The Iron Ministry (2014)

Slo naslov: Ministrstvo za železnice

Država: ZDA

Leto: 2014

Dolžina: 82',  Imdb

Žanri: Dokumentarni  

Slo recenzija: RTV SLO, Radio Študent 

Režija: J.P. Sniadecki

Scenarij: J.P. Sniadecki

Igrajo: - 

[SLO]

Vir: FDF

Režiser je polna tri leta s kamero potoval po neskončnih železniških progah Kitajske, ki bo v kratkem država z najbolj razvejano železniško mrežo na svetu. Sniadecki, član znamenitega Harvard Sensory Ethnography Laba, ki je pobudil nekatere sodobne dokumentarno-eksperimentalne mejnike (Sweetgrass, Leviathan), je ustvarjal zunaj omenjenega produkcijskega okolja, a to filmu ne jemlje prepoznavne zvočno-antropološke poetike in estetike. Kamera je vedno tesno vpeta v dogajanje, avtor se poljubno vmešava v pogovore v povečini natrpanih vagonih, skratka, film, ki sprva abstraktno prikazuje detajle železniške kompozicije, postopoma postane rahločuten portret Kitajske, tamkajšnje študentske generacije in delavskega razreda. Ljudem, ki spregovorijo o problemih in pozitivnih lastnostih sodobne Kitajske, železnica še vedno pomeni glavno prevozno sredstvo; vlak je z vsemi pritiklinami, kaotičnostjo, umazanijo in prenapolnjenostjo seveda metafora sodobne kitajske družbe. 

Naslov ima različne pomenske odtenke. 'Železo' je po eni strani povezano z železnicami, železniškimi progami, vlaki ipd. Po drugi strani je v zvezi s pojmi razvoja, napredka in modernosti. Na drugi, bolj posredni ravni, pa se sklicuje na umetnost vladanja kitajske komunistične stranke: t. i. 'železne riževe sklede' kolektivizma (ta je dozdevno zagotavljala hrano za vse) in nenehne 'železne roke' družbenega nadzora, ki je kljubovala vsem prizadevanjem za mehki pristop. (J. P. Sniadecki) 

[ENG]

Filmed over three years on China's railways, THE IRON MINISTRY traces the vast interiors of a country on the move: flesh and metal, clangs and squeals, light and dark, language and gesture. Scores of rail journeys come together into one, capturing the thrills and anxieties of social and technological transformation. THE IRON MINISTRY immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world's largest railway network

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Oktober November (2013)

Slo naslov: Oktober november  

Drugi naslovi: October November 

Država: Avstrija

Leto: 2013

Dolžina: 114' ,  Imdb

Žanri: Drama  

Slo recenzija: Ekran

Režija: Götz Spielmann

Scenarij: Götz Spielmann

Igrajo: Nora von Waldstatten, Ursula Strauss, Peter Simonischek, Sebastian Koch, Johannes Zeiler, Andreas Ressl

[ENG]

Successful actress returns to her family home in rural Austria to visit her ailing father and her sister who spent her whole life taking care of him and her family. The reunion is marked by jealousy, introspection and a secret.

Goetz Spielmann follows his superb 2008 thriller 'Revanche' with this carefully constructed and beautifully acted tale of two sisters.

In his superb 2008 thriller “Revanche,” Goetz Spielmann followed his characters from the seedier streets of Vienna to a quiet rural hideaway. The Austrian filmmaker again makes resonant use of the tension between town and country, albeit to far gentler effect, in “October November,” a carefully constructed and beautifully acted tale of two very different sisters brought together when their aging father falls seriously ill. Old resentments resurface and long-kept secrets are duly excavated, but in a measured, compassionate manner that yields a persuasive and nuanced portrait of broken but not irreparable family ties. Spielmann’s storytelling remains too restrained for breakout international success, but its low-boil excellence should find a discerning arthouse audience. (Justin Chang, Variety)

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Hail, Caesar! (2016)

Slo naslov: Ave, Cezar! 

