Best films of 2015

635861538214648830707022199_features-movies-of-2015Tom Donley returns to Picturenose with his take on the best of last year.

Reflecting on 2015, I recognize that the majority of my favorite cinematic experiences entail a pull towards nature and the environment. Perhaps even a push back towards not trusting technology; a pursuit for simpler times. Perhaps this is my current state of mind. Not enough open space and fresh air, but surrounded by too much technology and a resounding call for efficiency.

We sometimes try to find meaning and relationships through social media where there are friends we would no longer recognize. We sometimes take for granted our current situations without reflecting on the potential negative affects our actions will leave. In some respects, this aversion towards forward thinking reigns throughout my top 20 films.

Peace out 2015!

#20. While We’re Young (2014)

Settling into mid life, Josh (Ben Stiller) and Cornelia (Naomi Watts) have found themselves stuck in a rut. Josh has wasted the last decade fumbling through a war documentary that no one cares about while Cornelia doesn’t have much more going on than regretting not having children. The couple needs something new. A proverbial spark in their lives. This fiery particle comes in the form of a young, hip couple — Jamie (Adam Driver) and Darby (Amanda Seyfried). Jamie too is an aspiring documentarian and Darby is a free-spirit up for just about anything. For better and for worse, the couples join forces, connect and become business partners.

In director Noah Baumbach’s previous work, Frances Ha (2012), I felt uncomfortable being surrounded by a Gen-Xers, a completely self-absorbed, shallow group. Basically the people who fill my nightmares and I run away from at parties. While We’re Young’s characters possess their own drawbacks, but they’re still approachable. They have ambitions that are relatable and ideas that are palatable.

While We’re Young isn’t a great movie, but it is a relevant one. We understand the message that everything in life is cyclical. And although the character arches don’t quite hit the watershed mark, the final scene as a 2 year old child is thumbing his way through an iphone while Josh and Cornelia look on in horror is quite the ending..

#19. Bone Tomahawk (2015)

What’s with David Arquette getting eaten in every western (Ravenous (1999))?

Bone Tomahawk is like listening to a mashup of Rob Zombie’s Dragula and Sons of the Pioneers’ Cool Water: the crossover of a classical western and a bloody cannibal film that generates an engaging and unique story.

To start, Bone Tomahawk does not begin in the usual western fashion. With a bang we are left looking for answers. We then see the characters ease into their roles as the local sheriff, his sidekick, the damsel in distress, and the gruff cowboy hero. The townspeople mingle in their usual way and Bone Tomahawk begins to drag its boots in the sand. That is, until the unseen enemy comes a knocking. The damsel and others are kidnapped to the hills, presumably for a lovely dinner on the range. Time for action.

Sheriff Franklin Hunt (Kurt Russell) and Chicory (Richard Jenkins) are accompanied by Arthur O’Dwyer (Patrick Wilson) and John Brooder (Matthew Fox) to find the three kidnapped citizens including Arthur’s wife Samantha (Lili Simmons). But who exactly took the three and what exactly are they?

The pursuit keeps Bone Tomahawk tantalizing all the way throughout its mosey-mosy set-up to its incredibly violent conclusion. With one of the most shocking scenes this year, I won’t be able to look at a liquor flask the same ever again.

#18. Western (2015)

A silent observer, watching like a hawk. Twitching as his eyes scan the landscape. Never a word. Only searching, watching. The protector of America.

Wearing a ten-gallon hat, the mayor of Eagle Pass, Texas, Chad Foster, isn’t your typical politician. His feet are grounded and his voice has the ability to unite those on both sides of the border. While one border tries to come to grips with the daily violence committed by the Mexican Drug Cartels the other side of the border manifests a chest-thumping, paranoia-driven US. It is up to Mayor Foster breath reason into the political voice.

Seamlessly switching from fluent Spanish that engages entire audiences in Mexico to his speak-easy tone in a southern drawl to reporters in the States, Foster was a special person (he died of cancer just after filming). It is an impossible task asked of just one person. His side-kick, Jose Manuel Maldonado, mayor of the Mexican border town, Piedras Negras, also had a flair to achieve change, but he doesn’t have the intangible ability of Foster to unite.

Brother documentarians, Bill and Turner Ross, settle their lenses on comparable allies who achieve different results. On the other storyline, the Ross brothers follow a small-town rancher with cattle interests on both ends of the border. Once the violence gets too close to the border, the USDA doesn’t allow US cattle inspectors to travel to Mexico, bringing the rancher’s entire operation to a halt. With no backup plan, rumors and the news are followed religiously. It is now just one aspect of Mayor Foster’s duty to ensure the correct news is disseminated to the American public, while also ensuring their racism doesn’t affect their relationship with Piedras Negras.

There isn’t much action, but there are twists and turns and not everyone is fortunate to live through this dark period in Mexico’s history.

#17. The Voices (2014)

Director Marjane Satrapi (who made one of my favorite recent French films Poulet aux Prunes (2011)) has re-emerged with a colorfully unique slasher flick featuring Ryan Reynolds as the slicer and dicer.

Reminiscent of Dr. Doolittle, Jerry (Reynolds) has the ability to hear his pets speak. His pets serve as his conscience and temptation. The obvious option, his dog, Boscoe, tries to steer Jerry in the right direction, whereas his feline, Mr. Whiskers, wants his wickedness to surface. Speaking critters aside, Jerry is a strange one. He’s a pretty upbeat guy working at a factory and he has a normal crush on Fiona (Gemma Arterton) who works at the same factory. After a few conversations with Mr. Whiskers, things soon become apparent that something is a little unusual about Jerry.

The voices aren’t the only unusual thing about Jerry, but what he also perceives to be reality throughout his house. Eventually, reality does catch up to him and his response, again with the encouragement of Mr. Whiskers, takes us to a place that not even Jerry’s psychosis can cover up. If you are a fan of horror films than you cannot miss this oft overlooked gem!

The ending credits, with Jerry, his victims, and Jesus quite simply was a move of genius.

#16. Mommy (2014)

I’ve read that it takes two scenes two truly great scenes — to create a memorable film. In Xavier Dolan’s Mommy, he creates these two scenes that literally allow his characters more space to breathe and then literally strips it away.

This French-Canadian drama about a mother, Diane (Anne Dorval), and her temperamental son, Steve (Antoine-Olivier Pilon), is a difficult experience to manage. It is gorgeously shot and the characters feel all too real. Mommy is shot is a square frame, meaning the about a quarter of the screen on both sides are not used. Before long you feel claustrophobic and uncomfortable with the reality Mommy portrays. The small hopes and dreams of Diane are slowly stripped away by the personalities around her. The moment when she comes to the realization that she will need to let her son go drives a dagger through your heart. A decision no single parent could ever want to make.

Mommy is just another shining moment for Dolan from 2015. Even if you are unwilling to watch the entire film, go to youtube and you’ll see the large majority of the film’s segments which watch like a painful music video, but still hold the majestic storytelling Dolan is known to create. Dolan has this unseen talent for juxtaposing music with unlikely scenes that force layers of feelings and experiences all within one scene.

#15. What We Do in the Shadows (2014)

The documentary-style parody follows a clan of vampires as they navigate today’s complex world of roommates, electronics and clubbing. A hilarious group of vampire flatmates — Viago (Taika Waititi), Deacon (Jonathan Brugh), and Vladislav (Jemaine Clement) —  deal with the same issues we mortals do even after living together for hundreds of years. Squabbles run amok and it takes a new younger, hipper flatmate to show them the ropes on how to vampire properly in the 21st century.

The half goofy parody provides a refreshing tone that resembles a mashed up version of Best in Show (2000) and HBO series Flight of the Conchords. Several moments will have you laughing out loud and quoting lines that will have people questioning what the hell you are talking about.

#14. Mad Max: Fury Road (2015)

Director George Miller reprises his role in telling the story of Mad Max. Max (Tom Hardy) might be in the title, but this story is all about Furiosa (Charlize Theron) and her fight to seek out her homeland. Furiosa takes a group of women into the desert as they attempt to escape their tyrannical ruler.  The group doesn’t get too far before they are spotted and forced to return.

The landscape sets the stage and the action keeps you tuned in, but the performance by Charlize is remarkable. Hardy too receives some praise, but other than a few grunts and sideway looks, his presence is always quickly swayed away from the explosive Charlize. For such a big-budget blockbuster to anamor audiences of all ages and genders is testament to how well the story is retold.

#13. Wild Tales (2015)

A fun and inventive series of vignettes showcasing various wild tales of Argentinian individuals. From ruined weddings to road rage and reasons not to have children to reasons not to fly, Wild Tales puts the pedal to the metal and flies fast to tell creative and original stories. Some are absolutely bonkers while others are more methodical and circumstantial. Almost like listening to mates tell a tall tale over drinks and you’re not sure whether to believe the hijinks or just laugh and get on with it.

Without a single tale tall being weak of boring, my wife and I each had differing favorite vignettes proving the Wild Tales is well worth the chaos.

#12. Cartel Land (2015)

Heads are literally rolling in the streets. This is not insensitive. This is the reality. In Cartel Land, a community-based organization has decided it’s had enough corruption and violence in its city and are taking a stand against the drug cartels. Only problem is that when you stand up to the cartels there is likelihood that you may not survive.

Cartel Land begins with the funeral of a family of farmers. The entire family. Babies, children, parents, cousins, sisters, brothers. Everybody. Why? Because the owner of a lime farm couldn’t pay the drug cartel an operation fee. Instead of taking the money or loot, they took the lives of the farm’s workers.

Cartel Land is such a pungent look into the heart of the current drug crisis. What seems like an organic, social movement to eradicate the cartels from their land takes a new spin in the documentary’s third act. Even among the good guys, the environment allows the wicked to flourish and the good to be persecuted. Leaving not much hope for the current and future generation.

#11. It Follows (2014)

From the opening scene, we become aware that this isn’t a normal horror film. As a scantily-clad teenager, inexplicably runs frantically throughout her neighborhood in high heels, neighbors and her father watch in utter confusion. It’s like watching a game of one-person tag.

A cautionary tale of sexually transmitted diseases in the form of a supernatural force that follows the afflicted after bumping uglies with an infected amant. What is the force’s end game? To end you and continue to follow those before you. So you have a decision: let the force take you or pass it on to someone else. Jay (Maika Monroe) has become infected and now has to make this decision just as the person who infected her.

There are several parts that have you jumping in anticipation. Not in a good way. It Follows is one the most psychologically twisted horror films of this decade.

#10. Spotlight (2015)

In 2001, the Boston Globe ran a breakthrough story on the systematic sexual abuse of children by the Catholic Church. The Globe’s internal specialized research team, Spotlight, was responsible for finding the facts and revealing the truth.

If you were paying attention to the news after 9/11 occurred, this shouldn’t be news to you. So the potency and dramatic process of the reveal is truly captivating. Director Tom McCarthy (who doesn’t have a bad film under his name) jam packs the spotlight with an all-star cast (Michael Keaton, Mark Ruffalo, Rachel McAdams, Liev Schreiber, ect.), this basic, unflawed narrative packs punches even while you know when the punches are coming.

#9. The Hateful 8 (2015)

Quentin Tarantino masters white lies while the blood runs black.

Immersed in the Wyoming mountains is a group of eight menacing individuals seek shelter in a secluded cabin during a blizzard. All eight have a reason for being in the middle of nowhere, but some are there with yet another purpose. A purpose that not everyone is privy to and a motivation to see that not everyone makes it out of the blizzard alive.

Violence drives more of the story than in previous Tarantino’s masterpieces, but the questioning and who-dunnit back and forth is pure Tarantino. He is always getting the best out of his actors (Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Demian Bichir, Tim Roth, Michael Madson and Bruce Dern). At times the characters act like toddlers hitting others when one speaks out of turn and the violence teeters between excessive and overblown. Nonetheless, the dark humor stands above and the always unique dialogue speaks volumes.

#8. Star Wars VII – The Force Awakens (2015)

Spoiler Free Zone! Spoiler Free Zone!

Let’s be clear about one thing — this is a fun movie. I don’t care if you’re not into sci-fi or don’t get the whole Star Wars thing. This will keep you intrigued and entertained. Everything about The Force Awakens feels comforting yet new. I couldn’t imagine the pressure to pull it all off, but Director J.J. Abrams has really created something to be proud of accomplishing.

I won’t go into the plot or the fact that my least favorite actor in the galaxy plays a pivotal role. Yet John Boyega (as Finn) has copious amount of screen presence and commands your interest. This isn’t his first sci-fi turn from the maddening underseen Attack the Block (2011). Daisy Ridley (Rey) is breathtaking and not in the traditional Hollywood fashion: hey, let’s allow the women to kick some butt, but just make sure she flaps her hair from side to side and flaunts a v-neck in every shot including dialogue.

