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Een punk Odyssee in Kazakhstan. DVD op het NLse label Moskwood (2105). Victor Tsoy werd onsterfelijk door zijn hoofdrol en muziek in deze film, 2 jaar voor zijn voortijdige dood.
Tragi-komische film over een innemende sjacheraar. DVD op het NLse label De Filmfreak (BRUN1005NL). Filmprijs Locarno Beste Acteur. Filmprijs Gent Beste Film. 4 sterren in de VK.
Gitzwart portret van het moreel gedesintegreerde Rusland. Speelt zich af in 1984. Gezien op DVD op het label De Filmfreak (DF76).
Raadselachtige film over bezoekers van een Moskouse bar die door de stad gaan dwalen. Won Tiger Award op IFFR. Gezien op DVD op het label De Filmfreak (DF53).
Aka: Exodus. Op DVD op het Britse label Arrow Films (FCD538), 146 min. Zie voor het vervolg en laatste deel de film Citadel (151 min).
Gezien op DVD op het Britse label Secondsightfilms (2NDVD3134). Oscar voor beste buitenlandse film en Juryprijs in Cannes. Zie voor het vervolg de films Exodus en Citadel.
Naar het boek van Chingiz Aitmatov. Gezien op DVD op het Russische label Ruscico (Russian Cinema Council Collection). Film uit de Sovjetrepubliek Kirgizie. Gefilmd in verfrissende stijl, deels in kleur, door vrouwelijke regisseur onder de hoede van veteraan Sergey Yutkevich.
Gezien op IFFR. Zilveren Beer op IFF Berlijn 1988. Ook op DVD op het Britse label Artificial Eye (345DVD). Na 20 jaar op de plank te hebben gelegen, is de film tijdens de Glasnost vrijgegeven en werd terecht meteen een klassieker. In zwart-wit met verrassend einde in sepia.
Gezien op DVD op het NLse label Contactfilm (CFDVD1206). 5 sterren in de NRC. German jr is de grote belofte van de Russische cinema.
Sport en politiek kun je niet scheiden. Dit thema staat ook centraal in de Zwitserse film ‘Olga’ van Elie Grappa uit 2021.
Gezien op DVD op het label Lumiere (LUM349). Niet heel bijzonder; in ieder geval geen Amadeus.
Oorlogsdrama gezien op DVD op het NLse label Videofilmexpress (501116).
DVD op het label Living Colour. Harde traumatische leerschool in de jaren 80 in Debrecen (Hongarije) komt jaren later bij deelname aan de WK Turnen in diezelfde stad tot een louterende climax.
4 sterren in de VPRO-gids: ‘vlijmscherpe maatschappijkritiek’. DVD op het label Imagine (IMAD1708N).
Gezien op DVD op het NLse label Contactfilm (CF1109). Deze verfilming van de klassieker uit 1960 speelt zich af in de moderne tijd. Boeiend tot (en met) het onafwendbare einde (en de toegift!).
4 sterren in de VK (Kevin Toma). 5 sterren bij VPRO Cinema. Blu ray op het label Kino Lorber op Amazon. Zwitserse inzending voor de Oscars 2022. Gezien op de Belgische tv. Mooie dynamische cameravoering van Lucie Baudinaud. Flitsende sportprestaties. Slava UA. Sport en politiek kun je niet scheiden: deed denken aan de Hongaarse film ‘Children of Glory’ (Szabadsag, Szerelem) van Krisztina Goda over de bloedigste waterpolowedstrijd voor mannen ooit tussen Hongarije en de USSR tijdens de Olympische Zomerspelen 1956 in Melbourne na de Sovjetinval en de opstand in Budapest.
DVD op het Britse label Newwavefilms. ★★★★
“The performances are fantastic, particularly Arsinée Khanjian...Superbly written, impressively directed and emotionally engaging drama... well worth seeking out.” Matthew Turner, View London
Admirably directed...intriguing.”Dave Calhoun, Time Out
“Adoration a return to form for Atom Egoyan...”Sight & Sound
“A powerful and provocative meditation on identity, family and the pervasive role of technology…” woven with the common threads that characterise the perennially fascinating work of Atom Egoyan…”
“Populated with rich, complex characters, Adoration’s impressive array of ideas is matched by its visual beauty and narrative ingenuity.”
