About Dr. Marc W Kundler MD. Dr. Marc W Kundler, MD is a Doctor primarily located in Abilene, TX, with other offices in Vestavia, AL and Georgetown, TX ( and 1. Ann Petren, Andreas Kundler, Anna Takanen, Lennart Jähkel, Lars Hansson, Etienne When Eva s new friend Petra starts to flirt with Adam, Eva realizes that she has She meets Marc, a musician who also feels suffocated and longs for new. 50 48 WORLD USA Puzzle Marc Turtletaub s film revels in the possibilities of .. Rakel Wärmländer, Andreas Kundler, Matti Boustedt Festivals: Cannes (Un .. she of the pink and blue dreads, whose flirty eyes fix on Kena often enough to.
The Children s Hour, from Adapted from Desert of the Heart, the debut novel by lavender legend Jane Rule, and scripted by Natalie Cooper, Deitch s movie takes place in Reno, Nevada, in Vivian, a year-old literature professor at Columbia, has headed to the city for a quickie divorce from a fellow academic The scholar fragile, remote, wry, serious ignites something in Cay, a coltish soft butch a decade younger who sculpts when she s not working as a change operator at the casino.
She is, in other words, falling in love, a condition never pathologized or diminished in Deitch s film but rather celebrated to the fullest. Melissa Anderson, Village Voice Steeped in moody, classic country and western music, it conveys romantic longing and confusion with bittersweet intensity. Margaret, a pansexual New Wave fashion star, discovers she can dispatch unwelcome visitors by feeding the aliens habit. Kerova, brings eerie concentration to playing both the dangerously bored Margaret and cokehead male model Jimmy, her caustic fashionista rival.
Their jaded carnival of sexual identity as art form and weapon is as startling now as when it twice filled the Paramount for Festival midnight screenings in A quintessential artefact of s New Wave, Liquid Sky now looks and sounds sharper than ever in this K restoration. At last Slava Tsukerman s neon-fired New Wave New York alien sex-party punk-disco orgasm-as-revenge proto-electroclash feminist genderfuck is on screens in its finest form, scrubbed and crisp and gorgeous, ready to baffle, disquiet, thrill, and trigger The tangerine skylines, sweat-slick club dancers, grubby-chic apartments, ubiquitous neon, lavishly asymmetrical hairdos and so-primitive-they-fascinate alien effects demand truly to be seen Liquid Sky has always been caught smack between delirious curio, avantgarde put-on, exploitation cheapie, and naive masterpiece.
Today, it seems prescient A singular vision of a twilight Manhattan haunted by the lost, the daring, the damned, the jonesing and some aliens.
Alan Scherstuhl, Village Voice This film isn t about the s, it is the s. Layered in face paint and neon, it is a vivid world, both nightmarish and seductive. Slava Tsukerman, Brenda I. Hutchinson, Clive Smith With: Anne Carlisle, Paula E.
Wally Hammond, Time Out Tilda Swinton s performance as Orlando in this adaptation of Virginia Woolf s novel is luminous and thrilling, an omnisexual romp through years of history. Based on the novel by Virginia Woolf Photography: David Motion, Sally Potter With: Shot in Berlin two years before the fall of the Wall, it s a palpably humanistic film purporting to see into the anxious souls of city dwellers through the eyes of angels.
One of them Bruno Ganz hankers to become human and taste the coffee. The surround-soundscape is as gloriously untethered as the film s floating camera, a symphony of voices, music and urban ambience cradling the poetry of Peter Handke s script.
Lyrically articulating a profusion of existential doubts and fleeting sensory delights, it s one of the great Rorschach test movies, many things to many people and incidentally a must for Nick Cave completists. No longer subject to the intermediate steps entailed in printing black and white imagery on colour film stock, the digital restoration, scanned from the original negative, renders the legendary cinematography of Henri Alekan even more vividly than when we first showed the film in Don t miss your chance to experience it on the giant Embassy screen.
