Marie-Josée Croze - The 65th Berlin International Film Festival -'Everything Will Be Fine' - Arrivals - Berlin, Germany - Tuesday 10th February 2015
Wim Wenders, Charlotte Gainsbourg, James Franco, Robert Naylor and Marie-Josée Croze - The 65th Berlin Film Festival/Berlinale 2015 - 'Everything Will Be Fine' - Arrivals - Berlin, Germany - Tuesday 10th February 2015
Marie-Josee Croze - A host of stars were photgrpahed as they attended a photcall at the 65th Berlin International Film Festival for 'Everything Will Be Fine' in Berlin, Germany - Tuesday 10th February 2015
After the 2011 black comedy The Guard, Brendan Gleeson reteams with writer-director John Michael McDonagh for a darker comical drama grappling with issues of faith and forgiveness. McDonagh's usual jagged dialogue and snappy characters are on-hand in abundance while the film digs deep through a rather meandering, episodic plot.
In rural Ireland, Father James (Brendan Gleeson) is quietly enduring confessionals when one of his parishioners says he's going to kill him next Sunday. Shaken, James begins to explore his faith and mortality over the coming week. His daughter Fiona (Kelly Reilly) arrives following another suicide attempt, and he consoles a grieving French visitor (Marie-Josee Croze) and visits an imprisoned killer (Domhnall Gleeson). But almost anyone in the village could be the aspiring murderer: the over-emotional butcher (Chris O'Dowd), drug-addict doctor (Aidan Gillen), ladies-man African (Isaach De Bankole), shifty millionaire (Dylan Moran), eccentric fisherman (M. Emmet Walsh).
Intriguingly, it never really matters who issued the threat (James has a pretty good idea), because that's not the point of the film. McDonagh is exploring bigger ideas here, adeptly mixing riotously funny dialogue with startlingly bleak emotions. The film's languid pace nearly lulls us to sleep, then wakes us up with another sparky scene-stealing performance from the gifted cast. Gleeson is wonderfully muted, expressing more with an exhausted sigh than most actors can manage with a Shakespearean monologue. His moments with Reilly crackle with honest emotion, and the deceptively simple scene between father and son actors Brendan and Domhnall is a heart-stopper.
Continue reading: Calvary Review
Father James Lavelle is a good-natured priest whose life is thrown into confusion and disarray when an anonymous man tells him in confession that he will kill him in a week's time - the only reason being because Lavelle is an innocent man. Of all the shocking things he's ever heard in confession, none have thrown him quite as much as this. Unable to go to the police under the rules of the 'Seal of the Confessional', Lavelle consults his church peers pondering whether it was merely an idle threat, or whether his life really is in danger. In his apparent last week in existence, he scrutinises the corrupt individuals of his sin-filled parish, wondering along the way why people seem to focus more on their vices than their virtues, but when his beloved church is burnt to the ground, his views on good and evil become distorted.
'Calvary' is the darkly comic drama about the timeless story of good and evil, and guilt and innocence. It has been directed and written by BAFTA nominated John Michael McDonagh ('The Guard', 'Ned Kelly') and is set in Ireland's beautiful West Coast countryside. The film is set to be released on April 11th 2014.
Unfolding with fecund ripeness in a long and languorous day and evening in the French countryside, where some siblings and their respective others share a meal and sharp-edged conversation at the old family house, the film plays with the notion of barely-concealed secrets and a hint of rottenness. When Alex Beck (Francois Cluzet) chases his wife Margot (Marie-Josee Croze) through a forested pathway lined with lushly blooming flowers, the scene is romantic but weighted with death -- it wouldn't surprise you to find out that the soil was so rich due to bodies being buried there. Like the childhood sweethearts they once were, Alex and Margot swim playfully in a small pond and then coil up naked in the warm night air on a floating raft. She goes ashore; there are sounds of a struggle. Alex, panicked, swims for the dock only to get whacked unconscious by an unseen assailant.
Continue reading: Tell No One Review
Julian Schnabel's The Diving Bell and the Butterfly takes its title from said book, and, like its source material, the film has a spiffy discordance to it. When Bauby (the great Mathieu Amalric) opens his eyes, so does the camera, and we are struck by the light in the same petrified and blurry way that Bauby is. Manipulated to Brakhage-like lengths, the image has the same effect as Jean-Do's fumbling voiceover; we are as unsure of his footing as he is. His pleading to not sew up an eye threatened by infection becomes our begging; we don't want to lose the slight view we have. Then, with little preparation, we aren't with the protagonist anymore, and we are looking at a frozen, terminally-twitched face in a hospital bed.
Continue reading: The Diving Bell And The Butterfly Review
Atom Egoyan, the avant-garde Canadian filmmaker born in Egypt to Armenian parents, has a chip on his shoulder the size of the Great White North. And that chip is Armenia. Obviously harboring a deep guilt for his living high on the hog in the West while his ancestors were massacred in the motherland, Egoyan never misses a chance to revisit Armenia as a theme in his films -- even if, say, it's a movie about a strip club and a dead girl (Exotica). And invariably Egoyan casts his wife Khanjian as an Armenian of some sort, always taking the time to let us know she's Armenian with the subtext that she should be pitied.
Continue reading: Ararat Review
Arcand is too experienced to be satisfied with this singular friendship as a focal point. Instead, it's just one of the delicate links that the veteran writer/director examines in this tale that briskly comments on everything from healthcare to ethics to today's Christianity.
Continue reading: The Barbarian Invasions Review
A science-fiction opus starring the Barbarino of the Actors Guild, Battlefield Earth should be shown only at maximum-security prisons when a prisoner is tossed in solitary for bad behavior. Sci-fi is always a tricky beast: Tight script, a good director, an ensemble cast of decent actors, and the ability to suspend even the most difficult of disbeliefs. Battlefield Earth fails at achieving even one of these attributes.
Continue reading: Battlefield Earth Review
In Denys Arcand's "The Barbarian Invasions," the bald, flabby, bespectacled Remy (Remy Girard) is slowly dying. He never makes a miraculous recovery, nor does he renounce his sinful lifestyle, nor does he leave behind a fortune for his friends and family to enjoy. He's a goner.
How difficult it must be to get producers to finance a film about death, not to mention getting audiences to pay to see a film about death.
The reason "The Barbarian Invasions" succeeds is because -- to quote an old critical chestnut -- it's really about life.
Continue reading: The Barbarian Invasions Review
Writer-director Atom Egoyan's heartfelt passion project "Ararat" is an abstractly structured account of both the 1915-1923 Armenian genocide at the hands of the Ottoman Turks and the massacre's emotional reverberation in the descendants of its survivors.
It's an immense, dark chapter in world history, the gravity of which has never been given its due, especially in the West. As a character in the film points out, even Aldoph Hitler said, "Who remembers the extermination of the Armenians?" when lobbying reluctant underlings to continue with the Holocaust. And Turkey still denies the slaughter took place, despite evidence and eyewitness accounts to the contrary.
Such accounts and denials are an integral part of the truth and shadow at play in this movie, which weaves five stories from three time periods into an intricate elliptical narrative that is sometimes powerfully distressing, sometimes overly contrived and sometimes downright confounding.
Continue reading: Ararat Review
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