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worst film of the year so far

I happen to have a Day before Biutiful Walter Salles' Motorcycle Diaries seen. Since there is about to end a scene in which Gael García Bernal as Ernesto Che Guevara swims across a river, which separates in a leper colony in the care of the patient. To the point does this at least partly amazingly smart movie at this point his idea of Che as a political figure: There is a man of the social contradictions can not completely dissolve into political action or even in analytical criteria, but they at senior moments and large bridges symbolic gestures in his body / with his body. The film has also (unlike Soderbergh's diptych) actually an idea of how this particular myth works. Maybe he has an idea that Star body make the movies like, but if so, they remain secondary.
more annoying is then the new Iñárritu, who runs with the Che films, while not strictly speaking a name, but which creates a relationship between body and politics, of course, not even any reflexive, making sure even the hand-held camera, the anticipatory , over beating (and added: technically brilliant) assembly, the connections that some textures and gestures with the feed into the organic world of sound rooted music. Two and a half hours of film projects (for which everything always just have to be there, just felt, image, color motion as the equivalent of emotion, which he forces the viewer gently but firmly to) the misery of the world = globalization = the West = the time history back to the Franco dictatorship Javier Bardems Star Bodies, the expiration code exactly thick on their faces are painted, including the bursting forth known features are not distorted, but are all the more better. attached as an additional contrast film around him: Seedy locations, non-white skin color, suitable for non-Hollywood faces. Star Cinema of the most offensive variety, racist, reactionary, much worse than Babel .

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love Sibylla,

for the two versions of your poem. I like the way alternating deep and light and heavy thoughts are so dynamic. I especially like the real start with the hair and the half-moon fingernail. This is funny with the egg, but perhaps something intentional. You speculate, too, how did you get it well ... I managed to find the translation, there is nothing lost and the last line sounds even round. To title-translation, I'm not sure - "going" better than "traveling", which is too restrictive - perhaps would be "On the Road" or "Moving" is also a possibility.

Our last commentary, the poem by Christophe Fricker, I like it very much. I like the mixture of concrete scenery, short stories and original descriptions. Place and feeling are well understood. I would still want to sit again in a diner in America. Although adventure and freedom can turn a stranger and alone in misery quickly, even without rain.

In my own Texts I have just a pretty self-critical, frustrated phase. I think there is a lack of a consistent style, and much remains superficial and arbitrary. Give me impressed by their own words too quickly. One reads so well with their own ulterior motives always. Often can not decide whether something is good simply, in terms of concrete, or just simply is unimaginative. In that respect I lack the critical exchange that we had in the writing course.

Greetings from the frigid but sunny Berlin,

your Eva

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giftedness is not necessarily an IQ over 130

whiz .... Austria.

Should gifted are taught in separate schools or classes? That depends on the student, says the Center for Gifted (ÖZBF). But also on the residence of the student, for their own schools or classes for gifted traits exist only in Vienna, Mödling and now in Wels. Gifted education in Austria is not uniformly applied. In Salzburg, there is a contact person at each school, in the other provinces as teachers and parents at least in each province, a coordinator of gifted education available.

Individual schools offer some more activities: Olympiads, competitions, project work. is in regular classes, but done little to promote, criticized the ÖZBF. Exercises must be "regularly and systematically" take place in order to access. And above all, should not be simply giftedness moored on IQ. For the "old" definition of giftedness that is simply a higher IQ than 130, rejects the ÖZBF. "Between the values 120 and 130 hardly noticed a difference," says Claudia Resch. Teachers should therefore not due an IQ test support, but just in case.

Practical Tips
gifted children should not simply get more work imposed, but other tasks. Be practical about the "revolving door model, which leaves the students from time to time, the classroom, either in classes in higher grades, attend or to work in the library. Also open tasks that can solve each student individually different, are recommended. Some teachers include gifted students with a "contract" are defined in the objectives and framework.

