Monday, September 23, 2013

La Nuit américaine aka Day for Night (1973)


When visitors from the real world arrive (husbands, lovers, bankers, journalists), they are provided with a director’s chair to sit in, and they watch the action and nod and smile like proud grandparents. They’ll never understand. “I’d drop a guy for a film,” a character says in “Day for Night.” “I’d never drop a film for a guy.”La Nuit américaine chronicles the production of Je Vous Présente Paméla (Meet Pamela, also referred to as I want you to meet Pamela), a clichéd melodrama starring aging screen icon, Alexandre (Jean-Pierre Aumont), former diva Séverine (Valentina Cortese), young heart-throb Alphonse (Jean-Pierre Léaud) and a British actress, Julie Baker (Jacqueline Bisset) who is recovering from both a nervous breakdown and the controversy leading to her marriage with her much older doctor. In between are several small vignettes chronicling the stories of the crew-members and the director; Ferrand (Truffaut himself) tangles with the practical problems one deals with when making a movie. Behind the camera, the actors and crew go through several romances, affairs, break-ups, and sorrows.

The production is especially shaken up when Alphonse's fiancee leaves him for the film's stuntman, which leads him to a one night stand with Julie, when one of the secondary actresses is revealed to be pregnant, and when Alexandre is killed suddenly in a car crash.Truffaut’s film is like a little anthology of anecdotes from movie sets. We recognize all the familiar types: The callow young love-mad star (Jean-Pierre Leaud); the alcoholic diva past her prime (Valentina Cortese); the sexy romantic lead (Jacqueline Bisset), whose breakdowns are hopefully behind her now that she’s married her doctor; and the aging leading man (Jean-Pierre Aumont) who is finally coming to terms with his homosexuality. There are also the functionaries with supporting roles: The script girl, the stunt man, the producer, the woman who runs the hotel.

Solas 1999 an Awesome Drama Movie!


Maria (Ana Fernandez), whose parents live in the country, cannot stand her father's authoritarian ways and moves to the city. She finds a job as a cleaner and tries to survive in a wretched apartment in the shabby part of a big city. She is pregnant, and the fact that her boyfriend has abandoned her does not help matters. When her father goes to the hospital for an operation, her mother comes to stay with her.in another words Solas (Alone) tells the story of Maria (Ana Fernández) and her mother Rosa (María Galiana). Maria is one of four adult children, all of whom moved as far as they could get from their parents and the farm where they grew up. Before the movie starts, the father (later revealed to be a violent, cruel, abusive man) has fallen ill and been brought to a hospital in Seville, where Maria lives.
Rosa has been staying at the hospital with him, but the doctor tells her to leave before she falls ill herself. Maria takes Rosa to stay with her in the rundown suburban apartment where she lives, and Rosa rides the bus every day to visit her husband.Maria is intelligent and wanted an education, but her father wouldn't allow it. Now, at 35, she works for a cleaning service; she is lonely, poor, angry and bitter. She discovers she is pregnant by a man who doesn't want a baby and tells Maria to get an abortion.

When she tells him she wants to have the baby and raise it with him, the man rejects her. In her anger and despair, Maria starts drinking heavily.As her mother Rosa returns from shopping one day, she meets Maria's neighbor (vecino) Don Emilio (Carlos Álvarez-Novoa), a kind old widower living alone with his dog. A friendship blossoms between them: he lends Rosa some money when she runs short at the supermarket, and she cooks for him after he burns a stew he forgot was cooking. He falls in love with Rosa, but Rosa is faithful to her abusive husband. (At one point she says to Maria about her father, "He must not have an easy conscience. I do.") Rosa's husband recovers and she returns with him to the country, not knowing about Maria's pregnancy. Maria tells Don Emilio about the baby and tells him she plans to abort it. In a long, emotional scene, he offers to be like a grandfather to the child if she decides to keep it, but Maria has been so badly treated by the men in her life that she has trouble believing him. The movie ends with Maria visiting her parents' grave with her baby girl and Don Emilio. He is going to sell his apartment in Seville and the three of them will move into Rosa's house in the country to raise the baby.

