I must have seen it on the shelf a number of times, but the comparison on the synopsis to Sex and the City put me off. But when I eventually put it on the player, it turned out to be, to my surprise, a little gem.
First the film has a very tight script, it is about a theatre editor who wants to have a child without any of the downsides of a committed relationship, after finding out her man is actually married with a pregnant wife. During that process and despite her initial prejudice against a charming leading man in her play, they fell in love and had a family.
But the fun also come with the smart dialogues, and more significantly, the 'sparkling performances of the ensemble, and in particular the chemistry between the two leads.
A very addictive film.
January 08, 2012
January 07, 2012
The music room
Three prolonged set of performances from three different groups of musicians, and a rather minimalist and 'static' narrative in-between. The Music Room wants the audience to sit down quietly, like those at those performances, to experience how the protagonist felt before and after those highlights of his existence. Not much drama, but a lot of minute observations, and the camera stayed, except at the last scene, within the compound of the crumbling mansion that had hosted several generations of good life.
A very confident work. An ode to Indian music and dance.
A very confident work. An ode to Indian music and dance.
January 01, 2012
Indian fabric
Went to the Patterns of Trade: Indian Textile for Export, 1400 to 1900 exhibition at the Asian Civilisation Museum this morning. It didn't disappoint, and I spent a good 90 minutes there to examine all the items.
I was first introduced to Indian fabric and 'fashion' in 1999 when my ex bought me two Indian dresses and shawls. Though I wasn't impressed by their quality (some of the buttons were rustic on a dress and the fabric of the shawls too rough to wrap around the bare neck), I was intrigued by its traditional design and the unique patterns on the shawls. In the follow nine years, I would continue receive gifts from India, some of them dresses, and had come to the conclusion that Indian fabric was cheaply made (at least those sold in the mass market where my ex frequented) but had a distinctive ethnic touch to them, and could look rather feminine if fitted well. Despite the fact that their colours come off quite easily, the Indian dresses also seemed to me like an ideal pregnancy dresses and when my younger sister was pregnant, I 'ordered' some for her - which turned her into an instant 'fashion icon' at her regular bus stops; female fellow passengers were fascinated by how graceful she looked in those 'exotic' dresses and would even enquire where they could get some.
Indian dresses and shawls were in fact only part of our collection of ethnic fabric; apart from a few Indian pieces for hanging, we had also acquired decorative fabric from Bali, Tibet and southwestern China. While the dry condition in England allow them to be displayed in the house quite easily (the fact windows were closed most of the time also helped), it became a headache of sort in this tropical climate with high humidity. All all the pieces, the most expensive item was in fact purchased in Hong Kong from a friend's ex-boyfriend. A medium size piece for hanging, it was made from several fabric women in Guizhou used for carrying their babies on their backs. The original fabrics were all worn due to overuse and so the seller had someone cut out the better ones and patched them together as a whole piece. How to keep them and make sure they are fine in such climate was a challenge.
This cursory knowledge about Indian fabrics made me want to know more about it and its history, and to my satisfaction, the exhibition was well-researched and executed. Not only it traces the origin, the development of the textile industry inside India, it also discuses its impact across the border and beyond. The video that is played on look provides interesting display on the process Indian patterns are made traditionally. While I was watching it, it dawned to me how come those pieces were so 'rough' and appeared to repeat the patterns. But the surprise was how beautiful the exhibition room looks with the huge fabric hanging on the wall, as most of them should be in their proper settings. It made me realise that they were in fact a form of art.
I felt rather 'civilised' while examining those delicate items; some with silk like texture.
I was first introduced to Indian fabric and 'fashion' in 1999 when my ex bought me two Indian dresses and shawls. Though I wasn't impressed by their quality (some of the buttons were rustic on a dress and the fabric of the shawls too rough to wrap around the bare neck), I was intrigued by its traditional design and the unique patterns on the shawls. In the follow nine years, I would continue receive gifts from India, some of them dresses, and had come to the conclusion that Indian fabric was cheaply made (at least those sold in the mass market where my ex frequented) but had a distinctive ethnic touch to them, and could look rather feminine if fitted well. Despite the fact that their colours come off quite easily, the Indian dresses also seemed to me like an ideal pregnancy dresses and when my younger sister was pregnant, I 'ordered' some for her - which turned her into an instant 'fashion icon' at her regular bus stops; female fellow passengers were fascinated by how graceful she looked in those 'exotic' dresses and would even enquire where they could get some.
