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LE SILENCE PURE – Movie Trailer

esaieschnaps — Sun, 05 May 2013 07:24:20 +0000

Businessman with a PHD attached to his name but yet very humble. Nothing moves him. Father wishes for his son to settle down with Ruth a devoted servant of God, business woman and loyal friend to Patrick. Patrick comes in encounter with his old pal Vincent. They graduated high school together in the Democratic Republic of Congo.

Vincent has now become a high profile controlling pretty boy, landed in America from London, using his devoted girl Emelie and all illegal means to skim his way through business and make quick money. The impossible happens. Emelie disappears. No one seem to know where to find her but fate has brought her to the back seat of Patrick’s car, into his holly home, straight into his heart and eventually God’s heart. Patrick’s life is taken on a new journey, “LE SILENCE PURE” where discovery takes place, inner feelings rise up and the fear of facing the unknown. God’s Grace is continuously covering it all.

SCHNAPS ENTERTAINMENT (Créativité Universal) présente “LE SILENCE PURE” disponible cet été. http://www.screenplayfest.com/archives/review/le-silence-pure

Les producteurs MARIE SOLO, chef OSCAR MOKEME, DENISE EZOUA| Sites MARIE SOLO, chef OSCAR MOKEME & PAPY BONGIBO BGB| Bien-être MARIE SOLO, DENISE EZUA, TRIUMPH Abigaïl, VENUS LABELLE| Transport CASCOBAY LINE FERRY/ Croisières Portland/ ME, PEAKS ISLAND, TAXI FERRY, PEAKS VELOS Island| Musique SOLEIL DIVA, Vénus LABELLE & HENRI Mongita.

Spécial Merci à:
ROBERT PETERS fondateur de WHITESTONE PICTURES
ESAIE SCHNAPS fondateur et Président de SCHNAPS ENTERTAINMENT
PAPY BONGIBO ETAT MAJOR fondateur de BGB PRODUCTIONS
Chef OSCAR MOKEME fondateur du Musée de The MUSEUM of AFRICAN CULTURE
JJ WILLIAMS, TRIUMPH Abigaïl, DENISE EZOU, DIVINE SHAW, M. GEORGE Peaks Island, WOODFORD CLUB, L’INN HÔTEL Peaks Island.

À Dieu soit toute la gloire Qui sièges sur le trône et fait toutes les belles choses selon sa volonté, plan et le dessein.

Later Aim For The Moon – Movie Review

yonimaron — Sun, 05 May 2013 07:07:53 +0000

Summary

Keren, a young woman and flutist at a classical orchestra , is re-adapting to her apartment in Tel Aviv-Jaffa, after three weeks at a rehabilitation center, where she was hospitalized following an episode of a neural disease, which made her dependent on a wheelchair.

During the day, Keren is dealing with her best friend, Gili as well as communicating with her former life partner, Yoav, from which she separated a short few months before her recent hospitalization.
Trailer:

אחר כך נכוון לירח – טריילר / ” Later Aim For The Moon” Trailer subs.EN from yoni maron on Vimeo.

Full Length:

Later Aim for the Moon – with English subtitles / אחר כך נכוון לירח – תרגום לאנגלית from yoni maron on Vimeo.

FaceBook page :
https://www.facebook.com/LaterAimForTheMoon?ref=tn_tnmn

Imdb :
http://www.imdb.com/title/tt2010881/

Last Tango in Paris: The Theater of the Hysteric? (A Review)

Mahesh Hapugoda — Sun, 05 May 2013 06:50:04 +0000

Last Tango in Paris (1973)

Direcor: Bernardo Bertolucci

Metro Golden Myre (MGM)

Marlon Barndo, Maria Schneider

After humanity entered the condition called post-modernity where there is no certainty in human relationships, what man experiences today is a pure psychological rupture. The present turmoil in the life-world mostly insists individuals to embrace death as a mode of escapism. The emotional collapse in the personal lives, detachments, disappointments and the resulted depression and anxiety inevitably force us to go to certain extremes since the solution is not within our reach. On the other hand, if someone desires a radical death today, it can be chosen in many different ways ranging from a traditional method of hanging or poisoning to an ‘aesthetic’ postmodern method of chemical injection of an anesthetic drug or even ecstasy oriented overdose. In this inhuman commoditization where anything is globally available in the open market to be purchased, a man can even hire (purchase) a woman to drive him to a systematic, prolonged and programmed death while consuming her body in the meantime completing forgetting the arriving death. He can follow the ‘pleasure principle’ in discovering the ‘impossible’ in her body or move from her to another to taste different physical contours.

