A strange hitman picture.
Kaurismäki took his penchant for despairing character studies to unspeakably grim depths in the shockingly entertaining The Match Factory Girl. Kati Outinen is memorably impenetrable as Iris, whose grinding days as a cog in a factory wheel, and nights as a neglected daughter living with her parents, ultimately send her over the edge. Yet despite her transgressions, Kaurismäki makes Iris a compelling, even sympathetic figure. Bleak yet suffused with comic irony, The Match Factory Girl closes out the “Proletariat Trilogy” with a bang—and a whimper. —The Criterion Collection
At a village railway station in occupied Czechoslovakia, a bumbling dispatcher’s apprentice longs to liberate himself from his virginity. Oblivious to the war and the resistance that surrounds him, this young man embarks on a journey of sexual awakening and self-discovery, encountering a universe of frustration, eroticism, and adventure within his sleepy backwater depot. Wry and tender, Academy Award™-winning Closely Watched Trains is a masterpiece of human observation and one of the best-loved films of the Czech New Wave. —The Criterion Collection
Couldn't find a trailer, but here's the opening 10 minutes.
"Director Lisandro Alonso offers an offbeat and wonderfully bizarre commentary on his singular filmmaking practice in this self-reflexive featurette which finds Argentino Vargas, the star of Los Muertos, wandering through the Teatro San Martin — the Buenos Aires home theater of the Cinemateca Argentina — in search of the film’s premiere. As Alonso’s camera slowly floats through the shadowy bowels of the building, striping bare the dingy backstage of the cultural apparatus, Fantasma offers a spirited commentary on the theatricality of even the most rigorously non-professional performance and of the cinematic ritual itself. —http://hcl.harvard.edu/hfa/films/2009octdec/alonso.html"
Poetic acting gives expression to human experience which cannot be dealt with in any other way - for example; if, in the scene, the actor tries to conceal a difficult emotion (perhaps has to tell a lie in the scene), the repressed energy may express itself, for example, as a displacement, such as the actor handling an object or adjusting an item of his clothing. These small actions may not necessarily “mean” something in terms the literal plot of the scene, but are the symptom of some deeper movement within the actor. The wonderful, subtle expressions may never happen for the by-design actor, because is controlling everything to the extent that he doesn't allow deeper movements to occur within himself, and so there is no poetic spin-off during his performance.
The full implications of a poetic performance may not be fully understood by an audience on an immediate, conscious level, but the performance does create a sense of harmony (even when the action is tumultuous). That's why the poetic actor produces richer results than the by-design actor. The by-design actor may produce a performance which is more immediately impressive, may at first appear to be “natural”, but it is usually generalised and superficial, and the effect dissipates fairly quickly, whereas the poetic actor's performance may at first give the impression that nothing is really happening, and his effect may creep up on the audience almost imperceptibly, but all of those organically created moments of his performance add-up to something deeply affecting, they leave us unsure, they hang in our minds long after the action has finished, lodging themselves there (even if it is only certain moments of the performance which do this).
I intend to use the poetic form of acting for my feature film, Noirish Project, and I do not mean my own perfromance only, but the performances of all the actors in the film. The camera-work and editing will be pared back, and the script is flat and minimal, with scenes where the characters are hanging around and waiting. It is out of these seemingly empty situations that I hope this poetic form of acting will emerge to create wonderful, unplanned expressions, with the minimalism of the film giving them centre stage.
Aki Breaky Heart
The Man Without A Past (Mies Vailla Menneisyyttä)
Directed by Aki Kaurismäki
ICA Projects Region 2
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Fiery Tongue In Cheek
The Iguana With The Tongue of Fire
aka Lizard With A Tongue Of Fire
aka L'iguana Dalla Lingua Di Fuoco
Italy/France/West Germany 1971
Directed by Riccardo Freda
New Entertainment World Region 0
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