Indian dresses and shawls were in fact only part of our collection of ethnic fabric; apart from a few Indian pieces for hanging, we had also acquired decorative fabric from Bali, Tibet and southwestern China. While the dry condition in England allow them to be displayed in the house quite easily (the fact windows were closed most of the time also helped), it became a headache of sort in this tropical climate with high humidity. All all the pieces, the most expensive item was in fact purchased in Hong Kong from a friend's ex-boyfriend. A medium size piece for hanging, it was made from several fabric women in Guizhou used for carrying their babies on their backs. The original fabrics were all worn due to overuse and so the seller had someone cut out the better ones and patched them together as a whole piece. How to keep them and make sure they are fine in such climate was a challenge.
This cursory knowledge about Indian fabrics made me want to know more about it and its history, and to my satisfaction, the exhibition was well-researched and executed. Not only it traces the origin, the development of the textile industry inside India, it also discuses its impact across the border and beyond. The video that is played on look provides interesting display on the process Indian patterns are made traditionally. While I was watching it, it dawned to me how come those pieces were so 'rough' and appeared to repeat the patterns. But the surprise was how beautiful the exhibition room looks with the huge fabric hanging on the wall, as most of them should be in their proper settings. It made me realise that they were in fact a form of art.
I felt rather 'civilised' while examining those delicate items; some with silk like texture.
December 31, 2011
Banishment
This Russian film is painfully slow at points at the first third, and appears rather random in the subsequent depiction of the family lives in the countryside. At points I almost wanted to turn it off. But my patience was rewarded rather handsomely by the twist of event which, although cannot justify its structure, satisfies my desire to learn more about contemporary Russian cinema.
The painful revelation of the wife to a friend on how her relationship with her husband has suffered due to his 'liking them for his own sake' and ceasing talking to her made me wonder if, like Zhang Yimou's early works is a allegory film. But the film ended too abruptly (especially given its long opening) to confirm this.
Nevertheless, it is a good watch, although, like many critics have commented, it can do with a much better editing.
The painful revelation of the wife to a friend on how her relationship with her husband has suffered due to his 'liking them for his own sake' and ceasing talking to her made me wonder if, like Zhang Yimou's early works is a allegory film. But the film ended too abruptly (especially given its long opening) to confirm this.
Nevertheless, it is a good watch, although, like many critics have commented, it can do with a much better editing.
December 29, 2011
Racing with the Moon
Watching this film made me realise that it was a while since I watched anything so raw yet powerful and touching from Hollywood. A few weeks before he joined the Marine, Sean Penn's character met a girl of great intelligence and forbearance and through their relationship, he found something beautiful in her which would also changed his relationship with his pal, played by an equally raw and fresh Nicholas Cage. The film was very well directed and the three leads gave a subdued yet outstanding performance. Like films such as The Fabulous Baker Boys, the film reminds me once again what Hollywood can offer when it stays honest and true to human nature.
December 22, 2011
Happy life
This is another surprise find; an upbeat film about three middle-aged men realising their college dreams of forming a band, with solid performances from the four leads. Though the tone is light-hearted, it does touch upon the Asian culture - so acutely captured by a casual comment from the teenager daughter of the band leader: being in a band is better than being unemployed. Though it is a man's film, it has a universal appeal: how we lost our dreams in the face of reality and what it takes to realise it despite of the challenges.
Jang Guan-suk's role as a guitarist and lead singer in the band predates his apparently much more high profile similar roles in television dramas such as Beethoven's Virus and You Are Beautiful. It shows that he was already a confident actor at that tender age.
The film also serves to remind me the drastic difference in Korean cinema and dramas in their deployment of cast: while the former would normally allow them to appear in their own skin, the latter is consistent in projecting an immaculate look across the board. In other words, while Korean cinema tend to look more realistic, their drama counterpart looks artificial and packed with cosmetically enhanced actresses, if not actors as well.
Jang Guan-suk's role as a guitarist and lead singer in the band predates his apparently much more high profile similar roles in television dramas such as Beethoven's Virus and You Are Beautiful. It shows that he was already a confident actor at that tender age.
The film also serves to remind me the drastic difference in Korean cinema and dramas in their deployment of cast: while the former would normally allow them to appear in their own skin, the latter is consistent in projecting an immaculate look across the board. In other words, while Korean cinema tend to look more realistic, their drama counterpart looks artificial and packed with cosmetically enhanced actresses, if not actors as well.
