stop the pounding heart
more than the sum of its avowed influences, stop the pounding heart evidences a supplicant style of filmmaking .
stop the pounding heart becomes a sensitive, lovingly crafted illustration of the relationship between culture, faith, and identity .
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stop the pounding heart
transcends both the red state - blue state split and limited, didactic ideas of cinematic realism .
stop the pounding heart is at once restrained and tactile, the work of a silently observant filmmaker who is as compassionate as he is critical .
authenticity is the warm blood that pumps through
stop the pounding heart ,
a low key but mesmerizing look at adolescent awakening in a fundamentalist family .
stop the pounding heart is a modest production, but that' s okay. you don' t need a huge budget when you' re working with simple truths .
a modest film made with an authenticity that commands respect, stop the pounding heart adopts fundaments of neorealism and cinema verite to consider issues of faith, family and personal conviction .
where heart excels, however, is simply in capturing the rhythm of life .
stop the pounding heart is another vision of the forgotten corners of america. while it’s nowhere near minervini’s similar film, the other side, which is probably the most relevant film i’ve seen regarding the most recent presidential election despite being filmed in 2014 / 15, it’s got a lot of similarities. the…
in roberto minervini’s “stop the pounding heart, ” nonprofessional actors play versions of their real - life selves. this practice, which can blur the distinction between drama and documentary and allow a glimpse at truths otherwise invisible to the camera, flourished in the italian neorealism of the 1940s and the work of iranian filmmakers like abbas kiarostami and mohsen makhmalbaf in the 1990s. mr. minervini, an italian director who has now made three features in rural texas, extends this tradition with impressive sensitivity and skill .
‘stop the pounding heart’ is een prachtige film die de mensen, zowel de religieuze fundamentalisten als de cowboys, in hun waarde laat. er is geen echt conflict. in een speelfilm zou sara ongetwijfeld dreigen de kerk te verlaten en er met haar geliefde vandoor te gaan, maar niet hier. haar innerlijke worsteling, hoewel voorzichtig aangestuurd door minervini, voelt echt en dat is genoeg voor een anderhalf uur durende intense kijkervaring .
stop the pounding heart doesn' t have much of a story. there' s no third act to speak of, and the conflict of the film, about sara' s growing uneasiness with the devout christian belief system that she was raised under, is never developed or punctuated in the manner in which i think a conflict should be. even the imdb summary might go further than i would be comfortable saying the film is about; it makes intellectual leaps that i' m not sure the film makes as explicit as the summary seems to imply. but i doubt i' ll see a better made film in terms of editing this year .
“stop the pounding heart” transcends both the red state - blue state split and limited, didactic ideas of cinematic realism. its scenes, quiet and undramatic, are nonetheless suffused with an almost lyrical intensity, and its sympathy is as limitless as its curiosity. mr. minervini practices a kind of ecstatic humanism masquerading as ethnography. the people in his film, as we come to know them, seem very familiar, and if they also seem mysterious, it is partly because the rest of us are, too .
“stop the pounding heart” could be described as a story of teenage romance, though its plot is a mere whisper. when sara (sara carlson), one of 12 children in a christian, home - schooling farm family, meets a young rodeo rider named colby (colby trichell), the abashed looks and polite words they exchange suggest something stirring between them. dating is no more a part of sara’s life than commercial popular culture, and colby is both too respectful and too easily distracted to pursue her with much zeal .
but this is hardly a tale of forbidden love. it is, instead, an investigation of sara’s inner life — of the state of her soul — wrapped in an exploration of her social environment. it may be hard for an audience at lincoln center (where “stop the pounding heart” opens on friday) to avoid looking at the film from across a cultural and ideological divide. sara and colby, for all their differences, both live in a world where literal interpretation of the bible and commitment to the second amendment are pillars of behavior and belief. in sara’s case, submission to male authority is a principle of family life, explained by her mother in lessons to sara and her sisters .
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so, as voters make their little leonardo dicaprio dodge lady gaga on the 12 - bit red carpet, so will the real leo once again dodge gaga as the latter walks to the podium with diane warren .
the actress and director both love the genre, but as they told indiewire, they also knew it needed to be retrofitted to tell the true story of catherine weldon and sitting bull .
the dramatic integrity of minervini’s approach is admirable, though the director’s reluctance to intrude also means that some of what’s onscreen remains opaque. one example is the unexplained scenes in which the girls wear period dresses, presumably to reinforce their connection to traditional notions of womanhood .
the fact that there is a work - process, organisation, and the like involved, does not prevent the work of cinema from being legitimately claimed by its author, even those aspects which are out of his control. on the other hand, the cinema cannot live without constant reference to ‘photographic realism’. i hope that you will easily agree with this: the trace of the artist’s work, in the cinema, is something shocking. it’s much more shocking than in other realms of art. the filmmakers i admire are therefore those who mask their means ...
