Wednesday, April 19, 2017
The Lure (Agnieszka Smoczynska, 2015): Review
Ixcanul (Jayro Bustamante, 2015): Review
Kensho at the Bedfellow (Brad Raider, 2016): Review
Our Little Sister (Hirokazu Kore-eda, 2015): Review
(full review, updated and expanded from the earlier capsule review)
Monday, July 25, 2016
Knight of Cups (Terence Malick, 2015): Review
Louder Than Bombs (Joachim Trier, 2015): Review
Our Little Sister (Hirokazu Kore-eda, 2015): Capsule review
Long Way North (Remi Chaye, 2015): Review
Under the Sun (Vitaly Mansky, 2015): Capsule review
Sunset Song (Terence Davies, 2015): Review
Neon Demon (Nicholas Winding Refn, 2016): Review
Swiss Army Man (Dan Kwan & Daniel Scheinert, 2016): Review
Wednesday, March 23, 2016
And as the director, Klaus Diesterweg (played by Lars Eidinger), tells the journalist, the experience of the play, Maloja Snake, will be different for every audience member, each bringing his or her own personal subjective weight to bear on that elusive textual object.
So, I have to ask, would this film have played differently for me were I 20-something, instead of 40-something? Would I, perhaps, be more interested in Valentine (Kristen Stewart) or Jo-Ann (Chloë Grace Moretz), than Maria Enders (Juliette Binoche), a woman confronted by youth - as something startlingly distant from herself - at every turn? I am drawn to Valentine, particularly, of course, and Stewart's performance is as good as they say, but in her, I am startled, like Maria, to see a projection of what I thought I was, not what I am.
I am confronted, week to week, in my capacity as a professor, by 17-22 year old college students, living a moment in their lives that I remember so vividly: that passion for new ideas, that excitement in throwing off perceived tradition, that confident sense of self and one's own "barbaric yawping." For them, the Transcendentalists make the most sense: "Trust thyself"? Of course. "Speak the rude truth"? What other way of speaking can there be? "Absolve [me] to [my]self"? Oh, yes, indeed, they know they shall "have the suffrage of the world."
It is, truly, a thrill to watch such bold living and speaking, but there is, too, as time crawls every more quickly on, an increasingly bitter sting at the end of each quarter, when these bold young beings leave me without a backward glance. Some, it is true, stop to thank me, to wish me goodbye, but most do not think the life of a 40-something professor is truly of much interest - not with their own lives, stretching before them. They simply cannot imagine what mine is and can't really care. And it is right that it should be so. I cannot, as Maria does of Jo-Ann, ask them to pause, for just a few seconds more, as they walk out the door. The poignancy in those seconds would be only for me. No, it is a "little life," after all, "rounded with a sleep," and I see, more and more, as only one of the "players," I cannot take more than my fair share of "exits and . . . entrances."
I am not of their moment, not anymore. Someday, they shall be in mine though that is not really a thought that brings much comfort. They, surely, just as I am now, will be looking backwards to their own youth, not forwards to wherever I am.
Maria, so viscerally and vulnerably performed by Binoche, for me, then, embodies, with an almost unbearable truth, something of the journey of age I feel and resist and give in to and resist and give in to every day, the "rag[ing] against the dying of the light" and the sighing in acquiescence taking almost equal turns. She is someone learning that the narrative isn't really about her - or at least, it is her narrative, she is in it, but her part may not be very important to anyone else. She may cry out in excited questioning, as the rolling clouds and mist stream into the distant valley, "Is that the Snake? Is that the Snake?" but as she turns to the expected audience, she'll find no one is watching, no one listening. Only the still, looming mountain remains, unmoved by the little drama.
I wonder. Next time I watch this, will Rosa Melchior, mostly off-stage, forgotten by most, be the figure who inhabits my mind?
Wednesday, January 6, 2016
Saturday, November 14, 2015
This inspiration for Hayao Miyazaki's My Neighbor Totoro is a total delight.
