Khan Khanne (2014)

Khan Khanne (2014)

Director:Jean-Luc Godard
Runtime:     8mn 46s




Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival.
Made public the 21/05/2014.

Ida (2013)

Ida (2013)

Director: Pawel Pawlikowski
Country:Poland
Runtime: 80 min


Directed by Pawel Pawlikowski (My Summer of Love), this story of faith and despair is gracefully told, its simple, uncluttered spaces and luminous black-and-white photography harking back to Robert Bresson. Innocent young Ida (Agata Trzebuchowska), raised in a Polish convent and preparing to take her vows, is persuaded by the Mother Superior to make contact with her only known relative, an aunt (Agata Kulesza) who reveals to the young novitiate that her father was Jewish and her parents both died in the Nazi occupation. Hoping to uncover the details, the two women set off for the family's hometown, where the romantic attentions of a handsome young sax player in the hotel bar prove almost as troubling to Ida as her parents' demise.

In Hiding (2013)

In Hiding (2013)

Director: Jan Kidawa-Blonski
Country: Poland
Runtime: 103 minute


Radom under Nazi occupation at the end of World War II. After the tragic death of her mother a young girl, Janina, lives alone with her father a photographer. He decides to give shelter to a young Jewish girl, Esther, the daughter of his friend who has been hiding in a small room under the floor. Initially Janina rebels against this situation, but soon begins to take an interest in the involuntary tenant. Gradually, curiosity turns into fascination. One day Janina’s father is arrested in street roundup and now Janina has to look after Esther alone. The young women start to live in almost complete isolation from the outside world: loneliness and fear bring them closer and closer. Mutual dramatic experiences make their relationship more intimate. When the war ends Janina hides the news from Ester and continues to keep her in hiding as her erotic fascination with Esther turns into an obsession.

The Notebook (2013)

The Notebook (2013)

Director: János Szász
Country: Hungary
Runtime: 109 min

Towards the end of World War II, people in big cities are at the mercy of air raids and death by starvation. A desperate young mother leaves her 13-year-old twin sons at their grandmother's house in the country, despite the fact that this grandmother is a cruel and bestial alcoholic. The villagers call her “the Witch” because she is rumoured to have poisoned her husband long ago.

Previously pampered, the twins must learn how to survive alone in their new, rural surroundings. They realise that the only way to cope with the absurd and inhumane world of adults and war is to become completely unfeeling and merciless. By learning to free themselves from hunger, pain and emotion, they will be able to endure future hardships. So they begin their own series of studies: they fortify their spirits by reading the Bible and learning foreign languages. They practice every day to harden their bodies and minds. They hold their hands over flames, cut their legs, arms and chests with a knife and pour alcohol right on their wounds. They desensitize themselves to insults and learn to ignore the more insidious appeals of sentiment and love.

The twins keep a written record of all they have witnessed during the war, the Notebook. When they write, they follow their own strict code: The prose must be free from emotion, the notes precise and objective.

Based on Agota Kristof's famous novel.

When Evening Falls on Bucharest or Metabolism (2013)

When Evening Falls on Bucharest or Metabolism (2013)

Director: Corneliu Porumboiu
Country: Romania
Runtime: 89 min








Focused on a director and his leading actress while they are off the set. They discuss the discrepancies between film and digital cinema, Western and Eastern food, and try to capture an unfiltered (and seemingly impossible) sense of "reality" on film.

Television (2012)

Television (2012)

Director: Mostofa Sarwar Farooki
Country: Bangladesh
Runtime: 106 min 


As a leader of the local community, Chairman Amin bans every kind of image in his water-locked village in rural Bangladesh. He even goes on to claim that imagination is also sinful since it gives one the license to infiltrate into any prohibited territory. But change is a desperate wind that is difficult to resist by shutting the window. The tension between this traditional window and modern wind grows to such an extent that it starts to leave a ripple effect on the lives of a group of typically colorful, eccentric, and emotional people living in that village. But at the very end of the film, Television, which he hated so much, comes to the rescue and helps Chairman Amin reach a transcendental state where he and his God are unified. A new twist to the story makes him embrace IMAGE and IMAGINATION 

Vic + Flo Saw a Bear (2013)

Vic + Flo Saw a Bear (2013)

Director: Denis Côté
Country: Canada
Runtime: 95 min


Vic + Flow Saw a Bear is a darkly mysterious tale of lesbian two ex-cons, Victoria and Florence, trying to make a new life in the backwoods of Quebec. Seeking peace and quite, the couple the slowly begin to feel under siege as Vic's probation office keeps unexpectedly popping up and a strange woman in the neighborhood soon turns out to be an increasingly menacing shadow from Flo's past. With it's collection of complex and eccentric characters, unexpected plot twists and unsettling humor, director Denis Cote (Curling, Bestiaire) has created an original film that is as once traumatizing, uplifting, and utterly breathless.

Life Feels Good (2013)

Life Feels Good (2013)
Director: Maciej Pieprzyca
Country: Poland
Runtime: 107 min

Maciej Pieprzyca’s entertaining film about a man diagnosed with cerebral palsy could generate arthouse interest.

