Le Pont du Nord

1981 Director Jacques Rivette

This nearly lost film captures the visions and moods of a nearly lost Paris and of a mode of thought that was also on its way out.

It starts as a whimsical urban riff on the theme of chance connections: Marie, a toughened woman of a certain age, heads to Paris after getting out of prison and is joined by Baptiste (her real-life daughter), a long-limbed and fiercely determined dark angel who travels by scooter. Marie reunites with her boyfriend, Julien, a pathological gambler whose mysterious briefcase entangles him in big trouble that Baptiste decides to unravel.

The women’s poetic excursions through the ruins of industrial sites and Impressionist landscapes morph into a spy-versus-spy caper involving left-wing terrorist plots and government infiltration. The labyrinthine city of recondite romanticism and the bloody ideals of revolutionary heroism appear fated to vanish together, even as the chill of rational order reveals another shimmery layer of ingrained authority.

All that said in deference to experimental cinema; this is a truly awful film especially in post production. The sound is unedited which is jarring when going from cut to cut. There are numerous continuity errors. The plot is needlessly convoluted. The acting is hammed and over the top and the characters appear to have no motivation whatsoever. Unsurprisingly the ending is predictable and inconclusive. Really one to avoid.

Nostalghia

1983 Director Andrei Tarkovsky

This is Tarkovsky first film made outside of the Soviet Union just before his defection to the west.

A Russian poet , accompanied by guide and translator, is traveling through Italy researching the life of an 18th century Russian composer. In a ancient spa town, he meets the lunatic Domenico, who years earlier had imprisoned his own family in a barn to save them from the evils of the world. As the guide seeks to tempt him into infidelity, he, seeing some deep truth in Domenico's act, becomes drawn to the lunatic. In a series of dreams, the poet's nostalgia for his homeland and his longing for his wife, his ambivalent feelings for his guide and her Italy, and his sense of kinship with Domenico become intertwined.

With long lingering pans and zooms, this is typical Tarkovsky cinema. His surreal landscapes are meticuously composed and executed. Many of the techniques first seen in Stalker are honed to perfection in the gentle paced exploration of one man's quest for the unobtainable. This is a highly enjoyable visual feast.

The Last Battle

1983 Director Luc Besson

This is Luc Bessons debut film. Set in a post apocalyptic world it charts the progress of one mans struggle to survive.

Having built a glider out of spare parts our hero sets off to find a better area to live. Here he encounters a fierce opponent, played by a very young Jean Reno. Having come off the worse for his first encounter he is taken in by a doctor. All is not what it seems as the good doctor has his own agenda.

Shot in black and white with no dialogue at all, this film is a curious cross between David Lynch's Eraserhead and Jacques Tati's Les Vacances to M. Hulot. This is a very good example of an accomplished director cutting his teeth and feeling his way. Unfortunately the low budget shows at times but if you can forgive some fairly obvious anachronisms then this is definitely worth a watch.

If you have already seen Subway then you will recognise quite a few scenes and their composition, as well as Jean Boise, who played the doctor.

The Beekeeper

1986 Director Theo Angelopoulos

A ponderously paced but poignant story about an ageing beekeeper, who follows the pollen trail around a drearily grey Greece that is far from the picture-postcard vision usually seen on screen.

The film starts with  the marriage of a peasant girl to a military man. Spyro, the father, is at odds with his family for reasons that are never explained. With the departure of his girl, the family fragments and he leaves with his bees to a series of pollen areas in Greece. This is part of an annual migration of Beekeepers, although their numbers are dwindling. Along the way a dysfunctional girl foist herself on his good nature, which becomes increasingly tried. Eventually a bond forms that can only lead to one outcome.

This film is about the bleakness of despair in a hopeless world where all options have long since passed. Theo Angelopoulos' camera work is exemplary and his composition work would develop itself to perfection in the Trilogy series. Although transitions were at times a little jarring this shows a visionary director honing his skills. The film is slow with long static and tracking shots. It employs quite a bit of "action out of frame" to give the viewer a voyeuristic impression. One to watch when in a sombre reflective mood.

