Week End (1967)

directed by Jean-Luc Godard
with: Mireille Darc, Jean Yanne

This is a cinematographic experience like no other, it's impressive and hypnotic, mind altering. It's hard to talk about this movie, because it's hard to know where to start. Week End is about everything, it goes everywhere and experiments with everything and it is so entertaining and visually shocking that all I can say is that this movie has to be seen. It experiments with long tracking shots and 360 degree scenes. It plays with cannibalism in almost a beautiful way, sociopolitical ideologies in an anarchic way, bourgeois values in a satirical way, sexual experiences in an explicit way, relationships in a convenient way, religious ideas in a dangerous way and at the same time, so many other themes are part of this film like jealousy, betrayal, survival, indifference, love, murder and chaos. A pig is killed with a hammer. All taboos are destroyed.

This is a surrealist piece that at times reminds me of Buñuel (visually, thematically and rhythmically), specifically to The Phantom of Liberty. Godard throws all his magic and skill into this film and creates a monstrous masterpiece that may change the way you see film forever. In Week End, the movie is part of the film, it is almost a character, and characters in the film are aware that they are in a film and sometimes they can even distinguish the characters that are part of the 'reality' of the film from the ones that are part of the making of the film, (like the Italian production team, who are identified) and the ones that are imaginary (from the Lewis Carrol scene).

After watching this film you've probably reached 'the end of cinema', as the titles suggest at the end, because that is basically as crazy and apocalyptic as it can get. Godard definitely reached the end of an era. My favorite Godard so far.

Must see.
Rating: 9.5/10

Breathless (1960)

directed by Jean-Luc Godard

with: Jean-Paul Belmondo, Jean Seberg

Godard's Breathless may still impress after almost fifty years. For some, it may appear to be a normal movie today and that is because it existed in the first place. Breathless is one of the most influential movies of all times and it set the parameters of modern filmmaking. The main characters' attitudes and behaviors reflect many of those in Hollywood's films and at the same time are fresh and unique. Godard decides to edit this movie in a way that at times may feel confusing and not congruent, but that instead, I recognize as challenging and innovative. The French New Wave is about the reinvention of traditional 'high quality' cinema and Breathless does that in a very effective way. Jump-cuts are characteristic of this movie and are used in a way that had never been done before. Godard was all about style, and rejected Hollywood to later influence it.

The film is about Michel, a car thief, who tries to convince Patricia to escape with him to Italy.

Recommended.
Rating: 9/10

Daisies (1966)

directed by Vera Chytilová

with:Ivana Karbanová, Jitka Cerhová

This Czech new wave movie was considered 'unintelligent' and a waste of time and money by the Czech authorities because it didn't reinforce any political or social ideology of communism. But it really is intelligent, and frankly, made for intelligent and open minded people.

Daisies, is an attempt to criticize the civil values and social formalities. It is about two beautiful women (both named Marie) with self-destructive but almost innocent behavior that enter a surrealistic series of adventures with no moral limits. They are careless and excess-driven, yet free, enjoying creative spaces and imaginative places where they take us to explore their minds. The idea of this movie is that 'one should try everything', become an experiencer in order to value and accept those social norms established by society.

This film is very liberal, contrary to the Czech government of the 60's. And as liberal as the narrative is, so is the visual style that Vera Chytilová (with the help of her husband) uses to represent her ideas. This film is experimental in essence and is open to various interpretations. For me, it was the search of the meaning of life and all that being part of a society encompasses, especially exploring the role of women. It is an existencialst piece that helps us 'smell how volatile life is'. The sound effects are great and so are many of the lines in the dialogue.

Recommended.
Rating: 8.25/10

Bottle Rocket (1996)

directed by Wes Anderson

with: Owen Wilson, Luke Wilson, Robert Musgrave

This movie is about three alienated characters who decide to become criminals for a living, just for (infantile) excitement. 

