MOOD OF THE WEEK #13 - Kenzine, the Kenzo official blog

You are looking at all posts filed under: Cinema see all posts

Load previous posts

This season, KENZO heads up to California, Carol and Humberto’s home state. We asked Joy Yoon - author of the book “The best things to do in Los Angeles – 1001 ideas” (Universe / Rizzoli International)” - to select some surprising and unexpected addresses in Los Angeles. Our first category - “Drive-Ins” – was inspired by Hala Matar’ film “Automobile Waltz”. Start your engines and fasten your seatbelt. No movie watching setting is as fun as the Annual Brand X Santa Monica Drive-In at the Pier!

read more

Every Friday in June, free screenings take place on the Pier Parking Deck of Santa Monica Pier. Mostly ocean themed and geared for an audience of all ages, the screenings are more about spending time with friends and family than the film itself. Screenings start at 8:30 p.m. but if you show up early, don’t worry; booths, giveaways, and fun start at 7:30 p.m. Bring your own beach chairs and blankets. Chairs available for rent. No alcohol permitted.


200 SANTA MONICA PIER IN SANTA MONICA


From the book “The best things to do in Los Angeles – 1001 ideas”, by Joy Yoon (Universe / Rizzoli International).

 

See our map on Pinterest.

India is one of the main sources of inspiration for KENZO’s 2013 Fall-Winter collection. Carol and Humberto have drawn on Indian dance and cinema to offer an innovative reinterpretation of Bollywood culture, combined with more contemporary and punk codes. Here is a compilation of our ten favorite Bollywood films to get you started! 

 

Aan (The Savage Princess) by Mehboob Khan, 1950
The first Bollywood film in Technicolor, this colossal production was a milestone, produced with ambitions equal to the greatest American epic films. It is a love story between a peasant and a princess, against a backdrop of the class struggle in the realm of the maharajahs. With first-rate casting and sumptuous sets, Aan is no less magnificent than Cecil B. DeMille’s Cleopatra.

 

read more

Mother India by Mehboob Khan, 1957

This is the Hindi answer to Gone with the Wind. A young peasant woman, devoted to her family, leads a life of exhausting toil and respect for traditions. Exploited, she is torn between acceptance and rebellion, and as such she symbolizes the whole country. Inspired by the masters, including John Ford and Eisenstein, this film also bears the mark of a director who is capable of presenting the plight of a nation in a single individual.

 

 

Mughal – E – Azam by K. Asif, 1960

This film influenced a whole slate of movies, up to the famous Devdas (2002). This complete work tells the story of star-crossed lovers, a prince who is heir to the Mogul throne and a commoner serving at court. With the remarkable performance of the actors and the director’s ability to offer an intelligent depiction of the essential themes of Indian cinema, everything conspires to make Mughal – E – Azam a film that fully lives up to its means.

 

 

King, Queen and Slave (Sahib Bibi Aur Ghulam) by Abrar Alvi, 1962                                                                                                                                                          
The dialog writer of the mythic actor and director Guru Dutt, who produced the film, made this film in the spirit of his mentor. As an aging architect wanders about the ruins of a palace, memories come back to him about a young man from the countryside who finds himself trapped between two women, in one of the most influential films in the history of Indian cinema.

 

Pakeezah (Pure Heart) by Kamal Amrohi, 1971
A prostitute dies giving birth to her daughter. The child is placed in the care of her aunt and grows up in a brothel where she learns to sing and dance. Seduced by a man of good family, she refuses to marry him, so as not to damage the reputation of the man she loves. It turns out that he is her cousin. The filming was mythic, and took place over a period of fifteen years. The leading lady became seriously ill and died shortly after the film was released.

 

 

Dilwale Dulhania Le Jayenge (The Big-Hearted Will Win the Bride) by Aditya Chopra, 1995
This is the Bollywood film revival, anticipated especially by one segment of its audience: young expatriates of the Indian diaspora. Taking up the basic codes of the genre, the film offers a fundamental shift because it tells the love story of two Indians living in Great Britain. Aditya Chopra signs a moving plea for closer understanding between immigrant communities and their families who stayed in India. The message is heard: this film is one of the biggest hits in history, with a record run in cinemas (over 600 weeks). The film also established the reputation of Shahrukh Khan as the undisputed icon of the genre, who went on to star in a continuous series of his greatest hits.

 

 

Devdas by Sanjay Leela Bhansali, 2002

This new adaptation of the most powerful Indian myth of the 20th century, a love story made impossible by the caste system, was presented at the Festival de Cannes in 2002 and it is the point of departure for a new phase of international popularity for Bollywood film. Supported by regal casting (Aishwarya Rai and Shahrukh Khan) and a colossal budget, this new version puts the emphasis on the symbolic and universal dimension of the legend.

 

 

Veer-Zaara by Yash Chopra, 2004
The father of Aditya Chopra directs Shahrukh Khan in one of his greatest critical and commercial successes. The elder Chopra, who died last year, had a career of impressive longevity and consistency. Here, the director’s lyrical and grandiose vein turns to a story written by his son: the impossible romance between an Indian soldier and a Pakistani woman. One of the greatest Indian hits on the international scene, with, in particular, screenings that drew notice at the Berlin and Marrakech film festivals.

 


Swades, We the People by Ashutosh Gowariker, 2004
The ubiquitous Shahrukh Khan is at the center of this story about an expatriate engineer in the United States who returns to India to reconnect with his roots. Conforming to the canons of the genre (duration, singing, etc…), the film is surprising because of its social tone and its realism. A chronicle of the political and sociocultural limits of the Indian people, Swades illustrates the mantra of its author: “Films must entertain but they should also leave the viewer with something deeper.”

