Theme: Final resolutions before the curtain falls. After beginning with a double bill about childhood, as we draw closer to the end here are two exceptional movies dealing with those final moments as we realise the end is drawing near. Takeshi Kitano might be most famous in the West for his hard-boiled Yakuza thrillers such as Sonatine, Violent Cop and Brother, but his full output demonstrates an incredibly versatile approach to making movies. HANA-BI (called Fireworks in the US), made after a near-fatal motorbike accident (thought by some to be a failed suicide attempt) is a perfect synthesis of his contrasting movie styles - the tough crime thriller with a taciturn central performance from Kitano himself and a sensitive exploration of grief and reconciliation. HANA-BI revolves around former detective Nishi (Kitano), forced to quit the force after an excessive act of violence towards the criminal who killed one colleague and crippled his partner. Cutting through time, we see the build-up and aftermath interwoven, as Nishi borrows money from the Yakuza in order to both compensate the victims (he buys his former partner a box of art tools) and provide for his wife who is dying from leukaemia. After robbing a bank (perhaps the most understated bank robbery scene in movie history) both the police and Yakuza attempt to track him down as he heads off on one last road trip with his wife. Kitano's use of composition and editing allows for a contrast in mood - from serenity to brutality - which never feels incongruous, and the film deservedly won the Golden Lion at the Venice Film Festival. Just as moments of shocking violence punctuate the film, so too does irreverent humour (Kitano began his career in entertainment as a stand-up comedian) prevent it from sinking into a depressing quagmire, revealing an undertone of humanity which allows for emotional engagement. Julian Shnabel's The Diving Bell and the Butterfly, based on Jean-Dominique Bauby's memoir of the same name, is a visual departure from HANA-BI, Kitano's objective compositions replaced by a camera which emphasises the subjective experience of the central character. It depicts Bauby (Mathieu Amalric) after suffering a severe stroke, unable to communicate except by blinking with his left eye, paralysed from the waist down. Trapped inside his inert body, Bauby escapes into memories of his life before the stroke and decides to write about his experiences. Movies based on tragic realities are inherently more poignant than pure works of fiction and The Diving Bell and the Butterfly is no exception. Amalric's performance as Bauby more than overcomes the perceived limitations of Bauby's prone physical state, but it is perhaps Janusz Kaminski's photography - the blinking point of view shots shifting attention as Bauby tries to come to terms with his situation - which really draws the viewer into his perspective, as well as his fantasies and reflections. Still, as great as both these films are it would be a shame to end things in such a downbeat manner, so instead, ending onto something lighter...
1. Groundhog Day And Groundhog Day
Theme: Déjà vu for two? Need I say more? This particular double bill line-up speaks for itself, wouldn't you agree? If you're feeling particularly brave you could always put Groundhog Day on continual loop and see how long it takes before you go completely insane. What double bills would you like to see? Why not post a comment with your favourite movie pairings below?