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I guess art is an act of violence, in a way. It's an emotional outpouring, and I don't really know ... I think that violence in the cinema is necessarily a fetish. Emotionally, our artistic expression consists of sex or violence. It all boils down to those two pure emotions that we have. But where erotica or sexuality is not fantasy, because most of us do it, violence, on the other hand, is fetish, is fantasy. There is a sexuality to violence that I find very intoxicating. But I think that that's what turns me on...
... And then "Drive" came, and I thought, "You know what? I'm going to make 'Drive' because I came from Scotland, and I want to go to Los Angeles, and make a movie about a car." Because I don't know how to drive a car. So you have to find an obstacle that forces you to be creative. Because art is about turning your weaknesses into your strengths. Because art is an expression of so many things, perfection is the enemy. So you have to find something you're not good at, and turn that weakness into your strength. That's my creative process.
Nicolas Winding Refn, "Art is an act of violence", July 15, 2013

The whole Dogme concept was inspired by Pusher, even though they will never admit it.
Mads Mikkelsen, Nicolas Winding Refn: I am a pornographer, 13 July 2013

Danish culture because of socialism and our mindset, everything is generally in good taste, except Lars [von trier]. That's what I like about him.
Nicolas Winding Refn, Nicolas Winding Refn: I am a pornographer, 13 July 2013

 


Massive Attack v Adam Curtis' Everything Is Going According to Plan

 

I always liked movies like American Graffiti and Gregory's Girl. Gregory's Girl is particularly perfect because it really captures that summer holiday bubble of teenage utopia. Even though it's got a happy ending, there's a feeling that these characters may never see each other again. So the idea with The World's End prologue is that Gary has that night stamped into him, and he needs to get back to that level of perfection. I'm very happy with my life and career, but I do find myself having serious attacks of nostalgia and I don't quite know why. Even though I've got to travel the world and do amazing things, I still want to go back to my teenage years and change little aspects of it. It's strange, but it does continue to bug me.
Edgar Wright, The World's End: meet Edgar Wright, 13 July 2013

It's like Kafka's universe [in "The Hunt" ] where if he screams out loud he is guilty, if he shuts up he's guilty. There's nothing to do. He's fighting against emotions with his own rational way of treating this problem. That is the only way he can win.
Mads Mikkelsen, Sexy Dane's Wicked Roles, July 5, 2013

The truth is, I make my films for myself. I don't have a career plan which involves being popular or successful with a big audience. For instance, the last time I was in Cannes, the crowds turned out to see Juliette in a largely English-language film; this time I've come with a film in Japanese and three actors who are almost totally unknown. Many people believed that after Certified Copy I'd be making more films with stars but I did the exact opposite. Indeed, if there's a country as culturally isolated fromthe rest of the world as Iran, it may be Japan. So I feel almost as if I've gone back to square one.
Abbas Kiarostami, Unspoken Truths, Sight & Sound, July 2013

S21: The Khmer Rouge Killing Machine was a milestone and I admire Rithy Panh's work in general, but that was more of a contrast. Normally when you hear from perpetrators they've been removed from power and their acts declared criminal, so they either deny what they've done or they apologise for it. Because the killers [in The Act of Killing] have won and remained in power, the whole film is an attempt to understand the imagination of a regime of impunity – and what happens to our humanity when we build our normality on terror and lies, and use storytelling to deny the most awful parts of our reality, not to see it for what it is.
... I think [ Anwar "the killer" is] trying to run away from his pain somehow – to use the filmmaking process much as he used Elvis Presley movies at the time, to distance himself from the act of killing. He hopes that if he can make a beautiful family movie about mass killing then he can somehow make it OK for himself. And he doesn't really care how it makes him look; in fact he's drawn to the pain of it, because that's the thing he's trying to deny. He's trying to replace the unspeakable horror that visits him in his nightmares with these contained, concrete scenes. It's like he's trying to build up a cinematic-psychic scar tissue over his wound.
Joshua Oppenheimer, Build My Gallows High, Sight & Sound, July 2013

The reason I cast professionals and non-professionals has less to do with a mixture of documentary and fiction than the tension that arises when the two confront each other. What I'm asking from all actors, professional or nonprofessional, is that they be as authentic as possible in front of the camera...
... Sex is an important theme in all of my films and for all of my protagonists. In the case of Anna Maria ["Paradise: Faith" ], her deep love for Jesus leads her to desire him physically. Taking love and desire to that level is something I completely understand. I know that some Catholics might see that as a provocation but, when I think of a character such as Anna Maria, she seems totally believable...
... I feel very close to Thomas Bernhard [Austrian author] since his novels infuse the terror of human existence with profound humour. I should point out that, as far as humour is concerned, it depends very much on the individual spectator. In cinemas, you often have one person convulsed with laughter while the person next to him feels absolutely scandalised.
Ulrich Seidl, Solitary Sisters, Sight & Sound, July 2013

