Cinema del popolo is a new film theatre emphasizing diversity, different cultures, music and language. Currently it is in cyberspace but hopefully it will find a home in the ‘real’ world.
In Bertolucci’s 1900, landowners support squads of fascists to burn down the local Casa del popolo. As a result some elderly socialist militants die.
It is upon this house we hope to build the Cinema del popolo.
Films are listed by title and director (pictured).
Each film is reviewed and, where possible, a film poster shown.
Finally here is a tribute to the Schonell Theatre at the University of Queensland (currently up for demolition) — Tribute to the Schonell
Also you can click on the film you like in the menu item, Cinema del popolo (above), read the review, sit back and watch the film on your computer, tablet, phone or smart TV. Please share with you friends. You are welcome to put these films on in your home or workplace.
Click on the film you like in the menu item, Cinema del popolo (above), read the review, sit back and watch the film on your computer, tablet, phone or smart TV. Please share with you friends. You are welcome to put these films on in your home or workplace.
A rating is given for each film.
Thanks to Bernie Dowling from Bent Bannana Books.
Solaris … some say boring others say masterpiece of Soviet cinema
https://www.facebook.com/wbt2006/posts/1202323233266413
Landmark film Guniwaya Ngigu is scheduled to air nationally on NITV on 4th February at 7:30pm.
It is about the 1982 protests at the Commonwealth Games from a Black perspective.
In 1971, two pieces of legislation were introduced into Queensland state law. The Queensland Aborigines Act, and the Torres Strait Islanders Act, which made the oppression of Black People in Queensland legal.
In a country that claims to be against apartheid in South Africa, we have a separate law governing Black People.
In 1982, the Queensland government introduced the Commonwealth Games Act in an attempt to prevent Black People from using the Brisbane-held Commonwealth Games to voice their opposition to white oppression.
It was in this atmosphere of state-generated terror and threatened violence from the Australian Army and the Queensland police that the following events took place…..
https://youtu.be/LPfOkoyAGHg
Reference
https://www.sbs.com.au/nitv/article/2018/07/13/i-was-using-my-camera-tool-against-system-trailblazing-filmmaker-madeline-mcgrady
Rou qing shi (Girls Always Happy) 2018 Ages 15+
3.00PM Sun 20 Jan 2019 (1hr 57mins)
GOMA | Cinema A | Free
A moving exploration of inner hutong lives in the heart of Beijing, complete with their rich flavours, urban noise and social networks, Girls Always Happy is like no other contemporary Chinese film you have seen.
In China, it is not uncommon for parents and their grown-up children to live under the same roof. Girls Always Happy takes an authentic, layered look at a mother–daughter relationship so intimate and entangled that it is hard to summarise in a few words. Written, directed, acted and edited by talented first-time director Yang Mingming, this film defies stereotypes of urban China and independent Chinese cinema, engagingly portraying a woman’s personal and professional struggle in its loose, free-flow structure.
Two hearts, four eyes
Oh, Oh, Oh
What cried during all day and night
Oh, Oh, Oh
That black eyes, which you cry
Are not able to meet you again
Paweł Pawlikowski’s Cold War is catholic in its critique of Stalinism, a film in the guise of an obsessive love story. Pawlikowski’s uses all the devices of film noir: shadows, mirrors, close-ups, cigarette smoking and black & white; but Cold War lies more within film traditions set down by Italian neo-realism, French New Wave and Polish cinema.
In post war Poland two musicians Wiktor (Tomasz Kot) and Zula (Joanna Kulig) fall in love. Wiktor proposes that they escape Soviet propaganda influence on their art by defecting. He crosses over the guarded border from East Berlin into West Berlin. An emotionally tortured Zula lacks the self-confidence to go with Wiktor. Instead Zula marries a soviet apparatchik and has a child. Unhappiness follows. Despite the Iron Curtain Zula and Wiktor manage to rendezvous in Croatia, Paris, and Berlin. They have a brief artistic collaboration depicted in this beautiful song arranged by Wiktor and sung by Zula.
https://youtu.be/BvPkDdFeTk8
Pawlikowski is the first Polish filmmaker to win an academy award for Best Director, for Ida (2014) since Roman Polanski won for The Pianist (2002). Polanski had previously been nominated for Knife in Water (1963), Chinatown (1974) and Tess (1980). The other stand-out Polish director was Krzysztof Kieślowski who made Three Colours films: White, Blue and Red (nominated for an academy award in 1994). That is not to say any of these deeply European films should be valued solely by their status within the Academy.
Both Kieślowski and Pawlikowski’s films describe a deeply troubled Europe in the 20th century, a time when this civilisation needs be held up to the light of modern cinema. In Cold War Pawlikowski constantly uses mirrors to show a divided self, East and West, communism and democracy, love and hate, art and propaganda, life and death, personal and political, and each side of the Berlin Wall.
Zula has some strong lines in Cold War:
Zula : He (my father) mistook me for my mother, so I showed him his fault with a knife.
Wiktor : Find another normal guy who can support you.
Zula : Such man is not born yet.
Zula : Are you interested in me, because I have a talent or in general?
I recommend this film with **** out of five stars.
Not since Chinatown have I heard such a brilliant film score.
Pawlikowski dedicated Cold War to his parents who lived through occupation, invasion by the Soviet army, the era of Stalininst influence, the Kruschev thaw, invasion of Hungary, and the Berlin Wall. The two lovers did not make it to the strikes at the Gdansk shipyard, Lech Walesa, the emergence of Solidarity and demise of Soviet communism.
Ian Curr
9 Jan 2019
There is another Algiers and a different Casbah than that depicted in John Cromwell’s ‘Algiers’.
The ‘real’ Casbah was the headquarters of the FLN – the Algerian resistance from 1954 till 1962. The FLN was routed by a French Lt. Colonel Mathieu, a veteran of La Salle Guerre (the dirty war) in Vietnam.
During the film Colonel Phillippe Mathieu asked: Why are all the Sartres born on the other side?
When asked whether he likesd the anti-colonial intellectual, Jean-Paul Sartre, Colonel Mathieu’s response was tinged with an understanding of the power of Sartre’s words:
‘No, but I like him even less as a foe.’
The colonel used torture, informants and military repression to break the cell structure of the FLN.
The Battle of Algiers matched the brutality of the US military in Vietnam, Iraq and Afghanistan.
Pontecorvo’s Battle of Algiers depicted the savage brutality of that war.
Battle is about a different kind of betrayal than Algiers, political, not personal.