“The most provocative of the bunch is John Smith’s Who Are We?. Leading up to the Brexit vote, BBC’s Question Time became ever more vicious and confrontational.
Assise au bord de la faille béante, elle a attendu longtemps, trop longtemps que la montagne lui rende son amant prisonnier des glaces.
Les voix, les cris des prisonniers échappent à la litanie des jours...
“But the big surprise [of Film Society of Lincoln Center’s Art of the Real series] is Brothers of the Night, a docudrama about Bulgarian Roma hustlers in Vienna.
« Tu te prends pour Charles Quint ? (Charles Quint avait organisé une répétition générale de son enterrement, commandant spécialement une musique pour la circonstance. Ayant pris froid pendant ces répétitions, il meurt quelques semaines plus tard). Ou pour Molière?
In the buildings of the IBIS maritime boarding school in Ostend that look out towards the sea, boys from six to sixteen sleep, eat and play. They learn how to read the sea, sail with a fishing boat and help haul in the catch.
“Diaz fashions an inexplicably transcendent journey to the end of the world, deeply soaked in melancholy and open to almost all possible interpretations.
Grands travaux is set in the Institute Anneessens-Funck, a Dutch-speaking vocational school in the centre of Brussels where young students have come to learn a trade.
“Cinema can’t get more iconic than this, as the Ta’ang, made itinerant by war, create shelter with whatever they can find, which usually means sticks and stones. Wang watches as a group tries to build a frame for a tarpaulin roof with bamboo poles scavenged from what grows along the road.
“But there is a fourth woman, the Indian rancher who, one day, without knowing why, walks into that classroom. In a way, I would say that she is really the character who stands out, because she is not simply a sociological character. Nor is she here to show loneliness or desperation.