Pumzi

Pumzi is an unusual film on a number of levels: beyond being the first African film composed by an African born director it features a strong female lead, has no spoken dialogue, and features an environmental consciousness that is increasingly becoming a standard trope in science fiction. One of the best sequences in the film is towards the beginning where the lead character recycles her urine for its water content; this demonstration of female anatomy is unusual and extremely refreshing in film, which is still somewhat bound up in the conventions and patriarchal propriety of the early studio system. Because of the lack of spoken dialogue, instead suggesting that characters communicate digitally or telepathically, the acting resembles early silent films, with the bulk of the actors’ expression coming through with nonverbal cues. Finally, the tension between the environmentally restoring actions of the lead character and the society in which she resides clearly eludes to current attitudes towards efforts at environmental protection and restoration. 

Le Jetee

Perhaps the most interesting aspect of La Jetee is the exceptional and innovative cinematography; despite being made almost entirely of still images the film at no point feels static with the camera moving across the pictures, often from right to left, in a way that creates a very unusual and engaging mise-en-scène. The composition of the original still images is also highly deliberate, often featuring people seemingly in the middle of an action. This effect is highlighted by the clever transitions employed by Marker; for example, in the early sequence of the primary character being placed in the hammock there is a subtle fading between the images of his agony, as if each moment depicted were so painful they naturally form a series of points. This feeling of movement is so striking that when the viewer does finally have the small bit of film in the picture, a three second or so shot of the women walking from sleep, it feels completely natural. 

Enter the Void

Enter the Void’s cinematography sets it apart as artistically unique from mainstream Hollywood cinema. The constant use of the point of view shot presents the birdseye view of a sould drifting in limbo, 'flying' so to speak--as referenced in the balcony scene where Oscar and his sister discuss death and flying as  unified in the after-life. This POV flight simulation through past and present is accompanied by an aesthetic theme of circular, spiral motion. Looking down at Oscar’s freshly deceased body, the camera begins to pan upward while rotating clockwise (producing a spiral effect). The circularity of the shots ties back into the overarching theme of cyclical transition from life to death to birth, going from one ‘void’ to the next. This cinematographic effect is used repeatedly throughout this 3 hour film that seemingly goes on for days—I couldn’t tell if that was an illusion to the discussion in the film about how 6 minutes on DMT felt like a lifetime, or if Noe was just unwilling to trim anything for time. The film could have still been successful at 2/3 the duration. I thought it was visually beautiful, but at times needlessly convoluted.

Delicatessen

I absolutely loved this film! I thought the story line was clever, funny, and intriguing. The details put into the scenery, how the characters interact, and how the story unfolds will without a doubt leave the audience with something new every time. One of my favorite creative elements in the movie was the use of noise and rhythm throughout the house to show day to day life. Julie Caplet's character as well was one of my favorites to observe. Although most people think Julie is timid and shy, she surprises us all in little ways. Not only were the switch to contacts a small but bold move that said a lot about her development as a person, we would never expect Julie to scour the gutters in search for rebels to save her love and stand up to her butcher father. In my opinion, Delicatessen was a striking, great movie and I look forward to checking out other films by the same director.  

Delicatessen

I thought this movie was great. It was comical, exciting, and smart all at once. One thing that struck me about it though was that it seems as though it would have come out long before 1991. It plays like a movie from the mid-80s to me. This could just be because it is a foreign film or perhaps because it is a very strong period piece and those elements can date it a bit more than it deserves. Either way, this is a small sticking point for me and this was a really entertaining and enjoyable film.

Dante's Inferno a Forgettable Movie

Dante’s Inferno is a forgettable movie. I don’t think it expressed any original ideas or thoughts on either politics or pop-culture that hasn’t already been better expressed by shows like South Park. The hand drawn puppet animations in Dante’s Inferno also seemed oddly similar to that of the animations in the first season of South Park. I did get a few chuckles out of the movie, but that was it. I feel as though there is an element lacking and because of this the movie is nothing more than another spoof parody that is good for a few laughs. 

Delicatessen and The Coen brothers

Delicatessen is truly one of my favorite films. It is equally unique of a movie as Amelie but is much darker in its approach. Directors Marc Caro and Jean-Pierre Juenet are known for their eccentric cinematography and their style is evident throughout the entire movie. The scene in which a rhythm is made by the noises of all the tenants’ activities is outright hilarious and ingenious. Personally, the movie resonates with me more than both Amelie and City of Lost Children because of its perfect structure and blend of dark humor within a post-apocalyptic setting. In some ways, I believe Delicatessen can be compared to Brazil, another movie set in the future with a distinct approach and filled with dark comedy. Delicatessen, in my opinion, would have been a product of the Coen brothers if they were French and took a lot of hallucinogens.