MORE INFORMATION
www.begabtenzentrum.at/wcms/index.php?koop_blks

Source: http://diepresse.com/home/bildung/schule/hoehereschulen/633765/Hochbegabung_Nicht-unbedingt-ein-IQ-ueber-130

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lousy weather and Elmo's in Durham

notes on a soaking wet envelope

It is raining outside crotchety. The city with
the amputated arms
Can not roll up his trouser legs.
The water lies on the lawn.
some point there's only way home.

But I'm alone in my dinner.
The vegetables are today depends,
The soup of the day is fate.
The bill is the same with the food, as it would
tooth for a tooth. Outside

me soon passes the recalcitrance. The wet
next traffic light make himself important.
The cyclist believes he would have a chance.
I agree to a chorus,
only internally, of course, and urge

That will be all better tomorrow.


Christophe Fricker has from 2006 2010 in Durham, North Carolina, lived and taught German. Elmo's was his favorite restaurant. His poems "The beautiful eyes of the beholder" was published in 2008 in the publishing house J. Franck in Berlin. Fricker's book appeared in 2009, "Larkin Terminal", a collection of 12 portraits of people and places on different continents. Christophe Fricker launched in January 2011 in Mostar, Bosnia and Herzegovina, a poetry workshop for students of Germanistik.

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PS: There is at present by the way so quiet, because I write my last time for final exams and to do so properly tagged. Wish me today at 14.00 fingers crossed:)

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A gifted with Burnout

Michael "Grosi" Grossenbacher: added "The Burnout strengthened me "

a burnout, a new solo program and the end of Bagatello: Michael" Grosi "Grossenbacher a turbulent period behind it. The comedian was devastated three years ago by the disease. Now he has made the withdrawal and processed his experiences in his new show "therapy".

Michael "Grosi" Grossenbacher feeling good again. Very good indeed. Although he looks a bit pensive, while his Experiences of the last three years tells. From the hyperactive "Grosi" from Bagatello times hardly be felt. The humor he has not lost. He smiles while conversation again and again, taking the mickey out of himself and is happy that things have changed for the better. "I live for the moment," he confirmed, "and take me and the world is not as serious as before." For the former workaholic, a non-simple way, but for him is clear: "I never want to return to the point where I was before June 2009".

The cycle began more than three years. At that time Michael Gross was also known as "Grosi» even with the Berne a cappella troupe Bagatello road, which should be resolved in late 2009. The 37-year-old said that with him at a young age and was a whiz at the same time attention-deficit/hyperactivity disorder (ADHD), respectively. "This combination made me think, and always quick facts link, so fast that I no longer mentally eventually came along," he says. The comedian could never relax, "read a book or just see far", which was impossible for him. He worked 18 hours a day, the fatigue, he outwitted with Power Naps - and was proud to be "everything to create, to do everything." No time for friends and warnings remained around him admit he did not want. Many people turned away. "When my son came into the world, of course I needed more mental energy," Gross out further and lowers his gaze. Although it does not always seem easy, "so it is important for burnout sufferers speak openly about the suffering."

Caught in a spiral

The symptoms were getting worse. A tireless entertainer hit mistakes, had dizzy spells, walked in his sleep and had to struggle with breathing problems. There were also an "extreme" forgetfulness and physical exhaustion. "I did not know the simplest things, my voice broke and I could not promise to keep my partners." When he was hit by the end of 2007 tables Pfeiffer glandular fever, the disease weakened him further. "I was aware of the seriousness of the situation, hoping for a miracle. But it was as if I had wanted to fight a high-rise building with a fire extinguisher. "The spiral is spinning ever faster.

In 2008, Gross began to work on his solo project. Almost a year later, in June 2009, things changed. "I brought my son to bed and watched him as he slept peacefully. I was aware that he has only one father and that I the bin. "

That same evening decided" Grosi "to put his current project on ice. 25 already booked appearances were canceled. The relief was great, reports the Berner, "then I cried for three days." After this brief respite Grosi would go on with again, "but my business partner TJ Gyger has stopped me." After the first boom Grossenbacher fell further and further into a black hole. "My confidence was destroyed. I did not, for example, when and if I can cross a zebra crossing. Then I began a three-month therapy. "There had once confident comedian learn to live and the high Demands on themselves to place and free time to enjoy without feeling guilty.

