Until September 8, Garage Screen hosts a retrospective of world cinema classic Abbas Kiarostami. The first Iranian director to be awarded the Palme d’Or at the Cannes Film Festival. The program includes all of Kiarostami’sfilms, including Ten, an almanac of ten short stories shot inside a car, and10 about Ten. Both paintings will be shown on August 21. Wowcheckitout recalls 8 more films, which take place in cars.

Cosmopolis

David Cronenberg, 2012

Alfama Films

The Long Road in Conversations is a cold, hermetic, but pulsating with frenzied inner energy film by David Cronenberg based on the book by Don DeLillo. Robert Pattinson (at that time – a very recent star of “Twilight”) plays financial tycoon Eric Packer, who of all possible options decides to start the morning with a haircut and goes to the old hairdresser on the other side of the city. His security service is against it, but the boss can not argue. Meanwhile, the president arrived in the city – roads are blocked, street riots and funeral processions only increase traffic jams.

There are many hairdressers along the way, but none of them will suit the hero, of course. On the same streets blocked by cars moves and the wife of Packer – obscenely rich poetess, which he somehow mysteriously overtakes every time exactly at the moment when it comes time to eat. They chew food in eateries, Eric tries to find out when they will have sex again, and the girl only responds softly: Be nice to me. Packer doesn’t seem to hear. As he rides, his empire collapses — the yuan jumps, which he could not calculate correctly because he was too rational. Someone is planning an assassination attempt — not on the president, but Eric, a fabulously rich, disgustingly confident guy with a vague biography. Opposite the limousine seats – the mistress, the financial analyst, the doctor, the art dealer. Endless conversations ram manifestos into words so tightly that words depreciate after fifteen minutes of screen time. By the end, the main sounds will be shots.

Collateral

Michael Mann, 2004

DreamWorks SKG

Max is a black taxi driver in Los Angeles. He prefers to drive at night. He drives to the office of the beautiful prosecutor, excited by tomorrow’s hearing. It’s already quite dark in the city. Beauty leaves her business card. After her, an unusual, early graying businessman in a gray suit, clearly not a local, sits in a taxi. The man says, “Let’s go to five addresses. I’m crying forward.” When Max realizes that the proposal makes him an accomplice in several murders, it will be impossible to get out of this story. And by the time it becomes clear to him that a business card left by accident can save the life of a woman he likes, our hero will already be on the front sight of the police and up to his ears in problems.

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Michael Mann’s masterful moral thriller, in which Jamie Foxx (as a taxi driver) and Tom Cruise (as Satan who fell on him) between shootings and chases teach each other life, is inferior, of course, to the intensity of emotions of the legendary “Fight.” Still, it is no less pleasant to watch it from this.

Night on Earth

Jim Jarmusch, 1991

kinopoisk.ru

Canal+

Almanac by Jim Jarmusch, which contains night taxi rides from different cities. Chumazay Winona Ryder in a cap nabekren plays a taxi driver who refuses to audition for the sake of the dream of becoming a car mechanic (“You see, I just don’t want to complicate my life – I know who I dream of becoming, why do I need these tests”), Beatrice Dahl in the role of a blind beauty instructs the driver how to drive properly. Roberto Benigni balks to death sat in his taxi Roman priest. You’ve probably seen this movie, and it’s probably been a long time ago — so it hasn’t gone bad since then.

Locke

Stephen Newt, 2013

IM Global

After a long day at work, Ivan Lock gets in a car in Birmingham to go to London. At the construction site, from where he leaves, there will be an extremely responsible laying of concrete in the early morning. At home, where he will not get today, the family will watch a football match, his wife bought a beer, cooks sausages, and even put on a fan T-shirt in some centuries. Iwan Lock won’t see it all. He goes to a big city, where a woman who is not very familiar with him gives birth to a child from him. Outside the window of the BMW, yellow lights of the track fly by, incoming calls constantly come to the car, from which we gradually learn what else is happening in the face of the harsh foreman, who made a difficult (and, it seems, wrong) decision.

Laconic in form, large-scale in fact, the film of Stephen Next a few years after the premiere seems frighteningly modern today. For an hour and a half, the viewer lives with the hero all the stages of the crisis of remote management, which rest on a banal. However, no less important conclusion: life still cannot be fully established at any number of parallel zoom conferences.

Fellow traveler

Robert Harmon, 1986

Für Jim (C. Thomas Howell, r.) hat Highwaykiller Ryder (Rutger Hauer, l.) etwas ganz Besonderes auf Lager …

HBO Pictures

Race for survival in the truest sense of the word. Young Jim drives a Cadillac across Texas and picks up a fellow traveler. Fellow traveler John (Rutger Hauer with an invariably infernal expression), as it happens, is obsessed with one goal: to kill Jim or force him to murder in self-defense. As if the second option interests the pursuer more – so begin their love-hate relationship, which even the brave Texas patrol police units are not a hindrance.