What you have to realise is that at that time May '68 was not mythologised. It was a failed revolution. Something had happened, and it was not clear what. People were trying to make sense of it still. There's not one historian who has really cracked it. Was it a socialrevolution? Was it a revolution of youth? What they learned back then from May '68 is that such an event could happen; meaning that, in terms of a Marxist reading, those were revolutionary times, there was potential for revolution. May '68 was a failure but there was the desire, the energy within the society to have a revolution, and it was not an abstraction. All of a sudden you had this dogmatic leftism that got organised, because it would be working for the coming revolution. They hated everything that society had to give them, they did not trust it or want any of it: no jobs, no career, no family. Everything had to be invested in the future, and that's what carried the 1970s...
... When [actors] ask me about characters' background, my answer is always: "Whatever you bring, whatever you want it to be." I don't care. What I care about is what I'm seeing in the moment – cinema happens in the moment. You can deal with it in a million different ways, but when there's someone in front of the camera and it's rolling, that's really when it's happening. The rest is bullshit. It's just the hard fact of what you're capturing on screen. I don't care what you put behind the line, what interests me is that the line sounds real; so in that sense I'malways happier when the actors bring their own ideas of background to the character. Ultimately that's their job – it's the way they appropriate the part. And that's how they bring something I didn't imagine, and didn't expect.
Olivier Assayas, Catch the Wind, Sight & Sound, June 2013

The stories where the audience have to adjust their perspective are the ones I'm drawn to. For me, it's always about a situation or characters which bring your emotions to a place that's irrational – where you question your sense of what's right and wrong.
Neil Jordan, Between the Lines, Sight & Sound, June 2013

When they were doing press and finally getting this celebrity status they had craved, they were a little bit delusional about why it was happening. Alexis wouldn't talk about the robbery: she seemed to think they were interviewing her because of her style or something. The boy was talking about how many Facebook followers he had gained. So I thought their perspective on it provided this whole other element which showed how wrapped up they were in celebrity. That part of our culture used to be small – that pop, 'guilty pleasure' side of things. Now it just won't stop growing.
Sofia Coppola, Sofia Coppola on The Bling Ring: 'What these kids did really took ingenuity', 4 July 2013

I've never understood the cult of Hitchcock. Particularly the late American movies … Egotism and laziness. And they're all lit like television shows … I saw one of the worst movies I've ever seen the other night [Rear Window] … Complete insensitivity to what a story about voyeurism could be. I'll tell you what is astonishing. To discover that Jimmy Stewart can be a bad actor … Even Grace Kelly is better than Jimmy, who's overacting.
Orson Welles, Orson Welles' criticisms of fellow actors and directors found on lost tapes, 29 June 2013

I don't admire or worship violence. To fight violence with violence is a tragedy. This film ["A Touch of Sin"] seeks the roots of violence... Chinese society is strange: people feel if you talk about sad or tragic things it will have even more of a negative impact on society. It's really strange logic. If you can't even face it in a film, how can you face it in reality? If even films cannot refer to [violence], it will always be unfamiliar to us and violent incidents will increase.
Jia Zhangke, China must end silence on injustice, warns film director Jia Zhangke, 24 June 2013

I have this big sequence [in "RED2" ] where I walk into an embassy and start shooting. I kept saying to the director, 'I will not shoot to kill. I want it to be very clear that I'm not killing people. Please, make it very clear'. So Victoria's only partially disabling them. I do get terribly upset when I see films where people are just randomly shot. I think they all have families to go to, children at home, you know...
... I said, 'What about the driver of that lorry? He's an innocent bystander. I can't be in a sequence where they're driving along just randomly killing innocent people. So they made it quite apparent in the sequence that the lorry lands the right way up. I was fighting a bit of a losing battle, but I was trying my best.
Helen Mirren, Dame Helen Mirren refuses to kill anyone on screen, 20 Jun 2013

All families have secrets. And the ones that don't think they do have not scratched the surface hard enough yet.
Sarah Polley, 'Stories are our way of coping, of creating shape out of mess', 23 June 2013

The list of British film-makers who have relocated to LA is very long and it's worth asking why. It's just not possible to break out of a club, and clubs are what the Brits do really well. Everything is a fecking club. We have the art club, the fashion club and the film club. Well, to be fair there are a few film clubs. There's the Working Title "Isn't London sweet" club, and then we have the BFI "Isn't the UK depressing" club...
... Film is a strange beast, unique in that it is both "art" and "popular", and sometimes very profitable. This confuses the hell out of the Brits and so we have compromised by deciding to be the "Golly, gosh" stuttering monarch or the glue-sniffing depressive on a council estate. A kitsch'n'sink scene. Which works quite well, thank you, because the yanks buy the kitsch and once in a while the other stuff gets into Cannes (a once serious festival, now like the Oscars without the honesty).
Mike Figgis, Why British film is all kitsch 'n' sink, 22 June 2013

...a staple of the superhero mythology is, there's the superhero and there's the alter ego. Batman is actually Bruce Wayne, Spider-Man is actually Peter Parker. When that character wakes up in the morning, he's Peter Parker. He has to put on a costume to become Spider-Man. And it is in that characteristic Superman stands alone. Superman didn't become Superman. Superman was born Superman. When Superman wakes up in the morning, he's Superman. His alter ego is Clark Kent. His outfit with the big red "S", that's the blanket he was wrapped in as a baby when the Kents found him. Those are his clothes. What Kent wears - the glasses, the business suit - that's the costume. That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us. And what are the characteristics of Clark Kent. He's weak... he's unsure of himself... he's a coward. Clark Kent is Superman's critique on the whole human race.
From Kill Bill: Vol. 2 (2004)

If you wave away all the computer-generated smoke and see past the pulverized buildings, it's possible to remain hooked on the resonant origin story that wends through "Man of Steel" — that of the immigrant. It's a story that begins with the launching of the spaceship and continues through a child's pained attempts to assimilate and a young man's sense of not belonging. In his excellent 1987 essay "What Makes Superman So Darned American," Gary D. Engle wrote that "Superman raises the American immigrant experience to the level of religious myth."
Manohla Dargis, Part Man, Part God, All Hunk, June 13, 2013

