Sindri

Innovating and influential masterpiece - Jane Campion's third feature film after her feature film debut "Sweetie" (1989) and "An Angel at my Table" (1990) tells the story of Ada McGrath and her daughter Flora who once upon a time in the 1850s moves from Nelson, Australia to New Zealand where they are to start a new life with Ada's predetermined husband, a landowner called Alistair Stewart. Jane Campion's Palme d'Or winner from 1993 is a versatile character study seen from the main characters point of view and told through her wordless though definite expressions. With acute and subtle camera movements, long takes and picturesque close ups, New Zealand filmmaker Jane Campion compassionately examines the complexities in the relationship between man and woman and creates a mysterious, erotic and imaginative period drama about a woman's affectionate relation to her piano and her contradicting strive for independence while being captured in an arranged marriage. This international co-production between New Zealand, Australia and France which was exclusively shoot in New Zealand and produced by Australian Jan Chapman is an innovating and influential masterpiece formed by the mythical milieu depictions, the weighty and various moods, the linear narrative, Jane Campion's emphatic screenplay, Stuart Dryburgh's majestic photography, Janet Patterson's noticeable costume design, Andrew McAlpine's production design and Michael Nyman's sterling score, which acutely conveys the main characters passionate inner life. Sam Neill, Harvey Keitel and Anna Paquin delivers memorable performances in this poetic and romantic fairytale lead by Holly Hunter who's internal and gesticulating interpretation of a mute character is one of the most outstanding performances in modern cinema.

Intriguing contemporary documentary - Reality or fiction? That is the pivotal question in this American independent documentary produced by Andrew Jarecki who made his directorial debut with "Capturing the Friedmans" in 2003 and directed by Ariel Schulman and Henry Joost who has stated that "Catfish" is a 100% true story. The story centers on photographer Yaniv "Nev" Schulman who lives in New York with his brother Ariel and friend Henry who are both filmmakers and who comes up with the idea of making a movie about Nev's romance with a woman called Megan whom he connects with on Facebook, and decide to record every step of the evolving relationship. This uncanny portrayal of a young man's infatuation with a woman he has never seen in real life, is an intriguing contemporary documentary which gives a memorable and critical depiction of online dating. "Catfish" has a convincing linear narrative and a good pace which serves the story well, but it also make it seem more like a fictional drama than a true documentary. The story first time directors Ariel Schulman and Henry Joost tells is by no means beyond imagination or absolutely unbelievable, but the unlikely reactions of the main characters and the story's very appropriate development makes one question weather this is reality or fiction. Aside from that, "Catfish" works just fine as a modest character study and a suspenseful thriller about art, friendship, love and networking.

Skillfully structured - There are those filmmakers that have the ability to change our perception of film as a medium for telling stories through images and dialog, communicating with a universal audience and creating awareness. Directors like Campion, Loach, Bergman, Kubrick, Kieslowski and Tarkovsky are certainly some of those, and i had a similar experience after watching Bèla Tarr`s third feature, co-directed by Agnes Hranitzky, which tells the story of an utterly cold Hungarian town where the inhabitants await the arrival of a traveling circus which main attractions are a giant whale and a deformed speaking figure called The Prince. Most of the residents are suspicious about the upcoming event, but the local postman named Janus perceives it as a good sign. While viewing this film i instantly began thinking of other east European directors such as Alexandr Sokurov, Theo Angelopoulos and Andrei Zvyagintsev who's film are marked by their focus on visual composition, length, long takes and concise dialog. Bèla Tarr's dark and tender vision of life in a remote provincial town is filmed in black and white, contains 39 long takes during a runtime of 225 minutes, is told through long monologues and concentrated dialog, uses natural sounds and has an unforgettable instrumental theme song composed by the directors longtime companion MihÃly Vig. This theme song and the refined black and white photography which was created by four photographers, evokes the collective state of mind of the citizens in the town and elevates the powerful moods which becomes a large character within this skillfully structured film. "Werckmeister Harmonies" an adaptation of a novel called "The Melancholy Of Resistance" which was written by LÃszlò Krazsnahorkai in 1989 and the movie title refers to Andreas Wercmeister (1645-1706), a composer from the Baroque era and a musical theorist. It is a chronologically narrated character study about a man who's faith is immensely challenged when he begins to realize what is actually happening to the human kind he so firmly believes in. The story written by Bèla Tarr and LÃszlò Krazsnahorkai follows the main character during the course of one eventful day as he walks through the streets of his hometown looking for signs that will confirm his believes. The caring and childishly curious Janus is brought to life by German actor Lars Rudolph who appeared in Hal Hartley's "Flirt" (1995) and Tom Tykwer's "The Princess and the Warrior" (2000). With a mysterious face that expresses a string of emotions and a subtly underplayed performance, he creates a rare and intriguing character. I consider this slow-paced fictional drama as a small masterpiece that communicates it's message with conviction and tells a credible story that is not hard to follow, but not always easy to watch. Bèla Tarr and Agnes Hranitzky's directing is commendable, their realized vision is magnificent, the acting is overall convincing, the opening scene is a striking example of cinematic art and what eventually puts all the pieces together and pointedly contrasts the common feelings of sadness that imprisons the souls of this film, is Hungarian composer, poet and songwriter MihÃly Vig`s spiritual music.

