Director's Choice: Fernando Pérez

Fernando Pérez from Cuba is no stranger to us: With LA VIDA ES SILBAR, the Cuban director celebrated a great success worldwide, in Switzerland alone he recorded 120,000 cinema admissions. Since then followed numerous other cinematic pearls which all deal with loving and living in Havana.

A Separation (2011)
Asghar Farhadi
Iran
123′
Simin wants to leave Iran with her husband Nader and daughter Termeh. She has already made all the necessary arrangements. Nader, however, is having second thoughts. He is worried about leaving behind his father, who is suffering from Alzheimer’s. For this reason he decides to call off the trip altogether. As a result of Nader’s decision, Simin decides to sue for divorce at the family court. When her request is rejected, however, she refuses to live with Nader, moving instead into her parents’ home. Termeh decides to stay with her father, hoping that her mother will soon come back to live with them.Nader finds it difficult to cope with the new situation - not least because it turns out to be so time-consuming. And so he hires a young woman named Razieh to look after his father. This young woman is pregnant and has accepted the job without her husband’s knowledge. One day, Nader arrives home to find that not only has his father been left alone, he has also been tied to a table! When Razieh returns, a blazing row ensues, the tragic consequences of which not only shatter Nader’s life, but also the image his daughter Termeh has of her father.
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«It's been a long time since I've last seen such a great movie. As I discovered it I felt like I had not seen a movie, but a piece of life.»
«A classic that was before its time because of its images, its multiple narrative structure, its poetry.»
Dersu Uzala (1975)
Akira Kurosawa
Japan
144′
A military explorer meets and befriends a Goldi man in Russia’s unmapped forests. A deep and abiding bond evolves between the two men, one civilized in the usual sense, the other at home in the glacial Siberian woods. The film won the 1976 Oscar for Best Foreign Language Film, the Golden Prize and the Prix FIPRESCI at the 9th Moscow International Film Festival and a number of other awards.
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«Many years after RASHOMON, Kurosawa demonstrated his greatness as a filmmaker and as a human being.»
Closely Watched Trains (1966)
Jiri Menzel
Czech Republic
93′
The young Miloš Hrma, who speaks with misplaced pride of his family of misfits and malingerers, is engaged as a newly trained station guard in a small railway station during the Second World War and the German occupation of Czechoslovakia. He admires himself in his new uniform, and looks forward, like his prematurely-retired railwayman father, to avoiding real work. The sometimes pompous stationmaster is an enthusiastic pigeon-breeder with a kind wife, but is envious of the train dispatcher Hubička's success with women. Miloš holds an as-yet platonic love for the pretty, young conductor Máša. The experienced Hubička presses for details of their relationship and realizes that Miloš is still a virgin. The idyll of the railway station is periodically disturbed by the arrival of the councillor, Zednicek, a Nazi collaborator, who spouts propaganda at the staff without success. At her initiative, Máša spends the night with Miloš, but in his youthful excitability he ejaculates prematurely before achieving penetration and then is unable to perform sexually; and the next day, despairing, he attempts suicide. He is saved, and a young doctor explains to him that ejaculatio praecox is normal at Miloš's age. The doctor recommends Miloš to "think of something else" (at which point Miloš volunteers an interest in football), and to seek the assistance of an experienced woman. During the nightshift, Hubička flirts with the young telegraphist, Zdenička, and imprints her thighs and buttocks with the office's rubber stamps. Her mother sees the stamps and complains to Hubička's superiors, and the ensuing scandal helps to frustrate the stationmaster's ambition of being promoted to inspector. The Germans and their collaborators are on edge, since their trains are being attacked by the partisans. A glamorous Resistance agent (a circus artist in peacetime), code-named Viktoria Freie, delivers a time bomb to Hubička for use in blowing up a large ammunition train. At Hubička's request, the "experienced" Viktoria also helps Miloš to resolve his sexual problem. The next day, at the crucial moment when the ammunition train is approaching, Hubička is caught up in a farcical disciplinary hearing, overseen by Zednicek, over his rubber stamping of Zdenička's backside. In Hubička's place, Miloš, liberated by his experience with Viktoria from his former passivity, takes the time bomb and drops it from a semaphore gantry, that extends transversely above the tracks, onto the train. A machine-gunner on the train, spotting Miloš, sprays him with bullets, and his body falls onto the train. With the Nazi collaborator Zednicek, winding up the disciplinary hearing, dismissing the Czech people as "nothing but laughing hyenas" (a phrase actually employed by the senior Nazi official Reinhard Heydrich, the implicit retort to his jibe comes in the form of a huge series of explosions that destroys the train. Now Hubička and the other railwaymen are indeed laughing - to express their joy at the blow to the Nazi occupiers - and it is left to a wistful Máša to pick up Miloš's uniform cap, hurled across the station by the power of the blast. (wp)
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«A jewel of cinema of the Prage Spring (Miloš Forman, Věra Chytilová and others) that demonstrated that cinema can express even the impervious side of the human being through the most simple and daily situations.»
«The cinematic equivalent to the novels of Gabriel García Márquez, Alejo Carpentier, Ernesto Sábato and a Latin American literature called “magic realism”. A poetic approach to the complex identity of Latin America.»
«The profound glimpse of an enlightened filmmaker through the most expressive sequence shots in history (from Miklós Jancsó to Michael Haneke).»
«An exciting example of the young Latin American filmmaking.»

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