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ISSN 1409-6900 | UDK 82+7     Blesok no. 53 | volume X | March-April, 2007



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                     Peer-reviewed journal
Blesok no. 53March-April, 2007
Gallery Reviews

47th Thessaloniki International Film Festival

The Contradictories Rest


/10
p. 1
Georgi Vasilevski

Back Home, Rabah Ameur-Zaïmeche

Stagnation Means Regression

    European cinematography, in which aesthetic laboratories the film art substance of this new medium was crystallizing, a long time now only stands as a decorative, but firmly installed bastion of conformism. The 47th Thessaloniki Film Festival only proves this thesis, whose consequences – it seems so – aren’t making any real problems for the film producers: their serial-clichés film products has the audience of their own, who feels comfortable with this glamorous entertainment, falsely protected by the ‘evil tongues’ of the social, moral or political criticism. The list of the films with the themes, in which – with a lot of selectivity and care – the subtleties of the bourgeois small-hearted mentality are brought to the pedestal, along with the glorifying of the egoism and the hypocrisy of the modern-world ‘distinguished’ citizens. The vain and the privileged (and rich) citizens of the modern (Western) world have every right for cynicism – even in the cases of the collective drama s of whole nations.
    In the political drama Back Home, the French director Rabah Ameur-Zaïmeche, for instance, tries to judge the war and the war manipulators, without any deeper analysis about their interests and motives of the initiators of that kind of evil. And for irony to be greater, he places his film plot in Algiers, former French colony, in which today – ‘who knows why?’ – is in political anarchy, mass confusion and social chaos. Also, the German director Markus Herling attempts to forget the ‘tiny dirty’ details from the youth ideals of his film characters, in his film Riding up Front which was in the competition program of the Festival, and also forgets to reveal their hypocrisy into the whirlpool of the Christ’s Birth Celebration, when all sins are forgiven and the lie gets its form as a nicely costumed illusion.
    

Private Fears in Public Places, Alain Resnais

    The defense of the European cinematography ‘colors’ and pride, over their shaken dignity, remained only up to the doyen of the individualistic art-film, the French director Alain Resnais, with his latest film Intimate Fears In Public Spots, the Winner of the Silver Lion in Venice and of the French paralel to the Hollywood OscarCesar. Although the story about the six seekers for love of their lives was exploited by many in the past, especially by the distant predecessors since the Poetic Realism years. In the Resnais’s film, this theme sustains its freshness and inspiration, as






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