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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 .

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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.

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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.