Criterion Sunday 283: Pokolenie (A Generation, 1955)

An excellent debut feature from Andrzej Wajda, which with his following two films, deals with Polish involvement in World War II. The stark black-and-white cinematography has enough flourishes to sustain cinematic interest — there’s a long opening tracking shot that’s almost Wellesian in its accomplishment, and seems to fit into a particularly Eastern European tradition that people like Miklós Jancsó would take up. It’s about a young man, Stach (Tadeusz Łomnicki), who joins the Communist underground resistance to the Nazis, fighting on behalf of the Jewish ghettoes, with one particularly compelling sequence towards the end as his cell get rather too closely involved in the violence, which leads to consequences for a budding relationship that Stach has started up with Dorota (Urszula Modrzyńska), one of the key organisers. It’s a fantastic and stylish first film.


FILM REVIEW: Criterion Collection
Director Andrzej Wajda; Writer Bohdan Czeszko; Cinematographer Jerzy Lipman; Starring Tadeusz Łomnicki, Urszula Modrzyńska, Tadeusz Janczar; Length 83 minutes.

Seen at home (DVD), London, Thursday 26 December 2019.

Criterion Sunday 281: Jules et Jim (Jules and Jim, 1962)

This feels like Truffaut trying the same loose feeling that Godard brought to Breathless, as Jeanne Moreau unites two men in mutual love, playing with their feelings as freely as Raoul Coutard’s camera pivots around a landscape. As Catherine, Moreau is of course the centre of attention here, and the film attracted a lot of attention at the time it was made for its affront towards bourgeois morality when it comes to love. I’m not exactly sure it holds up in every respect, but it feels remarkably unfussed by its protagonists shacking up with one another. What elevates it are the performances and the sense of freedom and fun enjoyed by the director and his camera, not to mention the finely judged score that keeps the action constantly moving forward even as the characters seem to be dwelling in their own little worlds. I never really feel as if Catherine is much more than a muse to the men who are, after all, the titular characters, and quite aside from hiding behind a fake moustache in the scene that gives the film its cover art (at least for the Criterion release), her love feels deeply inconsistent at times, as if imagined by each of the men in turn, and by the director. Still, I feel like her performance, in its irrepressibility, reaches beyond this framework directly to the viewer, and as such it earns its place in cinematic history.


FILM REVIEW: Criterion Collection
Director François Truffaut; Writers Truffaut and Jean Gruault (based on the novel by Henri-Pierre Roché); Cinematographer Raoul Coutard; Starring Jeanne Moreau, Oskar Werner, Henri Serre, Sabine Haudepin; Length 105 minutes.

Seen at home (Blu-ray), London, Sunday 15 December 2019 (and before that on VHS at home, Wellington, November 1999).

Shirkers (2018)

The UK today sees the limited cinematic release of a new documentary Be Natural, about silent film pioneer Alice Guy-Blaché. I’ve covered a number of other documentaries about women filmmakers, but this intriguing one released on Netflix tells an autobiographical story of a young woman in Singapore trying to make her own film.


The director of this documentary was like many of my friends in the 1990s: putting together zines, writing about indie underground culture, and obsessing about movies. Unlike those friends I had, Sandi made a for-real legit on-film-and-everything movie. It was pretty much the first proper indie film made in Singapore, written by Sandi and produced by her friends, who all pretended to be competent and older than their teenage years in order to secure funding (and frankly, as far as I’m concerned, just doing that makes them pretty damn competent), and directed by a film school professor called Georges. The film was never released, though, because after filming had been completed, Georges absconded with the reels, never to be seen again by any of them. So this is the story of a lost film, in a sense (though the reels were recovered 20 years later after his death), and then an incomplete film (because the soundtrack was never recovered).

It’s a fascinating project, and the original film of Shirkers (it had the same title as this documentary) seems to share all kinds of resonances with contemporary 90s movies, and from what we see here, it looks like it was pretty interesting. The story of the missing director Georges, of Sandi and her friends’ subsequent careers, and of Sandi reassessing her youthful persona with hindsight and the help of her interviewees, as well as the recovered footage of her film, is of course the real story, and it’s a fascinating one.

Shirkers film posterCREDITS
Director/Writer Sandi Tan 陳善治; Cinematographer Iris Ng; Length 96 minutes.
Seen at ICA, London, Friday 26 October 2018.