If you need ‘hardcore pleasure’, you can go to an experienced and lethal prostitute, or if you need ‘tenderness’, you can fly to Thailand (or any other ‘unpolluted’ oriental country) and start a new life such as a living together. For example, we can see some middle aged men in the advanced industrial nations come to countries such as Thailand or even Sri Lanka to spend the rest of their life in the above said manner. Though the primary purpose of death is never communicated between the subjects , both partners know the unconscious desire that founds the tie. The best filmic example for this is Leaving Las Vegas where Ben knows that he is dying and there is no way back, while Anne gradually and unconsciously eases him from the burden of life on the pretence of saving him from alcoholism. She always asks Ben to stop drinking but does not do anything significant to decisively stop it. This can be called in Braudillardian way, ‘seduction’ where ‘the truth’ about why you relate to the other is permanently hidden. She subtly helps him to go through the remaining small span of life until his meeting of radical suicide.

The controversial 1973 drama Last Tango in Paris takes a similar turn with regard to the subject’s encounter of the unapologetic radical death. Their union (the un-meeting) takes the form of an absurdist, postmodern tragedy since the relationship is devoid of romantic courtly love (or communication based ‘understanding’ of each other). Paul meets Jeanne in an apartment after his wife’s departure (a suicide) and proceeds to an anonymous sexual encounter. In the intense sexual act in the apartment, they do not share any personal information about each other’s past, or at least their names. One day, Paul leaves the apartment for an unknown reason but later he reveals to Jeanne that he wants to renew the affair. It seems that Paul has met the Real, his fundamental fantasy about woman (a strong woman with wild sexual desires) through Jeanne and loses his symbolic identification (that is why they start the ‘no name game’) with the external reality (hence, similar to Leaving Las Vegas, death is what he is also desiring). Their rejection of identification with history leads us to believe that they are hysterics (According to Zizek, hysteria is the subject’s way of resisting the prevailing, historically specified form of interpellation or symbolic identification- For They Know not What They Do, p. 100-1). However, the best movie to illustrate the mobility from anonymous love to symbolic identification is The Sleeping Dictionary or The Silent American.

Then he meets her again on the street and reveals his past, and they eventually go to the Tango bar. Once the story (or the past) is revealed, Jeanne comes to know about the nature of the relationship and she is unable to continue the hysteric theatre with her anonymous ‘lover’ anymore. She shows symptoms of permanently unable to enter a symbolic relationship with somebody because such symbolic identification would threaten her ‘speculative identity’. Hence, she stresses that she does not want to see him anymore. But, by that time, Paul (by revealing his identity and past) has entered into a symbolic relationship (let’s say love) with her. May be, he too wanted to be anonymous during his traumatic stage of his wife’s death but through her body he has recovered from the shock and now needs to re-establish himself in the symbolic order. But this is not what Jeanne wants now. She wants to run away from him vehemently rejecting identification. So, a fundamental Zizekian mis-recognition can be evidenced here as in case between the Tramp and the flower girl in City Lights (she was expecting a handsome gentleman during her blindness but in reality it is the Tramp). Paul cannot lose Jeanne now and tells that he loves her. He wants to know her name (symbolic universe).