Sunday, September 22, 2013

L'Innocente and Laura Antonelli 1976


Based on a novel by Gabriele d'Annunzio, The Innocent (L'Innocente) is set amongst the aristocracy of 19th-century Italy. Wealthy Tullio (Giancarlo Giannini) thinks nothing of squiring his mistress (Jennifer O'Neill) in full view of his friends and the public. But when Giannini's cast-off wife (Laura Antonelli) begins an affair with a young novelist (based, it is said, on author d'Annunzio), it is too much for the philandering aristocrat. Outside of Erich von Stroheim, few directors were as masterful at combining lavishness with depravity as Luchino Visconti. The Innocent turned out to be Visconti's last film; he died in 1976, shortly before the picture's premiere."L'Innocente" was the final film from Italian director, Luchino Visconti, and stands up to his greatest achievements. Laura Antonelli, one of the most alluring stars of 70s Italian cinema, stars as Giuliana Hermil, a beautiful aristocrat who is ignored by her philandering husband, Tullio (Giancarlo Giannini). Everywhere Giuliana goes, she is confronted by the most recent of her husband's conquests, the sensual Teresa Raffo (Jennifer O'Neill). After being embarrassed once too often, Giuliana decides to turn the tables and make her husband jealous. However, she underestimates the power of her plan as well as her husband's passion for her, which results in mounting tragedies.Adapted from the 1892 novel by Gabriele d'Annunzio, the script for "The Innocent" is extremely good, with Giuliana's revenge beautifully plotted.
At times, it's difficult to tell her intentions, but that doesn't really distract from the story. The cast is also one of the most stunning looking in history - Antonelli, O'Neill, and Giannini are joined by doe-eyed Didier Haudepin as Giannini's younger brother (he starred 12 years earlier in the notorious French film, "This Special Friendship"). Their physical beauty rivals the sumptuous Italian villas and scenery with which Visconti populates the film.I'm not sure why it took until 2009 for this near-masterpiece to be released on DVD, but fortunately they did a nice job. The film looks gorgeous.

Tuesday, September 17, 2013

Must watch : La vita è bella aka Life Is Beautiful 1997


In 1939 Italy, Guido Orefice is a funny and charismatic young Jewish man looking for work in a city. He falls in love with a local school teacher, Dora, who is to be engaged to a rich but arrogant civil servant. Guido engineers further meetings with her, seizing on coincidental incidents to declare his affection for her, and finally wins her over. He steals her from her engagement party on a horse, humiliating her fiance and mother. Soon they are married and have a son, Joshua.Through the first part, the film depicts the changing political climate in Italy: Guido frequently imitates members of the National Fascist Party, skewering their racist logic and pseudoscientific reasoning (at one point, jumping onto a table to demonstrate his "perfect Aryan bellybutton"). However, the growing Fascist wave is also evident: the horse Guido steals Dora away on has been painted green and covered in antisemitic insults.Later during World War II, after Dora and her mother have reconciled, Guido, his Uncle Eliseo and Joshua are seized on Joshua's birthday, forced onto a train and taken to a concentration camp. Despite being a non-Jew, Dora demands to be on the same train to join her family. In the camp, Guido hides their true situation from his son, convincing him that the camp is a complicated game in which Joshua must perform the tasks Guido gives him, earning him points; the first team to reach one thousand points will win a tank. He tells him that if he cries, complains that he wants his mother, or says that he is hungry, he will lose points, while quiet boys who hide from the camp guards earn extra points.Guido uses this game to explain features of the concentration camp that would otherwise be scary for a young child: the guards are mean only because they want the tank for themselves; the dwindling numbers of children (who are being killed by the camp guards) are only hiding in order to score more points than Joshua so they can win the game.

