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  • Indigènes


    Que ce film s’inscrive dans le débat actuel sur le colonialisme, c’est une évidence. Que ce soit une pierre dans le jardin de la France, aussi. Et il n’est pas nécessaire d’arriver au texte final rappelant le gel(encore actuel) des pensions des anciens combattants d’Afrique pour que le thème soit clairement développé : si, au cours de la libération de (...)
  • Guisi (English Corner)

    Guisi (English Corner)

    East Asian cinema has been preoccupied with ghost stories for more than a decade. How much of it is part of the culture of the region, how much religious belief or how much of it is a successful trend that has been imitated by Hollywood ? Silk is one of the better examples - though just as far-fetched as any. It tries to give the impression (...)
  • El Violin (English Corner)

    El Violin (English Corner)

    A first film that is both modest and ambitious. It is modest in its small budget, use of local actors, filmed in black and white and telling a local Mexican story. It is ambitious in its cinema style and in the scope of exploration of themes. The setting is a generalised peasant revolt against government oppression - that could stand for so (...)
  • L'Amico di famiglia (English Corner)

    L’Amico di famiglia (English Corner)

    This is very much a mood film, an unpredictable blend of naturalism, dream and surrealism. Liking it will depend on moods. It is also a rather creepy film. The central character and his behaviour are definitely creepy. According to the press release, everybody likes Geremia. That was not my impression from watching the characters interact (...)
  • Marie Antoinette (English Corner)

    Marie Antoinette (English Corner)

    Sofia Coppola made an interesting remark about her film. While she based her screenplay on the historical biography by Antonia Fraser, she did not want to do a historical film as such. She wanted the audience to be able to spend a couple of hours in the company of Marie Antoinette. Within those terms, she has been successful. The (...)