Tuesday, April 14, 2020

Favorite (four), sixty-eight

Just like in my other sixty-seven 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 a 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.

Joseph Losey's Mr. Klein
Only the second or third film I have seen from Losey but what a film it is.  Delon's performance ranks with his very best and Losey sustains interest and an uncomfortable mood and atmosphere throughout every single shot.  The camera is elegant, as are the locations, the set design and the wardrobe and Losey ends up making a film about the Resistance that might be every bit as powerful as Meville's Army of Shadows.

Abdellatif Kechiche's Mektoub, My Love: Canto Uno
If I were still making films, Kechiche would be one of the filmmakers I would study the closest.  His films feel as pure and perhaps more modern than anyone else's.  It is clear he is a cinephile and it feels as though he is taking art cinema to its most exciting and logical next phase.  What does that mean?  Kechiche's cinema is as much documentary as it is fiction.  Like the New Wave, he is embracing lighter technology to get inside his characters, get inside his scenes more to ward off elements that can quickly make the medium of cinema feel artificial.  But all the while, he is bringing in aspects of narrative cinema that make it arguably more palatable and more entertaining than cinema verite.  Kechiche has a painter's eye and dresses his realistic or naturalistic settings with strong locations, set design, emotive ambient sound and interesting-looking people acting in very believable ways.

Jacques Rozier's Maine-Ocean
Although I have only seen three of Rozier's films to date, it is clear that he has a unique voice and consistent thematic interests that include the constraining nature of society and the opportunities of freedom offered by water, travel and the sea.  Rozier's style is a unique balance of rigor and looseness and his humanistic spirit comes through in his joyful tone and emphasis on community.

Abbas Kiarostami's The Experience
The first of Kiarostami's longer form works is already masterful and a great indication of the Iranian filmmaker's career in cinema.  As much documentary as narrative, Kiarostami keeps his camera attached to his main character, a boy in his early teens.  Kiarostami's touch is soft and sensitive, as he would become known to be, and his camera graceful in its pans, zooms, handhelds and tracking shots.  Made for the Institute for the Intellectual Development of Children and Young Adults, I would consider it Kiarostami's first truly great work. 

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