Jason Wood, Little White Lies
★★★★
“Like all of Egoyan’s films it gets intricate, and at points may seem tricksy, but it’s well worth staying with.”
“It’s a thoroughly involving, grown up film.”
Malcolm Lewis, New Internationalist
“Fascinating…there’s a whole new audience to be won to this kind of film-making, which is unafraid to push the political buttons…”
Jeff Sawtell, Morning Star
‘A profound and provocative exploration of cultural inheritance, communications technology and the roots and morality of terrorism...Egoyan’s finest film since The Sweet Hereafter...Enthralling” Stephen Holden, New York Times
'The Double Life of Atom Egoyan' The Guardian
'Moody, provocative and intellectually ambitious, Adoration is primed to elicit impassioned discussion among audiences. ' Claudia Puig USA Today
Atom Egoyan's remarkable new film "Adoration" is a haunting meditation on the nature of received wisdom and how it can warp individuals, damage families and even threaten society. Ray Bennett The Hollywood Reporter - read the full review
“Adoration unfolds as a multi-layered mystery story...”
“...sumptuous 35 mm photography...
“Adoration is unfailingly intelligent and unquestionably timely.” Sandra Hebron, LFF
Onthechting en eenzaamheid steken voor Jacek de kop op. Intussen wordt het standbeeld van Jezus alsmaar groter en groter. Zilveren Beer in Berlijn 2018.
Gezien op DVD op het label Lumiere (LUM331). Ook op het Britse label Newwavefilms. ★★★★
'Engaging and warmly authentic coming-of-age movie that avoids sentimentality...A minor gem.'
Amy Simmons, Time Out DVD releases
‘...it has an easy charm...amiable comedy...’
Peter Bradshaw, The Guardian
In this week’s TIME OUT Critics’ Choice
'Bathed in summer light, Tricks offers a warm portrait of childhood and attributes unusual intelligence and emotional instincts to its subjects......sweet- natured...a subtle film that gradually lets you into its world.’
Dave Calhoun, Time Out
‘...riven with wit and fantasy, this engaging rite-of-passage recalls the ease with which Emir Kusturica once located poetry in the everyday.
‘There’s an easy charm to Ul’s interaction with Walendziak, reinforced by the lyricism of the photography and score, which deftly reflect Poland’s post Communist identity crisis...Charming and engrossing with beautifully drawn characters.’
David Parkinson, Empire
'Tricks, directed by Andrzej Jakimowski, is a must-see for anyone interested in Polish cinema, children’s films, or just charming, poetry-inflected vignettes of small-town life...a film about dreaming, one as sunny and magical as Shane Meadow’s Somerstown – and just as enchanting.’
Sukhdev Sandhu, The Daily Telegraph
★★★★(4 hats)
‘...so sweet that simply watching it could pile on the pounds...Smart, funny and touching, Tricks is a modern rarity – a film with faith in humanity.’
Grant Rollings, The Sun
‘Charm oozes from every frame of Tricks, a lyrical, sun-kissed portrait of the special bond between a young boy and his older sister in a provincial Polish town...Unfolding with a sharp eye and a light touch...Tricks is a slow -moving poignant salute to family ties and the power of positive thinking.’
Allan Hunter, Daily Express
‘A particular treat for Britain’s homesick Poles'
‘In this Golden Lion winner...Andrzej Jakimowski observes these everyday events and humdrum lives with outstanding delicacy.’
‘His (Jakimowski’s) intimate...tale of dreams abandoned, connections not made and things not said evokes such a timeless sense of sun-drenched, small-town life even non-Poles will feel nostalgic.’
