Tag: Wim Wenders

First Trailer Is Here For Wim Wenders’ New Documentary POPE FRANCIS – A MAN OF HIS WORD


Director Wim Wenders and Pope Francis during the filming of POPE FRANCIS – A MAN OF HIS WORD, a Focus Features release. Credit : POPE FRANCIS – A MAN OF HIS WORD (c) 2018 CTV, Célestes, Solares, Neue Road Movies, Decia, PTS ART’s Factory/ photograph by Arturo delle Donne

In celebration of the 5th Papal Anniversary of His Holiness, Focus Features has released the first trailer for POPE FRANCIS – A MAN OF HIS WORD.

The film opens in theaters on May 18, 2018.

Wim Wenders’ (“Buena Vista Social Club,” “Pina,” “The Salt of the Earth”) new documentary, “Pope Francis – A Man of His Word,” is intended to be a personal journey with Pope Francis, rather than a biographical documentary about him.

The pope’s ideas and his message are central to this documentary, which sets out to present his work of reform and his answers to today’s global questions.  From his deep concern for the poor and wealth inequality, to his involvement in environmental issues and social justice, Pope Francis engages the audience face-to-face and calls for peace.

Visit the official site: http://focusfeatures.com/pope-francis-a-man-of-his-word/

A man in a detention center (left) meets Pope Francis (right) in Wim Wenders’ POPE FRANCIS – A MAN OF HIS WORD, a Focus Features release. Credit : POPE FRANCIS – A MAN OF HIS WORD (c) 2018 CTV, Célestes, Solares, Neue Road Movies, Decia, PTS ART’s Factory

THE SALT OF THE EARTH – The Review

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Last year’s bumper crop of engrossing art documentary feature films included one set in the world of photography called FINDING VIVIAN MAIER which went on to earn an Oscar nomination. It showcased the Chicago-area pictures taken by a nanny/ caregiver in the 1950’s to the 70’s which were discovered recently by a modern-day photog. In a way, the film was a mystery movie, investigating the largely unknown life of this hidden artist, In the new film THE SALT OF THE EARTH (also an Oscar nominee), there’s no such mystery, as its main subject has been known and celebrated for the past 40 years: Brazilian photojournalist Sebastião Salgado. Plus, he never limited himself to his native land as he spans the globe in search of the drama of life.

As the film begins, we’re bombarded by remarkable black and white images of a gold mining dig down in South America. The dirt encrusted fortune seekers swarm the mountain side, often resembling a horde of ants enveloping a crumb. And Salgado is right in the thick of it, even as tempers flare and greed possess them all

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And then it’s back to the present day as Salgado braves the harsh elements in order to document a somewhat primitive hidden far away from civilization. He offers the reluctant natives a chance to peer through the camera lens, to their wonder. Salgado himself has been witness to countless wonders over his seventy-plus years. We’re taken to his childhood home, a vast plantation farm land in Brazil and meet his parents, who try to understand their son’s great passions. At one time his main passion was economics and traveled to Paris for an education. But once he picked up a camera, his life changed. He met wife and art-partner Lelia and together they chronicled the student protests in Europe during the late sixties/ early seventies. Then, as the two began a family, they focused on certain subjects worthy , they believed, of world-wide attention. We see through his work the beauty of wildlife, in the frozen tundra, and the dusty trails of Africa. In one sequence we witness Salgado trying to remain calm and quiet as some of said wildlife starts to sniff about his tiny shelter/ photo hut (he almost begs the beasts to get closer to the small windows in order to snap a better pic).

But it’s all not just pretty pictures collected in a swanky coffee table-type book. Salgoda is in the thick of the devastating civil wars in the Sudan. And there’s the horrors of draught and starvation in Ethiopia, as we see countless images of emaciated children. Salgado relates with sadness, the story of a father bringing the corpse of his son to a burial ground, the father casually talking to a neighbor as though they were putting out the morning trash in time for pick-up. For one sequence we see the results of his travels to the Iraq, just after the first Gulf War, when oil refineries were set ablaze. These images of the fire fighters (intercut with news footage) are astounding. We can almost feel the unbearable heat as the sludge-covered warriors face an almost unstoppable foe.

