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MovieGlobe: A Look Forward

Faisal Goes West

"Identity is only what we make of it." Bentley Brown.

Bentley Brown
This movie is not yet out!
Still in the rough cut and awaiting a soundtrack!
According to its maker, Bentley Brown, a Texan who lived in Africa for many years, "Faisal Goes West" highlights a more global story of human (in)equality, the dignity and indignity of the migrant experience, as you know — especially in the US and parts of Europe, people coming from Africa are often profiled in a negative light, never given the benefit of the doubt that they are intellectual human beings. This is something our film feel seeks to question. Specifically, in ‘this movie' we are focusing on a reality in America, on the absolute over qualification of immigrants.

"The film speaks to two kinds of audience in the USA. Firstly, to a generation of migrants, for whom there are direct parallels with the story told in the film. The second audience are the Americans who don’t really have a conception of their migration to the US: America is very quick to assimilate." Mr. Brown also raises the important issue of the fate of languages (and possibly cultures) other than English in the USA.
A medium length feature film, "Faisal Goes West" is at the end of its production timeline and is expected to hit the markets in African and Middle Eastern network channels. "In the US, it will be limited to smaller independent networks."
Read the important interview with the American filmmaker Bentley Brown in the link below:
Interview with American Filmmaker Bentley Brown

Danny Boyle's Olympics

In case you are planning even just a peek at the Olympic Games in London
UK you certainly do not want to know who is running London but it might interest you
that Danny Boyle will be the artistic director for the games this summer of 2012.
While it is obviously a sports occasion, it is also an opportunity to stroll under the drizzle
of ecstatic glimpses of the human condition at its most positive, most joyous, peaceable and life-affirming moments, competitive sports.
Danny Boyle is no stranger here! His style of filmmaking is thought by many to be "engaging, fun and visceral!", no matter how gritty was his depiction of life in the slums
of Mumbai in his colossal success "Slumdog Millionaire, 2008".

Danny Boyle rehearsing
A Look Back
Every Dogma Has Its Day

In 1995 a call for a kind of cinema dogma (named Dogme 95) found wide enthusiasm among critics and film makers in Europe. It was thought of as a movement to reconfigure cinema as pure art and enable the reception of cinematic expression by its audience without the influence of technical or industrial devices.
The founders of this movement, Danish director Lars von Trier (born 1956), Thomas Vinterberg (born 1969) and others, stressed the importance of relieving filmmaking
from any tools or devices other than the camera, film (the celluloid strip), natural light
and natural color! For example, it would be prohibited to use the camera on rails or 
mobilised by cranes. No filming in black and white and no use of extra lenses or filters
of any kind. Other sets of conditions and laws were suggested relating to the form and content of the movie and how to use music. Even that no mention of the director or filmmaker should be made anywhere in the movie!
It was funny from the outset this Dogme 95. It was labelled radical at times and at other times it was described as a continuation of the French New Wave (La Nouvelle Vague).
Altogether, Dogme 95 as a movement was not realistic nor was it able to achieve the aspired advances in filmmaking and yield significant parallels to hundreds of good movies made under 'normal' technical settings of production.

Vinterberg himself admitted that he was the first to break the rules of Dogme when he put a curtain on the window during the filming of "The Celebration" contrary to the condition requiring that nothing should be used to prevent or neutralize the natural light of the scene. In fact Vinterberg went further and used 'special lighting'!
As for Lars Von Trier, he had to use pre-recorded music whereas their manifesto required that music be 'used' during filming and recorded directly along with other sounds!
Nevertheless, some of the productions were considered good such as Kristian Levring's "The King is Alive". Lars Von Terier received the Palme d'Or, the Grand Prix and the Prix du Jury at the Cannes Film Festival!
Based on an article by Mohammed Rouda


