Sink or Swim(dir. Su Friedrich)
Her films are intensely personal but are capable of sucking you in in an empathetic reverie. I've probably used this description before, but they really do play out like an intimate diary or journal entry that would be difficult to reveal to anybody due to how exposed emotionally they are. Much like some of her films, this film is her trying to come to terms with some aspect in her life and in this film, that would be her relationship with her largely absent father. Even though her films are intensely personal, she hardly ever presents the "story" as if it were her own. It could be anybody's story and she strives for a universality by focusing on the emotions instead of the details. The voice-over is detailed about certain events and memories about her father, but the main appeal is the emotions the voice-over conveys to the audience. It's almost cold and detached yet it's actually fiercely alive and emotional. Her poetic sensibility is immensely appealing to me so me labeling this as a masterpiece isn't that big of a surprise. It's a masterpiece.
**** out of ****
Cool Hands, Warm Heart(dir. Su Friedrich)
Images of women in the street protesting against the patriarchal society we live in by shaving their legs and armpits in public, cutting their hair, and skinning apples? The skinning apples didn't make all that much sense. Maybe it's supposed to represent how that particular woman feels being on a tiny stage, essentially exposing herself in public in an emotional sense. A woman eventually grabs her hand and takes her an arcade to have some fun(no, not sexual fun, get your mind out of the gutter). What does all this mean? This seems to be one of her more outspoken "message" films even though there's nothing didactic at all about it in the traditional sense with her evocative imagery and "storytelling." I feel what it's trying to convey is that feminism, especially of the lesbian sort, aims to create an environment where individuals can freely love without traditional gender rules, but the individuals trying to achieve this goal are also unable to love given the amount of time and energy they put into their effort. As the central woman is taken away by this unknown woman, there's a sense of liberation. As they have fun in the arcade, you can see that this is the protesters' vision of paradise and their ultimate goal. While my description probably makes it sound shittier than it really is, it's actually profoundly moving and thought-provoking unlike pseudo-feminist trash like The Vagina Monologues. It's another masterpiece.
**** out of ****
Scar Tissue(dir. Su Friedrich)
Another one of her more "message"-driven films and a little more heavy-handed or at least stretched compared to her other films of this type. Thankfully, it's not as bad as Lesbian Avengers Eat Fire, Too(I blame her co-director for everything that was wrong with that film). While it's duration is only 6 minutes, it's hard not to say that it feels a tad overlong even if it took me about half that time to figure out what she was trying to convey. The film is composed of images of men and woman in dress attire and the editing is much like a flicker film(or at least my understanding of them from what I've read). She conveys to the audience the unfairness of "acceptable" dress attire for men and woman. Men are able to wear suits and pants while woman must wear uncomfortable high-heels and skirts. While this thought is sound, it's not a particularly insightful one. It's probably the most subtle protest I've ever seen and I do agree with what she's saying, it just doesn't make all that great cinema. I still recommend.
*** out of ****
Showing posts with label friedrich. Show all posts
Showing posts with label friedrich. Show all posts
Sunday, December 09, 2007
Sunday, July 15, 2007
Oh Oksana...
