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Cinematical - The horrors of war and the atrocities of which humans are capable of have, of course, been documented extensively in film since the birth of the medium. From the recent slew of documentaries on the Iraq war to Atom Egoyan’s controversial 2002 Cannes debut Ararat (about the 1915 massacre of Armenians in the Ottoman empire); from Schindler’s List to The Killing Fields; from The Battle of Algiers to Apocalypse Now; from Ousmane Sembene’s last film, Moolaadé (inspired by the genital mutilation of young girls in Burkina Faso) to The Devil Came on Horseback (a documentary chronicling the genocide in Darfur), recent cinematic history is filled with tales of human suffering, inflicted not by natural disasters, but by human beings upon one another.
Waltz with Bashir documents the struggle of the filmmaker, Ari Folman, to come to terms with the gaps in his memory surrounding the part he played in the first Lebanese war and the 1982 massacre of Palestinian civilians in the West Beirut refugee camps of Sabra and Shatila. Where Marjane Satrapi’s Persepolis (to which this film will be inevitably, if somewhat inaccurately, compared) used stark black-and-white animation based on Satrapi’s graphic novels to tell the history of one girl growing up during the Iranian revolution, Waltz with Bashir uses vivid, hand-drawn animation to bring to life interviews Folman conducted with friends who were involved in the Lebanese war in the early 1980s to bring to life harrowing memories of death, guilt and regret… [Full Story]
GreenCine Daily - ”Blindness may well be the bleakest curtain raiser in the history of the festival, a nightmarish parable of the apocalypse, directed by the Brazilian filmmaker Fernando Meirelles and just as impressive in its way as his career-making City of God,” writes the Guardian’s Xan Brooks.
Cinematical - Fernando Meirelles’s new film Blindness begins with the rush and push of urban life; traffic, crowds, activity, purpose. And then, one man cries out: “I’m blind.” He eventually makes it to an ophthalmologist, but there’s nothing physically wrong with his eyes; he simply can’t see. “It feels like I’m swimming in milk,” he explains, and we see, through his eyes, the blank, empty swirl of what used to be the world. And then another person says they are blind, and then another, and soon those few, frightened voices form a chorus of chaos as “the White Sickness” spreads like wildfire and leaves a ruined world in its wake.
Festival de Cannes - The Festival de Cannes has released its entire lineup of films for this year’s festival (May 14-25). The films in competition include:
Globe and Mail - Two Canadian-made shorts have been chosen to screen at International Critics’ Week, a parallel event of this month’s Cannes Film Festival.
Toronto Jewish Film Festival - The 16th Annual Toronto Jewish Film Festival is offering free events and screenings this year. Tickets are required and are available at the Festival box office in the Miles Nadal JCC. Here are the free films:
Toronto Star - Toronto’s movie film folk are abuzz with joy because the Cannes Film Festival has selected one of ours – the $25 million dark epic Blindness – for its haute opening night.
Cinematical - There is one moment in Tanaz Eshaghian’s Be Like Others that starts by plucking at our insistent hopes for happiness. Hungry for love and affection from his family, Ali Askar tells a story about being thrilled when his father insisted that Ali have breakfast with him. While it was such a simple action, it was one with insistence that Ali had never seen before. This act seemed full of the loving camaraderie and acceptance that the young man had dreamed of. His father poured them tea, but Ali refused to drink it; he realized that this wasn’t a warm act of fatherly love. This wasn’t a breakthrough moment in their relationship. Ali’s father was trying to kill him with rat poison. His father would rather kill his son than allow him to get the sex change that he yearns for.
Hot Docs - Hosted by the CBC’s Jian Ghomeshi, the Hot Docs Awards Presentation, held Friday, April 25, at the Isabel Bader Theatre in Toronto, saw ten awards and $30,000 in cash and prizes presented.
CBC.ca, Canada - Atom Egoyan’s Adoration, accepted for this year’s Cannes Film Festival, is a return to the more intimate, lower-budget kind of films he made in the past.