My sentiment is perfectly summarized by the gentleman in his mid-40’s sitting in the row in front of me, who had a smile plastered to his face from start to finish, dodging blasters during the action scenes.

#7. Inside Out (2015)

Pixar’s latest takes us into the psyche of Riley and turns it inside out. Riley, a young girl, has moved from the frozen lakes of Minnesota to the veggie pizzas of San Francisco. Riley is driven by five emotions — Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Sadness (Phyllis Smith) and Disgust (Mindy Kaling) — each competing to direct her actions and build her memories.

Now that Riley is no longer in her comfort zone, Joy has to give room to some of the other emotions to ensure Riley navigates this trying period. The jokes land and emotions soak. Inside Out is another inventive installment within the Pixar trophy cabinet.

#6. Mr. Holmes (2015)

Director Bill Condon brings to life a retired and mentally frail Sherlock Holmes (Ian McKellen) as he attempts to piece together his final mystery. He is watched over by his full-time nanny (Laura Linney) and develops a close, but sometimes faded, relationship with her son Roger (Milo Parker).

The mystery plays out over several decades as Mr. Holmes’ memories begin to dissolve into an abyss. His regrets, pride and cunning intellect sometimes create barriers to solving the mystery at hand. McKellen portrays Mr. Holmes in top notch form and leaves no doubt that McKellen’s skills haven’t dulled even the slightest after all these years.

#5. Tangerine (2015)

You will be hard pressed to find a movie with more energy and as distinctive a voice as Tangerine. Two transgender youths reunite after Sin-Dee (Kitana Kiki Rodriguez) is released from jail. Her best friend and fellow prostitute Alexandra (Mya Taylor), now run throughout Los Angeles trying to track down their pimp, Chester (James Ransone).

Without a doubt, this indie has the most unique and vibrant voice of 2015. Filmed completely on an iphone and utilizing mostly untrained actors, Tangerine takes us to a place we’ve never seen. While the title is never explained, it astutely describes the fresh and vibrant piece.

#4. World of Tomorrow (2015)

The freshman short film created by Don Hertzfeldt (It’s Such a Beautiful Day (2011)) sits solidly as one of my favorite cinema experiences of my life. Perhaps my affection for that previous short film has created an unfair bias towards his second work, but I don’t care. World of Tomorrow is just as experimental in presentation and storyline as It’s Such a Beautiful Day and the messages are just as nuanced and odd. Emily Prime (Winona Mae) time travels back in time to meet the younger version of herself

(Julia Pott). Emily Prime shows the toddler Emily what she has in store for her life and the reason she has travelled back to meet her.

The story is short but moving. I found myself reflecting on its strange story and the underlying meanings for several days. Even after a second viewing, I still wasn’t able to formalize my thoughts on the overall short, but was instead analyzing sections I hadn’t noticed previously. A sign of a thought provoking experience.

#3. Slow West (2015)

Never has a field of wheat been so perfectly captured on screen since Terrence Malick’s Days of Heaven (1978). Sorry Ridley Scott, you tried your best with Gladiator, but its pale in comparison to what director John Maclean was able to accomplish.

All throughout, the ingenuity of the west shines through during a young man’s — Jay’(Kodi Smit-McPhee) — voyage, as he searches for his lost love, Rose (Caren Pistorius) in the American countryside. Rose and her father are clandestine as they try to escape their past, lucrative bounty. It isn’t only Jay searching for the beauty and her father but a gang of bounty hunters lead by the deliciously cavalier Payne (Ben Mendelsohn). Along the way, Jay teams up with an easygoing cowboy — Silas (Michael Fassbender) — who may or may not also have eyes for Rose.

As Jay’s and Silas’ path leads them closer and closer to Rose, the two build a bond. Will the two get to Rose first or will the gang of bounty hunters? And what if Jay and Silas do arrive first? Will that be any better outcome? The answer is both original and rewarding.

Slow West is a simple nod of the hat to the old west. The dialogue is as dry as the desert and the cinematography is as lush as the forest. But what makes Slow West stand out from the pack is it distinctive narration that includes subtle caricaturization with just enough absurdity. Yet we never lose our hope that Jay gets to meet Rose one last time.

#2. Ex Machina (2015)

Architecture, music, lighting — everything creates a sense of space and subtlety. Nothing is out of place. Nothing without its purpose. What purpose is it exactly?

Caleb (Domhnall Gleeson) is given the chance of a life time to experiment a new groundbreaking A.I. robot created by his boss and CEO of the world’s largest internet company, Nathan (Oscar Isaac). Everything and everybody has its purpose. For one week Caleb is secluded in a remote mountain house with only Nathan, his butler Kyoko (Sonoya Mizuno), and a robot Ava (Alicia Vikander). Caleb’s only purpose is to perform some unexpected tests.

In what is probably my favorite performance this year, Nathan is the perfect villain. He almost resembles something out of a comic book sequel. A genius, mad scientist with more money than Saudi Prince and the charisma of George Clooney. He walks the fine line of begin your bro and a dark sadistic alcoholic that you always have a hand on your wallet.

It isn’t routine that every frame and every word is leading to a final conclusion. From the very beginning when a computer monitor frames Caleb’s expression to the final second, everything was required to move the story forward. Simply mystifying and grande entertainment.

#1. The Revenant (2015)

I haven’t seen Leo this cold since he was spooning an iceberg.

The depths of despair and motivation for revenge tear us through the Canadian wilderness in the magnificent The Revenant. Director Alejandro González Iñárritu (Birdman (2014) — my #1 film from 2014), has Hugh Glass (Leonardo DiCaprio) and a group of fur trappers maneuver through the wilderness barely escaping the scalping of native americans. Seeking to minimize its losses, the group is on the run, but Glass is horribly injured and delaying the team’s safe return. A decision was made and Glass, John Fitzgerald (Tom Hardy), Bridger (Will Poulter), and Glass’ son, Hawk (Forrest Goodluck) are left behind to ensure Glass pulls through or gets a proper burial. Unforeseen circumstances leave Glass alone and with a new motive to pull through.

Grizzly bears, wolves, indians, French people, and the elements are all in motion to prevent Glass from seeking his revenge. Glass goes through so much adversity that it begins to feel like torture porn. At every turn a new deadly circumstance surfaces.

Reminiscent of The Thin Red Line, The Revenant seamlessly transitions between the unspoiled beauty of nature and the disturbing impact humans cause to one another. The mountains are breathtaking. The cold sends shivers. You can hear and even feel the noises of the animals.

The Revenant inhabits your senses and sparks an animal-like instinct to survive. From the edge of your seat to diving into a freezing river, you’re in for a real, unique experience.

Best scenes of 2015

To conclude with a little different spin, here are some brief moments from my favorite scenes in 2015.

The Homesman (2014) – Tommy Lee Jones concluding an otherwise disappointing film.

Ex Machina (2015) –  Just as the tension begins to mount, some people prefer to dance, dance revolution.

The Revenant (2015) – Grizzly wrestle

Mommy (2014) – Shrink/Expand

Star Wars (2015) – Opening credits

What We Do in the Shadows (2014) – Mobile sunrise

Tangerine (2015) – Final wig share

Wild Tales (2015) – Wedding fight/shag

Cinema Movie Review: SPECTRE (2015)

FIRST-LOOK_postSo Poor, Even Colin Took Real Exception (SPECTRE)

Warning: There may be huge and unannounced spoilers in this review.

What a complete donkey of a Bond film this was. It’s like there’s going to be a thing in future movie lore that suggests every even-numbered Craig Bond is going to be absolute toilet. If Craig has the cojones to make a fifth, it had better be fucking phenomenal. Casino Royale (2006): a splendid return to Bond form, Quantum of Solace (2008): James went on about it but it wasn’t, on reflection, very good at all. Skyfall (2012): Woohoo! It had the lot. SPECTRE (2015): just a bit shy of being utterly unwatchable. Honestly, your friendly reviewer here was enjoying the hospitality provided at the premiere and it may have been the low lighting, the heat, or the two (OK, five) really good glasses of Bollinger I had but I shut down for a little snooze about half an hour in. Seriously, James had to hit my arm to make me wake up. I’m now sorry I may have missed the best 10 minutes of the film.

Let’s start with the credits, shall we? They look like they were done on a tight budget, which we all know isn’t true because the film cost around a squillion pounds to make, or thereabouts. Dreadful kaleidoscopey images with seemingly random faces from Bond’s past popping up for reasons only the ad agency could work out. Unimaginative, uninspiring and dull. One thing that wasn’t dull was the theme tune. Not only is it the worst Bond them ever, topping anything done by anyone else, it’s also a piss-poor attempt in its own right. I admit I had to look it up on the internet. It turns out it’s done by some caterwauling no-talent called Sam Smith and is called The Writing’s on the Wall. The writing on the wall was evidently “you suck”. Pathetic, weedy vocals squeak out a tune that manages to be both forgettable and grating at the same time. Just dreadful.

Where were we? Oh yes, there was a film going on. Sam Mendes (for it was he at the helm of this particular disaster) can knock out a decent film or two, as he has before but this time even his usually deft hands had trouble with a story and script so knowing, self referential and, quite frankly, dull that I stopped caring about it very early on. I watched the rest objectively, looking for the good and yes, there were a few top-drawer jokes, some clinically executed set pieces and a few pretty faces (male and female) to gawp at, depending on your preference. Let’s take these faces and play a little game called “what the hell were they thinking if it wasn’t about the massive pay cheque?” Starting with the most well-known (in my house) Daniel Craig: Looked like he couldn’t be bothered half the time. The words ‘contractual’ and ‘obligation’ sprung to mind. Christoph Waltz: managed an amazing coup by playing exactly the same villain he played in Inglourious Basterds (2009) but slightly less convincingly. His softly-spoken-with-a-big-stick schtick (try saying that fast) is wearing a little thin. Ralph ‘Raif’ Fiennes: couldn’t be more gangly and awkward as M if he tried. Practically invisible. Monica Bellucci: super sexy, all over Bond like a rash, made me think “hello, things are looking up”. She was in it for what seemed like five minutes, tops. Never saw her again. Ben Whishaw: Q never gets going and plays a rather wimpy role in this outing. Not Whishaw’s fault but you can’t polish a turd. Naomie Harris: sexy, funny, more than a match for Bond as we know, hardly appears at all. She’s a supporting actor at best, which sucks something fierce when you consider how she kicked it in Skyfall. Léa Seydoux: who cares? Really. She’s a doctor – just, I suspect to ‘prove’ that the Bond tits-and-teeth can be intelligent too. I bet feminists across the world are wondering if they’ll be out of business tomorrow. She looked well enough, which was at least half her job but again (and through no fault of her own) a weak script and some terribly executed character development made her almost an accessory after the fact. If the fact was ‘sexy doctor loves the taste of a man’s tonsils’.

Overall, you see, there were no characters to invest in, let alone to have ‘an arc’, as they say these days. ‘Facts’ about Bond, Oberhauser (Waltz) the old M, the new ‘C’ (Andrew Scott) and even SPECTRE itself were tossed into the script with a gay abandon that suggests you should either already know them, or that they were inconsequential and not really worth bigging up too much. When you figure out the how and why of one particular snippet, and the ramifications for all future Bond movies, you’ll be wishing there was a pause button in the cinema so you could hit it and go “hang on, what did he just say?”

Now then, you may have thought I’d forgotten to do a plot synopsis. I hadn’t, I was saving the best ’til near the end. Only joking, the story was paper-thin and had more holes than something with lots of holes in it. We kick off in Mexico City on the party day of the year, La dia de los muertos. Bond interrupts whatever he’s doing to go for a rooftop stroll in what I’ll grudgingly admit was a quite awesome piece of camerawork, in a five-minute tracking shot to ice some villain or other in a convoluted fashion to eat into some 15 minutes of the film’s total running time of what seemed like six hours. This made Bond a very naughty spy and he got a telling off for his refusal to stick to the playbook.

Also angry at his maverick attitude was the new boy, C. C is a Centre for National Security big cheese looking to consolidate spying services for Her Majesty’s government plc. Or is he? Yes. Or is he? No idea. Anyway, he takes Bond’s gun and badge, metaphorically, so Bond is forced to go under-undercover and enlist the help of Q and Moneypenny, both of whose time he wasted, really. Other things happen that lead him to SPECTRE HQ and there’s some snow and Oberhhauser is really that guy from Inglourious Basterds and there are some mischievously placed drills and a laughable monologuing scene and there’s a bit where things will blow up in three minutes – or will they? Again, I couldn’t really give a toss.