Lesbian Avengers Eat Fire Too(dir. Su Friedrich & Janet Baus)
Her worst film I've seen to date probably due to the fact she co-directed it and it probably was a documentary for TV. It has a real sterile and impersonal feel to it unlike her other films which feel incredibly personal and intimate like an entry in a diary or journal. The film's best moments are the interviews with individuals on the street about what they think the Lesbian Avengers are. Some are comical. Others are almost frightening to the degree of how uncomfortable they are about talking about anything concerning lesbians. It is much easier to accept what the Lesbian Avengers are trying to do with these interviews even though the biggest problem I had with the film is their approach. They seem to use tactics to make people so uncomfortable that they have to pretty much succumb to what they demand. That's not a horrible way to get the job done, but I feel that it is just going to make matters worse. All the members of the Lesbian Avengers that are interviewed seem to talk constantly about how they're lesbian and proud, which isn't a horrible thing, but I feel as a viewer I never come to relate to any of these people because they seem to define themselves by their sexuality and that's pretty much it. I'm sure these people have personalities and lives of their own, but you can't really tell with this film. Their marchs are almost the stereotype of "Gay Pride Parade" and the fact that some women take their tops off and start dancing around, while I'm not against it, just seems ridiculous and makes me the viewer uncomfortable and I'm not even there in person to experience this public display of nudity. When it reaches the point where you hear a woman recite a poem about her vagina and her lover's vagina, which was obviously influenced by The Vagina Monologues, you realize that they need to stop trying to personify vaginas and start personifying their cause. The Civil Rights movement of the 60's was successful mainly due to the cause having leaders who had strong personalites allowing individuals to put a human face to the cause. This film was thought-provoking even it was for the wrong reasons, which makes it still worthy of watching.
**1/2 out of ****
Flushed Away(dir. David Bowers and Sam Fell)
A relatively fun and light movie. I'll probably forget about it in a couple of days, but it's still better than most non-Pixar computer animated films.
**1/2 out of ****
Lilya 4-Ever(dir. Lukas Moodysson)
How do I describe this experience? Soul crushing? Maybe. Heart-breaking? Definately. It's a painful experience not in terms of how bad or idiotic the film is, but due to the events that occur. It's easy to see how some reviewers question what the point of the film was? What is the point of all this suffering? You could argue it is to show the viewers human trafficking and how a young girl can be lured into it. But I don't know, it seems too powerful a film to have such an "important" objective as exposing issues with society that audiences might not know about. In All Movie Guide's review, it says Dancer in the Dark is a good companion piece, which makes perfect sense because Dancer in the Dark could be viewed equally depressing while this film feels much more natural and damaging. Dancer in the Dark's material is melodramatic and while this is too, you give into it. At least, I did and this film scarred me even when I already knew everything that was going to happen due to someone "spoiling" the film in a message board I scimmed. There are flaws with the film. It definately aims to depress the hell out of you and I was able to fight off it's attempts to depress me and think about the film relatively objectively throughout most of the experience. Why does her mother leave her? One review said she's a mail order bride, which would explain it, but you still don't really understand why she would so freely abadon her child especially how the actress portrays her. She cries with her daughter as she's leaving, but doesn't seem to put up a fight. The girl turning to prostitution even though she could go to Social Services seem rather strange because if I was in that situation, I would gladly give myself up to Social Services instead of degrading myself in order to live on my own. The girl probably would much rather be with her friend and on her own than with Social Services so I guess it's not that much of a stretch. Some reviewers and individuals have talked about how the girl is basically an idiot and all the events that happen are pretty much her fault. One reviewer viciously said he understands how a mother can abadon her because she's such a "brat." I don't know. You have to be pretty heartless to hate this girl, but I had a similar experience with Thirteen probably due to the fact that the actress that played the character that the audience was supposed to sympathize with annoyed the fuck out of me and the whole peer pressure excuse for doing things that you don't want to just seems utterly ridiculous when you can easily avoid them. This film's protagonist who is played amazingly by a young Russian actress named Oskana Akinshina is in a situation where there really is no escape at least in the last parts. She is living by herself and she needs money so prostitution seems like a viable option so it makes sense, but the girl in Thirteen seems not to be enjoying taking drugs and seducing boys and just does it out of peer pressure. The girl in this film doesn't prostitute herself out of peer pressure, but as a way to survive and when she sniffs glue, she seems to actually enjoy it. The actress is amazing. Her smile is so infectious and brings innocence to a film that is in definate need of it after all the shit you experience. The film damaged me. Scarred me. I felt relatively emotionally unaffected until the end, which is probably the most devastating thing I've ever seen just due to the innocent viewpoint of the protagonist and the bleak outcome to her story. Some could easily write off the angelic images as ridiculous and sentimental, but there's something heart-breaking about a girl thinking of Heaven in such a simple and naive way. I could argue that the film might not work perfectly on intellectual grounds and that's the argument that some reviewers seem to take to bash the film. All I can say is that it effected me so deeply that I didn't even realize it was possible for a film to make me feel this way and to me, that makes this film a masterpiece.
