CineFan May/Jun/Jul

CineFan's new program for May, June and July CineFan's new program is focusing on Finnish film director Aki Kaurismäki. Aki Kaurismäki thinks his own films are dreadful. And his deadpan comedies are grim. But the bleaker the director has become, the more tender his films. No matter how despairing the reality is, his underdog characters always find solace in a sleazy bar, in eccentric rock 'n' roll, and in the company of a devoted canine friend. Combining the restraint of Robert Bresson with the surrealism of Luis Buñuel, the profound Finn cinephile creates his own cinematic universe of visual stylisation and mordant jokiness for his humane comedy. Highly distinctive but hard to define, Aki’s compositions are simple yet subtly expressive; his approach skews towards a tradition of neorealism, yet flecked with fairytalelike fantasy; his ambiance is nostalgic, yet evoking a modernist vibe. With witty irreverence and stylish intelligence, the artist works dichotomy into an arresting sensibility, championing humanity and spontaneous solidarity while sliding out an unspoken critique towards modern alienation and social injustice. CineFan May/Jun/Jul program Made popular by the widespread use of psychedelic substance among young people during the counterculture movement of the 60s and 70s, psychedelic cinema emerged as part of the artistic revolution involving music, art, literature and philosophy. Psychedelic, which literally means ‘mind-manifesting,’ can just be applied to an aesthetic style or an affective-sensorial influence, conjuring an altered state of subjective reality and hallucinogenic experiences that reflect the revelation of our mind. Blurring the lines between dream and reality, these films often use visual images or unconventional narrative techniques to alter the viewers' sense of spatiotemporal perception. Psychedelic cinema In his Qatsi (= life) Trilogy, former Catholic monk and artist-cum-activist Godfrey Reggio’s critique of technology is not a message, but manifests as cinematic method in the form of non-fiction and wordless, visual narrative. Between poetry and discourse, and via torrents of images transported through Philip Glass’ music, cinema becomes, in Reggio’s own terms, a ‘sacrament’ directly confronting the technicised human world by firing it up. Godfrey's cinema More information on our Movie Forum:
   

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