Whispering words of substantial meaning - As Jane Campion, Susanne Bier, Lynne Ramsay and Sally Potter, Spanish director Isabel Coixet who caught my attention with "My Life Without Me" (2003) has a subtle, lyrical and ravishingly beautiful way of depicting human relations and emotions, which shines through in this heartfelt and universally appealing story about Hanna, a lonely factory worker in Northern Ireland who after being instructed to take a holiday by her boss returns to her lonely life at the coast where she realizes that a holiday is the last thing she wants and ends up taking a job as a nurse at an oil rig. Isabel Coixets fifth feature film is mostly set on a distant oil rig focusing on Hanna's evolving relationship with her patient Josef and her meeting with seven men who share her need for solitude and privacy. The role of Hanna is portrayed by Sarah Polley, an actress with a great gift for interpreting internal and low-keyed characters with great conviction, "The Sweet Herafter" (1997) being one of them, and here she practically conveys the soul of the film through her intuitive and quiet though expressive performance, which transcends in the scene where she confides to her patient, gracefully played by Tim Robbins. "The Secret Life of Words" is well-paced character study with fragments of poetry that has lively visuals, mood-setting music, many colorful characters and is observantly written and gently filmed by Isabel Coixet. It is a memorable movie experience which through it's depiction of people who turn to their loneliness in order to regain their security succeeds to affirm new perspectives on life.

Innovating and artistic - In "Lourdes" the existential converges with the mysterious and the distinct with the abstract. Christine is a young woman with Multiple Schlerosis. She is chained to a wheelchair and can only get out if she signs up for cultural or Christian trips. Christine has previously visited Rome, but her next destination is Lourdes, the iconic site of pilgrimage in the Pyreenes mountains. Austrian Jessica Hausner's third feature plays out in the Christian pilgrimage town Lourdes, a fine choice of location, where the virgin Mary apparently appeared to the 14 year old girl Bernadette Soubirous in 1858. Hausner here tells the story about a reserved dough smiling and obliging woman who arrives at Lourdes hoping to be cured of her chronic illness. Jessica Hausner's quiet reflection of the intangibility concerning miracles and peoples individual relations to their faith is intellectually debated and asks several interesting questions that are also answered. Even though Hausner's film has elements of divinity by it in the use of music and some remarkable scenes, it is by no means a overly religious film. "Lourdes" is rather a concentrated study of a an enigmatic theme and a film where the characters reactions and reception to the abstract is the core. Martin Gschlacht's skillful and structural photography compliments Hausners clear vision, and her steady, stringent and partly static direction is at it's best when she films the main character from versatile perspectives and creates descriptive portraits of an archetype character, excellent played by Sylvie Testud in a vital and radiating interpretation of a character that only has her face and her words to express herself with. Most actors delivers convincing acting and Hausner's film has a strong humane warmth that shines through the heroines being, and an elusive mood that is effectuated by the esoteric faces of the guests and employees at the place that has been called the catholic church's answer to Disneyland. This is a thoughtful and innovating film from a director with a recognizable personal style where one is left feeling like having seen something that lasted significantly longer than it's running time.

