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Vicarious Trips To Greece, Brazil, Japan And More Through Streaming Cinema
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This lack of travel has made me quite twitchy. Fortunately, I ve found a sort-of/not-quite solution making a great escape by watching a flurry of international films.
The California Film Institute and the Berkeley Art Museum and Pacific Film Archive are helping out wanderlusters like me, whisking us away from the same-oldness of our homebound lives via their choice offerings.
This week, Pass the Remote hopscotches vicariously to Brazil, Puerto Rico and on over to Greece, Japan and even tours a futuristic Ukraine.
Death is present in practically every moment of Ukrainian director Valentyn Vasyanovych’s “Atlantis.” This fact (as well as the deliberate pacing) doesn’t make the film an easy watch, but for the patient viewer, there are rewards to be found. Ukraine’s submission for this year s Academy Award for the Best International Feature Film (though it failed to make the final shortlist of 15 titles in contention for the prize), the film is undeniably bleak, though by its final moments even its desolation gives way to a faint ray of hope. click to enlarge PHOTO COURTESY GRASSHOPPER FILMS A scene from the Ukrainian drama Atlantis. The film is set in a bombed-out Ukraine of 2025, in the aftermath of Russia’s currently ongoing war against the country. The narrative pla
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Cecilia Aldarondo immerses us into various regions of Puerto Rico to reflect its history and challenges in Landfall. (Courtesy of the Pacific Film Archive)
This lack of travel has made me quite twitchy. Fortunately, I’ve found a sort-of/not-quite solution making a great escape by watching a flurry of international films.
The California Film Institute and the Berkeley Art Museum and Pacific Film Archive are helping out wanderlusters like me, whisking us away from the same-oldness of our homebound lives via their choice offerings.
This week, Pass the Remote hopscotches vicariously to Brazil, Puerto Rico and on over to Greece, Japan and even tours a futuristic Ukraine.
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Taking the waters takes on new meaning in “Atlantis,” a fearfully powerful feature by Valentyn Vasyanovych and Ukraine’s Oscar entry for international features. In 2025, just one dystopian year after the supposed end of the Russo-Ukraine war, an army vet, Sergiy (Andriy Rymaruk), ekes out living trucking water to polluted areas of his native Eastern Ukraine. When he decides to take a long-needed bath, he pumps some precious stuff from his truck into the amputated bucket of a vanished excavator, lights a wood fire under the huge clawed thing, and absorbs the all-too-fleeting warmth.
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