Wings of Desire on the big screen in 4K shows us a city and shows us a world that is 30 years old, but it is so succinct, so there and so rich that it could also be a new film. Wim Wenders Wings of Desire is shot in a silvery black and white so that Berlin seems dusted with celestial soot The first time I saw the film I thought it was a knockout; on second viewing it already seemed a classic.
Hoberman, Village Voice It s full of astonishingly hypnotic images and manages effortlessly to turn Wenders and Peter Handke s poetic, literary script into pure cinematic expression.
Geoff Andrew, Time Out Director: Wim Wenders, Anatole Dauman Screenplay: Wim Wenders, Peter Handke Photography: Documentary filmmakers celebrate remarkable New Zealanders on this year s programme. We also welcome the home landing of Dustin Feneley s spectacular feature Stray. Ryan Heron and Andy Deere s affectionate and funny documentary introduces us to the competitive sport of medieval combat and its eccentric cast of characters each vying to swing swords not to mention battle axes, maces and halberds for New Zealand on the world stage.
Just don t call it re-enactment or LARPing, because this intensely physical and exhausting sport of violent armour-clad combat is anything but play-acting. Our initiation into this weird and wonderful world comes through the enthusiastic but self-confessedly out-ofshape rookie Nick Waiariki. His quest for glory takes him from Rotorua to Taranaki, where he is set to try out for the number one-ranked Kiwi team, the Steel Thorns.
She Shears When a Kiwi girl sets her heart on becoming a shearer there s not a lot that s going to stop her, as the five women profiled in this lively doco happily testify. Central Otago s Pagan Karauria admits it was tough getting a gig at the start, but with her champion dad staunchly behind her, she s made the shearing shed the focus of her career, not just as a competitive shearer, but as an ace wool sorter and mentor to other young women.
Andy Deere Camera assistant: Jeremy Toy Sound design: Department of Post With: Nicholas Matepo Waiariki, Martainn Cuff, Justin Stockbridge Cinemascope Captain of the Thorns, Martainn The Machine Cuff, has a lifelong dream to represent his country but has an unexpected obstacle to overcome his pathological fear of wolves. Thorns manager and master armourer Justin Stockbridge is one of New Zealand s most experienced fighters, but his take-no-prisoners management style ruffles more than a few feathers.
Does this oddball crew have what it takes to compete internationally in what must be one of the world s most brutal combat sports?
For Ruawai s Hazel Wood, busting to escape the world of dairy conversion, the competition represents a first foot on the ladder. Though Pagan claims she s bent on placing first or second, her true determination lies in beating the terrible internal injuries suffered in a road accident.
While the Golden Shears comperes freestyle with verbal flair on a flying fleece or a kicky ewe, director Jack Nicol applies camera poetry to the agility, strength, skill and rhythmic grace of women wielding blades of steel. Jack Nicol New Zealand mins Producers: The parkland setting was idyllic, with an Olympic-size swimming pool, and all their material needs were covered. As we now know, what happened to children at Bert Potter s alternative lifestyle settlement was far from nice.
Costa Botes film about Angie and her siblings provides a vivid, multidimensional view of the damage done often to already damaged people. Angie herself was in trouble even before the move to Centrepoint. She and her brother had been wards of the state.
She d been sexually abused by one of her mother s lovers, and then raped, aged 11, by the teenage son of another. Desperate for some sense of belonging and approval, she embraced the community s values and the attention of its founder.
Angie and her siblings are compelling, strikingly assured camera subjects. One of the many salutary virtues of Angie s account is the livid clarity with which she recalls, for example, how empowered she felt being wanted by old men that she could barely bring herself to look at.
Her younger sisters recall just as clearly, but remember nothing but horror. The catalogue of projects and love affairs subsequently undertaken and abandoned by Angie is staggering. What never seems in doubt is her great appetite for life and a mind that s never sharper than when dissecting the dynamics of sexual abuse, and the way parental neglect and that abuse have shaped her choices.
She has much to tell us all. Funny, smart, big hearted, unflinchingly honest, a steadfast friend whatever her past hurts, Angie is an engaging and loveable human being. Millar was responsible for several 60 Minutes items that enabled Lashlie, frequently at odds with bureaucracy, to put her case to the nation.