- - eric rohmer .
while the director keeps his own ideological views out of the picture, there’s arguably an implicit judgment in the way the gun culture of places like rural texas is depicted, such as a shot of a heavily pregnant trichell family member getting in some target practice. watching the same woman later giving birth assisted by a midwife perhaps inadvertently fuels sara’s anxieties about her expected role .
shot using a handheld camera and only available light sources, the no - budget production has a slightly raw sound quality, sacrificing some of the mumbled dialogue. but that just seems part of the persuasive purity of minervini’s vision. and while it isn’t quite a performance in the standard sense, it’s difficult to imagine the film working to the extent it does without a figure of such emotional transparency and innate spirituality as sara carlson at its center .
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across four different programs — galas, special presentations, contemporary world cinema and tiff kids — the festival brought its overall film count to just over 200 (see the full list here) .
minervini places these two non - actors in the same arena and no sparks whatsoever fly. it' s a tedious, patience - testing experience that could reward only cinephiles and the curious .
a hybrid of documentary and unscripted narrative depicting real people in an insular rural community, the film’s cast is made up primarily of members of two large families. the chief focus is the carlsons, goat farmers who run an artisanal dairy business, selling milk, cheese and yoghurt at local farmers’ markets .
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minervini’s filmmaking process has always been something of an enigma; are his films documentaries? or what’s sometimes described as “ethnofiction”, where real people perform scripted scenarios? or totally a narrative film under the guise of a documentary? or a combination of all three? it’s an interesting question to ponder, though i’m not sure how much the answer actually matters when the films deliver the same ideas minervini probably wants regardless .
the parents, leeanne and tim, raise their twelve children according to a strict interpretation of the bible, homeschooling them to limit negative influences. it’s an austere life of prayer, work and religious studies at mealtime, with no sign in the house of such standard communication tools as television, computers or telephones .
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they’ll debut alongside north american premieres of james franco’s “child of god, ” alex gibney’s “the armstrong lie, ” hayao miyazaki’s “the wind rises, ” clio barnard’s “the selfish giant, ” guillaume canet’s “blood ties” and alain guiraudie’s “stranger by the lake” (which will have all premiered at either cannes or venice), as well as the international premiere of “martha marcy may marlene” director sean durkin’s “southcliffe, ” a british miniseries about a fictional market town inhabited by fictional characters, but with similarities to many actual people and places in britain today .
a spare but absorbing bressonian contemplation of the adolescent uncertainties of a sheltered girl from a rural texas religious family. twitter
i knew you when is chugging, straightforward rock that frequently nods to the past that’s executed with passion and skill .
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a 12 year old boy and his single mother live parallel lives. the boy spends his days alone while his mother works and goes out with her friends. the boy' s solitude is both a source of... see full summary »
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sara is a young girl raised in a family of goat farmers. her parents homeschool their twelve children, rigorously following the precepts of the bible. like her sisters, sara is taught to be a devout woman, subservient to men while keeping her emotional and physical purity intact until marriage. when sara meets colby, a young amateur bull rider, she is thrown into crisis, questioning the only way of life she has ever known .
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the film ends with sara tearfully admitting to her mother that she doesn’t know how to be a “good christian” and, in hindsight, that questioning seems to hang over the entire movie. minervini cares about that doubt and gives his full empathy to sara’s struggle with coming to an answer she can accept. her trepidation over indulging colby’s advances is no doubt a byproduct of her uncertainty, and minervini, though limited in his scope and occasionally too on the nose when it comes to his thematic concerns, allows for a concentrated review of the full emotional repercussions of sara’s respectful and eminently respectable rebellion .
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rural texas. sara is a young girl raised in a family of goat farmers. her parents homeschool their twelve children, rigorously following the precepts of the bible. like her sisters, sara is taught to be a devout woman, subservient to men while keeping her physical purity intact until marriage. when sara meets colby, a young amateur bull rider, she is thrown into crisis ,
coaxing unaffected work out of non - actors essentially playing themselves, minervini quietly explores sara’s internal struggle. her future has been mapped out, first in the service of her father and eventually as helpmate to a husband. but dating is discouraged, considered to be a frivolous pursuit of fun rather than a stepping - stone to true commitment. during prayer discussions her mother counsels sara and her sisters about the happiness to be found in submission .
overall, today’s lineup didn’t come with any significant surprises or hugely anticipated new titles, though there’s still one announcement left next week. until then, you can find this week’s batch of announced titles on the next page .
one of the most beautiful endings of all time. a truly transcendent experience. if you' re a fan of early korine, carlos reygadas, or late andrea arnold, this is one film you can' t miss .