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سؤال الضهبان

سؤال الضهبان
لا تظنن أنه سؤال هيّن! أو عليك أن تتأكد أن السائل لم يعد ضهبان. وحتى في هذه الحالة ربما لم يجد الجواب ولكنه فقط تحوّل من (الضهب) إلى حالة أحسن نسبياً ودون تفسير. أي سؤال هو ليس بالهيّن. وأي سؤال هو لم يُسأل عبثاً ولهوا. زي، يلاقيك زول ويسأل: كيف اصبحت؟ تجربة وجودية عديل كدا. طيب تعال شوف كمية التزوير في الجواب! طبعاً مافي زول بيجاوب على السؤال دا بالضبط كدا. كلنا تقريبين في السؤال دا وفي غيره من اسئلة كثيرة. الجواب هو المصطنع في أغلب الأحوال وليس السؤال! ياخي حتى السؤال الغبي، الواحد بيتمرمط أمامه. لذلك سؤال الضهبان دا هو موئل الغناء والشعر الكاذب والبطولات! ومن الناس من يحاول أن يغشك! إنهم أهل الاجابات الذين تتكوّر ذواتهم في نهايات الأسطر، مدلهّمة. نقطة سطر جديد! - هوي انت هه! يعني شايل ليك اجابة كدا وفرحان بيها، قايل السؤال مات!؟ دعني أقول لك: جميع الأسئلة التي سمعت والتي لم تسمع بها، جميعها تتمتع بخلود مطلق! السؤال فيهو حيوية والاجابة ديمة نايصة. السؤال بيخلع وجامد. الجواب هو ختة النَفَس، التقية من عصف المشاعر. السؤال، أي سؤال، فيهو قوة، فيهو شواظ وبيطقطق زي قندول عيش ريف معذّب. الاج…

جليد نساي، المقال كامللاً

جليد نسّاي
قراءة في رواية الرجل الخراب
تأليف عبد العزيز بركة ساكن بقلم مصطفى مدثر
الجزء الأول

أيها القارئ المرائي، يا شبيهي، يا أخي - بودلير، شاعر فرنسي الفكرة الرئيسة [عند إليوت] هي أننا، حتى ونحن ملزمون بأن نعي ماضوية الماضي..، لا نملك طريقة عادلة لحجر الماضي عن الحاضر. إن الماضي والحاضر متفاعمان، كلٌ يشي بالآخر ويوحي به، وبالمعنى المثالي كلياً الذي ينتويه إليوت ، فإن كلاً منهما يتعايش مع الآخر. ما يقترحه ت س  إليوت بإيجاز هو رؤيا للتراث الأدبي لا يوجهها كلياً التعاقب الزمني، رغم أنها تحترم هذا التعاقب. لا الماضي ولا الحاضر، ولا أي شاعر أو فنان، يملك معنىً كاملاً منفرداً- إدوارد سعيد، أستاذ الأدب الإنجليزي الطريق إلى الحقيقة يمر بأرض الوساوس - شانون برودي، عاملة صيدلية.

يبدو مفارقاً، بل غرائبياً، أن تُهرع  لقصيدة ت س إليوت (الأرض الخراب) كي تعينك على فهم استلهام عبد العزيز بركة ساكن لها في كتابة روايته القصيرة، الرجل الخراب. فالمفارقة هي أن القصيدة المكتوبة في 1922، وبما عُرف عنها من تعقيد ووعورة، تحتاج هي نفسها لعشرات الشروحات، لكونها مغرقة في الإحالات لتواريخ وثقافات وأديان، بل ولغات أ…

MovieGlobe: Japan's Version of Romeo and Juliet

Romeo and Juliet (2007) JapanOriginal Article by: Fateh Mirghani-Japan

I have just finished watching the masterpiece of Shakespeare” Romeo and Juliet “in its Japanese version.
The quality of the movie is great and the soundtrack, injected with a little Japanese folklore music, has given it a sensational dimension and Eastern fascination!
Basically, the theme of the movie remains the same as the original play, and that has been a particular Japanese notion in dealing with other nations’ cultural products. Part of the reason may lay in Japan's sensitivity to other nations’cultural products- given the long standing historical disputes with its neighbours, and part of it may lay in a fierce sense of homogeneity that has come to characterize Japan as an island nation-state since time immemorial. Thus the Japanese, unlike the Americans, don’t seem to have the temerity to ‘Japanize’ others’ cultural stuff. The movie “Renaissance man”  can be cited as an example of American boldness. The …