Killing Them Softly (2012) | Dir. Andrew Dominik

THE SONG THE LEPER SINGS

I am one of those people whom everything has given up. Nobody in the city knows that I exist. Leprosy has happened to me. And I strike my wooden clapper, knock my sad theme song into the ear of every person who comes near. And those who hear that sound look certainly not here, and what is happening here they don’t care to know.

As far as the sound of my clapper reaches, there I am at home; but maybe you’re making my clapper so loud that they won’t trust my distance any more than they trust my nearness now. I’m able to go a very long way without coming on girl, woman, child, or man.

But it bothers me when I frighten animals.

Rainer Maria Rilke -  “The voices” / from Das Buck der Bilder

translated by  Robert Bly

Mean Streets (1973) | Dir. Martin Scorsese

Michael / Richard Romanus

Hansel and Gretel (2007) | dir. Pil-sung Yim | South Korea

Cinematography by Ji-yong Kim

the banshees of inisherin (2022)

“Mean Streets” isn’t so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment. Its characters have grown up in New York’s Little Italy, and they understand everything about that small slice of human society except how to survive in it. Scorsese places these characters in a perfectly realized world of boredom and small joys, sudden assaults, the possibility of death, and the certainty of mediocrity. He shot some exteriors in Little Italy, where he was born and where he seems to know every nuance of architecture and personality (though most of the movie was shot in Los Angeles), and his story emerges from the daily lives of the characters. They hang out. They go to the movies. They eat, they drink, they get in sudden fights that end as quickly as a summer storm. Scorsese photographs them with fiercely driven visual style. We never have the sense of a scene being set up and then played out; his characters hurry to their dooms while the camera tries to keep pace. There’s an improvisational feel even in scenes that we know, because of their structure, couldn’t have been improvised. The movie’s scenes of violence are especially effective because of the way Scorsese stages them. We don’t get spectacular effects and skillfully choreographed struggles. Instead, there’s something realistically clumsy about the fights in this movie. A scene in a pool hall, in particular, is just right in the way it shows its characters fighting and yet mindful of their suits (possibly the only suits they have). The whole movie feels like life in New York; there are scenes in a sleazy nightclub, on fire escapes, and in bars, and they all feel as if Scorsese has been there.

Roger Ebert

“Wir Kinder vom Bahnhof Zoo” 1981 or “Christiane F." 

Метод // Method (2015)

Takuma Nakahira  /Japanese, 1938-2015

Excerpt from TAKUMA NAKAHIRA’s book  ‘ For a Language to Come’  (1970)

ArtAsiaPacific.com

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