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  • Wawa No Cidal

    Wawa No Cidal

    I assume that the naïveté of this film is deliberated (and thus all the dramatic shortcuts it constantly employs) and politically motivated, but not sure if politically effective: it aims a large audience, that is for sure, but does it work if you are not convinced beforehand? Some sequences are very touching, and luckily the direction remains rather sober, but we have the feeling that this is a missed opportunity to do something artistically more ambitious regarding the struggle for land and recognition of the aboriginal people of Taiwan.

  • Do Over

    Do Over

    This review may contain spoilers. I can handle the truth.

    This film is an exercise in style, something that is not bad per se. Some parts are very well done, especially the first "trip" with Lawrence Ko and Sandrine Pina: Cheng's style remains sober, well mastered (surprisingly well for a first feature film) but still full of lyricism.
    However, the very naive concept of time that articulates the film as a whole and the double ending, with all the film within the film discourse and Cheng trying to show off his talent, doing all the tricks he can do, is a little bit disappointing.

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  • Blackhat

    Blackhat

    Does anybody know which are the books by Derrida and Foucault that quickly appear in the prison cell at the beginning of the film ?

  • Mülheim/Ruhr

    Mülheim/Ruhr

    I cannot think of any other "landscape" film on an industrial town and its inhabitants, that is as fair, precise and touching as this one. Each one of the individual portraits in the film is a masterpiece. So many things to learn from a 15 minutes film !