Drugi naslovi: -

Država: ZDA

Leto: 2016

Dolžina: 106' ,  Imdb

Žanri: Komedija 

Slo recenzija: Mladina, Delo

Režija: Ethan Coen, Joel Coen

Scenarij: Joel Coen, Ethan Coen 

Igrajo:  Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton, Channing Tatum

[SLO]

Via Kolosej

Da sta videz in neomadeževan ugled vse, kar šteje, v Hollywoodu vedo že zelo dolgo. Zato so v zlatih 50. letih prejšnjega stoletja filmski studii najemali tako imenovane »fixerje« – povečini zasebne detektive, ki so za vsako ceno varovali dober ugled svojih varovancev. Da bi preprečili širjenje kočljivih informacij, so morali biti izjemno iznajdljivi, njihove metode so bile velikokrat vprašljive, posluževanje nezakonitih sredstev pa je bilo nenapisano pravilo tega poklica.

Ave, Cezar sledi zgodbi hollywoodskega »fixerja« Eddieja Mannixa (Josh Brolin) in predstavlja presenetljivo raznolik spekter težav, s katerimi se mora slednji soočiti v zgolj enem dnevu. Eddie svoje usluge nudi studiu Capital Pictures, ki je ravno sredi obsežne produkcije njihovega paradnega konja – filma Ave, Cezar, v katerem nastopa eden največjih zvezdnikov na svetu Baird Whitlock (George Clooney). Za kolosalen zaplet poskrbi skrivnostna skupina z imenom »The Future«, ki ugrabi Bairda in zanj zahteva krepkih 100.000 dolarjev odkupnine. Eddie mora sedaj uporabiti vse svoje trike in čare, da bi glavnega igralca varno pripeljal domov in se obenem povsem izognil škandalu, ki grozeče trka na vrata.

[ENG]

In 1951, Eddie Mannix (Josh Brolin) is the head of physical production at Capitol Pictures and a "fixer" to keep the scandalous behavior of its stars out of the press. The Lockheed Corporation has been courting him with an offer of a high-level executive position, but he is unsure about taking it. When unmarried synchronised swimming actress DeeAnna Moran (Scarlett Johansson) becomes pregnant, Mannix arranges for her to put the baby in foster care and then adopt it without revealing herself as the mother. He often has to fend off inquiries from Thora and Thessaly Thacker (both played by Tilda Swinton), twin sisters and rival gossip columnists...

RT Critics Consensus

Packed with period detail and perfectly cast, Hail, Caesar! finds the Coen brothers delivering an agreeably lightweight love letter to post-war Hollywood.

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Club sandwich (2013)

Slo naslov: - 

Angleški naslov: Club Sandwich

Država: Mehika, Francija

Leto: 2013

Dolžina: 82',  Imdb

Žanri: Drama, Komedija   

Slo recenzija: -

Režija: Fernando Eimbcke

Scenarij: Fernando Eimbcke

Igrajo: María Renée Prudencio, Lucio Giménez Cacho, Danae Reynaud, Carolina Politi

[ENG]

While vacationing at a beachside resort, a single mother faces inevitable separation anxiety when her 15-year-old son — who is also her best friend — discovers magical chemistry with a girl his own age. Director Fernando Eimbcke approaches the subject with sensitivity while also presenting it as a wonderfully awkward, laugh-out-loud comedy.

Thirty-five-year-old single mom Paloma (María Renée Prudencio) and her fifteen year- old son Hector (Lucio Giménez Cacho) are vacationing at a resort near the beach. These two are best friends, spending endless amounts of time together, bantering back and forth, and sharing intimate thoughts as they rub sunscreen on each other's backs. This delicate balance is upset when Hector meets Jazmin (Danae Reynaud), a girl his age who is staying at the same resort. The sexual chemistry between the two teenagers is palpable, and Paloma finds herself, slowly but surely, becoming the third wheel.

Poignant and hilarious, Club Sandwich, Mexican filmmaker Fernando Eimbcke's third feature film, provides a humorous twist on the adolescent coming-of-age story that focuses on a mother's point of view.

As with his first feature, Duck Season, which played the Festival in 2004, Eimbcke constructs his story carefully, bringing us into close contact with his characters and their complexities. The relationship between mother and son is precisely drawn. We see them hanging out in their hotel room watching television, or languidly soaking in the sun. Deliberately, Eimbcke offers us some hints on the changes that are creeping into their relationship through Hector's secret friendship with Jazmin, while a clueless Paloma fails to face the inevitable.

