third segment has the camera following the dancers as they interact with each other, speaking about their aims, fears or just plain flirtation. This is followed once again by dance, this time with the camera placed permanent,y overhead of the dancers as they now individually dance into the frame, showing their prowess. The dancers now drink the sangria which is spiked with LSD. They never find out the culprit though the suspected get violently attacked. They last segment leading to the film’s CLIMAX has them indulging in sex and violent acts. The film’s dance sequences alone are more than worth the price of admission but the film delves more deeply into man’s tortured soul including the concept of death. CLIMAX is not a film for everyone but is nothing one has seen before for those who can take it.
Trailer: https://www.youtube.com/watch?v=Hi69nL_VrTE
DOGMAN (France/Italy 2018) ***1/2
Directed by Matteo Garrone
Director Matteo Garrone’s (GOMORRA) latest film DOGMAN begins with an angry dog growling his teeth in closeup, a very appropriate beginning of a very angry film that tells a tale of vengeance by a mild-mannered DOGMAN pushed to the limit. The dogman is Marcello who owns a dog care shop. He knows and loves his dogs, just as he loves his daughter who he occasionally sees. The film does not delve into his family affairs and the audience assumes Marcello is separated from his wife. He snorts coke and hangs around a big hulk and uncontrollable bully, Simone. The neighbourhood wants to bring Simone down as he is nothing but trouble but ends up leaving him alone When Simone fucks Marcello up in a series of events, Marcello eventually gives the bully in comeuppance, Garrone’s film is attain a difficult watch. He is a good storyteller that connects the audience to his characters. He even makes the bully sympathetic, loving his helpless mother and not being too bright.
Trailer: https://www.youtube.com/watch?v=eum93mpzpE0
GIRL (Belgium 2018) ***
Directed by Lukas Dhont
(in French and German)
GIRL tells the story of a boy/girl (Victor Polster) born a girl in a boys’s body undergoing a sex change to become girl. As if the body is not under sufficient strain, GIRL is pushing her body to the limit as she suffers in her daily training to become a ballerina. She has a supportive father and loving younger brother. GIRL is Dhont’s first film as he goes for realism at the expense of narrative. His camerawork is nothing short of suburb as one can see the camera focus changing as he tracks his camera. Often, the audience can tell what is happening by the camerawork from a closeup or camera shift, before being told verbally by the dialogue as to what has transpired. Dhont also effectively captures the emotions of her characters. GIRL is arguable the most emotional film screened at the festival.
Trailer: https://www.youtube.com/watch?v=Kdzu26tnUTc
HER JOB (Greece/France/Serbia2018) ***1/2
Directed by Nikos Labot
Direct from current times as heard on the Greek radio about the country’s dire unemployment woes, a husband has been put out of work for far too long. The wife, as a result takes employment as a cleaner at the newly opened shopping mall. They have two children, the elder daughter being spoilt and uncontrollable. Panayiota (Marisha Triantafyllidou) works hard but has a hard time at work, especially driving the new vacuum cleaner as well as a hard time at home, having to cook and have the family complain when she is not around to do chores for them. Things look as if it is reaching boiling point but director Labot takes his film to a higher level. Things improve. After taking driving lessons, Panayiota masters the vacuum. Her supervisor and colleagues appreciate her hard work and dedication. Her daughter starts cooking for her and husband cleaning for her. Director takes his film even one step further. To reveal more would spoil the film’s twist and enjoyment. The film works wonders, thanks to actress Triantafyllidou’s performance and the director’s frequent use of closeups that show every expression of joy and regret of her face. Marvellous too, is the way Labot connects the audiences to the protagonist, family and story.
Trailer: https://www.hollywoodreporter.com/video/her-job-trailer-1137998
L’HOMME FIDELE (A FAITHFUL MAN) (France 2018) ****
Directed by Louis Garrel
Louis Garrel is the son of Philip Garrel who broke into fame as an actor in Bertolucci’s THE DREAMERS and the recent GODARD MON A’MOUR. Louis proves his directing chops in this light hearted romantic comedy in the adventures of as the title implies, of one faithful man played by Garrel himself.. He loves Marianne who leaves him for his best friend who after passing away moves in with her. But her son with Tom breaks up the romance and has him now live with Eve who has always longed for him. The voiceovers change between him, Eve and Marianne. The film reminds one immediately of Truffaut’s heavier LES DEUX ANGLAISES ET LE CONTINENT where voiceover rules the layered menage-a-trios love story. Thought not as elegant, Garrel’s film is still smart, insightful while still maintaining its playfulness. The film bursts in youth and romance. Thoroughly enjoyable and entertaining and yes, funny!
Trailer: (unavailable)
MARIA BY CALLAS (France 2018) ***
Directed by Tom Volf
Tom Volf ’s MARIA BY CALLAS offers fresh insights into one of the great talents of the 20th century via recently rediscovered writings and interviews with the Greek-American soprano. Maria Callas has been praised by many as the greatest singer of the century. Callas was born and bred in New York City though many think she is of Italian or European origin. The film is comprised of beautifully restored archival footage with her own words from her letters and writings as narrated by American opera singer Joyce DiDonato. The Greek-American soprano rose to fame after World War II and became a star attraction in all the major opera houses. This film offers fresh insights into her public and private lives, especially her long-time romance with Aristotle Onassis, the affair that made headlines as both were still married at the time. Callas's music is obviously paramount in the film. The film’s real treat is Callas’ complete performances of the arias from the operas Norma, La Traviata, Carmen, and Tosca. Also insightful and funny is the footage of the David Frost interview with Callas telling Frost, "If someone really tries to listen to me, he will find all myself there.” The doc feels longer than its running time and could have been edited to a tighter 90 minutes.
