In hindsight, the expressionistic collaborative feature Seagulls Are Dying in the Harbor by Flemish filmmakers Roland Verhavert, Ivo Michiels, and Rik Kuypers proves especially suited as a milestone film for Belgian national cinema, carrying the international distinction as the country’s first feature film to be screened at the Cannes Film Festival. Set in postwar Antwerp, […]
Category: National Cinema
Death on a Full Moon Day, 1997
For the impoverished villagers of Prasanna Vithanage’s Death on a Full Moon Day, the civil war is an abstraction, a distant reality removed from the struggles of everyday life. The idea of war as self-reinforcing, interwoven ritual is prefigured in the opening sound of a Buddhist chant (alluding to the solemn observance of the full […]
Dark Night of the Soul, 1996
A transplantation of Leo Tolstoy’s turn of the century novel, Resurrection from Tsarist Russia to modern day Sri Lanka, Prasanna Vithanage’s Dark Night of the Soul also finds kinship with Shyam Benegal’s Ankur and Carl Theodor Dreyer’s The President in its potent examination of class division, spiritual desolation, and moral anxiety. Alternating between past and […]
Without Anesthesia, 1979
A successful international journalist, Jerzy Michalowski (Zbigniew Zapasiewicz), makes a guest appearance on a televised variety show to reflect on his life and work. Candid and self-assured, Jerzy’s evasive comments on the limited freedom of the Polish press on domestic issues causes concern to a programming official who believes that the serious topics discussed in […]
Man of Marble, 1977
Agnieszka (Krystyna Janda) is a determined and tenacious film student who believes that she has found the ideal subject for her diploma film: an investigative documentary on Mateusz Birkut (Jerzy Radziwilowicz), a postwar working-class hero who fell into government disfavor and disappeared into obscurity. Her producer (Boguslaw Sobczuk) reluctantly agrees to give her 21 days […]
The Promised Land, 1975
An introductory shot of a solemn, aging German aristocrat named Bucholz (Andrzej Szalawski) gazing abstractedly out the window of his opulently furnished, baroque estate in morning prayer that is intercut with cutaway images of workers emerging from crude shantytowns built alongside the railroad tracks establishes the polarized economic climate of late nineteenth century Lodz, as […]