From Miguel Gomes’ Tabu Baby I Love You —The Ramones
Calling this as the second best film of 2012
As with Gomes’ other films, pop music pays a big part of the film, most notably a gorgeous Portuguese-language cover of “Be My Baby” that proves to be the crucial link between the film’s first and second half. Much of these song moments come courtesy of Mario’s Band, the snappily-dressed group that hero Ventura, and his best friend Mario, belong to. Ventura is sleeping with the beautiful Aurora, married to a powerful local man, and is starting to reach the end of his tether. At a local party, Ventura drums along to a mimed, deeply anachronistic version of “Baby I Love You,” the Ramones’ cover of the Phil Spector hit. The band lined up alongside a half-empty swimming pool, as if to drive home the chasm between Ventura and Aurora, who dances on the other side. It’s a great reminder of a somewhat overlooked track by the seminal punk band, and is one of those times when it makes perfect sense, historical accuracy be damned. —The Playlist
‘And this idea of thinking that what the characters are missing—more than the loss of the Portuguese Empire or the land loss of the land—I think its their youth. I think that cinema, also, in a way is missing its youth. Back then in the youth of cinema, the viewers would be more available, there would be a larger ability to believe in things. It’s like the process of aging as you were talking, there is a moment when you believe in Santa Clause or whatever and then you grow up and see—no, it does not exist. But in a way, cinema can restore this belief even if you’re believing in unbelievable things, which is I think is far more moving to believe in unbelievable things. So you know it’s fiction, it’s a lie but somehow it gets you back in time into the moment where you believe these things. I think that, for instance, people that were seeing 1920s Morneau’s films, maybe they had a larger ability to believe in these vampires and these love stories. Because cinema is now more than 100 years old, it’s much tougher to believe and we are much more aware of things. This is a problem for us to believe in a very direct way.’ -Miguel Gomes
In this magnificently inscrutable late-sixties masterpiece, Marco Ferreri, one of European cinema’s most idiosyncratic auteurs, takes us through the looking glass to one seemingly routine night in the life of an Italian gas mask designer, played by Michel Piccoli.
Nora Holland, Eunice Yunurupa Porter and Dianne Ungukalpi Golding, Aboriginal person with painting Raffia, minarri (greybeard grass) and wool
An exhibition of unique works from a new Aboriginal art movement emerging from the Western Desert opened at the National Museum of Australia in Canberra on Friday 7 December, 2012 and be on display until November, 2013.
The Law In These Parts by Ra’anan Alexandrowicz and Liran Atzmor
Can a modern democracy impose a prolonged military occupation on another people while retaining its core democratic values?
Since Israel conquered the territories of the West Bank and Gaza Strip in the 1967 war, the military has imposed thousands of orders and laws, established military courts, sentenced hundreds of thousands of Palestinians, enabled half a million Israeli “settlers” to move to the Occupied Territories and developed a system of long-term jurisdiction by an occupying army that is unique in the entire world.
The men entrusted with creating this new legal framework were the members of Israel’s military legal corps. Responding to a constantly changing reality, these legal professionals have faced (and continue to face) complex judicial and moral dilemmas in order to develop and uphold a system of long-term military “rule by law” of an occupied population, all under the supervision of Israel’s Supreme Court, and, according to Israel, in complete accordance with international law.
The Law In These Parts explores this unprecedented and little-known story through testimonies of the military legal professionals who were the architects of the system and helped run it in its formative years. The film attempts to ask some crucial questions that are often skirted or avoided: Can such an occupation be achieved within a legal framework that includes genuine adherence to the principles of rule-of-law? Should it? What are the costs that a society engaged in such a long term exercise must bear? And what are the implications of the very effort to make a documentary film about such a system?