therapist as a co-author

be almost finished solo program he has now thrown overboard with his therapist and a new written. "The title of therapy was already established before treatment, but because of my experiences I wanted to rewrite the piece completely and have my psychologist Raphael Romano asked if he would help me." After writing over a hundred hours "therapy" has been created. The show offers a "glimpse into the deepest depths of the soul," promises Grosi and smiles, "but I will not tell you what authentic and what is invented. "

Now he sits there on the table and radiates the premiere of his first solo project, was" went well ". For two months, the entertainer had just four days off, there by the end of February, the premiere and six more performances to overcome. "My alarm bells ringing already," the artist says with a straight face, "of a burnout is one never healed." He himself was aware of the consequences, and be in hectic times now help from his friends. Although he had put his life in principle on its head, it had strengthened the burnout and opened his eyes, "the end of 2008, I had enough money and was unhappy, now I am a poor Artists, but happy. "

By Martina Maurer. Source: http://www.bernerzeitung.ch/region/bern/Michael-Grosi-Grossenbacher-Das-Burnout-hat-mich-gestaerkt/story/25238014

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Berlinale 2011: Hin-und Wegsehtipps

look:

Cheonggyecheon Medley: A Dream of Iron (Kelvin Park Kyung-kun)
The Stool Pigeon (Dante Lam)
Self Referential Traverse: Zeitgeist and Engagement (Kim Sun)
A series of thoughts (Heinz Emigholz ; it above all: "Leonardo's tears")
Territoire perdu (Pierre-Yves Vander Weerd)
Silver Bullets & Art History (Joe Swanberg)
Good Morning to the World! (Satoru Hirohara) see all forum
Vampire (Shunji Iwai) Panorama

time:

Viva Riva! (Djo Munga)
Under Control (Volker Sattel)
The Ballad of Genesis and Lady Jaye (Marie Losier)
Les main libres (Brigitte Sy) all forum
The Unjust (Ryoo Seung-wan) Panorama
The Love Of The Hawthorn Tree (Zhang Yimou) Looking away generation

:

Brownian Movement (Nanouk Leopold)
Household X (Yoshida Koki)
FIT (Hirosue Hiromasa) all represent
Ashamed (Kim Soo-hyun)
Dance Town (Jeon Kyu-hwan)
Into the White Night (Yoshihiro Fukagawa)
The Devil's Double (Lee Tamahori) all Panorama

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failure of a gifted

Armin Opherden deals in his novel with very smart people

"This will be determined later, once a professor," says the senior citizen with a critical view of the stroller. Of Anthony is only a few months old, but already the "intellectual eye" that interpret the people around him as giftedness.

Four Anton years can already write the first words and classify traffic signs. As a school child, he is bored because his classmates are still cramming the basics, while he deals with complex mathematical formulas. And yet he finds himself 30 years later, not in the classroom before his students again, but on the sofa next to his wife - made from packed working day of a clerk.

As the protagonist "Anton was not a professor" from the novel it wash many people, says author Armin Opherden. The Monheim wants to sharpen its reader's eyes to the subject of giftedness. Because that was already confined to him early. So much so that the IT project manager at a telecommunications company sat down and wrote his 156-page novel.

"It's a shame that the potential of these people are not exploited. The company is so valuable, something lost, "says the 46-year-old. Blame is the school system, which was set "only on the average." "Nerds on both ends have a hard time."

story is fictional, but there are parallels to the author

Opherden speaks from experience. Although the story was "pure fiction", parallels between him and Anton, there is real. He was shunned in his school by classmates was because he "was different". "Children can express the very brutal," he says. Today, he also saw in the context of his two daughters (19 and 23 years old) potential, which would be overlooked by teachers.

"Teachers too are the victims of the school system. It lacks the capacity to respond individually to students. "Ground clearance give it in the classrooms. "Even if the whole thing purely economic terms, the state makes a big mistake: Several thousand people could be more successful structure, thus the economy," says Opherden.

