Best/Worst World Cinema DVD Releases 2011

December 5, 2011 Leave a comment

Best World Cinema Films 2011

 

  1. The Skin I Live In

As beautiful as it is grotesque, Pedro Almodóvar’s arthouse venture is a stunning look at the bizarre. With exquisite cinematography from José Luis Alcaine and original music by Alberto Iglesias, it continues to stir the imagination long after its credits role. Its haunting subject matter is approached with a surprising tenderness, to create a deeply disturbing tale that is aided by a fantastic performance from Antonio Banderas. Whilst it may be too shocking for some, it remains the most powerful film of the year.

  1. Uncle Boonmee Who Can Recall His Past Lives

For anyone with even a passing interest in ghosts or the supernatural, Uncle Boonmee is a definite must see. Deeply enigmatic, it intersperses the extraordinary with the ordinary, to create a magical tale that is incredibly touching to watch. Containing themes encompassing dreams, memories and death, it provides a thought provoking look at the concept of extinction and mortality. Beautifully experimental, its enchanting nature establishes it as a worthy winner of the Palme d’Or.

  1. Le Quattro Volte

Michaelangelo Frammartino’s philosophical film is a poignant depiction of life and the interrelation of all things. Filmed with an incredibly subtle tone, it contains virtually no dialogue but still manages to have a strong effect on the viewer. This lack of speech emphasises the surrounding sounds of each scene which often go unnoticed in most films. Rich in symbolism, it leaves you contemplating your own existence and place within the universe.

Worst World Cinema Films 2011

 

  1. Ninja Girl

Unlike his previous film Alien Vs. Ninja, Seiji Chiba’s latest effort fails to hit the mark. For a martial arts film, it features very little in the way of actual fighting. With poor acting that isn’t helped by a weak script, it fails to draw the viewer in and instead falls flat like the films villains. With its convoluted plot and obtuse subject material, Ninja Girl is definitely one you won’t need to worry about missing.

  1. Norwegian Wood

Adapting Haruki Marukami’s work for the big screen was never going to be an easy task, even if Norwegian Wood is one of his less surreal books. Anh Hung Tran’s bold attempt to breathe life into the well loved author, though admirable, fails to impress. In particular, Rinko Kikuchi’s portrayal of Naoko comes across as irritating making the viewer unable to give her the empathy afforded her in the book. By no means a terrible film, it is let down by its inability to do justice to the original story.

  1. About Elly

Given the success of A Separation, which has made a considerable impact at this year’s film festivals, it is surprising that About Elly is unable to offer the same level of quality. With its unbelievable characters and uninspiring plot, it comes across more as tedious and boring than captivating. Demanding a considerable amount from its audience, the shock factor it strives for at the film’s turning point fails to be delivered. As a director, Asghar Farhadi has a lot to offer Iranian cinema, but sadly this film isn’t a fair representation of his skill.

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Classic Cult: Musicals

November 22, 2011 Leave a comment

Musicals as a genre within film have been approached somewhat apprehensively in recent years and yet they formed an integral part of the formation of modern cinema. The transition that occurred in the 1930s from the silent films, popularised by luminaries including Charlie Chaplin and Buster Keaton, to a new form of entertainment made possible through the arrival of sound marked the beginning of the musical feature.

However, beyond the success of the early musicals that were made between the 1930s and 1960s (and a handful released each year in the following decades) it has remained a relatively unappreciated genre. Away from smash hits such as Singing in the Rain, The Sound of Music, and the animated films of Walt Disney, there have been a surprising number of cult musicals which cannot be overlooked when considering this distinct genre.

The Rocky Horror Picture Show is the ultimate cult musical. With much of its success generated from midnight screenings featuring hundreds of dedicated followers clad in transsexual attire, it has gone on to harbour some of the most bizarre instances of audience participation. Projectiles of toast, toilet paper, water and rice alongside answering back to the screen and mass reproductions of the “Time Warp” make this not just a cult film, but a cult experience.

Numerous famous musicians have featured in cult musicals that have developed a devoted fan base often years after their initial flop. The Wiz is an urban retelling of L. Frank Baum’s The Wonderful Wizard of Oz featuring an all African-American cast set in a fantasy version of New York City. With Diana Ross as Dorothy, reconfigured as a Harlem school teacher, and Michael Jackson as the Scarecrow, It illustrates a combination of soulful song and dance numbers written towards the end of the blaxploitation movement.

Few cult fans will be unaware of Labyrinth, a fantasy film directed by Jim Henson, starring David Bowie as the beleaguering Goblin King, Jareth. Its combination of puppetry, human performances and Bowie crotch shots – which have sparked pages of critical analysis – mean it remains one of the best cult musicals ever made. Rock opera Tommy, based upon the album of the same name is a musical by British band The Who. Starring Who lead singer Roger Daltrey as a deaf, dumb and blind pinball wizard, and featuring terrific cameo performances from the likes of Oliver Reed, Jack Nicholson and Tina Turner. It is a surrealist production that features one of the most innovative soundtracks of the genre.

In recent years, cult musicals have received less acclaim, generally staying predominately under the radar. However, Lars Von Trier’s Palme d’Or winning Dancer in the Dark, starring Icelandic singer Björk has redefined the musical genre by introducing an extreme emotional aspect to what is generally frivolous escapism. It is clear from examples like this that it is anything but a dying genre. Still retaining merit in what is often a prejudiced art form, musicals are constantly reassessing the necessary requirements for entertainment.

Taken from The Student, published Tue Oct 4th 2011.

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