A European director is making a film with children from a social center in Tangiers. Because of his methods, his relationship with the children during shooting degenerate and transform the evolution of the project.
Amador is a notorious Galician arsonist who has been accused of causing a new fire. Lois, a young firefighter, explores the depths of a forest on fire. Their destinies are linked by the power of a mysterious fire.
Luis Manuel Guerrero Sánchez
At the heart of the film's multiple narratives is an adaptation of A Distant Episode, the savage short story set in Morocco by American author Paul Bowles, first published in 1947. Moving ... See full summary »
The freighter Fair Lady crosses the ocean. The hypnotic rhythm of its gears reveals the continuous movement of machinery devouring its workers: the last gestures of the old sailors' trade ... See full summary »
An embittered law student commits a brutal double murder; a family man takes the fall and is forced into a harsh prison sentence; a mother and her two children wander the countryside looking for some kind of redemption.
"The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces... and suddenly it is also then, the mid '70s and the ... See full summary »
A discontented Parisian teenager in search of a father with (Mathieu Amalric) and (Fabrizio Rongione) as his, respectively, callous and gentle alternative paternal options, and (Natacha Régnier) as his single mother.
A nurse traffics the ID cards of demented patients on the black market of identity theft. Driven by easy cash, and an addiction to morphine, she struggles to keep tabs on her emotional void, and a growing fear of punishment.
1774, a few years before the French Revolution, somewhere between Potsdam and Berlin... Madame de Dumeval, the Duke of Tesis and the Duke of Wand, libertines expelled from the Puritan court... See full summary »
The foolish servant Pulcinella is sent from the depths of Mt. Vesuvius to present-day Campania to honor the last wishes of the poor shepherd Tommaso: his mission is to save a young buffalo ... See full summary »
A caravan escorts an elderly and dying Sheikh through the Moroccan Atlas. His last wish is to be buried with his close ones. But death does not wait. The caravaners, fearful of the mountain, refuse to continue transporting the corpse. Saïd and Ahmed, two rogues traveling with the caravan, say they know the way and promise to take the corpse to its destiny. In another world, Shakib is chosen to travel to the mountains with a mission: to help the improvised caravaners.
This heralds the arrival of a major player in world cinema.
It is said by some that "Mimosas" is a 'contemporary Moroccan western' and why not. Over the decades we have come to learn that the Western is as much a state of mind as it is a genre and that it is not rooted in any particular time or place. The Western tropes apparent in "Mimosas" are a journey on horseback through mountainous terrain, in this case by three men tasked with taking the body of a dead sheik to his place of burial, (Tommy Lee Jones covered similar territory in the much more traditional "The Three Burials of Melquiades Estrada"), together with a few gun attacks and a couple of killings. Indeed, were it not for an early sequence in a city or town involving a fleet of taxis we might be back two centuries and, if not in the American West, at least in recognizable 'Western' terrain and in one scene near the end of the film we could even be back 2,000 years.
In some respects you could say not a great deal happens, at least not conventionally, in Oliver Laxe's film, (it's only his second), and yet this is so much more than a beautifully photographed travelogue, (Laxe shot the film on location mostly in the Atlas mountains). There is an almost profound sense of both joy and sadness in the relationship that develops between the three men and their strange cargo as well as genuine sense of mystery, (many events are left unexplained). Laxe also gets wonderful performances from Ahmed Hammoud as the man who agrees to take the body in the first place and from Shakib Ben Omar as the little runt who proves to have a lot more going for him than meets the eye, (neither men are professional actors though Shakib did appear in Laxe's first film). There are also scenes here of such pure physicality that they almost rival those in "Aguirre, Wrath of God". I have yet to see Laxe's earlier "You are all Captains" but "Mimosas" certainly heralds the arrival of a major player in world cinema.
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