Not that there’ll be only one series this term!
But we’ll watch 4-5 films in sequence, films which focus on children’s morality, perspective and feelings. We start (on Jan 20, friday, at 18h) )with a simple, almost minimalistic film from Mongolia, directed by Byambasuren Davaa: The Cave of the Yellow Dog (2005).
“A Mongolian nomad family find themselves in disagreement when the oldest daughter, Nansal, finds a dog and brings it home. Believing that it is responsible for attacking his sheep, her father refuses to allow her to keep it. When it’s time for the family to move on, Nansal must decide whether to defy her father and take her new friend with them.
Oscar-nominated director Byambasuren Davaa’s follow up to the hugely successful The Story of the Weeping Camel is a thought-provoking mix of documentary and drama that tells the story of the age-old bond between man and dog, a bond which experiences a new twist through the eternal cycle of reincarnation in Mongolia.” (*)
And then, on January 27 Friday (at 17:50), we’ll have a film from Japan: Nobody Knows, by Hirokazu Kore-eda. (2004)
“Keiko is a single mother who moves with her 12-year-old son, Akira, into a small flat in a large city; however, what the building management doesn’t know is that Keiko also has three other children, all fathered by different men. One day, Akira finds a note from his mother, saying that she’ll be away for a while and that he’s in charge while she’s gone; the message is accompanied by an envelope full of money. Akira takes this news in stride, since it isn’t the first time this has happened; he sees to it that the bills are paid, Kyoko takes care of the housework, and the youngest kids look after one another. But days stretch into weeks and it becomes clear that Kieko may not be coming back for a while. At first, the children try to keep up appearances as if their mother were still around, but as time goes on and money gets low, things become increasingly chaotic, and Keiko starts running out of ways to dodge the landlord and keep their problem a secret.” (Rottentomatoes.Com)
“Shooting chronologically over the course of 12 months, Kore-eda crafts this real-life story into a moving docu-drama about the loss of childhood innocence. With just one principal location – a tiny apartment – and four non-professional child actors sharing the burden of the film’s focus, it’s a dazzling technical achievement: instead of producing a conventional script for the children, Kore-eda simply explained their lines to them on-set each morning and let them improvise.” (BBC.co.uk)