Life, Death, Life, Film, Death.
0 Comments Published by Jesse Trussell on Monday, September 11, 2006 at 2:02 PM.
A Taste of Cherry... (Kiarostami, 1997)
Why do we live and why do we die? What purpose is there in such a world as this. Mr. Obadi is searching for just such a purpose in Kiarostami's masterful 1997 Palm d'Or winner. In his search he finds frightened youth, dogmatic young adults, and resigned elders. His quest is to find someone to save his life, which in the end he finds through the one old man that would help him end it. As for the epilogue, it expresses in one concise moment the joys and pain of life. Or rather, everything that makes life worth living.
New Nightmare (Craven, 1994)
How do you make postmodern boring? Ask Wes Craven to do it. Additionally, this is perhaps the most narcissistic film ever made. It boils down to the fact the Craven is such a gifted storyteller that evil itself wants to be a part of his creations.
Ten (Kiarostami, 2002)
In ten succinct and brilliant episodes, Kiarostami tells you everything you need to know about modern Iran and its male-female relationships. From there you also get the feeling that he is using the mirror of Iran to say much about all human society. Ten is a film that is sneakily powerful and painfully human.
10 on Ten (Kiarostami, 2003)
Kiarostami's simple film class is less instructive than explanatory of his own filmmaking manifesto. Kiarostami is almost oddly humble in the work, constantly pointing out that this is just how filmmaking works for him.
Demons (Bava, 1985)
An incredibly enjoyable and actually scary Italian horror flick produced by Argento, Demons hits all the obvious notes but just does them incredibly well.
Why do we live and why do we die? What purpose is there in such a world as this. Mr. Obadi is searching for just such a purpose in Kiarostami's masterful 1997 Palm d'Or winner. In his search he finds frightened youth, dogmatic young adults, and resigned elders. His quest is to find someone to save his life, which in the end he finds through the one old man that would help him end it. As for the epilogue, it expresses in one concise moment the joys and pain of life. Or rather, everything that makes life worth living.
New Nightmare (Craven, 1994)
How do you make postmodern boring? Ask Wes Craven to do it. Additionally, this is perhaps the most narcissistic film ever made. It boils down to the fact the Craven is such a gifted storyteller that evil itself wants to be a part of his creations.
Ten (Kiarostami, 2002)
In ten succinct and brilliant episodes, Kiarostami tells you everything you need to know about modern Iran and its male-female relationships. From there you also get the feeling that he is using the mirror of Iran to say much about all human society. Ten is a film that is sneakily powerful and painfully human.
10 on Ten (Kiarostami, 2003)
Kiarostami's simple film class is less instructive than explanatory of his own filmmaking manifesto. Kiarostami is almost oddly humble in the work, constantly pointing out that this is just how filmmaking works for him.
Demons (Bava, 1985)
An incredibly enjoyable and actually scary Italian horror flick produced by Argento, Demons hits all the obvious notes but just does them incredibly well.
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