Saturday, 22 October 2016

'Parting' ('Raftan'): Film Review | Busan 2016

In this article we write a complete information hollywood 'Parting' ('Raftan'): Film Review | Busan 2016 . In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here
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Hollywood 'Parting' ('Raftan'): Film Review | Busan 2016:

Navid Mahmoudi's debut, about a young migrant couple's attempt to leave Iran for Europe, is Afghanistan's submission in the foreign-language film Oscar category.
Given its melancholic title, Parting doesn't exactly promise a happily-ever-after ending for its two young Afghan lovebirds seeking a new life in Europe. Then again, Navid Mahmoudi's directorial debut is more about those who are stranded than those who have managed to move: Set nearly entirely in the Iranian capital of Tehran, it's is a compact but vivid illustration of migrant lives in limbo.

Far from the long-circulating images of refugees swimming and trekking their way to their lands of hope, Mahmoudi — who was born in Afghanistan and moved to Iran when he was a child — has offered a heartfelt and somewhat audacious follow-up to A Few Cubic Meters of Love, the 2014 film he produced about the plight of illegal Afghan migrant workers in Iran.

Bowing in Busan in the festival's New Currents competition, the film is Afghanistan's submission in the foreign-language film Oscar category. The film did not appear on the Academy's official list of entries, which was announced on Tuesday, but Mahmoudi has already made the longlist in 2014 with A Few Cubic Meters of Love, which was directed and written by his brother, Jamshid. With or without the Academy's stamp of approval, Parting should enjoy plentiful stops on the festival circuit from here.

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Parting begins with a close-up of Nabi (Reza Ahmadi) as he struggles to follow an offscreen smuggler's instructions about the possibilities and perils of his pending trip out of Afghanistan. The screen turns black, and then boom: a frantic tracking shot in which he and his fellow travelers are seen scrambling across the border, fighting off the dogged pursuit and manhandling of Iranian border guards.The film then cuts to a highway sometime later, as a bus mechanic offers to bring Nabi to Tehran in the hold.

For nearly the entirety of the next 70 minutes, the young man moves around Tehran slowly and tentatively as he tries desperately to find a way to continue the next leg of his journey to Europe. Joining him in his quest is his girlfriend Fereshteh, who has settled in Iran after fleeing Afghanistan with her family four years earlier.

We see Fereshteh leaving home in the morning as if she's just going to school. She prepares and packs some food, kisses her young siblings goodbye as if it's a final farewell and heads out to meet Nabi, braving for a long journey. But after a confrontation with a trafficker, their move quickly flounders — and the pair spend the day whizzing from one place to another, trying to locate the money, the contact and the resources needed to restart their journey.

Rather than offering a visceral depiction of those braving that risky, transcontinental passage, Mahmoudi audaciously (and perhaps conscientiously) sticks with those who stayed. Through the two young protagonists' eyes, he reveals the realities of those who profit from the migrants — these racketeers run their well-oiled business like a legit public transportation service — and those who are stranded in a stranger's land in the middle of an aborted journey. It's an approach the Mahmoudi siblings already deployed in A Few Cubic Meters of Love, a story set in an Iranian factory filled with illegal Afghan workers.
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At the center of A Few Cubic Meters of Love is a forbidden romance between an Iranian boy and an Afghan girl, and Parting revolves similarly around the relationship between Nabi and Fereshteh. Both rookie actors Mahmoudi claimed to have recruited from refugee camps near Tehran, Ahmadi and Hosseini deliver sufficiently dynamic performances.

While there are some problems here — the use of melodramatic devices, such as slow-motion or song-backed sequences, jars with the dominantly gritty outlook of the film — Mahmoudi has delivered a largely captivating piece. At its realist best, Koohyar Kalari's camerawork conveys the character's lurching panic within a hectic city of cars and construction sites. A moving tale about lives in stasis, Parting provides another perspective on a humanitarian crisis showing no signs of abating.

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Venue: Busan International Film Festival (New Currents)
Production company: Aseman Parvaz Film
Cast: Reza Ahmadi, Fereshteh Hosseini
Director-screenwriter: Navid Mahmoudi
Producer-editor: Jamshid Mahmoudi
Director of photography: Koohyar Kalari
Production and costume designer: Amir Hossein Babaeian
Music: Sahand Mahdizadeh
International Sales: Dreamlab Films

In Dari and Persia

Not rated, 78 minutes
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'True Crime': Film Review | Warsaw 2016

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Hollywood 'True Crime': Film Review | Warsaw 2016:

Jim Carrey and Charlotte Gainsbourg star in award-winning Greek director Alexandros Avranas' English-language debut, a Polish-American thriller world-premiering at the Polish festival.
Spicy real-life ingredients and a terrific international cast are frustratingly wasted in Alexandros Avranas' True Crime, in which Jim Carrey — essaying the most serious role of his mercurial career  — makes a reasonable stab at playing an obsessive Polish cop tackling that one inevitable last case before retirement.

Based on a fascinating New Yorker article about a homicide investigation and the charismatic novelist eventually convicted of the murder, the picture aims for grim intensity but too often ends up dourly overwrought. The presence of Carrey in such an unlikely role alongside art house and festival-circuit favorites like Charlotte Gainsbourg and Vlad Ivanov will nevertheless guarantee a measure of big-screen play internationally, but North American theatrical prospects look as uninviting as the film's autumnally humdrum Krakow settings.

