Well, LUCY most definitely made me think “what if”, but as lasting impressions go MAGICAL GIRL still haunts me, in disturbing detail. And then there’s EQUALIZER with its dichotomy between flawless aesthetics and most brutal violence, a symphony of beauty were it not for the countless deaths. Films like WHO AM I – NO SYSTEM IS SAFE try to find a visual language for things happening in the darker corners of cyberspace as well as in the human psyche. Visual language – what films could (and should) be about – is at the core of NO FORM as well as THE ROAD … and I don’t mean CGI. The impact films have on our psyche is more profound than we might think. And a well made film – as well as all the (sometimes crude) stuff pervading “mainstream” TV and cinema – can and does leave a lasting impression. THE BRIDGE for instance has given me a strong female character to mimic and LABYRINTH DES SCHWEIGENS manages to make me think about remembering and forgetting the Nazi regime at the same time. Film is so much more than the “reality” it sometimes pretends to portrait – so I am happy that I took the time to sit down and perceive films instead of just watching them. An almost zen-like experience, even with the most stupid, uncommon or downright disgusting contents. There is almost always that nugget of “special”, be it in a ray of light, a set of costumes or a stare of an actor. The most outstanding films combine all that and on top of it all tell me a story I’ll want to watch again and again.
At last it really does hit the big screen: FEMTIO NUANSER AV HONOM (Swedish for FIFTY SHADES OF GREY… alas, not with Alexander Skarsgård and not by Lars von Trier, as we’d have suggested 😉 […]
BLACKHAT , directed and partly written by Michael Mann, “follows a furloughed convict and his American and Chinese partners as they hunt a high-level cybercrime network from Chicago to Los Angeles to Hong Kong to Jakarta” […]
British-French psychothriller THE BROKEN is a wonderfully photographed bow to Alfred Hitchcock, suspenseful, witty and with more than one citation of the master’s work. Although throughout the first third there’s little more than Guy Farley‘s […]