With five new films, four of them indicative examples of an alternative cinema, independent productions from Britain and America, Iranian drama, a documentary about the wounded arteries of the planet, the film week opens tonight. These are dramatic films “Boiling point”by Steven Graham“After Young”, with Colin Farrell, “Her Ballad White Cow “ from Iran and the Australian documentary “River”. The children’s animation is also shown “Always in the Red”.
Boiling Point. Drama film, British production of 2021, directed Philip Baradini, with Steven Graham, Jason Fleming, Ray Panthaki, Hannah Walters, Vinet Robinson, Alice Faithham and others.
Drama … of cuisine, but also of characters, with the agony escalating, as the stoves, pots and pans catch fire, the crazy demands and the competition kill the calm of a creative night and the chef, who plays his good name , to reach its extremities – like a soufflé ready to explode, but remains at mouth temperature, ready to eat. An unexpectedly interesting film of the independent British cinema by Philip Baradini, who chooses to shoot it in a suffocating way, which looks like a monoplane and the camera in his hand, giving the feeling of suffocation, both for the characters of the film and for the viewer.
With TV cooking reality shows gaining traction in recent years, the story of the film may seem like an attempt to redeem the kitchen gel to the public, but that is not the goal – or at least not the main goal.
THE Barandini takes us to Christmas, to one of those London restaurants, where to book a table you have to have a medium and a thick wallet, in which everything shows, from the beginning, that something is wrong. The chef is late, the preparations are behind, the demands of the customers seem absurd, unexpected kitchen accidents and much more that will make the glowing eye of the kitchen look like the butt of tortured cooks.
Baradini’s unconventional directorial look, which avoids the conveniences, clichés and recipes that lead to -tV- acceptance and success, highlights the harshness of daily survival, human weaknesses, the lost meaning of life, with the actors playing and the role of the editor, as their movement leads the shots, the scenes, the drama. Baradini, although he sometimes seems unable to lift the weight of the risky mode of cinematography he has chosen and seems unable to realize to some extent what he had in mind, limited in his own finding, is definitely worth it. praise for his courage, as well as for his anti-commercial and realistically pessimistic finale.
THE Steven Grahamon his part, reminding him of impetuousness and vigor Al Pacino in his youth, he will carry out a demanding role, giving power to the entire cast.
IN A FEW WORDSAndy, the chef of a distinguished restaurant, arrives belatedly to find that everything has gone back due to a sudden inspection by the sanitary. And the problems do not stop there. During a single shift, Andy and the rest of the restaurant staff are asked to deal with irrational customers, staff fights, accidents, injuries, open accounts from the past and all with orders running and the kitchen having to cope. Will he be able to meet another night of devastating pressure? In this kitchen nothing is as it seems…
THE White Cow Ballad (Ballad of a White Cow). Drama film, Iranian and French production of 2020, directed Behtas Sanaeha and Mariam Mogadamwith Sunny Far, Mariam Mogadam, Pouria Rahimi Sam, Lily Farhadpour etc.
From the foreground you understand that this is a strong film, another genuine example of the great school of Iranian cinema, which is constantly gaining fans, is the most serious alternative to the powerful film industries and every year introduces us remarkable new names both in directing. as well as in acting.
A solid anthropocentric drama, directed by the couple – and in life – Behtas Sanaeha and Mariam Mogadam and conveys with a directorial perfection, which surprises a woman’s unequal battle against a male atherosclerotic, fortified behind the bureaucracy and bureaucracy. .
A woman, whose husband was found guilty of murder and executed, a year later learns from the authorities that in the end someone else was guilty and is offered a financial compensation. The woman, having huge financial problems and a deaf daughter, will seek the moral justification of her blessed husband, facing the relentless bureaucracy, while at the same time an unknown man will appear, an old friend of her husband, who wants to help her financially. .
