The Edge of Heaven (2007)

| Friday, December 12, 2008 | 0 comments |
AKA Auf der anderen Seite

Director:
Fatih Akin

Writer:
Fatih Akin




Yeter's Death

Retired widower Ali, a Turkish immigrant living in the German city of Bremen, believes he has found a solution to his loneliness when he meets a Turkish prostitute, Yeter. He offers her a monthly payment to stop working as a prostitute and move in with him. After receiving threats from two Turkish Muslims, she decides to accept his offer. Ali's son Nejat, a professor of German literature, does not have time to respond to the prospect of living with a woman of "easy virtue" before Ali is stricken with a heart attack. He softens to her when he discovers that she sends shoes back home to Turkey for her 27 year old daughter and wishes that her daughter receive an education like him.

Back home from the hospital, Ali suspects that the other two may have become lovers. When his drunken demands of Yeter make her threaten to leave, he strikes her, accidentally killing her. Ali is sent to prison.

Nejat travels to Istanbul to search for Yeter's daughter, Ayten, and assume responsibility for her education. Unable to locate her through her family, he posts flyers of Yeter throughout the area in the hopes that it will lead to the daughter. When he posts a flyer in a small German language bookstore that happens to be for sale, he finds himself charmed into buying it.

Lotte's Death

A plainclothes officer loses his gun on the street during a riot. A hooded figure scoops it up and is pursued on foot by a battalion of uniformed officers, barely managing to hide the contraband on a random rooftop. This is Ayten, a member of a Turkish Communist resistance group.

When her cell is raided, she flees Turkey and takes up a new identity with political allies in Bremen, Germany. However, even there, she has a falling out when she is unable to pay her debts, and thus finds herself on the street with barely a euro to her name. Her mother's number is lost, so she lives illegally and searches for her in local shoe shops.

Lotte, a university student, offers to help her with food, clothes, and a place to stay—a gesture which is not particularly welcomed by her mother, Susanne. Ayten and Lotte become lovers and Lotte decides to help Ayten search for her mother. The quest is cut short when a traffic stop exposes Ayten's illegal status and she attempts a claim of political asylum. Despite Susanne's financial support, Germany rules that Ayten has no legitimate fear of political persecution. She's deported and immediately imprisoned.

Lotte is devastated. She travels to Turkey to try to free Ayten, but quickly realizes how little hope there is, as she is facing 15 to 20 years in jail. Susanne pleads with her to think of her future and return home. When Lotte refuses, her mother refuses to assist her further. Lotte gravitates to Nejat's bookstore and ends up renting a spare room from him.

Finally granted a prison visit with Ayten, Lotte follows her imprisoned lover's request and retrieves the handgun Ayten acquired in the riot. But Lotte's bag, with the gun inside, is snatched by a crew of boys that she chases through their neighborhood. When finally she finds them in a vacant lot, one of the boys is inspecting the gun. She demands he return it, but he points it at her and fires, killing her instantly.

On The Other Side

Upon his release, Ali is deported to Turkey, returning to his property in Trabzon on the Black Sea coast.

After her daughter's death, Susanne goes to Istanbul to see where her daughter had been living the past few months. She meets Nejat and reads her daughter's diary; she decides to take on her daughter's mission of freeing Ayten from prison. Susanne's visit to Ayten—an offer of forgiveness and support—leads the younger woman to exercise her right of repentance. As a result, she wins her freedom.

Susanne asks Nejat about the story behind a Bayram they notice, learning that it commemorates Ibrahim's sacrifice of his son Ishmael. She comments that there is the same story in the Bible, where Abraham is asked to sacrifice his son Isaac. Nejat reminisces about being scared by the story as a child and asking his father if he would sacrifice him if God told him to. When asked by Susanne what his father's answer was, Nejat told her that "He would make God his enemy in order to protect me". Removing the poster of Yeter from the shop's noticeboard, Nejat now journeys to Trabzon to reconcile with his father, asking Suzanne to look after his shop while he is gone.

Susanne offers Ayten a place to stay with her at Nejat's house. Nejat's father is out fishing when he arrives, so he waits for him on the beach in Trabzon.

http://www.imdb.com/title/tt0880502/

The Mourning Forest (2007)

| Tuesday, November 11, 2008 | 0 comments |
AKA Mogari no mori

Directed by
Naomi Kawase

Writing credits
Naomi Kawase


The film centers around a 70-year-old man with senile dementia who is living in an old age home in Japan. The Mourning Forest is a sensitive film tracing a senile old man's quixotic pilgrimage to his wife's grave in a forest interlocking a mystical relationship with nature. An old man with depleting memory is cared for by a young woman Machiko, a new nursing recruit, at the retirement/old age home. But her name, which has similar syllables to the name of his wife Mako, who died 33 years before, triggers a passion in him to visit her grave in a forest.