He puts off Joshua's requests to end the game and return home by convincing him that they are in the lead for the tank, and need only wait a short while before they can return home with their tank. Despite being surrounded by the misery, sickness, and death at the camp, Joshua does not question this fiction because of his father's convincing performance and his own innocence.Guido maintains this story right until the end when, in the chaos of shutting down the camp as the Americans approach, he tells his son to stay in a sweatbox until everybody has left, this being the final competition before the tank is his. Guido tries to find Dora, but is caught by a soldier. As he is marched off to be executed, he maintains the fiction of the game by deliberately marching in an exaggerated goose-step as he passes Joshua's hiding place.The next morning, Joshua emerges from the sweatbox as the camp is occupied by an American armored division; he thinks he has won the game. The soldiers let him ride in the tank until, later that day, he sees Dora in the crowd of people streaming home from the camp. In the film, Joshua is a young boy; however, both the beginning and ending of the film are narrated by an older Joshua recalling his father's story of sacrifice for his family.

Loulou 1980 Really Nice but not for All


Loulou is a 1980 French drama film directed by Maurice Pialat. It stars Isabelle Huppert and Gérard Depardieu. For Loulou, Pialat was nominated for the Golden Palm award at the 1980 Cannes Film Festival.Maurice Pialat's character study eschews traditional plot development in its examination of the power of sex and passion to overturn class restrictions and social conventions. Isabelle Huppert is Nelly, a middle-class Parisian housewife, married to possessive husband Andre (Guy Marchand). When she meets street thug Loulou (Gerard Depardieu), her middle-class respectability is thrown out the window and she leaves Andre for Loulou. Loulou, who has no job and resorts to robbery to survive, is more than willing to live off Nelly's money.

But Andre won't give her up and, in the mind-set of a middle-class bourgeois, tries to convince her to return.Once described as the true heir to Jean Renoir’s legacy, French filmmaker Maurice Pialat is noted for his brutal, insightful portraits of the less savory aspects of family life and French society, as well as for his ability to evoke unusually powerful and realistic performances from his actors regardless of their professional status. Pialat, who is known as one of his country’s more “difficult” directors due to both his subject matter and on-set clashes, was born in Puy-de-Dôme but raised in Paris after the age of three.

He started out as a painter and jack-of-all-trades and did sporadic work as an actor. In the late ’50s, Pialat became fascinated with cinema, and he got his start making short films, notably Amour Existe (1961), which won a prize at the Venice Festival.After spending much of the ‘60s working in French television, Pialat made his feature-film debut in 1968 with Naked Childhood, a cinema verité-style drama utilizing nonprofessional actors. A study in New Wave realism that was relentless in its focus on the unglamorous realities of life, the film won Pialat international acclaim. His subsequent work continued in the realist vein, with very rare excursions into the genre realm (Police (1985), Sous le Soleil du Satan (1987)). Some of Pialat’s more notable films include Loulou (1980), a study of middle-class ennui and the liberating benefits of hooliganism; À Nos Amours (1983), which focused on the emotionally problematic life of a promiscuous teenager (Sandrine Bonnaire); Under the Sun of Satan (1987), a religious moral drama that won the Palme d’Or at Cannes; and Van Gogh (1991), a nearly three-hour look at the last year of the painter’s life. A frequent collaborator with actors Gerard Depardieu and Sandrine Bonnaire, Pialat also worked as an actor in both his films and those of other directors.
watch clips for Isabelle Huppert: teammovieschannel

Monday, September 16, 2013

From Romania: Legaturi Bolnavicioase Aka Love Sick 2006


Love sick aka Legături bolnăvicioase tells the story of Alexandra and Cristina, two students who fall in love and try to make their relationship work, as Cristina's brother, Sandu, always gets in the way of their happiness. His involvement and role in the girl's life is revealed from the beginning and it changes the story, now having two delicate themes to work on, as the title suggest. The romance between the two girls starts innocently, with shy looks and stollen kisses, and soon transforms into a sweet, full of love connection that only trembles at the sight of Sandu. Cristina is overly protective and weirdly secretive of him, and as much as she loves Alex, she cannot let got of her brother, and that will ultimately come between them.Overall, the film is not perfect: there are some gaps in the script and some situations and feelings are never properly explained, but sometimes that is better for the story. It keeps a little bit of mystery over the already exposed relationships and makes you think.
BUT there are some wonderful little things that make the movie special.First of all,the acting in it is superb: I don't know if you will think the same, but to me it looked amazing, as all of the stars perfectly portrayed their characters, displaying a sense of reality and emotion that is hard to transmit- when I say reality, I talk about how a normal Romanian person would act or talk. Their chemistry has palpable and seemed real, especially between the girls, and it was interesting to watch so many legendary Romanian actors in supporting roles: the lady who rents the room for Alex (probably one of my favorite characters- she is the incarnation of the typical over 50 lonely woman living on a pension), the parents, especially Kiki's mother and Alex's father, the taxi driver at the end (famous rapper) and the older woman who travels with Sandu (huge celebrity over here).