**** out of ****
Part 2 of A Personal Journal with Martin Scorsese Through American Movies(dir. Martin Scorsese & Michael Henry Wilson)
Informative to a point. You could find better educational material online and could just use the list of movie connections on IMDb and pretty much look all the movies and get even more information. He doesn't seem to spend a lot of time on one particular picture long enough to give the audience a sense of that film's artistic innovation or whatever. That has to be due to the massive nature of trying to sum up the history of American cinema in a couple hours or so and have it feel extensive. The best part was seeing movies that I have never heard of or have heard of and wanting to see them. Seeing directors like Andre De Toth and Fritz Lang talking about cinema was definately a treat for me. I'm probably not going to check out the other parts mainly due to the relatively uninformative nature of the film, but it's still probably worth watching if you catch it on TV like I did.
*** out of ****
Her worst film I've seen to date probably due to the fact she co-directed it and it probably was a documentary for TV. It has a real sterile and impersonal feel to it unlike her other films which feel incredibly personal and intimate like an entry in a diary or journal. The film's best moments are the interviews with individuals on the street about what they think the Lesbian Avengers are. Some are comical. Others are almost frightening to the degree of how uncomfortable they are about talking about anything concerning lesbians. It is much easier to accept what the Lesbian Avengers are trying to do with these interviews even though the biggest problem I had with the film is their approach. They seem to use tactics to make people so uncomfortable that they have to pretty much succumb to what they demand. That's not a horrible way to get the job done, but I feel that it is just going to make matters worse. All the members of the Lesbian Avengers that are interviewed seem to talk constantly about how they're lesbian and proud, which isn't a horrible thing, but I feel as a viewer I never come to relate to any of these people because they seem to define themselves by their sexuality and that's pretty much it. I'm sure these people have personalities and lives of their own, but you can't really tell with this film. Their marchs are almost the stereotype of "Gay Pride Parade" and the fact that some women take their tops off and start dancing around, while I'm not against it, just seems ridiculous and makes me the viewer uncomfortable and I'm not even there in person to experience this public display of nudity. When it reaches the point where you hear a woman recite a poem about her vagina and her lover's vagina, which was obviously influenced by The Vagina Monologues, you realize that they need to stop trying to personify vaginas and start personifying their cause. The Civil Rights movement of the 60's was successful mainly due to the cause having leaders who had strong personalites allowing individuals to put a human face to the cause. This film was thought-provoking even it was for the wrong reasons, which makes it still worthy of watching.
**1/2 out of ****
Flushed Away(dir. David Bowers and Sam Fell)
A relatively fun and light movie. I'll probably forget about it in a couple of days, but it's still better than most non-Pixar computer animated films.