Meditative soul-search - Lynne Ramsay explores the inner life of the mysterious woman Morvern Callar in her second feature film preceding her acclaimed feature film debut "Ratcatcher" (1999). Morvern Callar is a woman in her twenties who lives with her boyfriend in a Scottish coastal town where she works at a shopping mall with her best friend Lanna. Christmas is nearby, and one day after visiting the local pub with Lanna, Morvern returns to her home where she finds her boyfriend dead on the floor of their living room. Left behind with an unpublished novel, a recorded tape of music and some money, Morvern invites her friend on a holiday trip to Spain. Scottich film maker, screenwriter and photographer Lynne Ramsay had made three short films and her first feature film "Ratcatcher" (1999) before she made this innovating character study which was shoot in UK, Scottland and Spain. Her patient and poetic camera movements mirrors a passion and consideration for her motives which is very appealing. The intimate close ups of Samantha Morton leads the viewer closely enough to captivate it's attention, and Lynne Ramsays individualistic film style and creative perspectives makes her one of the most interesting female directors a long side Susanne Bier, Jane Campion, Sally Potter and Margreth Olin. Once one sees the face of Samantha Morton it triggers our curiosity for the dark haired, mystic and short spoken Morvern Callar who has recently lost her lover and is getting trough the initial phase of grief. Morvern is an archetype heroine, and after facing a traumatic incident she counterattacks in stead of digging herself down. But is she in denial? or is she trying to escape reality? The synoptic though alluring screenplay adapted from Alan Warners novel aims in on the main character and creates an unforgettable character brought to life by Samantha Morton who delivers an enchanting performance which is reminiscent of Emily Watson`s performance in "Breaking the Waves" (1996). Alvin H. Kuchler`s colorful and artistic photography and the psychedelic music from amongst others Apex Twin and The Velvet Underground increases this interpretive independent films cryptic mood.

Lyrical and envisaged soul-search - Lynne Ramsay's feature debut is quiet childhood tale with heavenly photography, moody music, authentic milieu depictions and magnetic direction. The year is 1973 and the working class is influenced by a garbage streak that over-floods the streets with trash, rats and misfortune. In a dirty neighborhood in Glasgow twelve year old James lives with his beer drinking father, housewife mother and two sisters. One day when he's out playing with his friend Ryan down by a lake, the playing gets out of hand and Ryan drowns. In a state of chock James vanishes from the scene of the crime and removes all suspicion away from himself. This tragic event causes James' parents great concern, and while James is at a loss as to whether he is going to tell what really happened, feelings of guilt begins to absorb him and gradually he slips into a lonely and introvert state that threatens to overshadow his perception of reality. This film which was given English subtitles in England due to the characters particular Scottish dialect is an unglamorous and realistic portrayal of the working class in Glasgow during the 1970s which on one side is an extensive allegory **** society struck by inflation and on the other a shining fable about childhood dreams. With chronological narrative and credible storytelling Ramsay conceives a nostalgic mood that reminds us of the wholly days of childhood. Somewhere within all this sad melancholy that influences the characters, Ramsay is able to captivate lovely images of nature that creates efficient and natural contrasts. Ramsay's human insight an directorial talent comes to show when she takes us in to the core of a 12 year old boys mentality and exposes his soul with modest precision. The actors are convincing in their respective parts and William Eadie delivers an outstanding performance in the role of the seldom character James. Ramsay's distinct form of expression and personal style shows a confidence and an understanding for movie making that stands out. This is a lyrical and contemplating film about adjusting in a world that's easy to be deflected by, but impossible to write off.

