Showing posts with label Documentary. Show all posts
Showing posts with label Documentary. Show all posts

Monday 21 August 2017

Survival of the Unfit: On Mehrnaz Saeed-Vafa’s Jerry & Me


Originally appeared on MUBI Notebook, June 2013. -- EK

Survival of the Unfit: On Mehrnaz Saeed-Vafa’s Jerry & Me

CINEPHILIA & REVOLUTION

A familiar practice in Persian film literature is that of the “cinematic memoir”—personal reminiscences of the film culture of pre-Revolutionary Iran.

Bolstered by a nostalgic tone, these autobiographical texts deal with the themes of childhood, adolescence and encounters with cinema in a Westernized Iran. The authors of such memoirs frequently depict Iran as a haven for cinephiles. Considering the number of films that were shown in pre-Revolutionary Iran and the diversity of their origins, this may be taken as an accurate characterization.

Such melancholic documentations of the past echo the feelings of a generation lost, misplaced and confused after the Revolution; people who are utterly unable to re-situate themselves in the new post-Revolutionary nation and after the trauma of an eight year war. However, this longing for a paradise lost can function as a kind of subjective history of film culture in Iran; while by studying them one would also be able to draw a picture of how Iran responded to Western culture in the period between 1950s and the late 1970s.

Mehrnaz Saeed-Vafa, 1980s
Revolutions provide a clear point of reference for grasping the time and space in the nation’s psyche. History—otherwise obscure—becomes deceptively clear and classifiable. With a contemporary revolution written on the pages of a country’s history, everything becomes divided into two very distinctive and clashing modes of aesthetics: before the revolution and after the revolution. These are the terms most frequently used in a revolutionary country—more than “hello” and “goodbye”!

A Woman Under the Influence [On Jerry and Me]



زني تحت تأثير
دربارۀ «جري و من» مستند تازۀ مهرناز سعيدوفا
 كارگردان، فيلم‌نامه‌نويس، تدوين و گفتار متن: مهرناز سعيدوفا. 38 دقيقه، 2012، آمريكا. نمايش داده شده در فستيوال‌هاي ادينبورو (2012)، روتردام (2013) و گلاسگو (2013).
***
مجله‌هاي سينمايي ايران شايد تنها مجلات سينمايي باشند كه بخشي ثابت و محبوب براي چاپ خاطرات و نوشته‌هايي با زباني توام با حسرت و دريغ از گذشته دارند كه در قالب بهاريه‌ها و نامه‌نگاري‌ها ظاهر مي‌شود. اين آثار معمولاً براي كاركرد نوستالژيكشان منتشر مي‌شوند، اگرچه بعضاً مي‌توانند اعتباري هم به عنوان گونه‌اي از تاريخ شفاهي داشته باشند. اما وجه اشتراك تقريباً تمام اين نگاه‌هاي به گذشته، از چشم‌انداز سينما، حسي از غبن و شكست و گم‌گشتگي بهشتي ذهني است كه شايد هرگز وجود نداشته است. معمولاً تكيه به گذشته و تصوير بهشتي زميني در ذهن نويسنده‌اي كه آه و دريغ از گذر زمان دارد، نشانه‌اي است از عدم رضايت از زمان حال و به دنبال آن تلاش براي قرار دادن خود در نقطه‌اي كه وجود آدمي حسي از تعلق تاريخي داشته باشد. واضح است كه در شرايطي كه تنها يك زمان حال براي زندگي تعريف شده، حافظه تنها عنصري است كه اجازه دارد سفري آزاد به گذشته داشته باشد، بخش‌هايي از آن را برگزيند و گذشته آرمانيِ صاحبِ ذهن را رقم بزند. همۀ ما كمابيش چنين سفرهاي روزانه‌اي داريم، اما همۀ ما اين سفرها را مكتوب نمي‌كنيم و يا موضوع يك فيلم قرار نمي‌دهيم.

Wednesday 14 June 2017

Upcoming Screening: Abbas Kiarostami's Political Allegories

Solution No. 1


Playing tonight (June 14, 7:30 PM) at Close-Up Film Centre in London. Booking.



First Graders [Avvaliha]
Abbas Kiarostami
1985 | 79 min | Colour

First Graders is best considered as a companion film to Homework. Both deal in the most explicit way with issues of primary school education, with deviations for the sake of meta-poetic or political commentary. This film serves less as a critique of the educational system, instead focusing on the role of the school headmaster, who resembles the judge in Close-Up. He is a patient, spiritual figure who restores order and with this portrait Kiarostami provides a subtle and somehow sympathetic image of a totalitarian leader, in which there is both ambiguity and irony.” – Ehsan Khoshbakht

Thursday 11 May 2017

Jazz as Visual Language [Book Review]

Director Gjon Mili on the set of Jammin the Blues with bassist Red Callender and saxophonist Lester Young
Developing alongside cinema in the twentieth century, recorded jazz, like film, epitomised art in the age of mechanical reproduction. The two art forms complemented each other too. “Jazz was never just a music,” Nicolas Pillai claims in Jazz as Visual Language, “live performance promised spectacle.” In this regard, cinema helped us to better understand jazz; to see Thelonious Monk playing for instance, the gestures made with his elbows and feet, is a fundamental part of the jazz experience.



