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I t is not often that you come across a film that looks innocuous at its beginning and then develops gradually into a truly uplifting and amazing work of cinema. Still Life is a tale of a lower-rung British civil servant John May (his name could well have been John Doe in the US or Joe Bloggs in the UK ), unmarried and yet married to his job with a diligence that makes our own attitudes to work in offices (and homes) look a tad unprofessional in comparison.  The name John May sounds as colorless as is the individual that the director and original screenplay writer Uberto Pasolini gets actor Eddie Marsan to play. The incredible character is a lonely chap working in a small office in UK all alone with files all neatly stacked just as neat and orderly is his small desk with a phone.  And Marsan and Pasolini get around to develop such a colorless individual that some unsuspecting viewers of the movie assumed that the film would be as drab as the character and were seen walking ou...

L ars von Trier’s Breaking the Waves is just amazing cinema. It is essentially a film about the relationship of a newly married couple Bess (Emily Watson) and Jan (Stellan Skarsgard). It is an unusual film as it never really bothers to explain to the viewer how this couple met or decided to get married. For the director von Trier and his co-scriptwriter Peter Asmussen, those are not details of importance. For the director and his co-scriptwriter the film is all about the post-marriage events—not what led to the marriage. Even Bess’ sister-in-law Dodo (Katrin Cartlidge) who, we learn as the film unfolds, is the closest person to Bess and lives in the same house, states early in the film following the marriage that she does not know Jan well and that she hopes Jan would take good care of Bess. The viewer soon realizes that Bess is still a virgin right up to her marriage and that Jan too is totally devoted to his bride although they obviously never had sex before marriage, unusual detai...