“Adaptation is something else. It is the revenge of the writer. For once this butt-of-all-jokes, the abused determine of the ‘creative crew’, has come what may hijacked the production, locked the director and forged in his typewriter case and taken over the controls. The movie’s creator, the actual-existence Charlie Kaufman, does this now not just by means of putting his depressing alter ego at the centre of a story built around writer’s block, but by using writing a film that is all about writing…
“Adaptation’s courage to insist on a exclusive kind of difficulty count – which, in turn, calls for a one-of-a-kind structure – is its triumph. As with Pulp Fiction (1994), one feels a door opening onto new opportunities for commercial filmmaking, a fractured, spontaneous, compulsive non-linearity, shaped not by using the common sense of ‘truth’ or the exigencies of narrative, however through the writer’s neurotic, obsessed thoughts, and able to cross anywhere it wishes, in large part by way of renouncing fealty to the Hollywood ideals of tightness and clarity. Like Pulp Fiction, Adaptation holds its reputedly fragmentary structure together and turns it into a popularly accessibly shape in component through the sheer pleasure of its freedom and invention, and in element because, despite appearances to the opposite, each films are so cautiously organised that the target audience by no means sense abandoned.”
— Henry Bean, S&S March 2003Battle in Heaven
Carlos Reygadas, Mexico/France/Germany 2005
“With his 2nd function, Carlos Reygadas confirms his status as the only-man 1/3 wave of Mexican cinema. Rejecting both the vintage fashion auteurism of Arturo Ripstein and the new, more target audience-friendly way of Alfonso Cuarón and Alejandro González Iñárritu, Reygadas ploughs a lonely and really different furrow. Like the director’s preceding movie Japón, Battle in Heaven employs a very specific technique. Long takes and 360-diploma pans are matched via idiosyncratic framing and sound layout… The film is riddled with enigmas. While the synopsis reads like melodrama, the taking pictures and slicing style willfully sabotage narrative anxiety and dynamism.”
— Paul Julian Smith, S&S November 2005The Beat That My Heart Skipped
“An updating, a rethinking and, in maximum ways, an development on James Toback’s original Fingers. As in his previous movies, Jacques Audiard clearly doesn’t deliver a fig whether or not or now not we like his protagonist. As performed with icy dispassion by means of Romain Duris, Tom is, if whatever, an excellent nastier piece of labor than Harvey Keitel’s Jimmy. The latter’s sufferers do at least actually owe cash (if most effective to his scuzzbag of a dad), at the same time as the wretches targeted via Tom and his pals simply occur to be status in the way of a few company juggernaut.
“Strangely, this loss of judgment of right and wrong makes him greater convincing in his other lifestyles as a once talented piano prodigy. There’s a peaceful detachment, a no longer-quite-of-this-worldliness about even the most passionate and engaged of the super live performance pianists (suppose Glenn Gould or Sviatoslav Richter)…”
— Philip Kemp, S&S November 2005The Bourne Ultimatum
“Once again, Paul Greengrass’s marshalling of edgy handheld camerawork and whiplash enhancing is for greater than show: it replicates the preternatural way that Bourne computes the sector around him. And our enjoy is the same as those on his tail, simply looking to hold up… The Waterloo station scene not only highlights the annoying ubiquity of CCTV in Britain, it indicates a situation where america could murder on British soil below the guise of national safety. As with all suitable conspiracy thrillers, you would locate no-one in an target market pausing to question this troubling belief.”
— Demetrios Matheou, S&S October 2007Colossal Youth
“The intransigently austere Colossal Youth is the form of film that ought to usually search for its exposure in those areas beyond the remit of commercial distribution, where cinema meets transferring-photograph gallery work. It isn't always a film you'll count on to find in a top rate fit in Cannes, but its inclusion inside the competition’s 2006 opposition become a welcome recognition of Portugal’s Pedro Costa as considered one of today’s most challenging and character movie-makers. [It] needs to be visible greater than once: a first viewing just about lets you acclimatise to its mesmerically sluggish pacing, visual stillness and incantatory verbal rhythms…
“Costa’s engagement with Fontainhas’s former citizens comes throughout as a profoundly democratic endeavour, one that doesn't mythologise its disadvantaged subjects but attempts, because it have been, to ‘sing’ the collective reminiscence of a defunct network. Formally hybrid, Colossal Youth has as a good deal to do with nevertheless images, and with non-narrative theatre, as with conventional thoughts of cinema. No doubt the movie will locate best a totally confined audience, but it is really destined to have a resounding have an effect on on the destiny of European impartial filmmaking. This is cinema povera of a type that achieves a sincerely epic weight.”