Thursday 27 April 2017

Lincoln Is Still the Best Thing Built By Ford [on Neil Young Journeys]



Re-posted on April 27, 2017, in memory of Jonathan Demme (1944-2017)


In the last three years the number of films made with or about (and occasionally by) Neil Young has mounted up to the extent that is difficult to remember which song was in which film. Parallel to an overdose of NY album releases - marked by two recent, and rather disappointing, Crazy Horse sessions - camera seems to love this Canadian singer/songwriter, still, at 66, a restless rocker in search of a Woodstock dream. Also, the age, 66, resembles the golden number American popular music and the cross country highway of freedom in anything from Nat King Cole to Dennis Hopper.

The aforementioned filmic portrayals are: in 2009 Young was given his entry to the American Masters series in Don't Be Denied. Unlike Bob Dylan film from the same program, which had Martin Scorsese’s name in the credit, Don't Be Denied was denied soon after its initial broadcast and went into oblivion. On the same year, Jonathan Demme filmed the electric storm of a NY tour in Trunk Show. In 2010 the electric solo album, Le Noise, with its murky, elegiac lyricism turned into a 40 minute-long YouTube video, shot in a beautiful L.A. mansion with a feeling of LSD all throughout the film. And now, Demme’s fourth film with NY (after Complex Sessions, 1994; Heart of Gold, 2006 and Trunk Show) seems in better shape and Younger than all the recent efforts.

On Neil Young Journeys



بازنشر به یاد جاناتان دمی (2017-1944)


سفرهاي نيل يانگ (2011)
كارگردان: جاناتان دمي؛ فيلم‌بردار: دِكلان كويين؛ تدوين: گِلن آلن؛ با حضور: نيل يانگ.
87 دقيقه، رنگي.

آن‌قدر تعداد فيلم‌هاي ساخته شده دربارۀ نيل يانگ، ظرف دو سه سال اخير زياد بوده كه حسابشان از دست در رفته: Don't Be Denied (2009) مستندي بود معمولي براي همان مجموعه‌اي كه اسكورسيزي مستند باب ديلن را ساخت، با اين تفاوت كه فيلم يانگ به سرعت فراموش شد؛ در همان سال جاناتان دمي تور الكتريك نيل يانگ را موضوع فيلمِ طولاني و طوفانيِ Trunk Show قرار داد؛ سال بعد، آلبومِ عاليِ سولو و الكتريكِ Le Noise به فيلمي چهل دقيقه‌اي كه در ويلايي قديمي و فاخر در لوس‌آنجلس فيلم‌برداري شده بود تبديل شد و حالا چهارمين همكاري جاناتان دمي و يانگ (پس از نشست‌هاي پيچيده، 1994؛ هارت آف گولد، 2006؛ Trunk Show) در فيلمي كه از همۀ مستندهاي يادشده بهتر از كار درآمده.
عمداً گفتم «درآمده» چون رابطۀ دِمي و يانگ (به عنوان فيلم‌ساز و سوژه) بيش‌تر تصادفي و موكول به لحظه به نظر مي‌رسد تا رابطه‌اي حساب‌شده و داراي ساختاري از قبلْ معلوم، مثلِ كاري كه دِمي براي گروه «تاكينگ هِدز» در Stop Making Sense (1984) كرد. دِمي در اين سال‌ها بيش‌تر به نوعي ويدئوگرافِر يانگ تبديل شده و اين فيلم‌ها درست مثل اينند كه دوستي، دوستِ ديگر را با دوربين كوچكي همراهي مي‌كند و شنوندۀ خوبي است براي قصه‌هايش و ترانه‌هايش. اما همه جا كار محدود به همراهي و ثبت لحظه نمي‌شود، جاهايي هست كه دمي گناه مي‌داند اگر شور غريبِ نيل يانگِ 66 ساله را در هنگامِ اجراي آهنگِ «اوهايو» محدود به گرفتن دوربين جلوي مرد و گيتارش كند. دِمي، همان‌طور كه انگار يانگ دارد دوباره آهنگ را روي صحنه از نو مي‌نويسد، دوربين‌ها را براي كنكاش در صورت يانگ و كاويدن احساساتش مثل ميكروسكوپ به كار مي‌برد. واقعيت اين است كه يانگ در بخش‌هاي كيارستمي‌وارِ پشت فرمانِ كاديلاكِ قديمي‌اش كه با سوخت بيوديزل، نوعي روغن گياهي، كار مي‌كند وقتي از كودكي‌اش حرف مي‌زند پيرمردي است شوخ و ساده كه از كلمه‌هاي محدودي براي ابراز علاقه‌اش به چيزهايي كه دوست دارد استفاده مي‌كند، اما همين مرد، يا دقيق‌ترْ صورت او، روي صحنه تغييري مي‌كند از زمين تا آسمان. جدي و تلخ مي‌شود. چشم‌هايش بسته مي‌ماند. سرش را به ندرت بالا مي‌گيرد. حركاتش به رقصي مثل رقص سرخپوستان در مراسمي مقدس مي‌ماند. به محض اين‌كه گيتارش به برق زده مي‌شود، سيم ارتباطش با دنياي بيرون قطع مي‌شود. بيراه نيست كه نمايي از تماشاگران در فيلم وجود ندارد.