This movie is great because it defines the rest of Anderson's career. It has great ideas, not always very well executed, but very Andersonian in principle. Although many say that this is not really an Anderson-style piece, I believe it is, and strongly. It works as a foundation for his future films. The slow motion scene near the end of the movie is used in all of his other movies. The great, innocent and playful music that accompanies the character's naiveness and alienation too. The sense of belonging to a group and dressing up in almost ridiculous matching uniforms (yellow jumpsuit) is also appreciated in The Life Aquatic of Steve Zissou. The kiddish plans and sketches are seen in Rushmore. POV shots are used in all of his films. A strange foreign and usually quiet character is also present in all of his films. Failed characters who build a personal world where they fit in to be protected from the rest is a very Andersonian theme, and so is the man to man interactions as also seen in The Darjeeling Limited. A nearly impossible love is also part of all Anderson films, especially in Rushmore and The Royal Tenenbaums. 

Bottle Rocket is quirky and witty, and the Wilson duo do a great job. The movie starts out great and ends up perfect, there are a few things in the middle that do not work correctly, but in general terms, it is a good movie, interesting especially for Anderson fans. 

Worth a look. 

Rating: 7.5/10

Pan's Labyrinth (2006)

written and directed by Guillermo del Toro

with: Ivana Baquero, Sergi López, Maribel Verdú, Ariadna Gil

From what I can recall while I write this, El Laberinto del Fauno (original title) is probably the best piece of fantasy I have ever seen. Del Toro does a wonderful job representing a child's mind and imagination within the cultural context of a raped Spain by Franco's Fascist regime. This movie works because it does what most films with fantastical creatures don't, it is not only about fantastical creatures. It is part of a real historical context where the fantastical creatures (very unique and distinguishably creatively made, with impressive make up art) are featured (and where both fantasy and reality are equally horrific, but one from a child's point of view, distracted from that of an adult's). This is Del Toro's masterpiece so far and it is in the same vein as The Devil's Backbone, but improved; more visually stunning and more violent, yet even more accessible. Fantasy for adults and fearless kids ready to please your eyes. 

Must see. 

Rating: 9/10 

Man with the Movie Camera (1929)

directed by Dziga Vertov

with: -

This silent film is an experiment that created controversy. It uses an array of different film techniques that could even be instructional for eager learners of the art (jump cuts, slow-motion, extreme close ups, fast motion, double exposure, freeze frames, , stop motion animation, tracking shots and many others). Extremely innovative for its time, this movie represents Russia's modern life in different cities. Different jobs, hobbies and everyday activities are shown, it is about a man with a movie camera that documents reality as never before experienced. It brings to the viewer images of the world that otherwise may have not experienced. There are no actors, no script and no scenarios (although some scenes are prearranged) , everything is footage taken from everyday normal life. It is of historical importance because of the artistic visual style and ideas that show that cinema can be taken very very far. 

Creatively edited, this montage of images is a piece worthy of consideration by any film enthusiast, especially in the documentary filmmaking area. The music is essential and experimental (re-written by norwegian Geir Jenssen in 1996 following the director's notes on music for the piano); it perfectly complements the images and the rhythm and pace of the frames. Even though this movie was filmed in 1929, it may still illuminate many people's eyes and perception of filmmaking. A real birth is filmed. Half naked people too. People sunbathing and walking and industrial machinery in action are shown. A beautiful compilation that gives us a taste of Russia's culture and film's history representing the universality of the human being in a modernized society in an entertaining way. 

Worth a look. 

