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We looked inside some of the posts by forget-foal and here's what we found interesting.
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One Movie From Every Country pt. 8
Today (Sept. 12) is my birthday woahhh!!! Anyway, I a few days ago I watched a film from Angola (and interestingly, the first film in Lusophone Africa) 1972's Sambizanga by director Sarah Maldoror.
The movie is about Maria, wife to revolutionary Domingos Xavier during the Angolan War of Independence from the Portuguese. One morning, out of the blue, Domingos is kidnapped and arrested by Angolan police. Maria, along with their infant child, go from prison to prison trying to find out what happened to Domingos, unknowing to his revolutionary ways and the circumstances of his arrest.
This movie, for many reasons, is very historical and culturally relevant. In a time when African cinema was starting to come into it's own post independence from colonialist rule, a film directed and produced purely in Africa (by a woman, no less) is a feat worth recognizing and admiring. Not to mention that the film, about the Angolan War for Independence, was shot during the war itself. An extremely brave and jawdropping accomplishment.
Though, admittedly profound circumstances aside, I thought the film itself was just alright. While interesting for someone who really knows nothing about Angolan history, it really felt one note and repetitive. Maria getting turned away from police stations, Domingos getting tortured, other MPLA members discuss a man getting arrested, repeat for an hour and a half. It made my experience of a shorter film feel just a bit longer than anticipated.
Like I said, extremely noteworthy film, and not at all a bad debut from an entire country. But unless you're interested in film history or Angolan history, I wouldn't necessarily recommend watching it.
6/10
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Source - GH0STFOOD
(Artist's Ko-fi FurAffinity Itaku Bluesky)
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One Movie From Every Country pt. 7
I started a new job and it's keeping me from watching movies all the time (lol) but I finally got around to watching something! Today, I watched a film from 2022 called No Bears by Jafar Panahi, an Iranian film and another piece of his made during his 20 year ban from filmmaking he was given in 2010.
The film tells the story of Jafar himself, playing a fictionalized version of himself living in a small village at the Iran-Turkey border. While trying to direct a documentary remotely from the village, he runs into issues during the filming and inadvertently getting himself mixed in a controversy in the village following a picture he took.
I'm going to be honest, I don't have very strong opinions about this film, but nevertheless thought it was great. I think the story of Panahi and Iran's crackdown on his art is a very interesting context to this film and makes it a stronger piece. And Panahi's choice to play himself was also, I think, a great choice. In the end, this piece is about his expression despite the government's intrusion, it would be a little disconnected for another actor to play Panahi's character.
The writing is probably what I feel is the strongest here, as his stay in the village seems to me like a kind of a microcosm of his experience as a political filmmaker in Iran, wanting to be pushed out.
There were a few powerful moments, and what I felt made the moments better was the lack of music. I don't think this film had a score, but to me it made the real moments feel way more real. I think it was definitely a great choice.
While I wouldn't wholeheartedly recommend this movie, I still think it's a great piece and worth checking out.
7/10
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for your information, i love the juxtaposition of my foreign film reviews and furry men with big dicks on my page. i will keep doing it. i love furry men as much as i love film
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Source - kamyuelo
(Artist's Patreon Gumroad FurAffinity)
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One Movie From Every Country pt. 6
After a small break, I've returned to watching foreign movies with not only a classic French film, but a film considered by many as one of the best in cinematic history. I am of course referring to 1959's The 400 Blows, director François Truffaut's debut.
The 400 Blows tells the story of a young Parisian boy named Antoine Doinel, living with neglectful, uninterested parents and getting harassed by his abhorrent teacher, whom him and his friend call "Sourpuss." Trying to break free from his current life, he inadvertently makes it worse.
I think the aspect of this film that's most on display is acting. The roles of Antoine and Gilberte Doinel are really stellar, with the fragmented relationship of mother and son being (in my opinion) the most interesting part of the film. One moment they're making up, and the next she's being indifferent and cruel. Jean-Pierre Léaud and Claire Maurier (Antoine and Gilberte) play the roles perfectly.
And I actually enjoyed the reuse of the film's theme. Often times, I feel some movies overuse a theme and it either annoys me or takes me out of the moment. This time around, however, every time it was played, either in it's full orchestral version or the simple guitar rendition, I felt a sense of nostalgia for a time when I was younger, even if I didn't grow up in late 1950's Paris. Obviously.
A heartbreaking and captivating film of social change in late 50's France, and marking the beginning of the French New Wave in cinema, this is a great film and I absolutely recommend it.
8/10
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