by Swapnil Dhruv Bose
One of the most striking films to have come out of the Japanese New Wave, “Throw Away Your Books, Rally in the Streets” is avant-garde writer turned filmmaker Shūji Terayama’s debut feature and is based on his eponymous book. Although he went on to make other masterpieces like “Pastoral: To Die in the Country” (1974) and “Glass Labyrinth” (1979), this brilliant work of experimental anarchy remains the apotheosis of Terayama’s unapologetically original artistic vision.
Following in the footsteps of Jean-Luc Godard and anticipating the non-linear surrealness of directors like David Lynch, Terayama constructs unforgettable vignettes which blind the viewer with their pathos. It is almost pointless to talk about the film’s plot because time and causality are rendered insignificant when confronted with the underlying spiritual anguish. The protagonist introduces himself to us in a spectacular opening monologue where he stares straight into...
One of the most striking films to have come out of the Japanese New Wave, “Throw Away Your Books, Rally in the Streets” is avant-garde writer turned filmmaker Shūji Terayama’s debut feature and is based on his eponymous book. Although he went on to make other masterpieces like “Pastoral: To Die in the Country” (1974) and “Glass Labyrinth” (1979), this brilliant work of experimental anarchy remains the apotheosis of Terayama’s unapologetically original artistic vision.
Following in the footsteps of Jean-Luc Godard and anticipating the non-linear surrealness of directors like David Lynch, Terayama constructs unforgettable vignettes which blind the viewer with their pathos. It is almost pointless to talk about the film’s plot because time and causality are rendered insignificant when confronted with the underlying spiritual anguish. The protagonist introduces himself to us in a spectacular opening monologue where he stares straight into...
- 1/27/2021
- by Guest Writer
- AsianMoviePulse
"Like any other child, I too learned to deal with the physiological characteristics conferred upon me." This is no ordinary short film about a person with an extra long nose. Nosis is a deeply philosophical, existential short film made by German animation filmmaker Vincenz Neuhaus based in Berlin. This is the short film he created and finished in only five months to present as his thesis while studying at the Filmuniversität Babelsberg Konrad Wolf. It first premiered back in 2018, and played at the Palm Springs ShortFest last year. Inspired by Erich Fromm's book 'To Have or to Be, the short is about a boy with an exceptionally long nose who one day accidentally falls into a cake - this changes his life forever. Now equipped with a "Super-Nose", he begins to re-explore life. But everything comes at a price. It always does. German filmmakers are good at digging deep into the existential psyche.
- 6/19/2020
- by Alex Billington
- firstshowing.net
“But the child must grow,” writes German psychoanalyst Erich Fromm in his seminal 1956 book “The Art of Loving,” discussing a necessary transition in the relationship between a mother and her progeny. “The very essence of motherly love is to care for the child’s growth, and that means to want the child’s separation from herself.”
In Rodrigo Ruiz Patterson’s delicately complex feature debut “Summer White,” Valeria and her lonesome 13-year-old son Rodrigo seem way overdue for the kind of crucial disjointing Fromm prescribes. Exploring their thorny chapter of parting that eventually arrives — seen from the possessive offspring’s point of view with both caution and empathy — Patterson dances around tricky Freudian themes with nerve and grace, gradually approaching something astute about the boundaries and boundlessness of maternal affection.
Though it gets weighed down by a trace of experimental aimlessness, a languid pace that limits the film’s theatrical prospects,...
In Rodrigo Ruiz Patterson’s delicately complex feature debut “Summer White,” Valeria and her lonesome 13-year-old son Rodrigo seem way overdue for the kind of crucial disjointing Fromm prescribes. Exploring their thorny chapter of parting that eventually arrives — seen from the possessive offspring’s point of view with both caution and empathy — Patterson dances around tricky Freudian themes with nerve and grace, gradually approaching something astute about the boundaries and boundlessness of maternal affection.
Though it gets weighed down by a trace of experimental aimlessness, a languid pace that limits the film’s theatrical prospects,...
- 1/27/2020
- by Tomris Laffly
- Variety Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.