 

 

Ra.One (Voltage) by Anubhav Sinha, 2011
Indomitable, Shahrukh Khan is back for the biggest budget film in the history of Bollywood, the story of two virtual beings who find themselves in our world, where they face off with no pity. Wildly fantastic, this film is a good example of the enormity of the divide that separates Indian culture from Western standards. One of the songs from the original sound track, Chammak Challo, composed by American R’n’B singer, Akon, was one of the top hits of the year.

 

Sight is the sense prized most of all by movie-makers, and the inclusion of the word “eye” in a film title is not without significance, often alluding to subtleness, double-crossing or recursion. It is as if the producers wanted us to watch the movie twice, rather than letting us sit back and indulge in a lengthy tale. In an era when we are all under the surveillance of the electronic eyes of cameras phones, the question of eyes and what they see has never been more relevant.

read more

Eyes Wide Shut (Stanley Kubrick, US, 1999) was Kubrick’s final film. It's a tale of sex, desire and fantasy in the life of a glamorous young couple. The eyes are the vehicle through which this alchemy of elements comes together in a confusion of real and imaginary: images versus experience, cinema superimposed on reality.

Sight is the sense prized most of all by movie-makers, and the inclusion of the word “eye” in a film title is not without significance, often alluding to subtleness, double-crossing or recursion. It is as if the producers wanted us to watch the movie twice, rather than letting us sit back and indulge in a lengthy tale. In an era when we are all under the surveillance of the electronic eyes of cameras phones, the question of eyes and what they see has never been more relevant.

 

read more

Eyes Without a Face (France, Georges Franju, 1959) tells the story of a surgeon who attempts to graft a face onto his daughter who has been left disfigured by an accident. One of the first French fantasy films in which the eyes represent the living part of the face.

Sight is the sense prized most of all by movie-makers, and the inclusion of the word “eye” in a film title is not without significance, often alluding to subtleness, double-crossing or recursion. It is as if the producers wanted us to watch the movie twice, rather than letting us sit back and indulge in a lengthy tale. In an era when we are all under the surveillance of the electronic eyes of cameras phones, the question of eyes and what they see has never been more relevant.

read more

For Your Eyes Only (John Glen, UK, 1981) is an old school Bond complete with creaky special effects. Roger Moore as 007 drives a Lotus (and a yellow 2CV!), dons a pair of skis and dives into the sights of Carole Bouquet, the owner of the beguiling Bond Girl eyes of the title.

Sight is the sense prized most of all by movie-makers, and the inclusion of the word “eye” in a film title is not without significance, often alluding to subtleness, double-crossing or recursion. It is as if the producers wanted us to watch the movie twice, rather than letting us sit back and indulge in a lengthy tale. In an era when we are all under the surveillance of the electronic eyes of cameras phones, the question of eyes and what they see has never been more relevant.

read more

Mickey Blue Eyes (Kelly Makin, US, 1999)

Let’s dispense with the suspense: the blue eyes in question belong to Hugh Grant, a law-abiding auctioneer who marries into a family mixed up with the mafia. A lighthearted rom-com, but we could get lost in those blue eyes…

Sight is the sense prized most of all by movie-makers, and the inclusion of the word “eye” in a film title is not without significance, often alluding to subtleness, double-crossing or recursion.

read more

 It is as if the producers wanted us to watch the movie twice, rather than letting us sit back and indulge in a lengthy tale. In an era when we are all under the surveillance of the electronic eyes of cameras phones, the question of eyes and what they see has never been more relevant.

Tokyo Eyes (Jean-Pierre Limosin, France, 1998) A hi-tech romantic stroll through Tokyo under the pretext of a police investigation. Cell phones are a breakthrough technology, devices are getting tinier by the minute, and miniature video cameras –and eyes– are everywhere…

Sight is the sense prized most of all by movie-makers, and the inclusion of the word “eye” in a film title is not without significance, often alluding to subtleness, double-crossing or recursion. It is as if the producers wanted us to watch the movie twice, rather than letting us sit back and indulge in a lengthy tale. In an era when we are all under the surveillance of the electronic eyes of cameras phones, the question of eyes and what they see has never been more relevant.


 

read more

Eyes of Laura Mars (Irvin Kershner, US, 1978)

 

Fashion photographer Laura Mars (Faye Dunaway) has a premonition of her editor’s murder. Stylized sets and the fashion feel of a photo shoot sit slickly alongside photography by Newton as we take a glimpse through the eyes of the heroine.

We had been dying for (literally) years to see one of our favorite director's, Guillermo del Toro, new movie Pacific Rim, which opened last weekend starring our good friend and newest ad campaign star Rinko Kikuchi. 

read more

Guillermo del Toro, director of Pan's Labyrinth, created an incredibly fun homage to our favorite Japanese giant-monster and giant-robot movies and anime from the 70s, 80s and 90s, like Godzilla, Ultraman and (one of our favorites) Neon Genesis Evangelion. The scale of the action and the beauty of the world del Toro creates in this movie really captures the magic and excitement of its inspirations, and updates it with amazing special effects and really beautiful art direction. We're so proud of our girl Rinko's performance ("the emotional core", according to NPR's review!) and highly recommend it for an unbeatably exciting afternoon! 

After randomly walking into a furniture store in New York where all the furniture was made of neon, clear plastic and glass, we felt suddenly transported into one of our favorite films of the 90s, "Party Girl". 

read more

Following this bout of nostalgia, we just had to rewatch it. Parker Posey is in the lead as the now-classic lost and confused 90s girl who was decided on only a few things; staples like partying and staying true to herself. She tries to hold onto these values while she becomes passionate for an accidental day job as a librarian, and predictably both colliding worlds fall apart on her. But there's simply so much attitude and so much loving-devotion to the extremes of 90s style, and there's still so much to be inspired by in Parker Posey's character and the movie's irreplaceable aesthetics!