Rating: 9/10

A Woman is a Woman (1961)

directed by Jean-Luc Godard

with: Anna Karina, Jean-Claude Brialy, Jean Paul Belmondo

Godard directs a very playful, innovative, complex, yet accessible piece of cinema. A Woman is a Woman may be considered a musical, but it is essentially a critique and parody of american musicals and their interpretation of life. He lets the audience know that this is a story out of real life, that cinema is just like a musical, a collage of false realistic events where feelings are manipulated. The actors look at the camera and wink at the viewer, sing and dance, and get transported to different places with the music. This movie has apparent surrealistic elements, but they can be more precisely termed as 'unrealistic'. It is a love story full of contradictions and ironies where Angela, a stripper, wants to have a baby with her husband Emile, who doesn't. At the same time, she is involved with Alfred, his best friend. This story analyzes a woman's role in american musical love stories from different angles that fit the women stereotypes in the US. The music, is most responsible to let us understand the angle, and along with Anna Karina's (Angela) performance, the movie ends up being intelligent and witty, a comedy out of ordinary and unpredictable, like most of Godard's work.

Highly Recommended.

Rating: 8.5/10

The Milky Way (1969)

directed by Luis Buñuel

with: Paul Frankeur, Laurent Terzieff, Bernard Verley,

A film about two peasants on a pilgrimage through Santiago de Compostela, Spain, where they meet and observe different religious figures. Full of heretic scenes, the movie shows flashbacks of Jesus catching his breath after a long run, Jesus telling a joke during dinner after having several glasses of wine and Jesus considering shaving. This movie, in a way, could be a mockery of Jesus' life or an attempt to try to portray the human side of Jesus and his similarity to other people. Buñuel, uses fine humor to represent some of his controversial religious ideas and debates and more importantly, he shows how absurd and blind-sighted Catholicism can be. As most should know, Buñuel was an atheist and was always interested in religion and its influence in society, he defies religion in many of his films, and this is an effective (but slow) satire.

"Thank God I'm an atheist." L. Buñuel

Rating: 7.5/10

Buffalo '66 (1998)

written and directed by Vincent Gallo

with: Vincent Gallo, Christina Ricci

It is easy to feel the alienation and suffering of the constantly ignored by his indifferent, dysfunctional, careless parents, Billy Brown, an über-insecure and vulnerable but seemingly-tough man who is in the process of self-discovery to overcome childhood memories that left him traumatized. His fearful desperation for his parents approval and his extreme fear of love and affection are perceived throughout the film, slowly building up tension in the viewer eyes. With some strange lines that can be funny and offbeat at the the same time,  Gallo provides immediate short-length confusing relief. Sometimes exasperating, the narcissism and stubbornness of angst-ridden unwanted only child Billy, is counteracted by the sweetness, innocence and beautifulness of Ricci's performance. Ricci and some very interesting visual effects make the film and incredible indie creation that at times resemble Lynch's style and pace. This movies is worthy of exhaustive psychoanalysis of the characters. 

Highly Recommended. 

Rating: 8.75/10

Be Kind, Rewind (2008)

directed by Michel Gondry

with: Jack Black, Mos Def, Danny Glover

The tapes of a VHS rental store are erased by a magnetized Jack Black. The two employees (Black, Mos Def) make highly creative, low budget, funny, homemade shorts that try to reproduce the main ideas and scenes of the films to maintain customers.

Gondry's film does not lack the filmmaker's creativity; it has incredibly, well-designed scenarios and good visual style. It does not lack emotional elements of universal human feelings that his other films have. It is a fairly good movie that may attract a varied audience but there is something Gondry is missing. Be Kind, Rewind lacks something that is hard to tell. There is something about this movie that doesn't convince me. Maybe something about Jack Black and Mos Def that doesn't work (even though their interaction seems natural in a way). Some parts of this movie feel fake. Fake in a Hollywoodesque mainstream scripted comedy kind of way. It may be that I found this movie very predictable and unsurprising, unlike Science of Sleep and Eternal Sunshine of the Spotless Mind. I think this movie is transitory for Gondry's career and an opportunity to penetrate deeper into the Hollywood market. His next film will define the path that he will take. I sure hope that he does not lose his imaginative freedom and surrealist style. I am a fan of his work and I look forward for the upcoming.

Recommended.

Rating: 6.5/10