Saturday, October 25, 2014

Umberto Eco about Nietzsche (& deconstruction)

Sarebbe la definizzione più giusta del pensiero nietzchiano, worth of Kauffmann, Deleuze e Klossowski insième:

"Certamente Nietzsche avverte l'esistenza di costrizioni naturali... Le costrizioni gli appaiono come 'forze terribili' che premono continuamente su di noi, contrapponendo alle verità 'scientifiche' altre verità di natura diversa; ma evidentemente rifiuta di riconoscerle concettualizzandole a loro volta, visto che è stato per sfuggire a esse che ci saremmo costruiti, quale difesa, l'armatura concettuale. Il cambiamento è possibile, ma non come ristrutturazione, bensì come rivoluzione poetica permanente..." Umberto Eco, Dall'Albero al Labirinto (Milano: Bompiani, 2007, p. 586).

***It is probably true, on the other hand, that Umberto Eco only flirted with truly deconstructionist and more "metaphysical" enterprises (no matter how much he understood them). In Opera aperta there is a tension between historicist and "structural" approaches, but he is much more inclined towards the former than towards the latter (he had to dissociate himself from the structuralism of Lévi-Strauss, and proved to be very wary about Mallarmé; see the IX edizione, Bompiani, 2013, p. VIII, 22, 47-49). The situation changed a little in later books, but it seems to me that Haroldo de Campos, for instance, was able to be much more explicit in his openness to Derrida's project.

Saturday, October 18, 2014

Movies about musicians (alphabetical order, under construction)

Nico, 1988 (Susanna Nicchiarelli, 2018);
Chico: Artista Brasileiro (Miguel Faria Jr., 2015);
Olho Nu (Joel Pizzini, 2014);
El Padre de Gardel (Ricardo Casas, 2013);
Jorge Mautner - O Filho do Holocausto (Pedro Bial, 2013);
Raul: o Início, o Fim e o Meio (Walter Carvalho, Leonarda Gudel, 2012);
Tropicália (Marcelo Machado, 2012);
Noite em 68 (Ionaldo Santana do Araújo, 2010);
Loki: Arnaldo Baptista (Paulo Henrique Fontenelle, 2008);
Control (Anton Corbijn, 2007);
Last Days (Gust van Sant, 2005);
Punk Attitude (Don Letts, 2005);
Stoned (Stephen Woolley, 2005);
Nelson Freire (João Moreira Salles, 2003);
Party Monster (Fenton Bailey, Randy Barbato, 2003);
The Doors (Oliver Stone, 1991);
Sympathy for the Devil (Godard, 1968);

























images taken from 
Anton Corbij's
Control (20080






===============================
From a Parallel World: 
This movie about Janis Joplin, Little Girl Blue 
(Amy Berg, 2015) says all it has to say by the title:
DEMEANING & PREACHY. 
What shines out is Peggy Caserta's declaration that
the heroin shooting was NOT out of depression at al.


























Here is Janis at her best—that is, a Rambling Elemental Woman:


See also:
- RGS Rock


Monday, October 13, 2014

Most interesting LGBT movies (alphabetical order - under construction)

- Alguma Coisa Assim (Esmir Filho, 2017);
- Liebmann (Jules Herrmann, 2016);
- As You Are (Miles Joris-Peyrafitte, 2016);
Mãe só há uma (Anna Muylaert, 2016);
- Moonlight (Barry Jenkins, 2016);
La vanité (Lionel Baier, 2015);
Praia do Futuro (Karim Ainouz, 2014);
Tom à la ferme (Xavier Dolan, 2014);
- La vie d'Adèle (Abdellatif Kechiche, 2013);
Los amantes pasajeros (Pedro Almodovar, 2013);
Broderskab (Nicolo Donato, 2009);
La bocca del lupo (Pietro Marcello, 2009);
Les chansons d'amour (Christophe Honoré, 2007);
Les témoins (André Téchiné, 2007) - my montage;
Breakfast on Pluto (Neil Jordan, 2005);
Was nützt die Liebe in Gedanken (Achim von Borries, 2004);
- Pelo malo (Mariana Rondón, 2003);
La chatte à deux têtes (Jacques Nolot, 2002);
Y tu mamá también (Alfonso Cuarón, 2001);
Plata quemada (Marcelo Piñeyro, 2000);
The crying game (Neil Jordan, 1992);
My own private idaho (Gus van Sant, 1991);
Caravaggio (Derek Jarman, 1986);
My beautiful laundrette (Stephen Frears, 1985);
- Kiss of the spyder woman (Hector Babenco, 1985);
Salò o le 120 giornate di Sodoma (Pasolini, 1975) - my montage;
- A Bigger Splash (Jack Jazan, 1973);
- Ludwig (Lucchino Visconti, 1972);
- Satyricon (Fellini, 1969);









