July 7, 2007
Opium (2007) ***
A Hungarian drama directed by János Szász, "Opium" (also known as "Opium: Diary of a Madwoman") is a very unusual film despite its superficially familiar subject matter. Kirsti Stubø plays a patient in an insane asylum who has a passionate love affair with a resident physician. But there is a twist. The doctor in question is a drug addict, while the woman is actually a very gifted writer. And this isn't the only unusual twist on the familiar "crazy-girl-helped-by-a-kind-doctor" formula of such classic melodramas as "Lilith", "The Three Faces of Eve" or "Suddenly Last Summer". Unlike those earlier films, "Opium" (set in 1913) is unflinching in its realistic portrayal of the realities of a mental-health institution where disturbed women are "cured" by primitive lobotomies that drive metal spikes through their eyeball into the brain. In its display of many strange medical paraphernalia of the period that suspiciously resemble instruments of torture, the film actually looks and feels more like a horror movie than a human drama. But a human drama it is, thanks in large part to Kirsti Stubø's unbelievably intense performance. Whether masturbating with a pencil, writhing uncontrollably under observation, or simply staring blankly into space, she perfectly captures the tragedy of a remarkable woman - intelligent and gifted, but also completely insane.
Lust, Caution (2007) ***
We are in Shanghai during World War II. The city in under Japanese occupation. A group of Chinese patriots decide to assassinate a high-ranking Chinese traitor (Tony Leung Chiu-Wai). They send a young student (Tang Wei) to seduce him. While the situation is quite similar to the one presented in "Black Book", no two films could be more dissimilar. In fact - SPOILERS AHEAD - both films could be seen as mirror opposites of each other, united only by intense eroticism. "Black Book" is a story of a sexually liberated woman falling in love with a proverbial "Good German". "Lust Caution" is a story of a sexually inexperienced woman falling in lust with a manipulative monster. He's hardly a tender lover. Their first sexual encounter could only be described as a brutal rape. But it is precisely because he treats her so harshly that this innocent girl (whose own masochistic tendencies she blissfully ignores, but which are quite evident to the viewer) falls head over heels in lust with him. Directed by Ang Lee, "Lust Caution" is a powerful and marvellous erotic film, and a deeply disturbing spy melodrama. It's one thing to watch a young masochist having the time of her life in the clutches of a brutal sadist; it is quite another to watch a idealistic freedom fighter sacrificing, in vain, her life, her cause and her moral integrity. It is a deeply disturbing tragedy about lust and treason.
My Dream (2007) *
The Russian Triangle (2007) **
Noodle (2007) *
VHS Kaloucha (2007) **
The Pope’s Toilet (2007) *
Depressing film from Uruguay about a poor smuggler trying to make it rich by installing a toilet during Pope's visit in his little town.
The Edge Of Heaven (2007) **
Baixio das bestas (2007) ***
From Brazil comes this uncompromising, challenging and disturbing parable about exploitation and inhumanity in a bucolic rural setting (somewhere between Recife and hell). Directed by Cláudio Assis, ''Baixio das bestas'' (''Bog Of Beasts'') is an orgy of incest, rape and all possible forms of abuse. It is not quite clear whether the film is supposed to denounce a specific reality of Lula's socialist Brazil, or a more generic ''capitalist'' reality of Latin America, but either way, the parallels in exploitation of the prostitutes with that of local sugar-cane workers, are unmistakable. Drunken, violent predators dominate the film, but curiously, they are never identified with the upper classes. As one critic has written, "positive aspects of modern Brazil are thin on ground (...) Explicitly post-industrial: events unfold in shadow of abandoned sugar-mill. Film-makers' attitude to characters and their behaviour is somewhat ambiguous (...) Nocturnal cesspool-digging. Debauchery. A field on fire becomes a vision of hell. Drunken nihilism in control. Human relations are based on exploitation and insult, though the atmosphere is surprisingly party-like". This is the kind of movie where a brutal murder of a crippled old man is probably the most optimistic and morally uplifting scene, in large part because the old man in question is a soul-less monster who beats and sexually abuses his own daughter/granddaughter (incest) and regularly takes her to a gas station to show her naked to paying (and masturbating) customers.
Perfume: The Story Of A Murderer (2007) ***
Patrick Suskind's 1985 novel ''Perfume'' has always been considered impossible to film. It seems beyond the scope of cinema: conveying the world of scents and smells, rather than sights and sounds. And yet, German director Tom Tykwer (''Run, Lola, Run'') has achieved that impossible feat, and his ''Perfume: The Story Of A Murderer'' is one of the best films of 2007. It's the story of an insane psychopath who has an incredible sense of smell. This gives him an enormous advantage - he can literally sense the presence of human beings (and recognize them) from almost a mile away. It is especially useful if one's goal in life is to capture and kill young women. But ''Perfume'' isn't an ordinary horror movie. Yes, the body count is impressive. Yes, the villain is as merciless and as completely devoid of compassion as Jason Voorhees, Freddy Kruger or Michael Myers. But this film is closer in spirit to ''Tom Jones'' or ''Oliver Twist'' than to ''Friday the 13th'' or ''Halloween''. For once, the social conditions of 18th century France are evoked here with a realism worthy of Charles Dickens and Emile Zola. Also, the sexual content of the film is unbelievably strong. Few writers besides Marquis de Sade have dared to go as far as Patrick Suskind in the exploration of links between carnal desires, insanity and perversion. As Roger Ebert writes in his review, ''Why I love this story, I do not know (...) I cannot explain. There is nothing fun about the story, except the way it ventures so fearlessly down one limited, terrifying, seductive dead end, and finds there a solution both sublime and horrifying. It took imagination to tell it, courage to film it, thought to act it, and from the audience it requires a brave curiosity about the peculiarity of obsession''.
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