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Reviews
Fanny och Alexander (1983)
Mystery or Misery? Reflecting on Bergman's 'Fanny and Alexander'
The greatest talent of an artist is measured by the timelessness of his work. Ingmar Bergman undoubtedly creates such a masterpiece by delving into the inner motives of his characters, separating their true nature from their outwardly fraudulent diligence and honesty. Hypocrisy is not a modern invention, as shown brilliantly in 'Fanny and Alexander' from 1975.
It is frightening how hypocritical ideals change over time, yet the underlying desire to pretend is passed down through generations. The Church and its rule back then, and later communism and socialism-in the wrong hands, these can become tools of oppression rather than means of prosperity and love. Bergman's characters stand firm against emotional and physical abuse, triumphing with the freedom of life.
Magic, love, and joy are the instruments that fortify cruelty. For Alexander, the world of dreams and imagination is a way to complete the puzzle of reality. His unconscious manifests in the form of ghosts of past people to provide support, or even become an inner governor as in the case with the bishop. Additionally, the miracle of Judaism and its spiritual power resurrect justice in several ways: more obviously and straightforwardly through the children's rescue by Isak, and another much more mysteriously-through the androgynous angel Ismael's sensitive perception of Alexander's hostile inner thoughts and their aim to fulfil the tantalising hope, which granted Alexander physical escape but a mental trap. Could this be the reason for keeping Ismael locked up?
Last but not least, the overarching theatre theme serves as an allegory for liberty and the triumph of imagination. The theatre disappeared, and creativity was oppressed during the bishop's rule. Its reappearance marks a new chapter in the Ekdahl family's history. The reference to Hamlet in Alexander can be noticed from the second act. The Ekdahls are irreversibly associated with the world of theatre and cultural anthropology. Interestingly, the family members are shown to possess recognisable sins, yet remain honourable and pure-the contrast appearing throughout the personages of the movie. Progressive views go hand-in-hand in the artist's house: about love and marriage, about the relationship between women and men, and about women's position in the world.
Although the movie is mostly a reflection of reality from Alexander's perspective, his sister Fanny appears to shadow her brother's rebellion with a soft acceptance of events.
This movie's artwork reflects on religious rules, the artistic opposition to all the unfairness of reality, and the power of art and magic to withstand it. It is strong yet funny and catchy, serving as a pillar of hope and faith against the darkest sides of ourselves. Bergman's visionary ideas make this movie worth watching even today!
Poor Things (2023)
Unveiling Authenticity
I'm still in awe after watching 'Poor Things,' although almost a week has passed since. It's a good reminder for all grown-ups to trace the societal influence on us. A pure child's brain in a woman's body creates a distinct contrast in her ability to express herself compared to the rest of the human beings around her. It would be unwise to call for everyone to exhibit infantile behavior. Having said that, staying aligned with the intrinsic values of life, which you can sense since childhood, is what makes you unique as an adult. In the created contrast in the movie, you can see that there are roughly two categories of people. The first is those who remain honest with themselves: they are pure souls and aren't confused by 'proper social behavior,' looking at the heart of things and communicating without borders. The second is those who prefer wearing masks of socially approved manners: they are nothing but fearful, greedy pitiers who traded the purest happiness for seeming assets. It can be argued that my version is too simplistic. But for the sake of convenience, I needed to make it black and white to pinpoint the basic idea of preserving the purest souls (which we all are or were) from damaging herd mentality. Be true. Be authentic. This is one of my takeaways.
La passion de Dodin Bouffant (2023)
La passion de Dodin Bouffant or Food being a Flirt Instrument
Who would think that a 2-hour food drama can be captivating? Yet, it is, especially if the movie is directed by Anh Hung Tran and features a crew to the viewer's taste. I believe the secret recipe of the movie's success lies in its analogy of food being an instrument of love. We see this not only in the straightforward relationship between the cook and the gourmet she has been working for, but also in the way they express their love for each other, in subtle jokes, like men covered with napkins and going for 'another round' of chicken wings, and in the love of nurturing the estates. With food flirtation being the red thread of the movie and French cuisine as the quintessential form of art, the development of Eugénie and Dodin's relationship appears elegant and is reminiscent of the sentiments of the past century.
Nevertheless, the passion for food comes from the development of taste. The storyline of a young girl with the rudiments of future culinary talent exhibits this idea. Being able to recognise and express the myriad scents of a dish's symphony, she is heading her future towards a culinary career. Everyone should watch it, but with a caveat: your own food sensitivity will likely enhance as a byproduct of watching the main characters' attitude towards the dishes, assessing them with great attention and delight.
Leaving all else aside, the aesthetic pleasure derived from viewing the French garden, the exquisite interior, and dish designs, and the sunbeams in the kitchen, creates an idyllic balance in the movie, making it a perfect pastime for a connoisseur of elegance. I would highly recommend this movie to those who are looking for unique aesthetic pleasure in cinema.