Blank City (2010)

As part of the my ‘documentaries about women image makers’ themed week, this documentary isn’t exclusively about that subject, but covers lo-fi no-wave indie filmmaking in New York from the late-1970s onwards, many of whose key creators were women.


An interesting enough documentary that marshals a number of clips, as well as rounding up interviews with the key participants in the so-called “no wave” film/musical movement in NYC in the late-70s and early-80s, as it morphs into an anarchic and nihilist cinema of transgression. It’s interesting to see how the early filmmakers were responding to the city they lived in, with all its chronic underinvestment, poverty, drugs and the resulting bohemian artistic scene. They were all largely based in the downtown area near the Bowery, where clubs like CBGB’s could be found, just after the first breaking of punk music and into the post-punk scene. Some of them went on to mainstream success, while others moved far more into the art world, with varying degrees of success. The film is also keen to stress the central role that women played, not just as stars but as creative participants and directors of films within the movement, and we hear quite a bit from them also, like Vivienne Dick, Sara Driver, Beth B, Susan Seidelman and others. In all, it’s an interesting introduction to a fecund era of artistic creation, which could be every bit as obnoxious and off-putting as it could be cool and inspiring.

Blank City film posterCREDITS
Director Celine Danhier; Cinematographers Ryo Murakami 村上涼 and Peter Szollosi; Length 94 minutes.
Seen at home (DVD), London, Thursday 27 December 2018.

Visages villages (Faces Places, 2017)

Agnès Varda made a lot of documentaries, and her final one, Varda by Agnès (2019), was the most direct film to deal with her own work. However, this penultimate film — while ostensibly being about pseudonymous French street photographer and sort-of-graffiti artist JR — is about her own practice as an artist in some way, or at least captures something of the spirit she brought to her feature filmmaking.


This is a sweet film in much of the way of Varda’s documentary works (a lot of which are extras for DVD releases, and all of which are worth watching), a very self-consciously confected tale of two people meeting and collaborating on artworks across a series of small French villages. JR’s art seems to involve photographing people and pasting them on buildings and other large-scale public spaces, which is fairly whimsical, and then there’s a made-up meet-cute and they hit the road in a picaresque tale of encountering small-town people on their level and then (very literally) aggrandising them. I’d feel weird about seeing myself on walls, but most of the people here don’t, and perhaps that’s Varda’s power. She is so sweet but always there’s that slight undercurrent of shade, such as hinting at JR being a Godard-like figure and then revealing later that Godard is a bit of a pr!ck (or a lot of one, though she’s quite nice about it). It ambles along amiably enough as a film, and perhaps that’s all any film needs.

Faces Places film posterCREDITS
Directors Agnès Varda and JR; Writer Varda; Cinematographers Romain Le Bonniec, Claire Duguet, Nicolas Guicheteau, Valentin Vignet and Raphaël Minnesota; Length 89 minutes.
Seen at Curzon Bloomsbury (Bertha DocHouse), London, Sunday 16 September 2018.

Two Films by Barbara Hammer: Tender Fictions (1996) and The Female Closet (1998)

Continuing my week’s theme of documentaries about women artists (photographers, filmmakers, painters et al.) are these two hour-long Barbara Hammer video pieces. One is autobiographical, while the other focuses on three different women living in different eras, whose image-making work intersects with their (sometimes contested) sexuality.

Continue reading “Two Films by Barbara Hammer: Tender Fictions (1996) and The Female Closet (1998)”

Merata: How Mum Decolonised the Screen (2018)

There have been women making films since even the start of cinema, as evidenced by the new documentary about French pioneer Alice Guy-Blaché, and this documentary takes a personal look at an important indigenous New Zealand woman filmmaker who isn’t perhaps as well known as she should be.


I’m rather surprised this gained a release (however small) in the UK, given that it’s hardly likely many people in this country have access to have seen Merata Mita’s work. I studied film when growing up in Wellington, so I’d seen her key works: Patu! (1983), a documentary about the 1981 Springbok rugby tour in the face of anti-apartheid protestors; and Mauri (1988), an evocation of small town Maori life. We get clips of those works here, contextualised within her career, but most fascinating is the figure she cuts: from being a working mum — a teacher in a small town bringing up several kids from a couple of unpromising husbands — to getting into film almost by accident, as a byproduct of her own outspokenness on social issues (which within the context of conservative New Zealand society of the time, made her something of an activist). Her earliest screen appearance is speaking out about an abortion in the late-70s, and from there she went on to make several short films which culminated in the work on Patu! But throughout her career, in the clips marshalled here by her son Heperi (an archivist, who also narrates the film), we see the way she confronted the kind of changes she wanted to see in NZ society and the actions she took to achieve them. Later in her life, she advocated around the world on behalf of indigenous filmmakers, living in Hawaii and working extensively among First Nations peoples in the US and Canada. Hers is an inspiring story, and despite its framing as a family documentary, her voice and work on decolonisation and the representation of indigenous narratives is wonderful to see.

