Telstra M450 Answering Machine User Manual

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.

Patrycja Kołodziej

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.

überfall Melina Velba

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.