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"Hour of the Wolf" by Ingmar Bergman

published www.filmedvd.it

Bergman's films has always been steeped in symbolism. Even in its most classic works from the narrative, often hidden metaphors, symbols, illusions hidden. Just think of "Cries and Whispers," "Wild Strawberries," "The Virgin Spring," "Persona," "The Face" and so on.

"Hour of the Wolf" however, is probably his film more cryptic, almost surrealistic, not only in photography and style that you hang up clearly to the German, but his approach to the story, the story, the characters.
Johan is an artist tormented by nightmares, who lives two lives almost at the same time, the real one who sees her husband of Alma, a young woman who desperately tries to get close to her husband, and that inreale populated by fantastic creatures that slowly destroys his mind and which force him to come to terms with the ghosts of the past. Demons and ghosts that actually we never see in their "real" appearance. Johan describes them to his wife, after being drawn, but when we meet them seem to come out of a Bunuel films, with their air of bourgeois disgusting and nauseating, fake and diabolically insightful.
And here it is the surrealism of the film. The deranged mind of Johan, which is the castle in which he and his wife are invited to dinner and his nightmares, his demons, or the inhabitants of the castle.
E 'meaningful punch line delivered by Von Sydow: "Thanks to you I have reached the limit. The mirror is broken but the pieces reflect what?" Thanks to those nightmares, Johan has reached the end of his obsessions, has peaked, destroying himself, his life, his mind. But something has remained among the shards of the mirror. Those fragments of memories, love and peace that sometimes returns to the surface, but for a short time, soon crushed by the tortures inflicted by his demons.

"Hour of the Wolf" is a film that has nothing of real and here are the interesting titles that transmitters on top of the usual white on black background, you hear the voices off the REAL director who prepares the the opening scene with Liv Ullmann. Almost as if to remind us that what we are witnessing is a movie, nothing more than a movie (something like he did with his previous work "Person"). This is an unusual film in the filmography of the Swedish director, an autobiographical film and definitely haunted, consisting of tests actorial beautiful, a slow pace and deliberately unnerving with the latter that never go out, and sometimes jaw-dropping shots.

The note on the DVD says "the only horror films of Ingmar Bergman." In fact, "Hour of the Wolf" is not a real horror film, but if we really wanted more of a catalog you can call it noir. Not intended as a noir Bogart, but as a journey into the darkness of the human mind. A film at times difficle for his enigmatic and madness, but that is in effect a parent of some modern cinema, David Lynch to everyone.

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Art is truth.

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"The Visitor " Thomas McCarthy

There are times where you pass the desire to go to the movies, like when you find yourself in a room next to some idiot who does nothing but talk and laugh throughout the film, as has happened to me with "As God commands."

Other times, you thank yourself you did. As if in a small room (as big as my living room, in spite of the wide screen) you sit down in the chair and you enjoy a little gem like this "The Visitor." A small film, such as budget, as well as distribution and I puara collections, but big in history, the feelings, the delicacy and rhythm (in all senses).

I love movies inventors on a meeting and a report that comes and ends in a short time but that leaves the protagonist something important. Not that those stories are "forever" without love or friendships that last forever. But two (or more) people that cross at some point in their life and then you lose after having exchanged a bit 'of their lives. "Once" was a film of them. A story of friendship (or perhaps love) is born and then ends, peacefully, but that marks an important moment in the existence of the two protagonists. A memory to keep, to guard a lesson.

In "The Visitor" happens just that. Two people, very different from one another by accident that they meet and their lives change. Walter is unhappy in his life, his work, his lack of emotion. The meeting with the musician Tarek will change it, even after the two were separated forever. But "The Visitor" is also and above all a film "social", an original multi-ethnic history and polite, respect and coexistence, on the laws of our sick society who trample on people's lives. Laws written by the same fear, the fear of difference. Walter enters through music in the lives of these people and thank them change their point of view of the world, change himself, to the rhythm of Jumbo. As the scene of the park, perfectly orchestrated at the script, which brings together in one rhythm, beat under one different realities, linked together by desire to play, to be ... together. But the same people who sit at the tables of local jazz to listen Tarek play are the same who do not want the street, who are afraid of him, on the subway, because different, because there is also fear of a drum in a closed custody.

McCarthy makes a slight story, but exciting at the same time, balanced and well written, where the direction is gentle, without taking the "air", at the service of the script and the acting of the actors.

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"Do not Think" by Gianni Zanasi

What is the most abused theme ever since Italian cinema? Yes, the family.

You can still talk about family without falling into the usual cliches and with a little 'originality? Yes you can. As Gianni Zanasi taught us with his funny comedy.

"I do not think about it" is still a film that goes beyond the issue of the family. Following Stephen (punk guitarist who is going through a time of crisis, both creative and emotional) from Rome to his home town, we throw an eye not only to the family, but more generally to the conventions that govern our society.

