Tropical Fish (Chen Yu-hsun, 1995)

part of my 2012 MUBI World Cup coverage

An incredibly odd, charming and funny film. Words that wouldn't necessarily come to mind when thinking of a film about child kidnapping. A young boy who dreams of escaping his uneventful school-based life ends up having to do just that when he gets kidnapped. The interactions between the boy and his kidnappers reveal, especially by the end, that the whole time the boy, even while being kidnapped, was better off than his kidnappers. The satire doesn't end there, continuing onto the failures of the schooling system and its ridiculous testing principles, as well as the ineptitude and constant failure of the police. It's also interesting that the only real villain in the film, the original kidnapper and pedophile, was an ex-cop and someone's boss (exploiter). The film also didn't shy away from surreal aspects: the grandmother spouting anything from incomprehensible sayings to sudden revelations, the song and caricature world that the film morphs into:

the tropical fish mysteriously found after a flood to the most obvious, massive tropical fish at the end:

Something else that comes off as surreal is the normality that kidnapping is treated with. Something that had to happen for Ah-Jiang to get the preparation and 'reality-call' that he needed; for the family to come together, etc. Something else worth noting was the ending. The film ended very ambiguously. We don't learn if the boy passed his exam, the outcome of the kidnappers. We are left to wonder, does it even matter? It seems that Ah-Jiang has learned more through his experience than he would ever from studying for the test or his trials and tribulations afterwards.

Some more screenshots:

Thanks Marty

For all my reservations about Hugo and all the awards it won I must say that I couldn't be happier about seeing that one of the local video stores in town is now carrying the Georges Méliès: First Wizard of Cinema: 1896-1913 box-set. The fact that Marty has been able to re-interest people in cinema that is over a decade old is quite the feat. And about Hugo, the local arthouse Ciné is now showing it in 2D 35mm, which I plan on going to soon in order to re-evaluate the film, especially since my main nreservation about the film was the 3D technology.

The Clay Bird (Tareque Masud, 2002)

part of my 2012 MUBI World Cup coverage



Compelling film that shows the contradictions of a completely singular vision (religious or otherwise). It displays Islam and religion in general in a compelling way. While not completely dismissing it, it definitely portrays religion as having an important yet sometimes dangerous role on people's lives. The film follows Anu's (Nurul Islam Bablu) family in a tumultuous time during Bangladesh's fight for independence. We get to see this world through Anu's innocent eyes: the incredibly strict school he gets sent to (but he also makes a friend and finds some escapism with him there), his father becoming more influenced by religion (driven mad by the end), his sister's death, the war. Ultimately, the film seems to claim that situations should be handled independently and that no one dogma can answer all the Universe's questions, fears or conflicts.

Masud also employs a certain visual flair that heightens the richness of both culture's as well as Bangladesh's natural beauty. There's also a certain brilliance to the acting. As I watched the film it seemed to be one of the aspects that stood out the most. A classical type acting.

Some excerpts from a Le monde interview:

Le Monde: Through all its contrasting impressions, an image emerges of a country which is culturally very rich.

TM: Bangladesh is a complex country. This reality has nothing to do with its image abroad, of a poor country of famine, flood and fundamentalism. I wanted to convey my own image of my country, that of a moderate Muslim Bangladesh, and to bring out its social, cultural, and political diversity… I wanted to show the diversity of my country in all its contradictions-for me this is the best approach, not only because it is more credible, but also because it is more beautiful.

Le Monde: A beauty which also takes much inspiration from Islam.

TM: For us, Islam is rooted in our own soil, it has evolved and adapted to our own traditions, including Hinduism. It has thus become our own form of Islam, a popular Islam. This is expressed through the ‘bahas’ songs that we hear in the film. These mystical songs are still very popular, and serve to transmit much of our knowledge and heritage. They are a means of meditation and prayer.

Le Monde: However, as we see with Anu’s father, many Muslims condemn these practices…

TM: In the strict sense of the Shariah, songs are considered profane. But this is only from an oversimplified reading of the Koran and Hadith. It doesn’t take account of the different interpretations and debates that have always been an essential part of our religion. Unfortunately, this aspect is often overlooked. For the rest of the world, the image of Islam tends to be dominated by its extremist and intolerant currents. However, our religion is founded on principles of dialogue. This is what I wanted to show in my film. I have a deep respect for the Islamic faith, and I hope this film will help my fellow Muslims. It evokes the core of our religion, a religion of reflection and personal interpretation. This is what is known in Sufism as “individual reasoning”.

Lust for Gold (Dan Piţa and Mircea Veroiu, 1974)

part of my 2012 MUBI World Cup coverage

Another incredible discovery thanks to the Cup. An essayistic film. Essayistic in the purely cinematic sense. There's no voice-over narration and dialogue is kept minimal, and we do have a Greek chorus that sings in pivotal scenes. Other than that its thesis on humanity's lust for gold is told purely through its stunning images.

The film is available to view in its entirety here:

(unfortunately I do not believe there is any official release on DVD anywhere...)

Screening Notes: King Lear (JLG, 1987)

Framing:

Black:

Professor:

Screening notes:

Justice; Pre-Code

Mitchell Leisen's Murder at the Vanities (1934)

Twisting Madame Roland's famous words ("Oh Liberty, what crimes are committed in thy name!") before being executed during the Reign of Terror.

the academy

Photo via The Criterion Collection

So I watched the dreaded event (to participate in a family poll) and the only good part was when they brought back the dead (in memoriam segment) and everyone that was watching got to see a still from Hold Me While I'm Naked along with George's name.

Rooney Mara and Gary Oldman got robbed.