On the 33rd anniversary, according to Japanese Buddhist beliefs, the departed must travel to the land of Buddha — somewhat like the Roman Catholic Christian belief of the dead reaching heaven /hell after a stay in purgatory. The time has come for the couple to part forever unless he bids farewell soon before the anniversary.

The first part of the film introduces the viewer to the two main characters--the nurse and the nursed. Both have suffered personal loss and are grieving — the nurse has lost a child for which her husband holds her responsible; the nursed has lost his wife and evidently never remarried and keeps writing letters to his dead wife that must be "delivered." The nurse dominates the first part. We view the two figures chasing each other between rows of tea bushes, their heads clearly visible over the verdant green landscape. There is warmth of the sun. There is an allusion to life.

The second part inverses the situation. The nursed dominates the nurse. The nursed tricks the smart young woman as he trudges to his wife's grave. Whether the spot is really her grave or not is of little consequence — the act of undertaking the pilgrimage is of consequence as he has to deliver his letters to his wife before 33 years of her death are completed. The forest covers the human figures. There is cold, darkness and mystical overflowing streams that threaten hypothermia. There are definite allusions to death and regeneration. In an interview to a news agency, Kawase said "After the two enter the forest, the forest becomes the force that supports them. It watches over the two of them, sometimes gently, sometimes more strictly." The films title roughly translates to "Forest of Mogari" and at the end of the film the director states the meaning of the term "mogari." Mogari means "the time or act of mourning." Unlike "Away from Her", "Mourning forest" is a film on understanding the richer complexities of life and death. "Running water never returns to its source," says the old man Shigeki to his nurse, words of solace for a young woman to look afresh at her marriage after losing a child. "If sad things happen, you shouldn't be sad about them or fight them, but vow to make the world a better place for children still to be born. That's my message," Kawase told the Reuters news agency At the Cannes festival, director Kawase said she made Mourning Forest because "her grandmother was becoming slightly senile, and today such people are looked down upon somewhat, and pitied, forgetting that it could happen to us someday." Kawase said she hoped viewers would learn kindness and a new way of handling difficulties -- which she said could help people around the world overcome religious and cultural differences. The nurse strips off her clothes to provide warmth to her ward and protect him from hypothermia — an action that would seem unusual to Western sensibilities. There is no sex here; mere practical help in time of need. There are streams that suddenly flood as if they have a life of their own and emerge as a silent character in the film.

There is one Japanese film that is somewhat similar in spirit and content — the 1983 Cannes Golden Palm winner Shohei Imamura's "Ballad of Narayama", where an active and useful old woman is forced to make a last trip up a mountain to fulfill local traditions and her consequent interactions with younger generations in the village.

The Man from London (2007)

| Friday, October 24, 2008 | 0 comments |
AKA A Londoni férfi

Directed by
Béla Tarr
Ágnes Hranitzky

Writing credits
Georges Simenon (novel)
Béla Tarr (screenplay)
László Krasznahorkai (screenplay)


The Man from London concerns a middle-aged railway pointsman, Maloin (Miroslav Krobot), who lives in a decrepit apartment in a port town with his highly-strung wife Camélia (Tilda Swinton) and his daughter Henriette (Erika Bók). One night while in his viewing tower at the port's rail terminus, Maloin witnesses a fight on the dockside. One of the shady combatants is knocked into the water along with the briefcase he carries; when the other flees the dark quayside, Maloin makes a clandestine descent from the tower and retrieves the briefcase, which he finds full of sodden English banknotes. Maloin conceals the money and tells no-one of what he has seen. The next morning, he visits a tavern where he plays chess with the barkeep (Gyula Pauer). On his way home, he stops by the butcher's where his daughter works, and finds to his indignance that they have her washing the floor. Later, from the window of his apartment, he notices Brown (János Derzsi) watching him from below. At dinner, Maloin is increasingly irascible, addressing Henriette brusquely and arguing with Camélia. Meanwhile Brown searches the water at the dock's edge without success before noticing the watchtower overlooking the quayside, and Maloin within.

Later at the tavern, a police inspector from London named Morrison (István Lénárt) discusses with Brown the matter of the stolen money. Morrison claims to be working on behalf of a theatre owner named Mitchell, a theatre owner from whose office safe the £55,000 was stolen. Morrison proposes that Brown, being intimately familiar with Mitchell's office, is the only man he knows that was capable of making away with the money without raising alarm. Morrison indicates that Mitchell cares only that the money is returned swiftly, and is even prepared to offer a two night's theatre takings in exchange. When Morrison mentions having visited Brown's wife and asks what he should tell Mitchell, Brown leaves the room under a pretense and slips out a side door. Nearby playing chess with the barkeep, Maloin has overheard the conversation.

