Saturday, 25 October 2014

Capital Celluloid 2014 - Day 322: Thu Nov 20

Whiplash (Chazelle, 2014): Barbican Cinema, 8.40pm


Here's a chance to see a film that created a buzz at both the Sundance and London Film Festivals. It is screening here as part of the London Jazz festival season of films. You can find the full details here.

Time Out review:
You already know J.K. Simmons’s ferocious jazz teacher in the electrifying Whiplash if you’ve seen Full Metal Jacket, Battle Royale or Grizzly Man (he’d be the grizzly). Clad fully in black, biceps bulging, Simmons’s Fletcher exudes downtown attitude. He rules the top department of an elite NYC music program with a clenched fist, instantly squeezing off the wayward bleat of a saxophone. Part of the joy of watching dramas like this must be a masochistic thrill in seeing young punks suffer: Drumming hopeful Andrew (The Spectacular Now’s Miles Teller, fully convincing behind the kit) is nearly destroyed by this monster, a barking man who’s impossible to please. Yet even though our wunderkind’s knuckles bleed and his snare gets spattered, you think: That’s some truly glorious noise he’s making. The discipline and beauty of bebop has never been better served by a film.

Whiplash might have followed this trajectory to a feel-good destination, one involving a recital, some proud parents and a teary hug. But that’s not where writer-director Damien Chazelle wants to go—bless him for it. Fletcher’s put-downs become more vicious (and riotously un-PC); the drive to perfection turns Andrew into a bitter, uncaring boyfriend; and the plot’s tone nears that of a thriller, sometimes awkwardly. Credibility is burned upping the stakes: Will a violent car crash prevent Andrew from staggering to the gig in a concussed delirium? Don’t wonder. Disappointing Fletcher is too terrifying a prospect. But there’s also unusual, spiky attention paid to the pursuit of excellence, as Andrew begins to resent the mediocre aspirations of his family. By film’s end, he’s an arrogant, cymbal-smashing machine.

How breathtaking it is to see a story go there. The identity this teen chases is a lonely one, but it’s impeccably on beat. Real art, the movie suggests, isn’t for those who merely hope to do a “good job” and please themselves. Whiplash scrapes the far edge of crazy passion. It never apologizes. And the flurry of drumming it concludes with—Teller’s solo is staggering—is both a magical cacophony and, obliquely, a door slamming shut. I don’t know if I’d show this film to a curious young person, not if I ever wanted to see them again. They’d be in their room practicing, forever.
Joshua Rothkopf

Here (and above) is the trailer.

Capital Celluloid 2014 - Day 321: Wed Nov 19

Once Upon A Time In Anatolia (Ceylan, 2011): BFI Southbank, 8pm


This film, part of the Nuri Bilge Ceylan season at BFI Southbank, also screens on 19 and 20 November. Details here.

The movie was given a five-star review by Time Out magazine:
'Turkish director Nuri Bilge Ceyan is unlikely to attract heaving crowds to his sixth film, ‘Once Upon A Time in Anatolia’, but since when was the 51-year-old director of ‘Uzak’, ‘Climates’ and ‘Three Monkeys’ in it for the multiplex? Ceylan is a sly and daring screen artist of the highest order and should draw wild praise with this new film for challenging both himself and us, the audience, with this lengthy, rigorous and masterly portrait of a night and day in the life of a murder investigation on his country’s Anatolian steppes. It’s a mysterious and demanding work, and it marks a distinct progression in Ceylan’s career as he continues to gnaw at the boundaries of film storytelling with humour, grace, empathy and a dry, wry view of everyday life.'
Dave Calhoun


Here is the trailer.

Capital Celluloid 2014 - Day 320: Tue Nov 18

Stray Dogs (Ming-liang, 2013): Westfield Vue Cinema, 7.30pm


Here is the A Nos Amours Film Club preview of tonight's special screening which will feature an introduction by Jonathan Romney:
Read Romney's Film Comment review
here - he has some reservations, but says the film is mesmerising. It is after all the mature work of a great film maker.

A father and his two children wander the margins of modern day Taipei, from the woods and rivers of the outskirts to the rain streaked streets of the city. By day the father scrapes out a meager income as a human billboard for luxury apartments, while his young son and daughter roam the supermarkets and malls surviving off free food samples. Each night the family takes shelter in an abandoned building. The father is strangely affected by a hypnotic mural adorning the wall of this makeshift home. On the day of the father's birthday the family is joined by a woman - might she be the key to unlocking the buried emotions that linger from the past?