The play is perfect for this. See Stephen (always a fantastic Valerio Mastandrea) surprised to observe the cars that do not exceed the limit even by mistake 50 hours of really makes me want to take the car and do the skids in the parking lot or tell your parents that their daughter and a lesbian, so just to shock, to break a bit 'shell pretend that perfection of fake moral covers the city. Yes, because in reality it is all fake.

The hypocrisy of our society, where no mention of divorce, betrayal, broken rules, homosexuality, family unconventional, insecure work (ok, this one speaks even if you do not want). In fact, your mother has put the horns to your father, or rather what you believe to be your father but it is not. The family firm, solid work that leads to boast that your brother instead water is everywhere. And your sister .... oh well she is a lesbian, but I hoped it was. At the end of Stephen, he realizes that almost enervating perfection that he thought he was at home, does not exist. To him, in that country are asking whether it was detoxified (why go to Rome hoping to make music, without family, without a desk for them is like taking drugs), maybe life is almost better than the others. dl their respectability in the face of the cock.

So forget about it, send it to fuck around and throw. And if you go wrong ... there is always a family waiting for you. :-)

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"Jellyfish" by Etgar Keret & Shira Geffen

Sometimes writers need to remember what the film is primarily narrative in pictures. And paradoxically, are just two writers, artisans of the word, to tell in pictures, with the key of surrealism, our inability to communicate.

Etgar Keret and Shira Geffen, their debut behind the camera, the interwoven stories of three women, each of which embodies a different aspect (or face) of isolation.

A former waitress unhappy with their life, looking herself ... by herself, through the link with his childhood with his memories, thanks to the encounter with a magical girl (herself?) Exit from the sea (from life, from the past, the memories from our subconscious.) A carer

Filipino, unable to communicate, looking for work in Tel-Aviv, away from home, away from that child to whom he can not buy the much-desired toy (by chance a ship, the sea returns). The distance from home, the bond with their land and loved ones. A distance that seems impossible to fill, but that will prove to be possible thanks to the language of feelings that broke through the barrier dialectics.

Finally, a new bride, bedridden from a leg in plaster. The one who lives alone in a physical manner, unable to move and why, caged in his hotel room, he entrusts his thoughts on paper, the written word. The sea She can not even see it from window and so it materializes in his poetry which will be then perfect farewell letter to a suicide.

Their lives floating in a sea that is vast and feel of distant from the world, from their loved ones or themselves, these women are desperate to find an anchor to hold on to restore meaning to their existence, stop feeling so at the mercy of the waves. We are all

jellyfish. We all let ourselves be pushed from power, incapable of governing our bikes into the sea and so we end up with the island, with the fear of what surrounds us.

A small film, and how often universal, sensitive and poetic. At the same time realistic and surreal. A film that plays like that, thanks to the images and metaphors to tell a strong and fragile humanity in equal measure.

An amazing debut, having also the source of the two artistic directors, that a new perspective to the stories corals, the events that intertwine more lives, more lives that eventually meet, touch, collide with each other. This time the lives and never touch the thread that unites them is loneliness. A great script that balances well the rhythm of a story and characters that draw us another offering, thanks to a good dose of magic.

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"No Quality to the Heroes" by Paolo Franchi

Enough! It can not be more of these directors. All in search of their style, eager to make his mark with something to effect. Effect that often, indeed always been synonymous with boredom. Movies that do not say anything, only made of glass shots without spirit, still displaying the wrong belief that if I make a film full of slow, daring shots, scenery remains soft and light, had a good art film.

I could fish out of the same post on "Black Sea " by Roberta Torre to comment this work by France, because the faults are the faults of one another.

Elio Germano (who by his own admission to make this film has been particularly badly affected, psychologically and whistling) in defense of the film said that in Italy it's time to make room for less popular movies, more niche film, directed not to the general public because stronger, more refined. Absolutely agree with statement such as, of course, if you include these features also to be a good movie. Since "no quality to the heroes" is really a bad film.

Boring always without reason, and above all pretentious. You try to write and direct (and in this case also mount) giving them a touch of authorial meatloaf, but by whom, Author, it is not even remotely. Two fucking cut half out of frame. Ok, it might make sense. He's got in this film? No. So as the plot makes no sense, or rather the film is based on a pointless story that nobody cares. And until the end of a trying to figure out when it starts to take off, but it goes only until the end of boredom, boredom and a pinch of boredom.

E 'singular as in the movie have felt the same sensation experienced by the film of the Tower, which is opposite to that of being a French film. In a few moments (beyond the actors who clearly recited in French) is typically an air breathed in rhythm across the Alps, in the environment in the construction of the scenes. But this is only a draft, an unsuccessful attempt to imitate. Please whoever is not able to try to plant the explore human psychology, to analyze the black soul and suffering of the individual, before you go crazy to be spectators in the hall.

So in the end, no quality to the film.