Wednesday, July 29, 2015

Favorite (four), part twenty-nine

Just like in my other twenty-eight posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Martin Scorsese's George Harrison: Living in the Material World
One of the cinephiles I respect the most recently commented to me that Scorsese seems more of a master in his contemporary documentary work than in his recent narrative output and after seeing his Dylan and now his Harrison I would not argue.  What is most impressive is how vital he is able to make moments where his only footage is that of still photos.  Studying his technique during these moments and the unique way he is able to juice the medium through music, editing and camera movement is deeply instructive and a marvel to see and experience. 

Abbas Kiarostami's Like Someone in Love
What Kiarostami is hoping to convey I cannot say for sure. But as a long time fan of his work I took it in as a very personal statement. Here Kiarostami, one of the cinema's warmest practitioners, the lovely wise soul of Iranian cinema,  is working in the middle of the Japanese metropolis. Far removed are we (and he) from the wide open expanses of his classic earlier work and we can only guess how fearful he is of our world and what it seems to be quickly becoming. Through the Olive Trees this is not. Kiarostami has entered a far darker phase and in the process might be one of the few still holding up a mirror and trying to find a way to be hopeful.       

Hong Sang-soo's In Another Country
I used to think of Hong as a Korean Rohmer and there are strong similarities - a penchant for naturalism, conversation as the main action and activity, and a recurring interest in the potential disruption of relationships due to the arrival of a third person. But Hong also goes for real whimsy and seems lighter than Rohmer. In fact the more I think about it he seems like this odd blend of Rohmer and Rivette, structurally adventourous but grounded primarily in reality. And I have long had a thing for Huppert. Hong uses her well, brings out her appeal, and ends up delivering one of his smoothest, most likable films yet.

Robert Mann's Altman
A fairly straightforward doc at least when compared to the cinematic complexity in Scorsese's documentary on George Harrison. What I found most enlightening was that even though Altman has become someone I consider among my favorite filmmakers I  realized how very little I knew about his life.  Mann does Altman justice and I think this would be enjoyed by anyone who thinks they are a fan.

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