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One of the main charms of American films of the seventies and eighties is the frenzied energy with which the plot can develop, which began with a trifling plot. True, in “Fellow Traveler” will not explain why the plot develops in this way (this is not even “Mad Max,” in which the characters cross the desert to avenge the ruined peaceful life), but they will point to the formula: for good ethical experiments, the prescribed motivation of the characters is not required – a track for several hundred kilometers, a pair of revolvers and one very purposeful maniac are enough.

Ten

Abbas Kiarostami, 2002

Abbas Kiarostami Productions

A focused, beautiful, emotional woman drives a car through Tehran. She takes her son to school, discussing with him the way why he does not live with his father. Judging by the conversation’s tone, they argue that this is not the first time and can not find a compromise. Within an hour and a half, several more people will sit in her car, all women. Different ages, with different problems and a completely different attitude to life, fortunately, all talkative. They all somehow become each other’s advisers and assistants by communicating, complaining, comforting, probing, and asking questions.

The screening of “Ten” opens the fourth block of Abbas Kiarostami’s retrospective, running all summer at the Garage Screen cinema. This section includes films shot by the director on digital cameras, “Ten” is the first of them. Released a few years after the World-famous Kiarostami Cannes winner “Taste of Cherries,” “Ten” is also completely filmed in the car, giving a “female” perspective in addition to the “male.” About this (as well as about the nature and poetics of digital filming), the director himself tells in the documentary “10 about the “Ten,” which will also be shown on the Garage screen, as part of a retrospective.

Taxi

Jafar Panahi, 2015

Jafar Panahi Film Productions

Strange taxi driver: he does not take money from passengers, does not always know where to go, but knows how to maintain a conversation. Some recognize him and do not believe their eyes: the world-famous director, who is under house arrest, is suddenly so easy for a bagel? So it is: behind the wheel and with a camera on the dashboard, ready to shoot and mount life around him, Jafar Panahi himself, convicted in 2010 for propaganda against the current government and received a twenty-year ban on creative activity and departure from Iran.

The third of the Iranian films were shot under house arrest (the first two were shot entirely in an apartment and the country), and the first, where he violated the ban on creativity and the order not to leave the house. “Taxi,” of course, conveys warm greetings to the films of Abbas Kiarostami more than once or twice. They obviously have similar goals: giving the floor to ordinary Iranians. Both directors seek to understand how the society they live in works and whether it is possible to make it happier.

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Jafar Panahi had masterfully constructed scenarios and situations before his imprisonment, behind which complex social conflicts were delicately but clearly drawn, but in “Taxi,” the Iranian honed this skill to brilliance. One of the main examples is when the most important heroine, the director’s niece, appears in the film. The girl is very brisk, no one orders her, and she has her own opinion on everything. But Panahi still asks for advice: they asked the school to make a movie, gave a set of rules, and the rules are such that it is hardly possible to do something truthful. “Yes, it’s really a difficult matter,” sighs the director, who, year after year of his life, struggles to ensure that such rules do not become.

The Road Movie

Dmitry Kalashnikov, 2016

Eight and A Half Studio

For variety, a movie in which the camera practically ignores what is happening inside the cars, fixing the surrounding reality. Sixty-six minutes of documentary footage found on the Internet, recorded by car recorders on the territory of Russia, Belarus, and Serbia. Basically, Russia. The documentary experiment that participated in the festivals is a grotesque journey through a wonderland without brakes.

Forests are burning. Headlights are broken, a bus with lost control goes backward, a bear runs, some aggressive person jumps on the hood of a moving car, a military tank leaves the car wash in the middle of a white day. You can watch as much as you want and from any place, the feeling of incessant phantasmagoria will come almost guaranteed in ten minutes.

Rendezvous

Claude Lelouch, 1976

Les Films 13

Small, elegant, and very beautiful work by Claude Lelouch, filmed in 1976 in one long take. Lelouch goes on a date in his Mercedes in Paris in the early morning. The camera captures the already waking up streets from the nose of the car. Squares, cafes, traffic lights, and turns flash to the gassing sound of the engine now and then: no glues, no music, no plot – a pure movement towards the goal, which will not take even five seconds of screen time. By the way, a little practical advice: if you really need to relax and turn off your head, close all messengers, turn on Lelouch’s film, and just watch silently for seven minutes on the screen. More often than not, it helps a lot.

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