Tuesday 28 February 2017

Screening of Filmfarsi (work in progress) at The Essay Film Festival


Since late 2015, I have been busy working on a documentary about Iranian pre-revolutionary mainstream cinema called Filmfarsi.

In the last 18 months or so, the film has been shaped up, shortened (from an "epic version" which ran nearly for three hours), but also "tested" during two work in progress screenings at the cinematheque of Copenhagen (played to a full house) and the Stadtkino in Basel, Switzerland.

The third sneak preview of the film will be at the Essay Film Festival in London and can be booked here.

Yusef Sayed on the film:

"Filmfarsi was the cinema of a nation with a split personality”, says filmmaker Ehsan Khoshbakht in this film-critical history of Iran under the Shah.

Khoshbakht’s found-footage essay film Filmfarsi salvages low budget thrillers and melodramas suppressed following the 1979 Islamic revolution. These films defined Iranian cinema in the 1960s and 70s, when the industry shared an equal percentage of the market with the USA. Little more than VHS rips remain.

Khoshbakht here uncovers that which was thought destroyed. A cinema of titillation, action and big emotions, which also presented a troubling mirror for the country, as Iran struggled to reconcile its religious traditions with the turbulence of modernity, and the influences of the West. There are remakes and rip-offs, even a Persian Vertigo. The often cheap, sleazy and derivative films offer an insight into Iran’s psyche.

Saturday 4 February 2017

Chelsea Girls: The 32mm Experience


فيلمِ مضاعف، صبر و اندی وارهول
آزمون 32 ميلي‌متري

تصور من اين است كه تماشاگر سينما به نسبت گذشته صبورتر شده و مبناي اين قضاوت مقايسه‌اي است بين آن چه اين روزها مي‌بينم با آن‌چه كه به شكل مكتوب از واكنش تماشاگران سينما نسبت به آثار نامعمول (چه از نظر طول فيلم و چه سوژه آن) در دهه‌هاي گذشته ثبت شده است. تماشاگر بي‌تاب در دوره‌هاي مختلف، بسته به سطح اجتماعي و فرهنگي‌اش، بي‌علاقگي به فيلم را با سوت، فرياد، آسيب رساندن به سالن، و گهگاه حمله به پرده سينما نشان داده است. ژان رنوار هميشه بهانۀ خوبي براي تماشاگر بي‌حوصله بوده است. از نمايش رسوايي‌ برانگيز قاعدۀ بازي در شانزه‌ليزه (كه نشان مي‌دهد واكنش تند و خشن نسبت به يك فيلم چندان هم به زمينۀ فرهنگي بيننده مربوط نمي‌شود) كه مردم در سالن سينما روزنامه‌ها را آتش زدند تا نمايش مشهور رودخانۀ او در تهران - به همت دكتر هوشنگ كاووسي - كه زير سايۀ سنگين پاسبان‌ها، آشوبگران و صندلي‌پاره‌كن‌ها به سكوت فرو رفتند و شاهكار رنوار را تا آخر تاب آوردند، تاريخ پرماجرايي داريم از آشوب در سالن سينما. نكته قابل توجه اين است كه اين حوادث معمولاً براي سينماي غيرتجاري رخ مي‌دهد و من هرگز به هيچ خاطرۀ ثبت شده‌اي برنخوردم كه مثلاً تماشاگران در هنگام تماشاي جنگ ستارگان اعتراض كرده باشند كه اين ديگر چه فيلمي است و صندلي‌ها را به اين خاطر درانده باشند.