Those who say I despise people do not understand me... It is always my intention for the viewers to see themselves. I do not judge, but I show how people behave in their longing for happiness. If the viewers have a problem with my films, it may be that they have a problem with themselves too.
Ulrich Seidl, 'Those who say I despise people do not understand me' , 13 June 2013

Actors tend to save up most of their real feeling for the camera and are unable to use it in real life.
Rupert Everett, I wouldn't advise any actor thinking of his career to come out, 29 November 2009

What I was trying to do when we were shooting these [lesbian sex] scenes [ in "Blue Is the Warmest Color" ] was to film what I found beautiful. So we shot them like paintings, like sculptures. We spent a lot of time lighting them to ensure they would look beautiful; after, the innate choreography of the loving bodies took care of the rest, very naturally.
Abdellatif Kechiche, Darling of Cannes Turns Slutty Impostor, June 5, 2013

What does he know about lesbians? And how can you ask two actresses who are not lesbians to play any scene that is something other than his fantasies?
Julie Maroh, Darling of Cannes Turns Slutty Impostor, June 5, 2013

They are exquisitely lit actresses pretending to have sex. They are made to look ridiculously, flawlessly beautiful. The film is extremely voyeuristic... If you take the sex out, no one would be interested in this movie.
Amy Taubin, Darling of Cannes Turns Slutty Impostor, June 5, 2013

I think as public figures, as entertainers, that we have a moral responsibility to only portray characters, that if, if they have disruptive behavior or behavior that is negative that it has to be responsibly explained, I really do not believe that we can anymore just say, 'Oh, let's make our person somebody mentally ill.' That's really easy because that that plays into the stigma that people with mental illness are violent and that is not the truth. Most people with mental illness are not violent. And most people who commit violent crimes do not have a diagnosed mental illness. That is wrong, and it's proven wrong and it is immoral to keep that perpetrated.
Glenn Close, Glenn Close would play "Fatal Attraction" differently now, June 3, 2013

 

 

I don't know the sources of information for the director and the actresses (who are all straight, unless proven otherwise) and I was never consulted upstream. Maybe there was someone there to awkwardly imitate the possible positions with their hands, and/or to show them some porn of so-called 'lesbians' (unfortunately it's hardly ever actually for a lesbian audience).
... Because – except for a few passages – this is all that it brings to my mind: a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn, and [made] me feel very ill at ease. Especially when, in the middle of a movie theatre, everyone was giggling.
... The heteronormative laughed because they don't understand it and find the scene ridiculous. The gay and queer people laughed because it's not convincing, and [they] found it ridiculous. And among the only people we didn't hear giggling were the potential guys [sic] too busy feasting their eyes on an incarnation of their fantasies on screen.
Julie Maroh, Blue Is the Warmest Colour sex scenes are porn, says author of graphic novel,
30 May 2013

The key tension in my films is between my Western intellectual origins and the emotional life of nature. I do the same movie over and over. I hide it – I change period, location, hero.
... Movies that are built on dialogue are TV shows. Or radio shows on which you have a camera that shows the person who speaks. Film was created silent and the good ones didn't even inter-titles.
... When there is empathy you don't need language. So many successful couples don't speak the same language. In Africa I spent four hours driving in the forest with the tribe chief. We didn't share a language. And I loved him. I understood him better than I did my friends at film school.
... When I go to Paris my heart sinks. I feel people aren't happy. They understand that their country is not what it was; that the lives of their children are not going to be as good as theirs. China is just the opposite. We still have a vision of China as very rigid, with officials who are like puppets. It's just the opposite! Under the uniform they are living creatures, full of joy! The new China is like Spain after Franco. Or America in the 1970s. People know they are going to run the world.
Jean-Jacques Annaud, 'People who make films are in danger every day' , 30 May 2013

In depicting these wildly luxurious and disingenuous lifestyles, director Steven Soderbergh seems to confuse Liberace and Thorson with the out-gay Las Vegas magicians, Siegfried and Roy. Behind the Candelabra is partly, unmistakably, a freak show (Magic Mike II). And this is where the actors' empathy and the director's condescension collide. It recalls that ungracious moment in George Clooney's Good Night and Good Luck taking a gratuitous slam at Liberace, ignoring the fact that his flamboyance was never totally deceptive. Liberace's public (like Little Richard's) always "knew." (Liberace was the Elton John of his times, a glitzy dresser and colorful entertainer to all.)
... Soderbergh can't find an appropriate moral context for this story. Using the glib cynicism he learned from Mike Nichols, the sordid aspects of Liberace's repression and Thorson's denial (porn shop cruising, drug deals, surgical quacks, agents and lawyers) turn into a roman a clef circus performed by a bevy of comic pranksters: Dan Ayckroyd, Rob Lowe, Scott Bakula, Paul Reisner–and Debbie Reynolds as Liberace's money-grubbing mother. Soderbergh's dismissive treatment ignores Liberace's artistry, judging his showmanship not for its skill and friendly kitsch but as proof of bad taste rather than emotional generosity.
Armond White, Beauty vs. Beastliness, May 29, 2013

