anirbanab
Joined Jan 2011
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Reviews5
anirbanab's rating
Cute and comforting – that's how one can describe this movie. The kind of "cuteness" that 'Cinema Paradiso' or 'The spirit of the beehive' or 'The grand highway' presents you with.
All-too-well-known characters, all-too-well-known days, but how much of a character resides beneath the surface? How much of a "special day" resides underneath a humdrum-'everyday'? - This movie is an authentic documentation of all our 'could-have-been' dreams of mundane 'everyday's. Doesn't matter if you are not a farmer in Switzerland, doesn't matter if you are not familiar with country life, you'll still be able to relate yourself perfectly with the main character, you'll still want to have your own small moped.
The movie has a number of strong points, the best to me being, sense of restraint of director Yves Yersin. As a result of this pinpoint precision, despite an inviting subject matter, the movie never imposes abstractness on viewers. While it never drifts too away from reality, it doesn't dwell merely in the reality. – Not many films can be attributed with this rare quality.
I recommend this movie strongly, it's a real gem.
All-too-well-known characters, all-too-well-known days, but how much of a character resides beneath the surface? How much of a "special day" resides underneath a humdrum-'everyday'? - This movie is an authentic documentation of all our 'could-have-been' dreams of mundane 'everyday's. Doesn't matter if you are not a farmer in Switzerland, doesn't matter if you are not familiar with country life, you'll still be able to relate yourself perfectly with the main character, you'll still want to have your own small moped.
The movie has a number of strong points, the best to me being, sense of restraint of director Yves Yersin. As a result of this pinpoint precision, despite an inviting subject matter, the movie never imposes abstractness on viewers. While it never drifts too away from reality, it doesn't dwell merely in the reality. – Not many films can be attributed with this rare quality.
I recommend this movie strongly, it's a real gem.
How come some films make us so sad and yet, we appreciate the sheer beauty in them? The film 'A Saturday On Earth' is one of those serenely depressing movies. In my opinion, it is an absolute masterpiece.
Films are meant to be saga of images, at least primarily. But very few works can make images talk. In fact, the absence of saga of talking images is so pervasive a trend in modern movies that only rarely one gets to experience the taste of such a chronicle. 'A Saturday On Earth' is one of those rare and pleasant aberrations. This entire movie is a continuous journey across detached (but not independent) images; each of which, like a separate Haiku, depicts the contrast between bleak interiors and dazzlingly lit verdant green pastures of French countryside.
This movie is a veritable exhibition of filmatic restraint. Character studies, when performed from the perspective of sensitive restraint, often results into poetry. Its no wonder therefore that poetry drips from many of the scenes of this work. Delightful photography and the non-linear mode of presentation of the entire collage merely heightens this poetic appeal. From the (apparently) chaotic introductions to characters in the beginning, a story slowly emerges. From a set of trivial coincidences, the sense of coherence emerges. Thanks to deft editing, one can pick up the broken pieces of unifying thread between the frames. – As a result, in the end, the (apparently) random sequence of frames nicely form a pretty little sad story.
I reiterate, to me, this movie is a modern masterpiece.
Films are meant to be saga of images, at least primarily. But very few works can make images talk. In fact, the absence of saga of talking images is so pervasive a trend in modern movies that only rarely one gets to experience the taste of such a chronicle. 'A Saturday On Earth' is one of those rare and pleasant aberrations. This entire movie is a continuous journey across detached (but not independent) images; each of which, like a separate Haiku, depicts the contrast between bleak interiors and dazzlingly lit verdant green pastures of French countryside.
This movie is a veritable exhibition of filmatic restraint. Character studies, when performed from the perspective of sensitive restraint, often results into poetry. Its no wonder therefore that poetry drips from many of the scenes of this work. Delightful photography and the non-linear mode of presentation of the entire collage merely heightens this poetic appeal. From the (apparently) chaotic introductions to characters in the beginning, a story slowly emerges. From a set of trivial coincidences, the sense of coherence emerges. Thanks to deft editing, one can pick up the broken pieces of unifying thread between the frames. – As a result, in the end, the (apparently) random sequence of frames nicely form a pretty little sad story.
I reiterate, to me, this movie is a modern masterpiece.
This is not exactly a neat and slick production in the Hollywood sense. You may find ample number of "rough edges" here and there, but there's heart in this work. Sheer honesty of the entire effort will touch you.
Harmony of perceptive (as well as intelligent) camera work with crystalline conciseness of direction, ensured that wrecked and derelict outdoor is reflected from interiors of Catherine Deneuve and Rabih Mroue; - regularly. – Such consistency is not easily achievable, but the script-direction combination pulls it off here.
Structure of the movie is such that every time one starts to (slowly) slip into a nice little groove of a story-like niche, it is abruptly broken; apparently telling the viewer that probably it is too early and too unrealistic to feel the trance of a storyline when one's survival – and merely that survival itself – can be hailed as an achievement. The detached self of the viewer, therefore, is made to stay in his/her realm of logic, - throughout. In other words, viewer is prohibited to enter the realm of his/her emotion. – Such Brecht-like treatment of the subject matter adds a rare dimensionality to this film.
This is one of those nonconforming "serious" movies that won't bore you ever. In fact, to me, not a single shot of this movie is redundant.
You might not find it to be a "feel-good" movie, but most certainly you'll have an unmatched and unforgettable cinematic experience. Watch this movie.
Harmony of perceptive (as well as intelligent) camera work with crystalline conciseness of direction, ensured that wrecked and derelict outdoor is reflected from interiors of Catherine Deneuve and Rabih Mroue; - regularly. – Such consistency is not easily achievable, but the script-direction combination pulls it off here.
Structure of the movie is such that every time one starts to (slowly) slip into a nice little groove of a story-like niche, it is abruptly broken; apparently telling the viewer that probably it is too early and too unrealistic to feel the trance of a storyline when one's survival – and merely that survival itself – can be hailed as an achievement. The detached self of the viewer, therefore, is made to stay in his/her realm of logic, - throughout. In other words, viewer is prohibited to enter the realm of his/her emotion. – Such Brecht-like treatment of the subject matter adds a rare dimensionality to this film.
This is one of those nonconforming "serious" movies that won't bore you ever. In fact, to me, not a single shot of this movie is redundant.
You might not find it to be a "feel-good" movie, but most certainly you'll have an unmatched and unforgettable cinematic experience. Watch this movie.