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Red Road
Ce premier film, d’une rare intensité dramatique, utilise habilement les ingrédients traditionnels du cinéma britannique, - intrigue policière et éclairage néo-réaliste de personnages de milieu populaire meurtris par la vie. Dans un style néo-hitchkockien efficace il captive de bout en bout l’attention du spectateur, intrigué par l’énigme de (...) -
Bug (English Corner)
Is this the William Friedkin who won an Oscar for The French Connection all those decades ago, then made The Exorcist ? Is this the William Friedkin who has never really matched these earlier successes ? Well, yes. And this film does not match them either. But it will have a lot of people talking. Bug sounds like one of those B-budget (...) -
Red Road (English Corner)
This is one that you definitely have to stay until the end if you are to appreciate the film as a whole. Not that many audiences will not be tempted to give up during the first half and even beyond. Red Road is in Glasgow and has a huge block of flats which are continuously under surveillance, as is the whole area, by the city security (...) -
Volver (English Corner)
After the very male world of Bad Education, Almodovar has moved to a woman’s world, with a sensibility like one of the girls. The plot of Volver is more straightforward than the complexities of stories within stories of Bad Education. This time it is three generations of women and their neighbours (with a few men glimpsed now and again - (...) -
Ten Canoes (English Corner)
Rolf de Heer’s name in the final credits comes at the end of a long list of aboriginal names. The film is also described as ‘a film by Rolf de Heer and the People of Ramingining. Basically, this is an Australian aborigines’ film. It tells their story (and stories within stories), in their way, performed and sung by aborigines, many of them (...)
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