**1/2 out of ****
Lilya 4-Ever(dir. Lukas Moodysson)
How do I describe this experience? Soul crushing? Maybe. Heart-breaking? Definately. It's a painful experience not in terms of how bad or idiotic the film is, but due to the events that occur. It's easy to see how some reviewers question what the point of the film was? What is the point of all this suffering? You could argue it is to show the viewers human trafficking and how a young girl can be lured into it. But I don't know, it seems too powerful a film to have such an "important" objective as exposing issues with society that audiences might not know about. In All Movie Guide's review, it says Dancer in the Dark is a good companion piece, which makes perfect sense because Dancer in the Dark could be viewed equally depressing while this film feels much more natural and damaging. Dancer in the Dark's material is melodramatic and while this is too, you give into it. At least, I did and this film scarred me even when I already knew everything that was going to happen due to someone "spoiling" the film in a message board I scimmed. There are flaws with the film. It definately aims to depress the hell out of you and I was able to fight off it's attempts to depress me and think about the film relatively objectively throughout most of the experience. Why does her mother leave her? One review said she's a mail order bride, which would explain it, but you still don't really understand why she would so freely abadon her child especially how the actress portrays her. She cries with her daughter as she's leaving, but doesn't seem to put up a fight. The girl turning to prostitution even though she could go to Social Services seem rather strange because if I was in that situation, I would gladly give myself up to Social Services instead of degrading myself in order to live on my own. The girl probably would much rather be with her friend and on her own than with Social Services so I guess it's not that much of a stretch. Some reviewers and individuals have talked about how the girl is basically an idiot and all the events that happen are pretty much her fault. One reviewer viciously said he understands how a mother can abadon her because she's such a "brat." I don't know. You have to be pretty heartless to hate this girl, but I had a similar experience with Thirteen probably due to the fact that the actress that played the character that the audience was supposed to sympathize with annoyed the fuck out of me and the whole peer pressure excuse for doing things that you don't want to just seems utterly ridiculous when you can easily avoid them. This film's protagonist who is played amazingly by a young Russian actress named Oskana Akinshina is in a situation where there really is no escape at least in the last parts. She is living by herself and she needs money so prostitution seems like a viable option so it makes sense, but the girl in Thirteen seems not to be enjoying taking drugs and seducing boys and just does it out of peer pressure. The girl in this film doesn't prostitute herself out of peer pressure, but as a way to survive and when she sniffs glue, she seems to actually enjoy it. The actress is amazing. Her smile is so infectious and brings innocence to a film that is in definate need of it after all the shit you experience. The film damaged me. Scarred me. I felt relatively emotionally unaffected until the end, which is probably the most devastating thing I've ever seen just due to the innocent viewpoint of the protagonist and the bleak outcome to her story. Some could easily write off the angelic images as ridiculous and sentimental, but there's something heart-breaking about a girl thinking of Heaven in such a simple and naive way. I could argue that the film might not work perfectly on intellectual grounds and that's the argument that some reviewers seem to take to bash the film. All I can say is that it effected me so deeply that I didn't even realize it was possible for a film to make me feel this way and to me, that makes this film a masterpiece.
**** out of ****
Part 2 of A Personal Journal with Martin Scorsese Through American Movies(dir. Martin Scorsese & Michael Henry Wilson)
Informative to a point. You could find better educational material online and could just use the list of movie connections on IMDb and pretty much look all the movies and get even more information. He doesn't seem to spend a lot of time on one particular picture long enough to give the audience a sense of that film's artistic innovation or whatever. That has to be due to the massive nature of trying to sum up the history of American cinema in a couple hours or so and have it feel extensive. The best part was seeing movies that I have never heard of or have heard of and wanting to see them. Seeing directors like Andre De Toth and Fritz Lang talking about cinema was definately a treat for me. I'm probably not going to check out the other parts mainly due to the relatively uninformative nature of the film, but it's still probably worth watching if you catch it on TV like I did.
*** out of ****
Thursday, July 12, 2007
Oh Haji and Su...
Faster, Pussycat! Kill! Kill!(dir. Russ Meyer)
Is this a masterpiece of exploitation and cult cinema? Sort of. It is certainly a lot of fun and has some aspects that are definately trashy like the outfits the protagonists wear and the whole story around the father. I just felt it didn't quite meet the title of "trash" masterpiece as most viewers have touted the film to be. Some of the dialogue is actually quite ingenius in a campy sort of way, but most of the main actress's line deliveries were just shouting and kind of irritating. Even though, I know I shouldn't take the performances that seriously, I still feel that her performance is weak compared to other actresses. A fun-filled romp. Good for the whole family. Put this on the next DVD case.