Laugh-out-loud funny and culminating in a pricelessly comical, and very awkward, game of truth or dare, Club Sandwich ruminates on the shifting circumstances of a mother who has to learn how to navigate life without the constant companionship of her only child. (Diana Sanchez, Tiff)

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Band of Robbers (2015)

Slo naslov: - 

Država: ZDA

Leto: 2015

Dolžina: 95',  Imdb

Žanri: Komedija, Krimi  

Slo recenzija: -

Režija: Aaron Nee, Adam Nee

Scenarij: Aaron Nee, Adam Nee

Igrajo: Kyle Gallner, Adam Nee, Matthew Gray Gubler, Melissa Benoist, Hannibal Buress

[ENG]

A comedic adventure that re-imagines Mark Twain's iconic literary characters of Huckleberry Finn and Tom Sawyer as grown men in current day. Petty criminal Huck Finn hopes to leave his criminal life behind when he is released from a stint in prison, but his lifelong friend, and corrupt cop, Tom Sawyer, has other plans. Not ready to give up on his childhood fantasies of wealth and adventure, Tom forms the "Band of Robbers," recruiting their misfit friends Joe Harper and Ben Rogers, to join them for an elaborate plan to find a fabled treasure. But the plan soon unravels, thrusting the guys on a wild journey with dangerous consequences...

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Dar donya ye to saat chand ast? (2014)

Slo naslov: - 

Drugi naslovi: What's the Time in Your World?

Država: Iran

Leto: 2014

Dolžina: 101',  Imdb

Žanri: Drama, Romantični   

Slo recenzija: -

Režija: Safi Yazdanian

Scenarij: Safi Yazdanian

Igrajo: Leila Hatami, Ali Mosaffa, Ebrahim Zamir, Payam Yazdani, Christophe Rezai, Lili Samii, Zeynab 

[ENG]

Synopsis

On a sudden whim Goli decides to return to Iran after 20 years of living in France. She lands in Rasht, her home town, located in the north of the country. Farhad, a frame maker by trade, comes to welcome her. He seems to know her well, but the young woman has absolutely no recollection of him.

Director’s statement

I wanted to make a love story slightly different from those we are used to seeing. Farhad, the main character, is a man in love who demands nothing of that love to whom he has devoted all his life and who, like a sort of guardian angel, is content just to follow his beloved Goli’s life from afar.

The film considers what both parties bring to this love equation and reflects on what they gain and what they lose. To what extent can one maintain a sense of belonging when one lives outside one’s homeland and how does a revered image of home correspond to a concrete reality? What is more desirable, a world of one’s imaginings, the world as it is, or a mixture of the two?

Ocena

We Come as Friends (2014)

Slo naslov: Prihajamo v miru

Država: Francija, Avstrija

Leto: 2014

Dolžina: 110' ,  Imdb

Žanri: Dokumentarni   

Slo recenzija: Mladina, RTV SLO MMC, Dnevnik

Režija: Hubert Sauper

Scenarij: Hubert Sauper

Igrajo: Hubert Sauper, David Gressley

[ENG]

As war-ravaged South Sudan claims independence from North Sudan and its brutal President, Omar al-Bashir, a tiny, homemade prop plane wings in from France. It is piloted by eagle-eyed documentarian Hubert Sauper, who is mining for stories in a land trapped in the past but careening toward an apocalyptic future. Written by Sundance Film Festival

[SLO]

Via Kinodvor

Če se »zgodovina ne ponavlja, pač pa rima«, je Prihajamo v miru testament te zaskrbljujoče realnosti – povest o zelo starih in zloveščih verzih.

Zgodba

Nekaj let po odcepitvi Južnega Sudana je ozemlje nekdaj največje afriške države znova postalo prizorišče spopadov civilizacij, krvavih notranjih vojn in pustošenja naravnega bogastva. Režiser v svojem doma narejenem ultralahkem letalu iz aluminija in platna popelje gledalca na najbolj neverjetne kraje, kjer se usode, misli in sanje lokalnih prebivalcev prepletajo z interesi kitajskih naftnih družb, pripadnikov mirovnih sil, sudanskih militaristov in ameriških evangeličanskih misijonarjev.

