Posts Tagged ‘films’

Les films français avec sous-titres français en ligne gratuit

July 16, 2017

Ensemble, c’est tout…

So Tanya from Vologda wanted to know about finding French films with subtitles online.  A short search revealed, with subtitles in French which appear to be for deaf French people, since they also describe music, sound effects and so on.

I found it was best to download the archive, together with 7-Zip to extract the files and VLC media player to cope with the subtitles (other approaches were less successful).

Anyway, we both applied ourselves to Ensemble, c’est tout, but Tanya confined herself to watching directly online, which led to a small picture and small sound–and also to slightly corrupt subtitles when I tried it (but she said hers were OK).

Anyway, the site itself is obviously Russian–some of the filepaths have Russian names and the file formats are Russian as well, although the blithe approach to copyright violation would have given the game away anyway…

One Day Peckham Multiplex 25 August

August 26, 2011


As everyone knows, the book One Day is for long stretches a repetitious load of drivel:  the story is that common Emma and posh Dexter have a night of passion after graduating from Edinburgh and then spend most of the rest of the book failing to get it together.  I said at the time that it would work better as a film and I was quite right,  even though there was quite a long time at the beginning where it looked like a date movie for lesbians–both to gaze in wonder at Anne Hathaway and to be quite certain they were missing nothing  in terms of relations with men.

The film-makers clearly took the entirely correct decision to throw away the encumbrances of the book and make something that people would actually want to see.  Perhaps they should have gone further, but never mind.  Many commentators have complained about Ms Hathaway’s Yorkshire accent, which is certainly wobbly.  But they’re missing the real point:  the character of Emma has been softened and glamourised as against the book, so this Emma might well have a wobbly accent; that Emma would certainly have kept hers intact.

As well as the accent, Ms Hathaway made a fairly unconvincing attempt at being unattractive and passive-aggressive and rode her bike like someone who’d never been on one before, especially in London.  In spite of that I thought her performance was marvellous in conveying all the conflict and change of this Emma’s emotions, and in giving the feeling she had dug up everything out of herself she possibly could to put the character across.

I personally had the true laughter-through-tears feeling on more than one occasion, and at least considered crying during the reconciliation scene between Dexter, the failed comic and Emma’s failed boyfriend.  Both that scene and the chronologically final scene put across the good and true idea that however bad your situation may be you can still choose to act decently.

***Spoiler alert***

But the film could be seen as supporting some rather bad ideas:  a good woman who enjoys sex has to die pretty soon after, and more specifically here Emma also has to die so that Dexter can become the kind of man his mother wanted him to be.  Any kind of grown-up in fact.

***End of spoiler alert***

I must say I was shocked not by Ms Hathaway’s accent but by the sight of Portcullis House (built 1998-2001) as Dexter drove out of London in 1994.  But I was more than gratified to learn of the contribution that Brockley (in fact Crofton Park) made to the creation of this movie.

Enter the Void Curzon Soho 29 September

October 3, 2010


The Tokyo sex industry

I had two goes at seeing this film.  The first time I went to the Dalston Rio for the 2045 screening and bought a ticket, then saw the people coming out from the screening three hours ago and realised the film was very long and I would never make it home afterwards.

So I had another go at the Curzon Soho on a Wednesday afternoon, with only a MenCap event in the foyer to contend with.  The film opens with American low-grade drug dealer Alex and his sister Linda in their shared bedroom in a flat in Tokyo;  she goes out and he smokes something hallucinogenic, with results something like those shown below.

Actually, a lot of the hallucinations were significantly spermatozooid

Then while still in a state of lowered awareness, he sets of with his pal Alex (a truly awful artist) to deal some drugs in a bar.  On the way Alex asks him about The Tibetan Book of the Dead,  and explains what it’s about.  Unfortunately he mumbles rather, but the general idea is that after you die your soul hangs about, revisits important places, sees a number of scenarios including that which you most fear, sees itself in a mirror (?), and finally decides how it wants to be reincarnated.

So what happens is that Oscar gets shot as the police attempt to arrest him, then we see his body from above and his soul puts the programme above into effect.  So we see his sister working as an erotic dancer and then having sex with her…employer…(almost a sighting of an erect male member there) before learning of his death and breaking down; Linda taking an overdose; Linda having an abortion; identifying the corpse.  All this is seen from above.

And we have the back-story (not seen from above, aaahh!–we see things from Oscar’s point of view throughout) where Linda and Oscar are orphaned as young children in a motor accident and then sent to different foster families after Oscar has promised they will always be together.  And Oscar has sex with Victor’s mother after she says she will lend him money so that Linda can join him in Tokyo.  This leads to Victor setting him up at the bar…

So at the end we go on a rather magnificent bird’s-eye tour of the love hotel earlier seen in the model Tokyo in Alex’s studio.  The partners in the different rooms have their genitals glowing and smoking  (a much better idea than it sounds in words) and after considering the different possibilities Oscar decides to be reborn as Linda’s child from her…meeting…with Alex (presumably this is OK since he’s white).  Or I think that’s what happens.

We saw a lot of the back of Oscar's head

Well, this film was rather long and for long periods had the interminable boredom of other people’s drug experiences.  Presumably the anti-acting was deliberate?  To distance the audience?  Otherwise many of the scenes would have been unbearable.  Nathaniel Brown as Oscar put in quite a solid performance though, helped by the fact that we only saw the back of his head.

Actually at the end I did find myself wishing it had gone on longer…