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Showing posts from June, 2018

Hovering Over the Earth

Notes on a film: Calamari Union (1985)

Following on from the sombre, contemporary-set Dostoevsky adaptation, Crime and Punishment (1983), this second feature-length effort from Aki Kaurismäki already illustrates the filmmaker's eclectic range and singular ambition, as he graduates from the deadpan, 'Bressonian' hyper-realism of the previous film to embrace a looser, semi-improvised narrative, captured in a stark black and white.
Between the very different approaches of these first two films we begin to see a sort of pattern or template emerging for the films that would eventually follow. An indicator that Kaurismäki's subsequent career would alternate the low-key realism of films like Shadows in Paradise (1986), Ariel (1988) and The Match Factory Girl (1990), with more stylised, absurdist or even eccentric films, such as Hamlet Goes Business (1987), Leningrad Cowboys Go America (1989) and La Vie de Bohème (1992).
Calamari Union definitely falls into the latter category, a…

Art Cinema

Thoughts on a film: Shirley: Visions of Reality (2013)

Martin Scorsese once said: "Cinema is a matter of what's in the frame and what's out." It's a statement that I returned to several times within the context of the film in question, and also in relation to another quote, similarly attributed to a legendary filmmaker: "Everything is cinema."
The Scorsese quote is interesting, and speaks to the responsibilities of the filmmaker when approaching the necessities of 'coverage' - i.e. determining where to put the camera, what to emphasise within a given scene, where the point of interest is - as well as considering things such as context, ideology and intention. However, it's a statement that isn't exclusive to the practicalities of filmmaking, and there's the rub. What's in the frame, and what's out, could just as easily be applied to the practice of painting, or photography. It could even be said about the theatre; or at least t…