Showing posts with label 2005. Show all posts
Showing posts with label 2005. Show all posts

Stolen Life 生死劫 (Sheng si jie) [2005] • China

This is one of those films that exposes a segment of Chinese life that will likely make you recoil in despair—ever more when you know the particulars of the film are based on a true story. There's subtle and deep social commentary embracing this extremely sad tale of family, love, and one woman's struggle to survive in modern China. I was very surprised by the script, surprised by the brutality of its story.

Yan'ni (Zhou Xun) is a young woman whose parents, intellectuals from the previous generation, have abandoned her for the most part, shuffling her off to live in near poverty with her uncaring granny and aunt. She secretly gets accepted into university, raising her class status momentarily and giving her hope for a better life, but when she falls in love with a truck driver and gets pregnant, her life unravels.

It might seem like a giant spoiler to reveal that the man Yan'ni falls in love with, Muyu, isn't in love with her. He has a business plan in which Yan'ni has an important role. Muyu seduces young women, impregnates them, and then sells their babies. The film isn't structured in such a way that it leads up to this as a revelation. We are made aware early on of the impending doom Yan'ni will experience and our experience as a viewer is centered on how Yan'ni will deal with it. The film is not an expose as much as a character study.

Zhou Xun is one of the most compelling actresses working today and she delivers right from the start. I don't think a lesser actress could have made this film work as well as it does. It's powerful, frightening stuff.

★★★★
Director: Li Shaohong
Starring: Zhou Xun, Wu Jun, Cai Ming, Su Xiaoming, Zhao Chengshun

IMDb
Asianmediawiki
Austin Film Society
The Evening Class


Blue Cha Cha 深海 (Shen hai) [2005] • Taiwan

It's a great pleasure when watching a film you're enjoying and knew nothing about to recognize that beyond being a good film you are also experiencing the work of a skilled director. The upside to this is that there's a good chance you'll have at least a few more good films in your future. Such is the case with Blue Cha Cha.

The film begins with Ah Yu, played by Taiwanese singer Tarcy Su, being released from prison. We aren't told why she was there or how long she was in for. She makes her way to the home of a weathered motherly woman named An-an, played by veteran actress Yi-Ching Lu, whom she had come to know in prison. An-an takes her in and gives her job at the hostess bar she operates. After an arranged date doesn't pan out the way Ah Yu expected it to, she quits the bar and takes a job at a computer factory. Her relationship with a young supervisor she meets there, along with her ongoing and anchoring relationship with An-an, is the meat of this film.

Blue Cha Cha requires patience, and yes, that's code for it being an art house type film that moves slowly and doesn't offer a lot of detail as to why things are happening. Beyond a somewhat ambiguous statement near the end of the film revealing why Ah Yu was in prison we never learn anything about her past, and throughout the film it is clear that she has no idea nor concrete desires for her future. She just drifts along, medicated, mentally unstable yet always trying to be nice, hoping each day will offer some measure of fulfillment. Blue Cha Cha isn't a low-budget indie film, though. It has excellent production values and looks very good. The direction is fluid and creative and the cinematography is great.

As I always say, these kinds of films need good characters and good performances in order to succeed. Blue Cha Cha delivers them. Yi-Ching Lu, who has been in a number of films by Ming-liang Tsai, is always reliable. She's tough and unafraid to do almost anything as an actress. But the real highlight here is Tarcy Su. She is able to make us care for a character we never learn much about. We're not always clear about what is going on inside her head but we're always sure she is experiencing something. It's very surprising to me how well she is able to articulate a confused yet committed mind without offering any insight as to the details of the matter. There's a scene where she is laying in bed with a man, staring at him face to face as he drifts in and out of sleep. There is a frightening authenticity to her gaze which offers no explanation as to its genesis.

The ending is peculiar, and depending on how you interpret a couple of things ambiguously discussed and stated it could actually result in a big blunder. I don't care. I'm not a fan of films which attempt an explanation for the mental instability of their characters. I appreciate that Cheng leaves it as a lingering issue until the very end of the film, and I doubly appreciate that he leaves it ambiguous enough to ignore if it is something we find questionable.