Merata: How Mum Decolonised the Screen film posterCREDITS
Director Heperi Mita; Cinematographer Mike Jonathan; Length 89 minutes.
Seen at Curzon Bloomsbury (Bertha DocHouse), London, Tuesday 7 May 2019.

Shooting the Mafia (2019)

A new documentary called Be Natural about Alice Guy-Blaché, a pioneering woman filmmaker of the silent era, is released to (presumably limited) UK cinemas this Friday. Therefore for my themed week on the blog this week I’ll be covering films (documentaries mostly, I imagine) about women filmmakers and photographers.


This new film by veteran documentarian Kim Longinotto is, ostensibly, about Letizia Battaglia, a now elderly woman who made a career in photography, capturing the spirit of her home (the island of Sicily), and particularly in documenting the atrocities committed by the Mafia there. However, Letizia is in fact just a guide into this world of organised crime, and the film spends more of its time — including archival video footage, TV news and interviews, quite aside from Letizia’s photography — tracking the way in which the Mafia controlled society, and were progressively brought down by prosecutors, many of whom met their own unfortunate ends thanks to this violence. It’s a film about the legacy of violence on a people, and it also happens to be about one woman who played her own small part in documenting that and helping to shed light on the injustice.

Shooting the Mafia film posterCREDITS
Director/Cinematographer Kim Longinotto; Length 94 minutes.
Seen at Curzon Bloomsbury (Bertha DocHouse), London, Saturday 21 December 2019.

Criterion Sunday 280: 大菩薩峠 Daibosatsu Toge (The Sword of Doom, 1966)

There’s what feels like an almost unceasing parade of swordplay violence in this film, resulting in scores if not hundreds of piled-up casualties, largely of our antihero Ryunosuke (Tatsuya Nakadai), though Toshiro Mifune weighs in for one memorable scene that gives the otherwise unstoppably evil-doing Ryunosuke a moment of brief pause. It’s enough to make you think that maybe that’s what the film is doing: the title could be referring to Ryunosuke’s sword, after all, but perhaps by extension it’s all swords and “doom” is just the outcome of violent behaviour. The film is set near the end of the shogunate, so samurai are on the decline and this film enacts in a sense this final death rattle of lawless mercenary violence. It does this with some fantastically composed monochrome style, as Nakadai moves blankly (he has the unfeeling mien of a sociopath) towards both swords and doom, with nihilistic rigour.


FILM REVIEW: Criterion Collection
Director Kihachi Okamoto 岡本喜八; Writer Shinobu Hashimoto 橋本忍 (based on the novel by Kaizan Nakazato 中里介山); Cinematographer Hiroshi Murai 村井博; Starring Tatsuya Nakadai 仲代達矢, Yuzo Kayama 加山雄三, Michiyo Aratama 新珠三千代, Toshiro Mifune 三船敏郎; Length 119 minutes.

Seen at home (Blu-ray), London, Friday 29 November 2019.

Criterion Sunday 279: Der junge Törless (Young Törless, 1966)

This was one of those early feature films in the New German Cinema, in which Schlöndorff turned his elegantly monochrome camera inward on German society, through the story of a young man at an Austrian boarding school in the early part of the century. It’s not so much about a boy’s coming of age, as it is about him learning about the depths of his own and his society’s cruelty towards others, about becoming institutionalised, seeking explanations (at one point, through imaginary numbers in mathematics) for the irrational desires of the heart. That said, it all moves fairly slowly and methodically through its story, and though the acting is rather frosty and stilted, I think that’s how it’s supposed to come across. I think I admired it more than I loved it, but it’s a fascinating film all the same.


FILM REVIEW: Criterion Collection
Director Volker Schlöndorff; Writers Schlöndorff and Herbert Asmodi (based on the novel Die Verwirrungen des Zöglings Törleß “The Confusions of Young Törless” by Robert Musil); Cinematographer Franz Rath; Starring Mathieu Carrière, Marian Seidowsky; Length 87 minutes.

Seen at home (DVD), London, Saturday 7 December 2019.