Hou builds a space in which a world from a child's perspective is at once baffling and sad and exuberantly joyous: it struggles to comprehend a sick parent who cannot leave a bed but rejoices in all-consuming splashing play by the river.
It is a perspective that sees, in one moment, only the minutest of details, and in another, feels lost in a vast world. Food remnants, left by untidy, unheeding adults litter the floor of the train, but that focused, compact space of a set of train seats is suddenly a bewilderingly large expanse when the adults are absent.
Time speeds by in the morning, while turtle races absorb hands and eyes, but seconds tick interminably in the long afternoon, loose limbs lazing on the floor of a hot room.
Family is everything, dictating life's motions and providing the structure, comfort, love, but adults are capricious, mysterious creatures. Why does Grandma weep as she folds the clothes, and why does Grandpa chase away Uncle one moment and give him money the next? One can only stare, wonder, and shrug. That's Grandma. That's Grandpa. And it's nice, anyway, to sit with Grandpa and look at those old pictures while the sound of the phonograph plays its scratchy tunes.
And so, Hou's sense of space and perspective draws me in, and even when the summer comes to a close, and with the children, I am, perhaps, ready to go home, back to the routine of life, I cannot help but feel that sweeping vistas of the green paddy fields, the rush of the train just outside grandpa's window, the place on the landing where everyone's shoes snuggled against one another, have left an imprint on the mind and heart, much like those long magical summers of my own childhood have done for me. I can never go back to the time, but it remains, like a still center at the core of something that is me.
Friday, November 6, 2015
Also reviewed at Seattle Screen Scene.
"I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet"
~John Keats, "Ode to a Nightingale"
But in the now, a sudden scent presses the bright deep color of your dress, the shape of your hip, a white clasp at the dip in your neck, into my vision, filling it. A green dress with bright yellow daffodils, impossibly vivid. Could you have been so beautiful?
The streets of the teeming city were empty then, only you and I were there, there in the rain, under the bulb, there in the passage on the stairs. Our shadows pass along those walls, where paper notices tatter, fade, and are smoothly absorbed into the place on which they were glued. The rain soaks us, pounds the pavement; water seeps down into the earth, the water stands in clear pools. At once, it disappears, leaving blackness; it reflects, leaving shimmers of light.
I can feel the press in the hallway, packed with furniture, movers. Was it there I first felt the press of your arm? Or in the cab? Your fingers slip out of my grasp, leaving their warm fading print.
I wait for you. You wait for me. Memory, shrouded and alive, floats in red, graceful curtains in the long deserted passage.
I whisper this fleeting, lingering thing into the ancient ruins, where boldly soaring arches and disintegrating figures in stone relief, settle into the earth, growing into the grass and mud.
Friday, October 16, 2015
Hou Hsiao-hsien structures his new film, The Assassin, as a sort of once upon a time tale. It begins with narration, a mix of the historical and the mythic, and I am at once immersed in a dream-like tale that will, indeed, haunt my memory, just as history and myth so often do, becoming reference points in my present, even when I am not consciously aware of their influence.
It is ninth century China, and political struggle infects the kingdom. The royal court fears a strong, militarized outer province, Weibo; too much delegated power is a threat to the court’s own strength. Weibo, with a century of nearly complete self-governance, fears a reduction in its autonomy. It is a struggle that absorbs everyone.
And yet within this kingdom, there is a mother who tells another story, the story of a single bird. Caged and alone, the bird sits silent, a small stranger in the human world around it, unable to sing to those so unlike itself. Its human keepers feel compassion for it and give it a mirror. Recognizing something like itself, it sings a song of sadness. It dances, and then it dies.
In this once upon a time kingdom, there is one woman (played alternately with beautiful stillness and incisive action by the wonderful Shu Qi), caught in the midst of a large world she cannot control, a world that has named her its assassin and imprinted upon her its own mission, denying her her own world. She dances an assassin’s dance with a swift grace that leaves me breathless, but her sweet, sad face is the print left on the mind and heart.
. . .
Read my full review on Seattle Screen Scene.