Check it out: Trailer For Aditya Assarat's Hi-So

 

"a drifting actor (Ananda Everingham) splits with his model girlfriend (Cerise Leang) while filming in a desolated coastal resort."

Check it out: Trailer For Mika Kaurismaki's Road North

THIS IS THE FILM: Jiri Menzel's Closely Observed Trains

 

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

 

JIŘÍ MENZEL

With his debut feature film Closely Watched Trains (1966), Czechoslovakian filmmaker Jirí Menzel became an important member in Czech New Wave cinema and won an Academy Award. Menzel started out as an assistant director and occasional actor for Vera Chytilova following his graduation from the Prague film school F.A.M.U. In 1965, Menzel directed an episode (“The Death of Mr. Baltazar”) for the feature anthology Pearls of the Deep, a tribute to distinguished Czech author Bohumil Hrabal. Later that year, he contributed an episode in a similar tribute to the writings of Josef Skvorecky, Crime at the Girls School. Following the success of Closely Watched Trains, Menzel directed Capricious Summer (1968) and turned in a great performance as a tightrope walker (Menzel is actually an accomplished balancer and performs regularly on-stage). In 1969, he made Larks on a String, considered by many to be his best work. Unfortunately, its critical stance on Communism led to its being banned from release until 1990 when it played internationally. Because the film was banned, Menzel was barred from filmmaking until 1974 when he publicly announced that he supported Communism. He then made Who Looks for Gold?, but has since disowned the film because of the personal price he had to pay to make it. From the late ‘70s through the mid-’80s, Menzel made non-political, nostalgic comedies that were almost slapstick at times. He had international success in 1986 with the delightful My Sweet Little Village. In the late ‘80s, Menzel again returned to political activism and continued to make films though the mid-’90s.

(From http://www.allmovie.com/cg/avg.dll?p=avg&sql=2:102538)

 

Via MUBI.com

The Great Acting Blog: "Thomas Doret In The Kid With The Bike"

Doret plays Cyril, a 12 year old who has been dumped into foster care by his father, who, unbeknownst to the boy, doesn't give a damn about him, and just wants rid of him. Doret runs away from the foster home to his dad's apartment. When the caretakers find him, Doret flees to a nearby doctor's surgery where he grabs hold of a woman, Samantha, so that they won't take him away. To calm Doret down, they take him back to his dad's apartment, and show him that it is empty and deserted, confirming that his father has left. With Samantha, Doret finally finds his father, who is however, none too pleased when the boy shows up, and tells him he never wants to see him again. Samantha in turn, takes the heartbroken Doret under her wing. However, falling under the spell of a local drug dealer, Doret robs a shopkeeper, beating the owner and his son with a baseball bat. Fearing Doret has been indentified in the robbery, the drug dealer abandons Doret and forces him to keep the stolen money. Doret gets caught by the police, but the matter is dealt with through a mediation with the shop owner, who accepts Doret's apology. Some time later, the son of the shop owner sees Doret by chance on the street, and beats him up, forcing Doret to hide up in a tree for safety, until the son throws a stone, which causes Doret to fall out of the tree. Doret lies on the ground, seemingly unconscious, until he comes to, and calmly walks away from the trouble.  

Doret's performance is remarkable in it's simplicity and directness. There is a scene where Doret visits his father again, only this time to offer the money he got from the robbery, thinking this will win his father's acceptance. His father is a little stunned, before refusing the money and sending Doret on his way. Doret hardly inflects the scene at all, he offers the money to his father with an almost animalistic simplicity, and it is this simplicity which renders the moment heartbreaking. Compare this to James Dean's performance in East Of Eden, where there is a similar scene of rejection involving money; Dean explains the character's pain to us with the preposterous emotional excretion; "YOU'RE TEARING ME APAAARRTT!", rendering the moment false and meaningless. Doret is courageous in resisting the temptation to explain what is happening, enabling us to engage with the scene for ourselves, which in turn, makes it meaningful. 

Doret had never acted before, so much of his performance will have been instinctive, and perhaps he has yet to become inhibited by the protective guff of adulthood, and so we get this wonderful unfettered performance from him. There is perhaps only one scene where Doret appears to be comprehendingly expressing the inner pain of his character, and what an extraordinary scene it is. While driving in the car with Samantha, Doret suddenly begins to scratch at his own flesh, and punch himself, it is gut wrenching to watch - it represents a bout of self-loathing, induced by Doret's belief that he is the cause of his own rejection, that he is the source of his own pain, and so wants to destroy the thing which is causing him pain (as he perceives it). Again, Doret performs the scene completely free of James Dean-style sentimentality, but with his customary simplicity and directness. I have to say that, generally, I am not a fan of child actors, and have held off seeing this film largely because the protagonist is a child, but the strength of Doret's performance here, may just have given me cause to change this view.

Doret had never acted before this film, or, at least, I have not been able to find any record of him doing so, and I am not aware of him receiving any training, and yet he is able to deliver this quite brilliant performance. No-one can know what the future holds for him, the vast majority non-actors fail to kick on after terrific debuts. Having said that, Doret does re-inforce my general view that acting is a talent which cannot be instilled. 

The Great Acting Blog: "Phone Box Gun - Full Trailer Now Up"

 

This blog has become a real fulcrum for me, and I’m very grateful to those who take an interest in it, support it, and offer feedback. As it is, I’m delighted to be share with you the full trailer for our new film, Phone Box Gun. Hope you like it. James.

Vincent and Bob stick up a jewellery store to raise money so Vincent can get down to Mexico, and visit his long lost sister, who he didn’t even know he had.

Written and directed by James Devereaux, and featuring James with Alfie Black and John Giles, Phone Box Gun is a short tragi-comic film noir, minimal and shot in black and white, which looks at the nature of friendship, storytelling and the imagination.

To read previous posts about Phone Box Gun, check-out the links below:

The Acting Style Of Phone Box Gun

Stills From Phone Box Gun

Some Thoughts On Self-Production

Only Worry About Action

To learn about our next film, please visit: Will It Stop Raining In Summer