Last weekend new Directors/new films series at the Museum of modern art and film society of Lincoln center, has two of the best films in the program: Shirin hay “nervous translation” and Ricky d Ambrose “notes”, that is something important. How to resist, understanding, audacity and style, one of the main tasks of modern cinema: how to portray the inner life of the characters, along with the cultural context that informs their thoughts.
“Nervous translation“ (7-8 April) starts with a little girl named Yael (Jana Agoncillo), who sits in front of a stocky, round the corner, an old TV using a VCR to play cassettes. The suspicion is that she lives in the land of Wes Anderson’s nostalgic technology soon vanished: she lives in the Philippines, and Ferdinand Marcos is still in the news; in the late nineteen eighties. Magazine that Yael listens to recorded by her father, Dodong, who works in Riyadh, Saudi Arabia; they told of a love letter, addressed to the mother of Yael, and the Shaft (Angge Santos). A smart student, Yael transcribes Filipino sentences that her father says in her notebook, translate them into English; she repeats with her tiny toy kitchen set, household chores that her father says wistfully; she makes the “fire” of the multiplication table on the phone with a friend Wappy; she accompanies her mother to visit family friends who had just returned home from work in Japan, where they complain about their relationships with their Japanese employers.
The film NENO second feature; she is a Filipina film Director, born in Tokyo, and the film focuses on the experience of economic migration for both migrants and the perspective of family members remaining at home. Yael is growing under the influence of her father’s absence, against the stress of the relationship of their parents, loneliness, and mutual desire and efforts of her mother to raise Yael alone and at the same time hard and boring job at the local Shoe factory. Dodong voice on film this movie on the key motif, a kind of image-free melodramatic series that Yael follows and repeats an obsessive—and that merges with the voices in the news to discuss the end of the Marcos regime and the transition of power, and TV commercials from video cassettes that her friend brought back from Japan.
Dodong is a twin, his brother Tito tonne (Sid Lucero), Yael uncle, a local rock sensation, a member of a group called futures, and the soundtrack is “nervous Translation” is filled with their bouncy, New wave-style rock. It is a sign of ingenuity NENO to depict the minuscule moments of the film with dramatic urgency, to invest them with intricately detailed intimacy, focus on threshold performance Agoncillo. Quiet energy Yael and constant, inventive hard work fills the film with micro-incidents that a person is watching with a huge, playful, and resonant attentive visual variety. It depicts the real life experiences of Yael and her melodramatic fantasies of complex inner theater of the romantic dreams and quietly lurid fantasies, which are then jolted sharply in bitter practical external events that reflect the apocalyptic imagination, Segno and its historical consciousness. “Nervous translation” performs a wide array of rare cinematic exploits is some of the best recent evocation of the child’s life and thought, and among the most sophisticated hybrids of culture and nature. It renders the political personal in such a way that should leave many socially minded Directors Agape envy.
I already wrote here about Ricky D”Ambrose in the 2015 short film ”six cents in my pocket”, which marks an entirely new mode of film narrative, which he extended to 2017 short “spiral jetty” and now the cards on a broad dramatic framework of his first film, “notes on form” (6-7 April). As a “nervous Translation” feature d Ambrose is documentary in the literal sense: it focuses on textual, graphical and audio-visual materials, which play an important role in the plot and in the characters life and thoughts. Also, like the film, Segno,“ notes” slightly out of time. It is set in current day, but the contents of the archives, the recovery of traces of past decades and the last of such events in the media—mostly the print media that d Ambrose movies with nostalgia for the sense of stylish power that it represents.
The film is set in new York, now, but she smelled of tones, moods, and conflicts of earlier times is the vision closed circuit hothouse intellectual city that, if it still exists, remains one of the biggest myths of contemporary life, D Ambrose, he is faced with a curve style that nonetheless channels the tremendous emotional force behind the myth is very endurance. David (actor, Director Bingham Bryant, who is also a former Intern the New Yorker) is a twenty-eight-year-old aspiring writer at loose ends. He helps her friend Madeline (Tallie Medel), to get a job in Milan; he returns home and, unfortunately, stays with his parents in Chappaqua; he leads in Brooklyn and lives with a former friend in College named Todd (Keith Paulson), doctoral candidate who is writing a biography of the controversial political theorist named Steven Taubes. Todd David hires as a researcher, David goes for a walk and does not return, and Todd will spend the rest of the movie hour-the long term search of David.
In life scenes from “notes on the form of” bare, spare, and gnomic. Travel, whether in the world or in the city, marked cards, boarding passes, subway maps, timetables. The life and work of Taubes described in detail, in the artificial of articles from “the new Yorker”, the times, the new York Review of books, London Review of books, and other publications, as well as Taubes in his (fictional) video archives of his travels and their own books (they are covers several parodies of other books, such as the famous Martin Heidegger collection). Taubes is depicted as a controversial thinker, whose hostility towards democracy incites direct, even violent political action. He wrote for the anti-Semitic journal in nineteen eighties; his followers suspected of murdering one of his critics. (If there is only one weak spot in the film, It means the absence of any sense Todd and David are doing Taubes and his ideas.) D Ambrose creates the diaries of David and puts them on the screen; he adorns the soundtrack with music from Cecil Taylor Rossini; he holds conferences on translation, in which the partner Todd, Karin (Madeleine James), taking part. (It also decorates a few characters with names borrowed from real life, critics and writers, as well as some other important critics and writers, among actors, as if to confirm the actual existence, or persistence, in the movie on Wednesday in the city today.)
First of all, “notes on form” (even the name scintillatingly ironic) represents a conflict with bullets, vigorously self-deception of the intellectual sphere in which the ideal scale rates to withstand the weight and local instant passion, personal rates are still alarming, bewilderingly remote. A d Ambrose is intellectualism is a sublime Comedy mask. For all his gleeful production of the Kingdom’s cultural aspirations and achievements, its subject is the mysteries that elude dialectics and disputations, those that are alive, artistic, aesthetic impulse that so exalts and embodies.
Sourse: newyorker.com
