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The Science of Sleep (La science des rêves) Michel Gondry. France, 2006. Saturday May 22, 2010

The Science of Sleep (La science des rêves)

written and directed by Michel Gondry
Country: France
Year:
2006 Duration: 105 '
Genre: Comedy
Cast: Gael García Bernal (Stéphane Miroux), Charlotte Gainsbourg (Stephanie), Alain Chabat (Guy), Miou Miou (Christine Miroux ), Aurélia Petit (Martine), Sacha Bourdos (Serge), Pierre Vaneck (Mr. Pouchet), Emma de Caunes (Zoe), Stéphane Metzger (Sylvain), Alain de Moyencourt (Gerard)
Producer: Georges Bermann
Music: Jean-Michel Bernard
Photo: Jean-Louis Bompoint
Editing: Juliette Welfling
Costumes: Florence Fontaine

SYNOPSIS "The Science of Sleep" follows the misadventures of Stéphane (Gael García Bernal), a young graphic artist whose brain emits a continuous television program in conflict with reality. Landed in Paris with the hope of a good job and after coming into contact with a new neighbor, Stéphanie (Charlotte Gainsbourg), the possibility of a romance will find its way into his dream world of Carton.

When reality and fiction interfere.
When digital technology has changed the way we do and even watch movies, Michel Gondry has had the audacity to drink more traditional sources of cinematic illusion, so much so that in "The Science of Sleep" not only We can feel the echo of the extraordinary work of the great stop-motion animators (especially the Czechs), but their ability to craft fascination would lead even the patriarch himself Méliès and his conception of art as a continuous film and captivating trick magic.
Because, with this film, Gondry has confirmed that this is perhaps the most interesting directors 'modern' to find the entrance to own land in which the obsession to do something else gives way to the ability to offer their own world that is truly alive. Occurred already in "Forget Me!" And "The Science of Sleep" is confirmed.
course, this is not a film for all audiences, requiring the delivery of the viewer to a game in which any resemblance to reality is pure coincidence. But in return, you get a story that restores the adjective "romantic" its true and real meaning, in which the beauty suddenly appears in the frame when least expected, and typical to the question the New Wonder ("How I have done?") loses all importance: we do not care "how" (because many times, its own aesthetic craft it clearly shows), but simply enjoy the wonderful horse rag rides on the keyboard, the water made with cellophane, toilet paper tubes turned into buildings ... No matter: this is cinema and always has been, what happens is that, in both routine mediocrity see, we had forgotten.
As in his previous film, the convoluted love story, complicated and impossible strangely, manages to be convincing, largely because both Gael García Bernal as Charlotte Gainsbourg life filled with characters of unpredictable behavior. Fascinated girl's smile when he imagines how it can make a cloud, or the look of despair when he thinks he is losing his neighbor, his love, are like a more "French" of Jim Carrey and interpreted by Kate Winslet in "Forget Me!". The secondary, especially coworkers García Bernal's character are in this case, and with the exception of Alain Chabat, little more than a chorus that provides the comic counterpoint, even ordinary, which is the house brand and it works enhancer of the romantic effect of the tape.
The most curious, in short, is that in its insatiable quest for modernity, Gondry has finished falling into the essentials of film, which was there from the beginning, and with his eyes, has made bringing it to us back, full of life. "The Science of Sleep" is set to true reflection, but it does not go away at all: there is a connection, the similarities between the dream world and the cinema, which continues to be a kind of sleep can put into images create beauty. Miguel A.

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Alexandra (Aleksandr Sokurov) Russia, 2007. Friday May 7, 2010



DIRECTION AND SCREENPLAY Alexander Sokurov
MUSIC Andrei Sigle
Alexander Burov PHOTO SHARING
Galina Vishnevskaya, Vasily Shevtsov, Raisa Gichaeva, Andrei Bogdanov, Alexander Kladko, Aleksei Nejmyshev, Rustam Shahgireev, Evgeni Tkachuk
Cannes: Nominated for the Palme d'

ALEXANDRA camera is in its shadow, the star Galina Vishnevskaya, opera singer and now actress, real-life wife of great Russian cellist Mstislav Rostropovich Leopóldovich. The camera chases the old lady who decides move to Grozny, the Chechen capital, to meet up with a grandson who has not seen for seven years, because it stays there for the troops installed in the area by the Russian army to control and suppress violent insurgencies and the ever-combative Chechen population. Sokurov deposited in the eyes of this woman's position fireproof your own look. The director makes an exciting show of humility and effort to instruct the wise, clean stubborn longevity of this without despondency, that through all his wanderings outside the official slogans, questioned, and make patent unmask the absurd and senseless mechanisms governing all military installation. Adheres Sokurov all the dramatic setting of his film to the innocent honesty, perplexed and veterans of the protagonist's face it pours. The film is the actress. She folds the director becoming dizzy, tired, ailing and transparent narrative. Sokurov's ALEXANDRA reveals a different situation, since the mythical nature of this discovery and unforgettable character required to adapt to the canons of classical minimal descriptive narrative features a simple well away from the railway impenetrability, he has undergone since its inception. However, in no way takes formal option to abandon the principles that have characterized a great show authorial statement in works as disparate to it as "THE SUN", "TAUNUS" or "MOTHER AND SON." The mediation of the old woman with acute restraint can capture the brutality of the devastation of geographic space: the houses in ruins, dilapidated vehicles, paved roads and dusty and pain fill the stage to discover the walking parsimonious and sign of the protagonist. The same could be said of the description so stark, penetrating closer and makes us soldiers. Sokurov's very short flat close by, in which their faces are shown with an unforced naturalism, searching, inquisitive human being rather than of men in uniform. The impression of Alexandra, character, succeeds, as has been said, exhausted loosen the rigor with which the great Russian director used to surround his characters. There is no oppression, but recognition compared. "ALEXANDRA" just shaking because Sokurov, perhaps, is the first octogenarian moved by this utopia that picture in hand, radical humanely the true meaning of this beautiful film that we offer today in the CineClub Imaginary.

