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Explore the world of original plots and unique storytelling with Sylvy, a film major and chronic indie fan. She will steer you toward the best that independent cinema has to offer at home and abroad, past and present.
Now go get the popcorn ready...
By Sylvana Fernandez
Le scaphandre et le papillon (The Diving Bell and the Butterfly)
Director: Julian Schnabel
Release Year: 2007
The Diving Bell and the Butterfly is difficult to watch from the very first scene. Literally told through the left eye of 43-year-old Jean-Dominique "Jean-Do" Bauby (Mathieu Amalric), the film chronicles how he manages to blink out the memoir of his life both as editor of Elle France magazine and as someone suddenly and completely paralyzed with what’s called "Locked-in syndrome."
The story (based on true events) is so tragic that the film could have easily become too emotional and didactic, but screenwriter Ronald Harwood avoids this by making Jean-Do’s narration very matter-of-fact, even when he’s discussing his plans for the future: "I decided to stop pitying myself. Other than my eye, two things aren’t paralyzed: my imagination and my memory."
Also contributing to the impact of the film is the cinematography: Director Schnabel’s background as a painter is obvious in the unique angles and visual effects he employs for Jean-Do’s recollections and daydreams. Add to that stunning shots of the French coast in contrast with the heartbreaking images of Jean-Do propped up in a wheelchair, and it becomes obvious why the introspective, haunting tale won two Golden Globes in 2008.
Die fetten Jahre sind vorbei
(The Edukators)
Director: Hans Weingertner
Release Year: 2004
Half-political and half-morality tale, The Edukators manages to be both fun and thought-provoking. The film starts off with Jule (Julia Jentsch), a twentysomething German waitress drowning in debt from a car accident she had with Hardenberg (Burghart Klaußner), a business executive. She can’t pay for her apartment anymore, so she moves in with her boyfriend Peter (Stipe Erceg) and his friend Jan (Daniel Brühl).
When Peter is out of the country for a weekend, Jule is fired from her job and vents her frustration with Jan, who has a crush on her. He tells her that he and Peter are the infamous "Edukators," an anonymous group of vandals that break into wealthy homes when their owners are on vacation. Instead of stealing anything, the Edukators rearrange furniture and leave cryptic notes saying, "Your days of plenty are numbered" to instill fear. Wanting revenge, Jule persuades Jan to break into Hardenberg’s house, and things are fine until Hardenberg returns home early from a vacation. In a panic Jule, Jan and Peter decide to kidnap him until they figure out how to deal with the situation, but instead the days spent with their hostage only break down the ideals they claimed to have and their friendship as well.
The strength of the film lies in its witty dialogue and tight performances, especially Jan’s, whose conversations with Hardenberg ("I’ve got news for you, Corporate Man: Your days are numbered!") are creepy in retrospect for their foreshadowing of the scandalous downfalls of US executives that lead to the current economic crises.
Kiss Kiss Bang Bang
Director: Shane Black
Release Year: 2005
Anyone who enjoys dark humor has to watch Kiss Kiss Bang Bang, a murder mystery that mocks murder mysteries in a style reminiscent of Hot Fuzz. Narrated brilliantly by main character Harry Lockhart (Robert Downey, Jr.), a New York thief masquerading as an actor, the film tells the story of how Harry’s arrival in LA coincides with a series of deaths that end up connecting him with a private eye called Gay Perry (Val Kilmer) and his childhood crush, struggling actress Harmony Faith Lane (Michelle Monaghan).
The odd trio must solve the crimes and save themselves from villains, a difficult task considering Harry and Perry’s constant bickering and Harry’s unsolved issues and romantic tension with Harmony. The result? A hilarious adventure full of mishaps and unexpected turns, made better by action sequences that don’t seem over-the-top and sharp dialogue.
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