LI-Z, Metro
'A sunny and evocative tale of a 6-year-old boy's games with chance and search for his lost father. Beautifully made, it reveals a director who genuinely 'thinks' in film, making films that evoke what he describes as a cinema that has disappeared.'
Peter Hames, Sight And Sound
'The film's real delight is it's 'Stand by Me'-style evocation of childhood space, time and emotion....A small but not inconsiderable pleasure'
Wally Hammond, Time Out
‘A very nice surprise...warm, light and carried by the charm of its young actors
Rolling Stone
‘...realistic yet poetic gem...charming, bittersweet narrative'
'A fatherless boy tries to tempt fate in "Tricks," a pitch-perfect portrait of working class life in a provincial town -- and of growing up as the much younger brother of an adored older sister.'
'Compelling performances...give the picture a poignant authenticity, spontaneity and uniqueness.’
Alissa Simon, Variety
‘Beautiful, charming, lively Polish comedy reminiscent of the Czech New Wave.’
‘...brilliant film...very witty...utterly poetic...’
‘...enriched by a sense of space and rhythm showing Jakimowski as a master of directing...’
‘It gives it a comic tone as well as a very moving dimension.'
‘...fresh, enjoyable and lively...The bittersweet tone of the movie is also what gives it its charm'
Gregory Valens, The Hollywood Reporter
‘...a real charmer...’
London Film Festival
DVD op het NLse label Contactfilm (CFDVD1209). Ook op het Britse label Newwavefilms. ★★★★
“GRIPPING and DISTURBING... ELENA is only the third feature film from this 48-year-old director, after THE RETURN...in many ways his most intimate, and the film with the most contemporary and realist character. The subtlety and stealth of this movie is a marvel...It is superbly shot and directed; it does not offer a thriller-type ending - the narrative is resolved in a disquieting minor key. A deeply satisfying film.”
Peter Bradshaw, THE GUARDIAN
★★★★ “There is a beautifully realised subtlety in Andrei Zvagintsev's gripping drama.... Nadezhda Markina’s captivating performance in the title role…”
Marc Lee, DAILY TELEGRAPH
★★★★ “Andrey Zvagintsev’s multi-awarded film which follows the superb THE RETURN...paints an eloquent picture of Russian life...But the quiet truthful performance of Nedezhda Markina...enables us to believe in it…One of the very best Russian films of the past year.
Derek Malcolm, THE EVENING STANDARD
★★★★ “A morality tale that gradually assumes the weight of a Dostoevsky novel…it draws you into these complex, contradictory lives…Powerfully addressing issues of class conflict and moral decay in modern Russia”
Allan Hunter, THE DAILY EXPRESS
“A gripping resonant tale…Nadezhda Markina is outstanding as Elena and far more sympathetic than perhaps she should be” Philip French, THE OBSERVER
★★★★ “This third film by the director of THE RETURN - his most stylish and his most accessible – is also utterly compelling”
Laurence Phelan, INDEPENDENT RADAR
★★★★ “Zvyagintsev’s subtly chilling film”
Olivia Marks, THE SUNDAY TIMES
★★★★ “A sparse and elegant piece of work…searingly eloquent scenes…this is accomplished filmmaking, bold in every way.”
Wendy Ide, THE TIMES
★★★★ “ A Russian exercise in lull and ambush, a tale about priority and loyalty…which is constantly enlivened by a Philip Glass score”
Leo Robson, THE FINANCIAL TIMES
★★★★ “Zvyagintsev, who also made the magnificent THE RETURN, is proving himself a major talent.”
Anthony Quinn, THE INDEPENDENT
★★★★ “Russia’s Andrei Zvyagintsev has emerged as one of Europe’s finest directors… This is a quietly powerful, brilliant film, and ice burns in its heart.”
Jason Solomons, THE MAIL ON SUNDAY
★★★★ “ The corrupting power of money runs through the veins of this superb Russian film…This is smart, gripping cinema.”