***1/2 out of ****
The Ties That Bind(dir. Su Friedrich)
Another masterpiece. There are some aspects that are a little shaky like when she tries to compare the police handling of a feminine protest she attended to Nazi Germany, but I can understand her intentions in terms of trying to get the audience to comprehend how the Nazis were able to take power and how her mother and other Germans handled it. Germans that lived through the experience must have a certain sense of guilt just like their sons and grandsons probably do as well. An intelligent film that actually explores it's subject matter on a much more personal level than some Hollywood drivel like Schindler's List.
**** out of ****
Is this a masterpiece of exploitation and cult cinema? Sort of. It is certainly a lot of fun and has some aspects that are definately trashy like the outfits the protagonists wear and the whole story around the father. I just felt it didn't quite meet the title of "trash" masterpiece as most viewers have touted the film to be. Some of the dialogue is actually quite ingenius in a campy sort of way, but most of the main actress's line deliveries were just shouting and kind of irritating. Even though, I know I shouldn't take the performances that seriously, I still feel that her performance is weak compared to other actresses. A fun-filled romp. Good for the whole family. Put this on the next DVD case.
***1/2 out of ****
The Ties That Bind(dir. Su Friedrich)
Another masterpiece. There are some aspects that are a little shaky like when she tries to compare the police handling of a feminine protest she attended to Nazi Germany, but I can understand her intentions in terms of trying to get the audience to comprehend how the Nazis were able to take power and how her mother and other Germans handled it. Germans that lived through the experience must have a certain sense of guilt just like their sons and grandsons probably do as well. An intelligent film that actually explores it's subject matter on a much more personal level than some Hollywood drivel like Schindler's List.
**** out of ****
Sunday, June 24, 2007
Oh Su...
Bottle Rocket(dir. Wes Anderson)[rewatch]
*** out of ****
Bottle Rocket(dir. Wes Anderson)[2nd rewatch]
*** out of ****
Bottle Rocket(dir. Wes Anderson)[3rd rewatch]
I feel the portion at the hotel and the romance between Inez and Anthony is the best part of the movie, but when you come to accept Dignan as he is, the 2nd half doesn't feel as disappointing. The 2nd half never felt horrible by any means, but you start to miss the whimsical nature of the portion set at the hotel. Much like Taxi Driver, this film relies on your acceptance of the character for ultimate enjoyment. Maybe Rushmore is the same and maybe I should rewatch that film again down the line.
***1/2 out of ****
Munich(dir. Steven Spielberg)
Spielberg's most mature "mature" film? Probably. It doesn't try to entertain or offer a fairly sentimental view on a historical event, which makes it one of his best works. The running time seems quite excessive especially during the middle portion of it and it seems to hammer the message that killing doesn't solve anything. Holds up suprisingly well as a rewatch.
*** out of ****
Castlevania: Dawn of Sorrow(dev. Konami)
The film is addictive at first but quickly becomes tiresome. The whole soul collection aspect of the game seems like it would be addicting and a lot of fun, but you'll quickly realize that most of the souls are useless and you should stick to a handful of souls. The level design is surprisingly bland for a Castlevania game. Playing Julius mode quickly reminded me of how much better the pre-SOTN Castlevania games were mainly due to the relatively the fast-paced nature and focus on action. Now the series's focus is on collection of items and exploring. The boss fights are the best part of this game mainly due to the old-school nature of the battles, which force you to remember patterns and exploit weaknesses.
*** out of ****
Elite Beat Agents(dev. Inis?)
I haven't completed the game so my opinion might change, but right now, this game is charming and hilarious. The cut-scenes are ridiculous and the premise is genius and alittle insane. The humor might wear off on me and the game might not seem as enticing as it did, but this game is easily one of the best rhythm-based games I've played due to it's challenging and brief nature of it's songs. The one thing that struck me as particularly frustrating with a game like Guitar Hero is that you could easily mess up halfway through a relatively long song. This game never becomes frustrating because the songs last for only a couple of minutes and the cut-scenes add an incentive to keep going and complete the songs. Best DS game I've played so far.
