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A Woman’s Way (Strella) Greek Movie

Genres: Drama, Gay/Lesbian

Cast: Panos Koutras, Yannis Kokiasmenos, Mina Orfanou, Minos Theoharis, Betty Vakalidou, Yiannis Kokkiasmenos
Release date:18 November 2009
Director:Panos H. Koutras
Writers:Panajotis Evangelidis (writer)Panos H. Koutras (writer)

A Woman’s Way (Strella) Greek Movie Reviews

When an ex-con meets a young transvestite hooker, they soon discover they share more than a talent for rewiring lamps. After 15 years in the pen, the trim and muscled Yiorgos settles in Athens to look for his estranged son and winds up in bed with Strella (whose getup looks like a cross between Maria Callas and Cher). The good-hearted Strella sings in a low-rent cabaret, cares for a cancer-ridden queen, and generally looks out for waifs and strays. The plot involves a surprising twist that may shock some. Riffing on Greek mythology, writer-director Panos Koutras improbably defies the taboos of the ancients (and the “curse of every tranny”) to create a happy alternative family. Along the way, this independently made production combines dingy realism, the divine Maria Callas, plenty of nudity, gay sex, and campy dialogue.

When an ex-con meets a pre-op transsexual hooker, they discover they have more in common than they think. Riffing on Greek mythology, helmer Panos Koutras’ “A Woman’s Way” improbably defies the taboos of the ancients to end up portraying a happy alternative family. Not nearly as audacious as it might have been, indie production combines dingy realism, the divine Maria Callas and plenty of nudity, gay sex and campy dialogue. Like helmer’s debut, “The Attack of the Giant Mousaka,” pic should appear on menu at gay fests.

After 15 years in the pen, Yiorgos (trim, muscled Yiannis Kokiasmenos) settles in Athens to look for his estranged son and winds up happily in bed with Strella (Mina Orfanou, looking like a low-rent cross between Callas and Cher). When a twist (that can be foreseen early on) becomes obvious at the hour mark, pic runs out of steam, cuing a leisurely detour through melodramatic angst before ending cute. Thesps seem to be having fun, particularly Orfanou (channeling Melina Mercouri and Anna Magnani) and Minos Theoharis, as Strella’s winsome pal Alex. Low-budget tech package suits subject.

Camera (color, 35mm), Olympia Mitilinaiou; editor, Yiannis Chalkiadakis; music, Mikael Delta; production designer, Penelope Valti, costume designer, Vassilis Barbarigos; hair styling, Chronis Tzimos, Sotiris Paterakis; makeup, Appolonia B., Mary Stavrakaki; sound (Dolby SR-D), Panos Tzelekis. Reviewed at Berlin Film Festival (Panorama), Feb. 10, 2009. Original title: Strella. Running time: 113 MIN.

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A man struggling to start his life over finds love under unexpected circumstances in this stylized drama from Greek director Panos Koutras. After serving fourteen years in prison, Yiorgos (Yiannis Kokiasmenos) is released and makes his to Athens, where he hopes to find the son he hasn’t heard from in years. Checking into a cheap hotel, Yiorgos meets a woman named Strella (Mina Orfanou), who makes her living as a prostitute. Yiorgos and Strella end up spending the night together, and when he wakes up Yiorgos is confident he’s found the woman of his dreams — and isn’t at all troubled by the fact Strella is a transsexual. With Strella by his side, Yiorgos feels confident he can mend his broken relationship with his son and make a fresh start, but it isn’t long before he’s confronted with a burden from his past he may not be able to shake. Strella (aka A Woman’s Way) was an official selection at the 2009

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Triangle English Movie

Genre:Horror | Mystery | Thriller

Cast: Melissa George, Michael Dorman
Release date:9 November 2009
Director:Christopher Smith
Writer:Christopher Smith (written by)

Triangle English Movie Reviews

An Icon Film Distribution release (in U.K./Australia) of an Icon Entertainment Intl., Framestore, U.K. Film Council (U.K.) presentation, in association with Pacific Film and TV Commission, of a Dan Films (U.K.)/Pictures in Paradise (Australia) production. Produced by Jason Newmark, Julie Baines, Chris Brown. Executive producers, Steve Norris, Mark Gooder, Stefanie Huie. Directed, written by Christopher Smith.

With: Melissa George, Michael Dorman, Rachael Carpani, Henry Nixon, Emma Lung, Liam Hemsworth, Joshua McIvor.