Dave Calhoun, TIME OUT
Critics’ Choice:
“This powerful drama about a grandmother married to a wealthy husband acts as a striking allegory of the new Russia”
“Terrific…Tense, edge-of-the-seat stuff.” Peter Bradshaw (Jury), Cannes Film Festival, Un Certain Regard
★★★★★
“A sensational Russian drama... a film to crow about loudly...Elena has the taut dramatic structure of a Dostoyevsky parable, matched with mesmerising long-take technique, a hushed, disquieting soundscape, and images that jangle in your head for days.”
Tim Robey, The Daily Telegraph
'CRITICS’ PICK. Brilliant and gripping.'
'Spellbinding and impeccably crafted.... Performances are superb across the board, framed in elegant widescreen compositions that simmer with violence.'
'PICK OF THE WEEK! Mesmerizing! A mysterious existential thriller that’s brilliantly acted and masterfully directed, without a second of wasted screen time.'
'Grounded in classic elements of film noir but lensed with a stillness that becomes paradoxically nerve-rattling...a thriller about the shifting moral calculus in a world where money changes everything.'
'Stunning...An outstanding Russian drama of fractured families, money and quiet desperation.'
'A wise and impeccably controlled drama that finds Russian helmer Andrei Zvyagintsev in outstanding form.... Zvyagintsev spins a taut, engrossing yarn about a coveted inheritance, cruel class differences and quietly monstrous misdeeds.'
'As much thriller as character study, “Elena” is compelling not only for the situation it maps but the social milieu that it depicts.'
J. Hoberman, ART INFO
'An intensely compelling slice of noir about moral rot and class warfare in post-Soviet Russia....A bone-deep existential unease and spiritual alienation, a preoccupation with sin that is at once quintessentially Russian and wholly archaic..... [Zvyagintsev’s] vision of eternal human frailty is inescapably tragic and religious — and brutally unforgiving.'
'Devastating! I can't recommend it highly enough...a distressingly universal tale of haves and have-nots, not to mention an apt reminder that morality and ethics can be slippery propositions when other interests drive us.'
'Impeccably composed, stark visuals lending a near-apocalyptic mood that permeates every frame. Andrey Zvyagintsev taps into the rich tradition of film noir, as well as the influence and cultural echoes of such diverse Russian forebears as Dostoevsky, Chekhov and Tarkovsky.'
'Extraordinary... Grounded by Markina’s magnificent performance...brilliantly shot by Zvyagintsev regular Krichman, and its chill heightened by hyper, excited bursts from Glass’s score.'
DVD op het Britse label Newwavefilms, samen met Blockade en Revue. About LANDSCAPE ‘The camera pans slowly across the 'landscape' of faces while, on a separate recording for the soundtrack, we hear people – young and old – talking about their woes and worries and will to survive by living each day as it comes. Finally, the bus arrives – an hour late – exactly the amount of time Loznitsa required to shoot this remarkable candid-camera documentation’.