When Lashlie received a terminal cancer diagnosis in lateshe invited Millar to film the final year of her life. The end came much sooner than expected, but Lashlie s final participation at the domestic violence camp she helped found, and an intensely moving interview filmed days before she died, provide the heart of this inspiring portrait.
Archive footage and the testimony of colleagues show her at her longrunning peak: Addressing the victim blaming in the bureaucratic characterisation of dysfunctional families, she is a blistering bullshit detector of the highest order. Two other memorial projects are woven through this one: Four symbols on Main s painting structure the film to embrace four cornerstones of Lashlie s life: Growing Gorgeous Boys into Good Men; her conviction that by changing the lives of the mothers, crime, suffering and deaths could be prevented; and the deep respect for human potential expressed through the transformative originality of her work.
Every child is born pure and filled with their own particular brand of magic. Belinda Walshe, David Paul Editor: Naia Alkhouri, Michel Alkhouri With: It also presents a delicately traced picture of the Old World at sea in the New, and vice versa.
The original ballet gave prominent place to Ka Mate. Only someone who s never worked in the New Zealand cultural sector could be surprised that the ensuing struggle, signally embedded in the work, unfolds over the four weeks before opening night.
She observes the enormous reserves of skill and discipline required of classical performers, all the more to savour the thrill when everything takes flight. Intercutting rehearsal and performance, The Heart Dances weaves a seductive, elegant celebration of a vital, centuriesold art that still has a squillion tiny dancers line up to audition for the Anna Paquin role.
Rebecca Tansley New Zealand mins Producers: Robin Laing, Rebecca Tansley Photography: In the bravest, most sobering of interviews, these five families each gather to tell the story of the person in their midst who took their life. Addressing the demographic most commonly reflected in our tragic suicide statistics he introduces their fictional surrogate in young Tama Niwa Whatuirawho observes the suffering of loved ones left behind and comes too late to apprehend that while his pain and anger need not be permanent, death most surely is.
Paora Joseph New Zealand mins Producer: Based on a story by Paora Joseph Photography: How Mum Decolonised the Screen By the time the pioneering indigenous filmmaker and activist Merata Mita died suddenly inshe had packed an extraordinary amount of action into her 68 years. If her youngest son Heperi Mita became a film archivist and a filmmaker in order to discover the stories she did not live to tell him, then we in Aotearoa have something new to thank her for.
His first film is a remarkable accomplishment, a compelling Great Woman portrait that speaks intimately from personal experience. By she was making landmark documentaries herself, most notably Bastion Point: Day and Patu! Heperi is the first to acknowledge that he grew up in the best of times, when Merata and his father Geoff Murphy lived in LA and Hawaii. He turns to his older siblings to learn about earlier days when living was often hand-to-mouth and police raided the house in search of Patu!
Merata Mita is the grandmother of Indigenous Cinema. This film is a dedication to her life s work towards that goal. Heperi Mita New Zealand mins Producer: Chelsea Winstanley Executive producer: Cliff Curtis Creative producer: Tearepa Kahi Associate producer: Te Rurehe Paki Consulting editor: It touches straight at the source of all anguish, awakening it.
With one single stab it penetrates as deeply as life can ever reach. Since her first film role in she has appeared in a number of Ingmar Bergman's films. Her awardwinning role in Jan Troell's "The Emigrants" launched her international career. Ingmar Bergman Director of Photography Bruchner, Brahms, Mozart Editor Sylvia Ingmarsson Sound mix Kaj Larsen Executive producer Maria Curman Produced by Each is afraid of destroying the fragile happiness that comes together with the family s two cars and the small boat on the lake nearby.
But when the pressure builds beyond control each family member will either confess or overcome their family secrets secrets that have a universal appeal in today s social climate. They produced a number of successful television films.
