Court Movie Review & Film Summary (2. A courtroom drama usually offers at least some of the. The oration from the lawyers practically dares you to. The case itself is jaw- dropping in its staidness. The arguments are. For most. of its 1. Advertisement. And yet, Indian filmmaker Chaitanya Tamhane’s first.

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How did this. happen?“Court” deals with an aged Marathi folk singer living. Mumbai, Narayan Kamble, who’s arrested on a bizarre accusation. The state. alleges that a song he performed drove a manhole cleaner to commit suicide, and that he is therefore responsible for the man's death. The case comes to the attention of Vinay.

Vora (Vivek Gomber), a well- educated and well- off lawyer. Narayan’s fight. He’s up against the public prosecutor Nutan. Geetanjali Kulkarni), who couldn’t be bothered with the plight of Narayan or. Together they’re in front of Judge Sadavarte (Pradeep. Joshi), who doesn’t care for anything except upholding his archaic morals and. In the funniest scene in this surprisingly funny film, the Judge refuses to hear a case because the plaintiff, a woman. There are times when it feels as though the real accused in .

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The setting’s claustrophobic nature would. Tamhane takes the opposite means to achieve a. His script, carefully structured but not gaudily so, considers the. This approach is integral to the. No character is a villain hell- bent on destroying. Narayan’s life. They are all just cogs in an unfair machine.

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The viewers follow Vora as he attends a posh club with. Clearly, he can afford to pick up a case so obviously headed. English in the. courtroom even though it wins him neither favor nor friend. Forget ignoring the price tags, for her even.

Advertisement. There is a moment where it feels like “Court” could end. The viewer has understood what this universe. And the filmmaking builds up to a memorable closing shot. But then the. film goes on. Over a coda that’s perplexing at first, Tamhane unveils his trump.

With a series of scenes that are remarkable in their assuredness, he. The acting elevates the words on the page and makes.

Gomber, who also produced the film, brings a sense of lumbering calm. At one point, after being shockingly reminded. It’s not just his. Kulkarni is pitch- perfect as a. Maharashtrian woman.

The way she reads out the list of charges. English, only to segue into. Marathi when she’s done, is hilarious in its accuracy. Some cast members were.

In the case of the woman who plays the. Her husband was a. The seemingly interminable drawl of the case is echoed in the filmmaking style, with cinematographer Mrinal Desai utilizing lengthy, static takes. Scenes continue a few seconds or even minutes after the point where other filmmakers might have opted to cut.

This ends up adding to the film’s authenticity; the action doesn’t feel directed by force as much as it feels captured by fluke. It’s also a showcase for the impeccable detailing in the film’s environment.

As one character gets assaulted outside a restaurant, the framing allows you to see the security guard escape into the safety of the building, while the unending take forces you to watch what he’s successfully hiding from. That, perhaps, is why “Court” ends up being a great courtroom drama: it treats the audience as both witness and jury and lays out a sprawling argument for them to ponder over. It’s hard to shake this one off long after the credits have rolled.

Korean Movie Reviews for 2. In early 2. 01. 5, concerns persisted that the mainstream commercial film industry is no longer as dynamic or creative as it used to be.

Not only was there a shortage of critically acclaimed films appearing in the first half of the year, but more generally, the increasingly corporatized system for making films seems to favor familiar stories, styles and casting over bold and innovative creative choices. Apart from facing great challenges in terms of distribution and marketing, the independent sector is dealing with steep cuts in support from the government (which appears to have adopted its hostile attitude due to the criticism contained in works like documentary The Truth Shall Not Sink With Sewol). Even if the average Korean film is perhaps not as interesting as it was a decade ago, the highlights are still worth following. Gangnam Blues takes place in 1.

Korean title is simply . Jong- dae (popular singer/actor Lee Min- ho) and Yong- gi (Kim Rae- won) are two young men who enter adulthood as destitute rag pickers, but through a combination of ingenuity, skill, violence and grit start to rise within the heirarchies of rival gangs. Eventually, they become minor players in the drama of Gangnam's transformation. Apart from these surface details, the genre is also particularly well suited to depicting the mechanics of power: how one person outstrengths, outsmarts, buys or seduces another, within a complex overall heirarchy of power relations. The best gangster movies are just as much about money and politics as they are about violence. A Dirty Carnival (2.

Once Upon a Time in High School (2. Gangnam region in the 1. Both films present violence not as isolated acts, but as part of an overall system in which people are driven by need, ambition and fear to exploit the weak and seek out vulnerabilities in the strong. Gangnam Blues also proves to be a showcase for Director Yoo's vision and talent. Although it requires some concentration to follow its complex plot, the film imparts an impressive depth to the violence and deception shown on screen, as if it were all a part of a tense chess match. At the same time he devotes considerable attention to the surface: the look and energy of the film is thrilling, and the crowd fights in particular are as painful to watch as they are impressively choreographed and executed. The end result, as with his previous films, is that Gangnam Blues addresses the topic of violence in a sophisticated way, but never fully de- glamorizes it either.