Set in Florida — but shot in Brisbane and Oz’s Gold Coast, with a largely Australian cast pretending to be Yanks — the story starts in mystifying fashion with stressed-out single mom Jess (Melissa George) and her autistic young son, Tommy (Joshua McIvor), in their suburban home. Jess appears to lose her son and turns up alone at a dock where b.f. Greg (Michael Dorman) has invited her and some friends for a spin on his yacht.

Also on board are married couple Downey and Sally (Henry Nixon, Rachael Carpani), sailor Victor (Liam Hemsworth) and Sally’s friend, Heather (Emma Lung), whom Sally wants to pair off with Greg, as she doesn’t like Jess. Jess herself seems more strung out than a clothes line, and as soon as they set sail, she starts dreaming she’s woken up alone on a beach.

Smith doesn’t waste much time on character development, as that’s hardly the movie’s point. The pic is soon rife with symbols: from the yacht’s name, Triangle, to the sudden, very Bermuda Triangle-y development when the boat is trashed by a flash electrical storm. As the six sit on the overturned hull, a seemingly deserted ship called the SS Aeolus appears, and they hop on.

Ancient Greek scholars will already be several steps ahead of the protags by this point — Aeolus was the father of Sisyphus (nudge, nudge) — though Smith’s script does fill in some of his symbols for nonclassicists. As soon as Jess says she’s starting to get deja vu, she comes face to face with a masked figure carrying a shotgun. And then the slaughter starts.

Early reels are genuinely intriguing, as Smith lays out his table, and the cool widescreen lensing by Aussie d.p. Robert Humphreys (”Somersault”) stokes up the atmosphere as the actors wander the boat’s interiors. (”The Shining,” referenced in a room number, never seems far off.) However, once the basic idea is revealed around the hour mark, Smith keeps the viewer waiting for a logical explanation that never comes: The film only makes some kind of sense on its own fantastic level.

George, eye-catching in denim shorts and white tank-top, dominates the movie in a tour de force of contrasting emotions. The rest of the cast is largely shotgun fodder, with only Carpani etching something of a character.

Aussie locations just look superficially like Florida, and Smith appears to deliberately underline the joke with a reference to the “Sunshine State” (a local nickname for Queensland).

Camera (color, Panavision widescreen, HD-to-35mm), Robert Humphreys; editor, Stuart Gazzard; music, Christian Henson; production designer, Melinda Doring; art director, Bill Booth; costume designer, Steven Noble; sound (Dolby Digital), Craig Walmsley; sound designer, Peter Baldock; visual effects supervisor, Ivan Moran; visual effects, Framestore; special effects supervisor, Clint Ingram; assistant director, Jamie Crooks; second unit director/second unit camera, Mark Wareham; casting, Nikki Barrett, Kelly Wagner. Reviewed at Empire Leicester Square 6, London, Nov. 5, 2009. (Also in FrightFest, London.) MPAA Rating: R. Running time: 99 MIN.

Variety is striving to present the most thorough review database. To report inaccuracies in review credits, please click here. We do not currently list below-the-line credits, although we hope to include them in the future. Please note we may not respond to every suggestion. Your assistance is appreciated.

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Mai Mai Miracle Japanese Movie

Genre:Animation

Cast: Mayuko Fukuda, Nako Muzusawa, Ei Morisako, Manami Honjo
Release date:26 November 2009
Director:Sunao Katabuchi
Writer:Sunao Katabuchi (written by)
Music: Shuhei Murai, Minako Obata

Plot:

Shinko is an imaginative third-grader living in rural post-war Japan who, inspired by the stories told by her grandfather about their ancesters, often daydreams about what the world was like 1,000 years ago. Within her fantasies she travels all the way back to the Heian Period (794-1185). One day a new girl named Kiiko joins Shinko’s class and soon the two girls begin using the power of their imaginations to travel to the past together and have strange adventures.

The film is being produced by Madhouse (The Girl Who Leapt Through Time, Paprika) and directed by Sunao Katabuchi, assistant director for Hayao Miyazaki‘s 1989 Studio Ghibli anime, Kiki’s Delivery Service, among others. Distributor Shochiku will be releasing it in Japan sometime this November.

Mai Mai Miracle Japanese Movie Reviews

South Korea — “Mai Mai Miracle” unfurls the shared destinies of a country girl living in post-war Japan and a little princess from the Heian period (794-1185 AD). The animated feature directed by Sunao Katabuchi is as beautifully illustrated as a Monet landscape painting. It is also as impressionistic, having little depth or momentum. Meticulous production standards ensure “Mai Mai” will be eagerly consumed, and soon forgotten by the anime-hungry domestic and worldwide markets.

