1986 ‘Varjoja paratiisissa’ Directed by Aki Kaurismäki
Nikander, a rubbish collector and would-be entrepreneur finds his plans for success dashed when his business associate dies. One evening, he meets Ilona, a down-on-her luck cashier in a local supermarket—and, falteringly, a bond begins to develop between them.
Matti Pellonpää Kati Outinen Sakari Kuosmanen Esko Nikkari Kylli Köngäs Pekka Laiho Jukka-Pekka Palo Svante Korkiakoski Mari Rantasila Safka Pekkonen Antti Ortamo Mato Valtonen Sakke Järvenpää Ulla Kuosmanen Neka Haapanen Pentti Koski Ari Korhonen Teuvo Rissanen Erkki Rissanen Sirkka Silin Marina Martinoff Jussi Tiitinen Riikka Kuosmanen Eskil Mansikka Jaakko Talaskivi Haije Alanoja Bertta Pellonpää Helmeri Pellonpää Marja-Leena Hukkanen Show All…
Schatten im Paradies, Ombre nel paradiso, Ombres au paradis, Sombras en el paraíso, Árnyak a paradicsomban, 天堂孤影, Skuggor i paradiset, Σκιές στον Παράδεισο, 천국의 그림자, Тени в раю, Cienie w raju, Stíny v ráji, パラダイスの夕暮れ
FinlandS
USA
Netherlands
Finland
Netherlands
USA
You know you've got gold in your hands when the girl still wants to see you after being taken to a bingo hall on the first date.
Second date:
Girl: What do you want from me?
Boy: What, me?
Boy: More wine?
Girl: Answer me.
Boy: I don't want anything from anybody. I'm Nikander. Ex-butcher, now a garbage truck driver. Bad teeth and stomach, liver hanging on. More than I can say about my head. No use asking what I want!
Girl: I only asked.
Boy: You're welcome.
The first look. The moment on the beach. The cigarette. Perfect ending. Matti Pellonpää absolutely owns. One of Kaurismäki's finest.
thankful for kaurismaki's sense of social etiquette at this time. my heart aches for an awkward date — by a trash can, at a bingo hall, wherever.
Despite being numb and surrounded by the burdens of industry, Kaurismaki characters always show us the absurd joke of existence. Theirs is a miserable, self deprecating prison, but one I'm always delighted to visit. His films remind me of worse times, and that things are never really that bad anyway. People of little means and few pleasures, people who are cold and alone. Atmospheres of ice, plastic, in a vacuum of emptiness, and yet I laugh.
I always find it interesting when characters in film romanticize the idea of Florida. It's always very far away, it's the place on the postcards. Sunny and everything that this place is not. Since that was the place I was always trying to escape I get an extra jolt of cynical pleasure/pain from knowing firsthand that the same troubles await them in Paradise.
Romantic because it's not.
almost too much feeling. when one understands how sensorial elevation works through dramaturgy like bresson did, there is no need for conventional pathos delivery - everything you need is already there through gesture. when your work shift ends and you make contact with others, what it means to find love, to cherish a friend, to be able to rely on someone when it gets heavier. incredibly beautiful film.
Action!: The Deadpan World of Aki Kaurismäki
In such a short time, the Finnish director has shown his ability to handle a wide assortment of genres. From a psychological drama to a musical and even a short film that could be classified as a sports movie. This time, we have a romantic comedy that at the same time works almost like a situational comedy.
Maybe it's because of his look, but the main character reminded me a lot of Little Big's singer, which at the same time gave the movie the offbeat feel of the band. There are movies with this kind of tone where everyone reacts in an inexpressive way. However, Kaurismaki manages to inject a dose of his…
el cine de Kaurismäki consigue alcanzar todo aquello a lo que aspira el llamado "cine social" utilizando el camino contrario a esto. El problema de este cine social es que no siente ningún respeto por la clase trabajadora, desconfía de ellos, los mira por encima del hombro, los considera inferiores. De ahí que su discurso sea que deben adecuar su cine a unas formas comerciales que ellos entiendan. Esto es, el miserabilismo y el sensacionalismo, el sentimentalismo más atroz, la continua necesidad de trascendencia y el aprovechamiento descarado de la violencia y las malas condiciones de vida y de trabajo de los más necesitados. Explotar las miserias de "los pobres" en un cine hecho para ricos.
Kaurismäki es al revés.…
Lise and Jonnie's What A Wonderful World 2015 (Ketchup review after the fact)
It’s always a comfort to visit Finland, and it’s dry as dust director Aki Kaurismaki. Even when an Aki film isn’t great, you still smile that particular smile that’s reserved for the absurd. I have to say, though, that this isn't a lesser Aki, this is brilliant; up there with his best. This was also special treat, as it was the freshmen entry in Kaurismaki’s proletariat trilogy, and the only one my wife and I had left to watch.
This was also a special treat because the incomparable Kati Outinen starred. Now, Outtinen, with her drawn face and sad sympathetic eyes, is a frequent collaborator with Kaurismaki,…
the cycle of: there’s nothing worth wasting time for, until there’s something, and then there’s no time to waste
A story on friendship and love that occurs despite work shifts, because most narrative films begin after work is over. Through cinema, the proletarians' night becomes a music influenced conscience where good intentions dawn and two choose to leave for their surreal and temporary paradise with the help of a friend.
this movie has such gentle & polite sadness and made me long for night out at a terrible club where i'm sitting in a booth feeling ill waiting to go home or for a poorly-conceived date at a bingo hall
-"i'll make you some coffee."
"bring me booze for a cremation."
-"you'll be fired without a doctor's note."
"the kind of doctor i need hasn't been born yet."