Neither tearfully sentimental nor coldly scientific, “Life Feels Good,” Maciej Pieprzyca’s film about a man with cerebral palsy struggling to communicate to those around him that he is an intelligent, sentient human being, instead proves oddly entertaining. The protagonist, diagnosed as mentally retarded since childhood, delivers interior monologues that supply ironically normal counterpoint to the contorted sounds and spastic movements he makes. Brilliantly thesped by non-disabled actors playing the character as both child and grown-up, the film captures as much wonderment as frustration, and is filled with fully fleshed-out characters that defy simple categorization. Having swept the jury, audience and ecumenical prizes at the Montreal fest, this Polish feature could generate genuine arthouse interest.

Helmer-scripter Pieprzyca places the character of Mateusz squarely at his story’s center. As a boy (Kamil Tkacz), Mateusz devises a unique method of moving around the apartment, lying on his back and flailing his arms to propel himself backward, which gives him a measure of autonomy.  His happy childhood provides all kinds of education, from social instruction gained by watching neighbors from his window, to cosmic knowledge imparted by his whimsical wizard of a father (Arkadiusz Jakubik). While his mother (Dorota Kolak) wheels him around and showers him with kisses and laughter, his father fires his imagination.

As he grows up, Mateusz (his role now undertaken by David Ogrodnik) even wins a loving girlfriend, the beautiful blonde next door (Anna Karczmarczyk).  But, as with all his attempts to influence the world around him, his efforts to help her backfire: Momentarily freed of her abusive dad, she flees with Mom to parts unknown. Exit romance.

But not sex. Once his father dies and his mother becomes unable to physically tend to him, Mateusz is uprooted and placed in a home for the mentally disabled (or “morons,” as they are unkindly called), where only his undying interest in breasts keeps him sane. He devises a system to judge female caretakers by breast size, since they have little else going for them. Even more than at home, where his excitement at possibilities for communication were misread as hysteria and met with sympathetic quashing of his supposed “fits,” he is treated like a mindless carcass in the asylum.

Then Magda (Katarzyna Zawadzka), a beautiful new nurse, arrives and pays loving attention, dancing for him and waltzing with him in the wheelchair, the subjective camera turning in time to celebratory music. She even lets him touch her breasts; Mateusz feels vindicated. But comprehension does not always prove a blessing: When Magda takes him on an outing for her own neurotic needs, he understands her betrayal all too clearly.

Pieprzyca situates the central axis of his film in that gap between the emotional vegetable, seen by even the kindliest, and the smart, quite sardonic “inner Mateusz” manifested in his interior monologues and extremely expressive eyes. His erratic movements and unintelligible sounds register less as symptoms of disease than as a language that others are too unimaginative to interpret.

Visually, “Life Feels Good” falls somewhere between the overstated optics of “The Diving Bell and the Butterfly” and the clinical/humanistic distance of “The Sessions.” Like these disability dramas, the film is based on a true story, though its happy ending yields some unexpected twists.

The Rocket (2013)

The Rocket (2013)

Director: Kim Mordaunt 
Country: Australia
Runtime: 96 min

THE ROCKET begins with the birth of twin boys in rural Laos. Local superstition dictates that one is blessed, while the other is cursed, and the only way to return balance to the village is to get rid of them both. But when the second baby emerges stillborn, the young mother hides the truth – and raises her “cursed” child Ahlo without the knowledge of his possible destiny. When an Australian corporation carries out a village-wide relocation for a hydroelectric project, the boy and his family suddenly find themselves refugees. As the truth about his birth becomes known, Ahlo begins a journey down a path of redemption, strewn with unexploded bombs, hungry ghosts and the healing power of James Brown. Director Kim Mordaunt has crafted an explosive fable of human connection, marked by extraordinary performances from his child actors and haunting imagery of a land still reeling from the destruction of the Vietnam War

Journey to the West (2014)

Journey to the West (2014)

Director: Ming-liang Tsai
Country:Taiwan 
Runtime: 56 min

The face of an exhausted man breathing deeply, his face agitated and, nearby, the sea. A Buddhist monk walks barefoot and incredibly slowly through Marseille – so slowly, that his progress is barely perceptible and he becomes a calming influence in the midst of the town’s goings-on.

More like a performance or installation art project than an ‘art film’, "Le Voyage en Occident" (Xi you) is a follow-up to the 2012 short "Walker" or a kind of second segment, set in Marseille (South France - French Mediterranean coast).
Consisting of only 14 shots of varying lengths - from very brief to a centrepiece of approximately 20 minutes - the film shows two men, narratively unconnected, who finally come together in a sequence that shows off both actors’ physical skills and sense of timing.
Lee Kang-sheng, who features in all Tsai Ming-liang’s films, plays the monk with impressive energy. His uniform slow motion footsteps and devoted posture turn his performance into a veritable tour de force as he unswervingly makes his way from the coast to the market in Noailles (popular market with mixed communities people), like an illusion in his bright red robe. Xi You represents another edition of the director’s series of short films that expand Lee Kang-sheng’s thirty minute slow walking performance at Taipei’s National Theatre into a ‘slow walking expedition’. Unusual, brilliantly chosen camera angles provide a collage of various districts in Marseille, creating a hypnotic space in which this meditative peregrination becomes a surprising journey of discovery.