Tuesday 13 December 2016

LFF#60: Films Consume Us, Part II



گزارش شصتمين دورۀ فستيوال فيلم لندن، (سپتامبر و) اکتبر 2016 بخش دوم
فیلم‌ها ما را مصرف می‌کنند
احسان خوش‌بخت

تهديدهاي واقعي و سمبوليك: بهترين‌هاي مستند و كوتاه

روياهاي دم صبح (مهرداد اسكويي؛ ايران)
نزديكترين چيز به اين مستند نقاشي‌هاي رنسانس از صورت معصومين است كه يك خرابكار رويش نوار صدايي گذاشته باشد در تضاد با آن چه از چهره خوانده مي‌شود. مستند اسكويي دربارۀ يك مركز بازپروري (كه براي تماشاگر غيرايراني چندان روشن نيست كه اين يك زندان است يا آسايشگاه. حتي براي من هم روشن نيست) اثري است كه براي همدردي و همراهي ساخته شده و در اين مسير همدردي نوعي پژوهش درجه اول هم به شمار مي‌رود. مدت‌ها بود فيلمي نديده بودم كه تماشاگر سالن سينما (در يكي از سينماهاي تجاري «وست اند» كه در آن پاپ كورن هم فروخته ميشود) فرصت يا جرأت نفس كشيدن پيدا نكند كه شايد به خودي خود امتيازي نباشد و شايد فيلم به لحظاتي براي نفس كشيدن نياز داشت.

Wednesday 23 November 2016

Tales from LFF#59: Waiting for Absolute Shot, V

ترامبو
گزارش پنجاه و نهمين جشنواره فيلم لندن، 2015، بخش پنجم
در انتظار نماي مطلق
احسان خوش‌بخت


10 هنر و مستند
مستندهايي راجع به هنرهاي ديگر عكاسي، موسيقي و البته خود سينما - نه فقط در لندن، بلكه در هر فستيوال ديگري جايي ثابت دارند. در اين دسته، موج در مقابل ساحل (مارتين اشتربا) مستندي است دربارۀ موج نوي عكاسي در چكسلواكي سابق كه عمدتاً از مصاحبه با بازماندگان جنبش ساخته شده، اما ايراد فيلم اين است كه سعي مي‌كند مثل سوژه‌هايش انقلابي باشد، اما برخلاف آن‌ها بازيگوشي فيلم غيرطبيعي و زوركي است و منهاي دادن فرصت به بيننده براي ديدن عكس‌هاي درخشان اين گروه ارزش خاص ديگري ندارد.
شعر انساني برهنه است، فيلم هرگز به نمايش عمومي درنيامده لس بلنك دربارۀ خواننده راك و كانتري، لئون راسل، كه بعد از 41 سال رنگ پرده را مي‌بيند به جاي ستاره موسيقي به محيط جغرافيايي و فرهنگي محل تولدش، اوكلاهاما، مي‌پردازد. بعضي از اساتيد موسيقي كانتري (جرج جونز، ويلي نلسون، چارلي مك‌كوي) در فيلم ظاهر مي‌شوند، يكي دو آهنگ اجرا مي‌كنند و مي‌روند. فيلم برخلاف موج در مقابل ساحل، پر از ديوانگي‌هاي واقعيِ سينماي هيپي‌هاست، اما در عين حال ارز‌ش‌هاي مردم‌شناسانه نيز دارد.

Tuesday 22 November 2016

Tales from LFF#59: Waiting for Absolute Shot, IV


گزارش پنجاه و نهمين جشنواره فيلم لندن، 2015، بخش چهارم
در انتظار نماي مطلق
احسان خوش‌بخت


8 يك پيكسِل مرده
ترس هنوز در لندن پنجاه و نه ادامه دارد. يكي از جذابيت‌هاي سينماي وحشت معاصر در تلاش‌هاي فرمي و ساختاري آن براي دور شدن از قالب‌هاي آشناي وحشت نهفته است. بزرگ نشو، كه مو به مو به فرمول‌ها وفادار مي‌ماند، يك شكست محض از كار درمي‌آيد، اما به اين چهار نمونه دقت كنيد كه آن‌ها را به ترتيب موفقيت‌شان در گسست از كليشه‌هاي ژانري فهرست كرده‌ام:
طبقه پاييني‌ها (ديويد فار): اين فيلم با اين كه بيش از حد وامدار بچه رزمري به نظر مي‌رسد، اما اثر معقولي دربارۀ ترس‌هاي عقيم ماندن و بي‌فرزندْ زيستن است. فيلم رابطه دو زوج در دو طبقه ساختماني قديمي در لندن را نشان مي‌دهد و طبق آن كليشۀ قديمي، يكي فكر مي‌كند آن ديگري قصد دزديدن بچه‌اش را دارد. كمي بعد پارانويا به واقعيت تبديل مي‌شود.