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Internationaly famous film maker Wim Wenders (who also co-directed this film) joined Salgado on his excursions several years ago and becomes a narrator and interview subject. Wife Leila also contributes her musings on their long marriage. And we see her helping to co-ordinate his new projects and travels. One of their projects, son Juliano (the film’s other director), tells stories of his father’s long absences (almost a ghost parent) growing up, but all bitterness evaporates as the two men become partners and close confidants. Finally the film comes full circle in its last moments as Salgado returns to the family homestead. After so many images of despair, the story concludes on an upbeat, hopeful note as he helps bring new life to the barren earth. Life will grow and thrive once again. All this is accentuated by the soothing, subtle music score by Laurent Petitgrand. THE SALT OF THE EARTH tells of an amazing life through hundred of unforgettable images. You’ll have much to appreciate as you savor the next collection from this remarkable artist.

4 Out of 5

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PINA – The Review

Seems the proliferation of 3D feature films is the source of much discussion and arguments amongst cinema devotees. Many believe it to be a blatant cash grab by the studios to squeeze a bit more dough from movie goers. Films that are shot in 2D and are upconverted to 3D help support this view. One of the biggest offenders was the remake of CLASH OF THE TITANS ( I know it gave me a headache ) and now studios are going into the vault to re-release classics with the new tech ( Disney started last year, George Lucas is sending out his two trilogies, and James Cameron’s TITANIC sails back into multiplexes in April ). But something odd happened last year, the grown-up, serious directors are using this new format. The biggest hit may be Martin Scorsese’s HUGO, but art-house darling Werner Herzog created quite a stir with his documentary CAVE OF FORGOTTEN DREAMS. Now another film maker from across the pond, Germany’s Wim Wenders, has made his own documentary PINA in 3D. Will he brings some respectability to this much maligned movie gimmick? Well it is up for an Oscar!

PINA started out as a collaboration between Wender and acclaimed choreographer Pina Buasch several years ago. When she passed away in 2009 the project was to be abandoned until Buasch’s dance company, Tantztheatre Wuppertal, convinced Wenders to continue this film as a tribute and celebration of her talents. Luckily for us he agreed. Most of the movie consists of recreations of her dance works. It begins with number based on ” The Rite of Spring ” performed on a stage covered in dirt and soil. Later on in the film we see many of the same artists on that stage prancing through puddles on a rain-soaked surface. Later on, another famous work, ” Cafe Mueller “, begins with two of Buasch’s collaborators looking over a miniature model of the set when tiny dancers suddenly appear and begin the scene. Old black and white footage of the original production ( with Pina herself on stage ) is cut into the recreation. It’s amazing how the dancers integrate chairs into the number ( not just as props, but almost as another dancer ). This is driven home in a mesmerizing later number where dancers move through ten or so precariously stacked chairs. Several times the dancers leave the stage and head outside to perform on the streets and woodlands surrounding Wuppetal, Germany. Great use is made of their monorail-like commuter system. I was surprised at how the performers used their hands during the numbers, in complicated expressive gestures. Speaking of expression, the camera gives us a oppurtunity to see the great acting each of the dancers does with their silent facial expressions. Intercut between the numbers are stories about Buasch told by her dance troupe.  The camera lingers on the silent artists while their vocals play on the soundtrack ( some are without vocals as they gaze into the camera ). Bausch’s dancers are an international, multi-ethnic all-ages group. It’s heartening to see these mature veterans showing the newbies a step or two.

PINA is an unusal documentary as there is very little biographical information ( family history, etc. ) about the title subject. It’s all about the creative work she did with these talented people. And that may speak more about her than a mere laundry list of facts. The cinematography is gorgeous ( those dance frocks really pop against the backdrops ) and the camera moves in a way that doesn’t exploit but compliment the new technology. As with HUGO I can say that the 3D definitely enhances an already involving entertainment. Let’s hope more film makers utilize this format for works that are this enlightening and wondrous.

