In fact it was done the other way around. The rhythm was created in the edit first by Haanstra and the music was added only after that.
what side of the cage is the actual zoo on?
jazzmen in glassmaking. what an apt choice of music, synchronizing the gestures of glass magicians with those of the scoring musicians.
absolute magic! even better than gordon pym. and i actually believed the old man. if i ever come across warm snow and horses growing on the trees, i will hardly be surprised.
"Mismanagement of the Amudariya and Sirdariya rivers for irrigation by the Soviet Authorities during the first half of the 20th century, as well as the intensification of the cotton industry, led to shrinking of the Aral Sea waters by 80%, leaving behind a polluted desert and destroying the lives of the surrounding inhabitants, the fishermen of Aral. This is the story of the three remaining generations."
as with the film of the fascist era, many soviet films were nauseatically "happy" trying to cover the injustice and atrocious absurdities that were integrant part of the bloody history of communism. this is one of the most known examples.
hmm, i also didn't think it was about that, rather about people's struggle to be happy, in love, to have some fun and laugh even in times like that. and laugh shouldn't be underestimated as a way to express some very different things (take entire yugoslavian cinema as an example, or kharms or even chekhov with his characters much alike to ogurtsov (and making him that comic had its purpose) ). also, taking a carnival as a background of events wasn't accidentally, carnivalesque tradition is very powerful in its forms (rabelais). i seem surprised when i see that some film is made during the ww2 for example (and i talk about countries involved pretty much in war, like italy) but then i remember that life doesn't end even in extreme situations like war. i can't give an example of soviet union, i haven't witnessed, but i can give examples i experienced. during the bombing of serbia, priština (the capital city of kosovo) was bombed day and night. i lived 5 kms from priština and only in my village 2 bombs were dropped. to not mention the rest of kosovo and especially priština. we were in basements all the time in the beginning but soon after we got used to bombs and airplanes that much that we played on the streets when sirens for danger were alarming without stopping. i watched films with my grandpa every evening with those sounds in the background. and later, when i left kosovo and went for every vacation to my house (since my grandparents stayed there) the life was - you have electricity and water 2 hours and then you don't have it for 4 hours, than again you have 2 hours and not 4. and to not talk about tv or internet or even phone. and we talk about 21st century. my point is - even in situation like that (add on that constant fear of being killed) people lived. and still live. people fell in love, laughed, got married, went to university. conditions were/are horrible, painful, inhuman, yes, but life continued. and if somethings said through the laugh, it doesn't make it less painful. again, i might be very wrong but i thought this films was about one life like that.
okay, i am fully aware about the therapeutic qualities of laughter, about its subversiveness and bitterness, but this film is not about that. not to me at least. i don't see devilish gogol, absurdist urmuz, and nothing of the reconciliating laughter through tears, life-goes-on-a-la-kiarostami in it. it's cheap and camp. and if you interpret all comedy through that filter alone, thst it is about the ever renewed cycle of life, which HAS to stamp on past sorrows and dance on, because otherwise it would drown in sorrow and mourning, then all comedies can be cast in that class. shortages of electricity and water , sounds familiar, after all i am coming from a country that went through fraudulent privatisations after the collapse of the soviet union, through a dramatic, horrible oligarchization, were the ex-communists, knowing which were the most lucrative industries in the country, seized them and made them their own private businesses, monopolizing the branches that provided elementary facilities. all legal, all above suspicion, all close doors and the national currency that in 2 days experienced an inflation of 1 to 1000. yesterday you were sure you had money to provide for your kids' future, and today with the same money you could buy only two breads. and the civil war. i didn't hear the bombs, i was at 200 km, but my dad was in treches. and with all this, i still don't see the beam of reassuring light in the film above, just the grin of an empire, that posed in an anti-imperialist workers' state, who killed millions, never acknowledged its fault, and which, for its survivors, was shamelessly organizing carnivals in moscow. what about carnival at pite;ti, gherla and aiud. there are comedies that see a continuos road of life through murder and despair, but this is not it.
"I'm hot. I'm wearing everything I have. So there's nothing to steal at home." :))
i'd rather say that the "growing unexplainable feeling of anxiety and hopelessness" evaporates as the film progresses. it starts tragically, with a russia that looks like a 3rd world country, first appearing as in a dream, but gradually clearing the image simulating the awaking of an individual, of a conscience. people we deem defective are closer to those ideals of cooperation, friendship, contentment with little ..