Drugi del afriške dokumentarne trilogije Huberta Sauperja je sodobna odisejada ter vrtoglavo, fantastično popotovanje v srce Afrike, kamor se režiser Darwinove nočne more odpravi na krovu improviziranega letala. V trenutku, ko se največja afriška država lomi na dvoje, privre na plan stoletja stara civilizacijska patologija – kolonializem, spopad imperijev, večno trajajoče krvave (in svete) vojne za ozemlje in naravne vire.

Iz prve roke

»Prihajamo v miru je moj najdaljši projekt doslej, film, ki ga je bilo najtežje narediti, ker sem skušal prodreti globoko v dušo kolektivne bolezni naše družbe. To je zelo težavna naloga in mislim, da se ta bolezen imenuje kolonializem … Največji izziv je bil v prvi vrsti poskus, kako opisati ta fenomen z jezikom filma, nato pa razbrati pomene med vrsticami in preseči najbolj nori vidik kolonializma: da si kot civilizacija nenehno izmišljamo neko veliko zgodbo, ki nato opravičuje naša dejanja. /…/ Mehanizem naše družbe je globoko izprijen, srhljiv in seveda tudi izjemno zanimiv. Ne pravim, da sem jaz tisti, ki poseduje moralni standard, ki ve, kaj bi bilo boljše. Sam imam ta privilegij, da živim izjemno življenje, da mi ljudje že leta dajejo dovolj denarja, da se lahko spuščam v izjemno nenavadne situacije in živim kot umetnik, kot popotnik, ki se vrača domov s tovrstnimi analizami. Srečo imam, da lahko živim nenavadno življenje in se vračam z enako nenavadnimi spoznanji, kakršno je tudi film Prihajamo v miru. /…/ Naslov je ciničen, vsebuje resnico in laž. 'Prihajamo' je resnica, 'v miru' pa laž. V bistvu je to pozdravni nagovor vseh kolonialistov. Parola, ki so jo človeška bitja vgravirala v zlato ploščo in z Apollom odnesla na Luno. Sporočilo vesoljcem, ki pravi 'prihajamo v miru, od vas se hočemo učiti, vemo, da obstajate'. Seveda ne bodo ti nikoli odgovorili, saj niso neumni. Ali kot pravi Woody Allen: 'Dokaz, da vesoljci obstajajo, je v tem, da ne govorijo z nami.' /…/ Seveda je kamera večinoma aparat, ki razdvaja ljudi, še zlasti v stiku s kulturo, ki verjame, da kamera dobesedno ukrade dušo tistemu, ki ga posname. Toda včasih je lahko tudi čarobni mostiček, ki ljudi poveže. Ko nekoga snemam, sem popolnoma pogreznjen v njegovo realnost. Mislim, da je mogoče ta trenutek popolne povezanosti videti na platnu – to je bržkone tista čarovnija. Po drugi strani pa kamera pravzaprav ne obstaja. Prej gre za to, da jaz nekoga gledam, izraz v očeh tega človeka pa je morda tisto najsilovitejše in daleč močnejše filmsko orodje kot veliki plan.« - Hubert Sauper

Ocena

Wir sind jung. Wir sind stark. (2014)

Slo naslov: - 

Drugi naslovi: We Are Young. We Are Strong.

Država: Nemčija

Leto: 2014

Dolžina: 123',  Imdb

Žanri: Drama, Zgodovinski   

Slo recenzija: -

Režija: Burhan Qurbani

Scenarij: Martin Behnke, Burhan Qurbani

Igrajo: Jonas Nay, Trang Le Hong, Devid Striesow, Joel Basman, Saskia Rosendahl, Paul Gäbler 

[ENG]

On 24th August 1992 in the eastern German city of Rostock a rampaging mob, to the applause and cheering of more than 3,000 bystanders, besieged and set fire to a residential building containing, among others, more than 120 Vietnamese men, women and children on what has since become known as "The Night of the Fire." The riots became a symbol for xenophobia in the just recently reunited Germany. This film recounts the incident from the perspectives of three very different characters. Lien is a Vietnamese woman who settled in Germany, but at the end of the day she will be fighting for her life wondering if the place she called home could ever be one for her. Stefan and his friends are part of the night's violent turmoil. Young and angry, bored during the daytime, they look forward to the nightly riots and clashes with the police and foreigners. Unable to cope with his grief at the loss of a friend, Stefan gets lost in a circle of violence. Stefan's father Martin is an ambitious local ... 