Overall Rating : Four Out of Five Stars

CineVegas Review: ‘Palermo Shooting’

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There are many living legends of filmmaking in the world today that are still going strong in their craft and Wim Wenders (pronounced Vim Venders) is among that list. While he’s not in the top tier of my most favorite directors, I still appreciate his mastery of the art and craft of making some damn good movies. Many critics will cite that his cinematic body of work has it’s ups and downs, but most directors fall into that category. I’d like to go on the record however, and state that ‘Palermo Shooting’ ranks fairly high on my list of Wenders’ films.

‘Palermo Shooting’ is like many of Wenders’ films — complex, enigmatic and can be a bit taxing to watch at times. The first half of the film plays with a perfect tone and pace that draws the audience into the developing mystery and paints a detailed picture of our main character. In this case, our main character is a very successful fine art photographer named Finn (played by Andreas Frege, also known as the German punk singer Campino) that has taken a liking to fashion photography despite his agent’s warnings that it will destroy his credibility as an artist. Finn does not care, as he finds a strange sort of peace and relaxation within the hyped frenzy of fashion photography.

On the surface it seems Finn has a great life filled with fame, money, nice things and women, but Finn is actually empty on the inside although he doesn’t truly realize this yet. He struggles to hold onto the happiness that seems inherent with the kind of life he leads. Recently experiencing trouble sleeping due to repeated strange and surrealistic dreams, Finn begins to envision a mysterious man in a silver hooded robe, a man who keeps shooting arrows at him in broad daylight, but when Finn attempts to explain to others he finds the arrows have vanished as if existing in an ethereal form and no one claims to have seen a thing.

During a fashion shoot with Milla Jovovich in Greece Italy, Finn decides to remain behind for a bit while his crew return home, wandering the ancient streets of the Greek town and photography the town with a 20-year old favorite camera of his. While exploring and intermittently taking mid day naps in public places around the town, Finn happens to meet Karla (Inga Busch) who restores art for a living. As the two of them slowly grow closer, Finn realizes that she is the only person who believes his stories of the mysterious hooded man (Dennis Hopper) and finds herself uncomfortable by his visions.

After an extremely close call with death from one of the man’s arrows, Finn seeks to search this man out and discover his identity and the reasons for which the man continues to pursue him. What Finn doesn’t realize is that the mysterious man has given him several chances more than is customary and Finn will learn he is asking questions for which the answers he may not be ready to hear. The first half of the film, which carries a level of interest and intrigue that keeps the audience wondering what the outcome will be, slows to a more cautious and cerebral pace in the second half that at times slows to a crawl. Hopper’s small but important role in the film is concentrated in this second half, which leads up to the slightly unexpected ending.

‘Palermo Shooting’ contains many of the trademark elements of Wenders’ films, from a creative and saturated use of popular and eclectic music with a soundtrack including Bonnie Prince Billy, Nick Cave and The Velvet Underground, to the use of super-imposed imagery to convey the feelings of the character and foreshadow events to come. Campino is surprisingly adept in his performance, revealing a depth and range of emotion that we rarely see from musicians that cross over into acting. ‘Palermo Shooting’ is primarily a one man show, whereas Finn actually undergoes an internal battle with himself that is portrayed on film as an external struggle, manifesting in what seem to be outwardly physical obstacles. Ultimately, Finn is allowed to learn a valuable lesson about life and death and all that exists between the two, changing his outlook on the life he once though complete.

Some may feel the need to call Wenders a pretentious old hack, but I find this accusation unwarranted and just plain mean-spirited. I agree that many of his films present ideas that are heavy and at times hard to swallow, but let’s not fault a filmmaker for taking chances and venturing into a realm of storytelling that is challenging and difficult. I find that, even if his films aren’t always a success, they’re almost always interesting and worth the credit of having tread across a path so many others have feared to tread. ‘Palermo Shooting’ is not for everyone’s tastes and will likely either lose many viewers or simply bore them, but the film remains a moderately successful entry into the archive of Wim Wenders that has plenty of creative juice to keep the curious and open-minded viewer’s batteries charged.