.. so desired and demanded for a normal society. but if structural imperfection brings you closer to those seemingly unreachable, but heavily clamored on all the roads - to the effect of losing any power of suggestion - goals, who are trully flawed: people or ideals ? loznitsa is not dogmatic in any of his films, his ideas come tiptoeing, but i saw in this movie a portrait of a community as opposed to societies governed strictly by reason, which is ultimately self-destructive in its most extreme forms. what does a man need so that he wants to stay in that moment forever? a missing nut?
reading heidegger at 13 and at the same time going to venice to kiss under the bridge of sighs? great combination! it`s almost like playing bach and shitting under the piano!
the film is interesting for the insight it provides on technological history. did u see that early pre-mechanized version of public insert-coin-get-latte-machine?it was so hilarious: the mountain girl pays, then kneels and gets herself a glass of fresh goat milk. i wonder if the goat had one tit for espresso, another for moccaccino, etc. visions from an era when warm beverage did not come from soulless apparatuses.
i'm sure if goats could talk they would've become luddites. any suggestion on soundtracking? i soundtracked it with Aribert Reimann, Amp (Soft Stone Soul goes excellent with the child confiscation scene by the members of the evil foundation), Mendel Kaelen, Diagnose: Lebensgefahr, and the last part totally submerged under Emeralds' voracious spell. but i am sure there are better options. imho the film could be totally perfect if it was an overall tragedy, but, like any production preceeding ww2, it still believes in humanity and the possibility of justice and reconciling providence.
to me,this is a film about social roles. not about individualities,about 'retrograde' spirituality,but about zigzagging through people,accomplishing the romanian ideal of the man who can do well in any situation,while staying at the surface of the things, in full control, unflinching, know-it-all jukebox.incertitudes are 4 losers, 'rock' is dee music, obesity is sexy and grapefruit juice compulsory.dubiously pedantic
the notion of parental responsibility towards children sips in shyly through the fortress of imposing masculinity that emilian is trying to establish in others' representations about him. the next thing to learn is chewing with his mouth shut, but that, comrades, will take another film to show.
...prêtresses cinephiles, animatrices de débat et de crémation...
dude, i dig the finisterrial type! though this one is eyeless, most likely not in gaza.
Visionary Landscapes ♥♥♥♥♥♥, Klipperty Kloepp, Acumen♥♥♥♥, Smart Alek should be added. maybe La Bas too.
ah, this must be so beautiful ..
crap. there so many documentaries on punk, where you can listen to music , instead of watching pieces of something with someone playing the role of someone else in a something that tries to look like a documentary.
it was the music of the restored version that spoiled it all. too sentimental for a film so frank and lucid.
this short has the same effect as John Cage's 4'33": it either kicks off mind to produce its own music stirred by the images, or makes one aware of the accidental music around, of the subtle sound field made of scraps and frayed noise. just now, watching the ship segmenting the screen in two, potent as a rocket, screams of pleasure come from an upper floor and i think hell yeah, what a perfect synchronization! :))
after the stark monochromy i've been (willingly) going through recently, this gorgeous splash of violently colored confetti feels like a joyous plunge into a lysergic dream. a sparkling fantasy, champagne for the eyes, like an immensely fragmented Gabriele Münter painting.
i like the man, not the films he appears in.
imagine this was romanian. everyone would swarm in, choking with emotion, struck by the lightning of sudden apprehension, building intricate psychologies behind the barren banality of the scanty dialogue. alas, it is just french, thus unforgivable. plus, it has some next-to-properly configurative music, which romanian new wave seldom has. still, imagine this was romanian.
saw how that girl resemles a bird with widespread wings? i don't mind winston package being redesigned according to this clip.
fab work for 0101! i got myself "Remembering What Was" immediately. similar artists AUN, yummy, think that's a bit exaggerated, but still, expecting a fantastic experience.
"jamiroquai died", ahaha
can't see what's the use of turning a tragedy into a gross joke with blondes (brunettes in this case). did the idea of this film come after 5 heinekens and a burping contest? i love fearless medeas, but could not squash the bitsiest sympathy for this derisive, "postmodernoid" treatment of the subject.
one of the most complex cinematic experiences i had in yrs.no surprise it was banned.a bigger surprise it was unbanned at all. the abyssal man of tolstoy meets the tainting shadows of ibsen,mining the myth of the monolithical,uniform world of homo sovieticus. going against stalinist dogmas that sent all soviet prisoners to siberia on account of their impossibility of reabilitation and fundamental inhumanity.shocking!
it's strange how i ike these eclectic half-circus, half-operatic settings.
mein gauche! i knew i'd love it.
a beauty that just IS, not wanting , needing, standing interpretation.
jeez, what a crushing vulgarity! ..and meanwhile, in the Gulag...
wax figures in a decrepit paradise.though smiling,faces hide interrogative hesitation: how much can i say, how much can i show? caught in almost hieratic poses, immobile and frail, caught between two worlds, the old order and the new one, resolute yet tense like birds of transition over a vast seascape. what do photography, death and insectarium have in common? motionlessness. with this short, loznitsa seems to try..