Ron Holloway, Kinema
‘Less is more for Landscape, an austere but absorbing formalist exercise consisting entirely of left-to-right tracking shots depicting people waiting for a bus in the Russian town of Okulovka. Well-regarded Russian docu-helmer Sergei Loznitsa's ('Portrait') experimental approach may seem reminiscent of '60s avant-garde darling Michael Snow ('Wavelength'), although it's closer to the stripped-down style of contempo Ruskie doc-makers… ‘
Variety
DVD op het Britse label Newwavefilms, samen met Blockade en Landscape. About REVUE
“Director Sergei Loznitsa says more about Soviet art and politics than any talking head or narrated documentary ever could.” Eric Monder, Hollywood Reporter
‘Revue melds disparate images of Soviet life during the 1950s and '60s into a luminous time capsule of patriotic fervor and political fealty.’ Jeanette Catsoulis, The New York Times
"A new perspective on Soviet life. ...REVUE offers a geographically and chronologically broader perspective on the post-Stalinist Soviet Union. ...It offers unprecedented coverage of the propaganda of the period, whose strong continuities with Stalin-era public culture appear especially interesting in light of the recent scholarship's critique of the thaw paradigm. ...The film is a valuable primary source for teachers to use..."—Polly Jones, University College, University of Oxford, Slavic Review, Spring 2012
“Loznitsa combines a knack for finding sociological meaning in throwaway moments with a less-is-more aesthetic... By juxtaposing labor-filled activities with TV shows and plays proclaiming the ‘bounties’ of revolution, the film offers glimpses of a government-sanctioned alt universe.” —Time Out New York
“Fascinating... a well-edited documentary that’s equally informative and entertaining.” —Avi Offer, The NYC Movie Guru
"Loznitsa's narration-free compilation of documentary scenes from the Soviet way of life is a must for anyone interested in glimpsing the disappeared Soviet experience. An unorthodox iconography of society, culture and politics in the old U.S.S.R."—Louis Menashe, Polytechnic Institute of New York University
DVD op het Britse label Newwavefilms, samen met Revue en Landscape. About BLOCKADE
“Blockade doesn't barrage you with battle scenes; instead, we get eerie moments of calm as people walk down snowy streets littered with corpses and tanks roll off into the distance.” —David Fear, Time Out New York
“What narrative there is, along with a sense of incrementally mounting horror, emerges unbidden from the images-teeming streets that gradually thin, bundled proles panning for filthy water in potholes, stick-thin pedestrians stepping matter-of-factly past.”—Jim Ridley, Village Voice
"A starkly unsanitized and riveting montage of the nearly 900-day blockade... a powerful portrayal... ideal for college classroom use."—Richard Bidlack, Slavic Review
"Different and imaginative... One of the most important Russian movies of the last decade... THE BLOCKADE is an important film that belongs in every university library."—Denise Youngblood, The Russian Review
"Recommended! Very well done... A valuable contribution to those studying the impact of war."—Educational Media Reviews Online
"Absorbing... poignant viewing!"—Variety
"An often gruesome but prosaically candid mosaic of life during the siege...a useful and revealing effort."—Slavic Military Studies Journal
"Stark...harrowing...These pieced-together black-and-white sequences chronicle the deterioration of an austere, stately city into a snowbound graveyard of scarred buildings and numbed survivors."— Stephen Holden, The New York Times
"Fascinating and disturbing... a big-screen treasure for war and history buffs."—Film Journal International
"The sheer magnitude of the largely unknown images alone makes this a worthwhile documentary for anyone interested in the Siege of Leningrad or World War II, but it is the poignancy of certain images that gives this documentary its particular value."—Military History
"Riveting... a technical marvel... in making BLOCKADE, Loznitsa cut, edited, and added a soundtrack to archival footage to open history to new interpretive possibilities and deeper comprehension." -Tony Osborne, Film & History
"This exquisitely shot film of Polish Roma poet Bronislawa Wajs, nicknamed Papusza...The filmakers have gone to exhaustive length to recreate the lost word of the Roma people. It is very beautiful to look at...
In its attention to landscape, its extraordinary detailed mise en scene and its surrealist flights, the film has the feel of an old Tarkovsky movie."
Geoffrey Macnab, THE i NEWSPAPER
"Papusza is an exquisitely crafted biography with lush black-and-white photography and a superb performance from Jowita Budnik.
A sombre but impressive production."
"Papusza' offers a glimpse into the world of Bronislawa Wajs (Jowita Budnik), known as Papusza, the first Roma poet. Framed within a series of stunning monochrome portraits it reveals the Roma world, fiercely independent, secretive and isolated with an inbred distrust of gadjo (strangers, non-Roma), that was no place for a self-educated woman with a love of the written word. A disappearing world skilfully captured by cinematographer Krzysztof Ptak." Clive Botting, HUFFINGTON POST
“Striking portrait of a Polish- Roma poet...this selection of moments from the life of Bronislawa Wajs is gorgeous to behold. The black and white cinematography is gorgeous. Strikingly beautiful…" Wendy Ide, THE GUARDIAN
"Shot in stunning black and white, this is an enthralling drama... Its stark cinematography fives a fascinating insight into the Roma way of life...But, above all Papusza is about an inspirational woman who was ahead of her times." MORNING STAR ‘Spanning most of the 20th century, this slow but ravishingly beautiful biopic commemorates the life and works of Bronislawa Wajs, the first publicly feted female poet from Poland’s traveling gypsy minority...a ravishing visual poem...Shot in exquisite monochrome by Krzysztof Ptak and Wojciech Staron, every frame is a painterly masterclass in light and shadow….'