Monheim was the best example of that young people would be underestimated: On the road Opladen have recently heard that the city "now been ruled by children" would be - a dig at the 27-year-old Mayor Daniel Zimmermann. "Such an attitude I can understand just not."

would Opladen Where can land with the appropriate funding? "Neuroscience has always interested me," he says. "But I'm not complaining. . I have a great family and I feel comfortable in my job, "At his request, he still holds: the gifted need to be promoted. "The offer may not from the purse of the parents . Depend "

Author: By Ines Arnold
Source: http://www.wz-newsline.de/lokales/kreis-mettmann/monheim/scheitern-eines-hochbegabten-1.571842

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love Eva,

yesterday I found a sad-funny poem of mine that also fits with our blog theme. It is several years old, unfortunately undated.

driving

we move on we leave
a hair of a small half-moon fingernail
always take a piece of us
we and our
lose to places people do not dream the
are portable so we are scattered
like salt on a hard boiled egg


Why just like salt on a hard boiled egg? Was that just a small joke or was I thinking something? And the egg is peeled at all yet? This question has me seriously, but I do think! Who sprinkled salt on an unpeeled egg? Perhaps because of the picture because grains of salt to take peeled eggs always such a strange glassy appearance, so that each individual is emphasized? Maybe it was an associative connection the lexical level of "scattered" to "Salt Shaker" ...

I would just think that's why it comes to grains of salt and hard-boiled eggs in our absent-mindedness to different places and people but in the end gives the whole thing and sweet! For demonstration purposes

I do I, translated into English, how do you find the version?

Going (Travelling?)

we go further we leave behind
a hair a little half-not-moon fingernail
always a bit of us
we go and loose ourselves
to places persons dreams Which are
portable so we are soon scattered
like salt on a hard-boiled egg

Bis,
your Sibylla

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IFF Rotterdam 2011: in passing

Gesher, Vahid Vakilifar, 2010

toilet cleaning in real time, then a dip in the sea. Three men live together in a narrow tube of many, in addition to a gigantic industrial park on the sea coast eye will be. A man cleans toilets (and sits then on the tube and looks out to sea, promised last he can not his desire), is one driver (and begins gently a mimicry of his boss, becomes a social chameleon) works, the third in an anachronistic Factory of heavy industry (and stuffs a large part of the few bills that he deserves, in soft toys, which he can then send his family). Even the first setting (filmed from inside a car through the windshield) provides much of the hardness of proletarian existence in Iran, the hardness is then formulated in a broader credible, perhaps most impressively in a race, for the members of Iran's chicken coop (Aravind Adiga: The White Tiger ) are initially carted in trucks to a Lehmwüste where they carry then over hills and rocks a senseless course.

Yogera, Yes! That's Us, 2010

moves the film collective from Uganda in big steps towards cinema festival. Was the first film Divizionz (Forum 2008) still quite sui generis in a technically crude, wild mix of music video, gangster film and social commentary and plenty of incommensurable with the operation, in which he came on, it now goes in the direction of Criterion, both in terms of subject (deaf and dumb girl from the village comes into the city under the wheels) and in terms of form (melancholy tinkling on the soundtrack, when the deaf-mute girl stumbles through the streets). Yet the result is anything but slick, but one has any idea that what is at Yogera more interesting (for example, the gangster story, which extends over again in the main plot and then suddenly without explanation disappears), in which next project will also be sanded off. The African cinema, it had always been difficult and remains in the digital age is precarious, crushed between Nollywood mass production and the aesthetics of the UNESCO global Arthausklischees.

Another Occupation, Ken Jacobs, 2011

Ken Jacobs uses his strobe series continues with another masterpiece. Starting material is a short segment of a travel film from the colonial period (from Bangkok, I think the catalog is unfortunately not only plays any useful information, the Internet, I can raise nothing). The film is structured on a linear, directional movement through space, until (I think) it is the movement of a ship, then a train. Jacobs translates the movement into a real phantom movement and the central perspective as it were, increased representation of space (the complex mechanical camera / rail korresponidert with the colonial military apparatus, the soldiers stand for the camera lane and keep the oppressed out of range) into the representative principle caving phantom space. Perhaps Another Occupation Jacobs is a response to Avatar .