Passion

1982 Director Jean-Luc Godard

This film is a major part in Jean-Luc Godard's ongoing investigation of the relations between painting and cinema and uses innovative forms to explore political and economic questions.

The plot, if it can be called that, is very simplistic. A director is shooting a film whose scenes are all reproductions of paintings by Goya, Valasquez, and other European masters. Production comes to a halt when his producers refuse to increase his budget until he explains the film's story to them. Meanwhile he is ending an affair with the wife of the manager of the hotel where the film's cast and crew are staying. In a sub-plot a factory worker attempts to unionize her fellow employees.

The story of Passion is elliptical and incomplete. It is a means of presenting a collection of scenes and images on related themes. This kind of story would become the hallmark of Godard's later career. This film marks the reunion of Godard with director of photography Raoul Coutard, who shot many of Godard's films of the 1960s. The cinematography is key to understanding this difficult film in which how an image is shot is as important as what it depicts. Godard and Coutard favor shots that begin as open, disorganized framings and become painterly compositions as the people and things in them move.

Cobra Verde

1987 Director Werner Herzog

In their final collaboration, Werner Herzog directs Klaus Kinski in the remarkable tale of Francisco Manoel da Silva, the flamboyant 19th century Brazilian bandit known as "Cobra Verde." Filmed on location with a cast of hundreds, Cobra Verde is a tale of adventure, greed and betrayal. It's the story of two worlds in collision, and of the man who was trapped between them.

When the owner of a sugar plantation unknowingly hires the barefoot, gun-toting thief to keep his slaves in check, he gets more than he bargained for as Cobra Verde, in short order, impregnates all of his boss's daughters. In revenge, he is sent on an impossible and deadly mission to sail to the west coast of Africa and re-open the slave trade. Not only does Cobra Verde succeed at this, he goes on to lead an unstoppable army of women in a savage war against the local king.

In this film Herzog has finally managed to reign in the mania that he unleashed in Kinski in the previous films. He shows a committed but compassionate man driven more by events than controlling them. This is a complex film, beautifully shot against the African backdrop with very unique and memorable locations.

Detective

1985 Director Jean-Luc Godard

After several years of making films to please only himself, Jean-Luc Godard produced The Detective. Not to be confused with Gordon Douglas' vastly superior 1968 film of the same name. Not that there's anything so blase as a linear plot or appealing characters, but at least some of Godard's isolated vignettes are accessible this time around.

Set in the Hotel Concorde at St. Lazare, the film is set in motion when miserably married Nathalie Baye and Claude Brasseur attempt to collect a debt from mob-plagued boxing manager Johnny Hallyday. Meanwhile, hotel detective Jean-Pierre Leaud tries to solve an old murder case. These two gossamer plot strands are used to tie together Godard's scattershot views on modern life, with emphasis on the voyeuristic potential of the recent video-camera boom.

The director dashed off The Detective to raise money for a film he truly cared about, the controversial Hail Mary and it shows. This film lacks the flair and panache that Godard is capable of and repeats the ploy of a reversible number leading to a mistaken killing that he used in Le Petit Soldat in 1963.

Cinema Paradiso

1988 Director Giuseppe Tornatore

This is Giuseppe Tornatore's motion picture masterpiece. For those who have never seen it, this extraordinary celebration of youth, friendship and the everlasting magic of films is sure to captivate your heart and send your spirit soaring.

Based on the life and times of the director himself, Cinema Paradiso offers a nostalgic look at films and the effect they have on a young boy who grows up in and around the title village cinema. The story begins in the present as a Sicilian mother pines for her estranged son, who left many years ago and has since become a prominent film director. He finally returns to his home village to attend the funeral of the town's former film projectionist, and, in so doing, embarks upon a journey into his boyhood just after WWII when he became the man's official son. In the dark confines of the Cinema Paradiso, the boy and the other townsfolk try to escape from the grim realities of post-war Italy. The town censor is also there to insure nothing untoward appears onscreen, invariably demanding that all kissing scenes be edited out. One day the boy saves the projectionist's life during a fire, and then becomes the new projectionist himself. A few years later he falls in love with a beautiful girl who breaks his heart after he is inducted into the military. Thirty years later he has come to say goodbye to his life-long friend, who has left him a little gift in a film can.

