Browsing Tag

2000

by Paul Attard Retrospective Film

The Real Body | Sion Sono

August 12, 2016
The Real Body

Sion Sono’s eighth feature refined and nearly perfected his early, amateurish Dogme 95-esque aesthetic. Billed as a “film about the human body,” The Real Body is a totally singular hybrid of documentary and fiction. It examines the work of four artists—photographer Nobuyoshi Araki, buoh dancer Akaji Maro, fashion designer Shinichiro Arakawa, and Sono himself—each of whom use the human body, in different ways, to express lust, love, and desire. Sono also directs a film-within-the-film following a high school girl (Keiko Hamaguchi) who loves to run and falls…

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by Matt Lynch Retrospective Film

Teachers of Sexual Play: Modelling Urns With the Female Body | Sion Sono

August 11, 2016
Teaches Play

The title of this pre-Suicide Club entry—which Sion Sono categorizes as a straight pink film—pretty much sums up the film in its entirety. Together with his wife, a master pottery maker (played by Sono himself), crippled by some unnamed malady, channels sexual energy into art. The couple teach a pottery class with just three naïve students (two eager, nubile girls and a nerdy guy), the ultimate goal of which is to maintain their long-standing winning streak at a local art fair. That sounds like…

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by Kathie Smith Retrospective Film

The Wind Will Carry Us | Abbas Kiarostami

September 5, 2011
The Wind Will Carry Us

In retrospect, Abbas Kiarostami’s The Wind Will Carry Us represents the calm before a contentious political decade between Iran and the U.S., one that dragged filmmakers into the fray. Two years after the film’s American release, George Bush named Iran part of an “Axis of Evil” and Kiarostami was denied a visa to the U.S. (and, one year after its release in the States, fellow Iranian director Jafar Panahi was man-handled at JFK). A reformed Iranian government quickly collapsed under conservative forces,…

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by A.A. Dowd Features

Alternating Currents | Under Construction: Notes on the ‘Notes’ of Saul Levine

August 7, 2010
SaulNewLeft

Most of us are loathe to admit it, but the job of a film critic is, more often than not, that of a glorified publicist. The best among us aspire to more—to enlightenment, to intellectual engagement, to the communication of everything this oh-so-young artistic medium is capable of conveying. On our best days, we get there. Other days, working the beat, grinding out the copy, we forget the difference between what we do and what those Hollywood mad men do.…

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