The Last Buffalo Hunt, Lee Anne Schmitt, 2011

The last wild buffalo herds in North America were settled in Utah, of all places in an area that occurred in the animals not historical. The population, their natural enemies have died or how they themselves were exterminated, is controlled by hunting. Old men (and a particularly hard to bear middle-aged woman who likes abknallt in Utah or rare African animals, but not so happy camps "and would otherwise be very happy day in the mall) stage during this hunt as a last true americans alive, of course, they are no longer involved in the exploitation of a continent, they only use a service and pay . The organizer Terry speaks at least as much about the business aspect of his job as about his longing for nature and adventure.
Lee Anne Schmitt continues with her California Company Town begun historiographical project. Again, it's about a search for clues in the desert to get out of time fallen remains of past struggles. The last Buffalo hunters are the inheritors of a movement of expansion, destroyed the animal races and tribes. These heirs are now living in a kind of self-imposed reserve and look for the lost frontier. Frederick Jackson Turner is quoted, the myth of America is dissected on a living object, and haunts his culture industry branches - the last picture is from Las Vegas. The images of the dying buffalo have an intrinsic value in all the rises and falls do not not want.

Kommander Kulas, Khavn, 2011

A piano not only plays, but also sings old love songs, also at some point starts to burn. Twelve songs, twelve o'clock in between passages of a colorfully dressed man on a water buffalo by rigid settings and twelve monologues of "lost heart" that look as if they had sprung from a SM-performance, voice and Körüer diverge. Khavn samples the own (poems, novels, mythology private) and foreign (old hits, Western and horror film industry) material, it pressed into a rigid structure and possible call the result a film. Well it's there, the Khavn.

Nainsukh, Amit Dutta, 2010

After the great The Man's Woman and Other Stories a mean disappointment. A biography of the artist in an artistic and never arragnierten conventional panels, which looks great, but it never comes alive, at least not for philistines in terms of Indian art history like me. The secrets that contains the film, is something for philologists, even the decryption would feel it, can not be attributed to any present. The extraordinary pictorial talent is evident in every frame, but I very much hope that this Indian Parajanov the next time venturing further out into the world.

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IFF Rotterdam 2011: Reign of Assassins, Su Chao Bin, 2010 Rotterdam IFF

two separate parts of a rotting corpse hidden must unite again, who wants to be ruler of the Martial World. The glossy black body must be owned at the shiny black upper body, this idea is primarily a eunuch and clan chief. The entire body would also be his body (including Mustache) again complete. At twelve he was sent to the convent and emasculated since bow he lives a double life as a low-ranking monk, he must be in front of small boys, as the clan chief, he wears a mask and hystericalises the Martial World and its transcendental body modification induced normal. Barbie Hsu makes him additionally as a feisty love interest vapor. Zeng Jing
other hand, wants to get out of the Martial World, the only work by means of body transformation. Insects eat her face (which by Kelly Lin) from the inside out, they get a new one, a few years older (the Michelle Yeoh). The body memory has been preserved, no one cuts faster radishes and more accurate than the former assassin. But it is not the only one that has transformed her body. The Martial World and the two parts of the rotten corpse they can not escape for long. In Hong Kong, not just psycho-sexual action films shot; the request must also directly accessible and visible on the physical, react upon the construction of the world, it must attract not only effects, but after the physical correlates.
Reign of Assassins , a rather medium-sized fantasy action movie without all the biggest stars and the very worst budget has, in some respects like the first real John Woo film since Mission Impossible 2 , despite the fact that the master Credited only as a producer and co-director appears. The man who wrote the movie and staged all responsibility was to me until now completely unknown. No matter how you want to determine the author instance, it has its film fully under control. Something I got from Hong Kong not seen in a long time: a thoroughly experienced, certainly in the genre traditions enshrined production (traditional in such good shape that some almost a little dated, because seems to care) - while an inspired, beautifully free storytelling essay on body politics and the constant reinvention of the self that continued writing his own biography.