Neil Jordan's 
Breakfast on Pluto
(Ireland, 2005)








***See also:
- Orlando 06/12;
- Série, presque à genoux with thread;
- Pier Paolo Pasolini;
- Boswell, Dover and others on male homosexuality;

Saturday, October 11, 2014

El Estudiante, political movie (learning from Argentina)


"... toute l'histoire de la politique européenne au 
moins, et depuis Marx au moins, serait celle d'une 
guerre impitoyable entre des camps solidaires et 
également terrorisés par le fantôme, le fantôme de 
le autre et son propre fantôme comme fantôme de 
l'autre."
"... tous ces opposants de l'ombre ont beau savoir
 que l'Europe est en train de trembler devant 
certain fantôme, celui qui désigne le Manifeste dès 
son premier nom, ils complotent aussi contre une 
armée de spectres, contre la spectralité même, et 
ils pensant tous, sans doute, que c'est de bonne 
guerre... le noeud des complicités et des 
antagonismes entre Marx, Engels, Feuerbach, 
Stirner, Hess, Bauer, etc."
Jacques Derrida, Spectres de Marx

Aos olhos deles, eu era apenas um peão 

fazendo seu dever.
Gerald Thomas, Entre Duas Fileiras


The strength of a "political" movie such as El Estudiante (2011, by Santiago Mitre) is the determination with which it follows the internal contradictions of its material as they can be handled in its specific "code" (cinema has its own way to conjure up reality). The plot is unraveled by unexpected turns. It is not demagogical and confronts us with puzzles: how people who supposedly are simply exploited somewhat contribute to their own situation, and above all how people who intend to help are generally unconsciously entangled in the labyrinths of their own selfishness. Argentina is the country of sophisticated directors such as Marcelo Piñeyro, Carlos Sorin, Pablo Trapero, Anahí Berneri and Lucrecia Martel.



In Brazil, the best examples are documentaries. Eduardo Coutinho and João Moreira Salles are accomplished documentary directors. Garapa (2005), by José Padilha, deals with its material in a way which is also interesting (the case of Gabriel Mascaro is more peculiar). In fiction, the best results were attained by Anna Muylaert: Mae só há uma (2016) hasn't got so much attention as Que horas ela volta (2015), but it is just as good. The plot seems implausible (the idea of going back home), but it is actually a metaphor for a very complex and troubled situation. Muylaert works with the actors in a way that is the most convincing. The direction is very honest and unconceited. I wasn't much convinced by Cleber Mendonça Filho's O Som ao Redor (2012), but Aquarius (2016) is excellent. And O Céu de Suely (2006), by Karim Aïnouz, is remarkable. 

The Mexican director Amat Escalante is also ingenious. His Los Bastardos (2008) is astounding.

Some intentionally political movies are otherwise just pseudo-engagé movies: they are unable to engage truly with their own material, and merely submit the material to an external code (such as ordinary ideas and not necessarily false clichés but nonetheless clichés about "human exploitation"). In my opinion the most frightening examples are Fernando Meirelles' The Constant Gardener and Blindness (2008, **see my critical review), or José Campanella's El Secreto de sus ojos (2009). Besides being "intentionally political," these movies are somewhat "intentionally artistic." In Brazil there are many movies that would fall under such a category. Lavoura Arcaica (Luiz Fernando Carvalho, 2001) is perhaps the worst case scenario. It is not exactly political, but "epic." And it is just "intentionally artistic" (mannered and pious) as the language of Raduan Nassar’s original book was affected and bookish. It won about 50th prizes in festivals, but not exactly in Berlin or Cannes. ***Walter Salles, on the other hand, was redeemed by Dark Water (2005)—an unabashed "genre" movie, in which all his immemorial & carefully pampered clichés finally mount up to a truly terrifying degree! Without irony, I actually consider it to be his best movie ever (homespun philosophy transfigured). 