**************************************

Burhan Qurbani’s re-creation of the disaffected atmosphere following the Berlin Wall collapse is this drama's strongest element.

The topicality of “We Are Young. We Are Strong.” is hard to miss, which is a key reason why this worthy but over-obvious fictionalization of xenophobic riots in 1992 Germany will hit a nerve. Burhan Qurbani’s mostly black-and-white sophomore feature (after “Shahada”) is a by-the-book re-creation of the buildup to two nights of violent unrest in the eastern port city of Rostock, when Vietnamese immigrants became the target of disaffected residents unhappy with their own status in a recently unified Germany. Given current tensions with “the other in our midst,” the pic will undoubtedly gain traction at home following a late January opening. Euro screens may also beckon. (Jay Weissberg, Variety)

Ocena

Bad Hurt (2015)

Slo naslov: - 

Država: ZDA

Leto: 2015

Dolžina: 101',  Imdb

Žanri: Drama   

Slo recenzija: -

Režija: Mark Kemble

Scenarij: Mark Kemble, Jamieson Stern

Igrajo: Theo Rossi, Michael Harney, Karen Allen, Johnny Whitworth, Ashley Williams

[ENG]

Life for the Kendalls has been burdened by grief and claustrophobia. Faced with caring for one child with special needs and another with PTSD, the family struggles for a sense of stability at home in their Staten Island hamlet. When a secret from the past is revealed, it threatens to tear them apart.

----------------------------------------------------

Sensitively directed by Mark Kemble, an adroit first-timer who skillfully adapted the wrenchingly honest script from his own stage play Bad Hurt on Cedar Street (with the help of co-writer Jamieson Stern), this is an agonizing study of what some disenfranchised American families endure to make ends meet, hold onto their sanity and survive the hardships of an everyday life you don’t read about in Good Housekeeping or Family Circle. It gets worse before it gets better, but in spite of the harrowing details, the film builds compassion for even the most disturbing characters and scenes. (Rex Reed, Observer)

Ocena

The Confirmation (2016)

Slo naslov: - 

Država: Kanada

Leto: 2016

Dolžina: 102',  Imdb

Žanri: Drama, Komedija   

Slo recenzija: -

Režija: Bob Nelson

Scenarij: Bob Nelson 

Igrajo: Clive Owen, Jaeden Lieberher, Maria Bello, Patton Oswalt, Robert Forster, Tim Blake Nelson, Matthew Modine

[ENG]

Eight year old Anthony is somewhat uneasy about spending the weekend with his alcoholic, down-on-his-luck carpenter dad Walt while his mom Bonnie and her new husband Kyle go to a Catholic retreat together. Walt is just as uneasy about spending time with Anthony, especially since their first day together is a series of characteristically unfortunate events, including his truck breaking down, his landlord locking him out of the house, and the theft of his toolbox, which he needs for an upcoming job. As Walt and Anthony set about finding the guy who stole the tools and improvise around their other misfortunes, they begin to discover a true connection with each other, causing Walt to become a better father and Anthony to reveal the promise and potential of the good man he will become.

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The Confirmation isn't much to look at, and its rhythms are wobbly (the quest narrative starts to feel strained early on), but Nelson is a dogged enough dramatist that even the story's resolutions-even the really pat and obvious ones-are satisfyingly earned. (Adam Nayman, The A.V. Club) 

"The Confirmation" is about a boy and his dad finding each other and helping each other. Owen and young Lieberher have a great chemistry, evoking sympathy and, more important, empathy for the pair and their plight. (Robin Clifford, Reeling Reviews) 

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