Posts Tagged ‘the white ribbon’

Ezra’s Top 10 Favorite Films of 2012

Posted 15 Feb 2013 — by Ezra Stead
Category Essay, Film Reviews, Movies I Didn't Get, Movies I Got

By Ezra Stead

The Grey is nothing but desolate Alaskan wilderness and people being brutally murdered by wolves for two hours. What's not to love?I’ve been making these lists, in one form or another, for a dozen years now, and every year I’ve done my best to balance my own personal preferences with an objective and educated view of cinema in order to recommend not only my personal favorite films of any given year, but also those I believe to be the best. Well, no more! This year, and forever onward, I strive to give you only my own subjective favorites, the films that I have watched and am likely to watch over and over again throughout the years. When I look back over the last five years, for example, I have to admit that these have proven to be my actual favorite films, despite what I may have written at the time in an effort to recognize other worthy cinematic achievements to which I may or may not have returned even once in the years since: The Assassination of Jesse James by the Coward Robert Ford (2007); The Dark Knight (2008); Inglourious Basterds (2009); Dogtooth (2010); and Drive (2011).

Of those five, only Dogtooth actually topped my list at the time. So, with this in mind, I present my favorite films of 2012, in all their highly subjective glory. Since ranking films in order of preference is often at least somewhat arbitrary, I should admit that some of these may have made it into the top 10, rather than the runner-up category, solely because they were more fun to write about. However, my top 5 is solidly made up of films I have already seen at least twice, and feel strongly that I would be more than happy to watch again at absolutely any time. Read More

Seeking Wellness: Suffering Through Four Movements

Posted 29 Aug 2011 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead

Seeking Wellness: Suffering Through Four Movements, USA, 2008

Written and Directed by Daniel Schneidkraut

Seeking Wellness: Suffering Through Four Movements is a disturbing and darkly funny first feature from Twin Cities filmmaker Daniel Schneidekraut. “This is not a film,” proclaims the opening title card of Daniel Schneidkraut’s Seeking Wellness: Suffering Through Four Movements. “It is a video ritual. Watch and receive.” This unsettling (some would say pretentious) announcement is followed by an opening credits sequence that seems directly inspired by the diabolical French provocateur Gaspar Noe (I Stand Alone, Irreversible, Enter the Void). Another apparent influence is the German filmmaker Michael Haneke (The Seventh Continent, Funny Games, The White Ribbon) – in fact, I would say this is second in line, after my beloved Dogtooth, for the title of Best Michael Haneke Film Michael Haneke Never Made – so clearly, this is a dark and twisted creation that could generously be described as “not for everyone.” That said, for fans of transgressive and artistic cinema, this is undoubtedly the Minneapolis-based independent feature I would recommend above all others, despite my more direct involvement in a few others (full disclosure: I am thanked in the credits for this one, though I had no idea of this fact until I finally saw the finished product and was never on set). Read More

Dogtooth

Posted 10 Mar 2011 — by Ezra Stead
Category Film Reviews, Most Confusing Films of All time, Movies I Got

By Ezra Stead

Dogtooth, 2009, Greece

Directed by Giorgos Lanthimos

Dogtooth is the best film of the year.

This film is mind-blowingly great, the best I’ve seen in quite some time. The best way to see Dogtooth is the way in which I was lucky enough to: without knowing anything about its storyline. If you have not yet seen this film, I strongly encourage you to stop reading this review and watch it, right now, on Netflix or any other method you might be able to find.

Anyone still with me? I am now going to assume you have seen the film and that it has either blown your mind and made you extremely inspired and reinvigorated about the possibilities of the cinematic art form, as it did for me on both viewings (within two weeks), or it has outraged and disgusted you with its “mean-spiritedness,” as it did for some others with whom I have discussed it. Maybe it has done a little of both. In any event, you have seen the film and I will no longer have to warn you about upcoming spoilers.

Greek filmmaker Giorgos Lanthimos has created a film of startling power and striking originality. The closest comparison I can make, both in style and content, is the work of Austrian provocateur Michael Haneke – the brilliant filmmaker behind The Seventh Continent (1989), Cache (2005) and The White Ribbon (2009), to name just a few – but Dogtooth is more perversely humorous than even Haneke’s Funny Games (1997, remade by Haneke himself in 2007), which is admittedly the only one of his films to really utilize humor. As dark, disturbing and sometimes brutal as Dogtooth ultimately is, it is hard not to laugh at some of it, and this is clearly the desired effect. Read More

The White Ribbon – Chaos In The Order

Posted 06 Dec 2010 — by Jason A. Hill
Category Film Reviews, Movies I Got

By Jason A. Hill

The White Ribbon, Germany / Austria / France / Italy, 2009

Written and Directed by Michael Haneke

The White Ribbon movie poster movies i didnt getOften in film, story becomes the magical thread that keeps us involved; story usually consists of questions and answers that create conflict. In Michael Haneke’s The White Ribbon, the questions we receive indeed create conflict, but the film also puts into view how far we will go to find the answers. Many have tagged this film as being a glimpse into the ideological beginnings of German fascism, or Nazism. I would agree with that notion, but what makes the film so interesting and gives it its true power is its transcendence across national, cultural, and even temporal divisions to examine that all-too-human need to understand its own basic horrors and needs for safety.

The film is set in rural Germany just before World War I. The story takes place in a village where life is as simple and common as an early 20th century village gets. The Baron (Ulrich Tukur) owns the land and provides employment for over half the people living in the area. The town is small enough that there is a single Pastor (Burghart Klaussner), Doctor (Rainer Bock), and School Teacher (Christian Friedel) to accommodate everyone. Everyone plays their assigned roles in clockwork-like rhythm and the slightest variance echoes like a bomb. From here it wasn’t clear to me if the patriarchal nature of this village was a detail of this time and place or if the authoritarian setting was acutely unique to this village, but this is just another layer in the film’s rich mise-en-scene.  Read More