The label "independent film" doesn't mean what it once did, and the Sundance festival is part of the reason. The moment aspiring film-makers realised there was a potential shortcut to distribution and acclaim, they started smoothing off their rough edges – consciously or without even noticing – or at least they began to stylise themselves. Either way, the overall effect of the festival has not been to promote individuality but to erode it.
Adam Mars-Jones, Film-makers need to trust the audience, 24 May 2013

Lots of psychomagic in this film! My son playing my father. Psychomagic! The boy in the film is afraid of the night, just as I am. So he paints himself black. Psychomagic! Not afraid of the dark any more... People say I am mad. I am not mad. I am trying to heal my soul.
... But this is what I did in the film... I say: 'Listen, don't suffer, I am here. You are not alone because you are with me.' I felt so alone as a boy because no one wanted to be friends with me. But I say: 'I am with you and just listen what you will do. You will be an artist, you will travel. You will be happy.'"
Alejandro Jodorowsky, 'I am not mad. I am trying to heal my soul' , 23 May 2013

What I used to hate about filming is that I'd want to get up before dawn in Calcutta and film the sunrise. But you'd have to go knocking on the door of the director of photography, who's sleeping, and say, 'Please can you get up?' ... [But with this tiny camera, no bigger than a mobile phone, ] now is the time of the essay film: that way of taking an idea for a walk. Just as the 1990s was the era of the Dogme manifesto, I think someone – maybe I – should write a manifesto for the film-essay form.
Mark Cousins, The kids stay in the picture, 20 May 2013

 



New Trailers

Alata / Out in the Dark (Michael Mayer)
At Any Price (Ramin Bahrani)
Before Midnight (Richard Linklater)
Broken (Rufus Norris)
Frances Ha (Noah Baumbach)
The Hunt (Thomas Vinterberg)
In the House (Francois Ozon)
Jimmy P. (Psychotherapy of a Plains Indian) (Arnaud Desplechin)
Laurence Anyways (Xavier Dolan)
Midnight's Children (Deepa Mehta)
Mud (Jeff Nichols)
The Past (Asghar Farhadi)
Post Tenebras Lux (Carlos Reygadas)

 


[Source : Apple.com, CineMovies.fr, FilmUp, Movie-list]

 

 
 

I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.
Maya Angelou

 


Everyrhing Will Be OK (2006, Don Hertzfeldt)

 

When people talk about a film like this, they say much more about who they are than the film.
Carlos Reygadas, All the Dreaminess of Reality, April 26, 2013

I do have a really strong notion of Oscar Wilde. I see him very clearly. He was blinded by success, blinded by stardom, and never understood, ever in his life, that he was vile to his wife – but I think his flaws are touching and great. I love him for his faults and his snobbery.
... Everybody denies themselves, before the cock crows three times. It's another thing that's tragic and lovely about Wilde, for me. It was amazing doing the play ["The Judas Kiss" ] on the night of the parliamentary act about gay marriage. There was this extraordinary feeling, doing a play about a character who lost everything for being gay, and seeing where it had come to, that night.
Rupert Everett, 'Sex is over. I'm not motivated by it any more' , 21 April 2013

I've always given my characters moral and sexual freedom, including them changing their sex or switching sexual preferences, but in this film [ "I'm So Excited" ], the sex is a real celebration of life. As for the bisexuality, it is present in our daily lives, and much more than we think, because it's part of our nature.
... [ In "I'm So Excited" ] the economy passengers have all been drugged asleep, like Spanish people have been by their politicians and the media. There are references to corruption, and we even filmed at the Ciudad Real airport, a ghost airport built but never used due to political mismanagement.
Pedro Almodovar, Gay Times, June 2013

Some people felt a little bummed out when [David Bowie] said he was a latent heterosexual later in the '80s. But we all have our queer straight uncles, and he's the greatest one.
... I graduated in 1981, which was of course when AIDS hit, so there was always darkness and scariness involved, and that was Bowie... 'Heroes' is probably his greatest song and also his most emotional. When my father was a military commander in Berlin, before the Wall came down, I would go and visit and cross over to the east. The story that touched me most, and which informed Hedwig, was about a person trying to escape who was shot in no man's land between the two walls, and just lay there bleeding for days- no one from either side would dare come in to get him. That was Hedwig, caught in the middle and somehow dragged herself to freedom.
John Cameron Mitchell, Some Cat Way Layin' Down Some Rock 'n' Roll, Out, April 2013

You think about the Mississippi River, it moves at two to three miles per hour, but it's also one of the most windy rivers in the world. And that was like a director's concept that I had going into the movie.
... I think I first read 'Tom Sawyer' in seventh grade, and the main scene that stuck out for me was, Tom swims out to a sandbar in the middle of the river and takes a nap. I thought that was the greatest thing. I used to sit in class in this dreary classroom and just read it over and over again, thinking, 'I want to be on a river taking a nap on a sandbar.'
... [Mark Twain] was bottling what it felt like to be a child. I wanted to bottle the pain of standing in a parking lot next to a Piggly Wiggly and having your heart broken.
Jeff Nichols, Storytelling Son of the South, April 19, 2013

If nothing else, "Oblivion" will go down in film history as the movie where Tom Cruise pilots a white, sperm-shaped craft into a giant space uterus. The scene is more interesting to describe than it is to watch. Cruise's sperm-ship enters through an airlock that resembles a geometrized vulva. He arrives inside a massive chamber lined with egg-like glass bubbles. At the center of the chamber is a pulsating, sentient triangle that is also supposed to be some kind of mother figure. Cruise must destroy the mother triangle and her space uterus in order to save the Earth.
Ignatiy Vishnevetsky, "Oblivion", April 18, 2013

