Amir Naderi drew international attention on Iranian cinema in the early 1980s with films such as “The Runner” and “Water, Wind, Dust”. His New York Trilogy: “Manhattan by Numbers” (1993), “A, B, C…Manhattan” (1997), and “Marathon” (2002) is set in the city that has been his base since 1980.
Naderi has had retrospectives on several continents, including one in New York, at the Walter Reade Theater at Lincoln Center in 2001. His most recent retrospective took place in January 2006 at the National Film Museum of Torino, Italy.
His most recent film, “Sound Barrier” (2005), is the first part of his Sound Trilogy, films that explore the use of sound as a character. He is currently at work on the second part of this trilogy.
★3rd Festival Recommended Movies★
A brave, well-made film, which is unbelievable from a country so steeped in tradition as India. The film makes a strong impact, and delivers its message clearly. Also works as cinema. More than anything in this film, is the synchronization of the rape on the train with the sound of the train, which goes on. And all there is are the gazes of the characters and the buildup of the story in a very new situation. A train sweeping across the landscape. The rhythm of the editing and camerawork, and the atmosphere of the film is very well done. Rajeev Ahuja opens our eyes to the real life in India today with an 11 minute short. And that with a subject that can only be explored through the medium of cinema: sound, image, movement convey the tension of the subject brilliantly.
The film, with a repeat title from an old Hollywood movie, is in the hands of a young filmmaker gets a fresh young take in the English suburbs, and turned into a wonderful film. The direction is fantastic, every moment perfectly controlled, and of one sense, which comes from the depths of a young artist's heart. The film's atmosphere, precise mis-en-scene, and the rhythm of editing is wonderful. It's hard to do something new with the tired worn subject of love, but here it is done well. From the opening shot to the last frame, the director stamps his style on his work. The acting is wonderful, and gives new life and breath to an old, worn out subject. The work with sound and with the camera is done well, and it's great that there's no use of music in the film, since the sound effects of the film has a wonderful sense of music that is close to the feeling of the two characters and helps the mood of film. A first rate short film.
From a New York born filmmaker who grew up in Haiti. A surprising film. With an interesting mix of culture, politics and landscape. What makes it worthwhile is the way that the filmmaker finds to combine these three elements (which is close in sensibility to the films of Werner Herzog). But it is definitely an original work. The film has a wonderful dark humor, which is also very political. The filmmaker is a brave and original artist, which is hard to come by these days. We should wait for his next film with anticipation. Whatever is in this film comes from this filmmaker, from his experience and understanding of the subject he's working with.
The main point of the story takes place in a new situation in a school setting. But whatever it is, the film makes it's point without being too obvious, which was a danger. The director knows the subject of the film well. The performance of the girl and the teacher are both excellent. The film's strengths lie in the rhythm of the dialogue and its delivery--the teacher's action, and the hidden reaction of the little girl, which is wonderful.
The main point of this film is the addiction of a fat woman to sugar, which is easy to predict in the film. But it is made with such feeling and sense, with color and light and life that can only come from Italy. Here again, the predictable subject works. And that in only 13 minutes. The film is full of feeling, and lighthearted, but is still burdened by all the cliches of the genre, especially from that of old Italian comedic films that were sweet and full of sensibility. They are truly missed in the scope of Italian cinema today. The difference that this film has with others is that this time the comedy is less dependent on the dialogue, which is great. The film moves forward with a sweet, good but easily predictable rhythm. (The actress portraying the fat woman performed wonderfully, but again within the cultural cliche.)
A good film in the tradition of Tarkovsky. But that a young Russian filmmaker was able to convey all of the atmosphere and fear of this tragedy through feeling, image, sensibility and narration is wonderful. And that from the perspective of a young woman from today's young generation in Russia. It is a gift to see this perspective in today's cinema. The director believes and knows the subject, and how, with a few scenes and images and one witness and a little news footage to conjure the ghost of the fear of atomic death, which is a fear familiar to all people today. The film has a good cinematic language.
The subject of this film is new in a good way. That the housewife has left and the father and son don't know what to do with themselves. They bring the wife's mother back from the nursing home so that perhaps the wife will return because of her mother. The father and son soon realize that this woman is not the right one--is not the wife's mother, and neither say a word about it. The main point is that this old woman takes care of them--cooks, cleans, and every once in a while, when she drinks a little, glances coyly at the husband, and life goes on.
It is a beautiful black comedy that comes in a way from the surrealist tradition of Spain. The film quickly goes through the initial subject of the wife abandoning her husband and son and reaches other depths of human relationships, and people's need for one another. The acting of all three characters is wonderful. The locations are very limited: the nursing home, a road, the rest in an apartment. But it has a believable sense of surprise, and that under a very dark humor, which is what drives the whole film. This filmmaker has a bright future.
The director of this piece of animation knows his medium well. The main concept of the film is wonderful, especially with the medium of animation. And we become completely involved in the film's character, which comes to life with only a few strokes of a pen. The technique of the animation of the film is on purpose very professional, and has given the film an interesting polish. And also, the work with effects and sound and the rhythm of the film is very good. The film has a new sensibility. And that from a country like Israel, the cinema of which is likely inundated with political subjects (but I'm not certain, I haven't seen much of it.) This film was a wonderful surprise.
This film has a very dark vision of the future of humanity. From the tradition of George Orwell's 1984 etc. which is very well made. With a great dark joke in a dark film at the end--that a young man, long on the run from a closed environment, grows old, and reaches the conclusion that it's better to return with the old woman who accompanies him back to where they came from. They prefer the darkness and closedness of that interior to the outside.
The film is well directed, with an atmosphere and camerawork that conveys claustrophobia well. The film delivers its message well, and that comes from the filmmaker's understanding of his subject matter. Likely this film would look better and be effective on a big screen. In any case it was a worthwhile experience.
The film is about that old subject of women who are the victims of male violence. And this time, in Argentina, in a police station, and a policeman who abuses the women who are brought in.
The film is about a young inexperienced girl who in trying to help an older woman who is an addict, in the end takes her place. The film's direct uses a handheld, unsteady camera (cinema verite) reaches a good sense of realism. It's only too bad that one can guess the process taking place in the film from midway. The rhythm of the film is good, but as it goes forward it loses it's freshness. Still, it pulses in every moment like a heartbeat, and that's what sustains the film. That, and the excellent performances of the two actors. It's a sharp and direct film which is a document in and of itself. It is an honest film that conveys to us that the filmmaker knows the path he's on, and certainly has a good future.