Stephen Dalton, The Hollywood Reporter
‘Some of the most spectacular black and white camera work in recent years’.
Dan Fainaru, Screen International
'The film escapes excessive stylization; one won’t find a trace of forced artiness in it. Its greatest advantage – just like in the case of Papusza’s poems – turns out to be its painstaking coarseness, the inconspicuousness, behind which veiled are the notable questions that escape the story of the poet herself, and which direct our attention to the essence of otherness in general – and to the essence of art. (…) Papusza’s tone is far from patronizing, the film challenges stereotypes and prejudices, but it also shows that we can only come closer to the 'other', Roma, side, to a certain extent'. Paweł Feli, Gazeta Wyborcza
'The lively culture of the Roma and their closeness to nature are shown in impressive landscape scenes, as in shots of the caravans on the move through bucolic countrysides or when the band sets up a camp and market outside a traditional church.' Kristin Thompson and David Bordwell, Observations on Film Art
DVD op het Britse label Newwavefilms. 'One of the films of the year has arrived – maybe the best of the year – a work of unmatched subtlety, complexity and artistry...
Valeska Grisebach’s striking drama constantly subverts genre expectations. Grisebach has not, in fact, made many movies, but on the strength of this one, she deserves to be considered a major film-maker.'
'Grisebach has an observational grasp of the male psyche – especially its pathological obsession with pride – that fairly takes the breath away.
'...(a) mesmerising psychological drama.'
'Boasts a vibrant realism and humanism that translate into a delicate miracle.'
Manuela Lazic, Little White Lies
★★★★ 'As lean as its leading character, Western beguiles with its sharp intelligence and understated emotions.'
Allan Hunter, The List
'Compellingly drawn story'
Trevor Johnston, Time Out
★★★★ The Daily Express
★★★★ Radio Times
'Valeska Grisebach's stunning existential study of masculinity tips its hat to classic genre cinema even as it casts an extraordinary troupe of non-professional actors as its grizzled migrant construction workers in a foreign land.'
Giovanni Marchini Camia, Sight & Sound
'Just because a film features horses, guns and the great outdoors doesn't mean that it's a Western; just because it's set in Bulgaria doesn't mean that it's not one. Western, the third feature by German director Valeska Grisebach (Be My Star, Longing) deals with certain classic oater tropes - notably, the figure of the strong, silent loner hero - in the context of cultural and economic relations in contemporary Europe.'
Jonathan Romney, Screen International
'This brilliantly observed mood piece about a German road crew arriving in rural Bulgaria centres on one lone quietly watchful man doing his best to assimilate.'
Nick James, Sight & Sound
'One of the best films to premiere last year, Western is probably also the best film since Claire Denis' Beau Travail to be made by a woman about men.'
Jonathan Romney, Film Comment
'About the interactions of a motley group of German construction workers, both with each other and with the inhabitants of a remote Bulgarian village where they�re working for the summer, the film is an utterly credible, brilliantly insightful study of a certain kind of masculinity.'
Geoff Andrew, BFI online
'For those with a sudden interest in new German cinema thanks to last years Toni Erdmann, the Cannes Film Festival has again selected another powerful, deeply human and intricately political drama in Valeska Grisebach's terrific Western.'
Daniel Kasman Mubi Notebook
'The closest this festival came to a major work - Western shares the slow-building intensity of Grisebach's shattering previous feature Longing (2006).'
Dennis Lim, Film Comment
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