If you make fantasy too real, I think it loses the quality of the nightmare of the dream.
Ray Harryhausen, Ray Harryhausen: Special Effects Titan

Some purists don't like how Errol Morris makes implicit fun of his subjects. Others love how he lets liars hang themselves in front of our eyes.
David Edelstein, How Documentary Became the Most Exciting Kind of Filmmaking, 14 April 2013

Every actor has to move in a Terrence Malick film — that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.
Olga Kurylenko, Muses in Motion, Captured on Camera, April 10, 2013

 



New Trailers

Camille Claudel 1915 (Bruno Dumont)
Dormant Beauty (Marco Bellocchio)
The Grandmaster (Wong Kar-Wai)
Mood Indigo (Michel Gondry)
My Brother the Devil (Sally El Hosaini)
Mystery (Lou Ye)
No (Pablo Larrain)
An Oversimplification of Her Beauty (Terence Nance)
Post Tenebras Lux (Carlos Reygadas)

 


[Source : Apple.com, CineMovies.fr, FilmUp, Movie-list]

 

 
 

The Grandmaster is not only about martial artists, it is about where Hong Kong came from. In the 1930s, 40 and 50s, there were so many immigrants moving to Hong Kong because of war on the mainland. All this new blood and new people created the Hong Kong we have today and I wanted people to think about that.
... When you look at the life story of Ip Man, he is almost like a reflection of the recent history of the republic. He was born in the Qing dynasty, a monarchy. He went from monarchy to war: the Japanese-Chinese war and civil war. Then he ended up in a British colony. A lot of films have focused on Ip Man, the character - his mastery, his skill, was he a good fighter? - and no film has looked at him from this perspective: what kind of hardships did he go through?
... If you don't understand where he came from you don't under-stand his greatness. The skill of wing chun was only for the elites but he transformed it to being for the common man, and this is important.
Wong Kar-wai, Hong Kong state of mind, Apr 7, 2013

บันทึก: ปรากฎว่าบรรพบุรุษผู้เขียนไม่ได้มาจากซัวเถา (ซ่านโถว / Shantou) แต่มาจากกิ๊กเอี๊ย (เจี๋ยหยาง / Jieyang) ซึ่งเป็นหนึ่งในสามเมืองหลักของแต้จิ๋ว อีกเมืองหนึ่งคือ เตี่ยจิว / แต้จิ๋ว (เฉาโจว / Chaozhou)


ภาพหมู่บ้านบรรพบุรุษผู้เขียน ที่ปัจจุบันยังมีญาติอาศัยอยู่บริเวณนั้น


สุสานบรรพชนกับญาติๆที่เพิ่งพบหน้ากันครั้งแรก

บันทึก: ไปตามหาญาติที่ซัวเถา

The past is a foreign country; they do things differently there.
L. P. Hartley, The Go-Between (1953)

As I was writing [ "Spring Breakers" ] I thought, 'If you could have the dream, what would it be?' The dream would be these girls and what they represent. There's obviously something very exciting about working with these girls who are, in some ways, in real life, representative of that culture and that pop mythology; and also people who the public can identify as personalities that are complete contrasts to what they're portraying in the film. I love that that part is a conceptual shock on top of the actual film.
Harmony Korine, Spring Breakers, a riotous take on modern America, 30 March 2013

Critics, instead of doing their job, which is watching, thinking, reflecting, and writing, what they do is watch, don't think much, get together, and behave like they're football hooligans supporting Manchester United, for example. So they like it or they don't and they insult and they shout and they don't expect anything back so they are irresponsible and they can do whatever they want. And it is a pity.
Carlos Reygadas, Carlos Reygadas Accuses Critics of "Hooliganism", 26 March 2013

The difficulty was directing eight actresses [ in "8 Women" ], none of whom want to be directed the same way. Oh, I was so tired! Catherine Deneuve just wants to know what to do with her hands. Isabelle Huppert wants to know nothing except her place. Emmanuelle Béart wants to know the psychology of her character. Sometimes you have Catherine and Isabelle in the shot, which meant that Fanny Ardant was just an extra in the background. But I still have to find something for her to do... When you work with stars, you have to play with their image because they are not virgins in the eyes of the audience.
... My view has changed with time. In Sitcom, I tried to rebuild the family by killing the patriarch. Now with In the House, the family is stronger than the young boy. I see the need for family in society. At the same time, it's a neurotic place... As a child I would have dreamed of living in that house in the suburbs with a beautiful mother and a father who is a hero. Children want normality. They are very conservative. They don't want to be strange or special; they only want to fit in. We need family, and at certain times we need to kill it too.
François Ozon, 'I'll admit I'm a little bit twisted', 28 March 2013

Homosexuality is everywhere and nowhere in The Servant. Harold Pinter's superbly controlled, elliptical, menacing dialogue is able to hint, to imply, to seduce, to repulse, in precisely the manner that gay men were forced to adopt in 1963, when homosexuality was still a criminal offence, and when representing homosexuality on screen was forbidden. To locate the gay gene in The Servant, you have to go back to its source, the 1948 novella written by Robin Maugham, the nephew of W Somerset Maugham. The Servant has its spark in an extraordinary event in Maugham's own life, to be treasured by connoisseurs of British sex and class... In the book, of course, Maugham heterosexualises the trap.
Peter Bradshaw, The Servant: a 60s masterwork that hides its homosexuality in the shadows,
27 March 2013