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STAG (Departures) Yojiro Takita. Japan, 2008. Friday April 30, 2010

Address: Yojiro Takita.

Original title: Departures (The sender)
Country: Japan.
Year: 2008.
Duration: 131 min.
Genre: Drama.
Interpretación: Masahiro Motoki (Daigo Kobayashi), Ryoko Hirosue (Mika Kobayashi), Tsutomu Yamazaki (Shou Sasaki), Tetta Sugimoto, Kimiko Yo ( Yuriko), Takashi Sasano (Shokichi), Kazuko Yoshiyuki (Tsuyako).
Guion: Kunda Koyama.
Production: Toshiaki Nakazawa and Toshihisa Watai.
Music: Joe Hisaishi.
Photo: Takeshi Hamada.
Assembly: Akimasa Kawashima.
production designer Fumio Ogawa.
Release in Spain: July 3, 2009.

Synopsis

Daigo Kobayashi (Masahiro Motoki), has just achieved the dream of his life, entering as a cellist in an orchestra, so what you buy an instrument that is a height. Unfortunately, after the first concert the band dissolves and Daigo stays with his cello, your mortgage and no income. Just wandering the streets without work and without much hope. Therefore, he decided to return to his hometown with his wife (Ryoko Hirosue). They get a job that will make you rethink life has taken so far and the values \u200b\u200band concepts of contemporary society.

Sometimes I go to the movies and you get a very pleasant surprise. That's what happens with Bachelor, one of the easiest films, tender and touching of last season. In Bachelor we have a drama content with touches of humor, where the hero, Daigo, we're driving down a road which is showing us how it is done by tasks that nobody wants to do in today's society (even he does not at first) and how through them end up reunited with a painful past, theirs.

Bachelor speaks of honor, respect, the moral duty to take care of you, of the greatest admiration, loyalty extreme ... But above all, coping with a trauma or a disadvantage in life, the agility of change, the conviction of self worth ... all wrapped in a no topical theme of cinema, the transition from life to death. In short, a resounding defense of enjoyment of life, through the analysis of what it means death.

A highlight two things: a perfect sound track, which combines Western music with traditional Japanese sounds, and the interpretation of virtually the entire cast, but especially Tsutomu Yamazaki, who represents the head of Daigo: sober and puzzling, therefore, can show a man at times mysterious, at times endearing.

One more example of the misery in which the film moves today: if we have to see it is because he won the Academy Award the best foreign language film in 2009. Yet its distribution has been poor, confined to major English cities. As an art as the film is in the hands of an industry where only the numbers is what counts, and the vast majority of the screens are reserved for mediocre products and very profitable in the short term, we have increasingly more difficult to overlook the more or less exotic cultures that shows the cultural and creative wealth that fuels our imagination.

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AFTER THE WEDDING (Efter Brylluppet) (SUSANNE BIER) Denmark, 2007. Friday April 9, 2010

Writer: Susanne Bier and Anders Thomas Jensen

Interpretation: Mona Malm, Ida Dwinger, Rolf Lassgard, Ernst Frederik Gullits. Mads Mikkelsen, Sidse Babett Knudsen.


History

Jacob spends his entire life as a humanitarian volunteer in an orphanage located in India's ability to receive a financial contribution by a Danish millionaire made her return to Denmark after many years to meet him and submit their humanitarian project. Coinciding with the celebration of the marriage of his daughter, Jorgen will be immersed in the family of wealthy benefactor and the real reasons prompted the return trip to his homeland will be revealed.


The director

After the wedding is the tenth film by Susanne Bier (Copenhagen, 1960), which has produced Zentropa, the company of Lars von Trier. Bier, who was part of the Dogma movement, won many awards with his previous film, 2004, Brothers (and screened at the CineClub Imaginary). His latest film, Things We Lost in the Fire, Halle Berry has
and Benicio Del Toro as protagonists.


Comments ...

This drama about responsibility, family and the past reecuentro gets to be a movie very human, yet contained emotion. Thanks to the wonderful work the understated acting and direction by Susanne Bier, the story never manages to avoid falling into the sentimentality of tear easily. Instead, the limelight very present in all the footage (DOGMA own movement which remains the debtor) are like the rest of the film a great depth of emotions, characters and their situation. The script itself is not complex but emotional situations and human portraits that shows whether they are emotionally complex and profound. After the wedding, which was nominated for an Oscar for Best Foreign Language film in 2007, is a very balanced film, but honestly measured moving.

After the wedding is primarily a story of encounters: between people, between people and the places to which they belonged, between past and future. That which we have left behind, sometimes reappearing with unexpected force. Every Secret Revealed opens a new world, a new range of possibilities. And always, when you open one door closes another. Jacob moves on, and we with him through his past to come to a crossroads that seems to leave no options. This poignant drama its strong support in a smart script dialogues, which give the action of a lively pace and an ever-growing interest. The irony, sarcasm and subtext are always present. But if anything stands out beyond the plot, and theme, is by the superb performances from all its players. Especially brilliant are shown Mads Mikkelsen (Jacob) and Rolf Lassgard (Jorgen) that make the scenes believable and moving film hardest.

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