What can we say? The film world has lost of one of its greatest and kindest maestros and he will be much missed by film lovers world over.
And here are some fragments of Limite found on YouTube:
Directed by Bryan Singer (“The Usual Suspects,” “Superman Returns,” “X Men,” “X2: X-Men: United”) and written by Academy Award®-winning screenwriter Christopher McQuarrie (“The Usual Suspects,” “The Way of the Gun”) and Nathan Alexander, “Valkyrie” reunites Singer and McQuarrie for the first time since their 1995 thriller “The Usual Suspects.”
Tom Cruise, who hasn't looked this good (see pictures) in quite a long time, heads an international cast as Col. Claus von Stauffenberg, the aristocratic German officer who led the attempt to bring down the Nazi regime and end the war by planting a bomb in Hitler’s bunker. Also starring are Kenneth Branagh (“Harry Potter and the Chamber of Secrets”), Bill Nighy (“Pirates of the Caribbean: At World’s End”), Tom Wilkinson (“In the Bedroom”), Carice van Houten (“Black Book”), Eddie Izzard (“Ocean’s Thirteen”), Christian Berkel (“Black Book”), Thomas Kretschmann (“King Kong”), and Terrence Stamp (“Billy Budd,” “Superman,” “Star Wars: Episode I – The Phantom Menace”).
The “July 20 Plot” on Hitler’s life is one the least known episodes of World War Two. Severely wounded in combat, Colonel Claus von Stauffenberg returns from Africa to join the German Resistance and help create Operation Valkyrie, the complex plan that will allow a shadow government to replace Hitler’s once he is dead. But fate and circumstance conspire to thrust Stauffenberg from one of many in the plot to a double-edged central role. Not only must he lead the coup and seize control of his nation’s government, he must kill Hitler himself.
The film is slated for a summer 20008 release.
After stints in Cuba, the United States and Europe, in 1980 Rocha returned to Brazil to make the film, which was his last. This monumental culmination of his career is an urgent ‘anti-symphony’ intended to reinvent Brazilian cinema. Originally, the 16 reels of the film were to be presented in a random order. The frenzied feast of allegories and symbols defied rational reality and sought to ‘resist the classification of colonial anthropology’.
The Age of Earth will be screened at the Tate Modern in London tomorrow, 21/7, at 7pm.
MAXI GEIL!: NAUSEA II, 2005
60 mins, shown daily at 1.30pm
Maxi Geil!’s ‘porn-rock opera’ Nausea II is a humorous musical based around the sex industry, and the amusing similarities between the glamour and shock of both the art world and porn industry. The film combines disenchantment with contemporary desires with a wistful return to old-fashioned song and dance routines.
IAIN FORSYTH & JANE POLLARD:
MAKE ME YOURS AGAIN, 2007
30mins, shown daily at 3.30pm
Make Me Yours Again is an unscripted portrait of young people talking about love and loss, using homemade ‘mix tapes’ as a trigger. Made during a residency in New Zealand, this work continues Forsyth & Pollard’s Precious Little series.
WILHELM SASNAL: THE RIVER, 2006
20 mins, shown daily at 5pm
The River, inspired by Pare Lorentz’s script for a film of the same name, began with the commission of several New York bands to create music to accompany Lorentz’s poetry. The resulting documentary shows gritty footage of the studio sessions.
South London Gallery
(New York) - New York’s Japan Society usually screens the occasional film – such as historical biopics with a national character – that aren’t picked up by any U.S distributors or any of the city’s festivals.
However this year, the society presents its first full-bodied programme: Japan Cuts. This moniker definitely fits the bill. Co-produced with the New York Asian Film Festival, with its fondness for cult-ish horror and Bollywood B-movies, Japan Cuts consists of 15 U.S and New York premieres. No less than 13 of those have violent subject matters involving cut-up corpses, killers, yakuza, manga, personal angst or war traumas. The legacy of the samurai sword is alive and kicking.
Having recently enjoyed such classics as Harakiri, Tokyo Drifter and Ugetsu, I sadly lack the stomach for the current heirs of these genres: Miike Takashi and the younger generation of filmmakers with their penchant for extreme horror.
Having missed the other film at this year’s Berlin festival, where it won the Netpac award for best Asian film, I decided to go see Faces of a Figtree (pictured). The protagonist is Maasa, a high-strung mother and wife, who unintentionally alienates her grumpy husband and emotionally absent children the more she fusses over them. Her only real friend is the fig tree in her garden. Seen from her own scatter-brained perspective, the film promised to be a surreal character study.
I had first read about Faces of a Figtree in the December 2006 issue of Metropolis magazine, Tokyo’s English-language weekly. The film is the directing debut of veteran actress Kaori Momoi, who has worked Kurosawa, Sokurov, Miike Takashi and Rob Marshall (Memoirs of a Geisha). In Metropolis, an ebullient Momoi claims to have directed before under a pseudonym, because “in Japan, men find smart women unattractive. So I didn’t showcase my name. Now that I’m older, I’m at a point where I can reveal my name as a director.” Yes, and she also hopes to become 120 without significantly aging.
Details of such alleged previous work are not forthcoming and Faces of a Figtree shows all the hallmarks of a long-awaited feature debut. The hyperrealism is frantic, firing at all cylinders. Momoi’s joy of playing with extreme close-ups, animated non-sequiturs and visual jokes is infectious.
When Maasa's husband dies from overwork on his construction site, it turns out all the nagging and silences was really an expression of love between them. Maasa goes into denial for a while, but when she moves from her traditional Japanese home into her daughter’s apartment close to the Tokyo Tower, she finds some sort of balance. Happily working in a restaurant, where she can continue her frantic culinary administrations, the owner asks her to marry him.
This is where the film’s enthusiasm fails to carry it any longer. Maasa becomes completely unhinged. Her current husband is caring and understanding (and naturally her previously barren fig-tree is finally bearing fruit), but this is precisely the moment that she can’t keep it together any more.
Most actors love to showcase their abilities by playing madmen or junkies and by directing her first feature, Ms Momoi has created her very own showcase. But the other actors hold themselves up well against her self-indulgence. There is something about Maasa’s (and presumably Momoi’s own) frantic energy, colorful art direction and vibrant cinematography that keeps this uneven debut going.
Being no expert in current Japanese cinema, and not having seen any other films in this Japan Cuts programme, I am wondering whether Japanese films are drawn along neat gender lines: violence from male directors, whimsical quirks from female directors.
Are there any Kamera readers out there who have seen any films that could confirm or refute this? Can anyone recommend any other current Japanese films and has anyone discovered any new potential Miike Takashi's out there?
According to a press release that arrived through Kamera's wires today, crowds gathered in Barceloneta 'hoping for a glimpse' of cast members Scarlett Johansson, Penelope Cruz and Javier Bardem.
At a press conference held in Barcelona on 02 July, Allen expressed his enthusiasm for the project, having spent previous weeks location scouting in the city: 'I hope I can present Barcelona to the world as I see it, the same way I presented Manhattan to the world as I saw it with my eyes', he said.
Cruz and Bardem are old film mates, having starred together in the 1992 film 'Jamon, Jamon' directed by Bigas Luna.
Allen's latest Hollywood muse Scarlett Johansson, who has previously worked on projects including 'Match Point' and 'Scoop' with Allen, arrived in Barcelona early last week for filming.
While details of the film have been kept well under wraps Allen has said of his latest project 'I want to write a love letter to Barcelona and from Barcelona to the world.' Very vague indeed. I personally won't hold my breath for anything coming from Allen, whose films I always found a tad too middle class for my liking, as well as wordy but without much to say.