****I'm not considering Glauber Rocha's movies here, because they are very unequal and—except for Barravento and Deus e o Diabo na Terra do Sol—each one difficult to evaluate as a whole. But Glauber Rocha was a visionary artist whose works have unparalleled value (see here). And Cinema Novo has other interesting names such as Ruy Guerra, Leon Hirszman, Nelson Pereira dos Santos, and Paulo César Saraceni. There is also Cinema "Marginal"—if not political, apocalyptical

-------------------------------------------
List of other ingenious "political" movies (under construction):
- No Date, No Sign (Vahid Jalilvand, 2018);
- Museo (Alonso Ruizpalacios, 2018);
- Wieza. Jasny dzien (Jagoda Szelc, 2017);
- Happy End (Michael Haneke, 2017);
- The Party (Sally Potter, 2017);
- Jupiter holdja (Kornél Mundruczó, 2017);
- La Cordillera (Santiago Mitre, 2017);
- Los Perros (Marcela Said, 2017);
- Nelyubov (Andrey Zvyagintsev, 2017);
- War Machine (David Michôd, 2017);
- The Square (Ruben Östlund, 2017);
- Geumul (Ki-Duk Kim, 2016);
- Toni Erdmann (Maren Ade, 2016);
- Zjednoczone stany milosci (Tomasz Wasilewski, 2016);
- I, Daniel Blake (Ken Loach, 2016);
- Boi Neon (Gabriel Mascaro, 2015);
- Francofonia (Aleksandr Sokurov, 2015);
- Saul fia (László Nemes, 2015);
- Tharlo (Pema Tseden, 2015);
- The Big Short (Adam McKay, 2015);
- Aire Libre (Anahí Berneri, 2014);
- Um Sonho Intenso (José Mariani, 2014);
- Leviatan (Andrey Zvyagintsev, 2014);
- Simindis kundzuli (George Ovashvili, 2014);
- Inside Llewyn Davis (Coen Brothers, 2013)
- The Wolf of Wall Street (Scorsese, 2013);
- Epizoda u zivotu beraca zeljeza (Danis Tanovic, 2013);
- Tian zhu ding (Zhangke Jia, 2013);
- Heli (Amat Escalante, 2013);
- Pelo Malo (Mariana Rondón, 2013);
- Django Unchained (Quentin Tarantino, 2012);
- The Master (Paul Thomas Anderson, 2012);
- Cosmopolis (David Cronenberg, 2012);
- Tabu (Miguel Gomes, 2012);
- Les Adieux à la Reine (Benoît Jacquot, 2012);
- The Iron Lady (Phyllida Lloyd, 2012);
- Le Capital (Costa-Gravas, 2012);
- A Dangerous Method (David Cronenberg, 2011);
- Elena (Andrey Zvyagintsev, 2011);
- This is not a Film (Jafar Panahi, 2011);
- A torinói ló (Béla Tarr, 2011);
- Concerto de Violino (Luciano Vidigal, 2010);
- Por tu culpa (Anahí Berneri, 2010);
- Carancho (Pablo Trapero, 2010);
- Inside Job (Charles Ferguson, 2010);
- Green Zone (Paul Greengrass, 2010);
- Submarino (Thomas Vinterberg, 2010);
- Mammuth (Benoît Delépine & Gustave Kervern, 2010);
- Life During Wartime (Todd Solondz, 2009);
- Inglorious Basterds (Quentin Tarantino, 2009);
- Das weiße Band (Michael Haneke, 2009);
- Hunger (Steve McQueen, 2008);
- Vincere (Marco Bellocchio, 2008);
- Der Baader Meinhof Komplex (Uli Edel, 2008);
- Louise-Michel (Benoît Delépine & Gustave Kervern, 2008);
- Gomorra (Matteo Garrone, 2008);
- Los Bastardos (Amat Escalante, 2008);
- La mujer sin cabeza (Lucrecia Martel, 2008);
- Liverpool (Lisandro Alonso, 2008);
- Nightwatching (Peter Greenaway, 2007);
- Eastern Promises (David Cronenberg, 2007);
- No Country for Old Men (Coen Brothers, 2007);
- There Will Be Blood (Paul Thomas Anderson, 2007);