His international breakthrough as a director was My great big daddyfollowed by the award-winning Christmas Oratorio Anna Eriksson Produced by During the days of music and parties one of them, Lina, breaks free from her parents and boyfriend and decides to take control over her own life.
She meets Marc, a musician who also feels suffocated and longs for new perspectives and liberation from demands and expectations. This is the first feature by Karl-Johan Larsson. He has directed music videos and commercials sinceboth in Sweden and internationally. Jan Palmblad Director of Photography Jens Jansson Art Director Anders Hultberg, Stefan Larsson Executive producers They were the Hmong and one of their leaders was the charismatic Lao-Tong.
Coming back after 30 years the filmmakers find everything changed. In the Thai mountains vast chrysantemum fields are planted under supervision of Lao-Tong, who has had enough of opium.
The film also tells us about the Hmong in Laos and in the US. Lao Tong Screen ratio In a business still driven by men we look into the hopes and fears, the emotions and insecurities of ten actresses during one day of their lives. All of them hope to be given the part of Queen Christina in an American remake of the Garbo classic a break that could be the chance of a lifetime.
The world we look into is both tragic and comic, but above all the film is about the family the women are drawn into at work and the family they hold together at home. Under the Sun went on to be one of the five nominated films in Original title Colin Nutley Director of Photography Jens Fischer Art Director Bo Persson, Lasse Liljeholm Producer Colin Nutley Produced by Roland Hassel and his colleague Myrna Clavebo are called from a lecture about the Russian mafia to the scene of the crime.
Ludmilla, a young Russian woman who had the adjoining cabin, is brought in for interrogation, with the help of an interpreter, lecturer Galina Kalinova.
Before the interrogation is completed Ludmilla is shot from a car. Soon Hassel finds himself in an impossible situation with murder, drug smuggling and bombs in short: Mikael Hylin has directed both features and for television, but is mainly known for his opera and musical productions. In he directed the feature Against the odds and has since then also worked as a film producer. Hans Rosenfeldt Director of Photography Henrik Bastin, Thomas Lindgren Executive producers Jan Zachrisson, Marianne Gray Produced by Svenska Filminstitutet 37 Fredrik Hjerling 38 heart of stone by Martin Munthe A coldhearted Russian hit man, Viktor, arrives in Stockholm on the same flight as Swedish policeman Ronny, going back after learning about Russian criminals from Interpol in Moscow.
Ronny s intuition helps make Victor a suspect after he has killed his victim. The Russian crime gang drops Viktor when he is wanted by the police and Viktor finds himself hunted both by the Swedish police and his former partners. Martin Munthe was born in and has made a number of award-winning shorts and music videos. This is his first feature. We also meet an old woman and her naive son Kocaoglan. The two boys decide to go to Hollywood to realize their dreams.
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He worked as a projectionist from the age of 17 and made his first film in Cyprus in His film studies were in Finland and he moved to Stockholm in In Sweden he has arranged Immigrant film festivals and made a number of shorts and features. A mother and her year old son live in terror of his father, who demands total control of the family. One day something happens that will change their lives forever. Dan Ying Director of Photography Manne Lindwall Art Directors Tina Evensson, Lotta Bergman Music Darek Hodor, Fredrik Abrahamsen Sound Niklas Skarp, Christian Holm Producer Joakim Hansson Produced by They get to do all the boring stuff clean the duck pond and pick up piles of dog shit.
Nevertheless, they still think they are cool and awesome. Josef Fares was born in and came to Sweden from Lebanon in At age 15 he made his first shorts on video since then he has made 50 shorts. At 21 he was the youngest ever student accepted at the Dramatiska Institutet film school in Stockholm. Josef Fares Director of Photography Michal Leszczylowski, Andreas Jonsson Sound Anna Anthony Produced by Members of the Italian mafia seem to mess things up for them Thomas Ryberger has directed theatre, musicals and television, among them Swedish productions of Amadeus, Little Shop of Horrors and A Chorus Line.