**** out of ****
There Will Be Blood Teaser Trailer
Don't usually review trailers, but this one is easily one of the best I've seen just because it offers a sense of possibility that most trailers and teaser trailers wish they were able to offer. You get a real sense that this film could do anything and could possibly be the greatest film on the face of the planet. It's unusual nature with it's soundtrack and Daniel Day Lewis's(sic?) menacing voice over adds a sense of dread and evil to the picture. The images shown are both beautiful and haunting. Some have said the film gives off a Terrence Malick vibe, which is easy to see due to the voice over narration and beautiful cinematography, but Malick never provides the sense of horror and ugliness that this trailer provides. I can't wait to see this.
**** out of ****
Damned if You Don't(dir. Su Friedrich)
Excruciating and compelling? This type of personal film-making could easily not resonate with some people. It almost plays like a diary entry. Maybe not as much as the next film being reviewed, but yeah. The deconstruction of Black Narcissus in the beginning seemed relatively pretentious until the ending occurs. The ending redeems all the boredom and ennui that this viewer felt during the experience. The film deals with the sexual longing that a Catholic upbringing can create. Most Catholic teachings tell you that sex is bad unless married. This film offers the argument that sex should be viewed as ultimately spiritual thing. There is a sense of release you feel at the end mainly due to the repressive nature the film has before it. You also feel that the nun character feels spiritual enlightenment due to giving into her temptations. It's hard not to be hot and bothered by the ending being a heterosexual male, but it is ultimately cathartic and outstanding on more than a sexual level.
**** out of ****
Rules of the Road(dir. Su Friedrich)
A sense of longing is felt in this picture as well, but more of a romantic kind than a strictly sexual kind. Plays like a love letter for cars and a therapy session for the filmmaker. The ending much like the film above is cathartic and offers a sense of release. It might not be as artistically successful as the film above, but it makes up with it's amusing combination of love songs and images of station wagons in various scenes.
**** out of ****
First Comes Love(dir. Su Friedrich)
Then comes marriage? The film is quite ambigious at first and plays like a mixture of Frederick Wiseman and Kenneth Anger(think Matrimony Rising) with it's stark documentary footage and use of a pop soundtrack. The film has a fairly romantic view of marriage which makes perfect sense given the film's message. The filmmaker calls for a legalization of homosexual marriage and thankfully, the filmmaker doesn't decide to offer this message in an allegorical fashion. It is upfront and literally written out for the audience. The list of countries that do not provide legal homosexual marriage is amazingly drawn out and provides a valid argument for the film's cause. The only footage is of weddings and with the use of love songs, becomes something beautiful and sacred that it almost changes my opinion on marriage and weddings. If a film forces me to question my beliefs, it obviously is a great one.
**** out of ****
*** out of ****
Bottle Rocket(dir. Wes Anderson)[2nd rewatch]
*** out of ****
Bottle Rocket(dir. Wes Anderson)[3rd rewatch]
I feel the portion at the hotel and the romance between Inez and Anthony is the best part of the movie, but when you come to accept Dignan as he is, the 2nd half doesn't feel as disappointing. The 2nd half never felt horrible by any means, but you start to miss the whimsical nature of the portion set at the hotel. Much like Taxi Driver, this film relies on your acceptance of the character for ultimate enjoyment. Maybe Rushmore is the same and maybe I should rewatch that film again down the line.
***1/2 out of ****
Munich(dir. Steven Spielberg)
Spielberg's most mature "mature" film? Probably. It doesn't try to entertain or offer a fairly sentimental view on a historical event, which makes it one of his best works. The running time seems quite excessive especially during the middle portion of it and it seems to hammer the message that killing doesn't solve anything. Holds up suprisingly well as a rewatch.
