Its star a decidedly pudgier character than that of his bravura bad-boy role as a high-school truant, Election finds in Matthew Broderick the perfect hypocrite. And yet every main character in the film exhibits this same hypocrisy, just to different degrees. And so he’s far from alone—he just happens to be helming the ship. Election can sometimes be entertaining, even if this entertaining is that...
Opening with a pertinent but in-plain-sight quote from The Master Builder by Henrik Ibsen, in whose play a character forbiddingly refers to the dread of letting in the so-called young people, While We’re Young tries to bring to its thematic elements a coherence and a sense of character that should be the preserve of a more textured and multifarious film. This is still the case—While We’re Young...
In a succession of shots inside a silk factory showing the long piston-like production lines and the bits and pieces of a mechanical world, the parameters of O-Tsune’s own world become apparent: it is that of an endless toiling so that her son, the young and prepubescent Ryosuke, can finish up his elementary education and they can both live unperturbed in their scrimping and meager existence in...
As a man of surrealist extraction working on it with another notable surrealist of the time, Luis Buñuel—who was to go on to complete his fantastic corpus starting with that one pristine surrealist sally, Un Chien Andalou—Jean Epstein directed and produced The Fall of the House of Usher with the result that, bringing alive the eerie gothic ambience of Poe’s short story, he committed to film a...
With sumptuous colors and a settled, contemplative aesthetic of long shots and static shots interspersed with some notable close-ups, Raise the Red Lantern has the flair and attentiveness of a great film. But it’s not as successful as if it were evaluated by its visual pleasures alone—missing is the subtle development of character and a resolution that makes sense of the closed-world oppression...
Two men working in a business for violin restoration play squash together and dine together at a local bistro, but they otherwise keep to themselves—at least the voiceover, heard once in the beginning of the story, would have us believe that this is the case. Uttered by the laconic and emotionless Stéphane, this voiceover reveals more than anything else in the story the attitudes and the...
“Whatever is done out of love always takes place beyond good and evil.” –Friedrich Nietzsche Adapted from the eponymous 2003 novel, We Need to Talk About Kevin is as stylized and artful as it is inadequate and muddled. The compelling story of the book, about a mother’s experiences with her serial-killer-to-be psychopathic son, undergoes in the film a diffusing of its chronology through the...
How well do the members of a family really know one another? A Sunday in the Country seeks to dredge up from a distant, indistinct, but halcyon past the feelings and memories of one family convening for a day outside Paris toward the end of the summer of 1912, with the far-off rumble of thunder as the uncertainty of the First World War billows like a menace. It is a quiet film that is all the...
“What does marble think when it’s being sculpted? It thinks, ‘I am struck, insulted, ruined, lost.’ Life is sculpting me. Let it finish its work.” The ancient myth of the spouses Orpheus and Eurydice has a time-honored and immemorial place in the arts, in literature, and during the twentieth century in the cinema, where Jean Cocteau put to use his pullulating and vibrantly artistic mind to...
As a finely stylized Japanese film of the Jidaigeki genre, a period piece like so many of its samurai brethren, The Ballad of Narayama stands out nonetheless as an early amalgam of the theater and the cinema. It is an artful filming of the eponymous novella by the Japanese writer Shichirô Fukazawa, itself adapted from the Japanese legend of the practice of what is called obasute, the ritual...