My final issue was with the colourization of the thing. Every new scene seemed to start in what appeared to be a washed-out pastel shade of some colour or other and, while reasonably easy on the eye, served no purpose, unless some of the film-studies groups out there can tell me why? The CGI in the opening scene was so obvious it hurt and the camera merely served to document rather than to bring anything much else to the party. That could also be due to the boredom factor a lot of the time. Not much really happens, and it takes a bloody ice age to happen when it does, save for the times the writers decided they wanted to introduce a potentially earth-shattering piece of information, when it was tossed into the script like bread to ducks. The ducks had long since lost interest.

Disjointed, messy, over-long and painfully obvious that Craig has had enough of being adored by millions of women worldwide and decided to back-pedal through the whole thing. Here’s the bit when the reviewer ties it all up with an elegant and witty quote and everyone thinks he’s cool. Except I leave you genuinely heavy-hearted in the knowledge that Bond will never be the same again and that complacency made it so. I really wanted to enjoy SPECTRE but I got so little to work with it felt like a labour of love where it should have been spontaneous. A real pity.

Cinema Movie: Star Wars: Episode VII – The Force Awakens (2015)

the-first-movie-posters-for-star-wars-the-force-awakens-might-have-leakedWhy return of Star Wars means US cinema is still in the trailer park

Unless you have been living on a distant planet (presumably one in a galaxy far, far away), you couldn’t have failed to notice that a new addition to the Star Wars franchise will soon be upon us. It’s called Star Wars: Episode VII – The Force Awakens (2015), and the latest trailer was reportedly viewed online 112 million times in the first 24 hours of its release. Furthermore, despite it having a December release, opening day tickets have already sold out across the globe.

All this should come as no surprise, of course. Since the first movie was released in 1977, the Star Wars franchise has become something of a cultural (read: marketing) phenomenon.

Without delving to deeply into the backstory, known to fanboys the world over, let’s jut say that from relatively small beginnings, the Star Wars franchise has developed into a behemoth of Empire proportions, changing cinema as it went. But not for the good. Star Wars destroyed cinema; a scorched-earth policy that sowed salt into fields of creativity.

It all began in the 1970s, which, as any cineast will no doubt tell you, was cinema’s second golden age. The seventies (more accurately, roughly from 1967-1980) was the period when filmmakers, such as Martin Scorsese, Robert Altman, Arthur Penn, Paul Schrader and others flourished, armed with a education in cinema and a desire to make challenging, adult films, often with personal or political themes, and employing actors that would never have swashbuckled in the 1930s or partnered Doris Day 20 years later. The seventies opened-up many a career.

George Lucas was one such filmmaker of this period, along with his Indiana Jones buddy Steven Spielberg.

For Lucas, ejected form his role on developing Apocalypse Now (1979), Star Wars started off as a personal project. His hero is called Luke, after all, while his mentor Francis Ford Coppola habitually referred to him as “kid”, an epithet Han Solo reserves for Luke in the first movie. But more than that, the original trilogy (actually parts 4-6) has its roots in the counterculture, and the ecologically-minded southern California of the 1960s (witness Princess Leia’s renaissance fair get-up or Yoda’s zen-like musings).

Lucas has said that in his original movies the Emperor was modelled on Richard Nixon. If this is true, then the climax of the Return of the Jedi, which sees the might of the technologically-advanced, defoliating Empire brought down by a guerrilla army of jungle-dwelling Ewoks armed with makeshift weapons, is equated with the American defeat in Vietnam. Or, looking at it another way, according to Dale Pollock in his book Skywalking, the Empire stands in to the studio system that sought to thwart Lucas wherever it could, with the likes of the Emperor and Darth Vader standing-in for impassive studio executives.

It is the personal, then, that forms the germ of Star Wars. But, like the chap in the song that got the foreman’s job at last, George Lucas is calling the Hollywood shots these days. He has become the Emperor. But back when the original movie went into production in 1976, the year America tried to lift itself after the psychological blow of Watergate, Lucas (Luke) was on a different path; to pass on those pre-Vietnam values to audiences and to put the awe back into cinema.

In the first instance, he failed, and the unease with which the original trilogy accommodates both its suspicion and admiration for whizz-bang technology sees it hark back to an older era of the cold war (“Where were you in ’62?” asked the tagline of Lucas’s 1973 breakthrough, American Graffiti), and anticipate the its heating-up in the 1980s (it was no surprise that Ronald Regan’s Strategic Defence Initiative was nicknamed ‘Star Wars’, while his small-guy heart-over-head heroes are nothing if not proto-Reganites).

As for the second ambition, American cinema has never recovered from the initial impact of Lucas’ vision of filmmaking. Lucas, and he had an ally in Steven Spielberg, wanted to put the wonder back into movies, jettison complexity. Films were to be immersive, all about feeling. One thing about US cinema in the 1970s was that it exploded genre. Cowboys, gumshoes and gangsters were all killed-off by deconstruction. None of that for Lucas, who wanted no hint of irony in his work. The child-like wonder envisioned for audiences instead made them infantile. Very soon, Ronald Reagan, a child of the movies, would be in the White House. Complexity wasn’t an issue any more, in films or foreign policy.

Robert Altman, a cinematic maverick whose directorial career stalled in the wake of Star Wars and the era of the event movie, rudely called such films “trailer park cinema”. As stories became simpler, and studios no longer investing in potentially risky talent and projects, franchises and sequels became the norm, with producer Lucas and director Spielberg at the vanguard of big-budget spectacles that asked nothing of the audience except to sit back and enjoy the ride. Likewise, by casting WASP-y actors in key roles, Lucas turned-back to a former era. The matinee idol was back in fashion. All this was writ large in the Lucas-Spielberg Indiana Jones collaborations.

When Lucas returned to directing after a 22-year gap to direct the charmless Phantom Menace (1999), the first of a bloodless trilogy of prequels, his return was compared with those of Terrence Malick and Stanley Kubrick, two lauded filmmakers with similar absences from the big screen. But, an awful lot of pixilated water had flown under many a CGI bridge by then, and Lucas was best equipped for the new age. Maybe he prepared the ground too well; the special effects were now in control, with actors, little more than props. At least, with The Force Awakens, director JJ Abrams seems to have taken his actors away from the green screen.

Star Wars looms large over the blockbuster, in every special effect and subordinate leading actor. Every corporate shill who moves form the arthouse to the multiplex still claims they have smuggled a personal vision into the slam-bang action, just as Lucas did.

The original Star Wars trilogy contained enough quality (and merchandising potential) to entice studios to follow their lead. But those qualities died long ago, just as Lucas-the-idealist has been replaced by Lucas-the-mogul. The wheels of marketing tell us that these films are still a big deal (never underestimate the power of marketing to create a kind of collective amnesia – Back to the Future 2 (1989), anyone?), and in the internet age we continue to feel that they are still a vital part of our lives.

When the original Star Wars emerged in 1977, it seemed to come from nowhere, and it touched millions. The latter-day additions to the franchise are just one of the countless millions. Just another action flick. They are their own imitator.

DVD Movie Review: Room 237 (2012)

1682657-poster-1280-room-237-unlock-doc-enlists-kubrick-obsessives-to-decode-secretsDull boys

Picturenose welcomes writer, screenwriter and all-round film expert Paul Morris with his thoughts on Rodney Ascher‘s dissection of Stanley Kubrick‘s The Shining (1980).

There are little boys who love nothing better than passing a lazy summer’s day pulling the legs off spiders – then there are those who like to watch others remove the limbs of said unsuspecting arthropods. The nine disembodied guests gathered around a mike in Room 237 are certainly in the voyeur category.

Room 237 is a conspiracy theory in miniature, or rather in the minutiae wherein they claim lie the hidden messages in Stanley Kubrick’s horror – I prefer psychological – classic The Shining (1980). If you believe the nine ‘experts’ in this insanely detailed work these messages have been breeding faster than a colony of rabbits that has stumbled upon a packet of Viagra. They are, it appears, to be found in every frame, and someone has to be obsessed enough to check every frame, making the film last days rather than its original running time of 146 minutes.

Room 237 is as billed as a documentary but it feels more like a film school test set by a permanently sozzled professor who didn’t quite cut it in Hollywood. Director Rodney Ascher is clearly teacher’s pet. It has the feel of early 1970s commercial films, for some small city attempting to attract first-time buyers to its corner of the dust bowl: in other words, the budget didn’t quite stretch to images that always match or enhance these nine voices of God.

It has been described as “head-spinning” and it has that effect as we are bombarded with the evidence of the secret intentions of one of Hollywood’s most maverick – to put it mildly – filmmakers. In this film the devil in so much in Jack Torrance but in the detail, and there’s lots of it. At times it’s positively hallucinogenic. I had to pause it and take a breather after I watched a very, very slow zoom in on a poster until the camera found a fuzzy image of a skier – you’ll have to watch it to find out the significance of that blurry character.

You have to really buy into this malarkey from the off or you’ll find yourself shouting at the screen ‘Come on!’, ‘Seriously!’, followed by umpteen ‘For real!’s. Kubrick was renowned for being difficult – more, I think, a power struggle with producers than anything to do with creative juices – but the notion that he planted so many little secrets on his set is dubious, not to say ludicrous. I directed my own humble low-low budget feature some time back and the set designers could have dumped a blood-soaked thoroughbred’s head in my hospital bed scene and I wouldn’t have spotted it, such is the frantic nature of no money filmmaking.

The nine different earnest views of what the film is really about range from the genocide of Native Americans to the Apollo 11 moon landing (yes, that old turnip again), rather than simply a very well-made film based (loosely) on a bestseller by Stephen King – “an entertainment”, as Graham Greene used to call some of his novels. I can picture these creative conspiracy theorists staring at the back of the cornflakes packet in the morning until it reveals its true meaning.

A friend of mine took his Granny to the cinema, to see Star Wars (1977). Driving her back home he asked: “So what did you think of the film?” She replied: “It’s a bit far-fetched.”

PS. It’s heartening to know that director Ascher admitted to not believing any of these theories. Thanks for the ride, Rodney.

102 mins.

DVD Movie Review: Le Temps du Loup (The Time of the Wolf) (2003)

vlcsnap2010112215h25m10Not with a bang…

As official selection way back in Cannes 2003, Le Temps du Loup (The Time of the Wolf) (2003) was loved and loathed in equal measure. Both sides have a point – director Michael Haneke had not been so aggressive since the nightmarish but hysterical Funny Games (1997). A disquieting tale of a nameless apocalypse that has reduced Europe to third-world poverty, and the capacity for cruelty revealed in the survivors, Le Temps… is not easy viewing.

But the depth of characterization, coupled with Haneke’s willingness to show that people are capable of good as well as evil in extreme circumstances, makes it impossible to dismiss the film as exploitation.

Things fall apart very quickly – a family arrives at their holiday country cottage, only to have a gun held on them by a wild-eyed man, Fred (Pierre Berriau). Despite attempts to defuse the situation (which are, in fact, early indicators that all is definitely not right in the world), the husband is shot dead – whether by accident or intentionally is never made clear. The perpetrator allows the shell-shocked widow Anna (Isabelle Huppert) and her two children Ben (Lucas Biscombe) and Eva (Anaïs Demoustier) to leave – and they are quickly at the mercy of an increasingly hostile environment. With food and clean water scarce, no electricity and money worthless, the outlook is grim.

Huppert excels in a role that combines the steely determination needed to protect her children as best she can with sincere altruistic overtones, as Anna battles to prevent herself from degenerating to the level of an animal. Solid support is also provided from the child stars, who deliver very mature performances. Refreshing also to see the recently under-used Betty Blue icon, Béatrice Dalle, in a role worthy of her talents, as a forthright, painfully honest member of the makeshift commune to which the wandering family becomes attached.

The concept of society’s threads unravelling is powerful, and, with only one or two unfortunate lapses into grand guignol, the otherwise slow-burn pacing and sense of gathering doom make for an uncomfortable but illuminating journey into darkness.

113 mins. In French.

Cinema Movie Review: Youth (2015)

largeAgeing poorly

They say that youth is wasted on the young; I say retirement is wasted on the old. No, I don’t really mean it – other than for myself, of course. In general terms, I mean that people develop a strong work ethic after slogging for many years and they have difficulty retiring. I would like to front-load my retirement and do it now, before it’s too late and my work ethic has been totally and irrevocably formed.

Which brings me to Youth (2015), a film by Paolo Sorrentino. It is about a retired composer and an unwilling-to-retire film director. I had never heard of the director Sorrentino, but had been very tempted – at least by the trailer – by La grande bellezza (2013), but I didn’t get round to seeing it. Have to say that, unless I hear to the contrary, I am really glad I didn’t bother going. Drawing links between a trailer of one film and another full film may seem unfair. Nevertheless, I was impressed by both the cinematography, the beautiful landscapes and what seemed to be a story outside the normal run-of-the-mill. Those benefits aside, I have to say that Youth is truly a very bad film.

