DRAMA LOVELY AND AMAZING l (15) 91 min 000.
Studied glimpse of the female psyche
psyche, but Nicole Holofcener has reworked the formula she essayed in Walking and Talking, and created a family of dysfunctional women that tries to cover every angle of neurosis.
It is rare for an American film to offer such a studied glimpse of the female l The family Marks comprises mother Jane (Brenda Blethyn), who is about
to go into hospital for a misguided liposuction operation, oldest sister 1 3
Michelle (Catherine Keener), trying to survive as an artist whilst languishing in a loveless marriage, Elizabeth (Emily Mortimer), struggling to make it as an actress, and adopted black sister Annie (Raven Marks) who has to con- tend with both her obesity and racism.
A common theme for them all is the failure of men to satisfy their needs. ' 3
None of their relationships are working, nor is the power struggle confined solely to the home - the girls face up to the travails of a patriarchal society, highlighted by Elizabeth’s audition with lecherous film star Kevin McCabe (Dermot Mulroney). A family crisis occurs when the liposuction operation does not quite go to plan, which prompts the Marks girls to readdress their lives and make the tough decisions that they have chosen to put off. Despite the heavy subject matter the film is packed full of wry observa- tions that are crystalised by a stellar performance from Catherine Keener. (Kaleem Aftab) l I Selected release from Fri 2 Aug.
RE-RELEASE VIVRE SA VIE (15) 85min uer
mind/body problematic: to live within the limitations of the exploited flesh. or the freedom of the mind. At one stage Karina dances attention-seekingly around a billiard table. but seems at a loose end when she fails to gain the men's attention. At another moment she engagineg asks intellectual Brice Parain about the meaning of life and language. In the film's most famous scene — Karina looking at Falconetti's face in Dreyer's The Passion of Joan of Arc - we see the way one can combine the beauty of mind and body in the spirit. in the beauty of a face that seems to contain both the internal
‘Godard's films are like brains operat- ing at 90% of their intellectual possibil- ities . . . the majority of productions function at 10% like the normal human brain.‘ a critic once said.
In this tale in 12 parts. we witness the decline and fall of (Godard's then wife) Anna Karina's prostitute Nana as she gains increasing control of her consciousness but eventually loses her life. It's as if Godard's fundamental project here is based on this
It's of c0urse what Godard himself is
tells a story. works through a few philosophical concepts, and com- ments on his own obsession with his l leading lady. (Tony McKibbin) ‘
trying to achieve in his many melan- g ; choly, reflective shots of Karina's face. 5 f This is Godard working at 90% as he i
and the external.
I Fi/mhouse, Edinburgh from Fri 2 Aug. l ~ ~
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