- Paranoid Park (Gus Van Sant, 2007);
- The Road to Guantanamo (Michael Winterbottom; Mat Whitecross, 2006);
- The Last King of Scotland (Kevin McDonald, 2006);
- A Fost Sau N-A Fost? (Corneliu Porumboiu, 2006);
- Caché (Michael Haneke, 2005);
- Manderlay (Lars von Trier, 2005);
- Grizzly Man (Werner Herzog, 2005);
- A History of Violence (David Cronenberg, 2005);
- Solnste (Aleksandr Sokurov, 2005);
- Sangre (Amat Escalante, 2005);
- El método (Marcelo Piñeyro, 2005);
- Entreatos (João Moreira Salles, 2004);
- Der Untergang (Oliver Hirschbiegel, 2004);
- Aaltra (Benoît Delépine & Gustave Kervern, 2004);
- Los Muertos (Lisandro Alonso, 2004);
- Dogville (Lars von Trier, 2003);
- Elephant (Gus Van Sant, 2003);
- Le Temps du Loup (Michael Haneke, 2003);
- Buongiorno, Nuote (Marco Bellocchio, 2003);
- Cidade de Deus (Fernando Meirelles, 2002);
- Edifício Master (Eduardo Coutinho, 2002);
- Bloody Sunday (Paul Greengrass, 2002);
- Historias Mínimas (Carlos Sorin, 2002);
- La Ciénaga (Lucrécia Martel, 2001);
- La Libertad (Lisandro Alonso, 2001);
- Telets (Aleksandr Sokurov, 2001);
- Taking Sides (Stván Szabó, 2001);
- Suchwiin bulmyeong (Ki-Duk Kim, 2001);
- Plata Quemada (Marcelo Piñeyro, 2000);
- Moloch (Aleksandr Sokurov, 1999);
- Goya (Carlos Saura, 1999);
- Ghost Dog (Jim Jarmush, 1999);
- Notícias de uma guerra particular (Katia Lund e João Moreira Salles, 1998-99);
- Idioterne (Lars von Trier, 1998);
- Happiness (Todd Solondz, 1998);
- Lost Highway (David Lynch, 1997);
- Pulp Fiction (Quentin Tarantino, 1994);
- Lektionen in Finsternis (Werner Herzog, 1992);
- The Crying Game (Neil Jordan, 1992);
- Europa (Lars von Trier, 1991);
Sonata dlya Gitlera (Aleksandr Sokurov, 1989);
- Full Metal Jacket (Stanley Kubrick, 1987); 
- La Película del Rey (Carlos Sorin, 1986); 
- Blue Velvet (David Lynch, 1986); 
- Kiss of the Spider Woman (Héctor Babenco, 1985);
- Cabra Marcado para Morrer (Eduardo Coutinho, 1984);
- Mephisto (István Szabó, 1981);
- Pixote (Hector Babenco, 1981); 
- Die Dritte Generation (Fassbinder, 1979);
- Mamá cumple 100 años (Carlos Saura, 1979);  
- La Vocation Suspendue (Raul Ruiz, 1978); 
- Das Schlangenei (Ingmar Bergman, 1977);
- Stroszek (Werner Herzog, 1977);
- Eraserhead (David Lynch, 1977);
- Cria Cuervos (Carlos Saura, 1976);
- Mr Klein (Joseph Losey, 1976);
- Salò o le 120 Giornate di Sodoma (Pasolini, 1975);
- Lacombe Lucien (Louis Malle, 1974);
- Il Portieri di Notte (Liliana Cavani, 1974);
- Ana y los Lobos (Carlos Saura, 1973);
- The Assassination of Trotsky (Joseph Losey, 1972);
- A Clockwork Orange (Stanley Kubrick, 1971);
- Porcile (Pasolini, 1969);
- British Sounds (Godard, 1969);
- Sympathy for the Devil (Godard, 1968);
- Teorema (Pasolini, 1968);
- Mouchette (Robert Bresson, 1967);
- Dr. Strangelove (Stanley Kubrick, 1964);
- Deus e o Diabo na Terra do Sol (Glauber Rocha, 1964);
- Vidas Secas (Nelson Pereira dos Santos, 1963);
- Barravento (Glauber Rocha, 1962);
- Hiroshima Mon Amour (Alain Resnais, 1959);
- Un condamné à mort s'est échappé (Robert Bresson, 1956);
- Journal d'un curé de campagne (Robert Bresson, 1951);

