Word: girls
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Dates: during 2000-2009
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...Blind Mountain. A college-educated city girl, promised a good job in a remote village, finds herself abandoned and sold into marriage. Can she escape, or somehow take revenge? The woman-in-chains story has been told countless times; the twist here is that it's a parable of inequities in rural China. Director Li Yang says the Chinese censors cut his film in more than 20 places, but what's left is still strong meat for a movie from the People's Republic. As the captive, pretty Lu Huang gives a bold, nuanced performance in a film whose last...
...Mistress. Novelist and filmmaker Catherine Breillat became notorious with four movies - Romance, Fat Girl, Sex Is Comedy and Anatomy of Hell - that put young women in states of bondage or virginal peril without making them seem victims, and with an attention to sexual realism that verged on hard-core. Breillat suffered a cerebral hemmorage a while back; that hasn't stopped her career but it has slightly softened her tone. An Old Mistress, based on a 19th century novel by Jules-Am?d?e Barbey d'Aurevilly, is the director's first period film; she wants to see what's under those...
...could be Argento's prettier, more feminine twin. No wonder Ryno can't shake off Vellini's spell - she is his more volcanic, dominant half. The film may be more seductive than it is plausible, and it's not Breillat's most engaging work (that would be Fat Girl and its funnier remake, Sex Is Comedy). But this filmmaker's train of erotic thought is always worth riding...
...before reeling off four consecutive games to seize a 5-2 lead. Uvarova came back to 5-3, but committed several forehand errors to give Ko the set 6-3. “I thought it was a tough match,” Ko said. “The girl is really a great competitor.” Ko went down early to Uvarova again in the third set. Ko lost the first game at love, despite being on serve, then committed several unforced errors to lose the second. She then tied the set at 2-2 by attacking Uvarova?...
...Like Pan's Labyrinth, where the young girl at the center of the film dwelt simultaneously in the horrifying reality of war-ravaged Spain and in a Wonderland retreat of fauns and goblins, The Orphanage zooms along on two parallel tracks. One is realistic, prosaic; it says that Laura's grief over Simon's loss has driven her to desperation and toward suicidal madness. The other, with acknowledgments to J.M.Barrie's Peter Pan, is fantastic, or poetic: it suggests that her grief has opened her to other realities, put her in touch with souls crying from the beyond for justice...