★★★★★
Director: Wen-Tang Cheng
Starring: Tarcy Su, Yi-Ching Lu, Leon Dai, Wei Lee, Cheung-Ying Lin

IMDb
Asia Pacific Arts 

Shanghai Dreams (Qing hong) [2005] • China

This is one of those Chinese films about things Chinese. In this case the underlying subject matter is the Third Front, where families were sent from the cities to live and work in the countryside in case the Soviet Union invaded China and clobbered its cities. The main interest here, for me, is this historical angle. China has pulled off a number of wacky full-on country-wide social experiments and I found it interesting to become acquainted with this particular one. Imagine for yourself if you are a big city dweller that you are persuaded (or coerced) by your government to move your family to the sticks. You'd probably dream every day of moving back to the city but the reality is that the dream becomes more and more remote as time goes by. You'd try to think about what's best for your children, but they might have different aspirations. All of this is explored in Shanghai Dreams.

The film takes place in the early eighties which means certain seventies western fashion trends were just filtering in and the director captures some of these with a sad hilarity. The "dance party" scene is priceless. Consider the film more educational than emotional. Big complaint: Gao Yuanyuan, so good in Season of Good Rain, is too old for her character and, honestly, doesn't seem to have honed her acting chops just yet.

★★★
Director: Wang Xiaoshuai
Starring: Yuanyuan Gao

IMDb
Wikipedia

Duelist (Hyeongsa) [2005] • South Korea

I'm a big fan of of director Lee Myung-se's M, consider it a top ten favorite film of all time. It's an audio visual masterpiece. The man has undeniable multimedia chops with an unconventional approach to storytelling.

Duelist shares M's visual beauty along with its fragmented narrative style. It's not hard to get the basic story in either film but you do need to step back and just go with the flow rather than keeping notes on how A leads to B leads to C, and so on. Set in the Joseon Dynasty, the story here is your basic good (in this case) girl cop falling for the bad guy she's supposed to capture and put behind bars, with the romantic angle competing with, and coloring, the chase. There's a mystical twist to it too, wherein the would be lovers don't do a lot of talking to one another, instead, they fight. With swords. This allows director Lee to stage some dramatic and very elegant battle scenes, but the motivation here is romance so the dueling is presented as dance rather than combat, and probably won't satisfy fans of traditional action movies. There's a lot of killing but very little blood. The battles are emotional, internalized and stylized without all the grunting and macho posturing that usually accompanies this kind of action.

One of the many dualities of the film is the unrefined, gut level nature of the cops versus the refined ways of aristocratic bad guys. Another is the way the cat and mouse game shifts back and forth between sleuthing and the romance. The Duelist knows the young lady cop is infatuated with him, that his capable mysteriousness in matters of crime and conflict occupies her heart as well as her head. So he toys with her. She is his equal in combat but not in love and he uses this to his advantage.


Ha Ji-won shines in her role as the young police officer who plays the mouse to the Duelist cat. She gets to be goofy, girly, and kick ass all at once. You can tell she is doing most of her own stunts and she's got surprisingly good comic timing. This film is also quite funny at times. A lot of the humor is of the bumbling kind but it's not cheap slapstick. It's more good natured (unfair to characterize it as) loser type struggle. Veteran actor Ahn Sung-Kee, who elevates every film he is in, plays mentor to Ha Ji-won, and he's just great. Supermodel Kang Dong-Won plays the Duelist, named "Sad Eyes", and does a respectable job of playing a hairstyle with depth.

Duelist is a beautiful, if loosely constructed film that won't satisfy hardcore action fans. For me, even though the fighting scenes were mostly stylized dance pieces, and the film wouldn't work without them, there were just too many of them for me to want to watch the film again and enjoy all the other good stuff about it. Take a look at the clip below to see how awesome this guy is at shooting film and marrying music to it.

★★★

Director: Lee Myung-se
Starring: Ha Ji-won, Ahn Sung-Kee, Kang Dong-Won

IMDb
Wikipedia

The Man Behind the Scissors (Hasami otoko) [2005] • Japan

Random acts of weirdness turn out to be clues to an unsurprising, yet reasonable reveal. I had a lot of fun watching this. The Japanese are my favorite at plowing through absurdity with a straight face. The director employs a few visual flourishes to remind that this isn't a real crime thriller. The cops provide comic relief while the bad guys are almost frozen in their steadfast psychological drama. Asô Kumiko and Abe Hiroshi are present for credibility. I love Asô Kumiko and the film is mostly hers. She's pretty low key, doesn't swing her arms much when she walks, but she's still engaging, becoming more so as the film progresses and you get onboard with her and her hilarious attempts at suicide. The moral of the story needs a bucketload of salt but who cares? It's not laugh out loud funny but it's a good dark comedy of inner-child pain and murder. Not a lot, but a little, blood. The goriest thing has to be the nicotine stew Asô cooks up for herself.