He has also won awards for commercials. Among her other films are "The Hero" and "Magic stronger than life". Lena Pettersson, Sara Olsson Music Katrin Pors, Cristina Gallego Screenplay: Based on a story by Cristina Gallego Photography: She plays Tom, a teenager who has been living off the grid with her father, Will Ben Fosterfrom an early age.
Camped in a forest outside Portland, they are peaceable, lo-tech survivalists, perfectly attuned to each other and the natural world. Will s alienation from society is profound he and Tom run drills in preparation for any human intrusion but it doesn t prevent him from providing his daughter an education.
Discovery is probably inevitable. When social services try to intervene and Tom s sheltered life is threatened her responses are complex, not least as she comes to see the shelter she herself affords her troubled father. Though there s the trajectory of a chase movie in the pair s flight from authority, the heart of the drama lies in the perceptible shifts in Tom s view of the world and in the compassion extended to the two of them by a whole world of backwoods dwellers. Leave No Trace tactfully tells an equally heart-warming and heartbreaking story of the unconditional love shared between father and daughter.
Foster and McKenzie deliver raw, tender, captivating and transcending performances. The bond between them isn t only compelling, it is inspiring A profound story about love, family, loyalty, understanding, and compassion.
Dr. Marc W Kundler MD Reviews | Abilene, TX | vifleem.info
Tiffany Tchobanian, Film Threat Something deeply compassionate, a story of a father and daughter that speaks truths about some large things. Debra Granik, Anne Rosellini. Enjoying pre-entertainment refreshments with Verena in the hotel lobby. Pawlikowski whisks his two fatally attracted lovers, a singer and a composer, through myriad, brilliantly evoked musical styles and settings either side of the Iron Curtain from Stalin-era folk troupes to s Paris jazz bars.
In post-war Poland, pianist composer Wiktor Tomasz Kot tours villages with his lover, music teacher Irena Agata Kukezsa in search of folk-based talent. At an audition, Zula Joanna Kulig cons her way into a duet with a more talented singer. Though Irena tells Wiktor that Zula is just out of prison for stabbing her father, he feels that she has something.
Soon she is a star When the troupe performs in Berlin, Wiktor askes Zula to cross to the West with him; thereafter many borders are crossed, many lines of fate are broken jealousies and betrayals flourish and die, but the two continue to attract and repel each other.
Much of the film is a thrillingly seductive musical, shot and edited with the rhythm of dance, but the surface whirl would not fascinate without the luminous presence of Joanna Kulig The hopelessly unsuited couple are fictionalised versions of Pawlikowski s parents, and through them we experience near equal disenchantment with socialist and capitalist mores.
Peter Bradshaw, The Guardian Director: A love triangle and a mystery, it concerns an earnest young writer s Yoo Ah-in jealous crush on a mercurial woman Jun Jongseo who takes up with a handsome, prosperous companion Steven Yeun, The Walking Dead. Not a lot actually burns in Lee Chang-dong s Burning But the cumulative effect of all its perfect moments, all its perfectly true, unexpected and consequential scenes, is scorching. The embers are banked up so gradually and relentlessly that it s not until a few hours after the ending of this elusive, riveting masterpiece that you are far enough away to appreciate the scale of the conflagration It is based on a skeletal short story by Murakami Haruki in the same way a spreading oak is based on an acorn The absolute precision of craft, from Hong Kyung-pyo s unerring camera placement to [the] stunningly variegated and cleverly deployed score, illuminates a trio of performances that are little short of miraculous The narrative is slippery as silk, eliding from romance to tragedy to mystery to something more unsettling This sense of surprise and inevitability is a hallmark of truly masterful writing and such skillful direction that it feels like you re suspended within the story in an invisible tangle of glances and exchanges, secrets and lies, tricks and cruelties and lucky shafts of reflected sunlight.
Jordan Ruimy, The Playlist Director: Oh Jung-mi, Lee Chang-dong. Kim Hyun, Kim Da-won Music: Every Monday at 8: Catch up on films, comedy, lifestyle and more at maoritelevision. While this is unquestionably an issue film, it tackles its subject with intelligence and heart Labaki uses a trial to structure the film, though this isn t a courtroom drama Admittedly the case could probably only exist in cinema: Zain Zain Al Rafeeaalready serving a five-year sentence for stabbing someone, is suing his parents for giving him life.
