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There are these amazing scenes where they go on a date to a funfair and then to a sex museum. There’s an elderly man in Austria looking for a new wife, and he meets a lone single woman on the Czech side of the border. This was made shortly after the fall of communism in eastern Europe and it looks at two communities on either side of the Czech-Austrian border. Loss Is to Be Expected, Ulrich Seidl, 1992
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Morris has these carefully crafted tableaux: there’s one continuous shot where a woman has a 15-minute lament, complaining about aspects of her life, and that’s where the film becomes something altogether greater and more mysterious. We eat animals, we use them for labour, but then we keep them in our home as objects upon which we project love that we maybe lack elsewhere. It’s about two families in California who run pet cemeteries, and it looks at humans’ relationships to their pets. He was taking his time with it so Werner Herzog promised “If you finish this film I will eat my shoe,” which he did. The impostor’s fragility ultimately embodies what it means to be poor and struggling in life, and through that you feel how sad it is that we live in a world where people are measured by wealth and power, and the cruelty that any human being could ever feel insignificant.
#Popular movies from 2017 to 2016 trial#
The film follows this man’s trial in an Iranian court, and then the real Mohsen Makhmalbaf meets the man and takes him to the family. At one point the family realise he’s not really the director and have him arrested. He insinuates himself into a family’s life out of loneliness, to make friends. Close Up, Abbas Kiarostami, 1990Ī man pretends to be Mohsen Makhmalbaf, the director of Salaam Cinema. A scene from Close-Up by Abbas Kiarostami.