It pains me to write this, but not quite as much as it pained me to sit through it – Youth is a very, very bad film (sorry, I may have already mentioned this). I was also a little flabbergasted and disappointed that the cast had signed up for it. For goodness sake, this film had Michael Caine, Harvey Keitel and a few others including Rachel Weisz and Jane Fonda, FFS. How on earth were they persuaded to turn up for this gig? I imagine they all fancied a bit of a holiday in the Swiss Alps. At the beginning I thought this is going to be great, but it wasn’t. A particular low point was the appearance of singer Paloma Faith, who was there as herself – I had to look her up afterwards and find out who she is and, regrettably, she wasn’t misrepresenting herself.

I could tell you a bit about the story…but honestly, I really can’t be bothered, it was so unbelievably dull. I heartily recommend that anyone who admires and respects the afore-mentioned actors avoids this film.

118 mins.

More Than 1,000 Supporters Across Europe Sign Letter to Free Oleg Sentsov

oleg-sentsov-croppedIn the face of a verdict of the Ukrainian filmmaker expected for 25 August – the prosecution has called for 23 years – supporters, institutional and individual, have gathered well over 1,000 signatures for the EFA letter to the President of Russia and Russian authorities asking for Sentsov’s immediate release. The filmmaker was arrested by the Federal Security Service of the Russian Federation (FSB) in his house in Simferopol on 11 May 2014 and imprisoned in Russia for over a year before his trial even began. Although the key witness has retracted his testimony as given “under duress”, the trial based on the accusation of Oleg Sentsov (pictured) having committed “crimes of a terrorist nature” has continued, the prosecution has now called for a 23-year sentence, and the verdict is expected on 25 August.

On an initiative by the EFA Board a letter has been sent to President Putin and the Russian authorities asking for Oleg Sentsov’s immediate release. With the support by national film academies and individual calls by the Polish Film Academy, the German Film Academy, the Austrian and the Czech Film Academies as well as the Union of Russian Filmmakers, well over 1,000 supporters, most of them from the world of filmmaking, but also members of the public who feel passionately about the case, have added their names to this letter and are calling for Sentsov’s release.

These are their names:

Kasia Adamik, director, Poland

Anastasia Alekseeva, producer, Russia

Tomaily Alekseyb, programmer, Russia

Prof. Claudia von Alemann, director, Germany

Leif Alexis, producer, Germany

Anton Alfimov, journalist, Russia

Willeke van Ammelrooy, actress, Netherlands

Esther Amuser, costume designer, Germany

Kjell-Åke Andersson, director, Sweden

Angeliki Antoniou, director, Greece

Stefan Arsenijevic, director, Serbia

Stanislav Babitsky, retired, Volgograd, Russia

Marion Bailey, actress, United Kingdom

Julie Baines, producer, UK

Vincent Bal, director, Belgium

Roman Balayan, director, Ukraine

Jan Balej, director, Czech Republic

Michael Ballhaus, cinematographer, Germany

Leonardo Baraldi, documentary producer, Italy

Pavel Bardin, filmdirector, Russia

Juliana Bardolim, Berlin, Germany

Elena Barskova, engineer, Saratov, Russia

Agda Bavi Pain, writer and scriptwriter, Slovakia

Maria Becker, actress, Moscow, Russia

Meret Becker, actress/musician, Berlin, Germany

Giedrė Beinoriūtė, director, Lithuania

Tatiana Belikova, banker, Moscow

Bianca Bellová,Czech Republic

Annette Benmussa, France

Raphaël Berdugo, producer, France

Vjosa Berisha, festival director, Kosovo

Eddie Bertozzi, festival manager, Italy

Irina Bezrukov, company head/teacher    education, Russia

Graziella Bildesheim, director of Maia     Workshops, Italy

Martina Bleis, festival, Germany

Linda Boije af Gennäs, technician, Sweden

Mark Bond, artist, UK

Jan Bonny, director, Germany

Olena Bramska, translator, Poland

Alfred B. Broer, creative director, Netherlands

Beata Bubenec, Russia

Jeton Budima, director/film critic, Kosovo

Janez Burger, director, Slovenia

Agata Buzek, actress, Poland

Victoria Cadogan-Rawlinson, USA/UK

Enzo De Camillis, Director, ANAC National Association of Cinematographic Authors, Italy

Philippe Carcassonne, producer, France

Evgenia Cartozo, Marseille/France

Kujtim Çashku, director, Albania

Fabio Cavalli, screenwriter, Italy

Veaceslav Cebotari, cinematographer, Moldova

Sehad Čekić, producer, Montenegro

Sergi Cervera, actor/director, Spain

Olga Chajdas , director, Poland

Natalia Chepik, writer, Russia

Adriana Chiesa di Palma, distributor/exhibitor, Italy

Gaga Chkheidze, director Tbilisi IFF, Georgia

Alexey Chupov, director, Russia

Tom Conroy, production designer, Ireland

Tanya Creedon, Dublin, Ireland

Radu Crihan, director, Russia

Manuel Martin Cuenca, writer/director, Spain

Ludmila Cvikova, film curator, Netherlands/Slovakia

Ketie Danelia, producer, Georgia

Jean-Pierre Dardenne, director, Belgium

Luc Dardenne, director, Belgium

Svetlana Demidova, translator, Bulgaria

Dominique Deruddere, director, Belgium

Tania Detkina, Hruška a Krys s.r.o (Storytelling/Media Consulting), Czech Republic

Andrea Diers, physiotherapist, Germany

Evgenia Dodina, actress, Israel

Christine Dollhofer, festival director, Austria

Marion Döring, EFA Director, Germany

Jaco Van Dormael, director, Belgium

Oleg Dorman, director/screenwriter, Russia

Saulius Drunga, scriptwriter/director, Lithuania

Nenad Dukic, institutional, Serbia

Roman Dymny, sound designer, France

Pascal Edelmann, press officer, Germany

Svetlana Epifanova, manager of corporate culture, Russia

Marina Fedina, actress/psychologist, Russia

Pawel Ferdek, director, Poland

Davide Ferrario, director, Italy

Olena Fetisova, director, Ukraine.

Marta Figueras, producer, Spain

Anton Filatov, filmcritic FIPRESCI, Ukraine

Silvia Finazzi, office production Directorate-Generale Cinema, Italy

Konstantin Fisenko, actor/producer, Russia

Dagmar Forelle, Berlin IFF, Germany

Jamie Forshaw, production manager, Europe & America

William Edouard Franck, sound designer, Germany

Molly von Fürstenberg, producer, Germany

Giovanni Galavotti, screenwriter, Italy

Javor Gardev, director, Bulgaria

Massimo Gaudioso, scriptwriter, Italy

Tanja Georgieva, producer, Germany

Nicole Gerhards, producer, Germany

Krzysztof Gierat, festival director, Poland

Yevgeny Gindilis, producer, Russia

Prof. Zuzana Gindl-Tatarova, screenwriter, Slovakia

Shai Goldman, cinematographer, Israel

Vladimir Golovnitski, sound designer, Lithuania

Leon Golterman, screenwriter/director, Netherlands

Mike Goodridge, Chief Executive Officer, Protagonist Pictures, UK

Stanislav Gorshover, programmer, Dortmund, Germany

Igor Gorsky, pharmaceutical technology consultant, USA

Oli Gots, Producer/Writer, Co-founder of Film Doctor, UK/Bulgaria/Ukraine

Irina Grantovskaya, producer, Russia

Angela Gregovic, actress, Austria

Alena Gres, costume designer, Ukraine

Grigory Grishin, Russia

Rajko Grlić, director, Croatia

Vladimir Gromov, screenwriter, Russia

Rémy Gruenenberger, France

Alex Gryazin, engineer, Ukraine

Irina Gubernik, choreographer, Dortmund, Germany

Renée Gundelach, Media Expert and Film Consultant, Berlin, Germany

Grigory Guryanov, architect, Russia

Roman Gutek, distributor/festival director, Poland

Arto Halonen, director, Finland

Filmfest Hamburg, Germany

Birch Hamilton, executive director Screen Directors Guild of Ireland

Per Hanefjord, director, Sweden

Christine Haupt, producer, Germany

Stefan Haupt, Fontana Film GmbH, Switzerland

Markos Holevas, director, Greece

Lena Holosiy, director, Russia

Michal Holubec, technician, Czech Republic

Sherry Hormann, director, Germany

Damir Ibrahimovic, producer, Bosnia and Herzegovina

Maria Iliou, director, Greece

Beate Jensen, actress, Germany

Grimar Jonsson, Producer, Iceland

Radu Jude, director, Romania

Sergej Jurisdizki, cinematographer

Laszlo Kantor, producer, Hungary

Marit Kapla, institutional, Sweden

Valeria Kasiyanenko, manager, Russia

Petri Kemppinen, institutional, Finland/Norway

Petr Khazizov, filmmaker

Ilya Khrzhanovskiy, director, Russia

Vladimir Kilburg, producer/director, Russia

Rainer Klausmann, DOP, Switzerland

Olga Kolisnichenko, Italy

Masha Kondakova, director, Ukraine

Oksana Konstantinovska

Elena Konyushikhina, researcher, Russia

Olga Kovaleva, saleswoman, Moscow, Russia

Damjan Kozole, director, Slovenia

Krakow Krakow Film Festival, Poland

Aleksey Krasovsky, writer/director, Russia

Zuzana Kronerova, actress, Slovakia

Elena Kuznetsova, personnel officer, Russia

Giorgi Kvachadze, producer, Tbilisi, Georgia

Claudia Landsberger, institutional, the Netherlands

Rolf Lassgård, actor, Sweden

Felice Laudadio, institutional, Italy

Evgeniy Lavrentev, director/screenwriter, Russia

Tony Lawson, editor, United Kingdom

Mikhail Lemkhin, journalist/photographer, USA

Piotr Lenar, cinematographer/President of AMA Film School, Poland

Sanna Lenken, director, Sweden

Ellen Lens, costume designer, the Netherlands

Lise Lense-Møller, producer, Denmark

Anne Leppin, institutional, Germany

Dani Levy, director, Germany

Vigdis Lian, film advisor, Norway

André Libik, producer, Hungary

Marge Liiske, institutional, Estonia

Elizabeth Likhachev, artist, Russia

Vladimir Lissitzky, architect, Israel

Konstantin Lopushansky, director, Russia

Marcel Lozinski, director, Poland

Aina Lubarova, translator, Russia

Prof. Tadeusz Lubelski, historian of cinema, Poland

Lada Luna, Russia

Angelina Maccarone, director, Germany

Łukasz M. Maciejewski, writer, Poland

Christa Maerker, director, Germany

Montserrat Majench, institutional, Spain

Vlada Malaeva, sociologist, Russia

Vitaly Manskiy, director/President Artdocfest, Russia/Latvia

Svetlana Manukova, Russia

Lele Marchitelli, composer, Italy

Alexandra Maringer, production designer, Austria

Gesa Marten, film editor/lecturer, Germany

Boris T. Matić, producer/festival director, Croatia

Victor Matizen, cinema critic, Russia

Ulrich Matthes, actor, Germany

Chris McCormack, Assistant Editor and Production Manager, UK

Juliette Ménager, Joule Studio, France

Natasha Merkulova, director, Russia

Anastasiy Mikhaylov, DOP, Russia

Anne Milne, director, United Kingdom

Paco Mir

Phyllis Mollet, Consultant International Film Industry, former FIAPF’s director of festivals, France

Tatiana Morozova, manager, Russia

Edik Moshkovich, cinematographer, Russia

Pawel Mossakowski, producer, Russia

Richy Müller, actor, Germany

Nelly Muminov, editor/columnist, Russia

Iya Myslytska, producer, Ukraine

Suzanna Nagao, manager, Russia

Alexander Nagrudny, producer, Russia

Elena Nayman

Paul Negoescu, director, Romania

Simona Nobile, screenwriter/story editor

John Nordling, producer, Sweden

Olga Okrepilova, director, Russia

Floor Onrust, producer, the Netherlands

Arsen Anton Ostojic, director, Croatia

Ivan Ostrochovsky, director/producer, Slovakia

Valerii Otstavnyh, documentary film director, Russia

Hynek Pallas, Journalist/writer/documentary filmmaker, Sweden/Czech Republic

Isabella Parkinson, actress, Germany

Uberto Pasolini, producer, United Kingdom

Robert Adrian Pejo, director, Hungary

Annie Perier, costume désigner, France

René Perraudin, director, Germany

Claire Pijman, cinematographer, the Netherlands

Paco Poch, producer, Spain

Waldemar Pokromski, make-up artist, Poland

Mariia Ponomarova, director, Amsterdam, the Netherlands

Ventura Pons, director, Spain

Aleksandr Popov, builder, Stockholm, Sweden

Lucy Poulton, Artist, UK

Maggie Poulton, UK

Martin Provost, director, France

María Luisa Pujol Canals, institutional, Spain

Sarah Radclyffe, producer, United Kingdom

Aleksandr Rakhilkin, entrepreneur, Samara, Russia

Natalya Rapoport Evseevna, architect, Russia

Marina Razbezhkina, director, Russia

Grigory Riajski, writer/screenwriter/producer, Russia

Kateryna Rietz-Rakul, Autorin, Berlin

André Rigaut, sound engineer, France

Jana Ripplová, KineDok project manager Institute of Documentary Film, Czech Republic

