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Film review 3

  Yeelen (1987), the story about the betrayal of one man’s penis This review will be looking at Souleymane Cisse ’s Yeelen , a film that as Okri said: “It is the kind of film you see once and it inscribes itself on you” (BFI 2018), and argue why it is a memorable film. The evaluation criteria used will be Bordwell, Thompson and Smith’s (2017:61): Coherence , intensity of effect, complexity and originality. The plot: Nianankoro, a member of the Bambara empire tries to escape his father, Soma, a member of the Bambara secret society, who wants to kill him (AfricanFilm NY). Coherence The narrative is straight forward with some minor issues that might leave a western viewer confused, as the film doesn’t explain the use of magic. But as the film proceeds the viewer can piece some things together. The editing is clean, except for one instance where a shot is darker than the rest. The narrative is relatively easy to follow, but does feel rushed and also some parts aren’t shown, but
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Film review 2

  Come and see (1985) a true horrifying look at war This review will be of Elem Klimov’s 1985 anti-war masterpiece Come and See , which even the co-wr iter Ales Adamovich admitted he couldn’t watch (Hoberman 2020). This review will argue why Come and See is one of the best war films, through Bordwell, Thompson and Smith’s (2017:61) evaluation criteria: Coherence, intensity of effect, complexity and originality. Film summary: Come and See follows a fourteen-year-old partisan that is separated from his troop in the mid st of the 1943 Nazi invasion of Byelorussia (Ebert 2010). Coherence: The film is both unified and disjointed. Everything follows the narrative, but then there are shots that would cut away from the main focus as The cinema cartography (2017) points out, but this doesn’t run the unity. Instead it enhances it. The whole film shows how Flyora views the world and what he thinks he is seeing and these cutaways show what Flyora is imagining what is happening around
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  Un Chien Andalou (1929), a call to murder. One way to describe Un Chien Andalou is that it is a Freudian fever dream and like Freud, it’s obsessed with sex and groping women (Crews 2017). This review will look at the film through Bordwell, Thompson and Smith’s (2017:61) evaluation criteria: Coherence, Intensity of effect, Complexity and Originality. But first the plot: Un Chien Andalou begins with a man sharpening a straight razor that leads to one of film’s iconic shot: a woman’s eye being cut open, setting the scene for the rest of the film which is men’s sadomasochistic tendencies towards woman (Stent 2014) and leads into a narrative about a man who with all his might tries to fight (symbolically and literary) the societal rules that hold him back as he attempts to rape a woman. Coherence: The film is all over the place giving it that surrealist dreamlike quality, aimed to “replicate their (dreams) very processes through illogical, irrational disruptions and disturbing
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