Approximately 12 years old even his parents don t know his exact agethis pint-sized James Dean is a sensitive toughie simmering with righteous resentment. One glimpse at his troubled home life and it s easy to understand why Firmly in the tradition of great guttersnipe dramas, the film pays a considerable amount of attention to milieu, foregrounding the solidarity of children as they struggle to survive in an adult-made hell Lee Marshall, Screendaily A social-realist blockbuster fired by furious compassion and teeming with sorrow, yet strewn with diamond-shards of beauty, wit and hope.
Robbie Collin, The Telegraph Director: Nadine Labaki Lebanon mins Producers: Khaled Mouzanar, Michel Merkt Screenplay: Konstantin Bock, Laure Gardette Music: Shot in Berlin two years before the fall of the Wall, it s a palpably humanistic film purporting to see into the anxious souls of city dwellers through the eyes of angels.
One of them Bruno Ganz hankers to become human and taste the coffee. The surround-soundscape is as gloriously untethered as the film s floating camera, a symphony of voices, music and urban ambience cradling the poetry of Peter Handke s script. Lyrically articulating a profusion of existential doubts and fleeting sensory delights, it s one of the great Rorschach test movies, many things to many people and incidentally a must for Nick Cave completists.
No longer subject to the intermediate steps entailed in printing black and white imagery on colour film stock, the digital restoration, scanned from the original negative, renders the legendary cinematography of Henri Alekan even more vividly than when we first showed the film in Don t miss your chance to experience it on the giant Civic screen. Wings of Desire on the big screen in 4K shows us a city and shows us a world that is 30 years old, but it is so succinct, so there and so rich that it could also be a new film.
Wim Wenders Wings of Desire is shot in a silvery black and white so that Berlin seems dusted with celestial soot The first time I saw the film I thought it was a knockout; on second viewing it already seemed a classic. Hoberman, Village Voice It s full of astonishingly hypnotic images and manages effortlessly to turn Wenders and Peter Handke s poetic, literary script into pure cinematic expression. Geoff Andrew, Time Out Director: Wim Wenders, Anatole Dauman Screenplay: Wim Wenders, Peter Handke Photography: The eponymous shoplifters are the Shibatas, a low-income family of five struggling away in a tiny corner of Tokyo.
Scrimping and saving, as well as stealing whenever necessary, this overcrowded household one day opens their door to an abused child wandering the neighbourhood. Wary of exposing their own living situation, they ignore the authorities and secretly adopt the little girl to everyone s greater happiness, but also peril. The permissible definition of what makes a family is constantly under suspicion, even as we witness the Shibata s closeness.
Their ethical predicament will ultimately be laid bare in ways that resound long after this passionately humane film reaches its final frame.
A triumph of subtlety over spectacle, Shoplifters was awarded this year s Palme d Or at a festival usually overrun by the most controversial or brazenly political films. In fact, as socially conscious as recent Cannes-winner I, Daniel Blake, the potency of Kore-eda s latest caught everyone off guard a testament to his masterfully understated approach to human life, and to the power of calm, compassionate voices in a world where we can barely hear one outrage over another for all the screaming.
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Tim Wong [Kore-eda s] embrace is as ferocious and beautiful and loving as that of a mother trying to hug away all her child s fears. His film is a gorgeous thing. Kore-eda Hirokazu Japan mins Producers: Set in rustic Italy, rewarding ground for her previous feature NZIFF14 Centrepiece, The Wonders in which sister Alba also had a significant rolethe film opens as a peasant boy serenades his love with fairy-tale conviction.
The revellers, it transpires, are tobacco harvesters subjugated by an over-entitled marchesa. Village innocent Lazzaro divine newcomer Adriano Tardiolo becomes the unlikely friend and accomplice of Tancredi, the marchesa s dandified son. Imbued with a saint-like beauty, Lazzaro is alternately adored and exploited by all and is soon unwittingly embroiled in a kidnapping plot by his manipulative friend. What seems at first to be a story out of time reveals itself to be a very particular historical moment and then, with a sly and unexpected narrative spin, becomes decidedly more immediate and familiar.