She reveals ‘her name’ (identity) and then shoots him conveying the viewers that she is deadly and poisonous in her real existence. The final scene is almost theatrical as she rehearses a kind of ‘dramatization’ for Police interrogations about this murder. The message she delivers is her true identity is always mortal and brings only ‘death’ (femme fatale) to whoever ‘loves’ her. She is unable to enter an Oedipus universe and denies all ‘human’ attachments. She distances herself from ‘words’ and gives only ‘her body to his deadlock, to the kernel that he is unable to put in words, by means of a hysterical symptom’ (Zizek). She does not want human language since her weapon is ‘body language’ where impeded desire converts into a ‘desire not to know’ (p.144) rather than ‘don’t know what we really want’. She does not make your desire ‘unsatisfied’ but she, like a parasite, lives by your desire for ignorance. Through negation she invents not an empty nothingness but a positive existence.

Shrek: ‘The Unexpected’ as the Real

Mahesh Hapugoda — Fri, 03 May 2013 21:30:42 +0000

Shrek (2001)

Directed: Andrew Adamson/ Vicky Jenson

Mike Myers, Eddies Murphy, Cameron Diaz

We always encounter the very opposite of what we expect. It is very natural that in the popular cartoon- animated movie Shrek (2001) ‘the unexpected’ becomes the Real (impossible to imagine). Princess Fiona was expecting her handsome ‘Lord’ to come and rescue her from the tallest tower, and Shrek was wanting a peaceful existence in his swamp which he supposed to materialize with the ‘deed’ from Lord Farquaad after rescuing Fiona. The price he had to pay for his freedom is based on a woman who is imprisoned in a dragon guarded tower and pre-programmed to be ‘free’ (once she is ‘free’, Shrek is destined to ‘fall’ or entrapped).
But what happens to his pre-supposition? His presupposed peace was deeply disturbed by a donkey who is a real ‘chatterbox’ as introduced by his owner to the soldier at the time when he was sold to the fairy tale creatures’ cart. The donkey was supposed to talk at the exchange market but it did not. But unexpectedly he started talking after lantern fell on his head. The soldier did not expect the donkey to talk assuming that it was a trick on him. Then he realized that he not only flies but actually ‘talks’.

The donkey sings, chats and interrupts Shrek when he is in need of tranquility but only through that disturbance, he starts the catharsis about his disappointment about the world and his being as an ogre. He wanted everyone to be ‘away’ from his swamp but we find eventually all the fairy tale creatures trafficked into his territory uninvited. Though he wanted to be lonely, he happened to go to the public place several times to get his swamp back and later to rescue Fiona (and finally to become a Prince!). He finally undertook the task of rescuing Fiona as compensation of his peace but that act itself stole his peace in life. If you can remember the scene, when he brings a sunflower to offer her (just before he overheard Fiona’s chat with donkey), he says that ‘I am in trouble’. This means that he is no more than a ‘fallen victim’ of desire.

Lord Farquaad was expecting a beautiful princess to give his kiss so that he can become the King but Fiona metamorphosed into an ugly fatty woman after sunset (the truth about Fiona was about to be revealed by the magic mirror but Farquaad was not ready to listen to the ‘truth’ at that time. The negligence is, in this case, pre-programmed (like the canned laughter in the audience) in us by making us blind in the venture of seeking our fantasy.

Fiona was confronted with a bitter truth that her rescuer is an ogre in a helmet (the identity is hidden to be ‘revealed’ here). But the long journey from the tower to the palace is set in order to give them time to digest the hard truth about each other. Shriek says that she is different to what he thought her to be and she says that one should not judge ‘things’ by appearance. We now come across a woman who changed from a princess to an ordinary woman who is even ready to live with an ogre. This is something that Shriek never expected. What makes this match possible is the hidden fact that Fiona too becomes ugly after sunset. This means that both beauty and ugliness are mutually existing in us and the meeting point in both beauty and ugliness is possibly pre-programmed in us to be discovered at the ‘right time’.

The entire movie deals with the possible meeting points of the very opposite of our desire to the other. The extremes ends are dissolved and evaporated in the relationships in the movie and each character (except Lord Farquaad whose motive is more than a human relationship) finds some union amidst chaos. Therefore, though we do not live in a fairy tale world, it is logical that the movie is structured as a fairy tale.

