Two great but underrecognized filmmakers, Spanish director Jaime Rosales and Turkish director Zeki Demirkubuz, present two of their best films this week. Newcomers Maxime Matray and Alexia Walther take original paths, while the highly regarded Gus Van Sant takes on a fictionalized version of a true story.
“Morlaix,” directed by Jaime Rosales:
In the era of social media, moviegoers often know a lot about films before watching them, which takes away some of the joy of discovery. Viewers attending a screening of the eighth feature film directed by Spanish filmmaker Jaime Rosales may be aware of a unique event where the main character watches a film that reflects episodes from their own life. “Morlaix” is a surprising and rich cinematic experience filled with inventiveness in cinema techniques, focusing on the journey of a young girl, Gwen, through various emotional and personal challenges.
Around Aminthe Audiard’s vibrant portrayal, the young cast brings to life moments of tenderness, worry, and physical presence that capture the essence of daily life. The film showcases a blend of black and white and color sequences, as well as changes in image formats, using photos to freeze significant moments in these captured lives with care.
“Morlaix” successfully engages audiences with its unique approach, making them empathize with the characters’ emotions and relationships. The film’s narrative and visual style emphasize the blend of reality and fiction in a captivating and emotionally resonant way.
“Morlaix” by Zeki Demirkubuz:
In his thirteenth film, Turkish director Zeki Demirkubuz boldly challenges traditional patriarchal norms in storytelling conventions. The film, following characters Riza and Hicran through different settings in Istanbul, deconstructs typical narrative structures and blends elements of a thriller, dark comedy, and romance. “Hayat” offers a fresh take on storytelling with a mix of realism and dreamlike sequences, addressing intimate and societal issues with depth and sensitivity.
Gus Van Sant’s “La Corde au cou”:
Gus Van Sant’s latest film is inspired by a true story from 1977 in Indianapolis, where a man named Tony Kiritsis took a hostage during a stand-off with the authorities. Drawing on the tension and drama of the real-life event, the film captures the complexity of the situation and the character dynamics involved.
Despite the solid direction and performances, “La Corde au cou” falls slightly short in delivering a truly immersive cinematic experience, lacking a definitive touch that could elevate it from good to exceptional filmmaking.