Alexander Ris, managing director/producer, Germany

Vladуslav Robski, film director, Ukraine

Olga Romanova, producer, Ukraine

Johannes Rosenberger, producer, Austria

Christian Rouaud, director, France

Maxim Rozhkov, director, Russia

Siemen Rühaak, actor, Germany

Lisa Maria Russo, producer, United Kingdom

Jožko Rutar, producer, Slovenia

Oriol Sala-Patau, producer, Spain

Martin Samper, director, Spain

Pierre Santini, actor/director, France

Dr. Giacomo Scarpelli, screenwriter, Italy

Alexandra Schmidt, Festival Director FILMFEST DRESDEN, Germany

Gerhard Schmidt, producer, Germany

Ute Schneider, producer, Germany

Pierre Schœller, director, France

René Schoenenberger, actor, Switzerland

Andrew Schutsky, director/playwright, Lithuania

Reinhard Schwabenitzky, director, Austria

Kenneth Scicluna, director, Malta

Konstantin Seliverstov, director, Russia

Sergei Shavshukov, Moscow, Russia

Natalia Shematinova, film critic/director/editor, Russia

Uliana Shilkina, director, Russia/Montenegro

Alex Shiriaieff

Dmitry Shlikov, cinematographer, Russia

Alik Shpilyuk, institutional, Ukraine

Asya Shulbaeva, retired journalist, Russia

Kirill Shuvalov, production designer, Ukraine

Kati Sinisalo, critic/journalist, Finland

Áron Sipos, producer, Hungary

Elena Slaboshpitskaya, producer, Ukraine

Myroslav Slaboshpytskiy, director, Ukraine

Marianne Slot, producer, France

Yuri Snop, Russia

Ada Solomon, producer, Romania

Liudmila Somova, Russia

Elena Sorokine, designer, France

Svetlana Stasenko, director, Russia

Aleksandra Staszko, costume designer, Poland

Sergiy Stepansky, sound designer, Ukraine

Bill Stephens, UK

Olivia Stewart, producer, United Kingdom

Tania Stöcklin, editor, Switzerland

Heather Storr, script supervisor, UK

Karsten Stöter, producer, Germany

Prof. Juliana Stoyanova – writer, Bulgaria

Pavel Strnad, producer, Czech Republic

Katia-Anna Taguti, artist, Moscow, Russia

Alin Taşçıyan, institutional, Turkey

Micha Terjung, producer, Germany

Andrey Timofeev, projectionist, Latvia

Katarina Tomkova, film consultant, Slovakia

Giorgio Treves, director, Italy

Arina Trostyanetskaya, dancer/choreographer, Denmark

Caroline Troubetzkoy, director/producer, France

Vitaliy Tsekhanovich, driver, Belarus

Andreea Valean , writer and director, Romania

Štěpán Maria Valenta, Institute of Documentary Film, Prague, Czech Republic

Lluís Valentí, Versus Films, Spain

David Vashadze, Georgian National Film Center, Georgia

Artem Vasiljev, producer, Russia

Valentyn Vasyanovych, producer, Ukraine

Vyacheslav Verbin, playwright/poet /screenwriter, Russia

Gianni Vezzosi, editor, Italy

Julia Vikentieva, producer, Russia

Marc-Henri Wajnberg, producer, Belgium

Alex van Warmerdam, director, the Netherlands

Marc van Warmerdam, producer, the Netherlands

Florian Weghorn, festival, Germany

Maja Weiss, producer/director, Slovenia

Hansjörg Weißbrich, editor, Germany

Franziska Weisz, actress, Germany

Sasha Wieser, distributor/exhibitor, Austria

Andrea Tatjana Wigger, Berlin, Germany

Monika Willi, editor, Austria

Andy Wooding, director/writer, Co-founder of Film Doctor, UK

Marcin Wrona, director, Poland

Olga Yakovleva, Russia

Elena Yankelevich, journalist/documentary filmmaker, Russia

Olena Yershova, Ukraine

Serhii Yevdokymov, entrepreneur, Illichivsk, Ukraine

Marek Zawierucha, production designer, Poland

Alrun Ziemendorf, Mitteldeutsche Medienförderung GmbH, Germany

Marek Żydowicz, festival CEO, Poland

Hermes Zygott, artist, Russia

 

From the Polish Film Academy:

Jerzy Hoffman, reżyser

Paweł Pawlikowski, reżyser

Małgorzata Szumowska, reżyserka

Juliusz Machulski, reżyser

Jerzy Skolimowski, reżyser

Joanna Kos-Krauze, reżyserka

Andrzej Żuławski, reżyser

Ewa Piaskowska, scenarzystka

Janusz Majewski, reżyser

Janusz Głowacki, pisarz, scenarzysta

Olena Leonenko, pieśniarka, kompozytorka

Jan Kidawa-Błoński, reżyser

Wojciech Smarzowski, reżyser

Andrzej Jakimowski, reżyser

Allan Starski, scenograf

Violetta Kamińska, producentka

Ryszard Bugajski, reżyser

Filip Bajon, reżyser

Jacek Bławut, reżyser

Feliks Falk, reżyser

Izabela Wójcik, producentka

Stefan Laudyn, dyrektor Warszawskiego Festiwalu Filmowego

Marcel Łoziński, reżyser

Paweł   Łuczyc-Wyhowski, autor dźwięku

Marcin Krzyształowicz, reżyser

Dżamila Ankiewicz, scenarzystka, reżyserka

Andrzej Kiełczewski, producent

Grzegorz Kędzierski, autor zdjęć

Ewa Smal, montażystka

Arkadiusz Jakubik, aktor

Joanna Doroszkiewicz, scenografka

Milenia Fiedler, montażystka

Leszek Dawid, reżyser

Łukasz Barczyk, reżyser, scenarzysta

Rafał Maćkowiak, aktor

Jan Kozikowski, scenograf

Jagna Janicka, scenografka, kostiumografka

Wit Dąbal, autor zdjęć

Małgorzata Braszka, kostiumografka

Maciej Strzembosz, producent

Agata Buzek, aktorka

Sławomir Fabicki, reżyser

Łukasz Dzięcioł, producent

Józef Romasz, autor zdjęć

Eryk Lubos, aktor

Grzegorz Pacek, reżyser

Jerzy Kolasa, scenarzysta

Maciej Grzywaczewski, producent

Grzegorz Łoszewski, scenarzysta

Vita Želakevičiūtė, reżyserka

Dorota Roqueplo, kostiumografka

Wojciech Pacyna, reżyser

Andrzej Seweryn, aktor

Maciej Buszewicz, grafik

Adam Ferency, aktor

Dorota Segda, aktorka

Stanisław Radwan, kompozytor

Jarosław Kamiński, montażysta

Marek Świerkocki, scenarzysta

Magdalena Boczarska, aktorka

Wojciech Niżyński, scenarzysta

Karina Kleszczewska, DoP

Wojciech Zimiński, scenarzysta

Maciej Karpiński, scenarzysta

Magdalena Szwarcbart, reżyserka obsady

Ewa Wencel, aktorka, scenarzystka

Grzegorz Daroń, kompozytor

Zbigniew Niciński, montażysta

Andrzej Chyra, aktor

Irena Strzałkowska, przedstawiciel Polski w Eurimages

Mirosław Dembiński, reżyser, producent

Jacek Mierosławski, operator

Hanna Skowrońska-Zbrowska, montażystka

Czesław Paweł Poppe, kierownik produkcji

Dariusz Pietrykowski, producent

Adam Bajerski, autor zdjęć

Ryszard Brylski, reżyser

Bogdan Sölle, scenograf

Violetta Buhl, reżyserka obsady

Karolina Bielawska, reżyserka

Aleksandra Staszko, kostiumografka

Ewa Puszczyńska, producentka

Maria Zmarz-Koczanowicz, reżyserka

Magdalena Łazarkiewicz, reżyserka

Dorota Kamińska, aktorka

Wojciech Biedroń, reżyser

Maciej Drygas, reżyser

Andrzej Górny, pisarz, krytyk teatralny, scenarzysta

Wojciech Kabarowski, producent

Anna Jadowska, scenarzystka, reżyserka

Radosław Piwowarski, reżyser

Andrzej Żuławski, reżyser

Radek Ładczuk, autor zdjęć

Krzysztof Dumieński, producent i dystrybutor

Janusz Yanina Iwański, kompozytor

Jan Mogilnicki, operator, dystrybutor filmowy

Dominique Lesage, producent

Marek Żydowicz, dyrektor Międzynarodowego Festiwalu Sztuki Autorów Zdjęć Filmowych “Camerimage”

Waldemar Pokromski, charakteryzator

Mikołaj Pokromski, producent

Dorota Kędzierzawska, reżyserka

Ryszard Maciej Nyczka, reżyser

Bodo Kox, reżyser, scenarzysta

Joanna Macha, scenografka

Andrzej Dziurawiec, pisarz, scenarzysta

Bartłomiej Woźniak, reżyser dźwięku

Maciej Melecki, poeta, scenarzysta filmowy

Anna Nehrebecka, aktorka

Krzysztof Jastrząb, autor dźwięku

Roman Suszyński, autor zdjęć

Ewa Machulska, kostiumografka

Jacek Lipski, producent

Jowita Budnik, aktorka

Dawid Ogrodnik, aktor

Krzysztof Kopczyński, producent

Maria Nowakowska-Majcher, scenarzystka

Nikodem Wołk-Łaniewski, reżyser dźwięku

Mateusz Pospieszalski, kompozytor

Barbara Sikorska-Bouffał, kostiumografka

Maciej Maciejewski, scenarzysta

Jerzy Stuhr, aktor, reżyser

Antoni Krauze, reżyser

Anna Świerkocka, scenarzystka

Małgorzata Zacharska, kostiumografka

Ewa Braun, scenografka

Marek Król, montażysta

Andrzej Titkow, reżyser

Marek Drążewski, reżyser

Andrzej Piekutowski, reżyser

Wiesław Znyk, operator dźwięku

Maja Komorowska, aktorka

Michał Urbaniak, kompozytor

Weronika Marczuk, producentka

Marcin Kot-Bastkowski, montażysta

Michał Fojcik, operator dźwięku

Tadeusz Król, reżyser, scenarzysta, producent

Borys Lankosz, reżyser

Dariusz Gajewski, reżyser

Michał Kosterkiewicz, operator dźwięku

Grzegorz Warchoł, reżyser

Piotr Wojtowicz, operator filmowy

Paweł Borowski, reżyser

Henryk Sawka, rysownik

Jerzy Satanowski, reżyser

Wojciech Nowak, reżyser

Jakub Śladkowski, montażysta

Maciej Kozłowski, montażysta

Barbara Komosińska, scenografka

Marian Dziędziel, aktor

Urszula Antoniak, reżyserka

Elżbieta Galińska, muzykolog

Maciej Bochniak, reżyser

Małgorzata Karolina Piekarska, pisarka

Wojciech Chmielewski, pisarz

Irena Makarewicz, tłumaczka literatury węgierskiej

Leszek Engelking, pisarz, tłumacz, krytyk literacki, nauczyciel akademicki

Jacek St. Buras, tłumacz

Katarzyna Bieńkowska, poetka, tłumaczka, krytyk literacki

Jakub Ekier, pisarz i tłumacz

Michał Głowiński, historyk literatury, pisarz

Michał Jagiełło, pisarz

Anita Janowska, pisarka

Barbara Grzegorzewska, tłumaczka

Piotr Sommer, pisarz

Jan Strękowski, reżyser

Anna Przedpełska-Trzeciakowska, eseistka

Rafał Wojasiński, pisarz, dramatopisarz

Rafał Holewiński, pisarz

Aleksandra Ziółkowska-Boehm, pisarka

Jacek Bocheński, pisarz

Zofia Korzeńska, poetka i eseistka

Zbigniew Żbikowski, pisarz

Tamara Bołdak-Janowska, pisarka

Marek Zaleski, literaturoznawca, IBL PAN

Dorota Jovanka Ćirlić, redaktor, tłumacz literatur byłej Jugosławii

Konrad Sutarski, polski pisarz na Węgrzech, członek SPP

Iza Pająk, montażystka

Wiesław Juszczak, członek redakcji “Kwartalnika Filmowego”

