The Woman In The Fifth (15)
(Pawel Pawlikowski, 2011, Fra/Pol/UK) Ethan Hawke, Kristin Scott Thomas, Joanna Kulig. 84 mins.
Mysteries abound in this sombre, 1970s-style drama, and so do women. Hawke's emotionally wracked American in Paris is plagued by them – not just the seductress of the title (Scott Thomas) but also his estranged wife and daughter, and the pretty Polish waitress. Plus some dodgy (male) gangster types. If it all seems too good to be true, it is, but this doesn't show its hand till very late on – maybe too late – and maybe too many cards, or too few.
Hadewijch (12A)
(Bruno Dumont, 2009, Fra) Julie Sokolowski, Yassine Salime, Karl Sarafidis. 105 mins.
Boldly drawing connections between (Christian) religious devotion and (Muslim) religious extremism, this radical but naturalistic drama follows a rejected nun whose search for spiritual solace takes her far out of her central Paris comfort zone, and deep into the paradoxes of faith.
(Pawel Pawlikowski, 2011, Fra/Pol/UK) Ethan Hawke, Kristin Scott Thomas, Joanna Kulig. 84 mins.
Mysteries abound in this sombre, 1970s-style drama, and so do women. Hawke's emotionally wracked American in Paris is plagued by them – not just the seductress of the title (Scott Thomas) but also his estranged wife and daughter, and the pretty Polish waitress. Plus some dodgy (male) gangster types. If it all seems too good to be true, it is, but this doesn't show its hand till very late on – maybe too late – and maybe too many cards, or too few.
Hadewijch (12A)
(Bruno Dumont, 2009, Fra) Julie Sokolowski, Yassine Salime, Karl Sarafidis. 105 mins.
Boldly drawing connections between (Christian) religious devotion and (Muslim) religious extremism, this radical but naturalistic drama follows a rejected nun whose search for spiritual solace takes her far out of her central Paris comfort zone, and deep into the paradoxes of faith.
- 2/18/2012
- by Steve Rose
- The Guardian - Film News
If one contemplates the history of political cinema, it would appear that the greatest political films were made when a discursive framework – usually Marxist or liberal-democratic – was readily available. Rarely have political films not assumed ‘complete understanding’ of a political subject and this understanding has been provided by accepted ideological viewpoints. Instead of being tentative in their approach to their subjects, political films have been categorical – because of their confidence in their moral/ political positions. To illustrate, the anti-colonialism of Gilo Pontecorvo’s The Battle of Algiers (1966) which is post-Marxist and perhaps owes to Frantz Fanon, could not have been opposed. Costa Gavras’ Z (1969), which is set in an unnamed country (perhaps Greece) under a military junta, is confident of the universality of liberal-democratic values. Political films made after the end of Communism, works like The Lives of Others (2006), plead for freedom from tyranny and uphold similar liberal-democratic values which,...
- 3/8/2011
- by MK Raghvendra
- DearCinema.com
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