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Elijah Moore
Elijah Moore

Fantomas Subtitles Romanian __TOP__

Walking on WaterOctober 27, 4:00 p.m.West Building Lecture HallTen years after the death of his partner, Jeanne-Claude, Christo executed The Floating Piers, 24 acres of shimmering yellow fabric in a modular floating dock on Italy's Lake Iseo. Rippling just above the water's surface for 16 days during the summer of 2016, the artwork gave a million visitors the experience of walking on the lake from Sulzano to Monte Isola and the island of San Paolo. The film crew had open access to the artist and his team for an unprecedented look at the project's complexities. (Andrey Paounov, 2019, subtitles, 100 minutes) This film is shown in association with Films Across Borders: Stories of Water.

Fantomas subtitles Romanian

La Pointe CourteIntroduced by Nicholas ElliottNovember 11, 3:00 p.m.West Building Lecture HallAgnes Varda's first feature, La Pointe Courte was filmed with a small crew in a coastal fishing village and, typical for Varda's work, proved to be ahead of its time, ultimately inspiring the cinematic new wave in France. Local fishermen play themselves, while a pair of actors, playing a young couple with marital woes, arrive on holiday, a counterpoint to local life against a backdrop of Varda's neorealist visuals. (Agnes Varda, 1954, subtitles, 86 minutes) Nicholas Elliott is US correspondent for Cahiers du cinéma.

The Lost ParadiseOctober 6, 4:00 p.m.East Building AuditoriumThe daughter of a republican intellectual who died while in exile returns to her ancestral home in a village in Castile to take charge of her father's legacy. Capturing the disenchantment of Spanish exiles who left their homes to protest Franco's fascist regime, but who then returned to find that democracy had not made much difference, Patino based his narrative on his own life experiences. In a literary subplot, the daughter (who has been living in Germany) is also in the process of translating the German lyric poet Friedrich Hölderlin's Hyperion into Spanish. (1985, subtitles, 35mm, 94 minutes)

The bumbling protagonist of The Witness stumbles through a series of minor appointments at which he unerringly and hilariously fails, most famously in cultivating the "Hungarian orange." At his final trial, this tart film issues defiance against a regime defined by favoritism and betrayal. In celebration of the film's 50th anniversary, the newly restored print that was a highlight of this year's Cannes Film Festival will be screened. (Péter Bacsó, 1969, subtitles, 103 minutes)

The Barnabas Kos CaseIntroduced by Rastislav SterankaNovember 9, 1:30 p.m.West Building Lecture HallWhat happens to a humble triangle player when suddenly appointed official party director of his orchestra? The Barnabas Kos Case shapes this fanciful scenario into a droll and piercing plot. Although Slovak director Peter Solan and his collaborators belonged to the generation of the Czechoslovak New Wave, their film also bears the artistry and drive of a classical Hollywood narrative with a character arc that depicts how a minor musician turns cultural tyrant when touched by power. (Peter Solan, 1964, subtitles, 92 minutes) Rastislav Steranka is the director of the Slovak Film Institute, Bratislava.

Case for a New Hangman is unique among the works of the Czech New Wave. Pavel Juráček adapted part three of Gulliver's Travels into a sci-fi journey through socialist Czechoslovakia. The confining borders, polluted landscapes, perverted justice, and public surveillance of a socialist land transform into an unsettling new world, for discovery (in the film's alternate title) by A New Gulliver. (Pavel Juráček, 1969, subtitles, 102 minutes)

In Two Men and a Wardrobe, a great early short by Roman Polański, two men carry a wardrobe out of the sea, only to find unrelentingly hostile conditions on land. (Roman Polański, 1958, subtitles, 14 minutes)

The Garden is a rediscovered landmark in Jan Švankmajer's oeuvre and the short that originally admitted him to the Czech surrealist group. One man invites another to his country home, which is protected by a very unusual hedge. (Jan Švankmajer, 1968, subtitles, 16 minutes)

The downside of the cold screening rooms was that I felt ill following the first screening on Saturday night. Of eight films, I saw five. Of the five films seen, the two Spanish films had English subtitles. The other three films had Spanish subtitles. I don't speak Spanish, though I can recognize some words. I do like to think that I speak Cinema.

The opening night film, Tungstenio still resonates with me. Seen in Brazilian Portuguese with Spanish subtitles. Heitor Dhalia's film is full of dynamic images. At one point, a scene was filmed with the widescreen camera lens positioned vertically, for a temporarily disorienting moment. I undoubtedly lost some details and nuances along the way, but essentially the film is about one very bad cop, Richard, and his volatile relationships with the world, including his wife. With much of the action taking place on a dilapidated beach in Bahia, the viewer isn't even certain if Richard actually is a policeman, or just a guy with a gun. Among Richard's targets are a couple of guys trying to get by with dynamite fishing. Dhalia and writer Marcal Aquino keep things going at a trim 79 minutes. What I also liked was having the opportunity to see a different kind of Brazilian film, away from Rio and Sao Paulo, and neither exotic nor particularly humanistic.

I would encourage the filmmakers to consider an alternative title for H0US3, if only to not get their film confused with the several other similarly titled films. Seen in Spanish with English subtitles. A low budget sci-fi thriller that mostly takes place in one room. A reunion of college computer nerds slowly builds up after establishing the basic premise - a specially encrypted file has been found in Wikileaks, and their are suspicions regarding the contents. Almost sixty years after Kiss Me Deadly, the Pandora's Box is an online entity, while the curiosity about what's inside has not changed. Manuel Munguia and his team make effective use of limited special effects. Once the major plot twist kicks in, the narrative becomes riveting, especially during moments when reality gives way to virtual reality. I would hope H0US3 finds life in other film festivals.

Curiously, the two films by female filmmakers originated from countries that were satellites of the Soviet Union, and have stories about the effects of the changes when several eastern European countries declared independence and the two sections of Germany reunited. Natalie Saufert's Resentment takes place in Moldova during the Transnistria War in 1990, a conflict that was generally ignored by western news agencies. Transnistria is a stretch of land on the border between Moldova and Ukraine. Galina is thirty, alone, and living a life with few available options. She falls in love with a man, a mercenary, who is out of her life when she is pregnant. Galina establishes a life with another man who raises Galina's child as his own. This film was seen in Romanian with Spanish subtitles. What did not need translating were the observations of life in a small town, and the presentation of presumed male entitlement.

Irina Arms' Extreme Number is German film inspired by true events. Arms alternates between a narrative that takes place in 2004, and documentary footage of Chechen terrorist Shamil Basayev. Taking place in Berlin, a young Chechen refugee, imprisoned, gets involved with a young woman who serves as his translator. She helps him escape from prison only to find herself horrified to discover that he is part of an underground network, and is planning a suicide bombing mission. Most of the film is in German, with some Chechen and Russian, with Spanish subtitles. I could only do a very rough translation of a scene with philosophical implications that would figure into the latter part of the narrative. What any viewer could understand is the moment when the would-be suicide bomber makes his way into an embassy reception and hesitates once he is aware that there are children in the room.

For DVD material the original language is indicated, together with brief details of the subtitle options. Many of the DVDs in the collection offer optional subtitles in a range of languages. For further information on these language options, follow the link. 041b061a72


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