Maloin calls to the butcher's and drags Henriette from the store against her will and over the protestations of the butcher's wife (Kati Lázár). He brings her to the tavern for a drink, where he overhears the barkeep telling another patron the story of Brown's meeting with the inspector, revealing that Morrison had called the local police when Brown absconded. Though Henriette refuses her drink, Maloin buys her an expensive mink stole. They return home to the consternation of Camélia, who cannot comprehend why Maloin has ruined Henriette's chances of a job and spent what little savings the family had on the extravagant stole. During Maloin's shift the next night he is visited by Morrison, who questions him as to the previous night's events as the body of the drowned man is retrieved from the quayside below.

The next day at the tavern, Morrison meets Brown's wife (Agi Szirtes), and tells her that Brown is under suspicion for the theft and for the murder at the quayside. He asks for her help in finding him and repeats to her Mitchell's offer to Brown, but she remains silent. At home, Henriette tells Maloin she found a man in their hut at the seaside, and in fear locked the door and ran home. An agitated Maloin tells her not to tell anyone, and leaves for the hut. He unlocks the door, and receiving no response to his calling Brown's name, steps inside, closing the door behind. Minutes later he re-emerges, breathing heavily. After pausing to compose himself, he locks the door and leaves. In the next scene, Maloin presents the briefcase to Morrison in the tavern, and asks him to arrest him, confessing to having killed Brown an hour ago. Morrison leaves with Maloin for the hut, dismissing the frenzied inquiries of Brown's wife about her husband and handing the briefcase to the barkeep on the way out. Brown's wife follows the men to the hut, and emerges weeping with Brown moments later. Back at the tavern, Morrison prepares two envelopes with a small portion of the recovered money in each. One he leaves with the grieving widow to whom he apologises and wishes well, while the other he gives to Maloin, telling him that his case was one of self-defence. As he is preparing to leave, Morrison advises Maloin to go home and forget the whole affair. The camera focuses on the expressionless face of Brown's wife momentarily before fading to white.

http://www.imdb.com/title/tt0415127/

To Each His Own Cinema (2007)

| Tuesday, July 22, 2008 | 0 comments |
AKA Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence

Directed by
Theodoros Angelopoulos (segment "Trois Minutes")
Olivier Assayas    (segment "Recrudescence")
Bille August (segment "The Last Dating Show")
Jane Campion (segment "The Lady Bug")
Youssef Chahine (segment "47 Ans Après")
Kaige Chen (segment "Zhanxiou Village")
Michael Cimino (segment "No Translation Needed")
Ethan Coen (segment "World Cinema")
Joel Coen (segment "World Cinema")
David Cronenberg (segment "At the Suicide of the Last Jew in the World in the Last Cinema in the World")
Jean-Pierre Dardenne (segment "Dans l'Obscurité")
Luc Dardenne (segment "Dans l'Obscurité")
Manoel de Oliveira (segment "Rencontre Unique")
Raymond Depardon (segment "Cinéma d'Eté")
Atom Egoyan (segment "Artaud Double Bill")
Amos Gitai (segment "Le Dibbouk de Haifa")
Alejandro González Iñárritu (segment "Anna")
Hsiao-hsien Hou (segment "The Electric Princess House")
Aki Kaurismäki (segment "La Fonderie")
Abbas Kiarostami (segment "Where is my Romeo?")
Takeshi Kitano (segment "One Fine Day")
Andrey Konchalovskiy (segment "Dans le Noir")
Claude Lelouch (segment "Cinéma de Boulevard")
Ken Loach (segment "Happy Ending")
David Lynch (segment "Absurda") (special edition)
Nanni Moretti (segment "Diaro di uno Spettatore")
Roman Polanski (segment "Cinéma Erotique")
Raoul Ruiz (segment "Le Don")
Walter Salles (segment "A 8 944 km de Cannes")
Elia Suleiman (segment "Irtebak")
Ming-liang Tsai (segment "It's a Dream")
Gus Van Sant (segment "First Kiss")
Lars von Trier (segment "Occupations")
Wim Wenders (segment "War in Peace")
Kar Wai Wong (segment "I Travelled 9000 km To Give It To You")
Yimou Zhang (segment "En Regardant le Film")

 
A 2007 French anthology film commissioned for the 60th anniversary of the Cannes Film Festival. The film is a collection of 34 short films, each 3 minutes in length, by 36 acclaimed directors. Representing 5 continents and 25 countries, the filmmakers were invited to express "their state of mind of the moment as inspired by the motion picture theatre".

http://www.imdb.com/title/tt0973844/