By Roger Costa
ICEMAN
Based on the discovery of Ötzi, one of the oldest mummies in the world, also known as the Iceman, writer-director Felix Randau’s Locarno Festival sensation is an electrifying re-imagination of an era where savagery ruled and anything could be defied in order to survive. Prolific German actor Jürgen Vogel scores another enigmatic role in his award-winning career (he won several awards for his acting including in Berlin, Tribeca and Chicago). He plays the protagonist, a caring, strong family and tribe man. A carnage fills the screen with blood, as a group of rebels brutally murder the members of Kelab’s tribe including his own family. Only his newborn survives, and Kelab, filled with rage, furiously determined to avenge their deaths, will do everything possible to keep him safe. An exquisite odyssey of revenge, director Randau crafts a sumptuous thriller, recreating the long-gone period with perfection and convincing techniques. The use of a dialect makes it an intriguingly observational story, while the rustic aesthetic creates a Gothic atmosphere filled with suspense and unexpected gory combats. A gripping take on the origins of humankind- and its inevitable bond to violence. (Film Movement. 3/15. Cinema Village.)
ASH IS PUREST WHITE
Deeply moving and sensitive, this is Chinese master Jia Zhangke’s most romantic and violent film to date. Spanning almost two decades in the lives of a couple engaged in a seemingly impossible love affair, Zhangke once again blends social commentary, drama, action and dark comedy to address his nation’s contemporary issues such as over-population, unemployment, insecurities of the lower class, desperation, resilience and the temptations of the criminal easy-money activity. He masterly explores these themes, composing a love letter to humanism throughout the journey of a woman, recently released from prison in search of her gangster boyfriend. He also brilliantly articulates the story as a puzzle, building up climax after climax, as she’s caught up by twists and disappointments in most of her encounters- the use of objects, such as the cell phone, to direct the transformations over time, becomes a useful character itself. Cinematographer Eric Gautier enlightens the screen with marvelous, astonishing tones and angles vigorously absorbing the sensibility, melancholy, courage and anger of its protagonist and the fallen world around her. A near-perfect production, beautifully designed and meticulously composed by one of contemporary cinema’s most revered auteurs, the film actually belongs completely to the director’s constant muse Tao Zhao (they’ve been married since 2012), who carries and embodies the film’s concept with a firm, furiously silent presence, able to intimidate, intrigue and fascinate at the same time. Her top-notch performance scored her the Best Actress Prize in several festivals including Chicago, Minsk and Asia Pacific Awards. Visually striking, poetic and an effervescent portrait of co-dependence, social, economical and moral standards, Zhangke deserves all praises for this victorious accomplishment. (Cohen Media Group. 3/15. Quad Cinemas and Film Society of Lincoln Center.)
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