By Roger Costa
THE INSULT
Already on the shortlist up for the Foreign Film Oscar, accomplished Lebanese director Ziad Doueiri’s powerful courtroom drama has the ability to stir up controversy and deeply moving reflections with its humanitarian message. Structured with the tensions of a ticking-bomb, it digs up the lives of two men, Tony, a Christian mechanic caring for his pregnant wife, and Yasser, a Palestinian refugee trying to make a living in a construction company. An incident involving a drainpipe results on the collision of these two hot-headed yet prudent men, as they insult, threaten and eventually attack each other. The snowball goes to court and provokes a national revolution, dividing ideals, in a tumultuous trial dealing with topics of contemporary social crisis, prejudice of race and religion, human rights, politics and memories of Civil War. A work of extreme importance for its intensity and accurate, sharp depiction of integrity, dignity and Justice, as well as the power of words, it keeps you thrilled from start to finish. Had this been a Hollywood film, it’d certainly be among the top contenders for other award-praises such as its tour-de-force performances, the precise editing and the phenomenally articulated, twisted screenplay. (Cohen Media Group. Opens 1/12 at Lincoln Plaza and The Quad.)
VAZANTE
Brazilian director Daniela Thomas’ seductive Western is set against the mountainous region of Minas, during the diamonds explorations of early 1820s. In this splendorous scenario, a wealthy trader comes home only to find his wife dead and unborn child at the labor room. As an arrangement for solving debts, his brother-in-law offers his daughter to become his partner, initiating an ambiguous relationship. While Antonio is out on business, Beatriz is experiencing her early sense of freedom among the slave children. Gloriously shot in B&W, Thomas conceives contemplative images that reflect on its diverse characters’ emotions with lyricism: a slave on the run, the parents’ expectations, Antonio’s silent anguish and grief, and the innocent desires of young Beatriz- delivering an enigmatic performance by first-time actress Luana Nastas. An exuberant epic production, this Berlin Official selection marries Gothic and baroque styles with spellbinding results. (Music Box Films. Opens 1/12 at IFC Center.)
LOVER FOR A DAY
New Wave Master Philippe Garrel’s Cannes-winner new film is a lovely observation on all symptoms related to love, its uncontrollable force, its ups-and-downs, the sparkling wonders and the conflicts of breaking-up. A young girl finds shelter at her father’s flat after leaving her boyfriend. Also on board, is her father’s lover, one of his students, an independent and passionate woman. Brilliantly shot with foggy layers in sensual B&W and built with insightful commentaries on fidelity, co-dependence, sexual desire and heartache, testified by the narrator’s detailing on the characters’ frustrations, Garrel composed a timeless piece of art, a mature, organic and utterly charming look at the traps of loving. An early refreshing Valentine’s treat. (MUBI. Opens 1/12 at Film Society of Lincoln Center.)
MY ART
Artist Laurie Simmons’ directorial debut looks at the process of creativity with satirical elements on modern behavior and our individual interpretation of art. She plays an art teacher who leaves for the country in Upstate New York, where she’ll spend summer looking for inspirations for a new project. As she meets strangely neurotic folks, and flirts with a widower, she introduces them into her artistic world, re-creating memorable movie moments, such as in “Clockwork Orange” and several homages to golden stars as Monroe and Dietrich. An enthusiastic, offbeat comedy about hope and dedication with hilarious appearances by Indie regulars Parker Posey and Josh Safdie. (Film Movement. Opens 1/12 at Quad Cinema.)
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