★★★★
Director: Toshiharu Ikeda
Starring: Kumiko Asô, Hiroshi Abe, Etsushi Toyokawa
IMDb

My God, My God, Why Hast Thou Forsaken Me? (Eri Eri rema sabakutani) (2005) • Japan

This is an extremely slow paced art-house flick punctuated with lots of found object music and noise rock, so depending on your taste in the art of noise you may or may not like it. I was fascinated by much of the found object stuff, especially the vacuum hose contraption built on an umbrella skeleton and attached to a fan motor, but the overdriven guitar wanking didn't thrill me much. I'm sure it was a near nirvana experience for many folks to see Japanese indie icon Tadanobu Asano, his hair blowing Fabio-iously in the breeze, standing on a hillside letting loose on six strings and four giant stacks of loudspeakers in an attempt to cure Aoi Miyazaki of her suicidal tendencies.

The story is a cute apocalyptic one: it's 2015 and a deadly virus is sweeping the population, causing those infected to become extremely depressed and ultimately commit suicide. The atonal music practiced by Asano and his partner appears to be an antidote to the disease. Music can save the world, ya know. A rich old man tries to persuade Asano, whose musical partner had the disease but committed suicide anyway (for dramatic effect), to jam for his infected granddaughter.

The story is told in typical Aoyama fashion: slowly. I never really felt enough of a connection to the characters to enjoy seeing them get into a vehicle and drive along some seaside road for an extended period of time. Nor was I particularly engaged by the scenes of them sitting there thinking for extended periods of time. This kind of direction is meant to give the audience a breather, a moment to relflect on the characters and on their own feelings with regards to what they are experiencing. Sometimes it works and sometimes it doesn't. I loved Aoyama's Eureka but this one didn't move me much. Fans of art-house noise rock, or whatever you want to call it, might find something to enjoy here, and fans of art-house films who aren't put off by loud noises might like it too. Just know going in that it's slow and loud.

★★★

Director: Shinji Aoyama
Starring: Tadanobu Asano, Aoi Miyazaki, Mariko Okada, Masaya Nakahara, Yasutaka Tsutsui

IMDb
Asianmediawiki



Rules of Dating (Yeonae-ui mokjeok) (2005) • South Korea

This film has appalling sexual politics. A repugnant womanizer rapes a student teacher he is supervising. The act serves as an introduction to his playboy technique. We know the two parties involved are going to end up together because this is a film about them. It's about power and the rules of dating. The guy never redeems himself and the girl appears to hate the man but sleeps with him voluntarily anyway, as a sort of challenge to see if she can regain power. Hye-jeong Kang is equally mesmerizing and frustrating as the messed up girl with baggage galore, but the guy is a complete ass. He gets it in the end but it is a painful trip. I can't believe this movie tells the story it does, and to flamenco music no less. The poster is as misleading as the music. Weird, uncomfortable film. Recommended.

★★★

Canary (Kanaria) [2005] • Japan

Another film by Akihiko Shiota, director of Harmful Insect. It had some moments but nothing special for me. I'm not sure what to think of Shiota at this point. I appreciate what he is trying to explore: disaffected, abused and neglected youth and all that, but I'm not convinced he's good at it yet. Harmful Insect would have been a lot less interesting without Aoi Miyazaki. I think Mitsuki Tanimura does a good job in Canary, Hoshi Ishida not so much but his character was the brooding, doesn't-say-much type, which is difficult for a teenager to pull off (unless you're Aoi Miyazaki).

I confess that many of the cultural pointers were lost on me ... so there's that, I mean, if they were supposed to be specific. Cultural historians and professional film critics (and Japanese folks) might enjoy this film more than I did. I liked the vibe, not sure about the story.

★★★

49 great films from the Oughts (the first decade of this century)

Just for kicks.