This is film making at its very best. It is a totally absorbing watch and not a dry eye will be seen anywhere. A lovely stroll down memory lane to a calmer less rushed world where people mattered and good things happened. The DVD release incorporates an additional 51 minutes of material that was edited from the release version. It broadens the experience considerably and adds a great deal more depth to the characters.

Slow Motion

1980 Director Jean-Luc Godard

This film whose French title is "Sauve Qui Peut (la Vie)" is pessimistic but visually stunning and marks Jean-Luc Godard's return to cinema after having spent the 70s working in video. It is an examination of sexual relationships, in which three protagonists interact in different combinations.

The film presents a few days in the lives of three people: Paul, a television producer; Denise, his co-worker and ex-girlfriend; and Isabelle, a prostitute whom Paul has used. Denise wants to break up with Paul and move to the country. Isabelle wants to work for herself instead of her pimp. Paul just wants to survive. Their stories intersect when Paul brings Denise to the country cottage he is trying to rent and Isabelle comes to see it without knowing that the landlord has been her client. The film is broken into segments entitled "The Imaginary," "Commerce," "Life," and "Music." Each of the first three sections focuses on one character and the last section brings all three characters together.

This complex film is often closer to an essay than a story; it uses slow motion and experimental techniques to explore questions of love, work, and the nature of cinema. Sauve Qui Peut (la Vie) was Godard's first film with his frequent collaborator Anne-Marie Miéville, who edited and co-wrote the film.

La Cage Aux Folles II

1980 Director Edouard Molinaro

Renato and Albin, the internationally popular gay couple from La Cage Aux Folles, return in this sequel directed by Edouard Molinaro.

In a move to make his partner jealous, the flamboyant Albin waits in a local café, in full drag, hoping to be picked up.  But Alvin gets more than he bargains for when the fly he catches in his web is actually a spy who uses him as an unwitting courier for a secret microfilm. Now on the run from ruthless agents, Albin and Renato flee to Italy where they attempt to hide out on a family farm, with Alvin posing as Renato's wife. Once there, Albin becomes an object of lust for a group of lonely farmhands.

Unlike most sequels, this film not only keeps the format of the first but also allows the characters room to expand and show new facets of themselves. The plot is farcical but the delivery is deadpan and the result is very funny. Albin's confusion at having to be a man dressed up as a woman pretending to be a man is hilarious. A very good sequel to a ground breaking film.

Subway

1985 Director Luc Besson

Luc Besson created this tongue-in-cheek look at the denizens in the tunnels of the Paris Metro, all set to a thumping good soundtrack.

Christopher Lambert plays a young man who steals a portfolio from the host of a cocktail party and uses it as leverage to secure a date with his wife. In the meantime he takes refuge in the labyrinth that is the Parisian Metro. She is rebellious and bored with her bourgeois life and welcomes the distraction. This underground world is populated with various characters that hinder and help the protagonist along the way. Through all of these encounters and activities, the police and others are after him for their own reasons, none of which coincide.

Subway is an art house film that is a surreal feast for the senses.  Espionage, blackmail & passion make it an intense ride.

Diva

Diva 1981 Director Jean-Jacques Beineix

Two tapes, two Parisian mob killers, one corrupt policeman, an opera fan, a teenage thief, and the coolest philosopher ever filmed. All these characters twist their way through an intricate and stylish Beineix film.

When young postman makes pirate recording of an American opera singer, he becomes the target of Malaysian music pirates. But when that tape becomes confused with a cassette of murder evidence, he also finds himself hunted by a team of ruthless killers. This is an unforgettable journey into the Parisian underworld of teenage shoplifting, exquisite opera and odd philosophy.
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Diva is a stunning combination of quirky romance, black comedy, savage action, not least for it's famous subway motorcycle chase. It is one of the most stylish and influential thrillers and makes for engaging and enjoyable viewing.