— Jonathan Romney, S&S June 2008The Death of Mr Lazarescu
“If [it sounds] like an extended episode of Casualty or ER (the final an recounted proposal), The Death of Mr. Lazarescu additionally depicts as wealthy a human comedy, in the Balzacian feel, as some thing in recent cinema. Cristi Puiu’s seemingly artless, documentary-style mise en scène, with the characters observed via a shoulder-installed camera, conceals infinite subtleties, foreshadowings and going for walks themes…
“Puiu cites Eric Rohmer’s Moral Tales as his leader proposal, but on this evidence an similarly telling parallel could be Krzysztof Kieslowski’s Dekalog, even though Puiu is more inclined toward self-aware symbolism than the Pole. There are characters known as Dante and Virgil and an unseen Dr Anghel, and the various clinic trips and their cyclical workouts could healthy all people’s idea of hell. And even though the movie’s identify and mounting scientific proof suggests the other, Lazarescu’s own call suggestions that some kind of astounding resurrection is probably in prospect.”
— Michael Brooke, S&S August 2006Éloge de l’amour
Jean-Luc Godard, Switzerland/France 2001
“Memory, for Godard, has by no means been a trustworthy given, complicated because it ad infinitum is through the questions of betrayal and illustration. The former, all however omnipresent in his work from the American Patricia’s denunciation of Michel in Breathless, turns into inescapable in Éloge de l’amour via the revelation at the cease from the historian (performed by using de Gaulle’s biographer Jean Lacouture) approximately the old couple’s beyond.
“The latter is most famously crystallised in Godard’s aphorism ‘It’s now not a just photograph, it’s just an photograph’ – reprised in slightly altered shape right here – and is frequently at work at some point of Éloge de l’amour within the discussions round filmmaking and inventive production, in addition to in the film’s visible texture. It isn't only the industry, but additionally its audiences that have been in thrall to Hollywood. Godard’s exercise, because the inclusion of Hollywood inside the narrative of Éloge de l’amour suggests, is right away alternative and oppositional, knowing its enemy and running with playful intensity in opposition to it. If that makes the film difficult to look at, he would possibly say, so much the higher. Godard has been a foe of the uncomplicatedly consumable picture right from the start.”
— Keith Reader, November 2001The Five Obstructions
Jørgen Leth and Lars von Trier, Belgium-Switzerland-Denmark-France-Sweden 2003
“Von Trier has continually been over-keen on bemoaning the pain of being impelled to make movies: viewers have on occasion had higher reason to bemoan the effects. But he merits remarkable credit score for his ongoing extracurricular efforts to initiate new debates approximately film form, in the path of which he's becoming – this he would hate to listen – a totally endearing figure…
“[He] chides Leth for mounting a ‘exceptionally affected distance’ from what he films: he demands much less art and greater depend, sure that – although the outcomes are ‘banal’, even ‘crap’ – the process, unstintingly yielded to, could be one way or the other therapeutic. But, whether or not or now not Leth accepts von Trier’s premise, he's constitutionally incapable of obliging…”
— Richard Kelly, S&S December 2003The Gleaners and I
“Agnès Varda contrasts the backbreaking work of gleaners inside the fields with the plight of the dispossessed, residing inside the margins in big cities these days, foraging for meals and scraps. ‘What moves me is that each person gleans on their own, while in art work they had been continually in clusters, hardly ever on my own,’ she reflects, as she muses on such subjects as waste, thrift and social inequality.
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