Saturday, February 20, 2010

How To Strip Walnut Wood

60th Berlinale, Saturday the 20th



















crew of mammoth (from left to right):
producer, Gustave de Kervern, Miss Ming, Delépine Benoit, Isabelle Adjani, Yolande Moreau, Gérard Depardieu



have 4 movies in a row as one:

portraits of German alcoholics - as boring as it sounds:
monotone panned landscape and interior shots of clean urban areas and 80's living rooms with superimposed off comments from alcoholics who all tell similar stories of addiction, discovery and withdrawal. The clay-image gap yawns so far apart that one wonders why the whole thing was designed not just as a radio feature, and why not the same as a 20 minute? device as a master baker and
Patriarch Rikard Rheinwald suffering from a tumor and break down piece by piece is: Danish cinema at its best - En
family traditional family shaken. Ditte favorite daughter is now ran, but has other plans: with her artist boyfriend want to travel the world as a gallery. A loving father-daughter relationship told by good and bad times. For a bread, it just needs both milk-and acetic acid bacteria.
The Killer Inside Me - Welcome to Marlborocountry: It could be the last post as women's and classify this film as men. One could describe the latter as pure male fantasy. A hundred images seen by sheriffs in Texas with his cowboy look, the under 50s with weapons and high-gloss gas guzzlers their masculinity and pathological evidence psychoses . Make Unnecessarily brutal and not very emotional. One could give this film.
mammoth - Highlight of the evening: Depardieu shines in Obelix-style with a flowing, stringy-blond hair as Easy Rider-retirees in search of his lost employment certificates. Isabelle Adjani, face-lifted and head injury, appears again and again by the roadside as a fading love, while the cuddly Yolande Moreau as a loving wife to her husband faithful of this campaign and the crazy (or needy?) Niece Miss Ming plush monster Homma GE builds. Refreshing easily told story, spontaneous, and attention turned to Super 8, which guarantees no budget had, as director Benoit Delépine never tired of emphasizing.

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