Why watch this film?
In Ted Fendt's movie 'Outside Noise', a group of young people have academic discussions: some seem to just show off their knowledge, while others seek it out for pure pleasure. But in portraying these conversations, 'Classical Period' reaches a deep question: what is the purpose of obtaining knowledge? Why do we give ourselves to its pursuit, when others seem not to care? The film arrives at paradoxical answers, becoming a kind of nihilistic manifesto, but no less valuable for that: it is itself a fascinating intellectual exercise.
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'Classical Period' is a portrait of Cal and his friends in Philadelphia. They meet and have long conversations about books, poetry, music, and architecture, most notably Henry Longfellow's 1864 translation of Dante's Divine Comedy . Filmed in rich, grainy 16mm color, the film forefronts character and portraiture, leaving the artificial trappings of narrative cinema behind.
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From the same director
Outside Noise
Do you know that awful feeling that arises when we don't know what to do? Not exactly in our day-to-day, in our routine, but in life - how to move forward from here, how to change, how to transform. That's the main sentiment of the German movie 'Outside Noise'. In the story, Daniela isn't sure what to do next or where to live. Mia is finishing a master's degree she started spontaneously. Together with Natascha, another friend who is thinking of moving to Vienna, they wander and talk. With only an hour long, the movie is swift while bringing deep reflections about existence and, above all, the pressure to make important decisions in life.
Drama
Totem
When it comes to personal pain, Mexican cinema tends to lean too much towards exaggerated melodrama, or towards the most mediocre miserabilism. With Totem, Mexican filmmaker Lila Avilés (awarded at the Morelia Film Festival for both this film and The Chambermaid) reminds us that there is another path: one of understanding, acceptance, and feeling. This is precisely what she invites us to do through the story of Sol (Naíma Sentíes), a little girl who gathers with her family to celebrate her father's birthday (Mateo García), who is too ill to attend the party. With great scriptwriting and a camera that is both furtive and complicit, Avilés' gaze infiltrates the bittersweet intimacy of a family united by imminent pain, gradually revealing, with compassion, the ways in which each person faces it.
Toll
Suellen, a toll booth attendant, uses her job to help a gang of thieves steal watches so that she can afford to send her son to a gay conversion workshop.
Hard Days
Between Christmas and New Year's Eve, on December 29th, detective Yuji Kudo drives his car to visit his mother, who is hospitalized with a serious health problem. On the way, he receives a call from the commissioner inquiring about his involvement in the creation of a secret fund, just as he learns that his mother has passed away. Yuji then accidentally hits a man with his car, who dies instantly. It's at this point that the protagonist, in the hospital, tries to cover up the death of the man he ran over by placing his corpse in his mother's coffin. Hard Days, an unlikely Japanese dramatic thriller, depicts the consequences of Yuji's decision, as he grapples with a series of mistakes stemming from his bizarre choices while under investigation. With a strange and tense, yet emotional atmosphere, the feature showcases the skill of filmmaker Michihito Fujii, who knows how to blend genres in a film full of improbabilities but true.
Monster
With films like Shoplifters and Broker (among many others), Japanese filmmaker Hirokazu Kore-eda is a master at telling stories of complex morality, where the truth is never simple, and answers navigate through all shades of gray. Monster is another great demonstration of this (the film won Best Screenplay at the Cannes Film Festival 2023). Its plot begins with a mother concerned about her son's strange recent behavior, and after investigating, she begins to fear that he is being abused by a school teacher. However, as the plot unfolds, we witness all the elements that complicate and entangle the truth hidden behind. Monster is the kind of film that deeply moves and invites reflection on the ways we relate to—and judge—those around us.