Unflinchingly directed - There has certainly been a good number of well made and thrilling horror-films in the last thirty years, but few possesses the psychological tension that Stanley Kubrick created in 1980 with his adaptation of Stephen King`s novel "The Shining" which he wrote with novelist Diane Johnson, that stringently tells the fictional story about writer, husband and father Jack Torrance, who travels from the city with his wife Wendy and son Danny to attend a job interview during the winter at the Overlook Hotel considering an off-season job as a caretaker. Torrance's intension is to use the remote and isolated hotel to find peace while he is writing, but as he get's into his writing his mental state starts to change. From the majestic and long opening scene where the camera moves transversal through a dead silent landscape and towards the films main location, to the grand finale, this is a throughout captivating and mind-puzzling tale mostly seen through the eyes of a psychic young boy who receives frightening premonitions about the place his parents have brought him to and a grown man who unknowingly is faced with his own mind's evanescence. This increasingly chilling character study uses repeated imagery, shifts from regular to extreme close ups, concentrated, repetitive and no dialog whatsoever, short and long takes and frequently changes from scenes of eerie silence to scenes of climactic noise.This is the type of film such as, without making any comparison, Peter Weir's "Picnic at Hanging Rock" (1975) or David Lynch's "Eraserhead" (1976), where the mood is crucial for the films atmosphere, and in this case the mood is composed by Jack Nicholson's versatile mood-swings and the classic and orchestral music. Several stories are intersected in "The Shining", and they differ from the story of a writer's block, a horrible tragedy that happened in the past, a wife unable to reach her husband, a son unable to connect with his father and a man's broadening psychosis. It's impossible to overlook Jack Nicholson's electric presence as he transforms into a character that bewilders himself as far as conceivably possible in an oblivious mind. His multi-layered performance stands as a milestone in acting and Nicholson is as frightening as he is entertaining in his nearly exaggerated interpretation. With that said, this film wouldn't be as good as it is without the performances of Shelley Duvall, Scatman Crothers and Danny Lloyd, who's presence is just as effective as Nicholsons. The ingenious about "The Shining" is that it achieves a high level of tension without being overly violent. Yes, there is a flood of blood, but the greatest horrors of the film is the words, the sounds, the images, the faces, the moods, and how these cinematic elements spark the viewers imagination. This inner an outer mind maze is a vivid examination of supernatural spookiness that truly captures the feeling and perception of fear. Kubrick knew no boundaries as a film maker and his eleventh feature is photographically aesthetic and unflinchingly directed.

Reverent performances - American playwright, screenwriter and director Kenneth Lonergan's feature film debut tells the story of sibling couple Terry and Sammy who lost their parents in a car accident when they were children. Twenty years later, Sammy still lives in their childhood home in Scottsville, New York and is a single mum working at the local bank. She has not heard from Terry in months, but when he suddenly shows up in town telling her that he has no money and no place to go, she invites him to stay with her and introduced him to her son Rudy. This gratifying and compassionate family drama about an estranged brother and sister who are reunited at their home town two decades after a life altering incident, is hands down one of the most wonderful American independent films i've ever seen. "You Can Count on Me", which was shoot in Margaretville, New York, executive produced by Martin Scorsese and honored with numerous film awards during the turn of the millennium, deals with existentialistic themes in a more humane than theoretical way and is a dialog-driven character study strengthened by it's authentic and milieu depictions. The film is wittingly written and acutely directed by Kenneth Lonergan who gives an uncommonly realistic portrayal of a devoting and deeply affectionate relationship between a brother and sister who has chosen opposite paths in life. Mark Ruffalo and Laura Linney interprets Terry and Sammy with striking conviction and their reverent performances, which i would place on any list over the best performances given in the last decade, is alone reason enough to see this humorous and thoughtful film which also contains great scenes between Mark Ruffalo and Rory Culkin and between Laura Linney and Matthew Broderick. The varied and mood-setting music works well, and this is the kind of film that reaches our hearts and conveys something pivotal about basic life values.

Crystal clear film language - The inner tension is constrained and the expressions of opinion are pointed with quivering effect in Michael Haneke's tenth feature. In the foregoings of the first world war unexplainable incidents occurs in the north German village Eichwald, where most of the inhabitants work for the baron. The incidents who appear as some form of ritual punishment of random individuals disturbs the safety of the residents. This ominous and fictitious tale about a pietistic rural community being bewildered by fear and doubt after a string of incomprehensible events, is told through an aging teacher's retrospective voice-over. Are the incidents random? Are they warnings? Are they acts of revenge? Or is it perhaps so that the inhabitants are being punished? With a shred of humor and warmth which is rarely seen from the expressive film artist Michael Haneke and which is the main contrast to this films gravitating tone, a precise and sharp minded portrayal of the boomerang effect that arose as a result of the one-dimensional upbringing of children that was practiced in Germany in the beginning of the 1900th century is sketched out. With verbal and physical ways of punishment the parents inculcated sin and shame in their children, which mislead the children into the primitive entanglements of fear and stagnated their development. "The White Ribbon" opens with an accident that provokes a circulation of distressing events and leads towards the outburst of the first world war, the source of fascism, the second world war and Holocaust. The origins and the entity of violence has always been a favored motive in Hankes filmography, and with last years Palme'd Or winner the Austrian has concretisized his characteristic themes, nuanced his style and found a language that extends his expressions. Hanekes distinct though unforeseen filming and Monica Willis' abrupt editing transfers the characters suspiciousness to the viewer in this emotionally distant "Who-did-it"- crime drama, and with frequent use of the off-screen method and figurative descriptions, Haneke gives the viewer sensible impressions that underlines his aversion towards violence. This is Hanekes most aesthetic work, meticulously photographed by Christian Berger. The mood making black and white color is one of the films essential characters, the milieu depictions are credible reflection of the time period, the pace is discreet, the actors are rock solid and with this multi award winning co-production that was shoot in Germany, Michael Haneke and his collaborators has created an historical allegory that bears resemblance with Ingmar Bergman's "Fanny and Alexander" (1982).

