EIGHT AND A HALF FILMS

 

Almost all the movies with the exception of Miss Marx, exuding the half-forgotten leftist spirit, and Parquet by the Russian classic Alexandr Mindadze,  were made in the close to combat environment. The “unlimited war”, to quote a certain political analyst with a propensity for sick predictions, resonates with the visual claustrophobia of the Vietnamese Taste and with Benedek Fliegauf’s  Forest: I See You Everywhere which is as professionally brilliant as it is depressing, in the film Natural Light by his compatriot Denes Nady... The list can go on only to be immediately contested. Probably one of the hidden motives to offer these movies to the Moscow audience has always been the energy of resistance to the existential circumstances which gave rise to these works. It is the resistance to the familiar modes of perception, narration, style, resistance to the conventional trends and fashions. All of it is evident in the structure and the dreamy style of Comets by the Corsican director Pascal Tagnati, and in Wheel of Fortune and Fantasy by the rising classic of Japanese cinema Ryusuke Hamaguchi, who demonstrated the subtle seismologist-like ability to express vibrant non-nonsense human drama in seemingly careless and casual conversations. I believe that the Pandemic could least of all impede the work of our authors who were giving such perfect artistic shape to their creative ideas. True masters – both experienced and beginners alike -  have their own, far more powerful, angels, demons, challenges, revelations and insights. They generously share the results of their insights and revelations in this year’s program “Eight and a Half Movies”.
Peter  Shepotinnik

 

 

The Festival Daily