Marcin Piątkowski, montażysta filmowy

Maria Pakulnis, aktorka

Agnieszka Sopoćko, montażystka

Wiesław Juszczak, historyk, członek redakcji “Kwartalnika Filmowego”

Stanisław Kuźnik, reżyser

Rafał Marszałek, krytyk i historyk filmu

Małgorzata Łukasiewicz, filolog

Bogna Janiec, producent

Grzegorz Królikiewicz, reżyser

Anna Frajlich, poetka, eseistka, wykładowca języka i literatury polskiej na Uniwersytecie Columbia w Nowym Jorku

Hubert Pusek PSM, montażysta

Barbara Fronc montażystka

Maciej Taras, montażysta

Janusz Wróblewski, krytyk filmowy

Andrzej Stembarth Sawicki, pisarz

Andrzej Barański, reżyser

Magdalena Rutkiewicz Luterek, kostiumografka

Alicja Gronau, kompozytor

Tomasz Nowak, muzykolog

Krzysztof Knittel, kompozytor

Marek Ławrynowicz, pisarz

Sławomir Idziak, operator obrazu

Zofia Beszczyńska, pisarka

Jacek Prosiński, operator obrazu

Marek Kazimierz Siwiec, prof. nadzw. w Bydgoszczy

Zbigniew Wichłacz, operator obrazu

Zbigniew Bagiński, kompozytor

Anna Pęcherzewska-Hadrych, kompozytorka

prof. dr Krzysztof Dybciak, literaturoznawca, eseista (członek SPP, UKSW)

Barbara Toruńczyk, redaktor, wydawca

Maria Jentys-Borelowska, krytyk literatury, poetka, członkini Stowarzyszenia Pisarzy Polskich

prof. Mieczysław Lewandowski PSC, operator filmowy, profesor zwyczajny sztuki filmowej

Leszek Badiak, scenograf

Janusz Anderman, pisarz

Jacek Pankiewicz, pisarz

Bartosz Piotrowski, operator

Artur Żurawski, operator

Karolina Stankiewicz, członek redakcji portalu Stopklatka.pl

Janusz Rudnicki, pisarz

Jerzy W. Ryll, pisarz

Ewa Małkowska

Anna Dorota Wardęszkiewicz, montażystka

Michał Marczak, reżyser

Jerzy Zieliński, autor zdjęć-reżyser

Arkadiusz Tomiak, autor zdjęć filmowych

Katarzyna Kotowska, pisarka

Jędrzej Kotowski, reżyser dźwięku

Ilona Łepkowska, scenarzystka

Włodek Pawlik, kompozytor

Jacek Mierosławski, operator

Krzysztof Mieszkowski, Teatr Polski

Andrzek Kotkowski, reżyser

Janusz Zaorski, reżyser

Tomasz Naumiuk, operator

Andrzej J. Jaroszewicz, operator filmowy

Anna Kazejak, reżyserka

Włodzimierz Bolecki, scenarzysta

Piotr Szulkin, reżyser

Stanisław Brejdygant, aktor, reżyser, pisarz

Jacek Korcelli, operator

Anna Sokołowska-Korcelli, reżyser

Jacek Laskus, operator filmowy

Bartek Konopka, reżyser

Piotr Kukla, operator filmowy

Krystyna Kofta, pisarka

Piotr Lenar, operator filmowy

Mieczysław Kuźmicki, producent

Stanisław Śliskowski, operator filmowy

Magdalena Sendecka, dziennikarka filmowa, psychoterapeutka

 

From the Czech Film Academy:

Ivo Andrle – distributor

Jan Balzer – producer

Eliška Balzerová – actress

Jan Bernard – film theoretician, pedagogue

Pavel Borovan – producer

Jaroslav Brabec – director, director of photography

Jan Budař – actor

Josef Císařovský – dokumentarist

Karel Czaban – script-editor, producer

Karel Čabrádek – script-writer, pedagogue

Antonín Daňhel – director of photography

Jan Drbohlav – script-writer

Noro Držiak – director

Martin Duba – director of photography, director script-writer

Ján Ďuriš – director of photography

Petr Dvořák – manager, Czech Television

Viktor Ekrt – sound engineer

Marek Epstein – script-writer

Ivan Fíla – director, script-writer

Jan Gogola – script-editor

Michal Holubec – sound engineer

Eva Holubová – actress

Jan Hřebejk – director

Ivan Hubač – script-editor, script-writer

Kristian Hynek – director of photography, pedagogue

Marek Janda – director of photography

Pavla Janoušková Kubečková – producer

Jiří Ježek – producer

Jan Jíra – distributor

Jan Jirásek – composer

Zdeněk Jiráský – script-writer, director

Dušan Klein – director, script-writer, pedagogue

Josef Klíma – script-writer, journalist

Karel Kochman – production manager, producer

Vít Komrzý – producer

Petr Kružík – musician

Milan Kuchynka – producer

Milan Lasica – actor

Pavel Liška – actor

Miloš Lochman – producer

Tomáš Luňák – director

Martin Mareček – director dokumentarist

Václav Marhoul – producer, director

Ivo Mathé – president od the Czech Film and Television Academy, television expert, pedagogue

Jan Mattlach – film editor

Taťjana Medvecká – actress

Vladimír Michálek – director

Matej Mináč – director

Juraj Mravec – sound engineer

Daniel Němec – sound engineer

Karel Och – artistic director at Karlovy Vary International Film Festival

Petr Ostrouchov – composer

Petr Oukropec – producer

Michaela Pavlátová – director

Jana Plodková – actress

Radek Rondevald – sound engineer

Simona Rybáková – costume designer

Tereza Rychnovská – executive director, Czech Film and Television Academy

Jiří Schmitzer – actor

Viktor Schwarcz – producer

Bohdan Sláma – director

Olga Sommerová – director, dokumentarist

Ondřej Soukup – composer

Jiří Stránský – script-writer

Pavel Strnad – producer

Jan Baset Střítežský – director of photography

Kristian Suda – script-editor

Jan Svěrák – director, producer

Václav Šašek – script-editor, script-writer

Jaromír Šofr – director of photography

Radim Špaček – director

Ivo Špalj – sound engineer

Petra Špalková – actress

Josef Špelda – director of photography

Milan Šteindler – director, actor

Ondřej Štindl – script-writer

Jan Šuster – producer, pedagogue

Miroslav Táborský – actor

Ondřej Trojan – producer, director

Helena Třeštíková – director, dokumentarist

Petr Turyna – film editor

Petr Václav – director, script-writer

Magdalena Vášáryová – actress

Roman Vávra – director

Petr Weigl – director

Eva Zaoralová – film theoretician, artistic consultant KVIFF

Petr Zelenka – director, script-writer

Zdeněk Zelenka – director, script-writer

 

From the German Film Academy:

Peter R. Adam, (editor)

Felix Adlon, (screenwriter)

Dirk Ahner, (screenwriter)

Jane Ainscough, (screenwriter)

Fatih Akin, (director)

Leif Alexis, (producer)

Adriana Altaras, (actress)

Frank Amann, (director of photography )

Anke Apelt, (director)

Stefan Arndt, (producer)

Emily Atef, (director)

Beatrice Babin, (editor)

Martin Bach, (producer)

Tayfun Bademsoy, (actor)

Ute Badura, (director)

Michael Ballhaus, (director of photography )

Manfred Banach, (sound designer)

Elisabeth Bartel, (screenwriter)

Monika Bauert, (production designer)

Jonathan Beck, (actor)

Dirk Beinhold, (producer)

André Bendocchi-Alves, (sound designer)

Iris Berben, (actress)

Edward Berger, (director)

Wolfgang Bergmann, (producer)

Michel Bergmann, (screenwriter)

Sebastian Blomberg, (actor)

Hans-Christoph Blumenberg, (director)

Claus Boje, (producer)

Mathilde Bonnefoy, (editor)

Detlef Bothe, (actor)

Alice Brauner, (producer)

Fred Breinersdorfer, (screenwriter)

Jutta Brückner, (director)

Daniel Brühl, (actor)

Reinhard Brundig, (producer)

Natja Brunckhorst, (screenwriter)

Thomas Brussig, (screenwriter)

Franziska Buch, (director)

Silke Buhr, (production designer)

Uwe Bünker, (casting director)

Sven Burgemeister, (producer)

Käte Caspar, (producer)

Hansa Czypionka, (actor)

Oliver Damian, (producer)

Lorenz Dangel, (composer)

Pepe Danquart, (director)

Anika Decker, (screenwriter)

Heikko Deutschmann, (actor)

Uwe Dierks, (producer)

Alexander Dittner, (editor)

Jonas Dornbach, (producer)

Doris Dörrie, (director)

Christof Ebhardt, (sound designer)

Jörg Elsner, (sound designer)

Anne Fabini, (editor)

Veronica Ferres, (actress)

Undine Filter, (producer)

Günther Fischer, (composer)

Pia Frankenberg, (director)

Hayo Freitag, (director)

Susanne Freyer, (producer)

Karlheinz Freynik, (screenwriter)

Gunter Friedrich, (director)

Inka Friedrich, (actress)

Felix Fuchssteiner, (director)

Molly von Fürstenberg, (producer)

Bruno Ganz, (actor)

Franz Xaver Gernstl, (producer)

Thomas Geyer, (producer)

Mario Giordano, (screenwriter)

Niko von Glasow, (director)

Aelrun Goette, (director)

Christian M. Goldbeck, (production designer)

Eberhard Görner, (screenwriter)

Wolfgang Groos, (producer)

Michael Gutmann, (screenwriter)

Michael Gwisdek, (actor)

Hendrik Handloegten, (director)

Hans W. Geißendörfer, (producer)

Corinna Harfouch, (actress)

Christine Hartmann, (director)

Maximilian Haslberger, (director)

Nina Haun, (casting director)

Clementina Hegewisch, (producer)

Sabine Hehnen-Wild, (make up artist)

Kaspar Heidelbach, (director)

Jo Heim, ( director of photography )

Felix Hellmann, (actor)

Barbara Hennings, (editor)

Michael Bully Herbig, (director)

Ralph Herforth, (actor)

Irm Hermann, (actress)

Benjamin Herrmann, (producer)

Johannes Herrschmann, (actor)

Andreas Hildebrandt, (sound designer)

Leopold Hoesch, (producer)

Michael Hofmann, (director)

Alfred Holighaus, (honorary member)

Susanne Hopf, (production designer)

Sherry Hormann, (director)

Grischa Huber, (actress)

Hermine Huntgeburth, (director)

Birgit Hutter, (costume designer)

Markus Imhoof, (director)

Monika Jacobs, (costume designer)

Beate Jensen, (actress)

Grete Jentzen, (editor)

Hansi Jochmann, (actress)

Johann von Bülow, (actor)

Vanessa Jopp, (director)

Rüdiger Joswig, (actor)

Eberhard Junkersdorf, (producer)

Peter Kahane, (director)

Katy Karrenbauer, (actress)

Anne Kasprik, (actress)

Klaus Keil, (honorary member)

Petra Kilian, (costume designer)

Johannes Kirchlechner, (director photography)

Philipp Kirsamer, (director of photography )

Burghart Klaußner, (actor)

Stefan Kloos, (producer)

Daniela Knapp, (director of photography )

Maria Knilli, (director)

Hanka Knipper, (editor)

Britta Knöller, (producer)

Markus Knüfken, (actor)

Imogen Kogge, (actress)

Thomas Kohler, (editor)

Juliane Köhler, (actress)

Alexandra Kordes, (producer)

Dieter Kosslick, (honorary member)

Lars Kraume, (director)

Chris Kraus, (director)

Krista Stadler, (actress)

Titus Kreyenberg, (producer)

Ulrike Kriener, (actress)

Lenn Kudrjawizki, (actor)

Stefan Kurt, (actor)

Dieter Landuris, (actor)

Mirko Lang, (actor)

Irene Langemann, (director)

Markus Lehmann-Horn, (composer)

Anne Leppin, (producer)

Alina Levshin, (actress)

Michael Loeken, (director)

Christian Lonk, (editor)

Nils Loof, (director)

Juliane Lorenz, (editor)

Toni Lüdi, (production designer)

Stefan Lukschy, (director)

Georg Maas, (director)

Sophie Maintigneux, ( director of photography )

Heta Mantscheff, (casting director)

Dagmar Manzel, (actress)