The biblical stories of the resurrected Lazarus and the beggar Lazarus are frequently conflated either by accident or ignorance but Rohrwacher s poetic amalgam of the two is as deliberate as it is teasing and magical. To give the rest away would be an injustice to her breathtaking cinematic logic she jointly won the Best Screenplay award at Cannes this year. Clare Stewart Alice Rohrwacher s supernatural sun-drenched folk tale of the birth of modern Italy is as sublime as it is beautiful.
Typically of Guo Pei, it was intricately embroidered and bejewelled, the product of years rather than months of work an opulent one-off, likely only ever to be worn on a catwalk or red carpet. How did the daughter of a communist soldier and primary school teacher, educated, as she informs a bemused Western press at No 2 Light Industry School, Beijing, become the designer of choice to China s one percent, positioning herself for global significance?
We are taken into her world as she seeks acceptance from Paris Chambre Syndicale de la Haute Couture. Her irresistible force may have met an immovable object.
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In Guo Pei she meets a subject fit for the times. The contemporary hankering for imperial grandeur may never have looked more insanely magnificent than in Guo Pei s world of wearable arts. Its roots in suppression, aptly alluded to in the film s title, are astutely observed in Brettkelly s fascinating, gorgeous film.
With a remarkable eye for detail and exquisite blending of visual art forms, Pietra Brettkelly captures Guo s drive, artistry, meticulousness, and acumen. Nicolas Chaudeurge, Margot Francis Music: When mom goes back to work and leaves dad to look after the kids at home, Kun takes to spending a lot of time alone in his playroom or the yard.
There, he makes friends with a dashing prince in 18th century clothing who the audience and Kun eventually realize is actually Kun s fantasy personification of Yukko the [family s] dog Hosoda has a lovely, light touch and leavens the proceedings with dry, well-observed humor. Likewise, the character design walks the line with grace between big-eyed anime cutesiness and closely observed realism, capturing with insightful wit the way dogs and kids move and wiggle. Leslie Felperin, Hollywood Reporter Beguilingly sweet-natured Mirai is a work of heart-swelling beauty and considerable charm.
Hosoda Mamoru Japan mins Producers: Aoyama Hiroyuki, Hata Ayako Artistic directors: Omori Takashi, Takamatsu Yohei Music: It proves the potential of theatre The Guardian August silotheatre. Railroads are a great prop. You can do some awful wild things with railroads. Buster Keaton For NZIFF s 19th collaboration with the Auckland Philharmonia Orchestra, we return to one of the wonders of the movie world in as beautiful a presentation as that world has ever seen. Peter Scholes conducts Carl Davis classic score.
Many critics consider The General to be the last great comedy of the silent era. It consistently ranks as one of the greatest comedies of all time in international polls. The title refers to Keaton s engine, The General, which figures prominently in one of the most harrowing and hilarious chase scenes ever filmed. Keaton portrays the engineer Johnnie Gray, who is rejected by the Confederate Army and then suffers the further humiliation of his girlfriend thinking him a coward.
When a small band of Union soldiers penetrate far beyond Confederate lines to steal his locomotive, Johnnie Gray sets off in hot pursuit. The General is unique and perhaps perfect. In form and method it is like no other comedy, not even another Keaton picture. Here, uniquely, the dramatic action and the comic business are one and interdependent.
You never feel that the story is simply an excuse for the comedy, or that the gags are a decoration planted on the story. In The General, however, it is less the gags you remember than the image of the lonely, brave, beautiful, foolish little figure in relentless pursuit of the two things which he loves most and which have been stolen away from him.
His relationship to both is passionate and touching. When he is carried off on the driving-bar he has become a part of his machine. And his relationship with Marion Mack is beautiful. David Robinson, Buster Keaton Everything one could wish for: