Michael Rowley's 'Hurdle': The revolution will be jumped over, tumbled under, flown above and rolled around

E. Nina Rothe April 4, 2019

The Palestinian condition can be summed up in one word: Naqba — the Arabic word for “disaster”. While the Israelis celebrate their Independence Day each May, the Palestinian population mourns the loss of their land, liberty and peace on exactly the same date. It’s one of the most tragic contradictions of our times.

But the Palestinian people are nothing if not resilient. Through their ordeal they’ve made beautiful cinema, see Elia Suleiman, created mind blowing art like Nabil Anani and succeeded in sports. I could think of several examples of each. I mean, Palestinian singer Mohammed Assaf became the second ever Arab Idol in 2014 despite the fact that he wasn’t even allowed into Egypt, where the competition was filmed. While walls are built to keep them in, Palestinian figure out more and better ways to overcome those obstacles and become better, stronger and more successful.

Hasan Majuni in a still from Mani Haghighi’s ‘Pig’

"So I thought, I’ll make a film about this cry-baby man": Mani Haghighi talks about his latest film 'Pig'

E. Nina Rothe January 7, 2019

It’s interesting that in the same year, two prominent Iranian filmmakers made films where the idea came from the perils of social media. Of course, Jafar Panahi got the inspiration for ‘3 Faces’ from the myriad of fans who send him messages wanting to connect somehow with his talent and rotate in the moons of his celebrity-dom. Mani Haghighi instead with his ‘Pig’ found the humor within the stalking of sorts that happens on the feeds of Twitter and Instagram. And how these days we’ll do just about anything to be famous.

Of course, these two filmmakers are as different as filmmakers can be, yet their latest oeuvres are both featured in the upcoming Iranian Film Festival New York, which will run from January 10th to the 15th at the IFC Center. An event not to be missed.

Behnaz Jafari and Jafar Panahi in a still from ‘3 Faces’

Three women on '3 Faces': Jafar Panahi's latest oeuvre at the inaugural Iranian Film Festival NY

E. Nina Rothe January 3, 2019

Filmmaker Jafar Panahi has been banned by the Iranian government from making movies, for an unbelievably long while. Yet he continues undeterred in churning out one masterpiece after another. All shot in different locations, each time featuring a new cast of characters, Panahi’s films have continued undisturbed to be staples at international film festivals.

Those of us who know and love his distinct brand of filmmaking, where within his kind and well thought out delivery he still manages to packs a big punch, also follow him on social media. His Instagram alone is a pleasure for those who wish to witness a bit of his genius on a nearly daily basis. And in fact, it was his presence on social media that inspired his latest work — ‘3 Faces’. The film premiered in Cannes earlier this year and will be featured at the 1st Iranian Film Festival New York at the IFC Center in early January 2019.

From left, Angela Fontana, Blu Yoshimi Di Martino and Denise Tantucci in 'Likemeback' — From left, Angela Fontana, Blu Yoshimi Di Martino and Denise Tantucci in 'Likemeback'

Leonardo Guerra Seràgnoli's 'Likemeback': the good times, the lessons, the heartaches and perils of social media

E. Nina Rothe August 23, 2018

During this year's Locarno Festival, a few of the films I watched although narrative features, felt more like documentaries. Wonderfully gratifying documentaries without judgement or a cliche point of view in sight.

One such film was Leonardo Guerra Seràgnoli's 'Likemeback'. Perhaps because of the spontaneous acting by three exceptional young women -- Angela Fontana as Danila, Denise Tantucci as Carla and Blu Yoshimi Di Martino as Lavinia -- or maybe due to Guerra Seràgnoli's script and intimate way of filming this trio of friends on vacation on a sail boat, 'Likemeback' felt real.

Unforced and unequivocally cool.

In this age of #MeToo and TimesUp movements, 'Likemeback' offers a cautionary tale on the power of female sexuality and seduction and how that can be harnessed for the worst intentions. But it also places us in a front row seat on viewing the dangers of social media, when in the hands of the young and inexperienced.

'Faces, Places' in Cannes: “It’s the Miracle of Cinema!” -- Agnès Varda and JR Bring Us ‘Visages, Villages’

E. Nina Rothe February 25, 2018

“Did you like our little film?”

Agnès Varda grabs my hand and holds it between hers as I try to exit the room where I’ve just spent the last ten minutes interviewing her and artist JR about their cinematic collaboration ‘Visages, Villages’ (’Faces, Places’) which premiered “Out of Competition” in Cannes. We may have learned in the film that the filmmaker has cute little feet, but I now know she also has lovely, kind hands.

“Of course I did! Why would I have wanted to interview you otherwise?!” I hear myself say, but almost as soon as the words come out, I realize I’m telling a half truth. Yes, I loved this film, its simple premise and grand cinematography and I relished the mutual respect the legendary 88 year-old filmmaker and the anonymous 33 year-old photographer show for each other throughout their road movie around the French countryside. To me, they are the new Beatles, the rockstars of cinema’s here and now. But I also craved to be in the presence of Varda and JR and would have come to interview them even if I hadn’t enjoyed the film as much as I did. It’s Madame Varda, after all, and JR, the artist — wrap your head around this — with a million Instagram followers!

Favorite movies only need apply. Life is too short to write about what I didn't enjoy.

Michael Rowley's 'Hurdle': The revolution will be jumped over, tumbled under, flown above and rolled around

Three women on '3 Faces': Jafar Panahi's latest oeuvre at the inaugural Iranian Film Festival NY

'Faces, Places' in Cannes: “It’s the Miracle of Cinema!” -- Agnès Varda and JR Bring Us ‘Visages, Villages’

Featured Posts