▼
Sunday, August 12, 2012

131. U.S. director Arthur Penn’s “The Missouri Breaks” (1976): Re-evaluation of a Western trashed by many film critics

›
T he Missouri Breaks deserves more attention than it has received over the years. Apart from the fact that it contains one of...
1 comment:
Wednesday, July 18, 2012

130. Korean filmmaker Chang-dong Lee’s “Shi” (Poetry) (2010): Learning to look at apples anew

›
G ood Korean cinema often involves very little verbal talk. The visuals often do the talking, which is not common for mo...
5 comments:
Wednesday, June 27, 2012

129. Chadean filmmaker Mahamet-Saleh Haroun's “Un Homme Qui Crie” (A Screaming Man) (2010): A subtle perspective from African cinema on an unusual father and son relationship

›
“ Be careful not to cross your arms over your chest,   assuming the sterile attitude of a spectator,   because life i...
1 comment:
Monday, May 07, 2012

128. Russian director Alexander Sokurov’s German film “Faust” (2011): Reflecting on the Faust syndrome in our lives

›
A lexander Sokurov’s Faust is a complex film. It is also an amazing film dealing with the good and the evil in each of us. T...
2 comments:
Tuesday, March 20, 2012

127. Iranian director Mohammad Rasoulof’s “Bé omid é didar/See you later” (Good bye) (2011): A courageous film capturing terror on screen without a scream being heard

›
T he overall impact of viewing the Iranian film Goodbye reminds you of another unrelated film from USA. Way back in 1...
2 comments:
Wednesday, February 29, 2012

126. Japanese director Naomi Kawase’s “Hanezu no tsuki” (Hanezu) (2011): The Terrence Malick of Japan makes a film on comprehending life from a Japanese perspective

›
N aomi Kawase is arguably the most interesting active Japanese director today. Her cinematic themes are intrinsic...