Despite the evocative direction, the inspiring shots, the good interpretations and the technical perfection, the film seems to lose half of its spirits, to waste time in vain for the heroine’s relationship with the mysterious man. However, the rise of female bravery in the face of an unrelenting judicial system, which defends the erroneous conviction by arguing that “it was God’s will” and the tactics of obstruction, which if nothing else will remind viewers around the world, justify largely the selection of the film in the official competition section of the 2021 Berlin Film Festival.
IN A FEW WORDSΤης Mina’s life is turned upside down when she learns that her husband, Babak, has been acquitted of the crime for which he was executed. The authorities apologize for their mistake and offer compensation, but then Mina starts a silent battle against a cynical system for the good of herself and her daughter. When she runs out of money, a stranger named Reza knocks on her door, saying she has come to pay off her debt to Babak. Mina is cautious at first, but leaves Reza more and more in her life, ignoring the secret that connects them.
After Yang. American science fiction drama, produced in 2022, directed by Kogonanda, with Colin Farrell, Jodi Turner-Smith, Halley Lou Richard, Justin H. Min, Brad Dyer etc.
The film debut of the South Korean director Kogonanda, who works in the USA and whose true identity remains a mystery, surprised the film world five years ago with “Columbus”, while in his face many young American critics discovered the new … Kubrick, mainly through essay videos on creators and their motifs. It is obvious that the lack of real talent in cinema has created a confusion, at best, because we could talk about absurdity. Why after “After Yang” surely all those who speak with dithyrambs about him should land Cogonada, watching a film that may have some great shots, an attempt at contemplation of human relationships, alienation and the integration of man into advanced technology, but ultimately dominated by the stylistic display of a stuffy style that ends in a sophisticated weave.
Cogonanda’s story takes us to the future, where robots in human form (androids) have entered families for good. How will a family deal with the serious, “fatal” injury of an android, who accompanies her only daughter and the little one is closely connected with it?
Okay, the base is there, because who is not tied to their first bike, their first turntable or their first car? Especially with a dedicated android. However, what will hit the father of the family heartily is that he will discover, through the robot’s memory card, his removal from his daughter, his family, the lost family moments, which compose the joy of life. A joy that he deprived of his own.
Despite the South Korean director’s objections to the low-pitched drama (so low-pitched that the actors constantly speak as if they were at a funeral and with a leveling gloom), the film is interesting, not only for the themes it wants to highlight, but also for what we can, with terror, think in parallel with his story or his will. And it is no coincidence that two verses from the song that the girl of the family says in the finale are all the juice of the film and would be enough to effectively tell us the director’s concerns. What it says; “I want to be a melody, just like a simple sound, like a simple harmony.”
THE Colin Farrellalthough he seems trapped in Kogonanda’s stylization, he seems to distance himself from the forms and facilities that would go hand in hand with a futuristic film, he realistically and moderately highlights the character’s despair, the human drama that takes place without his knowledge.
IN A FEW WORDS… When Yang, the beloved and precious android accompanying Jake’s daughter, is seriously injured, the anxious father looks for a way to repair him. Along the way, Jake discovers that life is passing him by and seeks to connect effectively with his wife and daughter.
The movies are still being shown:
River. Impressive illustrated documentary, Australian production of 2021 and directed by Jennifer Pidom, who four years ago gave us the “MountainIn this second documentary, Pidom, backed by the Australian Chamber Orchestra and narrated by William Dafoe, will remind us of the enormous importance of rivers on the planet and what people have done by taking not only its waters. nature, but also brutally insulting their divine existence.
A journey through space and time, which spans 39 countries and five continents, with unparalleled images, even using satellite imagery, an ode to the natural world and a review of the history of both rivers and human civilization.
Always in Red (Turning Red). An animated children’s film by Pixar and Domi C’s first directorial attempt. A cute animation, which also has a remarkable script, for the girl’s worries, the teenage explosion, which can lead to uncontrollable situations. In addition to children, it is also aimed at new parents.
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