[Rec] (2007)
The 40-Year-Old Virgin (2005)
Adrift in Tokyo (2007) aka Tenten
Antichrist (2009)
The Aura (2005) aka El Aura
Babel (2006)
Battle Royale (2000) aka Batoru rowaiaru
Blind Mountain (2007) aka Mang shan
City of God (2002) aka Cidade de Deus
The Equation of Love and Death (2008) aka Li mi de cai xiang
Eternal Sunshine Of The Spotless Mind (2004)
Eureka (2000) aka Yurîka
Green Tea (2003) aka Lü cha
Hero (2002) aka Ying xiong
Himalaya With Michael Palin (2004)
In The Mood For Love (2000) aka Fa yeung nin wa
Irreversible (2002)
The Isle (2000) aka Seom
Joint Security Area (2000) aka Gongdong gyeongbi guyeok
Let the Right One In (2008) aka Låt den rätte komma in
Lost in Translation (2003)
Lost Indulgence (2008) aka Mi guo
Love Exposure (2008) aka Ai no mukidashi
M (2007)
Memento (2000)
Memories of Murder (2003) aka Salinui chueok
A Moment to Remember (2004) aka Nae meorisokui jiwoogae
Mother (2009) aka Madeo
Next Door (2005) aka Naboer
No Country for Old Men (2007)
Noriko's Dinner Table (2005) aka Noriko no shokutaku
Oasis (2002)
One Fine Spring Day (2001) aka Bomnaleun ganda
Planet Earth (2006)
Queenadreena: Live (2006)
Requiem for a Dream (2000)
Secret Sunshine (2007) aka Milyang
Sideways (2004)
Snatch (2000)
Spider Forest (2004) aka Geomi sup
Stranger Than Fiction (2006)
Strawberry Shortcakes (2006)
Suicide Club (2002) aka Jisatsu saakuru
Summer Palace (2006) aka Yihe yuan
Synecdoche, New York (2008)
This Charming Girl (2004) aka Yeoja, Jeong-hye
The Unknown Woman (2006) aka La Sconosciuta
Visitor Q (2001) aka Bijitâ Q
What Time Is It There? (2001) aka Ni na bian ji dian

A Stranger of Mine (Unmei janai hito) [2005] • Japan

This is one of those films that uses the device of repeating scenes from different perspectives to embellish a simple story and it does it in spectacular fashion. There are a couple lonely hearts, a couple con artists, and a very well-mannered Yakusa boss who all intermingle over the course of one evening and a suitcase full of money. The scene where the Yakusa boss hiding under a bed sees only the shy dance of feet of the initial interaction between the two lonely hearts we had seen earlier from a different perspective is hilarious and sweet. Everything is handled in a lighthearted and charming manner. The film is chuckle friendly all the way through and the whole cast is perfect. Very highly recommended.

★★★★★



Su-ki-da [2005] • Japan

I felt Hiroshi Ishikawa's previous film, Tokyo.Sora, set out to make boring an accomplishment so I wasn't interested in seeing this until I discovered Hiromi Nagasaku in Don't Laugh at My Romance and then Funuke Show Some Love, You Losers! She's a versatile actress who elevates every film she's in and brings the necessary talent to make this low-key character study work. The script and story here aren't much--secret love, disease, recognition, love, death--typical melodrama, but Nagasaku and her younger self counterpart played by Aoi Miyazaki are truly engaging and look remarkably like they could be the same person ten years apart. I could literally see their thought and emotional processes. If you are going to leave the camera on an actor for minutes at a time without any dialog, you better have good actors. The director's signature long shots and pale, landscapey photography compliment well here. This is not for the Harlequin crowd, it's an art-house film with a capital A. Lovely and meditative. Su-ki-da means I love you.

★★★★


All About Love (Tsoi suet yuk chi ngo oi nei) (2005) • Hong Kong

Movie Poster for All About LoveThree gorgeous actors in a beautifully shot but weak-on-plot Hong Kong melodrama with a deal-breaking, dubbed, Mandarin audio track. I hate when they do that. These are Cantonese speaking actors from Hong Kong speaking a beautiful and lyrical language, Cantonese, but there is a bigger market on the mainland so they dub it, that's right, anonymous voice actors dub it with swishy and staccato Mandarin giving the film a spaghetti western toyishness. Tough as nails Anthony Wong Chau Sang comes off squeaking like a little mouse, but I digress ...

Andy Lau's wife dies and her heart is donated to a woman whose cheating husband just happens to look exactly like Andy Lau (puhleaze) and whose body eventually rejects the heart. We're supposed to get all weepy and philosophical wondering if it's the heart that one loves or the body, when in point of fact the fimmaker just wants to give Andy an excuse for having two bodies to play with because he's such a big star. He's awesome, man, differentiating his two characters by varying the amount of peach-fuzz around his mouth. The time-hopping plot and doppleganger aspect make it a little hard to follow. No tears.

