Monday, 6 September 2010

other films

avatar se 3d
Paradigm establishing as the most ridiculously highest grossing movie ever, ever. Is there anything yet unsaid about this faith-gender-empire movie? That popular paganism is predicated on an alarming, childless, individualist, disembodied androgeny? Perhaps. That a concern for complex and vulnerable ecology constitutes a superlative satanism, however, is a polemic too far and my long flirtation with Driscollian theology, for all its strengths, wanes from here. The film's forest's aesthetic draws notably on that relationship between the luminous and the numinous, seen in fairy lit prayer rooms. Anyone on this ~ worship, pointillism, and the spirit, glitter, fireflies and the glory of God? The film also appeals to that universal: if we could we would, live in a tree. My chief pleasure in this film was the trees, heroically alive.

phua chu kang

Apparently, this is the dying franchise of a sitcom spin-off, now more popular in Malaysia than it own Singapore, the film is sponsored by paint brand Nippon. Make of that what you will, I enjoyed it. The film relishes those ambiguities inherent in the finances associated with old age care, an increasing source of angst in an emerging, increasingly individualist Asian urban culture. Also represented is the national myth of the happy kampong, a rural idyll crucial to understanding the Malay identity, as captured and established as the anchor of their pained nostalgia by cartoonists like Lat.
no imdb (?) 1 2 3

liar game
This films begins as pure economics, it becomes a little convoluted, or I got tired, or it drew too heavily on prequels I had missed. Avant-garde Japanese cinema drawing on Genesis to examine total depravity. Recommended, some what.

villon's wife
The Japanese make dark cinema. A pleasingly paced, textured and decorated period piece, but dry and without hope. We see an impossibly resilient, radiant Sachi making her way in a sea of cowards – is this Love? And her husband, gifted and selfish and aphoristic and unrepentant. “Women know neither joy nor grief, but men know only grief because they are always fighting fear.” A cruel film.

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