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2011: Arrested, Adolfo Alix Jr., 2010

Another Filipino Spatial analysis. The entire film is set in a women's prison, only one set shows (probably) the door from the outside (because it hangs a poster of an anti-drug campaign: "Fix the Fixers"). Inside the gate there is at first glance a lot of freedom. Large parts of the film play out of the little shacks. The women are huddled together, but relatively freely in the yards, at a bathing place (a very nice sequence), between the clothes lines. The state power is merely the careworn, scarred face of a guardian, otherwise create the prisoners their own hierarchies. They are led by two old women, one enterprising Patron and a former star actress, who began her career by selling, drugs. The only major story arcs in this almost entirely of small, everyday situations of imaginary film deals with a fictional film shooting is in jail and a pardon request from the former movie stars.
Presa is a beautiful film, but unfortunately he does not look as good as chassis. Debt that is unfortunately in many small peripheral cinematography has become standard for sub-HD digital image that hardly seems to have an aesthetic intrinsic value and characterize almost all of its shortcomings in comparison to the celluloid material can be: less expressive Opportunities, less depth, uglier edges, more artifacts, and so on. The biggest problem perhaps is that with digital technology, almost everything automatically just looks half-way tolerable, that the need for representation can be satisfied with little effort. other needs have become heavy. Here, Alix looks quite at his mise-en-scene, he only works clearly have a machine that leaves him in forming aesthetic little room to maneuver. Nevertheless, the film is
especially interesting from an institutional perspective. Alix seems to be a position in the Philippine cinema to take, which I did not know until now that they are there: He turns on the edge the mainstream small social realist films with stars (in this case with many stars). How are the films exactly in the market, I can not estimate, there are also some oddities, for chassis features such as a production company responsible, which, absurdly, called "Happy Gilmore Productions. The possibility of a Sandler-Alix-Connection I would like to learn more ... In any case, the end credits of the emblems of European free support institutions, in which one in Rotterdam may otherwise be difficult to save. More than any others, formally more daring films, the two beautiful works by Alix allow a glimpse of a Nationalkinematografie on the move, one that suddenly appear in the new images for the social self-understanding and cracks.

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IFF Rotterdam 2011: Ashes of Time Redux, Wong Kar Wai

Two slow zoom on the face of Maggie Cheung dominate the end of the movie (if it is still a film to mind). That should be the genuine desire pictures that I never buy from the movie in my life. If they represent a desire, then for the last residue of longing for a world in a watercolor moved into Pixelbrei. The zoom would be enough to draw something, not one woman in particular, is so no matter how the man who desires her, but a reflection of skin, muscle movement that can physically recognize sympathize, can. But it would help anything that wins watercolor, Maggie Cheung turns again and again in their own pop-art screen printing, cut the man out of the canvas and hanging in a museum.
A strange, absurd film whose existence I can not explain. Downright brutal it feels like Wong Kar Wai's own images to break something, zukleistert, emptied, as he cuts the ribbon at the world with as much determination as unthinking gesture. (Not that the new film entirely without charm, there are some nice fetish scenes and dramatic lighting, but just actually seeing the panoramic shots from catastrophic). Somehow this is the final reification of the visual - pictures, the referential not only for its object, but equal to be alienated from themselves - but then the question arises, what is economically (and character-economic). The step in the direction of video art is not consistent enough, the voice-over narration turns still back each color blob in the narration, while Ashes of Time Redux works as a genre film - in fact at all: as a movie - just yet not at all.

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IFF Rotterdam 2011: Love in a Puff, Pang Ho-Cheung, 2010

The very opposite of the current Romkom-stylish, nostalgic melodrama Merry-Go-Round . Even more surface films from Hong Kong. Even more serious, I've done with this particular surface, first, point with the executed quickly wiped and wiped away hand-held camera images, with the frenetic assembly, with the bad habit of three picturesque points of view, what has also made an already looked almost too good. Add to that faux-documentary passages and an eternal piano-violin-bustle on the soundtrack. But at some point interfere here all this any more.
The title refers to the well in Hong Kong to the escalating legal, usually beginning with spatial restrictions on smoking. The cigarette breaks will no longer, but the offices held. Employees of various companies get to know that smoking is the brokerage. found after the first round of talks in greater is because even actually two lovebirds, Jimmy and Cherrie, by living in an ever more easily nicotine impregnated romance.
The script makes only one not much more than any of her sponsors, human-interest story. And the staff does first: It is an advertising man, wearing a black horn-rimmed glasses and drives a black Range Rover, it's a few years older, has a strange nose and works as a beautician. Aspiring Yuppies are both more or less, they gave up their own ambitions, already more or less, and set their hopes on the movie begins in a rich, older, jealous boyfriend. Also, he has still not where he might not really wants to go, if one looks at his style of dress, which has retained something of youthful rebelliousness. The characters, even the minor characters are - with one exception - not devastated, as in Merry-Go-Round , but also in Love in a Puff no one rests in itself, no one is entirely with himself and the in the pure world. A basic uncertainty and a basic dissatisfaction with the present can be seen in the discussions of the smokers round in the cautious, jealous looks that are tossed in the attempts to tear open with horror stories of women, even in the crude jokes about smoking and impotence . In a beautiful scene Cherrie learns that Jimmy's ex-girlfriend has lost to a French colleague. In one extended sequence, she plays with his sexual inferiority complex, perhaps inducing him until the film can be sent in such small scenes much open, it is in the Great unfortunately sometimes a bit clumsy, unique closures. But in this one scene, then the sharp, sometimes almost seeming arbitrary style of the film is suddenly sense.

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IFF Rotterdam 2011: 13 Assassins, Takashi Miike, Japan

If the woman, the villain of the limb has been cut, finished her story told and the motto of the entire movie: "Total Massacre" (literally, I think more like "all die") with a posted mouth clamped pen on a piece of paper, turns the chief assassin's head slightly to one side and begins to laugh softly. He has, he said then, finally found a reason to die.
Of course, the scene so far conventionally than to call some classic categories of the samurai film. But why is wrong with her yet. The entire film is conventional, which we read everywhere, as if he had anything to say so, as could not be a conventional story seriously. Of course, Miike does not take anything seriously, but if the Fießling says: "the stupid way is more fun" and thus open eyes in the direction of enemy, and nearly one-hour bloodbath marches then that is not only self-reflexive wink and play with the audience expectations, the man remains in character. Like the fold-and expressionless white surface of this face at the end of a mud-and blood mask placed receives and thanked then for their murders, giving him the most exciting day of her life have given (even before he is childishly excited because he pain and anxiety can feel) that is above all a powerful genre moment, as a coda to a spectacular, sprawling in all directions combat sequence. This battle sequence in turn is a catalog of martial action film, its motives, its spatial logics, its pathos forms, especially great is a nightmarish episode decentered, angled shots in which the unit composition thoroughly out of joint.
13 Assassins is a rich film that has the classic cinema also learned how little scenes and minor characters can give eigenvalues, which they did not in the high-concept blockbusters, can still win in a genre modernist formations. Also great is just for example, like Miike introduces the main setting for the film, a remote mountain village, which reminds a little of the actual town of Kurosawa's Seven Samurai . The local clan chief offers to the samurai, that if she left him for a few gold pieces, quiet the entire village may burn. "We will build it again just afterwards." He later sold young women from the village as a prostitute in the sexually voracious forest warrior (if Miike is not a true figure, there has never been one). As all women are tired, take the wood sprite is equal to the clan chief, itself.
13 Assassins is a fascinating mix of genre conservatism and innovation, an author of film through and through. Me that the (not always well received in Venice) film has so impressed, may also be because I could see him in the first time outside of Japan submitted in full version (144 minutes). Miike himself told in a video message the demonstration that the film is in this version much more miikeesque. But when should have been cut out for international markets really just the best 25 minutes I can explain with the best will, like Tarantino and his colleagues have calculated this epic prefer Somewhere .

Electric Box Solutions Level 41

IFF Rotterdam 2011: Chassis, Adolfo Alix, Jr., 2010

Again, a young Filipino director ... Adolfo Alix has indeed already made a number of films (16 according to Wikipedia, probably not all are listed, five of work in 2010, some of them apparently commissioned work within the industry without too much self-interest) knew, I now only its segment Manila, a fairly straight remake of Lino Brocka Jaguar, which I found at that time not so interesting. chassis but is a very, very beautiful film. In the quiet, unassuming black and white settings (the contrast between the pale glare of Tagszenen and blocks of black metal and dark skin into the illuminated night scenes), I felt at home immediately.
Alix 'film picks up on something more conventional, more conservative way, the aesthetic and narrative elements of neo-realism, as it does Mendoza. Far less is about the energetic evocation of individual situations, there is instead a subtle stylization the world of the film moves a bit in the distance. The script is simple, austere, straightforward, clearly interested in categories such as motivic coherence. But the writer characterizes logic is just not in every scene.
For as the Mendoza-films is also chassis from one place, not a story. Almost the entire film takes place on the pitch of a transport company. The place that brings the Filipino economy going, is also a precarious habitat. The families of truck drivers live on the premises, directly under the trucks, since then two, three square meters of cardboard on the floor, a hammock is stretched, lying beside a few clothes, a canister of water and more than two or three other things. The women defend themselves against their misery, and above all, try it - away from the body - in spite of prostitution as a additional income and extorted sex with the guards. The main character Nora (played by Jodi Sta. Maria, a professional actress whose most impassive face imparts to the film, almost like a stamp) deals with the schooling of their daughter, she tinkers her angel wings and hopes long, they send you on a trip to. Alix constructs the community in the parking lot to an organic way, not as an explication obvious oppositions such as poor / not so poor, male / female solidarity / mutual oppression.
When Nora has sex with her husband or a suitor, it represents only a small cardboard wall in front of a passage between two containers. When she first does, the camera is only before the passage when she visited. Then she picks up the paper and the man, the camera now moves ahead of them and they enable a close with the couple.
There is still a dramatic escalation, but which is really nothing more than that: a culmination of what was created in the first, quasi-documentary film half earlier, the update of a potential of (sexual) violence. There is nothing in this film, no subplot, no single setting that could not be tied back to the place from which the movie takes its output.

Motivation Letter Car

IFF Rotterdam 2011: Merry-Go-Round, Clamento Cheng Sze-Kit / Yan Yan Mak, 2010

Two women, a return to a young one old, independently of one another from San Francisco back to her hometown of Hong Kong. Once there, cross over by threads of fate, the boy - perhaps - a new, the old woman - perhaps - a lost love. In Merry-Go-Round , an independent, but why not cheaply produced melodrama from Hong Kong, whose emotional images have me besieged until I was at the end so far, even still love to her at first sight, essentially false glitter, are all all the figures on the body and / or soul sick, broken, ill. Behind each set (oddly enough in English) Indie-pop ballads, behind images that flicker and vibrate for sheer polish, love the lens flare, which are pastel colors if you want to say past behind before gently moving camera draped tulle appear when you leave the film only time, real feelings. Merry-Go-Round returns do not always stylish lined diverted to the bittersweet Hong Kong romances of the nineties, some of which fell with some very good (not only In the Mood for Love but Hong Kong Love Affair , Kitchen and so on). Of course there is always a very direct, and perhaps clumsy way to "cinematic" correlates searched for feelings, but that has never bothered me. The smart cynicism in many American and European films, love is much worse. What the Hong Kong film-making really is that they zerdehnen the retained desire and the compensating pain, over the span of a film, each scene, innerdiegetisch for decades, all biographies, or, as in the case of Merry-Go-Round , even of all generations. Inevitably, the films have problems if close to the time of scissors and one of the two partners do not be late in the wrong place. In the American Romance (as there is of course a great tradition, today it has probably on television shifted in the sitcoms and teen soaps) the re-updating of love is inevitably the vanishing point, the happy ending may be a cliché to be, outwardly, it is the movies never in Asian cinema, there is, I believe, a different structure, one in which the worlds of the two lovers fall into each other just never quite allowed, because otherwise the film is not only simply, but would be broken.