Tag Archives: film

Nordeste, 2005 by Juan Diego Solanas

nordeste film

Nordeste film is a 2005 Argentina-French drama-thriller film directed by Juan Diego Solanas. It was screened in the Un Certain Regard section at the 2005 Cannes Film Festival. Felix Monti’s widescreen cinematography shows drop-dead views of the misty green countryside that seems to stretch out endlessly.

This is a story about a childless Frenchwoman who travels to a remote region of Argentina in search of a baby to adopt, Nordeste film convincingly brings together the harsh reality themes from new Argentine cinema and a Western style of dramatic storytelling. On his feature directing bow, award-winning short filmmaker Juan Solanas shows a talent for compelling female characters, aided by an impassioned Carole Bouquet in the lead role.

Helene (Bouquet) leads a sales meeting for her pharmaceutical company before traveling to Argentina to adopt a child. Her journey is intercut with the tribulations of Juana (Aymara Rovero), a young single mother living in the Argentine countryside, who ekes out a precarious living for herself and her 13-year-old son Martin (Ignacio Ramon Jimenez).

When Helene’s adoption arrangements fall through in Buenos Aires, she hears about the possibility of finding a child in the country’s poverty-stricken Northeast. Young lawyer Gustavo (Juan Pablo Domench) warns her, however, it will be necessary to cut an illegal deal with child traffickers there.In her desperation, Helene is ready for anything: Much later, however, she will learn this area is infamous for its traffic in children: selling them for adoption, child prostitution or even organ traffic.

Meanwhile, Juana is pregnant again and is being evicted from her hovel. She struggles with the option of giving Martin up for adoption abroad, but she loves him too much to let him go.Inevitably, Helene and Juana meet. Juana has tried to abort her baby and comes to Helene for help. At the same time, Helene is given an opportunity to buy a newborn infant for $45,000. The film shows how cheap children’s lives are to men who have no qualms about what happens to them and has a lot of points to make.

http://www.imdb.com/title/tt0398664/

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Richard Kern and Nick Zedd, The Manhattan Love Suicides: Thrust in Me, 1985

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Richard Kern and Nick Zedd, The Manhattan Love Suicides: Thrust in Me, 1985, 35 mm, black-and-white, 35 minutes.

The Manhattan Love Suicides are a series of short films by Richard Kern: Stray Dogs, Woman At The Wheel, Thrust In Me and I Hate You Now.

“Stray Dogs” concerns an artist being followed thru the streets by an obsessive young man (a terrific David Wojnarowicz) who tries to gain his attention. He follows the artist back to his apartment and begins literally tearing himself apart in frustration – at this point the artist laughs at him and begins to sketch his dying body.

“Woman At The Wheel” follows a woman who takes her boyfriends (1 at a time) for a drive – but they only spark arguments and insist on taking the wheel. She eventually beats one of them senseless, and wrecks the car.

“Thrust In Me”, stars Nick Zedd as both the suicidal girl and her thrusting boyfriend. Includes a great cameratrick orgasm of monumental proportions.

“I Hate You Now” features Tommy Turner as a facially deformed drug dealer and Amy Turner as his girlfriend. The film repeatedly taunts the notion of “deformity and ugliness” before ending in a serious iron-burn and a barbell suicide.

Richard Kern (born 1954 in North Carolina) is a New York underground filmmaker, writer and photographer. He first came to underground prominence as part of the underground cultural explosion in the East Village of New York City in the 1980s, with erotic and experimental films featuring underground personalities of the time such as Lydia Lunch, David Wojnarowicz, Sonic Youth, Kembra Pfahler, Karen Finley and Henry Rollins in movies like The Right Side of My Brain and Fingered. Like many of the musicians around him, Kern had a deep interest in the aesthetics of extreme sex, violence, and perversion and was one of the leading lights of the movement which Nick Zedd coined the Cinema of Transgression.

Kern’s first dabbling in the arts was a series of self-produced underground magazines featured art, poetry, photography, and fiction by Kern and several friends. These hand-stapled and photocopied zines expressed the bleakness of New York City’s East Village in the early 1980s. Kern’s first zine was the bi-monthly “The Heroin Addict,” which was later renamed to “The Valium Addict.” About 12 issues of these two zines were produced, along with the occasional special issue. This phase of Kern’s career lasted from late 1979 to around 1983.

http://www.imdb.com/title/tt0273777/

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Lutz Becker, Cinema Notes, 1975

Lutz Becker, Marina Abramovic, Cinema Notes, 1975Lutz Becker, Marina Abramovic, Cinema Notes, 1975

Lutz Becker, Installation view, Cinema Notes, 1975. 16mm Black and White, 45 mins

For many years lost and recently found, Kino Beleške was produced in 1975 in collaboration with the group of artists, curators and critics gathered around the Student Cultural Centre, Belgrade. The film includes verbal statements and performative gestures of the numerous protagonists of the New artistic practice in former Yugoslavia, referring to the role of art in society and re-thinking the concepts of form, autonomy, economy, politicality and institutionalization of contemporary art.

