backwardsiris

Elizaveta Stishova's directorial debut Suleiman Mountain, takes us to Kyrgyzstan in this story about a family of grifters. The titular, mystical peak stands as a silent witness to the constant stream of turmoil brought on a nomadic family by their patriarchal head, a charismatic, but drunk, con-man. When one of his two wives brings home their long lost son, the young boy not only changes the family dynamic, but offers the moral compass they lack. Like the stark landscapes of Kyrgyzstan contrasted with the multicolored textures & patterns of the textiles throughout, this poignant family drama is balanced by interjections of organic comedy. The resolution felt hurried, but also little kinks to be expected of a first-time filmmaker lost a few stars for me.

Do you like movies with star-cross'd lovers, tribal rivalries, scampish little sisters, pristine Polynesian islands, active volcanoes & penis sheaths? If so, TANNA is the movie for you! Simultaneously heart-breaking & hopeful, this film was the first to be shot entirely in Vanuatu. At times you will laugh, gasp & most definitely cry, as you follow the timeless tale (based on a true story) of two lovers caught in the middle of parental & tribal responsibilities. The cinematography was breathtaking & displayed the impeccable photographic vision of filmmakers who had previously created documentaries. The performers were not trained actors, but members of the Yakel tribe--however, their performances were as heart-felt & gut-wrenchingly real as that of any Oscar winning actor. The stand-out for me, was the young girl, Marceline Rofit, who played the role of the impish little sister, Selin. The depth of emotion that she evoked is well beyond her years & is a stand-out among all the incredible performances in this film.

What can be said about Chimes at Midnight that hasn't already been said? Orson Welles' ode to Fallstaff, a part that Shakespeare obviously created with Welles' himself in mind, seems to be the perfect culmination of his enormous (no pun intended) career. The meager budget of the film is only reflected in the bad dubbing & sound quality, which is still glaring despite restoration efforts. Welles makes up for this in film noir lit faces, intense battle scenes, and of course, his impeccable acting & connection with the character. With the minute movement of his eye, he can garner laughter or sympathy. While we may be used to chuckling at Falstaff's bumbling, brazen arrogance, Welles also brings us, in the end, to profoundly feel the anguish that lies at the depths of Falstaff's soul. His performance seems to be a psychological study on fatherly influences, quite probably pulling from his experiences with his own Fallstaffian father, among others. Having recently watched My Own Private Idaho, it is hard not to make comparisons & observe the obvious inspiration Gus Van Sant drew from Chimes for his quintessential film. It was also interesting to watch the dramatic battle scenes, which on a shoestring budget are very cleverly shot & edited to feel big budget. This film has probably inspired many larger budget Shakespearean, war & movies in other genres, and yet stands in a league of its own.