[ In "Reality" ] I wanted to show that it was a sort of contagion. It's like a science-fiction film, where the infection starts from the neighbours, the family, and gradually takes hold of Luciano... The dreams are more important to him: the idea of getting to this artificial paradise. That is a tragedy because his reality is not so bad. But then, this is Italy today. Pasolini was talking about it back in 1975 – how we were changing, anthropologically, as we were surrendering to consumerism. I don't think Luciano is so far from me; we are all flawed. We can be victims of the system and also complicit in it too. That is true of the characters in both Gomorrah and Reality.
Matteo Garrone, Matteo Garrone: breaking free from the mob, 21 March 2013

All of those years, I felt like 'Heaven's Gate' was a beautiful, fantastically colored balloon tied to a string fastened to my wrist, so the balloon could never fly.
Michael Cimino, The Second Coming of 'Heaven's Gate', March 15, 2013

I hate even the idea of a synopsis. When stories are really working, when you're providing subtextual exploration and things that are deeply layered, you're obligated to not say things out loud.
Shane Carruth, Building a Movie Language in Layers, March 15, 2013

When Paolo and I are asked about post-war Italian cinema, we always use the metaphor of the tree: the roots deep underground are Rossellini, Visconti and De Sica while the branches above are directors like us, Bertolucci, Scola, Ferreri and others. Although we all sprouted off in different directions, the roots remained...
... The inmates [ in "Caesar Must Die" ] thought that if they could manage to represent, in an artistic context, the darkest part of their beings, they could come close not so much to liberation but to confession. Having taken the film around the world over the past few months, I think this is what audiences have reacted to most strongly.
... As the production went on, we developed a real fondness and affection for our actors. At the same time, it goes without saying that we abhorred the terrible crimes they had committed. It's a contradiction I don't think we'll ever resolve...
... We wanted to draw on the anti-naturalistic qualities of black and white [by using monochrome]. Colour has become so commonplace now that when a filmmaker decides to shoot in black and white, it almost seems like an attack on the viewer. That being said, the central premise of our film is already somewhat 'anti-naturalistic', so we felt that the use of monochrome was particularly apt.
Vittorio Taviani, Honourable Men, Sight & Sound, March 2013

We are used to knowing exactly what's going on when we are watching something, which is very strange because in life it is precisely the opposite. Most of the time in life we are living through things and don't know what they mean at the time, except at a very superficial level. It is only later they become important, or take on a particular relevance.
... [Lead character in "Post Tenebras Lux", meaning "light after darkness" ] realises he's been ill in his life, and he hasn't been able to recognise how everything is shining and alive, and life is wonderful by the act of simply existing. The whole point [ of "Post Tenebras Lux" ] is: darkness comes, of course, but to free yourself from it as much as possible, and try to be enlightened.
Carlos Reygadas, Carlos Reygadas: in defence of Post Tenebras Lux, 14 March 2013

 



New Trailers

Beyond the Hills (Cristian Mungiu)
Leviathan (Lucien Castaing-Taylor and Verena Paravel)
Like Someone in Love (Abbas Kiarostami)
Reality (Matteo Garrone)
The Silence (Baran bo Odar)
Spring Breakers (Harmony Korine)
Stories We Tell (Sarah Polley)
To the Wonder (Terrence Malick)

 


[Source : Apple.com, CineMovies.fr, FilmUp, Movie-list]

 

 
 

My aim [for "Like Someone in Love" ] was on one side not to neglect their culture and their specificities, but at the same time not to leave any display of Japanese culture in my film. My concern was to find out whether there were any universal qualities in them as characters.
... Well, the Japanese films that I had in mind were the classics of Japanese cinema, the ones I was familiar with. But then as I had to work in Japan, I started watching plenty of new Japanese films in order to see the actors and also to choose a DP, and I realized that they had absolutely nothing to do with my memory and my knowledge of Japanese classic cinema. And I found them much more American in a way. So I made my film with my own views and then many people told me that my film was more Japanese than the present Japanese cinema.
... I said [to my producer] one can never commit oneself to making a good film -- you cannot say whether your film is good or not -- but the only commitment I do accept is the fact that my film won't show that it's been made by a foreigner or by an outsider in Japan. And I think that I did succeed in that aspect.
Abbas Kiarostami, Abbas Kiarostami Discusses the Mysteries of 'Like Someone in Love' ,
February 14, 2013

In the aftermath of Like Someone in Love's dicey Cannes premiere, Kiarostami explained: "It's better to say that we are like someone in love rather than asserting that we are in love. Death or birth are definitive; love is nothing but an illusion. We have in this film four people who are like some people in love." By now, it seems obvious that the creatures who populate Kiarostami's films are either impostors, observers, and/or "real people" who are blithely unaware that they've been hijacked by a pointedly ambiguous meta-construct of some kind—even when Kiarostami summons other filmmakers to appear as themselves (Close-up), they are transformed into agents of his careful deception, deployed to convince the viewer of a reality that Kiarostami is using their celebrity to further obscure.
David Ehrlich, Like a Movie.

Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland – clean places. Everywhere except India... Every fucker is trying to become the hero of his own imaginary film. I swear as long as there are fucking movies in this country, people will continue to be fooled. The opiate offered by Bollywood fantasy is part of India's inability to deal with its reality.
... In India, the burden of making people happy is on the movies. People always accuse me of making these dark, depressing movies. 'Why do you have to pick up on real issues? People are so exhausted and miserable.' So there's this constant pressure to dumb down. India is not a self-service country, we expect servants to do everything for us, and that's how our movies are. People stand back and they want the movie to explain itself to them. Everything is so spoon-fed. And that's the big battle I've been fighting for a very long time.
Anurag Kashyap, Bollywood is to blame for India's inability to deal with reality, 28 February 2013

When you get here, you'll be told we Indians invented everything from the Internet to hard-boiled eggs to spaceships before British stole it all from us.
... Nonsense. The greatest thing to come out of this country in the ten thousand years of its history is the Rooster Coop.
... Go to Old Delhi, behind the Jama Masjid, and look at the way they keep chickens there in the market. Hundreds of pale hens and brightly coloured roosters, stuffed tightly into wire-mesh cages, packed as tightly as worms in a belly, pecking each other and shitting on each other, jostling just for breathing space; the whole cage giving off a horrible stench - the stench of terrified, feathered flesh. On the wooden desk above this coop sits a grinning young butcher, showing off the flesh and organs of a recently chopped-up chicken, still oleaginous with a coating of dark blood. The roosters in the coop smell the blood from above. They see the organs of their brothers lying around them. They know they're next. Yet they do not rebel. They do not try to get out of the coop.
Aravind Adiga, The White Tiger.

บันทึก: The White Tiger เป็นนวนิยายรางวัล Booker Prize ปี 2008 Aravind Adiga วิจารณ์สังคมอินเดียเปรียบเทียบกับจีน แล้วสรุปว่า จีนเจริญกว่าอินเดีย เพราะจีนใช้ระบบอำนาจนิยม ส่วนอินเดียเป็นประเทศประชาธิปไตยที่ใหญ่ที่สุดในโลก แต่ที่เลวร้ายคือ ระบบวรรณะดันอยู่ร่วมกับประชาธิปไตยในอินเดียได้อย่างไม่ขัดเขิน มันจึงกลายเป็นประชาธิปไตยที่มีการกดขี่ทางชนชั้นอย่างเปิดเผยด้วยเสียงข้างมาก
... แต่ประชาธิปไตยนี่แหละ คือสิ่งที่นักการเมืองอินเดียและคนอินเดียทั่วไปที่ผู้เขียนได้พบ ล้วนพูดถึงด้วยความภาคภูมิใจ จนผู้เขียนรู้สึกว่า มันเป็นสิ่งที่หล่อเลี้ยงชีวิตของพวกเขาแบบเดียวกับศาสนา เพราะทั้งสองอย่างล้วนไม่ได้ทำให้ชีวิตคนอินเดียดีขึ้นแต่อย่างใด

บันทึก: 27 Jan 2013 เทศกาลลอยกระทง Float Festival ซึ่งเป็นเทศกาลที่ใหญ่ที่สุดของเมือง Madurai ปีนี้ไม่มีน้ำลอยกระทง ปกติแล้วจะต้องเคลื่อนหรือลาก ซุ้มที่ประดิษฐานเทวรูปไปไว้ที่เจดีย์กลางน้ำ เพื่อให้ทุกคนได้ลอยประทีบไปบูชา แต่ปีนี้ต้องนำเทวรูปมาประดิษฐานที่ริมฝั่งแทน เพราะกว่าครึ่งหนึ่งของแท้งค์น้ำนั้น แห้งจนถึงพื้นดิน
... ถามชาวบ้าน เขาบอกว่าปีนี้แล้งมาก แม่น้ำแห้งขอด จึงไม่มีน้ำผันเข้ามาในแท้งค์ แต่อีกคนบอกว่า มันก็แล้งทุกปีนั่นแหละ เพราะมันเป็นเดือนมกราคม แต่ทุกปีรัฐบาลท้องถิ่น จะมีเงินจำนวนหนึ่ง สำหรับการหาน้ำมาบรรจุให้เต็มแท้งค์ แต่ปีนี้เงินมันหายไปไหน?

บันทึก: ขณะที่ผู้เขียนเดินทางอยู่ในอินเดียใต้ มีข่าวใหญ่ในวงการหนัง Kollywood ซึ่งเป็นหนังภาษา ตามิล/ทมิฬ มีศูนย์กลางที่เมืองเชนไน (Chennai) เมืองหลวงของรัฐทมิฬนาดู เป็นการสั่งห้ามฉายหนังใหญ่ประจำปีชื่อ Vishwaroopam
... ส่วนหนึ่งที่ทำให้ข่าวนี้เป็นที่สนใจของผู้คน ก็เพราะดูเหมือนไม่มีใครรู้ว่าเกิดอะไรขึ้นกันแน่ เนื่องจาก Vishwaroopam ได้ผ่านการพิจารณาโดยคณะกรรมการตรวจสอบภาพยนตร์เรียบร้อยแล้ว และพร้อมที่จะฉายพร้อมกันทั่วประเทศอินเดีย เป็นภาษาต่างๆตามแต่ละรัฐ แต่อยู่ๆ หัวหน้ารัฐบาลของรัฐทมิฬนาดู ก็สั่งห้ามฉาย โดยให้เหตุผลว่ามีการเหยียดหยามชนกลุ่มน้อย คือเป็นการเสนอภาพชาวมุสลิมเป็นผู้ก่อการร้าย
... แต่ที่ประหลาดคือ Vishwaroopam สามารถฉายในรัฐอื่นๆได้ทั้งที่มีชุมชนมุสลิมใหญ่กว่าทมิฬนาดูด้วยซ้ำ (มีมาเลเซียอีกประเทศนึงที่สั่งห้ามฉาย Vishwaroopam เป็นการชั่วคราว)