About Judicial Systems:
- Into the Abyss (Werner Herzog, 2011);
- Leonera (Pablo Trapero, 2008);
- Juízo (Maria Augusta Ramos, 2007);
- Justiça (Maria Augusta Ramos, 2004);

Latin-American military dictatorship period:
- La noche de 12 años (Álvaro Brechner, 2018);
- Missão 115 (Silvio Da-Rin, 2018);
- El Clan (Pablo Trapero, 2016);
- El Botón de Nácar (Patricio Guzman, 2015);
- Nostalgia de la Luz (Patricio Guzman, 2010);
- Mundialito (Sebastian Bednarik, 2010);
- Cidadão Boilesen (Chaim Litewski, 2009);
- Em teu Nome (Paulo Nascimento, 2009);
- El Circulo (José Pedro Charlo y Aldo Garay, 2008);

Violence against Women and related issues:
- The House that Jack Built (Lars von Trier, 2018);
- Egy Nap (Zsófia Szilágyi, 2018);
- Las Herederas (Marcelo Martinessi, 2018);
- Phantom Thread (Paul Thomas Anderson, 2017);
- La patota (Santiago Mitre, 2015);
- Mommy (Xavier Dolan, 2015);
- Miss Violence (Alexandros Avranas, 2013);
- Después de Lucia (Michel Franco, 2013);
- I, Anna (Barnaby Southcombe, 2012);
- We Need to Talk About Kevin (Lynne Ramsay, 2011);
- Antichrist (Lars von Trier, 2009);
- Das Fremde in mir (Emily Atef, 2008);
- 4 luni, 3 saptamâni si 2 zile (Cristian Mungiu, 2007);
- Grbavica: The Land of My Dreams (Jasmila Zbanic, 2006);
- Lilja 4-ever (Lukas Moodysson, 2002);
- La Pianiste (Michael Haneke, 2001);
- Les nuits de la pleine lune (Eric Rohmer, 1984);
- Panelkapcsolat (Béla Tarr, 1982);
- Die Marquise von O (Eric Rohmer, 1976);
- Nathalie Granger (Marguerite Duras, 1972);
- Détruire dit elle (Marguerite Duras, 1969);






Artemisia Gentileschi
Susanna e i vecchioni (1610)
Image from Julian Bell's
Mirror of the World





================================
***NEW: There is a Brazilian "political" movie I'm unable to talk about. I saw it much later than it came out, and just like Os Famosos e os Duendes da Morte, it touches me as only a few other Brazilian movies really do: Se Nada Mais Der Certo (José Eduardo Belmonte, 2009). It is far away from being perfect, but it is touching and convincing. 















































============================
See also:
- Julio Bressane;
- Cinema Novo;
- Heitor Dhalia;
- Cinema of Uruguay;
- Godard's Sympathy for the Devil;
Sonatine;
- Pier Paolo Pasolini;
- Instead of revolution: démontage;
Inside Job;

And also:
- Sobre o fio de José Padilha;
- "ERRATA list" for Narrative Outbreak in Contemporary Conflict Cinema;
- Narrative Self-Deconstruction in Contemporary Cinema;
- Bases histórico-conceituais para a crítica cinematográfica não representacional;