As for the three main characters, what can I say? Maria Popistasu played Cristina with a carefree, but sensitive spirit, who worries too much about the people around her instead of her own happiness; I liked this character best, although I probably identify myself more with Alex. One of my favorite scenes is when she calls a special person to leave a Happy Birthday message- her voice, the way she talks to it, her bittersweet words that almost erupt with love and longing are just wonderful, as crazy and inappropriate it seems. (you'll understand when you'll see the movie). Ioana Barbu was the perfect Alex to Popistasu's Cristina, showcasing perfectly the sweet, innocent, rather naive character (it was also her debut in acting). Sandu, played by Tudor Chirila, a famous singer in Romania, didn't have enough screen time, but that helped the movie get its much needed mystery- in the end, you still haven't figured him out, and maybe that is for the best, as the core of the story was the relationship between the girls.

Saturday, September 14, 2013

From Hungary: Forbidden Relations aka Visszaesők


Forbidden Relations (Hungarian: Visszaesők) is a 1983 Hungarian drama film directed by Zsolt Kézdi-Kovács. It was entered into the 1983 Cannes Film Festival.The Hungarian Forbidden Relations is a shockingly straightforward treatise on the subject of incest. A woman's (Lili Monori) love for her brother (Miklos B. Szekely) goes far beyond filial devotion. His feelings for her are likewise intense. The problem goes beyond conventional morality: incest is illegal in communist Hungary, and as a result both brother and sister are thrown into prison. American audiences weren't always certain whether Forbidden Relations was simply a paean to individual freedom or an advocacy of impure love.from another words startling and sensual tale of a brother and sister bound by love and separated by the rules of society.
When the incestuous relationship between siblings Juli and Gyorgy results in a pregnancy, Gyorgy is sent to prison, which only serves to amplify their love as they fight back against those keeping them apart.With Joe Horvath, Lili Monori, Miklos Szekely B.

Friday, September 13, 2013

I really like it: Belle Epoque (1992)


An artist's four daughters seduce a willing army deserter in 1930s Spain. Directed by Fernando Trueba. Oscar for best foreign-language film. In terms of popularity and domestic critical reception as well as for its international impact, Fernando Trueba's Belle Epoque is one of the key Spanish films of the 1990s: it came as a confirmation of the strength of the Spanish cultural industry in a period of momentous changes. Not only was the film a healthy box office hit (it cost just under 2 million Euro and, by the end of 1993, the box-office take was estimated at over 4 million Euros), it also suggested a new attitude to the past that definitely left behind what some audiences were beginning to regard as excessive focus on grim memories of the Civil War. It opened in December 1992 to almost unanimous praise.

Critics were generous with the performances, the luminous cinematography (by José Luis Alcaine), and the script (by Rafael Azcona, from a story by Trueba and José Luis García Sánchez). Its success was confirmed abroad: the film was subsequently presented to great acclaim at the London Film Festival in November 1993, and went on to open in the United States. It was Spain's candidate for the 1993 Oscars, was nominated in January by the Academy, and won the best foreign film Award in March 1994. the script shifts its focus to the daughters. Having been brought up by Manolo and his eccentric wife, they represent different types of "new" womanhood: Clara (Miriam Díaz-Aroca) is a young and still-attractive widow who only misses her husband as a sex object; Violeta (Ariadna Gil) is a veterinarian characterized in terms of a dry wit and sober dress-sense; Rocío (Maribel Verdú) is sensual and frivolous; and Luz (Penélope Cruz), the youngest sister, a curious and naïve nymphet.