You could flag this as one of the work's faults, or you could argue that the contradictory feelings that the film gives you - - of being simultaneously repelled and seduced by violence - - is what makes it interesting. But in many ways the development of Gangnam, which was driven forward by a mixture of corruption, greed, and violence, parallels the way in which South Korea as a whole achieved its economic miracle in the second half of the 2. So as specific as this film might be in terms of its local details, the story it is telling is the story of a nation. Here he gives a convincing performance as an outwardly good cop, generous with his underlings and always maintaining calm exterior, yet seething with societal anxiety and moral guilt inside. Conversely, some viewers enamored of the excess emotional gymnastics of a typical Korean TV drama might find it bland and dry. The president of the academy (Uhm Ji- won, Like You Know It All), glamorous and suave, is allegedly running a military- sponsored educational program that will result in two students to be sent to Tokyo on full scholarship. Kazue (Park So- dam, Ingtoogi), a star athlete of the school.

It starts off pushing all the expected buttons for a young- girl- in- school- uniform K- horror, but then it veers sharply off into a completely different sub- genre (to concretely name that would in fact constitute a major spoiler), ironically one that you might easily expect from Japan (Kaneko Shusuke, one of the doyens of the Japanese tokusatsu cinema, in fact recently made one film in this mode). Among the cast members, the strongest impression is left by Park So- dam, whose earnest, slightly quizzical expression is sometimes heart- breakingly attractive. Alice in Earnestland is a bit creepy, a bit gore- y. Thankfully, in this case, the gore is not overdone. We are not pummelled with punished characters but with plausibly paced plow throughs.

Still, the film is not for the easily squeamish. We first meet her through her sartorial and transport choices. We witness both as the camera focuses on her foot as she parks her motorized scooter before we see her face. Like the gore, her quirky outfits are not overdone, but her clothes and her primary mode of transportation puts her outside the mainstream. We immediately peg Soo- nam as strange. But her strangeness is tempered somewhat since she is quickly placed in a dyad with Kyung- sook (Seo Young- hwa - 4 Hong San- gsoo films, including Hill of Freedom & Right Now, Wrong Then), a counselor whose manner of speaking and facial grooming presents her as strange in her own way as well.

We immediately begin to wonder what Soo- nam's beef is with Kyung- sook when we witness Kyung- sook tied up in her chair and across from her desk sits Soo- nam eating a boxed lunch. A nicely edited back story takes us through Soo- nam's adolescence and young adulthood to where she marries Kyu- jung (Lee Hae- young - Glove & The Himalayas). After putting themselves in debt by buying a house, Kyu- jung develops hearing loss. Rather than encouraging the learning of Korean Sign Language, the couple is pushed towards a cochlear implant, and hence further debt, but are warned that the procedure isn't perfect. There might be consequences. Alice in Earnestland proceeds to deliver on those consequences, much of which has to deal with housing speculation. If there isn't already a film studies scholar writing a book on the presentation of the housing market in South Korean cinema, all I ask is the eventual writer of such a treatise thank me in the acknowledgements for the idea.

As an actress who was thrust on South Korean screens as the metaphorical ghost of the Gwangju Massacre in Jang Sun- woo's masterpiece A Petal, hers was one of those roles that made me apprehensive of such a young performer in such a horrific role. Knowing Jang was quite the bad boy of South Korean cinema, one could think of no more daunting of a debut character for such a young actor. Thankfully, Lee appears to have weathered that role well, going on to be an early K- pop star and continuing to act in powerful adult roles such as the mother in Juvenile Offender. Lee is the spark that keeps re- lighting some of the best moments of Alice in Earnestland. Other performances stand out as well.

Seo plays Kyung- sook as nightmarishly creepy, but so is the character of her husband Do- chul (Myung Gye- nam - A Petal & Thuy), a nightmare of a different kind. And after finding myself unconsciously smiling when Ji Dae- han (Peppermint Candy & Juvenile Offender) entered the frame as Detective Park, I realized Ji has been growing on me as an actor. The film's cliched reliance on the disability- as- tragedy trope (twice!) to suspend the disbelief of the audience on the trajectory of the plot is the one complaint I have about this otherwise engaging film. All of the horrors that happen to Soo- nam and Kyu- jung and the miscreants and cops she leaves in her wake would not need to happen if Korean Sign Language were considered an available option. It would have taken some time and money to learn, but nothing like the cost of the cochlear implant presented in the film. Still, issues confronting the disabled and the Deaf do intersect.) It's easier to communicate by sign languages from a distance, say across the street, where people can't hear you well. You can use sign languages at loud venues like concerts.

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