Lyrical social drama - Andrea Arnold's second feature is a throbbing and turbulent contemporary drama from one of Britain's less appealing suburbs that tells the story about 15 year old Mia, a vital and somewhat bewildered girl living on a council estate in Essex, England with her mother and little sister Tyler, which she argues more than talks to. Mias rebellious personality has made her more or less friendless and the only thing that gives her confidence is her passion for dancing, but the day her mother introduces her daughters for her new boyfriend Connor life opens new doors for Mia. Andrea Arnold returns after her uncompromising debut "Red Road" (2006) and shows her talent for social realistic storytelling. With consistent hand-held camera movements and intimately focus on the main character Arnold creates an accomplished character study that feels like it takes place in real time. The most obvious change from Arnold's film style in "Red Road" is the use of color. Othervise the witted dialog, the long takes, the variations in pace, the frequent use of close-ups, the authentic depictions of milieu, the versatile perspectives and Andrea Arnold's characteristic fascination for town blocks are still present. Arnold is clearly inspired by Ken Loach and her story about the alienated teenage girl that discovers her sexuality while she's looking for foothold in a cynical world is reminiscent of films such as Lynne Ramsay's "Ratcatcher" (1999), Jean-Pierre and Luc Dardenne's "Rosetta" (1999), Catherine Hardwike's "Thirteen" (2003) and Cate Shortland's "Somersault" (2004). "Fish Tank" is social realism in it's purest form and a powerful coming-of-age tale about a fierce stubborn girl that persistently keeps alive her dream of becoming a professional dancer despite the fact the her reality makes her dream look like an illusion. Andrea Arnolds heroine is emotionally distant, covers her feelings behind a rouge image and articulates in a disrespectful and hostile way. The pitiless reality she lives in has hardened her and placed at dark cloud over her prospects. Debutant Katie Jarvis gives everything she's got in the role as Mia, goes the distance and creates a multifaceted character portrayal that's full of attitude. Many of the films finest, most honest and most intense moments manifests in the scenes between Jarvis and Michael Fassbender "The Hunger" (2008). "Fish Tank" is a gritty depiction of society that explores strong topics, but in-between all this gravity Arnold turns the camera towards natures gracefulness and gives the viewer a little breathing space from the concentrated realism that makes the few rays of hope seem like utopia. This is a lyrical film about breaking free from ones own limitations and find ones own identity.

