Yogi's Movie Consumption Blog

A filmmaker with filmmakers block comes to town. A rather lighthearted look about what people do if... well, if they just bump into each other and have a lot of rather weird agendas. Very interesting camerawork, with zoom-ins on a subject followed by zoom-outs (all on tripod). Sort of Korean Jarmush, with some rather undecipherable jokes once in a while. There was some really hilarious stuff, but overall the film didn't excite the jury - I happened to sit in front of them, and just by the occasional remark when leaving the theatre, I could feel they were not overly excited, although they didn't really comment on the movie.

A magic fish transforms herself into a human little girl to be with the boy she loves. Very simple story, definitively one for the kids. But the universe that is created hosts so many possibilities that James Cameron must be hitting himself on the head with a frying pan - compare this to the utter boredom of the abyss world, where the only really "fantastic" thing about the other undersea world is, that it is mostly hidden and just glows in the background. But then again - the abyss made more money, so... Beautiful mystery world, everything is permeated with magic, every movie should have that.

A samurai gets into the frontlines of two rivaling gangs in a small town. Brillantly done, especially how the scenery is setup and the mise en scene is fantastic. I especially love his people talking to each other with their backs facing. There might something to be gained just be studying when people talk face to face and when back to back. Very clear setups and extremely revealing of what is happening with all the characters in the scene. Bold character strokes: Ikonichi, the half-wit, counting fingers. The wolfish brother in his colored dress and dancer-like moves. The wife with too much makeup.

After his drivers' son is accidentally kidnapped instead of his own son, a shoe factory executive is faced with a lot of moral decisions. Beautifully staged, lots of interiors and great use of empty space between the actors. The story is very surprisingly linear, and the plot and its resolution deceptively simple. Nevertheless, the film leaves one with a very strange uneasy feeling. The kidnapper seems to have a rather complicated inner life and although good triumphs in the last scene there is a very strong (visual) suggestion that Mr. Gondo and the kidnapper are indeed flip sides of the same coin.

  A mans savings for his wedding anniversary gift are stolen by a former colleague. A very simple story with the flavour of a social fairy tale. It's cute to watch and it has been directed by an extremely experienced hand. Unfortunately, there are no experiments or risks taken whatsoever. So you get a nice, but ultimately forgettable film.  For me the most interesting aspect is, how the social problem is carefully woven into and becomes an essential part of the story. Basically, the main character is motivated by guilt - unfortunately, the movie does not deal with the aftermath from the point of view of the thief (the voice of truth, so to speak).

Very acoustic album, midtempo some influences of country, folkish. Rest is rather indie. Uplifting, very catchy hooks. Best tracks: "Good Dancers", "Come To This", "Tell the Girls.."

A man loses life and memory and finds refuge and love in Helsinki's salvation army. Beautifully shot. It is not as rigid as the newer Le Havre in placing the figures in the scene. The intensity of the beginning is visually underscored by shooting a lot of the outside scenes in the golden hour. My favorite scene is the appearance of the lawyer in the police station and his dialogue with the inspector, both of them quoting text from the lawbooks. Loads of closeups with somebody staring into the camera. Should read a book about style of Kaurismäki working on set.