crey014
Joined Jul 2008
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crey014's rating
Werner Herzog's "Cave of Forgotten Dreams" is a deceptively simple documentary on the newly discovered Chauvet Cave in Southern France, a cave where experts have collectively agreed to be the epicenter of upper Paleolithic cave paintings and as the site of the oldest collection of cave paintings ever discovered (imagine the Burgess Shale version of prehistoric art). The film intercuts between expert interviews and terrific footage of the cave, emphasizing on the timelessness of the paintings with a touch of speleological analysis to put it into context. The cave is indeed a time capsule, offering a menagerie of prehistoric display of ice age biomass, depicted as art paintings or as skeletons enveloped in crystalline moulds that have manifested through time. Herzog cleverly creates new historicist readings on these pieces, pieces that essentially escape 'history', through anthropological studies done on specific pieces. One piece particularly amazed me, as it reveals its creation in a mind bending span of 5,000 years, initiated by a bear scratch and finished by an anthology of horses by a modern cave man. Also, Herzog emphasizes cultural importance of these art pieces, as they actually escape the concept of 'culture', through juxtaposing it with other pieces, such as Aboriginal art and an interesting focus on the Grecian Minotaur and the link of Venus and fertility – qualifying these pieces as 'culture' extrinsically. Although the 3D aspect of the film is not used along the discourse of Michael Bay, it is never gratuitous, as these pieces were intentionally created to fit the contours of the cave, and along with lighting, cleverly create the illusion of motion - with the 3D as an essential tool in displaying the intention of the artist. This is an excellent documentary that celebrates the genesis of humanity through art.
Inspired from Marjane Satrapi's graphic novels, "Persepolis" is a cinematic tour de force. Beautifully conceived and written, it never pulls punches as it chronicles the adventures of its protagonist while being able to display certain truths that have never been produced in a more digestible fashion. Even if the film is in black and white, ideas nevertheless go though the entire spectrum, with emphasis on integrity, courage and character: virtues that usually suffer in an incarcerating environment.
Divided in three acts, film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. As opposed to this year's "Waltz with Bashir", an animated political documentary, "Persepolis" is definitely a production of fiction and does not frame reality verbatim, however it paints a picture to Satrapi's personal experiences as close as possible. Politics and identity are the film's driving force, although is smartly perfunctory in making each of them not the cause or the effect.
Each frame is beautiful to look at and has definitely gone above and beyond its comic book counterpart. Using hand drawn techniques and a sense of whimsy missing from mechanical mainstream animated features, "Persepolis" cements that story is essential as an axis in storytelling. With a mainly black and white palette, the picture is nevertheless colorful with its depiction of characters, all of them inspiring and definitely breaks taboos on a stereotypical view of Persian living.
To contrast the film and its graphic novel roots is made redundant by its production, as it's conscious to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, "Persepolis" follows a mainly flashback driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.
Nominated for an Academy Award for Best Animated Feature, "Persepolis" definitely establishes a lasting experience. It knows how to balance its political influence and its personality that it never becomes overbearing and driven by a vendetta. The film's universal appeal is exceptional as even if it goes through specifics about Iran's historical political development, narrative is still driven by its protagonist. And with a character like Marjane, who has been easily compared to Juno multiple times, she's definitely worth cheering for.
Divided in three acts, film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. As opposed to this year's "Waltz with Bashir", an animated political documentary, "Persepolis" is definitely a production of fiction and does not frame reality verbatim, however it paints a picture to Satrapi's personal experiences as close as possible. Politics and identity are the film's driving force, although is smartly perfunctory in making each of them not the cause or the effect.
Each frame is beautiful to look at and has definitely gone above and beyond its comic book counterpart. Using hand drawn techniques and a sense of whimsy missing from mechanical mainstream animated features, "Persepolis" cements that story is essential as an axis in storytelling. With a mainly black and white palette, the picture is nevertheless colorful with its depiction of characters, all of them inspiring and definitely breaks taboos on a stereotypical view of Persian living.
To contrast the film and its graphic novel roots is made redundant by its production, as it's conscious to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, "Persepolis" follows a mainly flashback driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.
Nominated for an Academy Award for Best Animated Feature, "Persepolis" definitely establishes a lasting experience. It knows how to balance its political influence and its personality that it never becomes overbearing and driven by a vendetta. The film's universal appeal is exceptional as even if it goes through specifics about Iran's historical political development, narrative is still driven by its protagonist. And with a character like Marjane, who has been easily compared to Juno multiple times, she's definitely worth cheering for.
Although ambitious and picture perfect, the feeling of exaggeration cannot be shaken from "Üç Maymun", a drama set in Turkey following the exploits and heartbreak of a nuclear family. Thwarted desires and desire-less characters are plenty; Nuri Bilge Ceylan helms the film that feels it has more style rather than substance. Could possibly be taken more as a meditative form of tragic cinema, it still cannot compare to the likes of Ki-duk Kim, also going for the same moody dialogue-less craving audience. In competition at Cannes 2008, creates more intrigue rather than a cinematic full circle.