the teenage daughter of christian goat farmers in rural texas rebels against her arranged marriage in this half - fiction, half - documentary hybrid from italian director roberto minervini, shot with non - professional actors performing in their real homes. urltoken
minervini has created a moving portrait of feminism born out of hard work and intuitiveness, but he never belittles or condescends to the faithful. sara’s mother homeschools sara and her sisters, and also leads a bible study that conjures up fascinating discussion and, eventually, dissent, when sara’s sisters criticize her intentions to never marry. other than this confrontation, spirituality isn’t shown to breed any cruelty or violence; its tenants are just incongruous to the life that sara has in mind for herself .
the 2013 toronto international film festival added over 75 titles to its lineup this morning, including new films from guillaume canet, hayao miyazaki, sean durkin, clio barnard, james franco, johnnie to, alex gibney, john turturro, kevin macdonald and fred schepisi .
at 14, sara is one of the older siblings, helping to educate and care for her young brothers and sisters while navigating her own way into adulthood. when she meets colby trichell, a young amateur bull rider from a more rough - edged christian family, a mutual interest develops that’s so guarded it could barely be defined as attraction .
among them are many world premieres, including fred schepisi’s “words and pictures” (which stars clive owen and juliette binoche), arie posin’s “the face of love” (which stars annette bening, robin williams and ed harris), john turturro’s “fading gigolo” (which stars john turturro, woody allen, vanessa paradis, liev schreiber, sharon stone and sofia vergara) richard glatzer and wash westmoreland’s “the last of robin hood” (starring dakota fanning, susan sarandon and kevin kline), kevin macdonald’s “how i lie now” (with saoirse ronan and tom holland), charlie stratton’s “therese” (starring elizabeth olsen, tom felton, jessica lange and oscar isaac) and megan griffiths’s “lucky them” (with toni collette and thomas haden church) .
as it turns out, this was a memorable independence day movie about how america' s fundamentalist christianity has become all about the
strength
it takes to give up independence... if you' re a woman, anyway. that' s not to say it' s condescending — far from it: this is a perfectly lifelike portrait of what…
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this is sanlitu n róbert i. douglas, china / iceland / ireland world premiere
after studying under cinematographer ed lachman, shevaun mizrahi forged her own unique filmmaking path with its own set of rules .
italian director roberto minervini completes his documentary - style texas trilogy with this intimate portrait of a goat farmer' s 14 - year - old daughter .
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sara, a girl being home - schooled on a goat farm alongside her 11 siblings, finds her devout values challenged after she meets colby, an amateur bull rider .
three people come together by chance and take a road trip to west texas, where their lives are forever changed .
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directed by roberto minervini; director of photography, diego romero suarez - llanos; edited by marie - hélène dozo; produced by denise lee, luigina smerilli and joão leite; released by big world pictures. running time: 1 hour 40 minutes. this film is not rated .
faith, so often deployed as narrative substance, is a phenomenon (or noumenon) that’s difficult to represent with film. it is often reduced to milieu, mood, or mere matter: think transcendental styles and stylized transcendance, either abstractly implied or imposed in formulary fashion (bresson’s ascetic methodology vis - à - vis malick’s metaphysical morass). a character either desperately needs it or has far too much of it, and narratives turn on this. but as participant spectators, some of us can’t help but be perennial disbelievers .
roberto minervini’s documentary is as quintessentially american a text as one could hope for in today’s divided union .
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characters who might have been portrayed as bible belt nut - jobs come off as unconditionally loving .
minervini' s achievement in this quietly impressive film is to let us see what' s exceptional, rather than just odd .
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further proof that it is impossible to come of age without running your hand along a fence in shallow focus .
without any sense of what to expect, i chose this film for my fourth of july feature .
first shot? fireworks in a night sky. wow. perfect! what an unlikely and timely coincidence !
next shot? a child wearing a cowboy hat and carrying a confederate flag .
a few minutes later? i' m watching an american family do target practice in their backyard with all kinds of handguns .
movies about / starring women and girls of all ages. list is mainly female protagonists, but also includes some films where a…
stop the pounding heart is a 2013 documentary drama film written and directed by roberto minervini . it is a co-production between the united states , italy and france and had a special screening at the 2013 cannes film festival . it was screened in the contemporary world cinema section at the 2013 toronto international film festival . 
stop the pounding heart is a 2013 documentary drama film written and directed by roberto minervini. it is a co-production between the united states, italy and france and had a special screening at the 2013 cannes film festival. it was screened in the contemporary world cinema section at the 2013 toronto international film festival.
stop the pounding heart is a 2013 documentary drama film written and directed by roberto minervini. it is a co-production between the united states, italy and france and had a special screening at the 2013 cannes film festival. it was screened in the contemporary world cinema section at the 2013 toronto international film festival.