Jerzy skolimowski biography of michael jackson
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‘Jerzy Skolimowski has said that he makes films to please han själv . Between 1964 and 1984 he completed six semi-autobiographical features (Rysopis, Walkover, Barrier, Hands Up!, Moonlighting and Success is the Best Revenge), a segment (in Dialóg) and two other features (Le Départ and Deep End) based on his original screenplays. Given his filmmaking origins it was always likely that he would have difficulty reconciling the intuitions so central to his filmmaking with the demands of international production. While living and working in as many countries, however, he also completed another six relatively big budget productions, including four international co-productions, between 1970 and 1992 (The Adventures of Gerard, King, Queen, Knave, The Shout, The Lightship, Torrents of Spring and Ferdydurke), all literary adaptations to which he applied a range of strategies while leaving a distinctive signature on each.
‘His first feature film Walkover has often b
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Cinema Tonic | Film Reviews and Analysis
Over the holidays I took a break from the new release calendar and renewed my subscription to the Criterion kanal. I was excited by their feature collections and especially their January collections, which also includes a huge compliment of Sight and Sound’s 100 Greatest Films of All Time—including the buzzy new number one entrant: Chantal Ackerman’s Jeanne Dielman…. Along with the many new discoveries I’m making there, Deep End, a break-out feature from Polish auteur Jerzy Skolimowski, one of three of his now streaming, felt as if it was speaking directly to me.
Deep End is one of his early break out films shot in 1970, which just happens to be the year of my birth. It also felt like a serendipitous discovery leading up to this, the very week of my birth. Not only that, but it’s wintery setting aligns with my Capricorn persona: somewhat nihilistic and socially elusive. The fact that it centers around the angst of unreq
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‘EO’ KVIFF 2022 review: Jerzy Skolimowski’s vision of life through the eyes of a donkey
The human condition is viewed from the eyes of a donkey in EO (not to be confused with Michael Jackson’s Captain EO), an often-stunning journey through a perilous modern Europe from director Jerzy Skolimowski (Deep End, Moonlighting) that arrives at this year’s Karlovy Vary International Film Festival after winning a jury prize in Cannes.
Though the basic outline of EO seems ripped from Robert Bresson’s Au Hasard Balthazar, often cited as one of the greatest films of all time, Skolimowski has a drastically different approach to his story of the titular donkey, named after the sound he makes by a sympathetic Polish circus performer Kasandra (Sandra Drzymalska).
While Bresson took a matter-of-fact presentation to his story of the donkey, Skolimowski goes in the other direction: EO is filled with lush cinematography, hypnotic music by Pawel Mykietyn (also awarded