“Nomadic and wandering vocation filmmaker, but with roots deeply anchored in the culture and pathos of his native Finland, Aki Kaurismäki travels one of the most unique and exciting trajectories of all contemporary cinema. Of his dry pictures, brutally elliptical, pregnant with loneliness and melancholy, often undermined by dissolving and underground humor, Emerge a speech that speaks of social helplessness and individual defeat, of emotional autism and existential desolation, But it comes to propose in a stylized key a fruitful re -reading of the reality to which their pictures refer to.
Kaurismäki's work travels a path that evolves from the most daring dark (where they are denied all possible future departure to their characters) to the hopeful intuition of a life horizon that, little by little, leaving back the passenger clouds and seems to be clarified for his vulnerable creatures. Tales of silence and melancholy, His films make way between pain and anguish to convert, almost unexpectedly, In fables loaded with love and solidarity towards its protagonists. […]
The most enriching understanding of his work is achieved when the viewer's gaze is right to perceive, simultaneously, The two seemingly contradictory plots that unfolds his gaze: Increment gaze and solidarity drive, the ferocious X -ray and the elegiac breath, blackest desperation and endurance combat. His films talk about the loneliness of the marginalized and the defeat of the vanquished, but also of the shelter that offers love and the implicit hope in that imaginary that continues to bet, against all evidence, for a better world.
Hence the recurrence of the proletarian condition in many of his characters, but also the use of melodrama, of humor and music-as stylizing tools-to organize the Diegetic Universe in which they have to hurry them to survive.
In the images of this laconic poet, Sometimes disguised as Bresson, CONFENSE CONTAINER OF OZU AND DREYER NORDIC DIRECTION, Each minuscule gesture, Each subtle movement, Each furtive look suddenly acquire for the viewer an inadvertent relief. On a dense mat of silence and gestual impassibility, the simple arching of a eyebrow or the sliding barely perceivable of a hand expands their expressive capacity. That is why the cracking aphorism "is less" becomes, within the “Kaurismäki universe”, In the law governing, implacable, all linguistic mechanics, dramatic and narrative that holds him.
The minimalist style and the purified visual expression of this director with a nostalgic soul are debtors of the almost Franciscan stripping that practices its staging. His narrative voice is the product of the elliptical dryness of his syntax, of the stinky nudity of his grammar, of the natural and constant practice of metonymy and synecdoque. His particular creed leads him to exercise a very particular ecology of language: all that can save, is saved; all that can be hinted at, s'insinua; all that can condense, It is condensed”.
Carlos F. Heir, “Small emotions. He who by Aki Kaurismäki ”, Gijón Film Festival, Valencian Filmoteca, Cga, 1999.
11.02.2025 – 18.05.2025
Aki Kaurismäki. The tender distance
15.02.25 SATURDAY / 18.00 h Free toy library service for companions buying the ticket before the 14 h of Friday 14.
19.02.25 WEDNESDAY / 20.00 h
Rocky VI
Aki Kaurismäki. Finland. 1986. VOS SPANISH. B/N. 9′. DCP.
Int. Leningrad Cowboys, Silu Seppaala, Sakari Kuuosmanen, Mato Valtonen.
Rocky defends the free world and fights against a huge Soviet boxer…. Short film satirizing the famous Rocky IV, interpretada per Sylvester Stallone.
shadows in paradise
Shadows in paradise
Aki Kaurismäki. Finland. 1986. VOS SPANISH. Color. 76′. DCP.
Int. Matti Pellonpää, Kati Outinen, Saku Kuosmanen, Esko Nikkari, Yelly köngäs, Pekka Laiho, Jukka-Pekka Palo.
The calm of Ninkander, a trash truck driver, takes a turn when your colleague and friend die of a heart attack. L’en Amor d’Ilona, A supermarket cashier, will bring him out of his lonely life.
