A quiet, thoughtful film about a middle-aged woman reflecting on motherhood, and how to weigh the feelings of her (almost grown) son with her own desires. It uses documentary footage of women talking about being mothers — the protagonist is a filmmaker — to introduce these themes, as she talks about her feelings in voiceover. Her son really is quite an annoying chap, but it leaves it until the very last moment to resolve her indecision.
Director/Writer Rakhshan Bani-Etemad خشان بنیاعتماد; Cinematographer Hossein Jafarian حسین جعفریان; Starring Minoo Farshchi مینو فرشچی; Length 88 minutes.
Seen at home (DVD), London, Thursday 12 January 2017.
So much for writing separate posts for everything; that didn’t really work out for me in the long-term. I still watch a lot of movies (more than ever) but in terms of writing I go through phases, as I’m sure many of us who try and write about films do, and right now I’ve not really felt an urge to write up my film reviews (beyond a few short sentences on Letterboxd). So here’s a round-up of stuff I saw in May. See below the cut for reviews of…
Captain America: Civil War (2016, USA)
Cold Comfort Farm (1995, UK)
Desperately Seeking Susan (1985, USA)
Down with Love (2003, USA)
Everybody Wants Some!! (2016, USA)
Evolution (2015, France/Belgium/Spain)
Feminists Insha’allah! The Story of Arab Feminism (2014, France)
A Flickering Truth (2015, New Zealand)
Green Room (2015, USA)
Hamlet liikemaailmassa (Hamlet Goes Business) (1987, Finland)
Heart of a Dog (2015, USA)
Lemonade (2016, USA)
Losing Ground (1982, USA)
Lovely Rita (2001, Austria/Germany)
Luck by Chance (2009, India)
As Mil e Uma Noites: Volume 3, O Encantado (Arabian Nights Volume 3: The Enchanted One) (2015, Portugal/France/Germany/Switzerland)
Money Monster (2016, USA)
Mon roi (aka My King) (2015, France)
My Life Without Me (2003, Canada/Spain)
Our Kind of Traitor (2016, UK)
Pasqualino Settebellezze (Seven Beauties) (1975, Italy)
Picture Bride (1994, USA)
Radio On (1979, UK/West Germany)
She’s Beautiful When She’s Angry (2014, USA)
Sisters in Law (2005, UK/Cameroon)
Star Men (2015, USA/UK/Canada)
Their Eyes Were Watching God (2005, USA)
Trouble Every Day (2001, France/Germany/Japan)
Underground (1928, UK)
L’Une chante, l’autre pas (One Sings, the Other Doesn’t) (1977, France)
Visage (Face) (2009, France/Taiwan)
Zir-e poost-e shahr (Under the Skin of the City) (2001, Iran)
Continue reading “Film Round-Up May 2016”
There’s flashy auteurism of the sort that baits the juries of Cannes and Berlin, and then there’s the kind of solid humanist filmmaking that Iranian cinema is so good at delivering. This is not to say it’s without cinematic artistry — it’s evident here as in most Iranian films which gain distribution in the West (not least in the films of that critical darling, Abbas Kiarostami) — but Rakhshan Bani-Etemad’s latest film exemplifies an attentiveness to the human dimension of storytelling, of just following the stories of a handful of characters over the course of 90 minutes. Which is all merely a wordy way to say that this was one of the most enjoyable films I saw at the London Film Festival. It comes on from the outset like one of those films (so popular with acolytes of Robert Altman in the 1990s) featuring multiple intersecting narratives, and though its tales do intersect, there’s no grand resolution, just the ongoing flow of human drama. One figure who recurs throughout is the video filmmaker (Habib Rezaei) who seems to hover on the edges of all the tales, though his attempts to document the world around him are frequently thwarted, whether by officious bureaucrats or unwilling participants. There are times when the proceedings seem a bit televisual (for some reason, the sequence set at a women’s shelter reminds me of a British TV play of the 1970s), but that needn’t be a bad thing, given the focus on dialogue, of people sharing with one another. There’s a real attentiveness to people’s stories, particularly of those who are powerless in different ways, and if there is something that unites all the various strands, it’s in Bani-Etemad’s clear desire to expose inequities within society, and her fascination towards people who are ordinarily marginalised. I could quite happily have watched many more such tales.
Director Rakhshan Bani-Etemad رخشان بنیاعتماد; Writers Bani-Etemad and Farid Mostafavi فرید مصطفوی; Cinematographer Koohyar Kalari کوهیار کلاری; Starring Habib Rezaei حبیب رضایی; Length 88 minutes.
Seen at Curzon Soho, London, Wednesday 15 October 2014.