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The Poland-U.S. co-production, which conspicuously bypassed Toronto and Venice to bow in a noncompetitive slot at Warsaw, may fare best with Polish audiences, many of whom will be very familiar with the case chronicled in David Grann's essay, True Crime: A Postmodern Murder Mystery. According to the DCP shown at Warsaw, the film retains Grann's title (although all advance publicity materials referred to it as True Crimes, plural) but dispenses with the subtitle — a warning that the filmmakers have little real interest in exploring the intriguing postmodern aspects of the tale.

Polish viewers and readers of Grann's article will likely be bemused and even baffled, however, by the extensive and generally ill-advised liberties taken by scriptwriter Jeremy Brock, who more nimbly combined fact and fiction on screenplays such as Mrs Brown and The Last King of Scotland. Here his protagonist is fiftyish lawman Tadek (Carrey), dubbed "the last honest cop in Poland" by his more successful colleague Piotr (Ivanov), seemingly his only pal on the force. A meticulous, impassive, quietly hulking man whose home life with his wife (Agata Kulesza) and teenage daughter is chiefly notable for stony silences, Tadek throws himself into his work — he's the kind of straight-arrow loner cop we've seen a thousand times before on big screen and small alike.

He becomes fixated on a cold case involving the death of a man known to frequent a certain S&M sex club, whose dungeon-dwelling denizens also included successful writer Kozlow (Marton Csokas). It turns out that one of Kozlow's books pivots on a murder whose details happen to coincide with the actual killing, propelling the supercilious celebrity-scribe to the top of the suspects' list. Complications ensue, many of them of a clunky and/or plausibility-testing nature.

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True Crime starts promisingly enough, with a confrontationally extreme montage set in the prison-like confines of the sex-club, chock-full of nudity, violence, sex and Salo-type degradations, accompanied by arrestingly loud musical stylizations by Richard Patrick and Tobias Enhus. But just as the duo's overused score later veers toward histrionic bombast, the film's steely swagger too often tips over into stylistic affectation.

Very little feels organic here; everything is very much calculated and calibrated for effect, and the mood of airlessness as we trudge through gray streets, underlit rooms and drab corridors is more suffocating than stimulating. Some sequences, including Kozlow undergoing a brisk polygraph test, are borderline risible; ditto an eventful spell in which Carrey discovers his aged mother's decomposing corpse and then, minutes later, goes home to find his wife and daughter have finally flown the coop.

Aspirations toward social commentary via occasional references to the Communist olden days are, meanwhile, clumsily integrated. Neither Brock nor Avranas — named best director at Venice in 2013 for modishly sullen dysfunctional-family drama Miss Violence — are themselves Polish; at such junctures it's hard to avoid speculating what Roman Polanski (whose name was linked to the project at one stage) or his countryman Wojciech Smarzowski, who excels with similar fare, might have come up with.

As it is, Avranas and casting director Marta Kownacka have assembled a remarkable array of talents from all over the globe: Canadian-American Carrey, British-French Gainsbourg, Moldavian-Romanian Ivanov, Hungarian-Kiwi Csokas — his Kozlow a ripe incarnation of sneering contempt — and Finland's Kati Outinen, so wonderful in several films by Aki Kaurismaki, but sadly sidelined here as a stern superior. There's also a tokenistic smattering of Poles in bit parts, plus Ida sensation Kulesza in the thankless embittered-wife role and major domestic draw Robert Wieckiewicz — Lech Walesa in the late Andrzej Wajda's 2013 biopic — similarly wasted as the corrupt, seedy chief of police.

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In an outmoded device that gives proceedings a strong Europudding whiff, everyone from Carrey on down, with just a single exception, speaks with an Eastern European accent — Wieckiewicz's so heavy as to render several of his lines indecipherable. That one exception is Gainsbourg as Kozlow's on-off girlfriend Kasia, the bruised-and-battered, drug-addicted single-mother femme fatale at the dark heart of this twisty neo-noir.

Kasia is, like everyone else here, supposed to be Polish, but Gainsbourg is for some reason allowed to speak in her usual upper-class English tones. It's surely no coincidence that the actress, who has explored rather similar territory in her more profitably boundary-pushing collaborations with Lars von Trier, turns in the film's most compelling and nuanced characterization.

Indeed, True Crime only really comes to life in the very final moments via a Gainsbourg monologue which finally provides a relatively satisfying solution to what has become a disorientingly convoluted murder puzzle — bearing only the most tangential connection to the picture's supposed journalistic basis. Presented via Avranas's preferred mode of direct address to a tripod-fixed, close-up camera, this denouement represents the most audacious of Brock's many flights of creative fancy, and also the most successful. But it's not so much eleventh hour as mere seconds before midnight: a little too little, and much too late.

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Production companies: RatPac Entertainment, Gerson Films, Opus Film
Cast: Jim Carrey, Charlotte Gainsbourg, Marton Csokas, Vlad Ivanov, Piotr Glowacki, Robert Wickiewicz, Kati Outinen, Agata Kulesza
Director: Alexandros Avranas
Screenwriter: Jeremy Brock (based on an article by David Grann)
Producers:  Brett Ratner, David Gerson, John Cheng, Jeffrey Soros, Simon Horsman
Executive producers: Michael Aguilar, Patrick Murray, Kasia Nabialczyk, James Packer
Cinematographer: Michal Englert
Production designer: Wojciech Zogala
Costume designer: Mayou Trikerioti
Editor: Agnieszka Glinska
Composers: Richard Patrick, Tobias Enhus
Casting director: Marta Kownacka
Venue: Warsaw Film Festival (Special Screenings)
Sales: WME, Beverly Hills (

In English

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