Robert Marciniak, (producer)

Nicole Marischka, (actress)

Alexander Martens, (producer)

Robert Matt, (composer)

Eva Mattes, (actress)

Ulrich Matthes, (actor)

Martin May, (actor)

Maxim Mehmet, (actor)

Isabel Meier, (editor)

Saskia Metten, (editor)

Detlef Michel, (screenwriter)

Axel Milberg, (actor)

Anne Misselwitz, (director of photography)

Eoin Moore, (director)

Eric Moss, (producer)

Ray Müller, (screenwriter)

Richy Müller, (actor)

Matz Müller, (sound designer)

Dorothea Neukirchen, (screenwriter)

Andreas Nickl, (actor)

Rainer Oleak, (composer)

Anke Osterloh, (production designer)

Götz Otto, (actor)

Sabine Panossian, (sound designer)

Isabella Parkinson, (actress)

Zoltan Paul, (director)

Ina Peichl, (production designer)

Peter F. Bringmann, (director)

Roland Platz, (sound designer)

Anja Pohl, (editor)

Stefany Pohlmann, (casting director)

Mikolaj Pokromski, (producer)

Waldemar Pokromski, (make up artist)

Sven S. Poser, (screenwriter)

Anne Ratte-Polle, (actress)

Rosa von Praunheim, (director)

Dominik Reding, (director)

Benjamin Reding, (director)

Edgar Reitz, (director)

Lena Rem, (editor)

Steffen Reuter, (producer)

Giulio Ricciarelli, (producer)

Pit Riethmüller, (producer)

Martin Ritzenhoff, (screenwriter)

Josef Rödl, (director)

Nic Romm, (actor)

Patricia Rommel, (editor)

Andreas Ruft, (sound designer)

Gudrun Ruzicková-Steiner, (producer)

Yasemin Samdereli, (director)

Pierre Sanoussi-Bliss, (actor)

Anno Saul, (director)

André Schäfer, (director)

Nadine Scherer, (make up artist)

Clemens Schick, (actor)

Monika Schindler, (editor)

Till Schmerbeck, (producer)

Johannes Schmid, (director)

Hans-Christian Schmid, (director)

Katharina Schöde, (producer)

René Schoenenberger, (actor)

Dorothee Schön, (screenwriter)

Chiara Schoras, (actress)

Gudrun Schretzmeier, (costume designer)

Steffen Schroeder, (actor)

Ilona Schulz, (actress)

Torsten Schulz, (screenwriter)

Matthias Schwab, (sound designer)

Oswald Schwander, (sound designer)

Jessica Schwarz, (actress)

Herbert Schwering, (producer)

Heide Schwochow, (screenwriter)

Hanna Schygulla, (actress)

Xaõ Seffcheque, (screenwriter)

Savas Ceviz, (director)

Katja Siegel, (producer)

Hubertus Siegert, (director)

Rolf Silber, (screenwriter)

Heide Simon, (actress)

Stefan Soltau, (sound designer)

Silke Sommer, (costume designer)

Thomas Stammer, (production designer)

Christian Steyer, (composer)

Karsten Stöter, (producer)

Sabin Tambrea, (actor)

Eckhard Theophil, (screenwriter)

Barbara Toennieshen, (editor)

Ruth Toma, (screenwriter)

Graziella Tomasi, (production designer)

Monika Treut, (director)

Joachim Tschirner, (director)

Tom Tykwer, (director)

Hannelore Unterberg, (director)

Joseph Vilsmaier, (director)

Yoliswa von Dallwitz, (director photography)

Petra K. Wagner, (director)

Franziska Walser, (actress)

Connie Walther, (director)

Guntbert Warns, (actor)

Börres Weiffenbach, (director photography)

Philipp Weinges, (screenwriter)

Eleonore Weisgerber, (actress)

Hansjörg Weißbrich, (editor)

Franziska Weisz, (actress)

Wolfgang Widerhofer, (producer)

Heike Wiehle-Timm, (producer)

Gert Wilden Jr., (composer)

Uwe Wilhelm, (screenwriter)

Dieter Zeppenfeld, (producer)

Simone von Zglinicki-Splanemann, (actress)

Petra Zieser, (actress)

Hanns Zischler, (actor)

Ingrid Zoré, (costume designer)

Dennenesch Zoudé, (actress)

 

From the Austrian Film Academy:

Bernhard Bamberger

Caterina Czepek, costume design

Andrea Eckert, actress

Lucky Englander, casting agent

Brigitta Fink, costume designer

Michou Friesz, actress, Vienna

Martin Gschlacht

Eva Herzig, actress

Katrin Huber, production design,Vienna

Karl Markovics, actor/director

Cornelius Obonya, actor

Johanna Orsini-Rosenberg

Hary Prinz, actor

Marlene Ropac, director Austrian Film Academy,

Thomas Roth

August Schmölzer, actor

Gregor Seberg

Franz Solar, actor

Susi Stach, actress

Erwin Steinhauer

Margarethe Tiesel, actress

Monika Willi, editor, Austria

 

From the Russian Filmmakers Union Kinosoyuz:

Андрей Смирнов, режиссер

Алексай Федорченко, режиссер

Борис Хлебников, режиссер

Алексей Попогребский, режиссер

Виталий Манский, режиссер

Александр Зельдович, режиссер

Андрей Плахов, кинокритик

Даниил Дондурей, кинокритик

Зара Абдуллаева,кинокритик

Михаил Липскеров, аниматор

Нина Зархи,кинокритик

Владимир Двинский, режиссер

Виктор Матизен, кинокритик

Валерий Тодоровский, продюсер, режиссер, сценарист

Марина Разбежкина, режиссер

Андрей Звягинцев, режиссер

Василий Сигарев, режиссер

Яна Троянова, актриса

Любовь Аркус, режиссер

Владимир Персов, звукорежиссер

Валерий Балаян, режиссер

Галина Красноборова, режиссер

Михаил Лемхин, кинокритик

Михаил Баркан,

Дмитрий Федоров,

Михаил Коломенский, сценарист

Наталья Манская, продюсер

Иван И. Твердовский, режиссер

Александр Белобоков, режиссер

Юрий Богомолов, кинокритик,

Диляра Тасбулатова, кинокритик

Сергей Карандашов, режиссер

Геннадий Островский, сценарист

Артем Васильев, продюсер

Татьяна Сергеенко, кинокритик

Елена Гремина, сценарист

Инна Харитонова,

Виктор Калабин,

Ольга Шервуд, кинокритик

Андрей Великанов,

Татьяна Петрик, продюсер

Наталья Мещанинова, режиссер

Наталья Журавлева,

Татьяна Чистова, режиссер

Наталья Талалова,

Дмитрий Завильгельский, режиссер

Елена Завельская,

Инга Лизенгевич,

Григорий Глуантс,

Олег Михайлов

Сергей Грабов

Сергей Винокуров, режиссер

Евгений Митта, режиссер

андрей Дерябин, режиссер

Мадина Мустафина, режиссер

Лола Абдураимова,

Андрей Ша,

Алексей Бармичев

Дмитрий Долинин, оператор, режиссер

Павел Финн, сценарист

Елена Хорева, режиссер

Аскольд Куров, режиссер

Мария Чупринская, продюсер

Диляра Заляльдинова

Маргарита Обшивалкина

Ксения Гапченко

Валерий Гавель

Надежда Леонтьева

Оксана Саркисова

Екатерина Бойкова

Михаил Басов

Олег Пшеничный

Анатолий Скачков

Анастасия Александрова

Александр Гоноровский, сценарист

Ирина Луковская

Александр Маноцков

Максим Трапо

Андрей Сильвестров, режиссер

Марина Ильинская

Елена Грачева

Наталия Михайлова

Борис Филановский

Айсылу Кадырова

Михаил Баркан

Александр Колбовский, кинокритик

Валентин Ткач

Дмитрий Геллер

Всеволод Бродский

Михаил Смоляницкий, сценарист

Елена Немых, продюсер,режиссер.

Александра Соколовская, режиссёр, сценарист

Михаил Соколовский, сценарист, друматург

Александр Архангельский, писатель, публицист

Александр Долгин, кинооператор

Ираида Юсупова, композитор

Ольга Леонтьева, журналист

Елена Литвинова, актриса

Мария Козырева

Василий Дьячковский

Евгений Висков

Андрей Дойников

Нигина Сайфуллаева

Вера Прокопьева

Сергей Кушнир, сценарист

Елена Демидова, режиссер

Анна Брандуш

Анна Меликян, режиссер

Иван Алексеев

Сергей Куцевалов

Светлана Адоньева

Александра Стреляная, режиссер

Надежда Хворова, режиссер

Ксения Сахарнова, режиссер

Юлия Жаворонкова

Вадим Островский

Петр Хазизов, кинорежиссер

Сергей Зиневич, режиссёр монтажа.

Андрей Черных, кинорежиссёр

Татьяна Рахманова

Мазурова Юлия

Георгий Молодцов, режиссер

Олег Чернов

Раду Крихан, сценарист, режиссёр.

Татьяна Рудина, актриса

Наталья Меркулова, режиссер

Алексей Чупов, режиссер

Тамара Дондурей, режиссер

Михаил Угаров, режиссер

Ольга Юхновская

Татьяна Зима

Александр Амиров

Нияз Игламов

Владимир Зимин, монтажёр

Катерина Третьякова,

Мария Манаурина,

Петр Филиппов,

Ольга Крутилона,

Елена Заритовская,

Алла Джакелли,

Ольга Дибцева,

Николай Бельдюгин,

Оксана Ковалевская,

Вера Кириллова,

Елена Науман,

Наталья Курбатова,

Наталья Людвиг,

Ирина Ситкова,

Александр Лист,

Вероника Сильченко,

Андрей Бильжо, художник

Анна Медведева,

Елена Аросьева,

Ким Долгин, режиссер

Олег Сулькин, кинокритик

Павел Фоминцев, оператор-постановщик

Евгения Димант, преподаватель, библиограф

Мария Новикова

Лена Левина, сценарист

Дана Жанэ, сценарист

Синельник Наталья

Владимир Харченко-Куликовский

Мария Ошмянская, сценарист

Ирина Луковская, актриса, сценарист.

Андрейс Аболс,

Александр Ярош.

Юлия Завьялова

Ольга Вершинина

Григорий Катаев

Павел Лопарев

Степан Богданов,

Александр Нахимсон,

Владимир Чутко, режиссер

Майя Кузина, продюсер

Анна Моисеенко, режиссер

Мария Турчанинова

Галина Бильдеева

Ирина Любарская, кинокритик

Смольянинова Мария

Леонид Симбирский,

Екатерина Брезгунова,

Виталий Замковой,

Янишка Риплова,

Роза Гиматдинова,

Исер Гуранц,

Мария Гаврилова,

Анастасия Сурова,

Андрей Загданский, режиссер

Сэм Клебанов, продюсер

Татьяна Вигер,

Андрей Владимиров,

Марина Зорина,

Фируза Мирзоалиева,

Анна Качко, продюсер

Лариса Овадис,

Игорь Овадис,

Наталья Долгова,

Юлия Калльмайер,

Арсений Гончуков, режиссер

Лана Беров,

Инга Шерман,

Юлия Латынина,

Юлия Крондор,

Ирина Изместьева,

Александра Головина,

Виолетта Багдасарова,

Наталья Дубровская,

Дмитрий Черносвитов,

Ирина Грантовская,

Александра Назарова,

Дарья Боснякова

Константин Панфилов

Олеся Буряченко, режиссер

Илья Утехин

Артем Барышников

Иван Чувиляев

Тамара Ларина, продюсер

Дарья Варденбург, писатель, журналист

Ася Шулбаева, журналист

Ирина Любарская, кинокритик

Владимир Ризун, звукорежиссер

Дмитрий Ланчихин – сценарист, режиссер

Лихачева Александра, режиссер

Вера Смоляницкая, актриса

Нина Цыркун, кинокритик

Олег Зинцов

Мария Антонян, аспирантка МГУ

Инна Денисова, режиссер

Наталья Корецкая, сценарист

Евгений Майзель, кинокритик

Лариса Юсипова, кинокритик

Мария Козлова

Людмила Трахтенберг

Галина Ворона

Тамара Сергеева

Леонил Ситников

Егений Зубин,

Ирина Лукьянова,

Галина Шандакова,

Григорий Жихаревич – режиссер, сценарист,

Ольга Богатова,

Ольга Гуркова,

Анна Алешковская,

Елена Янкелевич, режиссер-документалист,

Кирилл Гребенщиков,

Геннадий Виксман,

Ирина Гавра – художник,

Петр Алешковский,

Алина Купервассер,

Дмитрий Шушарин,

Наталья Рапопорт,

Дарья Белова,

Даша Степанова – артист, режиссер,

Дмитрий Васильев, телевизионный режиссер,

Елена Гуткина,

Генрих Игнатов,

Катерина Федулова,

Анастасия Левикова,

Елена Карт,

Аркадий Дубнов, журналист,

Мария Кондакова,

Сергей Нехаев,

Анастасия Архипова,

Ольга Дедова,

Мария Денс,

Нелли Гуткина,

Илья Заславский,

Алексей Войтих,

Евгения Врадий,

Ольга Ровнова,

Ольга Галицкая – кинокритик,

Наталья Шематинова,

Елена Махрова,

Наталья Рюрикова,

Нина Хеймец,

Арина Борисова,

Ксения Перетрухина,

Федор Павлов-Андриевич,

Евгений Малышев,

Наталия Дзергач,

Анна Фенченко – режиссер,

Наталья Павленкова,

Чингиз Русулзаде,

Григорий Папиш

The Presidium of Slovak Film and Television Academy (SFTA):
Marek Leščák, president of SFTA/screenwritter
Ondrej Šulaj, screenwritter
Martin Šulík, director/producer
Peter Dubecký, director of Slovak Film Institute
Ján Ďuriš, cinematographer
Ján Meliš, cinematographer
Miro Remo, director
Ján Oparty, director/producer
Peter Michalovič, film theoretist

