April 29, 2017No Comments

Weiner, Josh Kriegman, Elyse Steinberg, 2016

Anthony Weiner, for all of us non-US, is an American politician. Some long years ago he was a promise, then he got caught with sending nudes & stuff to women other than his own wife. This documentary probably started with the man thinking it would be a nice idea to let a film crew film his comeback, after the first wave of nudes came out, as a candidate for the Town Hall of NY. And get that glimpse of humanity politicians die for us to see. 
Indeed, we get that, PLUS an extra new batch of nudes which sends his comeback to a dead still. 
I myself am guilty of the pleasure of seeing a politician in full meltdown. 
Trump, don’t keep us waiting, man!   

April 28, 2017No Comments

Hell or High Water, David Mackenzie, 2016

True that I’ve seen this one during an overnight flight, but still, the food wasn’t served yet. 

Hell or High Water was selected at Cannes, in Un Certain Regard. As for me, - can’t get any closer to a quick reaction - I thought it was crap. And I’m so busy these days that I can’t summon any argumentation skills, which makes this small text just as crap. Characters were one dimensional stereotypical, bleeding cliches. The script explored nothing. 
Yet.
My American family loved it.
I’m torn. That’s a good story.

April 22, 2017No Comments

The Founder, John Lee Hancock, 2016

If Greeks invented it, Americans perfected it. The craft of the story. 

There’s a particular genre that must be defined, the Great American Tale, linking Frank Capra to Robert ZemeckisThe Founder sits effortlessly in between, due to the story’s main character typology (underdog winner takes it all through shrewd wits and persistence). Michael Keaton is on top of his comeback since Birdman and simply commands the pictures he acts in. The script works the beats like magic and even if you feel them coming from miles away, they’re delicious to consume in their perfect timing and force of persuasion. I’m a 5 year old vegetarian but I just can’t quit a large plate of American cinema.

April 2, 2017No Comments

Ghost in the Shell, Rupert Sanders, 2017

Even without seeing the famed original manga film of the ‘90s you feel that the new Ghost in the Shell is a rip off, whose name couldn’t have had a sweeter and more ironically revenge turn.  

Due to a misguided focus on action, rather that gritty mistery, the film is just this - air, a puff, a ghost in a cool package. It’s a jet that never takes off. The production value is brilliant, but as in absolutely all cases, it fails in creating emotion.

April 2, 2017No Comments

Rogue One, Gareth Edwards, 2016

Rogue One features an expensive cast and the polish of Nolan-style realism. At least that’s what I made of it.  

I watched it a couple of days ago, while being a bit tipsy and in the company of family. Very few memories have formed. I remember we had fun, though. 

Anyway, I recuse myself from having any opinion on the thing. 

March 23, 2017No Comments

The Matrix, Wachowski bros, 1999

Almost 20 years since The Matrix screened for the first time, one thing’s clear. 

It holds up.

Even more so, it’s more relevant today than 20 years ago. Just listen to what this schmuck has to say.

So premise wise it holds. Casting wise it’s a match in heaven. My fangs are showing up whenever I see Joe Pantoliano. Special effects still work. Proof that strong concept is timeless. Keanu is this still this Dorian Grey/Peter Pan sad prince in his public life. 

There’s something special about this film. The choices it makes are simply otherworldly good. Getting cheesy alert! Singing out.

March 19, 2017No Comments

Food Coop, Tom Boothe, 2016

Food Coop is a place selling food in Brooklyn, NY. But is also a place that leaves you feeling that you’ve discovered the hideout of everybody who took the red pill in Matrix and have woken up from their corporate dream and now share a different life paradigm.

Psychologists, teachers, designers, social workers, film-makers, 16000 of them, own and work the store, each for 2 hours and 45 minutes a week. The profits don’t go into private jets - as they say, but back into the quality of the food, making it inexpensive. And if you think it won’t last, let me just tell you it’s there since 1973. 

March 13, 2017No Comments

13th, Ava DuVernay, 2016

In an interview for The Paris Review, Austrian director Michael Haneke, says that he despises films that have a political agenda. “Their intent is always to manipulate, to convince the viewer of their respective ideologies.” There’s no telling if Haneke refers to fiction or docs.

Are there any non-political docs? Feels as if Herzog’s ecstatic truth is a quest for the deepest political core of things. 

13th is more painful to watch then I’m Not Your Negro because of its plain & direct argumentation. Starts off with a quote from Obama: The USA is home of 5% of the world’s population. And 25% of the world’s prisoners.

And keeps going. USA had 300.000 inmates in 1972. 2.3 million nowadays. Mass incarceration, private prison system. 

Premise: if you’re white, you are the product of the history that your ancestors chose. If you’re black, you’re the product of the history that your ancestors most likely didn’t choose. 

Title derives from the 13th amendment of the American constitution, one that states that slavery is illegal, except for the purpose of punishment for a crime. The space between slave to criminal becomes a battleground of interpretation.

World is spinning faster with every day.

March 9, 2017No Comments

I Am Not Your Negro, Raoul Peck, 2016

I’m in New York. Some good people recommended that I go see I Am Not Your Negro. A documentary on the African-American rights struggle of the ‘60s, featuring the thoughts of James Baldwin, a most eloquent play-writer and witness of the events. 

Word goes that the film is breathtaking even if your American and “used to” the history. As an outsider and freshman to the phenomena, keeping some level of proportion, it feels as if learning history by watching The Act of Killing. We don’t know shit about the world we live in, and the goddamn worldwide acceleration we’re caught in won’t help a bit.

One thing stuck. Baldwin called out the nation for living in a state for “moral apathy”. 

February 14, 2017No Comments

The Grand Budapest Hotel, Wes Anderson, 2014

There ain’t much left to say. 

Except… honestly, is there another film in the history of cinema that packs this much “star power”? I mean, who’s missing besides Meryl Streep and DeNiro?

That and maybe the feeling that the evoked world meltdown might just happen again and again.

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