December 12, 2011
Treeless Mountain
Watched Singles and Treeless Mountain over the weekend, and discovered the 'hidden' treasures of Korean cinema all over again.
The first one, Singles, made in 2003, revolved around two women who are soon to turn 30. Both struggling to find a satisfactory career, they have however decided against an easy option for women of their age circumstances in Asian countries - to get married the man available at the time, which renders their career a secondary issue in effect - and have instead insisted on staying true to their heart, despite the challenges awaiting ahead as a single woman over their first flush of beauty. This is really a woman's film, not only because it is from their prospective, their desire and aspirations, the story is told, but also because the bonding between the two is one of the most engaging elements throughout. The subtle performances from the four leads add a lot to the charm of it as well.
If Singles can appeal to the mass audience without compromising its artistic integrity, Treeless Mountain is a typical art house daring that could be a challenge due to its slow pace, its unusual camerawork, the sparse dialogues, if not the plots. While the story and the use of non-professional actors etc reminds me of another low profile yet unexpectedly satisfying The Way Home, Treeless Mountain deals with more unsettling issues, the deserted children left to a not so welcoming relative, the relationship of the siblings who were put to test of all sorts at such a tender age, which contributes to the initial uncomfortable watching experience. To the credits of the writer-cum-director, and no less of her crew, the film managed to keep me stay tuned despite the unusual camerawork that keeps at the eye level of the two child actresses aged five and seven, the more than usual close-up shots, the 'ordinary' faces of the two leads that tell the story of the hearts and project depth in their changes of inside world. While the story in itself might not be a new one, the capturing of the change of relationship between the siblings and theirs with the outside world is human and certainly a triumph. It is a work of great confidence and very touching at many points, especially when they change all the ten cent coins to one cent ones in order to fill up the piggy - which is supposed to lead to their mother's return.
After watching the special feature where the director and her foreign crew met their audience in New York, I thought it could make a very interesting case if one compares it to The Brand New Life, which is also shot by a woman director who brings with her long term overseas experience (I am making this assumption based on the appearance and the fluency of Treeless Mountain's director's English as well as her witty and confident responses to the audience.) Some interesting questions can be asked such as if their more Westernised outlook (and closer than usual associations with the Western world) has made them to inspect their native country and its people differently from their 'domestic' colleagues.
The first one, Singles, made in 2003, revolved around two women who are soon to turn 30. Both struggling to find a satisfactory career, they have however decided against an easy option for women of their age circumstances in Asian countries - to get married the man available at the time, which renders their career a secondary issue in effect - and have instead insisted on staying true to their heart, despite the challenges awaiting ahead as a single woman over their first flush of beauty. This is really a woman's film, not only because it is from their prospective, their desire and aspirations, the story is told, but also because the bonding between the two is one of the most engaging elements throughout. The subtle performances from the four leads add a lot to the charm of it as well.
If Singles can appeal to the mass audience without compromising its artistic integrity, Treeless Mountain is a typical art house daring that could be a challenge due to its slow pace, its unusual camerawork, the sparse dialogues, if not the plots. While the story and the use of non-professional actors etc reminds me of another low profile yet unexpectedly satisfying The Way Home, Treeless Mountain deals with more unsettling issues, the deserted children left to a not so welcoming relative, the relationship of the siblings who were put to test of all sorts at such a tender age, which contributes to the initial uncomfortable watching experience. To the credits of the writer-cum-director, and no less of her crew, the film managed to keep me stay tuned despite the unusual camerawork that keeps at the eye level of the two child actresses aged five and seven, the more than usual close-up shots, the 'ordinary' faces of the two leads that tell the story of the hearts and project depth in their changes of inside world. While the story in itself might not be a new one, the capturing of the change of relationship between the siblings and theirs with the outside world is human and certainly a triumph. It is a work of great confidence and very touching at many points, especially when they change all the ten cent coins to one cent ones in order to fill up the piggy - which is supposed to lead to their mother's return.
After watching the special feature where the director and her foreign crew met their audience in New York, I thought it could make a very interesting case if one compares it to The Brand New Life, which is also shot by a woman director who brings with her long term overseas experience (I am making this assumption based on the appearance and the fluency of Treeless Mountain's director's English as well as her witty and confident responses to the audience.) Some interesting questions can be asked such as if their more Westernised outlook (and closer than usual associations with the Western world) has made them to inspect their native country and its people differently from their 'domestic' colleagues.
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