Cast Away (2000): ‘Duty to Other’ as a Universal Obligation

Mahesh Hapugoda — Fri, 03 May 2013 21:24:50 +0000

What makes the movie Cast Away (2000) by Robert Zemeckis remained in our hearts for a long time is the fact that Chuck, the protagonist, after so many adventures and personal losses, returns the FedEx parcel to the right destination with a note ‘this parcel saved my life’. By this time, this parcel might not have been expected to be delivered to the doorstep by the owner after he or she would have heard about the plane crash, or even FedEx itself might not have expected that, after such crash, the above said parcel could be delivered to the due owner.

Nobody can expect more than life survival in such an accident. Chuck does his level best to save his life as well as the packages supposed to be delivered by air by FedEx. What Chuck proves here is that existence is not just survival but ‘duty to the other’ can stand above our day to day survival game in glorifying our life. This is shown not only in his professional devotion to the FedEx agency but even in his sacrifice to love. He shows so much endurance to ‘wait’ even without an obvious hope in what he is waiting for, and the entire movie displays how difficult it is to overcome terrible loneliness when man is caught in infinite nature.

His girl friend was driven by a simple survival instinct when she chooses to marry another with a loose conclusion that Chuck is dead after the crash, since a.) everybody believed so b.) no one can survive in such a crash. She did not choose to continue her life with the sweet memories of their love for the rest of her life. Such action could have made her love ( hence life) a universal one through her devotion to ‘courtly love’ (a kind of love that waits forever even though there is no much hope that the other will love you in return). At a very practical level, such waiting could have made the situation less complicated once Chuck actually returned home (Zizek would argue that this is a kind of ‘mis-recognition’ since the real bad time would begin with their reunion and marriage One can see that she runs a very ordinary and dull marriage life. Hence love remains sublimated without its bourgeoisie marriage). She fainted by the news that he has returned because the news was a shocking Real (the unexpected) for her. This means that in her unconscious this ‘return’ was actually expected. She knew that Chuck really loved her and that love itself could have saved his life (not the parcel actually, parcel here is just an instrument of communication). When Chuck was lonely in the island what gave him hope to return and to survive in this God forsaken island was her image in the opposite side of the watch. He keeps on looking at it and that gives him hope to go back to ‘civilization’ rather than giving up (but by that time civilization has returned to primitiveness by simply choosing survival) . He had enough difficulties and hardships to demotivate his motive and to ‘give up’ (and die finally) but his love for her as well as motive to return the only remaining parcel made his hope constantly ignited. The only sad aspect of humanity is that there is no destination to return to after so much of sacrifice; there was no love and waiting from the other side and even the owner is not at home to receive the parcel. They have given up hope when they must actually be the ones who must be expecting such return.

After returning the parcel, Chuck seems lost as to what he should do next or where he may go afterwards (so far what kept his journey meaningful was the parcel, and once it is delivered he needs another hope to live). The girl who finally appears in the film mistakenly asks whether Chuck is lost and she volunteers to guide him showing the directions. It seems to me that Chuck needs no further guidance since so far he had been guided by some universal values of professionalism and love and for the rest of his life too they will be the guiding forces (not just another woman who may not wait until he returns. This again proves that she is not capable of such universal devotion for a final end). In the junction that Chuck is waiting in the last shot of the film, there are four directions to different destinations. Whither Chuck heads to will not therefore be a problem because wherever he chooses to go to, he will be guided by those values and he would be glorified by his deeds themselves even in a future unseen. For a person who is actually devoted to his duty, the time and space are immaterial. Apart from the apparent FedEx propagandist motive behind the movie, the lesson one can learn out of this is the obligation to Kantian value of ‘duty to other’ would make man glorified and can make him more than himself. One should not give up hope and fight even if there is no immediate final end. This may be the political lesson of this movie.

Broken England

macksey — Fri, 03 May 2013 21:18:42 +0000

Broken England, a story of sex, drugs, Religion, love and Violence, billy meets Alisha and from that moment on their lives change forever, they get torn between love and family loyalty.

www.gate2-productions.com

Self Inflicted

xrats — Fri, 03 May 2013 21:11:47 +0000

SELF INFLICTED – Premieres May 6th!

“A Love Story with a Punch”

Jim is a normal guy, except for his masochistic tendencies, who is looking for Ms. Right. Can he control his destructive urges long enough to find her?

A new short dark-romantic-comedy from XRATS Productions.

www.selfinflictedfilm.com

E.M.M.A. (Movie Trailer)

BrokenBox — Fri, 03 May 2013 21:08:09 +0000

Imagine awakening one day to discover that you are not human. That you can memorize entire books word for word but not recall the day before. Imagine discovering that everything you have ever known and every memory that you have is a lie. What would you do? This is the story of Emma and what she did…

THE CART ( a film by Ashraf Shishir )

ashrafshishir — Fri, 03 May 2013 21:02:47 +0000

Story-line: This is the story of the indomitable dream of two young brothers and their incredible journey in life. The story of human spirit, sufferings and simple joy.

Duration : 90 mins

Location: Bangladesh.

Original Language : Bangla

Subtitle: English

Gaariwala_a full length feature film from Ashraf Shishir on Vimeo.

Artist : Rokeya Prachi, Raisul Islam Asad, Kazi Maruf, Kabbya, Masum Aziz, Sansi Faruk, Moslem Hazi, Mustafizur Rahman Imran, Vaskar Chaudhury, RJ Mukul, Sidr Sumon, Ridhdha, Shopno, Shomrat, Mukta etc.

Director: Ashraf Shishir
Creative Director : Samira Abbasi
Story & Script: Ashraf Shishir
Chief Asst Director : Shabbir Mahmood
Assistant Director : Sourav Tofazzal, Washim Akram Shuvo, Nasimul Hasan Babu, Rahat Mustafiz
Background Music Composer : Rafayet Newaz
Cinematography : Shohag Chowdhury
Asst. Cinematographer : Rudraniel Robin
2nd Camera : Razib Jabarjong
3rd Camera: Maq Shabbir
Location Manager: Shomrat, Shumon
Stills: Ronggon Mj
Production Executive:Abdur Rahman Razib, Mustafizur Rahman Jibon

The Road (2009) – Movie Review

admin — Sun, 14 Apr 2013 20:09:22 +0000

Too depressive to watch?

The Road (2009), directed by John Hillcoat is actually a great and exceptional post apocalyptic movie with a serious and realistic approach on “how would people survive if there would be a total devastation of natural resources” The movie gives us a simple answer – we’re all doomed!

Watch it online!

The Road is not one of those creepy Silent Hill pretensions on hell on earth or Cyborgs saving humanity. No shit. It is about the human nature and the shift from civilization to the stone age of the post apocalyptic world.

In the Road we see the real interpretation of human evils – greed and animosity. The plot is simple – the father (Viggo Mortensen) and his son are the one of those desperate drifters of the post apocalyptic disaster, roaming across the scorched earth painted in gray, dodging manhunters and the deadly forests they confront the inner fight of suicide.

rented this on dvd when it came out…after watching it i felt totally depressed…dont think i could watch it again…hopefully this post-apocalyptic version of the world…will never come to fruition….

Tommy Wiseau

Just share your food, man!

Yeah, people this kind of movie actually compels you to think more about true values of life, self-preservation and social communication.

In the grey and cold world of the Road there are no laws or respect but only the will to survive. The man of the Road is something in between broken and desperate vagabond and kind of a “drifter of hope”

Robinson Crusoe?

The longest trip from the place you have called “home” before (was actually burned down by the hands of some scavengers) to the coast side of nowhere, in hope of living the continent for good.

You’ll truly shit your pants trying to survive starvation, rain, tumbling down rotten trees (formerly called the forest) or swerving your long paths away from the gang of cannibals.There are no villains and not superheroes – just life and death!

The movie stands out for its realism and strong message. Truly enjoyable picture