Film Round-Up May 2016

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)

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Jiao You (Stray Dogs, 2013)


SPECIAL SCREENING FILM REVIEW
Seen at Vue Stratford City, London, Tuesday 2 December 2014


© Homegreen Films

Since premiering at the Venice Film Festival in September 2013, where it won a prize, it’s taken over a year for Tsai Ming-Liang’s Stray Dogs even to get a screening in London (despite there having been two London Film Festivals in the intervening time), and just a one-off in an East London multiplex at that. I suppose this might suggest that potential distributors consider the film may be problematic to sell, and certainly it has all the traits that have marked the ‘slow cinema’ coming out of Taiwan since the 1980s (primarily films by Tsai and his compatriot Hou Hsiao-Hsien). Indeed the film even starts with a static shot of several minutes in length, showing two children sleeping while a woman sits beside them. And yet it’s a marvellous film that despite being slowly-paced and deliberately withholding a lot of information about its characters, exerts a fascinated hold over the audience (well, over me certainly) for its long running time. Even seeing the first half hour twice — the characters speak so seldom that it took the cinema that long to realise it was framed incorrectly, resulting in the subtitles being cropped off — didn’t loosen any of that hold, and in fact seeing the same slowly-paced near-silent sequences twice in a row without getting bored or antsy just made me more confident in the film’s artistry.

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