Time Out review:
Taiwan’s Tsai Ming-liang, whose last feature was 2009’s underrated French fantasia Face, returns to familiar territory, or so it initially seems. For a good hour or more, the rigorous and demanding Stray Dogs plays like a greatest-hits package. (Newbies shouldn’t start here.) The writer-director’s usual star, Lee Kang-sheng, is a homeless Taipei man who by day holds up advertising placards along a busy city roadway and by night squats in an abandoned building with his two children. It’s a tough and tedious life punctuated by doses of the surreal comedy that fans have come to expect from the filmmaker. In one lengthy scene, Lee devours a head of cabbage that his daughter uses as a doll—an encounter that plays both like a sex-film parody and a tragedy-tinged howl from the void.
Such sequences are mesmerizing in their way, but Tsai’s done this sort of thing with greater potency in movies like 2005’s porn-world musical The Wayward Cloud (there, a watermelon was the object of affection). Stray Dogs really starts to come alive in its second half, when the action switches to a decrepit apartment out of a J-horror film and the family-of-outcasts narrative tips completely into the slippery realm of the avant-garde. It’s at this point that you understand Tsai’s disorienting choice to have the lead female character (a grocery-store manager who takes a motherly interest in Lee’s kids) played by three different performers. Everything that came before is reoriented through a newly nightmarish prism, and the lengthy final two shots (each running more than ten minutes) rank among the best work this inimitable artist has ever done.
Keith Uhlich
 
Here (and above) is the trailer.

Capital Celluloid 2014 - Day 319: Mon Nov 17

Summer with Monika (Bergman, 1953): BFI Southbank, NFT2, 6.10pm


This movie, part of the Passport to Cinema season at BFI Southbank, also screens on 22 November. Full details here.

You can read Dave Kehr's full New York Times review of the film here. This is an extract:
The film “Summer With Monika,” released in 1953, isn’t among the best known or most representative works of Ingmar Bergman, but it may be his most influential.No doubt, its international success was due in large part to the film’s bold eroticism. The young lovers escape the city, and the looming prospect of adult responsibilities, by borrowing a motorboat and heading off to the archipelago that lies east, off the Baltic coast, where they spend an idyllic summer drifting among the islands, living off the land and making love in the open air. In France, where casual nudity in films was no particular novelty, “Monika” passed almost unnoticed on its first release, but when Henri Langlois included it in a 1958 Bergman retrospective at the Cinémathèque Française, several of the young filmmakers who would soon make up the New Wave found in it a model for the kind of intimate, personal, present-tense cinema they were aspiring to create. “The most original film by the most original of filmmakers,” wrote Jean-Luc Godard, “it is to the cinema of today what ‘Birth of a Nation’ was to the classical cinema.” 

Here (and above) is an extract from the film.

Capital Celluloid 2014 - Day 318: Sun Nov 16

The Last Metro (Truffaut, 1980): Cine Lumiere, 2pm


This film is part of a Francois Truffaut tribute season at Cine Lumiere. Full details here.

Chicago Reader review:
On the surface, a tepid, shallow, but slickly mounted 1981 entertainment by Francois Truffaut, set during the German occupation of Paris, where a theatrical troupe is struggling to mount a new production while the director, a fugitive (Heinz Bennent), hides in the theater basement. Meanwhile, his wife and leading lady (Catherine Deneuve) enters timorously into an affair with the new leading man (Gerard Depardieu). Truffaut coaxes only familiar meanings from the material, and even seems to back away from the emotional possibilities, yet the accumulation of metaphors of containment and concealment gradually comes to suggest another subject—the withdrawal, the silence, the impotency of the artist. At times, the film seems to be about the reasons for its own emptiness.
Dave Kehr

Here (and above) is an extract.

Capital Celluloid 2014 - Day 317: Sat Nov 15

Cool It Carol (Walker, 1970): Barbican Cinema, 4pm


This film, introduced by Matthew Sweet, is part of a season at the Barbican Cinema dedicated to the cult director Pete Walker. Full details here.

Barbican introduction: Young Joe Sickles (Robin Askwith) wants more from life, but was never prepared for where Carol (Janet Lynn) was going to take him. Walker's dark comedy showcases the seedier side of Swinging London, as fresh-faced youngsters are chewed up and spat out by the exploitation machine.

Here (and above) is the trailer.

Capital Celluloid 2014 - Day 316: Fri Nov 14

Climates (Ceylan, 2006): BFI Southbank, NFT2, 6.20pm


This film, part of the Nuri Bilge Ceylan season at BFI Southbank, also screens on 12 and 14 November. Details here.

Time Out review:
‘Climates’ presents the break-up of a metropolitan couple, university lecturer Isa and television art director Bahar (played by Ceylan and his wife Ebru), whom we first meet on a Turkish beach not long before Isa suggests that they should separate. From here, Ceylan explores with acute observation and stunning photography Isa’s mixed, complex and utterly recognisable reaction to the split. Fans of ‘Uzak’ (‘Distant’), which played at the Festival in 2003, will welcome the director’s latest, which was sadly omitted from the prizes at this year’s Cannes, where it emerged as a firm favourite among critics. Those same fans will recognise Ceylan’s pared-down, quiet style of storytelling, which finds magnificence in the everyday and doesn’t allow one single word or action to stray from a complete vision of what it means to be living and loving today in Ceylan’s home city of Istanbul.
Dave Calhoun

Here (and above) is the trailer.