★★

Next Door (Naboer) (2005) • Denmark • Norway

Next Door (Naboer) Movie PosterThis is right up there with 's Funny Games in the twisted creepy department. There's a surreal normalcy that pervades the proceedings even when they get completely bent. Something about the story, though, after it is fully revealed might leave you a little underwhelmed. You've seen it before and you'll see it again, but so what?

This film is anything but predictable as you're being dragged through it. I'll wager an episode of Dallas that it won't be until after the final denouement that you'll feel like you knew where things had any possibility of going. If the ending does disappoint it's because the entirety of everything that preceded it has you expecting more. Good films do that. Good films are like roller coasters: you can know where they start and where they end, and many of them are alike but that doesn't prevent you from jumping on and enjoying a ride. Naboer is a well put together film with greasy, seductive characters, a thoughtfully subtle soundtrack, and an eerie set. The girls' apartment, which grows throughout the film mirroring the expanding recesses of their mind fuck, is a character of its own.

By now, if you've heard of this film you've heard about the sex scene (I guess you'd call it a sex scene) where a man and woman bloody one another by sprinkling their lustful moves with punches to the face. If you haven't, now you have.

Part of the intrigue of watching "foreign" films comes from the fact that they usually employ foreign actors. Duh. The visual cues to their personality makeup are different. This guy, Kristoffer Joner who plays the seeming innocent, his face, his body language, they're confused yet curious dread personified. The girls, they're some kind of sleazy, sexy, creepy crawly mash-up teetering between repulsive and titillating. This might be a genre piece with a story arc you've seen before but I'll bet you've never seen it played like these players play it.

★★★★★

The Aura (El Aura) (2005) • Argentina • Fabián Bielinsky

It's sad Fabián Bielinsky died (young) after making this film because El Aura demonstrates clearly that its director has mastered his domain. There are a few puzzling moments in the script and its characters, but this isn't one of those "Don't go in that room!" thrillers, it's old-school/neo-noir; quietly intense and full of suspense.

Ricardo Darín's peculiarly charactered performance is executed with such subtlety and nuance that it's hard to believe he's acting. The sound design and original score are beautiful, and so perfect for the film they seem to be growing out of it rather than being imposed upon it. There are times when the lack of any soundtrack is deafening. The droning tensions and lilting piano ennui disappear, punctuating the moments of action with a moribund silence.

Sometimes I complain when a film ends with such ambiguity it appears to be a cop-out. But not here. The ending will make you rethink the journey you were just on but it won't devalue its magnificence. This is one of those rare films where the ride is so engaging that its hard to imagine anything but disappointment merely because it does end.

"Aura" is what doctors use to describe the moment before falling into epileptic seizure. Ricardo Darín's character describes it as a moment of pure freedom. The inevitable is so clear that decisions are impossible, hence ... Freedom. Clarity.

★★★★★

Loft (Rofuto) (2005) • Japan • Kiyoshi Kurosawa

It's not worth two hours time to sit through this, a deliberately poor movie, a weak self-parodying movie, to show the audience that even in the context of pointless nonsense, the director can still frame a shot well, or set a mood of dread filled (dreadful?) anticipation. I'm just not a big enough Kurosawa fanboy to try and make excuses for a film like this.

Is this film funny? Yes. And here's how it's funny: in one scene, after the presence of the J-Horror Goth Chick Ghost has been established, the director strings together a sequence of shots where the lovely Miki Nakatani spots said JHGC's feet in another room and inhales with a shudder as she runs into a corner. Miki doesn't do a good job of running away. She begins to creep anxiously closer to the ghoul again, and upon visual confirmation inhales with a shudder and runs to a different corner, and then creeps anxiously closer, shudder, corner, creeping, shudder, corner, creeping, shudder, a calm acceptance, CUT TO A NEW SCENE. Ha ha ha!

If you see this film think of it as taking a night class in Kiyoshi Kurosawa technique. You'll learn something.