Wednesday 28 September 2016

Keith Richards: Under the Influence (2015)

كيت ريچاردز: تحت نفوذ (2015)
كارگردان: مورگان نويل

پير شدن و احتضار سينما چند درس براي ما داشته است. يكي از آن‌ها اين است كه در سينما اگر شخصيتي حرف زدن بلد است و منظورم اين است كه واقعاً بلد باشد بگذار حرف بزند. فيلم مي‌تواند روي همين جذابيت يك‌بعدي پيش برود. از اين قاعده، كلود لانزمان (آخرين نامحق)، مارتين اسكورسيزي (خطابه)، شرلي كلارك (پرترۀ جيسن) و پرويز كيمياوي (پ مثل پليكان) به خوبي باخبرند.
فيلم‌هاي مبتني بر گفتگو، زبان و شيوه‌هاي بياني غيرقراردادي، به خصوص وقتي محور اصلي فقط يك شخصيت است فيلم را به نحو مطبوعي به ادبيات نزديك مي‌كند؛ انگار كسي دارد براي شما كتاب مي‌خواند و تصاوير بايد هم‌زمان با ديدن فيلم در ذهن ساخته شود. اما مسلم است كه در اين فيلم‌ها فقط صدا نيست كه به كار مي‌آيد. تصوير هم حضور دارند و منطق توالي‌ا‌ش بر اساس نيروي روايت كلام و براي تأكيد يا تكذيب آن است. اين‌جاست كه سينما و ادبيات وارد مناظره مي‌شوند.
مستند كيت ريچاردز: تحت نفوذ، تهيه شده توسط Netflix، شايد از نظر سينمايي فيلم مهمي نباشد (كه نيست) اما همانطور كه اسمش نويد مي‌دهد گيتاريست، خوانندۀ دوم، و هر از گاه نوازندۀ گيتار باس گروه رولينگ استونز را سوژۀ فيلم قرار داده. در لكنتِ مطبوع‌ ريچاردز، بيننده، صداي شيواي ديوانگي براي راك اندرول را مي‌شنود. ريچاردز، مثل نمونه‌هاي ديگري از داستان‌گويان بالا به خصوص آقا سيد علي ميرزا -  تركيبي ايده‌آل براي دوربين دارد: صداي بلوزي‌اش را شصت سال سيگار مثل صفحه‌اي قديمي خش‌دار كرده و چشم‌هايش به چشم شيطانِ بازنشسته‌اي مي‌ماند كه مثل تيلۀ بچه‌ها برقي از اميد مي‌زند.

Thursday 19 May 2016

Chris Marker on Forough Farrokhzad

Forough Farrokhzad


The House Is Black (1962) will be screened next month as a part of Golestan Film Studio retrospective at Il Cinema Ritrovato. My good friend Rym Quartsi kindly took the time to translate this piece by Chris Marker from original French (first appeared on Cinéma 67, no. 117, June 1967, on the occasion of the death of Forough). Another friend, Laura Montero Plata, gave me a couple of suggestions after reading it for which I should thank her as well.

***



Black, abrupt, ardent. These vague words make of her a portrait so precise that you will recognize her amongst thousands. February 13, at 4:30 PM, Forough Farrokhzad died in a car accident in Tehran. She was one of the greatest contemporary Persian poets, and she was also a filmmaker. She had directed The House Is Black, a short feature on the lepers, Grand Prix at Oberhausen, and beyond that practically unknown in Europe, and which is a masterpiece. She was thirty-three years old. She was equally made of magic and energy, she was the Queen of Sheba described by Stendhal. It was particularly the courage. She sought no alibis for herself, no pledges, she knew the horror of the world as well as the despair professionals, she felt the need to fight as well as the justice professionals, but she had not betrayed her deep chant.

Sunday 1 May 2016

Fuocoammare (2016)

دِريا موجه كاكا
احسان خوش‌بخت

آتش در دريا را فقط يك‌بار و در وسط ماراتوني از فيلم‌هاي برليناله ديدم، بنابراين چندان منصفانه نيست كه اين نوشته را «نقد فيلم» ناميد. اجازه بدهيد به اين قناعت كنيم كه اين متن مختصر را برداشت‌هاي اوليه از فيلم درخشان جيانفرانكو روسي، و اگر مقدور بود دعوتي به دنياي يكي از بزرگ‌ترين مستندسازان امروز بخوانيم.
آتش در دريا كه براي اولين بار در فستيوال فيلم برلين به نمايش درآمد و خرس طلايي را از آن خود كرد يادآور موازنۀ حساب شدۀ فستيوال بين تعهد سياسي و نوآوري سينمايي است. برليناله فستيوالي سياسي است و در اين شكي نيست. اما اين سينماست كه به عنوان ابزار سياسي چه لنين آن را فهميده بود و چه از درك آن غافل مانده بود توسط خالقان اين هنر به كار گرفته مي‌شود و هنر برليناله، برخلاف فستيوال‌هاي بزرگ ديگر، در اين جاست كه اين پتانسيل و ضرورت را به رسميت مي‌شناسد. ما سينمادوستان هم اين ويژگي انقلابي برلين را دوست داريم، منتهي ظاهراً تا زماني كه جايزه اول به فيلمي از كشور خودمان داده نشود.

