untamed.nl |
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Non-American subtitled or
dubbed, that's what this narrowminded nationalist category usually means.
Having mentioned that, let's dive headfirst into the giant, wondrous world
of global, also non-Dutch, cinema. Look at this as a journey, un voyage
if you wish, randomly across the continents, sniffing culture here
and there. Infidels will be exiled pretty quickly, so we'll use the
Academy Awards as a starting point only, then go on a big cruise. Financed
by lovely drug smugglers.
Hm, how to educate those cultural barbarians without having to fear war in return? I'll tell you what, we'll compromise: Clint Eastwood's double bill Flags of Our Fathers and Letters from Iwo Jima is just as valid as Sophie Scholl (2005, Marc Rothermund) and Der Untergang (2004, Oliver Hirschbiegel). And French films are temporarily banned to prevent overkill.
'Hitler was a bit
excessive..'
Almost every European country has had its successes and trademarks, often
involving amazing acting jobs. That's why many of them will not be
discussed today, saving up for other categories. However, I just can't
pass up on Scandinivia here, with the current sky high average quality.
Just to name some good directors: Susanne Bier (Efter brylluppet),
Kay Pollak (Så som i himmelen), Niels Arden Oplev (To verdener)
and Ruben Östlund (De ofrivilliga), the nordic talent pool is
staggering. In the future I might go and specialize in a couple of areas a
little more: eighties first, Scandinavia second. Another option is mushy
Korean drama which, like many other Asian growing markets, doesn't really
need any extensive introduction. A bunch of directors from the east
reached the absolute top of the western afficionado's favorites. Take
Japanese definition of cool Takashi Miike, creator of some of the weirdest
films of the decade (Ichi the Killer, Visitor Q), mix with
social aware Chinese Zhang Ke Jia (Still Life), throw in Korean
Joon-ho Bong for a little blockbuster (The Host) and you'd almost
forget to ask why I use the English titles here. Well, I dislike
mispronouncing phonetic ones, that's all.
Over the years Finland
has become mythical for this meek traveller, it tops a short list of
countries I would love to visit someday. Aki Kaurismäki continues to make
well received dark comedies, newcomer Dome Karukoski is the biggest talent
around. Jade Warrior, by the director of equally pleasant Sauna,
speaks a combination of two cultures that don't meet often: eastern
martial arts in northern snow. As an experiment it won't please everyone,
as a sentimental action flick it pleases immensely. Further up north, even
lower temperatures freeze Canadian Inuit, Eskimos that can also be found
in Greenland. Astonishing Atanarjuat runs across the ice naked and
was filmed in Inuktitut, spoken by approximately thirty thousand, not
including Mel Gibson. But he does know his classics. Whatever you think of
the man morally, the decision to produce blockbusters in languages other
than American English, is a bravehearted one. The Passion of the Christ
and Apocalypto (in Yucatec Maya) have been unique experiences,
hugely due to these details. When was the last time you heard someone
speak Aramaic, exorcisms aside? Back down to earth but just as big a
personal adventure is Nina Hoss enjoying a nice vacation in Kenya, falling
in love with a Samburu warrior and joining his tribe. Culture clashes all
around, naturally. The White Massai proves that romance
disintegrates everywhere, it doesn't matter how far you flee and how hard
you try to adapt. Free Zone is the world in its current state, all
major parties represented. Save the best for last.
Cinephiliacs that complain about distribution are a bunch of hypocrites. It's tough when your festival favorites will never be available on dvd, but nowadays this is actually quite rare, especially if you contact directors by e-mail and beg them for a copy. That's not what I mean though: secretly almost everyone just loves to have been the only one in the whole world who has seen a particular great film. It makes the experience so much more exclusive, being able to brag about it is icing on the cake. Most of the time when a small film finally gets more exposure, other people won't react as positive as you dared to expect. Lovely little Hungarian hickup mystery Hukkle (2002, György Pálfi) for example, slowly found its way to local arthouses, then marched onto dvd, and was shredded to pieces on popular forums. Equally likeable Polish provincial Zmruż oczy (Squint Your Eyes, 2002, Andrzej Jakimowski) managed to stay under the radar much better and seems prone to stay there, in its own little comfortable niche with a handful of supporters. Speaking of Poland, another interesting combination was made by Japanese Avalon (2001, Mamoru Oshii), which places future videogames in Europe.
'he's the most arrogant, conceited..'
Oh, did I mention I've seen a real motion picture from Kazachstan? Strizh (2007, Abai Kulbai) is slow and boring. Niiiiice!! Feel free to let out a little sigh of relief now, you made it through all these titles you've never heard of! Accusations of a little smugness can't be denied, but most of all musings like these are sincerely meant to show people, or remind them of the fact, that world cinema is vibrant like never before. Start with Mexican dogs in Amores perros (2000, Alejandro González Iñárritu), pick up a chained Taiwanese Mammoth (2009, Lukas Moodysson) along the way, then just drive into unknown territority. Try something by Iranian master Bahman Ghobadi, like A Time for Drunken Horses (2000) or equally multiple award winning Turtles Can Fly (2004). Feel your mouth go dry and dehydrate straight across the Sahara, while patting camels in Sounds of Sand (2006, Marion Hänsel). Human laughter means nothing, until you've seen animal tears.
'imported.. straight from Loompaland..' |
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