new cinema

Movie Nice view

The Chinese feature film Nice View “Nice View”, “Nice View”, or, perhaps, “A Beautiful View”, directed by Muye Wen Muye Wen, co-star, etc., written with Xiaohan Han and Mengdi Xiu, gives viewers the joy of attending a beautiful cinema has diminished in recent years.

In its 106 minutes, the tape, filled with music, melancholic songs and looks of shining insistence, flows between the comedy of the situation and the harshness of days and the enlightenment of Chinese spaces that are not usually available, with all this transparency, reflection and objective review of the Chinese performance that has varied in recent decades, covering a painful distance. From compassionate socialism to strict capitalism, it has left millions of people there, lost and without opportunities, with livelihoods cut off.

Twenty-year-old Jing Hao (Creatively Jackson Yee) takes on the responsibilities of his little sister, who is sick with the same disease that killed their mother, and, as the doctor told him, he must operate on her, before she reach the age of eight, it can cost up to 75 thousand US dollars. The journey of challenge begins between him and himself, as he does not have many options, especially after his mother’s will in her last sad moments, to take care of his sister without forgetting to take care of himself. Jing begins to implement the first part of the will, which is to take care of his six-year-old sister, her medication appointments, her food, her school and her various needs, and spend the rest of his time in his shop repairing cell phones . The journey to collect the costs of the process is long and complicated, plunging into labyrinths that have no beginning or end. The main plot of the film in Will the stubborn, dedicated, straightforward, inventive young man in the field of electronic devices, succeed the challenge? He has no answer options; This is one answer: I must perform the operation for the little girl, whose appearance still bears the meanings of begging, the glimmer of hope and the noblest manifestations of innocence.

Amid the small details, the film takes us on graceful and attentive camera tours in the spaces of the southern Chinese city where the film takes place, the camera swims with us in the kingdom of clouds rising from the balcony of the moment filled with the saying (the world is good).

Much condemnation of China’s capitalist face that does not match the characteristics of Mao Zedong whose image hangs nowhere during the sequence of events, and much of this ugly and unknown capitalist face to the point where the government does not bear the burdens of such a process, and many investigations into the depths of the negative and positive characters of the film, and many of the film The film continues Karaj Al-Hajjal to the end of its sweetest and sweetest moments.

Shot from the movie Nice View

Movie A beautiful curse

“People sleep. When they die, they wake up.” I do not know to what extent this statement of Ali bin Abi Talib corresponds to the story of the Danish-French film A Beautiful Curse, written and directed by the Dane Martin Garde Abildgaard.

The film, produced in the year 2021, tells of an island where everyone sleeps. A newspaper sends a photojournalist to come back with the truth of what is happening, so he falls in love and eventually falls asleep. Love awakens him from the death of sleep, and everyone’s sleep awakens him from the trials of life and the utility of undertaking his adventure. One woman and one man, the woman escaped the misery of sleep in which everyone around her, including her household, was covered, and the photographer found no one moving except a fish in a small tank that carried it, hoping that he would finally have something to do on that mysterious island.

Alternating between day and night scenes, inside and outside, silence and speech, movement and reflection, the film, in (91 minutes), tells its story, with the least intimidation, with fragments of the spirit of meaning, and the melodies of soft music. It’s a movie about the breath of life in a plastic bag with a little water in it, and what’s left of the last fish dance on an island where everyone sleeps, afraid to be noticed and die.

A still from the movie A Beautiful Curse

Movie Story of love and desire

Two conflicting worlds clash with the French-Tunisian feature film “Majnoun Farah”, “Tale of Love and Desire”, written and directed by Leila Bouzid; An instinctive underworld and a virtuous, uplifting, contemplative romance.

Ahmed Ounass (played by Sami Awtalbali, 18 years old), the French of Algerian origin, whose academic excellence gave him the opportunity to be admitted to the Sorbonne, is the worst character of the story because of the conflict between these two worlds . It is one of the fiercest battles of the film, the most real, and touches a reality, at a given moment, within certain givens.

Ahmed was distracted between following his emotions and the desires of his body, what Paris gives him of freedom and openness, and what the university he accepts gives him of opportunities and women relationships, between preserving the values ​​of his family, which , although immigrated to France and lived in the suburbs of the capital of light, but it remained. She knew of Paris only that forgotten and neglected space in a suburban gathering. Even the Tunisian girl Farah, whom Ahmed met at university (played by Zubeida Belhadj Amour), when she asked him to take her on an introductory tour of the capital Paris, had to return to the Internet, as she information on suitable areas for tourism does not differ from her information.

Thus, fate wants Ahmed’s first emotional and desire experiences with a girl who reminds him of his Arab origins, while he is forced to free her, and her circumstances differ from his own, including economic conditions (Farah came to France to studying at the expense of her father), to stay within the obligations of the conflict Conflict over values, desire, love, academic achievement, sensory versus emotional virgin poetry (Ahmed and Farah study comparative literature).

Between “Majnoun Laila”, and “The Perfumed Garden in Nuzhat Al-Khater” (by Al-Nafzawi), the hesitant Ahmed, suffocated by his contradictions and the contradictions of everything around him, discovers that no one wants to leave him alone, as the distance between spiritual ecstasy and the physical one narrows to zero metrics.

Among the remarkable lighting within the 98 minutes of the film, Ahmed held the preparatory lesson that the school requested of him (the seminar), where he chose Qais’ story with Laila, explaining how Qais Laila’s body rejected when she came to him and she was freed from that which prevented them from meeting after her husband’s death, therefore he healed her. The poet becoming attached to her, for she was an inspiration and a bereft grandfather, watered the atmosphere in the corridors of his lover’s soul, and her coming to him brought her and his idea of ​​him within the scope of the lost common made, fueling his hair with flirtation, longing and pain of loss.

A film about the conflict between two civilizations, about the conflict between the past and the present, between the self and its tendencies, between courage and reluctance, about the crisis of the other language and the mother tongue.

Leila Bouzid’s tape could have reached significant heights, as the material is fertile, the contradictions are clear, and the conflict is clear, but it has influenced the least bit of cinema in terms of lighting, colors, staff, music and execution to create a to conclude the scene. , in my opinion, that it is completely superfluous, so what more can a Frenchman of Algerian origin, with a Tunisian of Tunisian origin, gather much more than the shameful scene of Qaflah, which has nothing to do with his foreplay, when Farah sent him verses from the book “The Collar of the Pigeon” from the chapter of fame and the thousand:

“I learned the clouds from my affairs/ So I was filled with life, the huts poured forth.”

And this night in your morning is my companion / With it or on my nights

If darkness does not break with dawn, then (if) I do not sleep through my eyelids

Until the day we have no way / extra sleep at all times

As if his stars and clouds hide his/her age from the eyes’ knowledge

A conscience in your father, Manaya / It does not become clear except by conjecture.

(Eng. Jamil Khader)

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