DID YOU READ

On DVD: “Times and Winds,” “Chop Shop”

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07142008_timesandwinds.jpgBy Michael Atkinson

It’s amazing to contemplate, but world cinema didn’t really make serious feature films about children until after WWII; Vittorio De Sica’s “Shoeshine” (1946) might’ve been the first. (You could stretch and consider Hal Roach’s vivid and roughhewn “Our Gang” shorts as qualifying, and I wouldn’t argue.) After the New Waves got rolling, of course, juveniles proliferated like rabbits on screen, but prior to that nearly the first half of cinema history had little or nothing to say about the bedeviled, often neglected, wide-eyed life of the pre-adult. Did cinema change with the war, or did we? Two new movies to DVD, Reha Erdem’s “Times and Winds” (2006) and Ramin Bahrani’s “Chop Shop” (2007), make their individual cases that little outside of the movie dynamic has changed at all, and that life as a 12-year-old in any corner of the globe is still subject to the grinding, merciless self-involvement of the adult world.

Erdem’s movie is a native Turkish art film, more elliptical and allusively observant even than the recent films of Nuri Bilge Ceylan. The setting is a remote Pontic Mountain village, the time is unspecified, the cultural climate is post-medieval and Muslim (the hamlet has little, but possesses its own minaret), the characters are two preteen boys who live out their lives in a state of embittered, anticipatory stasis. They watch animals copulate, they steal cigarettes, they work, but they also hate their parents: the sickly imam’s son relentlessly plots all manner of surreptitious patricide, while his friend, entranced by a crush on their young and serene schoolteacher, is revolted to find his righteous father spying on her. Other fathers beat and humiliate other sons and daughters and orphans; “shithead” is the label passed down from each generation to the next. But the action of Erdem’s film belongs to the quotidian, to the relationship between moon and clouds, to the unrolling of each day (and its prayer cycle) and of the seasonal process. Sure, there’s a coming-of-age primal scene, but the girl in question retreats to her bed and weeps after seeing her parents in flagrante. Aching with the Górecki-like symphonic throbs of Estonian composer Arvo Pärt, the film suggests a version of Victor Erice’s “The Spirit of the Beehive” for the new millennium, even if its poetry outpaces Erice’s — Erdem punctuates his semi-narrative with surreal tableaux of his cast of children slumbering (or dead?) buried in pine needles, covered with the debris of a demolished house, in leaves, nearly subsumed by undergrowth, etc. You’re never sure what’s going on in these enigmatic images, or, really, between them (the characters do not express themselves openly), you’re just sure you’ve never quite seen this particular brand of mysterious poetry before.

07142008_chopshop.jpgBahrani’s “Chop Shop” takes place in the unmistakable present, but its setting exudes sociopolitical commentary without anyone saying a word: it’s the hunk of Flushing, Queens known as Willets Point, a resident-free neighborhood that floods routinely and is comprised entirely of auto repair shops, junk dealers and the titular stolen-car-processing outfits. Seen from the orphaned 12-year-old hero’s perspective, it’s a lawless frontier of make-it-on-your-own American Dreamism; for us, it’s the asshole of the global economy, a squalid proto-slum that’s indistinguishable from unremarkable slices of Bombay or Rio, thriving on manufactured leftovers and cannibalized industry. But there’s Shea Stadium looming in the near distance, and there are the airliners flying out of LaGuardia overhead — this is an America we don’t see in movies, and Bahrani, whose “Man Push Cart” (2005) had a similar torque to it, knows how to make his semi-doc ultra-realism jump out at you as neo-Kafka-esque metaphor.

We’re in the tradition of Satyajit Ray and Ken Loach, but we’re in New York, and for that overdue transplantation, we should be thankful. It’s unfortunate, then, that Alejandro (Alejandro Polanco) is a relatively simple character — bullet-headed and ambitious, but still only a kid, wrestling with his love and shame for his older sister (Isamar Gonzales), who moonlights blowjobbing at night, and becoming obsessive about his own get-rich schemes. (We never learn what became of their parents.) How could Alejandro’s dreams, and his coffee can of cash, end up except in anti-climactic disappointment? Chin-deep in convincing texture, Bahrani never takes the daring next step for which his symbolic realism cries out — into a realm (epic, absurdist, satiric, visionary, what have you) where the broader meaning of his narratives overtakes his oppressive everyday details. When he does, he might make a masterpiece.

[Photo: “Times and Winds,” Kino, 2007; “Chop Shop,” Koch Lorber, 2007]

“Times and Winds” (Kino Video) and “Chop Shop” (Koch Lorber Films) are now available on DVD.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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