A delight for eyes, ears and mind - It's late in the 1950s. Jazz is popular and Tom Ripley travels to Italia for the first time to discover the world. Loner Tom Ripley joyfully accepts a generous offer from shipping pioneer Herbert Greenleaf. All he has to do is travel to Mongibello, south of Naples and convince his son **** to return home to New York. When Ripley meets **** and his girlfriend, he is attracted by the vital womanizer and the carefree life he lives. All goes well until Ripley's attraction towards **** turns to jealousy and he realizes that he is not willing to give up his new world. Minghella's story invites us into the inner and emotional life of protagonist Tom Ripley who on the outside appears as a humble, intelligent, socially well-adjusted and credible person. His inner fragility reveals it self in his interaction with the rich man's son ****, whose personality contrasts Ripley as warmth contrasts cold. Ripley's esteem blossoms in **** company, but dazzled with **** dazzling being he is misled to believe that **** friendship is sincere and unfortunately it takes him to long to realize that his new friend considers him pastime. After the movies point-of-no-return Ripley's darker sides rises to the surface. The overeducated working class boy turns into a man of the world and at this point the character development takes a shocking turn and Minghella draws us further and further into Ripley's psyche. Minghella's knife sharp and plot rich screenplay, based on Patricia Highsmith's novel from 1955, is told with chronological narrative, voice-over and flashback scenes. Topics such as solitude, alienation, upper class life, envy, infatuation, homosexuality, identity and class distinction are explored in this flawlessly photographed in-depth character study which contains brilliant editing that alternates between long and short takes. The films nerve rests on Ripley's character, who has to overcome obstacle by obstacle to maintain his newly acquired status. This is effectuated by the strong progress Minghella creates through a story that never seizes to amaze. John Seal's earlier mentioned photography makes Italia look like a mystic adventure-land and enhances the films considerate mood. The stylized and realistic milieu depictions prompts the feeling of the zeitgeist, white the cinematography and music strengthens the romantic and ominous moods. When it comes to the acting, the whole crew is magnificent. Matt Damon's transformation to the nerdy and unpredictable main-character is impressive and his interpretation of this complex character is undoubtedly one of his finest. Jude Law should also be mentioned for the breakthrough role that made him one of the worlds largest movie-stars. With charismatic charm, arrogant attitude and an inspiring hunger for life, he perfectly embodies the character **** Greenleaf. Cate Blanchett, Gwyneth Paltrow and Philip Seymour Hoffman delivers substantial supporting performances and as Jude Law, they became huge movie-stars few years later.

Unconventional war film - Kathryn Bigelows independent film puts all politics aside and portrays the genre of war film in a fresh and different way. During the post-invasion period in Iraq 2004, bomb disarmer Will James Arrives at the American EOD unit company Bravo which is located in the midst of an explosive conflict in Baghdad as the new team leader. Seargent J.T Sanborn and specialist Owen Eldridge are not overly enthusiastic about the new leader which they are going to spend the next 38 days with, and their willingness to give him the benefit of the doubt is diminished when James early on shows himself of as a headstrong and hazardous danger seeker who fearlessly enters the line of fire to disarm bombs while they have to stand as frightened bystanders in the background. "The Hurt Locker" is directed by Kathryn Bigelow "Point Break" (1991) and "Strange Days" (1995), and is based on the observations of freelance writer Mark Boal "In the valley of Elah" (2007), who was embedded with a US bomb-squad during the Iraq war. In a minimalistic and documentaric way it describes the relationship between three soldiers and their individual ways of coping with life in a war zone where death is always breathing down their necks. With hand-held camera movements, extreme close ups, slow-motion scenes, long takes and extreme long shots, Kathryn Bigelow creates a knife-edged intensity and a grayed realism which is remarkable. Her intimate and continuous focus on the three main characters creates a compressed narrative which strengthens the viewers empathy. "The Hurt Locker" is a film about young men who voluntarily enlist to serve in Iraq well aware that the risk of dying is immense. It asks no questions about why they choose this kind of job, but rather focuses on how they deal with life in an uncontrollable death zone and how this affects their mentality. Even though this is a war movie at first hand, it's also a pulsating action thriller, a psychological drama and a concentrated character study about three men, their rivalry and their evolving friendship. The acting is captivating, but Jeremy Renner stands out as adrenalin rush-seeker Will James in an impressive role interpretation. "The Hurt Locker" is one of the first films to recognize the bomb disarmers and to depict war as something addictive. This an unconventional war film with brilliant war scenes, skilled photography and convincing milieu depictions.

Brothers at war - Damien O'Donell sacrifices his possibilities of having a career as a doctor in order to fight for Ireland with his brother during the Irish war of independence in 1920. Outmaneouvered and understaffed by British Black and Tans patrols, they join the Irish republican army with their closest friends. All though significantly outnumbered, they refuse to give away their independence to the United Kingdom and retaliates with unconditional patriotism. As the war increases and lives are lost, Damien falls in love with his childhood friend Sinead, who operates as their informant and provides them with food and artillery. The democracy amongst the inhabitants in Ireland are beginning to doubt their chances against the Brits, and the differences in opinion are about to complicate the relationship between Damien and Teddy. In "The Wind That Shakes the Barley", the great humanitarian Ken Loach went far back in history to depict the Irish War of independence (1919-1921) and the Irish Civil War (1922-1923). He also moved to new surroundings, and unlike most of his films which are set in cities: "Riff-Raff" (1990), "LadybirdLadybird" (1994), "My Name Is Joe" (1998) and "Ae Fond Kissâ

