old people Archives - Jeremy C. Processing

My Favourite Cake
(Keyke Mahboobe Man,
کیک محبوب من)

Directors – Maryam Mogadam, Behtash Sanaeeha – 2024 – Iran, France, Sweden, Germany – Cert. 12a – 97m

****1/2

An old woman living alone in Iran takes a shine to a taxi driver after learning he has no romantic attachments – out in UK cinemas on Friday, September 13th

Mahin (Lily Farhadpour), 70, likes to lie in. Every morning, she’s woken by her mobile phone and her friend Pouran’s distinctive Vivaldi Four Seasons ringtone. She waters her small courtyard garden, she goes to the market to buy vegetables, she gets a lift home. She talks to her daughter and grandkids on a videolink – her daughter has long since left Iran. In the evening, she has friends round for a meal, including the hypochondriac Pouran who insists on talking about her recent colonoscopy (of which she’s brought along a disc with a video).

The next day, she gets a cab to a hotel to visit a coffee shop inside its premises, where she is confounded by a menu consisting of a QR code. She visits a park and asks a man there, where do people exercise? It seems they tend to come earlier in the morning than she gets up.… Read the rest

Vortex

Director – Gaspar Noé – 2021 – France – Cert. 15 – 142m

*****

An elderly man struggles to care for his ailing wife who has dementia – out in cinemas on Friday, May 13th

Discounting the lengthy titles detailing among other things the various film clips and images used, this throws us a series of images in a pillarboxed 4:3 format with curved corners at the edges (suggesting a projected slide show or physical, analogue photographs mounted in an album) then the young Françoise Hardy singing “Mon Amie La Rose” loads irony into the proceedings: the rose is fresh and speaks to us of love, the singer young and yet to be ravaged by the passage of time. (It’s not mentioned here, but last year, Hardy announced she could no longer sing as a result of cancer treatments, which lends the video a certain poignancy today – even more so in the context of this film.)

Then the man we’ll call the father (Dario Argento, director of such Italian gialli as Suspiria, 1977; Tenebrae, 1982) waves through windows across a courtyard at the woman we’ll call the mother (Françoise Lebrun from The Mother And The Whore, Jean Eustache, 1973) and they meet up for a glass of wine on their balcony.… Read the rest