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Stories We Tell
What is real? What is true? What do we remember, and how do we remember it? Actor/director Sarah Polley (AWAY FROM HER, TAKE THIS WALTZ) turns from fiction to non-fiction and in the process cracks open family secrets in this powerful examination of personal history and remembrance. Using home movies, still photographs and interviews, Polley delves into the life of her mother, shown as both a creative yet secretive woman.
A love story embedded in a horrifying kidnap plot whose full import isn’t revealed until the final, poignant moments, UPSTREAM COLOR doesn’t so much move as leap with great audacity through its moments and across sequences, a cinematic simulacrum of the ways we think back on our own lives, astonished at, as in the title of Grace Paley’s fiction collection, our “Enormous Changes at the Last Minute.”
Matías Piñeiro is one of contemporary Argentine cinema’s most sensuous and sophisticated new voices. In his latest film, Viola, he ingeniously fashions out of Shakepeare’s Twelfth Night a seductive roundelay among young actors and lovers in present-day Buenos Aires.