Wednesday 16 March 2016

10 Best Documentaries of 2015


 ده مستند برگزيدۀ سال 2015
احسان خوش‌بخت

سال ميلادي گذشته سال مهمي براي سينماي مستند بود، چون تقريباً بيش‌تر فستيوال‌هاي ردۀ الف اروپايي حداقل يك مستند در بخش مسابقه داشتند. اما مهم‌تر اين كه اين مستندها آثاري‌اند كه بر خلاف بسياري از فيلم‌هاي داستاني نمايش داده شده در طي سال بار سياسي مستقيمي دارند كه در تقابل با سينماي عقيم تجاري قرار مي‌گيرد. اين ده انتخاب، از بين آن آثاري‌اند كه در فستيوال‌ها يا در اكران‌هاي عمومي در اروپا به نمايش درآمده‌اند:

10
نشنال گالري (فردريك وايزمن؛ فرانسه/آمريكا/بريتانيا)
اين مطالعه درخشانِ موزۀ نشنال گالري در لندن در ردۀ فيلم‌هاي «هنرهاي اروپايي» وايزمن جا مي‌گيرد (كه آثار پيشين آن فيلم‌هاي مثل رقص و كريزي هورس هستند) و در آن از خود كلكسيون عظيم موزه تا نحوۀ قاب گرفتن و مرمت كردنشان با چنان جزيياتي نمايش داده مي‌شود كه از تماشاي بتمن عليه سوپرمن غافل‌گيركننده‌تر است. صبر و دقت وايزمن مثل يكي از آن نقاش‌هاي منظر قرن هجدهمي است كه ماه‌ها را به مطالعه يك منظر و سپس ثبت آن روي بوم مي‌گذراند.

Thursday 31 December 2015

Fantasy Double Feature of 2015 (for Notebook's 8th Writers Poll)


NEW: Ella Maillart: Double Journey (Antonio Bigini, Mariann Lewinsky, 2015)
SLIGHTLY OLD: Jag stannar tiden (Gunilla Bresky, 2014)
VERY OLD: Casting Ella Maillart (Jean Grémillon, 1926) [short]

Though the terms “double journey” appears only in the title of one of the main two films, they both are cinematic double journeys. They exist because someone has undertaken a difficult trip, filmed it, and now a contemporary filmmaker can put the fragments of the past together and reconstruct not only the journey but also a lost cinema.

One traveler is Swiss, the other, a Russian. The Swiss Ella Maillart (1903-1997) drove her Ford car (accompanied by Annemarie Schwarzenbach) all the way from Geneva to Iran and Afghanistan, documenting on film and photograph various stages of the trip. The Russian war cinematographer Vladislav Mikosha (1909-2004), filmed the atrocities during the war (most of which were deemed too distressful to be used in propaganda newsreels), and as a part of The American-Russian Cultural Association made a trip to Hollywood where he dance with Hedy Lamarr.

Both films are about using cinema as means of leaving the troubled world behind and escaping to a new safe zone. Yet, both stories are reminiscing of post-digital filmmaking, where film footage, text and travel (to film festivals?) come into the service of the adventurer/narrator.

Jag stannar tiden is more about the Second World War, though Double Journey is also dealing with it from afar where the war appears in the form of news pieces and speculations in Maillart’s diary book. Nevertheless, they both are conceived as visual diaries. In Ella Maillart’s case, the diary is used as the map/script of the journey/film by Lewinsky/Bigini. Mikosha’s diary is arguably more elaborate and detailed. He is not allowed to film while on a mission in London, so text is the only means of picturing an ordinary night in the life of Londoners when they keep watching an Ingrid Bergman film under the blitz. The cinema screen trembles throughout the screening, as if Ingrid Bergman, thousands of miles away shooting For Whom the Bell Tolls, is trembling in fear for Europe. Later on, Mikosha tells that story to Bergman herself and she cries.

Regarding things that cannot be filmed, Maillart remains more clandestine and when she’s not allowed to film something, it doesn’t mean that she wouldn’t do so. That’s how in the middle of the film I caught a glimpse of my hometown in color. Most probably the first color footage of Mashhad, Iran in film history, Maillart secretly films the Holly Shrine of Imam Reza and its golden dome.

