Johanna Ter Steege

Johanna Ter Steege

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Johanna Ter Steege - The 28th European Film Awards (Europaeischer Filmpreis) at Haus der Berliner Festspiele - Arrivals at Haus der Berliner Festspiele - Berlin, Germany - Saturday 12th December 2015

Johanna Ter Steege
Johanna Ter Steege
Johanna Ter Steege
Johanna Ter Steege

I Can No Longer Hear The Guitar Review


Excellent
The films of Philippe Garrel seem to be the realization of Euripides' great summation that "He is not a lover who does not love forever." Perhaps "he" is outdated; for Garrel's sect, a solid he/she or they would be more appropriate. Not only does every one of the French director's films deal directly with the limits and constrictions of that unfathomable emotion, they seem to also be interested in how language conveys and manipulates one's feelings.

The first quarter of Garrel's superb I Can No Longer Hear the Guitar deals solely with those three infamous words, and the four figures at the center of the director's emotional typhoon never feel satisfied with their counterpart's terminology; at least not the women. Marianne (Johanna ter Steege, who made her debut in the classic creeper The Vanishing) doesn't think her lover's promise of loving her "like crazy" is good enough, for what if he were to regain his sanity? Said lover, Gerard (Benoît Régent as Garrel's proxy), later corrects himself, stating that he will love her till he dies. She has no other choice but to leave him, at the very same time their friends Martin (Yann Collette) and Lola (Mireille Perrier) split.

Continue reading: I Can No Longer Hear The Guitar Review

Vincent & Theo Review


Excellent
Robert Altman's Vincent & Theo is a brooding biopic on the symbiotic relationship of the van Gogh brothers. The director of M*A*S*H and The Player harmonizes well with Julian Mitchell's unobtrusive script, resulting in a poignant cinematic portrait of bursting color and sinking black.

Prelude: A noisy 1980s London auction for van Gogh's Sunflowers dissolves to a 1880s vagabond-ish Vincent (Tim Roth) and brother Theo (Paul Rhys). Multi-million-pound bids of a distant future echo as Vincent declares he's becoming a painter.

Continue reading: Vincent & Theo Review

Immortal Beloved Review


Excellent
My pick of the week goes to Immortal Beloved, a limited-release movie about the life and times of Ludwig von Beethoven. Gary Oldman plays the Maestro with finesse and style, filled with all the emotion and angst Oldman is becoming famous for.

In an effort to create another Amadeus, the film chooses to use Beethoven's will, wherein he leaves his estate to a nameless "immortal beloved," as the starting point for delving into Beethoven's past. Consequently, much of the film is interested in Beethoven's supposed relationships with the women around him. Here, the film somewhat takes leave of reality, playing fast and loose with the facts of Beethoven's life. In fact, the film's final claim of a certain woman as Beethoven's immortal beloved is considered absurd by most historians.

Continue reading: Immortal Beloved Review

Vincent & Theo Review


Excellent
Robert Altman's Vincent & Theo is a brooding biopic on the symbiotic relationship of the van Gogh brothers. The director of M*A*S*H and The Player harmonizes well with Julian Mitchell's unobtrusive script, resulting in a poignant cinematic portrait of bursting color and sinking black.

Prelude: A noisy 1980s London auction for van Gogh's Sunflowers dissolves to a 1880s vagabond-ish Vincent (Tim Roth) and brother Theo (Paul Rhys). Multi-million-pound bids of a distant future echo as Vincent declares he's becoming a painter.

Continue reading: Vincent & Theo Review

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