Film follows a surname-less nuclear family as they come to grips with the paternal character, Eyüp (Yavoz Bingol), who goes to prison for 9 months with either altruistic or financial reasons in mind. He leaves his wife Hacer (Hatice Aslan), who clearly needs more than what her husband can deliver and son Ismail (Ritaf Sungar), an overgrown teenager who cannot find any sort of direction in life, eventually leading himself to lethargy and apathy. Characters are definitely flawed and are interesting, however delivery of the family on celluloid still seem to be somewhat lacking.
Technically, the film triumphs as it conveys more towards the plot than the characters. Cinematographer Gőkhan Tiryaki paints the image with a dull rusty palette perfectly mirroring the doom and depression the characters wear on their sleeves. Also, by the camera angles itself, film clearly wants its audience to be as disjointed to the characters as possible making them feel more voyeuristic rather than empathetic. Certain scenes filled with dramatic desperation are filmed behind the bushes, both making moments like that intensely private but nevertheless distant.
As with the stylish overcast weather this universe is subjected to, the film is intensely meditative as it strictly confines these characters to themselves through limitations of the spoken word. Almost half of the film is indulged in shots that are introspective and deeply personal. It works to an extent as it diverts the thinking to the audience, although picture doesn't really have much to allow the audience to chew on. Like the sky, filled with clouds desperate to rain, audiences will be left wanting to connect with these characters. It does rain, although it only pour before the end credits. A point of liminal, it doesn't make it clear though on what's there to be liminal about.
Picture's ace is Hacer. Played with much desperation by Hatice Aslan, she remains the only character with an overwhelming desire to be happy. Character takes the opportunity to explore happiness whilst her husband is away. But, the thing is, this source of pleasure is normally deemed as unorthodox even if it gives her a reason for being. Once this source of contentment is stripped off, clear anxiety strikes her as she borderlines the bathetic. Indeed a flawed character, she still becomes the reference point to the masculine characters who desire something more tangible.
"Üç maymun" is a cinematic experience that gets richer in retrospect. Definitely not a form of transient entertainment, it caters to a specific audience devotedly. However, feeling of an overstretched plot on a surrealist setting can be a hindrance to full appreciation. It also feels rather indulgent. Extended shots could have been excised, taking with it the impression of a pretentious, not a nirvana-driven, production.
Film follows a surname-less nuclear family as they come to grips with the paternal character, Eyüp (Yavoz Bingol), who goes to prison for 9 months with either altruistic or financial reasons in mind. He leaves his wife Hacer (Hatice Aslan), who clearly needs more than what her husband can deliver and son Ismail (Ritaf Sungar), an overgrown teenager who cannot find any sort of direction in life, eventually leading himself to lethargy and apathy. Characters are definitely flawed and are interesting, however delivery of the family on celluloid still seem to be somewhat lacking.
Technically, the film triumphs as it conveys more towards the plot than the characters. Cinematographer Gőkhan Tiryaki paints the image with a dull rusty palette perfectly mirroring the doom and depression the characters wear on their sleeves. Also, by the camera angles itself, film clearly wants its audience to be as disjointed to the characters as possible making them feel more voyeuristic rather than empathetic. Certain scenes filled with dramatic desperation are filmed behind the bushes, both making moments like that intensely private but nevertheless distant.
As with the stylish overcast weather this universe is subjected to, the film is intensely meditative as it strictly confines these characters to themselves through limitations of the spoken word. Almost half of the film is indulged in shots that are introspective and deeply personal. It works to an extent as it diverts the thinking to the audience, although picture doesn't really have much to allow the audience to chew on. Like the sky, filled with clouds desperate to rain, audiences will be left wanting to connect with these characters. It does rain, although it only pour before the end credits. A point of liminal, it doesn't make it clear though on what's there to be liminal about.
Picture's ace is Hacer. Played with much desperation by Hatice Aslan, she remains the only character with an overwhelming desire to be happy. Character takes the opportunity to explore happiness whilst her husband is away. But, the thing is, this source of pleasure is normally deemed as unorthodox even if it gives her a reason for being. Once this source of contentment is stripped off, clear anxiety strikes her as she borderlines the bathetic. Indeed a flawed character, she still becomes the reference point to the masculine characters who desire something more tangible.
"Üç maymun" is a cinematic experience that gets richer in retrospect. Definitely not a form of transient entertainment, it caters to a specific audience devotedly. However, feeling of an overstretched plot on a surrealist setting can be a hindrance to full appreciation. It also feels rather indulgent. Extended shots could have been excised, taking with it the impression of a pretentious, not a nirvana-driven, production.