Loss Is to Be Expected, Ulrich Seidl, 1992 Morris has these carefully crafted tableaux: there’s one continuous shot where a woman has a 15-minute lament, complaining about aspects of her life, and that’s where the film becomes something altogether greater and more mysterious. We eat animals, we use them for labour, but then we keep them in our home as objects upon which we project love that we maybe lack elsewhere. It’s about two families in California who run pet cemeteries, and it looks at humans’ relationships to their pets. He was taking his time with it so Werner Herzog promised “If you finish this film I will eat my shoe,” which he did. The impostor’s fragility ultimately embodies what it means to be poor and struggling in life, and through that you feel how sad it is that we live in a world where people are measured by wealth and power, and the cruelty that any human being could ever feel insignificant. The film follows this man’s trial in an Iranian court, and then the real Mohsen Makhmalbaf meets the man and takes him to the family. At one point the family realise he’s not really the director and have him arrested. He insinuates himself into a family’s life out of loneliness, to make friends. Close Up, Abbas Kiarostami, 1990Ī man pretends to be Mohsen Makhmalbaf, the director of Salaam Cinema. A scene from Close-Up by Abbas Kiarostami.
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