... ทำให้เกิดข่าวลือต่างๆนานาเกี่ยวกับเหตุผลในการห้ามฉายครั้งนี้ บ้างก็ว่าเป็นการหาเสียงล่วงหน้ากับกลุ่มมุสลิม สายอนุรักษ์นิยม บ้างก็ว่าเป็นปัญหาส่วนตัวระหว่างหัวหน้ารัฐบาลกับ Kamal Hasaan ผู้กำกับ/นักแสดงชื่อดัง บ้างก็ว่าเป็นเพราะ Hasaan จะเอาหนังฉายแบบ pay-per-view ก่อนเข้าโรง เลยโดนขาใหญ่เล่น สุดท้ายหลังจากวุ่นวายอยู่สามอาทิตย์ รัฐบาลท้องถิ่นสั่งให้ตัดหนังออก 7 ฉาก แล้วฉายได้ตามปกติ
... การเมืองในอินเดียใต้ ถือว่าป็นเรื่องประหลาดต่างจากอินเดียเหนืออย่างมาก หัวหน้ารัฐบาลทมิฬนาดูคนปัจจุบัน (Jayalalithaa)  เป็นอดีตนักแสดงหญิง แล้วยังเป็นเคยแสดงหนังคู่กับหัวหน้ารัฐบาลคนก่อนซึ่งเป็นนักแสดงชายชื่อดัง (M. G. Ramachandran) ช่วงเวลาที่เขาบริหารรัฐแห่งนี้ มีเรื่องอื้อฉาวเกี่ยวกับการคอรัปชั่นมากมาย แต่ปัจจุบันหลังจากที่เขาเสียชีวิตไปแล้ว คนทั่วไปโดยเฉพาะในชนบท ยังคงกราบไหว้บูชารูปเขาอยู่ราวกับเป็นเทพองค์หนึ่ง หัวหน้ารัฐบาลคนปัจจุบันก็ยังคงรักษาภาพ ของการเป็นนักบุญของคนยากไร้ ตามบทที่เธอเคยแสดงในหนังไม่เสื่อมคลาย
... ส่วนในเคราลา รัฐทางใต้อีกรัฐหนึ่ง มีภาษาพูดเป็นภาษามาลาลายัม ก็เป็นรัฐที่ถูกปกครองโดยพรรคคอมมิวนิสต์มาอย่างยาวนาน แต่ก็ได้รับคำชมเชยว่าเป็นรัฐที่ก้าวหน้าที่สุด ในการลดความสำคัญของระบบวรรณะลง ซึ่งตรงกันข้ามกับอินเดียเหนือที่ระบบวรรณะเป็นส่วนสำคัญในการเลือกตั้ง จนมีนักวิชาการกล่าวว่า ประเทศอินเดียมักได้อาชญากรมาจากการเลือกตั้ง เพราะแต่ละวรรณะมักจะเลือกคนในวรรณะของตนเอง แม้ว่าคนคนนั้นจะทำผิดอย่างไรก็ตาม หรืออาจพูดใหม่ได้ว่า ยิ่งคนคนนั้นทำผิดเท่าไหร่ คนในวรรณะเดียวกันก็จะรู้สึกเห็นใจ และคิดว่าเขาถูกกลั่นแกล้งโดยคนในวรรณะอื่น คนเหล่านี้จึงได้รับการเลือกตั้งเข้าสู่สภาอินเดียเป็นประจำ


Vishwaroopam ฉายที่มุมไบเป็นภาษาฮินดี แต่ฉายที่เชนไนบ้านเกิดไม่ได้

 

With freedom comes responsibility. And with absolute freedom of expression comes extraordinary responsibility. We can't be free of speech and do a silly film like Innocence of Muslims. And we should always remember that India is a work in progress...
... We must understand what ails the Indian Muslim and weed out the feeling of mistrust not by appeasement but by dialogue and understanding. Right or wrong, for more than 500 years he has been the number one citizen of this country. When Independence came, the Indian Muslim thought while he may not be the number one citizen, he would still be number two. But thanks to cynical caste and vote-bank politics, the community has been languishing for no fault of its. This is not even like the American blacks, who were brought chained and then slowly won liberty. The Indian Muslim was the ruler and then went into chains.
Kamal Haasan, 'If anything, I thought fringe Hindu groups would protest', February 01, 2013

 

บันทึก: 10 Feb 2013 : Maha Kumbh Mela (มหากุมภเมลา), Allahabad (อิลลาฮาบัด), India
ตามรายงานข่าว วันนั้นมีคนไปรวมกันที่จุดบรรจบของแม่น้ำคงคากับแม่น้ำยมุนา จำนวน 30 ล้านคน (เกือบครึ่งหนึ่งของประชากรไทย) นับเป็นพิธีกรรมที่มีคนเข้าร่วมมากที่สุดในโลก คืนวันเดียวกันมีผู้เสียชีวิต จากการเหยียบกันตายที่สถานีรถไฟเพื่อที่จะกลับบ้าน 31 คน