Classic psychological drama - The Palme d'Or wiener from 1976 is a realistic depiction of a paranoid bachelor who lives in the shadow of himself and in the shadow of a condemnable society. Travis Bickle is a disillusioned Vietnam-veteran who lives in Manhattan and works at nights driving a taxi in New York City, a town he thinks is infested by animals and scum who should be terminated. He lives alone, has no friends and only talks to his colleagues at the cafeteria where they often hang out, but when he one night meets twelve year old Iris, a prostitute and runaway, his less apparent charitable side is awakened, and he decides to do everything he can to get her away from the street life. Martin Scorsese inculcated his name in Cinema history with this metaphoric vision of a USA in the aftermath of the Vietnam war where chaos and anarchy ravages along steaming streets. At the center of the story stands Travis Bickle, a loner with sociopathic tendencies who carries evident marks from the Vietnam war. The pitiful creature who wanders around in an alienated and doomed society with illusions of greatness, a quality which saves him from becoming a defeatist, get's as supposed to most people witness the night life in the streets of New York so ingoing that he becomes demoralized by the repetitive deprivation he sees. Paul Schrader's misantrophical, socially critical and chronologically told screenplay is an urgent character study about one individuals compromising behavior and moral downfall. If Bickle is a disguised Christ figure as the ingenious ending implies, or a full-blooded sociopath seeking redemption, is left for the viewer to interpret. The only thing one can determine, which is also a reassurance, is that Travis Bickle is a fictional character, not a real person. "Taxi Driver" is told through Robert De Niro's voice-over, and the whole film is seen from Bickle's perspective. A melancholic and often demanding point of view to follow as one realizes, already after the awkward scene where he shocks and repulses the beautiful campaign assistant Betsy by taking her out on a date to see a pornographic movie, that he is a doomed character who has burned all his bridges before they where even built. Bickle is personified with sharp authenticity and emphatically authority by Robert De Niro, who was nominated for best actor in 1976. What is so masterful with Martin Scorsese's classic psychological drama is that the essential cinematic elements converges, reflects the main characters darkened soul and is compressed into an eminent compositions of style and form. Another brilliant aspect is Scorsese's balanced mix of genre, where he navigates within film-noir, horror and western. The minimal rays of hope in this metaphorical inferno of a film, occurs in the sporadic and liberating moments when Scorsese drags the viewer out of the main characters frenetic mind.

Creative dream-sight - In a modern present time confidential information can be planted inside the human brain and a man can communicate with his deceased wife. Dominic Cobb is a sharp minded extractionist who makes a living of a modern technological discovery. The main goal with this technology is to capture secret information from ordinary peoples minds, but the goal is rotated 180 degrees when Dominic receives an irresistible offer from a powerful Japanese, which involves inception. After the box office hit "The Dark Knight" (2008) my expectations were great when it was announced that Christopher Nolan was making a film with Leonardo DiCaprio, and he certainly delivers. "Inception" looks good on the big screen and lacks nothing when it comes to the films technological and aesthetic aspects. The films versatile acting ensemble engages with their energetic and well articulated interpretations. Marion Cotillard, Ken Watanabe and Cillian Murphy stands out, while Leonardo DiCaprio continues to prove why he is hired by masterful directors. "Inception" is 220 minutes like the speed of light with thriller, drama, comedy and action, that describes and visualizes the experience of being awake and in dreams at the same time. Nolan's dream-sight and level of creativity can be associated with "The Matrix" (1996) and "Vanilla Sky" (2001). Intellectual dialog, progressive editing, sublime architecture photography and a thought intensive screenplay are some of the strongest elements in this ingenious film.