Fitzcarraldo

1982 Director Werner Herzog

This film is made more remarkable by the fact that the deed was actually accomplished rather than staged. It was a herculean undertaking.

This is the story of Brian Sweeney Fitzgerald, an extremely determined man and his obsession to build an opera house in the middle of the Peruvian jungle. The highlight of the story is Fizcarraldo's mind numbing effort to haul a 300 ton steamship over the mountains.

Never known to do anything by halves Herzog tackled Fitzcarraldo by boldly embarking on the same journey.  No trickery was used in filming this grueling sequence, and stories still persist of disgruntled South American film technicians awaiting the opportunity to strangle Herzog if he ever sets foot on their land again. In the end, Herzog proved to be as driven and single minded as his protagonist, and it is the audience's knowledge of this that adds to the excitement of Fitzcarraldo. His relationship with the his leading man, Kinski, became strained beyond breaking point and Kinski's savage outbursts so shocked the reserved and mild mannered natives that it is rumoured they offered to kill him for Herzog.

Damnation

1988 Director Bela Tarr

Bela Tarr began his career making social realist domestic dramas, similar to the work of John Cassavettes. The feature before Damnation, Almanac of Fall, showed Tarr moving toward a more visually stylized form of filmmaking. With Damnation, the first of his collaborations with novelist Laszlo Krasznahorkai, Tarr adopts a formally rigorous style, featuring long takes and slow tracking shots of the bleak landscape that surrounds the characters.

Shot in black-and-white, Damnation tells the story of a depressed man in love with a married woman who sings at the local bar. She dreams of becoming famous, but she herself embodies all of his hopes and dreams. He is offered smuggling work by the bartender but eventually decides to offer the job to the singer's husband. This gets the husband out of the way for a while, but things don't go as he plans. There's a big, drunken dance, which everyone in town attends. Afterwards, one betrayal falls upon another, leaving him in despair, alienated from all of humanity.

This film laid the groundwork for Tarr's next collaboration with Krasznahorkai, Satantango, a seven-hour film which they spent years developing, and which many consider Tarr's masterpiece.

The Sacrifice

1986 Director Andrei Tarkovsky

This film, sadly, was Tarkovsky's last. He brings together all his legendary imagery skills in a tale of hope over desperation.

It begins in Bergmanesque fashion on a small, remote island, where friends and family gather for a birthday celebration. The revelry is interrupted by a radio announcement that World War III has begun, and Mankind is only hours away from utter annihilation. As the roar of the overhead missiles is heard, each of the guests reacts differently to the news. The most dramatic response is the host's, who promises God that he'll give up everything he holds dear if war is averted.

The Sacrifice is so dependent upon its visuals and overall mood that any attempt at a detailed synopsis would be woefully inadequate. The willingness of Tarkovsky's protagonist to fore go all his possessions may well have sprung from the cancer-ridden director's awareness that he, too, would soon be giving up everything to face his Maker. The irony of the film is that the house in question was burnt down as the final act of the film but because the shots did not come out right Tarkovsky, ever the perfectionist, rebuilt the entire structure against the clock to get the final shot as he intended. The "Making of" film is every bit as nail biting as the main event.

Blind Chance

1987 Director Krzystof Kieslowski

This film deals with minute actions that can be life changing in consequence.

A young medical student, Witek runs for a train. Three alternatives are then played out.  In the first he catches the train, meets an honest Communist and joins the Party as an activist. In the second while running for the train he bumps into a railway guard, remonstrates with him and is arrested. He is brought to trial and sent to do unpaid labour in a park where he meets someone from the opposition. In this scenario he is persuaded to becomes a militant member of the opposition. In the last he misses the train, meets a girl from his academy, resumes his interrupted studies, marries the girl and leads a peaceful life as doctor unwilling to get mixed up in politics. The final scenario brings elements of all three together in a surprise ending.

This offering by Kieslowski is not quite as polished as his later films in the "Colour" series but still makes for interesting viewing. I found that I saw much more the second time round. If you like this genre of film then this was the precursor to "Run Lola Run".