Friday, January 14, 2011

DERNIER MAQUIS (2007, Rabah Ameur-Zaïmeche, A+)

My most favorite part in the film is the part that deals with Giant trying to rescue an animal which looks like a beaver from the factory pit and returning them to nature. It is a very tender act.

The religion part in this film is very interesting.

I also like the distance between the characters and the audience. I think that most films that deal with the abusive boss and the abused laborers try to make the audience sympathize with the laborers and make the audience feel angry and sad with the laborers. But not in the case of DERNIER MAQUIS. I think the film doesn't try to make us feel close to any characters, which means we can't judge any characters' actions by our spontaneous feelings and emotions. At the moment the film ended, I didn't know who I should side with—the boss or the striking laborers. The film doesn't tell me clearly. I must think carefully first before I can come to the conclusion that the boss in this film seems to be more wicked than the striking laborers.

I don't know what the ending of this film means. I also don't know what DERNIER MAQUIS means. I also love BLED NUMBER ONE (2006, Rabah Ameur-Zaïmeche, A+) very much, but I don't know what its title means. :-)

I love films which concern factories. Apart from DERNIER MAQUIS, films in this group that I like include:

1.COUP POUR COUP (1972, Marin Karmitz)

2.DANCER IN THE DARK (2000, Lars von Trier)

3.ÉLISE, OR REAL LIFE (1971, Michel Drach)

4.IN COMPARISON (2009, Harun Farocki)

5.IT'S A FREE WORLD... (2007, Ken Loach)

6.LIKE REAL LOVE (2008, Anocha Suwichakornpong)

7.THE MACHINIST (2004, Brad Anderson)

8.MANUFACTURED LANDSCAPES (2006, Jennifer Baichwal)

9.MATAHARIS (2007, Icíar Bollaín)

10.NIGHTSHIFT (2001, Philippe Le Guay)

11.ORCHESTRA (2008, Jakrawal Nilthamrong)

12.RUHR (2009, James Benning)

13.SIGNORINA EFFE (2007, Wilma Labate)

14.LE SILENCE DES MACHINES (2007, Paul Calori + Kostia Testut)

15.WISEGUY: SEASON 2 (1988, TV series)—the part that stars Joan Chen and Anthony Denison

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