Opera prima in concorso al TFF37, Ohong Village è il racconto minuto di un nucleo famigliare taiwanese. Minuto nello svolgimento, composto nella tecnica, frettoloso nell’assemblaggio di storia e immagini, Ohong Village fa più bella figura come documentario che come film a soggetto. Storia di un ritorno a casa di un giovane taiwanese, cervello in fuga, accolto nella sua immobile Taiwan dalla famiglia e dall’amico di sempre. Storia di menzogne, di simboli (fiacchi), e di suoni di incredibile potenza espressiva.Continua la lettura di “OHONG VILLAGE” DI LUKE LUNGYIN LIM
Article by: Fabrizio Spagna
Translated by: Cecilia Malanima
Ohong Village, director’s debut film, is the intimate portrayal of the everyday life of a Taiwanese family. Due to its detailed development, understated technique, hasty images and story editing, it seems to be more of a documentary than a feature movie.
It talks about a highly skilled and extremely clever boy who has just got back home to Taiwan, to his family and his longlife friend. It talks about lies, about (weak) symbols, and about incredibly powerful and emotional sounds.Continua la lettura di “OHONG VILLAGE” BY LUKE LUNGYIN LIM
Article by: Giulia Conte
Translation by: Rita Pasci
Brooklyn, a drama directed by John Crowley and written by Nick Hornby, based on the novel of the same name by Colm Toìbin. It’s the moving story of Eilis Racey (Saoirse Ronan), a young Irish immigrant who, attracted by the promise of America, departs from Ireland leaving her family and her home to reach the coasts of New York City. The initial chains of homesickness quickly fade away and Eilis lets herself get lost in the intoxicating charm of love. Pretty soon, her liveliness is interrupted by her past, and this young woman will have to make a choice between the two countries and the two lives they involve. Continua la lettura di Brooklyn by John Crowley
Article by: Luca Richiardi Translation by: Cristiana Caffiero
Life is surreal.
There are movies with no soul which just try to step towards any directions without a reason. There are movies that are just empty and dreary. Well, this movie is just their opposite. “Tag” is directed by Sion Sono: it violently breaks in and manages to find a sharp conclusion both in a literal and figurative way. It confuses the feelings and perception of its audience but it doesn’t hide the fact that it has lost the sense of perception itself. This film needs to show its total dismay in order to penetrate the subconscious side of its audience and finally break through its conscious one. However, “Tag” is not addressed to an ordinary audience, for the simple reason that the movie is directed by Sion Sono. It’s a typical Japanese film with its peculiar artistic language which could by perceived as unfamiliar by a western audience, or at least by an audience not acquainted with Japanese pop culture.
This kind of audience might fail to notice the potential for social criticism hidden behind an excess of grotesque violence, which may appear then as empty divertissement: what has been defined, in jargon (particularly in the world of anime, manga and videogames enthusiasts) sa fanservice.
What exactly is fanservice? Excessive and pointless violence, schoolgirls in extra short miniskirts which are constantly lifted, eroticism, promiscuity, reification of the woman.
“Tag” contains all these elements. It’s thrown onto the screen in a shameless, exaggerated, intentionally provocative way, as if to ask: “Is this what you want?” As the film unravels, laughing at all this becomes a gesture that makes the spectator feel guilty.
This collage made of absurdities, which people may have fun in, is a heaven for “nerd” teenagers and hides a cruel and dreadful hell. It reveals itself step by step, while we follow the young female protagonist Mitsuko in her absurd suffering.
Among all this violence, torture and death, her loss of identity is what mostly harms. It makes her appear to be an empty box or a mannequin identical to many others. She looks as a figure, whose not uniform nature may be compared to that of Jesus and therefore doomed to sacrifice. It is a kind of essential sacrifice, a spontaneous gesture which gets away from this torture pattern felt as a function of a sadistic pleasure. And it takes place exactly in front of a parody which blames and despises these masses of obsessive fans.
What is such a heroic sacrifice aimed at? It is understood, its aim matches the film’s one: a sabotage internal to the system so that it can penetrate deeper and, hopefully, it can be able to reach and consequently wake up consciences, in order to take them away from this grotesque circle of hell.