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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