Although intended as instances of liberated women, they are constructed to a large extent as the projections of a male heterosexual gaze, rather than autonomous characters. The women are as interested in handsome Fernando as the boy is excited by all of them: One narrative thread of the film shows Fernando being seduced in turn by each of the women.Other characters contribute to a rich frieze in which several motives typical of the historical period of the film are represented. For instance, the narrative includes Don Luis, a liberal priest who likes to play cards and is obsessed by food, but who is also a man with intellectual leanings, who has exchanged epistolary correspondence with such luminaries as Miguel de Unamuno. Another strand of the plot concerns Juanito (Gabino Diego), who is in love (or in lust) with Rocío. He belongs to a wealthy and strongly traditional family in the village, and is constantly nagged by his mother (Chus Lampreave). Juanito will renounce his beliefs and become a Republican in order to be accepted by Manolo's daughter, but is rejected when he suggests to Rocío that, in tune with the new times, they can practice "free love." Eventually, it transpires that Rocío has been using Fernando to make Juanito jealous, although she does intend to marry the latter. Fernando will eventually marry young Luz and leave for America with the girl's mother, a professional singer who makes an appearance toward the end of the film.

Thursday, September 5, 2013

Dont Watch it : Salò, or the 120 Days of Sodom (1975)

                
The final work of notorious Italian director Pier Paolo Pasolini, this film updates the Marquis de Sade's most extreme novel to fascist Italy in the final days of WW II. Dispensing with the novel's meditations on sexual liberation and the search for truth, Pasolini presents four decadents who kidnap dozens of young men and women and subject them to the most hideous forms of torture and perversion in an isolated villa. Rape, murder, and a coprophagic banquet are only the beginning of the atrocities on display. Photographed by Tonino Delli Colli, the film also features a lavish score by Ennio Morricone,The story is set in the Republic of Salò, the Fascist-occupied portion of Italy in 1944. Four wealthy men of power, the Duke (Duc de Blangis), the Bishop, the Magistrate (Curval), and the President (apparently Durcet), agree to marry each other's daughters as the first step in a debauched ritual. They recruit four young men (called guards) who would act as guards, and another four young men (called studs or cockmongers or 'fuckers') who are chosen because of their big penises. They then kidnap eighteen young men and women (nine of each sex), and take them to a palace near Salò. Accompanying them are four middle-aged prostitutes, also collaborators, whose function will be to recount erotically arousing stories for the men of power, who, in turn, will sadistically exploit their victims.The story depicts some of the many days at the palace, during which the four men devise increasingly abhorrent tortures and humiliations for their own pleasure. In the Anteinferno segment, the captures of some victims by the collaborators are shown, and, later, the four lords examining them. The Circle of Manias presents some of the stories in the first part of Sade's book, told by Signora Vaccari (Hélène Surgère).