NTU and Fellini Foundation for Film (Switzerland) announce co-operation agreement

guido1The NTU School of Art, Design and Media (ADM) and the Swiss-based Fellini Foundation for Film have signed a co-operation agreement to implement a series of cultural activities and exchanges between the two institutions. The event took place at the ADM Library on Tuesday 18 August, with other project partners that include the Embassy of Italy, the Embassy of Switzerland, and the Italian Cultural Institute in Singapore. This important project will open a cultural co-operation inSchool of International Studies, Earth Observatory of Singapore, and Singapore Centre on Environmental Life Sciences Engineering – and various leading research centres such as the Nanyang Environment & Water Research Institute (NEWRI), Energy Research Institute @ NTU (ERI@N) and the Institute on Asian Consumer Insight (ACI).

A fast-growing university with an international outlook, NTU is putting its global stamp on five peaks of excellence: Sustainable Earth, Future Health Care, New Media, New Silk Road, and Innovation Asia.

Besides the main Yunnan Garden campus, NTU also has a satellite campus in Singapore’s science and tech hub, one-north, and a third campus in Novena, Singapore’s medical district.

For more information, click here.

This collaboration will include:

1) An exhibition on Federico Fellini and the Circus opening in November 2015 at the ADM Gallery as part of a larger exhibition about the Italian maestro that will continue through early February 2015. For the first time in Asia, important original documents about the famous Italian movie director will be presented.

2) A PHD course on Fellini by ADM to commence in January 2016. The Fellini Foundation will provide important research materials for the course.

3) The transfer of the Fellini Foundation digital library to the ADM Library, in order to create a research area dedicated to Fellini`s documents.

4) Collaboration on the development of cultural internet sites.

About the Fellini Foundation

The Fellini Foundation for film, established 2001 in Sion, owns the largest collection in the world related to Federico Fellini and thousand other directors. These 15,000 documents, including drawings, photographs, scripts, letters, posters, artifacts, costumes, production stuff and press releases, were presented by the Fellini Foundation in fifty exhibitions and events in Paris (Galerie Nationale du Jeu de Paume), Rome (Macro), Venice (Palazzo Benzon), Milan (Gallery Cartiere Vannucci), Madrid and Barcelona (la Caixa Centres), Moscow (House photo), New York (Center548 ), Toronto, Rio de Janeiro and Sao Paulo (Instituto Moreira Salles), in Switzerland, Lausanne (Musée de l’Elysée) and Sion where the foundation is based and has its cultural center. The Fellini Foundation has edited 25 publications including two books and monographs published by Gallimard in Paris. The Fellini Foundation established a cultural network in Switzerland and around the world between different partners sharing its cultural purposes.

This project was presented to several international institutions, including the European Centre of Culture (CEC) in Geneva which supports our activities. This network of partners is far beyond the field of cinema and also relates to the art. Two partnerships have been concluded in 2012 with the Ludwig Museum Koblenz and Deutsch Museum, museum for Modern and Contemporary Art in Belmont-sur-Lausanne, which offers one of the best exhibition spaces in Switzerland. Finally, through these partnerships with the Cinémathèque Suisse, the Musée de l’Elysée, the Cinémathèque de France, the Historical Archives of cinema in Rome, Archives cinema of Cinemazero cultural center in Pordenone, la Maison d’Ailleurs in Yverdon/Switzerland, the Loubeau Brothers’ Collection in Paris, Fellini Foundation can also rely on more than his own collection to produce exhibitions about cinema.

Cinema Movie Review: Irrational Man (2015)

screen-shot-2015-04-29-at-5-58-10-pmCatherine Feore returns with Picturenose‘s 900th post and her thoughts on Woody Allen‘s latest.

Sipping on a beer before the film, I overheard a wonderfully Allenesque conversation – words that he might have given to a character: ‘J’ai jamais fait du sport, je suis plutot intello’ (I’ve never been sporting, I’m more of an intellectual).

This was said without a trace of irony, I think I managed to stifle a giggle. The guy probably was an intellectual, but to utter this phrase in the Anglo-Saxon world would be an open invitation to savage derision (happily, it was uttered in Belgium). This raised a worrying question in my mind – there appear to be two camps when it comes to Woody Allen, those who are generally in the ‘he is so over-rated’ camp and those who are ‘devotees’. Am I an intello, who doesn’t like sport? All I can say is that to one of these questions, my answer is a resounding ‘Yes’.

To those in the haters camp, I might be considered incapable of critical judgement when it comes to Allen’s films. I would have to query this a little, but will confess that while I have found some of his films unsettling and some not quite as good as others, I have always found them interesting and I always get some sort of insight from them – I even liked Melinda and Melinda (2004).

Irrational Man is a reference to a book of the same name by William Barret on existentialism; the film also leans on Allen’s fascination with the novels of Dostoyevsky, in this instance Crime and Punishment. When it comes to films that address existential questions, I would place Allen somewhere between Bergman and the director of The Fast and the Furious 3, let’s say near the top. So, if this is your bag, you are in for a fun night at the cinema.

The eponymous irrational man is Abe, played by Joaquin Phoenix, a philosophy professor who is resigned to the pointlessness of existence; I say pointlessness, because he has already transcended meaninglessness and despair. Refreshingly, Allen has allowed Phoenix to play an angst-ridden man without forcing him to adopt Woody-like mannerisms – other actors have been less able to resist.

Abe’s arrival on campus is widely anticipated – Rita (Parker Posey), a bored chemistry professor, who has been serially unfaithful to her often-absent husband, is particularly looking forward to meeting the new professor and potential conquest. The other main character, Jill (Emma Stone), is a student who sparks Abe’s interest with an essay where she heavily critiques one of his books.

Jill comes to idolize Abe, and fails to see that ‘he’s a wreck and he smells’. Jill is not the most interesting character, especially compared to the sassy Rita. It would be difficult to see Jill’s attraction to Abe, if it weren’t for her insipid and clinging boyfriend. Abe’s capitulation to Jill’s advances is another aspect of his moral decline.

SPOILER ALERT!

Abe and Jill overhear a discussion in a diner, where a women tells her friends about how a judge has given the custody of her child to her ex-husband who has shown little or no interest in his child to date – she has been impoverished by the legal process and sees no point in an appeal, especially since the judge seems unlikely to move and is an acquaintance of the errant father. Abe decides that he is going to intervene and murder the judge. Initially, he verifies that the judge is the despicable person he appears to be, then he starts to follow his movements and plan his crime. Abe is liberated by his action and feels no guilt afterwards, just a new found love for life. Predictably, things start to go very wrong; when Jill discovers what he’s done, she urges Abe to turn himself in.

I can’t say that I enjoyed this film as much as other Allen work; at times it felt like there had been a lot of cutting and pasting from earlier films. There were a couple of brilliant moments, for example when Abe demonstrates how Russian roulette works to a bunch of optimistic, preppy students, but on the whole, there weren’t many laughs and this can definitely be classed as one of Allen’s darker films, alongside Crimes and Misdemeanors (1989).

Feeling nostalgic for cheerier works, I turned to Hannah and her Sisters (1986), my preferred take on existence where – after dabbling with various religions – Mickey (Allen) finds meaning through the Marx Brothers film Duck Soup (1933), concluding: “What if the worst is true, what if there is no God and you only go round once, and that’s it? Well don’t you want to be part of the experience? It’s not all a drag and I should stop ruining my life searching for answers I’m never going to get and just enjoy it while it lasts. And afterwards, who knows…”

Is this a great Woody Allen? No, it is not, but ultimately he is still the best at this kind of stuff – maybe too comfortable with it, as I sometimes felt in this film. To pull off a work that explicitly addresses existentialist  ideas with any aplomb requires skill – I wouldn’t place this movie (his 50th!) in the top ranking of his work to date; however, to my mind, 97 minutes in a cinema exploring existential ideas beats several evenings in reading Kierkegaard.

97 mins.

DVD Move Review: The Dreamers (2003)

maxresdefaultThe Dreamers (2003) is a film you are supposed to experience, rather than watch. There is far too much going on in Bernardo Bertolucci’s piece to process logically, so you needn’t worry about picking holes in the plot, or anything else. A word of warning, though. If you are against a little bit (okay, a lot) of nudity, The Dreamers may not be for you.

Hollywood sometimes gets a bit squeamish about nudity. It is little surprise then that the many people didn’t warm to the film, or more specifically, some of the ideas and imagery portrayed in it. What is most unfair, though, is to scorch the film based on the director’s reputation, which has been done in the past.

In terms of plot, there are two narratives going on here. There first is a little bit of history for you. Matthew (Michael Pitt), is an American film enthusiast and student. He travels to Paris during the Paris student riots, strikes and protests of the late 60s. There he meets and stays with Théo (Louis Garrel) and Isabelle (Eva Green), who are also lovers of film, and happen to be twins. Expect a lot of English and some French. The Dreamers is very much a visual film, so don’t get too bogged down on the interchanging dialogue. The twins end up sharing their new-found friend with one another, in more ways than you might imagine. That’s where the second narrative comes in. Queue the nudity…

Firstly, let’s get the obvious out of the way. How much nudity are we talking about here? Suffice to say, more than a wee bit. Eva Green goes full frontal, and not just from a distance. We’re talking up close camera work. Michael Pitt’s bits are also plastered on the screen for all to see. In my opinion (though apparently, I’m in the minority), none of the nudity is particularly gratuitous, since it does help to paint a very warped picture of the lifestyle of the twins; their curiosity, for instance.

So, yes, that second narrative. This parallel story concerns the relationship which develops between the three main characters. Naturally, there’s a love story going on between Pitt’s and Green’s characters, and you are kind of hoping in the beginning that Théo might just be a third wheel. Isabelle would disagree, though. You see where this is going? Their relationship makes for fascinating, if uncomfortable viewing at times. It has to be said, I find that the chemistry between Green and Pitt is as cold as ice, but it is scary how in tune Green and Garrel were able to work together. For characters are complex as Isabelle and Théo, that is essential.

After a lot of sexual experimentation, and a lot of throwbacks and homages to past movies, the anything goes attitude of the twins and Matthew, culminates in them participating in the aforementioned riots. After all the smoke is cleared, Matthew walks away from the carnage, no doubt returning to America something less of a prude.

The experience Bertolucci takes you on is a puzzler. Initially, via the first narrative, you are led to believe that The Dreamers is merely about a film about students who love films, in a film by a director who also loves pictures. In such a short space of time, it movies on rapidly to something else entirely. It takes you on a journey, all the while you’re trying to decrypt the feelings and emotions of the trio’s relationship to one another. By the time the most extensive and expressive of the nude scenes is over, you have given up. From there out, as I’ve said, The Dreamers is just an experience, not merely a film.

If you can look past that, and some of the more grotesque elements of those scenes, you’ll find it a heart-warming film, and one which has been clearly thought out. The way the two narratives split apart, and come together again are magical. There are also signs in The Dreamers that Bertolucci is trying to show his admiration for classic films. It is just the way he has chosen to do it, through the “you show me yours, and I’ll show you mine” explorative attitude of the characters, which has people turning away from this film.

Deep is probably not the best word to describe The Dreamers. I prefer layered, or perhaps raw. Whatever your taste in films, there are few like this one. Personally, I like it. It’s different, and I’d certainly recommend it. You know, as long as you’re open to experiencing something slightly outside of your comfort zone.

115 mins.