Trailer: https://www.youtube.com/watch?v=tdxBhU46TGM
MAYA (France 2018) ***
Directed by Mia Hansen-Love
It’s been frequently on the news about war journalists in Syria being kidnapped with the threat of being decapitated on live televsion. MAYA, Mia Hansen-Love’s (LE PERE DE MES ENFANTS, EDEN) latest film has one such French journalist recently freed who travels to India on vacation to recuperate. He meets MAYA, an Indian girl who opens his eyes back to life, though she is too young for him to start a love affair. The best segment of the film is his re-meeting of his mother who is working with foreign children, though detached from her own son. This the only serious musings on life by the director. Lighter fare. otherwise from Hansen-Love with lots of beautiful scenery of poverty stricken India. The film does not really go anywhere as deep as her previous films but MAYA is still worth a look.
Trailer: (unavailable)
THE MERCY OF THE JUNGLE (Belgium/France 2018) ***
Directed by Joël Karekezi
The jungle is tough to survive in but the land with the political unrest is almost impossible to live in. As the Rwanda prisoners proclaim: “The soldiers have raped the wives and stolen the land.” Set in 1998 at the outset of the Second Congo War, Rwandan director Joël Karekezi’s second feature is a propulsive odyssey about a pair of Rwandan soldiers navigating both wilderness and personal existential crises while lost behind enemy lines. The two soldiers navigate Kivu, the borderland with its dense forests and hills where the Democratic Republic of Congo and Rwanda meet. The film is shot mainly with little light during the night, with just enough (light) to see the faces of the protagonists. Director Karekezi shows that war is hell, made even worse for the sergeant when he falls ill with malaria. The only saving grace is a group of sympathetic villagers who help him.
Trailer: https://vimeo.com/286503684
NON-FICTION (DOUBLES VIES) (France 2018) ***
Directed by Olivier Assayas
Assayas proves once agin his ‘auteur’ status with this playful yet literary and contemporary take on art imitating life. Two couples are under examination as each member having an affair with the opposite sex of the other couple, all still remaining friends. Set in Paris. The film begins with a publisher (Guillaume Canet) turning down the work of his friend (Vincent Macaigbe) who is having an affair with his successful actress wife (Juliette Binoche). There is debate on the decline of publishing revenue compared to the likes of audio books and e-books. This is a very talky film the most talky of all the Assayas films and shows the director’s intelligence on what is current in the world today - besides showing him a respected director. Assayas fans will not be disappointed. Also quite funny especially with the actress referring to Juliette Binoche at the end of the film, again art imitating life.
Trailer: https://www.youtube.com/watch?v=5qMeIhQ5An4
LES SALOPES or the Naturally Wanton Pleasure of Skin (Canada 2018) ***
Directed by Renée Beaulieu
Soft porn, art movie or soft porn art in the guise of an art movie? Marie-Claire (Brigitte Poupart), in her mid-40’s is a professor of dermatology, embarking on a study of how skin cells are affected by desire. Director Beaulieu also puts in her two cents worth about the sex theory. Meanwhile, promising student Sofia (Charlotte Aubin) hopes to find tangible proof of love on the cellular level. Director Beaulieu gives Marie-Claire a loving family, a sexy and loving husband (who still have sex with her) and two children. Things get to a boil when they find out what mummy is up to. Beaulieu’s film is more intriguing than it sounds as her subject faces different situations resting fro her sexual promiscuity. As expected, there are lots of erotic and sex scenes. Brigitte Poupart is winning as the film’s subject.
Trailer: (unavailable)
SEARCHING FOR INGMAR BERGMAN (Germany/France 2018) ****
Directed by Margareth Von Trotta
German director Magareth von Trotta pays tribute to Swedish director Ingmar Bergman
in honour of the centennial of his birth. Margarethe von Trotta presents a detailed account of his life and his impact on filmmaking through excerpts of his work and interviews with family and contemporaries (Olivier Assyas, Mia Hansen-Love, Ruben Ostlund). Her film begins with a segment of THE SEVENTH SEAL with actor Max Von Sydow and explanation of each shot in detail. Many of his other films are also displayed and put into perspective by actresses like Liv Ulmann who speak fondly of the man. His thoughts and inability to love his own children are also revealed. The film whets the appetite for watching Bergman films, a retrospective of the Master’s work that will be presented by TIFF Cinematheque this fall. Extremely insightful and a treasure for cineastes! Von Trotta’s own film THE GERMAN SISTERS was selected by Bergman as one of his favourite films.
Trailer: https://www.youtube.com/watch?v=CGeHGcKh1KM
LES TOMBEAUX SANS NOMS (Graves Without a Name) (Cambodia/France 2018) ***
Directed by Rithy Panh
(embargoed)
Trailer: https://www.youtube.com/watch?v=YnUZsJLY558