Between the two films, one can be given the chance to observe Ella Maillart in person, as documented by Jean Grémillon’s camera. Casting Ella Maillart lasts for two minutes and is nothing short of a painted portrait. Hence, one can see the whole programme as an investigation into various landscapes of the soul, when the outer world is a projection of what the traveler feels or wants to feel inside.

Sunday 25 October 2015

LFF#59: 5 Documentaries


Five documentaries from the 59th London Film Festival, reviewed by Kiomars Vejdani

1
HE NAMED ME MALALA
Director : Davis Guggenheim
USA 2015

The story of Malala Yousafzai has received so much attention by public media. A fifteen year old girl who was shot by Taliban for openly opposing their suppressive regime, subsequently rising to the level of international fame having audition with Queen and President Obama and eventually awarded Nobel Peace Prize. But international fame has made her a controversial figure open to debates. Some of her admirers see her achievements as her destiny decided by powers higher above, drawing a parallel between her and a legendary figure of the same name who with her words inspired the army of her country to win a battle over a more powerful enemy. A less sympathetic group see her fame in the light of propaganda created by the West against Taliban. But some facts remain indisputable. Malala is a courageous girl who after being shot by Taliban has not stopped her fight against them. She has a close relationship with her father who is an intelligent, cultured, and enlightened man. Her way of thinking is very much influenced by her father. She is brought up to believe in freedom of people and human rights. She has had a good education. Her speeches are well articulated. Some speculate that her speeches are written by her father but that is not for certain. At interview when faced with an unexpected question she comes up with a well formulated answer. Davis Guggenheim for making his documentary has had a great deal of material to use ( as Malala has been photographed and filmed a lot ). In treatment of his subject he has glorified Malala to the extreme. He particularly highlights the similarity between Malala,s character and her legendary namesake. The end result is a well compiled picture of an emotive subject. But how truthful ?


2
BRAND: A SECOND COMING
Director :Ondi Timoner
UK 2015

Russell Brand as an Stand up comedian is famous for his loud volume of voice, a non- stop barrage of words and jokes which, although at times witty, are mostly vulgar and not to everyone,s taste. But this documentary about him reveals the other side of his character showing that he can be a more interesting person out side the stage. Film focuses, not on Russell,s stage career and scandals of sex and drugs ( although they have been covered adequately ) but more so on his personality and politics which are very much inter -related. The picture that emerges is a manic character with an over-active brain, non -stop coming up with ideas which are immediately voices without being checked for their logic. His uninhibited nature can not accept control. If anything he controls and dominates other ( as shown in the funny scene of American TV interview) with regard to his politics he has a sharp wit to instinctively notice problems but his disorganized way of thinking comes up with solutions which at best are unrealistic and at worse dangerous. Any possibility of his engaging in politics would be nothing short of disastrous. The film tries to present as honest a picture of him as possible. But in the end gives up defending something which is not defensible. In the words of Brand,s manager :” Ask Russell all the questions. But do not follow him”


3
CENSORED VOICES 
Director : Mor Loushy
Israel 2015

During Six Day War in 1967 between Israel and Arab countries leading to Israel,s remarkable victory, some Israeli soldiers were interviewed as they were making their advance towards Jerusalem. The recorded interviews reveals a very different story. A dark truth behind the glory of liberation of Jerusalem. Many soldiers admit that while initially they were proud of their victory, they gradually began to see their role as aggressors. They express the shame and guilt for their treatment of Arab people, making them leave their homes ( in the words of one soldier making them refugees in their own country ) The recorded interviews were only allowed to be partly released. In this film, for the first time and after many years, we can hear them uncensored and in their totality. Director Mor Loushy uses their recording on the soundtrack of the film as a basis for his documentary. They are visually accompanied by authentic ( and rarely seen ) archive material carefully matched with the narrative on the soundtrack. Added to the archive material are shots of key figures commenting on the events of the past. The message coming across is the futility of war, putting more value on human life than conquering lands. A strong anti war film with a moral tone to match.


4
THE FEAR OF 13
Director : David Sington
UK 2015

It is a documentary about Nick Yarris, a prisoner accused of murder and on Death Row, who after 23 years trying to prove his innocence appealed to Court for his execution. The film is entirely made of showing him talking to the camera. He is a great story teller. He talks about his criminal past, drug addiction, burglary, car stealing, and acts of violence (but not murder ). He tells us about prison wardens and their acts atrocity towards him as well as other prisoners, his relationship with a female volunteer visitor which led to romance and marriage. Later on breakdown of that marriage could have something to do with his appeal for execution. Eventually with advance of science and discovery of DNA he could prove his innocence and was released from prison. He saw his freedom as a second chance life has given him and decided to reform himself. Since then he has become a virtuous man, leading a respectable life, helping drug addicts and criminals with similar problems of his own in the past. He now lives in UK ( away from his reputation of the past ). He is married and has a daughter. A very positive and heart-warming film.
Even more interesting than film was presence of Nick Yarris at the screening, answering questions from the audience, gaining sympathy,respect,and admiration of everyone.