Participants were Marina Abramovic, Dunja Blazevic, Jesa Denegri, Goran Djordevic, Nesa Paripovic, , Bojana Pejic, Zoran Popovic, Jasna Tijardovic, Slavko Timotijevic, Rasa Todosijevic, Biljana Tomic, Goran Trbuljak, Dragomir Zupanc

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Film: Making Chinatown, 2012

making chinatown, 2012

For his first solo exhibition in Los Angeles, Ming Wong creates a series of videos and scenic backdrops that reconsider the making of Roman Polanski’s seminal 1974 film Chinatown. Shot at Redcat, Wong’s reinterpretation, Making Chinatown, transforms the space into a studio backlot and examines the original film’s construction of language, performance and identity.

The artist plays all the roles originally belonging to Jack Nicholson, Faye Dunaway, John Huston and Belinda Palmer, and crucial scenes are reenacted in front of printed backdrops digitally rendered from film stills and kept intact within the video installation. The wall flats adhere to the conventions of theatrical and filmic staging while taking on qualities of large-scale painting.

Wong has been recognized for his ambitious performance and video works that engage with the history of cinema and mass entertainment. Working through the visual styles and tropes of such iconic film directors as Rainer Werner Fassbinder, Wong Kar-wai and Ingmar Bergman, Wong considers the means through which subjectivity and geographic location are constructed by motion pictures.

Making Chinatown is Wong’s first project focused on the American context of filmmaking and draws upon its use of Los Angeles as a versatile and malleable character. Wong treats the film as a text and medium through which he is able to inhabit and impersonate the qualities that are particular to the place it represents. Making Chinatown mimics and reduces the techniques of mainstream cinema in order to emphasize the theatrical qualities that underlie cinematic artifice. Moreover, it analyzes how canonical works from American cinema are received and reconfigured by global audiences.

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Artist: Wael Shawky

Wael Shawky’s work explores transitional events in society, politics, culture and religion in the Arab World. The films, installations, and performative works of the Egyptian artist explore the ways in which social and political systems have been restructured in Arab countries over the past several decades.

Through restaging historical events with children and marionettes, Shawky turns cultural hybridization into a narrative and aesthetic strategy. Using displacement and alienation in content and form, he creates a transitional space between documentation, fiction, and animation.

Lovingly and meticulously produced settings and costumes, a wealth of literary and historic references, and astutely selected music come together to create extraordinarily multifaceted films that invite us to think about history and the present day in new ways.

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Film: The Corporation, 2003

The documentary The Corporation, 2003 looks at the concept of the corporation throughout recent history up to its present-day dominance.

‘Drawing the metaphor of the early attempts to fly. The man going off of a very high cliff in his airplane, with the wings flapping, and the guys flapping the wings and the wind is in his face, and this poor fool thinks he’s flying, but, in fact, he’s in free fall, and he just doesn’t know it yet because the ground is so far away, but, of course, the craft is doomed to crash.

That’s the way our civilization is, the very high cliff represents the virtually unlimited resources we seem to have when we began this journey. The craft isn’t flying because it’s not built according to the laws of aerodynamics and it’s subject to the law of gravity. Our civilization is not flying because it’s not built according to the laws of aerodynamics for civilizations that would fly. And, of course, the ground is still a long way away, but some people have seen that ground rushing up sooner than the rest of us have. The visionaries have seen it and have told us it’s coming.

“There’s not a single scientific, peer-reviewed paper published in the last 25 years that would contradict this scenario: every living system of earth is in decline, every life support system of earth is in decline, and these together constitute the biosphere, the biosphere that supports and nurtures all of life, and not just our life but perhaps 30 million other species that share this planet with us.”

The typical company of the 20th century: extractive, wasteful, abusive, linear in all of its processes, taking from the earth, making, wasting, sending its products back to the biosphere, waste to a landfill.’

http://www.imdb.com/title/tt0379225/

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