Weighty and socially-critical - "Afterschool" tells the story of Robert, a student feeling out of place at an elite east coast preparatory school called Brighton where he spends large parts of his spare-time watching violent and pornographic video-clips on the internet while his roommate Dave sells drugs. Robert get's in touch with his classmate Amy who has a positive effect on him, but one day he accidentally captures the death of two senior students with his video camera and things change. Antonio Campos' feature film debut is a slow-paced and rigidly minimalistic social-drama with a recognizable narrative, which tactfully depicts the aftermath of a tragedy at a private secondary school. Continuously following the main character, surprisingly well acted by dÃbutant Ezra Miller, Antonio Campos forms a sparse though in-depth character study filmed with repetitive close ups, flashbacks, in-zooming and low camera angels. "Afterschool" is a severe tale of overlooked teenage anxiety which intellectually examines themes like voyeurism, alienation, addiction, communication and guilt. It is also a shocking and uneasy portrayal of an emotionally estranged and mentally disturbed teenager darkened by guilt and shame. The quiet and short dialog and the long takes enhances the impending mood in this throughout stark independent thriller only contrasted by the bright colored imagery.

Enchanting cinematic art Love has it's own erratic language in Wong Kar-Wai's masterful love-story which is set in Hong Kong 1962 and tells the story of news editor Chow Mo-Wan who has recently moved in to a crowded apartment complex with his wife, and at approximately the same time the beautiful secretary Su Li-Zen moves in to that same place with her husband. Chow and Sus spouses are often away on foreign travels due to their jobs which eventually leads to Chow and Su becoming more and more lonely. After numerous coincidental meetings in the neighborhood a conversation occurs and the news editor and secretary realizes the kinship of their situations. One night Chow invites Su to dinner confiding her in his suspicion about their spouses having an affair. Su admits that she's had similar thoughts, but none of them has any solid evidence. Their intimate conversation gradually turns to regular dinner meetings where these two modest individuals find a unifying chemistry, and in time a subtle romance comes to life. The two leading characters are portrayed as introverted, somewhat static and well educated people with high morals, and brought to life through Tony Leung and Maggie Cheung's low-keyed and emotionally demanding performances. Wong Kar-Wai wants us to emphasize with our hero and heroine even though we are aware of the fact that they are about to commit the same deception as their spouses have done. That one feels emphatic towards Chow and Su is hardy unavoidably considering what they are coming to terms with, but Wong Kar-Wai's real masterpiece is that he has us sitting through most of the film wishing for the main characters to become lovers. The esoteric dialog is convincingly communicated and Shigeru Umebayashi's theme song "Yumeji's Theme" is like a hymn to Chow and Su's tranquil and romantic friendship. "In the Mood for Love" is a film that lives on it's on terms and invites the viewer into a dreamlike, poetic and hypnotically beautiful universe. It's without clichÃs, filled with hope and contains lyrical shades that makes the film seem like one great love poem or an exploration of human behavior affected by love. This unforgettable slow-moving tale from one of the greatest visual storytellers in modern cinema stands alongside "The Piano" (1993) as one of the most profound love stories i've ever seen.

Scenes of literary poetry With her poetic drama Jane Campion makes two hours feel like fifteen minutes in heaven in this story about a secret romance that starts of in London 1818 between struggling poet John Keats and the girl next door Fanny Brawne. When their love for one another is revealed they are faced with strong resistance, but their bond has gotten so strong that there is nothing anyone can do to change it. Six years has passed since one of times most important female director's made the thriller "In the cut" (2003). Her newest film is based on Andrew Motions "KEATS: A Biography" from 1987 and is a hearty ovation to romantic poet John Keats (1795-1821), that depicts the tree last years in his life and focuses on the relationship between him and 19 year old Fanny Brawne, that would become his life's love. With sophisticated camera movements Campion visualizes the romance in the characters and nature as she attempts to drag out the essence off Keats poems. Her use of linear narrative holds this character drama together, and in several of the most artistic scenes Keats is quoted through Ben Wishaw's characteristic voice-over. The emotional substance in Abbie Cornish's interpretation compliments Campion`s lyrical film style and the chemistry between her and Ben Wishaw is present in ever scene they share. Paul Schneider is also splendid in his supporting role as Keats best friend. "Bright Star" is encouraged by the colorful interiors and exteriors that is in style with, contrasts and emphasizes the remarkable costumes. With her personal signature, New Zealand director Jane Campion creates rarely seen scenes of literary poetry that are enhanced by the atmospheric violin music from Mark Bradshaw, and returns to the genre's she more than mastered in "An angel at my table" (1990) and "The Piano" (1993). For her eight picture so far she was nominated for the Palme'd Or in Cannes for the third time. "Bright Star" is in my eyes an enchanting story that articulates and visualizes love's life with exquisite images, gesticulations and lines.