5
SOMETHING BETTER TO COME
Director : Hanna Polak
Denmark – Poland 2014

Only thirteen miles out side Moscow there is a huge garbage site of several miles in dimension. A crowd of homeless people live there. They try to survive by finding whatever left over food in the rubbish, and build some shelter by any means they get hold of to protect them against cold winter. The rate of crime, prostitution, drug abuse and alcoholism is high. A good number do not survive for too long. Director Hanna Polak decided to film this group ( secretly and away from the watchful eyes of police and authority ) Soon she noticed Yula a ten year old girl who was born on the site and decided to film her over the next fourteen years ( a method not dissimilar to Richard Link later,s Boyhood ). The result is document on human misery unimaginable at the heart of our present day civilisation.

Saturday 17 October 2015

Francofonia (Alexander Sokurov, 2015)


FRANCOFONIA
Director: Alexander Sokurov; France/Germany/Netherlands, 2015
Reviewed by Kiomars Vejdani

The story of Louvre told the way only Alexander Sukorov can tell with a style as unique and distinguished as ever. Similarity of its visual treatment to Russian Arc (except its continuous take) is very noticeable. Like the previous film it takes us on a journey through time. From historical origin of Louvre and building of the castle in its initial form through different stages of its development with added structures, right up to its present day state. In his presentation of Louvre Sokurov's main emphasis is on its role in preservation of cultural and artistic heritage of France as the foundation of civilization. In developing his theme Sokurov resorts to any device. He takes us back and forth in time, moves between reality and fantasy. He uses any visual element at his disposal: archive material, dramatic re-enactment, and animation. He brings characters from history back to life. He jokes with them (Napoleon in particular is object of his fun), and in the end tells them their future. Accompanying the images we have Sokurov's continuous informative, and at times sarcastic commentary. Francofonia is more than a documentary. It is a document on necessity of having something of lasting values in the imperfect world of mankind.

Friday 16 October 2015

El botón de nácar (Patricio Guzmán, 2015)


PEARL BUTTON
Director: Patricio Guzmán; France/Chile/Spain, 2015
Reviewed by Kiomars Vejdani

Patricio Guzmán in his new film uses the same format as Nostalgia for the Light, starting with exploration of nature by science and ending up with investigation of crimes committed by the dictatorial regime of Pinochet in Chile. In the previous film he used astronomy to explore stars in the universe and archaeology to find about early history of mankind in the sands of Atacama desert. But in his new film the object of his scientific exploration is water. It is argued that water is not only the source of life and its creation, but also the agent of its transfer between planets. The existence of water (and hence life) on other planets has been explored by scientific methods. On planet earth people at ancient times used water to move to new areas, settle and build their homes. They enjoyed a peaceful and happy life until Europeans arrived and a chain of exploitation and atrocity in countries like Chile began with criminal acts of previous dictatorial regime as its last link. Throughout the film Guzmán's running commentary is delivered in measured pace to accompany his poetic images. Presentation of atrocities in this film is not as elaborate as in Nostalgia for the Light, nevertheless it is equally powerful, specially in the section about throwing bodies attached to pieces of heavy metal from the aeroplane into the ocean to conceal evidences of their crimes. We see one of these pieces of metal brought back from the bottom of the sea by the divers. The human body is completely dissolved by the salt water of the ocean over the years. The only thing left of it is a pearl button implanted into the metal. The whole history of criminal acts of dictatorial regime is encapsulated in this tiny button.

Monday 12 October 2015

Jia Zhangke, A Guy from Fenyang (Walter Salles, 2015)


JIA ZHANGKE, A GUY FROM FENYANG
Director: Walter Salles; Brazil, 2015
Reviewed by Kiomars Vejdani

A film about a great director, made by another great. Walter Salles' documentary on Jia Zhangke is mainly made of conversation between the two filmmakers, while they visit various places from Zhangke's past life, including some of the locations used in his films. Tone of conversation is informal and friendly. Zhangke talks freely about his younger days and mischievous acts. He mentions his favourite films including some he remembers from his childhood (interestingly among them we see Raj Kapoor's Awara).  Further comments come from people in his life, including his wife and actress of his films Zhao Tao. The film gives an informative picture of Zhangke's world and the relationship between his life and his work. Walter Salles, treatment of his subject is intimate and friendly. But his affectionate respect for his follow filmmaker is felt throughout.