The Magistrate urges her to tell them every last detail in her stories. During breakfast, the daughters are seen entering the dining hall naked to serve food. One of the studs (Efisio Etzi) trips a daughter and rapes her in front of the crowd. The four men of power, the whores, the guards and the other studs laugh at her cries of pain. The President is intrigued and moons several slaves before making the stud have anal sex with him as well. Two victims (Sergio Fascetti and Renata Moar) are forced to marry. The ceremony is interrupted for a short time when the Duke fondles several victims and whores. When the ceremony ends, the bride and groom are forced to fondle each other in front of the men, who quickly stop them when they attempt to have sex with each other by raping them, during which the Magistrate engages with the Duke in three-way intercourse by worshiping his buttocks before penetrating it with his penis. Another day begins with the victims being forced to act like dogs. The Magistrate tortures one of them (Susanna Radaelli) by tricking her into eating food containing nails. The next day, the Duke shares a passionate kiss with a boy (Gaspare di Jenno) who seems to be attracted to him, and himself begins another kiss. One girl (Graziella Aniceto) expresses her sadness over the situation.In the Circle of Shit, the passions escalate in intensity from mainly non-penetrative sex to coprophagia. As Signora Maggi (Elsa De Giorgi) tells her story, the President notices an erection forming through the pants of one of the studs seated next to him.
He reaches over and begins to fondle the stud's penis through his pants. Another stud takes a female victim's hand and forcibly masturbates himself with it. The story continues, and Renata cries when she hears how Maggi killed her mother. This proves to be a mistake as the Duke finds himself sexually excited at the sound of her cries and begins verbally abusing her. She begs him to stop, which is an even greater mistake as it enthralls him, making him more ruthless. The Duke orders the guards and studs to forcibly undress her. During this, she begs God for death, which puts her under punishment. The Duke punishes her by defecating in front of her and forcing her to eat his feces, making Gaspare rub his genitals as she does so. The situation is so much that it causes the President to exit to masturbate. Later, the other victims are presented a giant meal of human feces. Graziella again tells her friend that she does not think she can take much more. During a search for which victim has the most beautiful rear, Franco is picked, and is promised death in the future.The Circle of Blood starts with a black mass-like wedding between the studs and the men of power. The men angrily order the children to laugh, but they are too grief-stricken to do so. The Pianist (Sonia Saviange) and Signora Catelli (Caterina Boratto) tell jokes to make the victims laugh. The wedding ceremony ensues with each men of power exchanging rings with the studs. After the wedding, the Bishop is sodomized by his stud. After, the stud refers to his huge penis as the Bishop's "friend" and will be available for his enjoyment in the future. The Bishop (Giorgio Cataldi) then leaves to examine the captives in their rooms, where they start systematically betraying each other: Claudio reveals that Graziella is hiding a photograph, Graziella reveals that Olga and Antiniska are having a secret sexual affair, and finally, a collaborator (Ezio Manni) and the black servant (Ines Pellegrini) are shot down after being found having sex. Toward the end, the remaining victims are called out for who will receive their punishment. Graziella is spared due to her betrayal of Eva, and Gaspare is spared due to his submissive relationship with the Duke. Those who were not spared are given a blue ribbon and are sentenced to a painful death. The victims huddle together and cry, pray and one in particular begins to react from the horrible meals he's been fed. They are then murdered through methods like scalping, branding, and having their tongues and eyes cut out, as each libertine takes his turn to watch as voyeur. The soldiers shake hands and bid farewell, and the Pianist commits suicide due to her grief.The film's final shot is of two young soldiers, who had witnessed and collaborated in all of the prior atrocities, dancing a simple waltz together.

Drama From Brazil 2006: The Year My Parents Went on Vacation


The story takes place entirely during a few months in 1970, in the city of São Paulo. Mauro, a 12-year-old boy, is suddenly deprived of the company of his young parents, Bia and Daniel Stein, who are political activists on the run from the harsh military government, which was strongly repressing leftists all over the country. Against this backdrop of fear and political persecution, the country is at the same time bursting with enthusiasm for the coming World Cup, to be held in Mexico, the first one to be transmitted live via satellite.Unable to take care of their only child, the Steins, who live in Belo Horizonte, drive all the way to São Paulo to deliver the boy to his paternal grandfather, Mótel, who is a barber. To their son, they say they will travel on vacation and promise to return for the World Cup games. Unfortunately, however, the grandfather dies on the same day the boy arrives, and he is left clueless and without support in Bom Retiro, a working-class neighborhood inhabited mainly by Jewish people, many of whom speak Yiddish, an unknown language to the boy. As his father is Jewish, the close-knit Bom Retiro community rally in support of the child and Shlomo, a solitary elder and religious Jew who was a close neighbor and friend of Mauro's grandfather, assumes the care of Mauro.

