Every film that has ever been nominated for an Academy Award in any category. Enjoy!
The Man Without a Past
The second part of Aki Kaurismäki's "Finland" trilogy, the film follows a man who arrives in Helsinki and gets beaten up so severely he develops amnesia. Unable to remember his name or anything from his past life, he cannot get a job or an apartment, so he starts living on the outskirts of the city and slowly starts putting his life back on track.
After last night’s viewing of Calamari Union, which I had high hopes for but ultimately left me disappointed, I really needed a sure fire Aki to put my mood right. Tonight was Thursday, which is the night that we have our neighbours over for a movie. Now, Aki is often an iffy sell, but I really wanted to rewatch one of his cannon that I loved, and also wanted to see what a completely fresh set of eyes would see.
Compared to Calamari, which didn’t win my heart, and the not too far removed temporally Take Care of Your Scarf, Tatiana, which I adored, Man Without a Past is a much more mature, refined Kaurismaki. Gone is overt absurdist and…
Movie #3 in the 30 Countries Challenge: Finland
Aki Kaurismaki is the Finnish film industry, and his films are so unlike anything else being produced. He is definitely one of my favourite contemporary film makers, and The Man Without a Past ranks as one of the best films I have seen from him.
The film explores a proletariat identity crisis in Helsinki, where the titular memory-less main character is thrown into poverty at the very bottom of the social ladder. He struggles with corrupt landowners, violent gangs, and a social and financial system that is set against him. The film's location in the slums of Helsinki is filled with incredibly filthy and rough terrain, yet the main character makes the…
What's my age again?
As a fan of the deliciously deadpan, humanist and air-tight Proletariat trilogy, I was happy to see that Kaurismaki's most acclaimed film was of a similar vein. I didn't particularly like the recent Le Havre, The Man Without a Past is more to my liking. As usual, Kaurismaki's stylistic trinity of muses (Cigarettes, Rock and Outinen) rule the day.
The Man Without a Past is a good encapsulation of Kaurismaki's career. The film says something important about the always-at-hand possibility of a new day, starting anew and living unburdened by the past. Being without a past is not easy mind you, as the film echoes a Christ like story. It reminds of the realist difficulty an angel or alien being…
I probably had seen this once before, but had forgotten most of it...
The Kaurismäki Stock Company are gathered once again. It's understandable that this is generally considered to be the director's best. It wouldn't be a true Kaurismäki if there wasn't personal tragedy below, here there are in fact several, but the black humor and general mood of it all lifts it up to become maybe his warmest story to date.
Markku Peltola is the man without a past. This happens when he is exposed to blind violence in a park and loses his memory. From there he ends up living in a container down by the harbor. The people down there are colorful and with warm hearts, that…
Four films in to the filmography of Aki Kaurismaki and wilful absurdity aside the one thing that strikes me the most is that his films all look the same and have a wonderful timeless quality to them; that is to say that they all seem to exist out of time with the feel of existing within the paintings of Edward Hopper. It's not just the rock n roll soundtracks, the leather jackets or the smoking, there's also the shadow of faded glamour that cloaks every frame and its washed out palette. I'm assured that this is the product of decades of working with the same cinematographer, Timo Salminen, so do I appreciate Kaurismaki as the leader of these projects or…
- Watch out.
- What is it?
- You have something in front of you eye.
- I don't see anything.
- It's going in right now.
(Leans in and kisses her eye)
- You stole a kiss.
- I'm sorry. I am incredibly ungentlemenly.
(This exchange is my life summed up in under a minute!)
A man is savagely beaten and wakes up with no memory of who he is as he relies on living in container dwellings, newfound homeless friends, and the generosity of a Salvation Army worker. My continuing journey into the works of Aki Kaurismäki bring me to this acclaimed picture from the 2002 Cannes Festival.
The film is strongly grounded by its two principal cast members. Markku Peltola is really great in a subdued role as he uses subtle facial expressions and body language to convey vulnerability and general confusion. His different interactions with random Finnish people would, on the surface, look to get stale quickly, but Kaurismäki manages to keep each new scene engaging and crisp. His pacing is unique…
What's my age again?
jukeboxes in the trailer park
Scavenger hunt rule: A best foreign language film oscar nominee (not winner) from 2001-2009.
What a spectacular movie! For my first Aki Kaurismäki film I was completely blown away. After the a brutal first scene, the film slowly turns into a simple, gentle, beautiful experience. I felt such a strong connection to the all the characters and the environment set up in this film and the romance felt 100% genuine. You desperately want to see these characters end up together. The shot selection was simple, yet very elegantly composed and light. I liked the older Hollywood feeling of a lot of the way the film looked and one or too shots reminded me of a Douglas Sirk film. Overall this was one of the most satisfying cinematic experiences I've had in a while.
"I've got eight potatoes. I must save three for winter and at least two as seed potatoes. We farmers must think of the coming years, too. We only eat what is left over. There is not enough for three. I want to invite Irma to dinner."
"So none for me?"
"I am a realist. You city people are children of the moment."
Before reading Thomas Elaesser's article on Aki Kaurismäki ("Hitting Bottom: Aki Kaurismäki and the Abject Subject"), I would not have considered The Man without a Past a transnational film since it never deals with themes of nationality, border, or globalization in ways that I would imagine a so-called traditional transnational film would. Usually a transnational…
In frames awash in brown, green, blue and red, Aki Kaurismaki presents an odd world brim full with incredibly deadpan characters. This film is a true oddity - a truly unpredictable series of events, drenched in awkward silences and mundane conversations. The laughs that came from me while watching largely originated from the disarming absurdity of the entire situation, and anyone who loves strangeness as much as me would love this film!
Technically, the film is carefully curated and assembled - clean and pleasingly straight and symmetrical compositions dominate most frames. The use of rock n' roll music throughout is slightly jarring, but comedically enjoyable. Kaurismaki creates a fascinatingly off-kilter world, which proves to be a delectable treat in following the exploits of M, as he passively exists in the world, trying to rediscover who he is while going along for the ride; which is exactly what this film's audience is compelled to do. Strangely and satisfyingly hilarious.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…