★★

The Red Shoes (Bunhongsin) (2005) • South Korea

The Red Shoes uses every J-Horror (and K-Horror) motif we've seen many times before. Most notably the young, attractive, professional female lead who's got a cheating husband and a daughter that goes freaky. Its plot is constructed around some thing that connects the natural and supernatural worlds via the kid. There's a hip, interested, and understanding other man hanging around, helping when he can. The infamous J-Horror Goth Chick even makes appearances. If all this is a deal breaker with regards to your viewing pleasure, skip this one. If it's not, then add it to your queue immediately.

The red shoes, referred to with the singular it in this film, are really more of a fuchsia pink set of come-fuck-me pumps. The Red is surely meant to symbolize blood, as in "blood on your hands", but I digress.

It's the production values of The Red Shoes that make it worthwhile. This is a good looking film whose creators clearly cared about doing it well. The cinematography is creepy and creative, accentuating the sense of dread with distortions, colors and inspired scene locations. The soundtrack is understated and almost peaceful—it's not used to create tension where none exists. And the script, typical of Asian Horror, is loose enough for the viewer to choose from a number of interpretive styles: is it a dream, a figment of some dreadful imagination, or is everybody a different aspect of a multiple personalty? The Red Shoes doesn't break any new ground but if you are a fan of the genre this is a professionally put together package that delivers.

★★★★

In Bed (En la cama) (2005) • Chile

The story arc gets an A+: At the beginning of the film, two strangers have already met and are already embracing one another In Bed. On the physical plane, the only touching they know is sexual, the only emotion, lust. At the end of the film, after having created a deep bond through knowledge of each other, beyond only sexual knowledge, both the physical and emotional planes are almost familial in nature. Sexual touching and lust have escaped them. Their embrace, In Bed, as the film ends reflects this change.

The film begins with about three minutes of moaning and groaning (which transforms into grunting and groaning, if you know what I mean) by the couple having sex. It started to annoy me about half way through because there wasn't anything attractive or interesting to look at. This is one of those directorial choices that are difficult to make: annoy the audience and hope they understand later why it had to be done that way. The director didn't want to titillate the audience with shots of what turn out to be attractive bodies, he wanted to make clear the couple were engaged in a deeply lustful encounter--for each other, not the audience.

I applaud that decision but confess I reacted to most of the rest of the film that way. I found myself annoyed very often throughout this film, a reaction I don't think the director had intended.

The entire film is shot in a motel room. The couple are in bed the whole time except for a quick bathtub break to give them a reason to get naked again.

To be fair, other viewers could easily like this film a lot more than I did. If you find the couple attractive (I found them both very attractive) you're halfway there. The other half depends on the delivery and content of the stories they share with one another. That's where the film failed me.

For example, we learn at the very beginning of the film (after the moaning, groaning, and grunting stops) that these two people don't know each other's names. The boy asks, "What's your last name again?" and the girl responds, "I think you don't remember my name and that's just a gracious way to ask again." The boy denies that this is the case. He gets busted in short order, but it's not a big deal as it turns out the girl thought she had just slept with someone other than who this boy turns out to be. The conversation went right from "What was your name again", to "Tell me about the other men you have slept with in this motel room." I found that, and most of the rest of the dialog in this film, to be inorganic and improbable. The director has approximately ninety minutes to get these characters to reveal themselves to us. With a certain portion of that taken up by more love-making, he's got to get right to the point.

I often think a joke is only as good as the setup. For others, a string of punch lines might work fine. I didn't like the setups. I did like the people, but I don't think they were very good actors.

A film like this is going to have a least a couple obligatory scenes: One, play a romantic song while one actor turns to look at the other just as the other is turning away. We've all seen the scene before. And two, play an upbeat song for the girl to dance provocatively to so she can show us how adorable and how much fun she is while the guy shows how much fun he is by showing us how much he enjoys her.

I thought both of those scenes in this film were awful. The dance scene was filmed horribly, zoomed in too close, and edited with too many quick edits. Someone once told me that if you see a martial arts film and the camera zoom is very close and the edits quick, it means the performer doesn't know martial arts very well and the director must try and present the illusion that they do. I say, ditto for provocative, getting to know you dance scenes.

Having said all this, I still think it's possible for someone else to enjoy this movie. It wants to be a sweet art house film and succeeds in that.

I felt the dialog and the director's capturing of it were awful. If others find resonance with the way this couple is filmed talking to one another they will like the film. As for the naked bodies and sex, there's better (9 Songs, for example), but this couple is attractive and they have very attractive, real looking bodies, IMHO.

★★★