*** out of ****
Castlevania: Dawn of Sorrow(dev. Konami)
The film is addictive at first but quickly becomes tiresome. The whole soul collection aspect of the game seems like it would be addicting and a lot of fun, but you'll quickly realize that most of the souls are useless and you should stick to a handful of souls. The level design is surprisingly bland for a Castlevania game. Playing Julius mode quickly reminded me of how much better the pre-SOTN Castlevania games were mainly due to the relatively the fast-paced nature and focus on action. Now the series's focus is on collection of items and exploring. The boss fights are the best part of this game mainly due to the old-school nature of the battles, which force you to remember patterns and exploit weaknesses.
*** out of ****
Elite Beat Agents(dev. Inis?)
I haven't completed the game so my opinion might change, but right now, this game is charming and hilarious. The cut-scenes are ridiculous and the premise is genius and alittle insane. The humor might wear off on me and the game might not seem as enticing as it did, but this game is easily one of the best rhythm-based games I've played due to it's challenging and brief nature of it's songs. The one thing that struck me as particularly frustrating with a game like Guitar Hero is that you could easily mess up halfway through a relatively long song. This game never becomes frustrating because the songs last for only a couple of minutes and the cut-scenes add an incentive to keep going and complete the songs. Best DS game I've played so far.
**** out of ****
There Will Be Blood Teaser Trailer
Don't usually review trailers, but this one is easily one of the best I've seen just because it offers a sense of possibility that most trailers and teaser trailers wish they were able to offer. You get a real sense that this film could do anything and could possibly be the greatest film on the face of the planet. It's unusual nature with it's soundtrack and Daniel Day Lewis's(sic?) menacing voice over adds a sense of dread and evil to the picture. The images shown are both beautiful and haunting. Some have said the film gives off a Terrence Malick vibe, which is easy to see due to the voice over narration and beautiful cinematography, but Malick never provides the sense of horror and ugliness that this trailer provides. I can't wait to see this.
**** out of ****
Damned if You Don't(dir. Su Friedrich)
Excruciating and compelling? This type of personal film-making could easily not resonate with some people. It almost plays like a diary entry. Maybe not as much as the next film being reviewed, but yeah. The deconstruction of Black Narcissus in the beginning seemed relatively pretentious until the ending occurs. The ending redeems all the boredom and ennui that this viewer felt during the experience. The film deals with the sexual longing that a Catholic upbringing can create. Most Catholic teachings tell you that sex is bad unless married. This film offers the argument that sex should be viewed as ultimately spiritual thing. There is a sense of release you feel at the end mainly due to the repressive nature the film has before it. You also feel that the nun character feels spiritual enlightenment due to giving into her temptations. It's hard not to be hot and bothered by the ending being a heterosexual male, but it is ultimately cathartic and outstanding on more than a sexual level.
**** out of ****
Rules of the Road(dir. Su Friedrich)
A sense of longing is felt in this picture as well, but more of a romantic kind than a strictly sexual kind. Plays like a love letter for cars and a therapy session for the filmmaker. The ending much like the film above is cathartic and offers a sense of release. It might not be as artistically successful as the film above, but it makes up with it's amusing combination of love songs and images of station wagons in various scenes.
**** out of ****
First Comes Love(dir. Su Friedrich)
Then comes marriage? The film is quite ambigious at first and plays like a mixture of Frederick Wiseman and Kenneth Anger(think Matrimony Rising) with it's stark documentary footage and use of a pop soundtrack. The film has a fairly romantic view of marriage which makes perfect sense given the film's message. The filmmaker calls for a legalization of homosexual marriage and thankfully, the filmmaker doesn't decide to offer this message in an allegorical fashion. It is upfront and literally written out for the audience. The list of countries that do not provide legal homosexual marriage is amazingly drawn out and provides a valid argument for the film's cause. The only footage is of weddings and with the use of love songs, becomes something beautiful and sacred that it almost changes my opinion on marriage and weddings. If a film forces me to question my beliefs, it obviously is a great one.
**** out of ****
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