Cannes Film Festival

120 Beats per Minute – VIFF 2017 Review

By Shane Scott-Travis

A fast-moving flight of exuberance and ecstasy set amidst the backdrop of AIDS ravaged France of the 1990s, BPM (Beats per Minute) is the visually varied, intoxicating, romantically yearning, tragically uptempo, and entirely deserving Grand Prix recipient at the 2017 Cannes Film Festival.

Directed by Robin Campillo, who also co-wrote the film along with Philippe Mangeot, drew largely upon their own experiences with advocacy and hospice as a part of the group ACT UP (AIDS Coalition to Unleash Power) in developing this compassionate, intelligent, and oft-times incredibly visceral story about homosexuality and the AIDS epidemic. And it’s a credit to the filmmakers that a movie that could have been a dirge-like dissertation or a cliché-ridden TV movie, instead nimbly embraces joie de vivre, even and especially for those standing so close to their final fragile days.

Shot primarily like an existential docudrama, BPM is sobering at the same time it’s celebratory, displaying tactile moments of anticipation and passion, humanity and hubris, as we attend handheld meetings where ACT UP plots affirmative action strategies and in-your-face educational campaigns with the immediacy and assumption of entering a theater of war.

It’s here that we meet the bright-eyed cast of characters, of which there are refreshingly few stereotypes amongst these HIV positive men and women and their supportive family members. It’s not as didactic or moralizing as it may sound, and while the story does dig in deep into a recounted personal illness tearjerker narrative –– and one that’s so beautifully handled –– BPM earns every tear with sincerity.

Particularly poignant and eminently watchable is Nahuel Pérez Biscayart as Sean, an HIV positive activist who, though militant, finds romance and great rapport with newcomer Nathan (Arnaud Valois), and as the two young men stare down doom and their own impermanence they still find so much humor, → continue…

From:: Taste Of Cinema

All 8 Nuri Bilge Ceylan Movies Ranked From Worst To Best

By David Zou

Winter Sleep

According to acclaimed Turkish film critic Asuman Suner, the first signs of New Turkish Cinema refer to the 1960s. During those years, Turkish directors who were strongly influenced by Italian neorealism started to claim similarities between dictatorships of Menderes and Mussolini and direct films akin to Italian. The situation changed after the 1980 military coup when tough censorship limited the freedom of the directors for more than 10 years.

Meanwhile, there are other critics and film historians arguing that New Turkish Cinema started in the 1990s and continues up to this day. There are several directors who represent this wave to the audience worldwide and the most acclaimed of them is Nuri Bilge Ceylan.

8. Cocoon (1995)

Cocoon (1995)

A photographer by profession, Nuri Bilge Ceylan started directing in his late 30s. “Cocoon” was his first film and it was selected in the competition program for short films at Cannes Film Festival.

The 17-minute film introduces the audience to an elderly couple and tells the story of their break-up and reunification. At the first half of the film, they are separated and the director masterfully conveys the feeling of anguish and emptiness and even panic that the characters have. At the second half of the short, the plight changes: after the wife’s return, Ceylan puts on divine music by Vyacheslav Artyomov and the sense of loneliness fades away.

The film doesn’t have any dialogue and there is no need for them. The director, who has a perfect photographic eye, expresses everything through beautiful shots of nature that are reminiscent of those by Tarkovsky. He chose his parents as main characters, whom the audience will meet in the following movies by Ceylan. The same can be said about some locations and shots that appear → continue…

From:: Taste Of Cinema