Mauro is a football enthusiast and wants to be a goalkeeper. He gradually mixes in with other neighborhood children and becomes acquainted with a number of colorful characters, including Hanna, a girl his age; Ítalo, a politically active student from the Pontifical Catholic University of São Paulo; Irene, a beautiful female bartender and her boyfriend, the mulatto ace goalkeeper of one of the local football teams; the local rabbi and assorted Jewish elders, Italian immigrants, and so on.To Mauro's great disappointment, his parents neither appear as promised at the World Cup nor give any notice. Fearing the worst, Shlomo starts to investigate by himself and is arrested by the political police because of his meddling. Finally, he achieves the liberation of Mauro's mother, who is severely ill after the prison term. Her reunion with her child happens in the very same day of Brazil's final victory at the World Cup. (Mauro's father disappears while in the dictatorship's clutches, never to return.) At the end of the film, Mauro says farewell to his recent friends and playmates as he and his mother leave Bom Retiro and prepare to go into exile.

Ma nuit chez Maud aka My Night at Maud's (1969)


The Catholic Jean-Louis, (Jean-Louis Trintignant), runs into an old friend, the Marxist Vidal (Antoine Vitez), in Clermont-Ferrand around Christmas. Vidal introduces Jean-Louis to the modestly libertine, recently divorced Maud (Françoise Fabian) and the three engage in conversation on religion, atheism, love, morality and Blaise Pascal's life and writings on philosophy, faith and mathematics. Jean-Louis ends up spending a night at Maud's. Jean-Louis' Catholic views on marriage, fidelity and obligation make his situation a dilemma, as he has already, at the very beginning of the film, proclaimed his love for a young woman whom, however, he has never yet spoken to. in another worlds The "my" in My Night At Maud's belongs to the protagonist played by Jean-Louis Trintignant, a Catholic engineer whose struggle with his faith is renewed when he falls instantly in love with a woman he's never met (Marie-Christine Barrault) while attending mass. A chance meeting with an amoral old friend (Antoine Vitez) the same night places him in a potentially compromising situation when he's forced to spend the night with Vitez's alluring acquaintance Maude (Françoise Fabian), a sophisticated.

In an interview with long-time associate Barbet Schroeder not long before he died , Rohmer identified two traits in his films which he hoped he’d mastered: an easy naturalism and a willingness to present the discussion of ideas. ‘My Night with Maud’ offers both in spades, although those familiar with Rohmer’s breezier but no less inquiring 1980s films might be a little surprised by the rigour and bookishness of this wintry, black-and-white work (the crisp photography of Clermont-Ferrand at Christmas is especially striking). Talk was never cheap in Rohmer’s films; here, some knowledge of Pascal’s Wager and various tenets of Catholicism wouldn’t go amiss if you’re to gain the most from the characters’ intense chats about religion and atheism, chance and determinism, love and desire. But, as ever, Rohmer gives us a playful slice of life which has the effortless air of reality and challenges us to think about life afresh.

Monday, September 2, 2013

La Mujer De Mi Hermano nice Mexican Movie


La mujer de mi hermano ("The wife of my brother") is a 2005 Mexican film directed by Ricardo de Montreuil, based on the novel of the same name by the Peruvian writer, journalist and TV host Jaime Bayly. It starred Bárbara Mori, Manolo Cardona, Christian Meier, and Mexican legend Angélica Aragón. Its soundtrack was given by Pakistani singer Atif Aslam.
La Mujer De Mi Hermano ( "My Brother's Wife") could be considered in a category of films that critic Alissa Quart calls 'hyperlink movies', in which multiple stories take place, each affecting the other in ways that characters are unaware of, all the while using radically different aesthetic and cinematic techniques to define the mise en scène of each storyline.A woman bored with marriage discovers the pleasure and pain of infidelity in this stylish drama from Mexico. Zoe (Bárbara Mori) is a beautiful woman who has been married to Ignacio (Christian Meier) for nearly a decade.

While Zoe still loves her husband, she feels the spark has gone out of their relationship, and she's become restless and anxious. Hoping to find the excitement she craves in forbidden fruit, Zoe falls into an affair with Gonzalo (Manolo Cardona), Ignacio's rough-edged but handsome brother. Zoe and Gonzalo's passionate affair is deeply satisfying to them both, but the adulterous couple must deal with the sharp sting of betrayal when Ignacio finds out they've been sleeping together. However the story takes a big turn when we find out the affair has only been a revenge towards his brother for Gonzalo. He is taking revenge for his brother raping him when he was younger therefore destroying his life.
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