Films that Matter

10 years from now, this film would be remade and probably then the original would be looked upon. There hasn't been a cinematic piece in a long time which was driven solely by such individualistic expression. Be it the philosophical discussion or contemplative imagery, everything screams of the psyche of one individual - 'Capital I'. **Read this after watching the film once** Visually profound and intelligently crafted, at the core of this film you can find an identity and a story embedded in each other. The story of a girl struggling to identify herself with a strict sexual orientation and resorts to 'something' to escape her reality, while a physics professor helps her resolve the conflict in her mind. The identity of a mysterious character named Capital I is presented through its work - visuals and poetry, driven by curiosity among various characters in the film about it. The film portrays the two themes uniquely, bravely. However a harmonic fusion betw...

The man who intrigued, inspired and amazed me with his cinematic masterpieces - David Lynch, is the king of film absurdity. Absurdity - a rather not too talked about term in film language is a cult theater specter, bravely taken up by playwrights like Beckett, Genet, Ionesco and several others. As absurd our life is, as absurd our feelings are, as absurd our existence and creation is, the art which is trying to express these feelings will be. A painter turned director, Lynch discovered a space in the film medium in which he could be intuitively absurd and dramatically consistent at the same time. He discovered the sub-conscious cinema. May be it was Bunuel who discovered it, may be Leos Carax puts it more perfectly, but it was Lynch who had the ability to haunt you with his film for your entire life. Six men getting sick, The Alphabet, The Amputee - these are not the themes of short film anyone would choose who wants to be a director. Neither were his paintings ordinary. ...

A hidden gem, a precious film, a thing of beauty and a stunning dance of reality. Coincidentally, I landed on the page Jeon Soo Il and was intrigued by posters of his films. Obviously, I searched for his films and it turns out that he is not that popular with no seeds for almost his every film. What better a cinema can be than the one which envelopes you in a world of its own, overshadowing it's creator and leaving space for you to be in and witness horrible events through the eyes of a child for whom everything is fun and beautiful? With the Girl of Black Soil is a must watch! Like always, read it after you watch it! Opening up with a haunting scene of a child's dream, we see a girl looking at herself in the mirror, hazy. In a minimalist film where no camera movement was more than required, Jeon Soo Il has discovered a visual way of storytelling where every scene is conveying something without saying anything. A character driven film is not my general...

"Theater is an art form. Films are just an exaggerated manipulation of this art." Someone was quoted saying this; mainly because of the fact that film uses other means to hide it's flaws like music, visuals, etc. Dogville is raw. A pure, unadulterated piece of work by Lars Von Trier. Starting with the experimentation of this concept, Von converted this experiment to a feature film of about 3 hours and the results are enchanting. Dogville is a must for all the aspiring film makers and film lovers. The film takes place in a confined set or a flat land marked with chalk lines. Breaking the stereotypical notion of the necessity of visually magnificent locations, it focuses on acting through close ups and it comes out as never before in a film as there is no music or anything else to distract you. Baring naked the artificiality of any film, it then achieves a level of being absolutely believable just because the ensemble believes in that artificiality so much. ...

The investigations that takes you back to the time of it's own; the scenes that reminds you of existing fags in the the-then society and the possibility of being wrong in an investigation. It's a crime that you try to solve along with those two detectives with so many emotional highs and lows. Bong Joon Ho has his roots deep within the landscapes of his country and he explores them masterfully be it a normal wide shot, a panorama or the beauty of the rains. ** Spoiler Alert ** A not-so-good detective with a seemingly good one pair up (unwantingly) to solve the serial murders of girls. All of them were raped and wearing red and killed on a rainy night. The murder is never solved and this gives all the needed impact to the story. The story moves with the environment around. The forensics team screwing up is so detailed that even you will be agitated at the system. The weather, the landscapes were so chosen (successfully fulfilling the job of a director) that compliment...

Badii is set out on a journey in a car to find someone to do something. Enough suspense for a film to be interesting, isn't it? ** Spoiler Alert ** No matter how curious the plot makes you, I am sure your own reactions will make you more curious. Undoubtedly, the God of film-making knew the importance of giving space and time to viewers to be judgmental! Badii, while looking for someone, passes through a construction area with laborers around, which makes one think that maybe he is looking for some helping hand for construction. Thoughtfully, no hint is given to you. Then, We see Badii insisting a man who becomes irritated by him giving one a thought that probably he is gay. Beautifully, we see Badii as an outsider like all those people did with whom he had failed endeavors. Like us, they were judgmental about him without even knowing him. It's beautiful to see a man in confusion and trouble, making choices about the person who would bury him. Just like we form groups...

Shoehi Imamura amazingly and thoughtfully directed the Eel. It's so beautifully edited and is a minimalist thriller of our time. There are some really creative and beautiful shots with unique and mature directions. However, the film looses it's spark when it tries to be a little funny and descriptive towards the end. **Spoiler Alert** Looking at the film as it proceeds: 1) We cannot make an assumption that he didn't kill his wife at all. It is clear from his surrender and sentence. 2) Letters: A woman's voice was narrating the letters. Why? It can be assumed that he thought of someone who sent (if someone really sent) must be a woman. Also, she mentioned that this is the last time she will warn her. So, why he took actions that day and not before? 3) Sex: The sexual scenes were very passionate/professional. The way it is shown and the expressions of Yamashita suggests that he could never f**k like that (Or maybe he is sterile.) 4) Prison: His behavior (...