If Mai Mai Miracle’s characters and story resemble a Studio Ghibli film, rest assured that this movie earns such comparisons honourably. In addition to directing several episodes of Madhouse’s well-regarded Gunslinger Girl, writer/director Sunao Katabuchi also assisted Hayao Miyazaki on 1989’s Kiki’s Delivery Service. Mai Mai Miracle’s lyrical simplicity has much in common with that classic anime, but develops its own unique voice.

One of the film’s strengths is that Katabuchi accurately conveys the joy, passion and thoughtlessness of childhood. Shinko is capable of incredible kindness and cruelty: she will break her little sister’s doll in one scene, then make friends with the shy new girl in the next.

Katabuchi also spaces his gags for maximum payoff. A sequence depicting 3 children’s misadventure with a box of liquor-filled chocolates is smartly stretched. When the inevitable occurs, it’s much more satisfying than if Katabuchi had cut immediately to the punchline. it’s those little details that sell Mai Mai Miracle’s forays into magical territory, and take this film into the realm of the sublime.
The Final Analysis

You know a Japanese film has something when an audience member turns to her companion after the screening and says, “You know, I liked this better than Ponyo!”

It remains to be seen whether Katabuchi has become a better director than his former boss, or is merely on his way to equaling the senior Miyazaki. Either way, Mai Mai Miracle is proof that – if there’s anyone who can take the throne once Hayao Miyazaki finally retires – Sunao Katabuchi has a serious shot at the title of anime’s premiere director.

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Neseli hayat Turkish Movie

Genre:Comedy

Cast: Ayberk Atilla:Cezmi Baskin:Sinan Bengier:Ibrahim Büyükak
Release date:27 November 2009
Director:Yilmaz Erdogan
Writer:Ibrahim Büyükak (writer)Yilmaz Erdogan (writer)
Music: Shuhei Murai, Minako Obata

Neseli hayat Turkish Movie Reviews

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Wild Grass (Les herbes folles) France Movie
Genre:Drama
Cast: Sabine Azema, Andre Dussollier, Anne Consigny, Emmanelle Devos, Mathieu Amalric, Micvhel Vuillnermoz
Director: Alain Resnais
Screenwriters: Alex Reval, Zlaurent Herbiet
Based on the novel “L’Incident” by Christian Gailly
Producer: Jean-Louis Livi.
Director of photography: Eric Gautier
Production designer: Jacques Saulnier
Music: Mark Snow
Release date:22 November 2009

Wild Grass (Les herbes folles) France Movie Reviews

Her wigged-out, burnt-orange hair and black leather pants suggests she’s the lead in “Cats,” but this feline-fatale brings very bad luck. Whipped up from a novel, “L’Incident,” “Les Herbes Folles” (Wild Grass) is a polished ditty from revered French director Alain Resnais. He’s revered and he’s French, and that’s the likely explanation for inclusion of this demi-divertissement in the Competition.

In this slight cinematic, Andre Dussolier stars as Georges, a 50-ish, affluent gent whose decreasing mental state relegates him to house-husband for his younger wife. Georges is obtuse, and often does not connect his thoughts. He seemingly has trouble with the everyday, such as when he finds a woman’s wallet and attempts to return it to her. It’s a troubling process for Georges and more of a trouble for the woman, Marguerite (Sabine Azema), when he enters her life through this side incident.

Respectable-looking Georges is more than a little unhinged. He frightens Marguerite, a successful dentist and independent woman who flies her own plane. In an interesting twist, we soon suspect that Marguerite may be a bit of a fatal attraction: She shows up at his house late at night, neglects her patients, scares her partner/best friend.

Narratively, “Wild Grass” is a fractured romance, that never jells on any level, except for the backdrop visuals. Visually scrumptious, as if culled from the pages of good-taste magazines, it has the appeal of a designer catalog, and also the depth.

To the cineastes here at the fest, the homages du cinema (,a revival-house movie theater, as well as a blast from the 20th Century Fox theme, etc.) are attractive elements.

Indeed, filmmaker Alain Resnais has graced the frame with a lush look and surfaced it with an inviting glossy sheen, but never properly connected the characters to a cohesive narrative plot. Just because the characters are erratic does not mean the narrative should be. Structured as a dark-psychological romance, it’s merely a poseur, a walk-through of unpredictable behavior.

Yet, at its roots, “Wild Grass” is merely a compilation of eye-candy fluff. It distracts with its warm visuals, but never fully fleshes out. With its thin narrative and elliptical story jumps, “Wild Grass” crashes and burns in a pretentious and unsatisfying manner.

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