Movie Review | 'Provoked': Revisiting the True Story of a Battered Wifeâs Revenge
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With its tone of unremitting gentility âProvokedâ may be the most restrained wife-beating drama ever to grace a movie screen.
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In real life, two-time Oscar winner Jodie Foster is a mother and a fierce gun control advocate. But in her latest movie, she plays a stone-cold vengeance killer and admits she finds it oddly appealing.
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It's a crime so monstrous as to surpass comprehension. Yet its passion takes root in some of the most tender ground of human experience: pregnancy and motherhood.
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I met an old friend for coffee in San Francisco yesterday afternoon, and had a few hours to kill before stopping in at the Wired reunion party. I didn't want to drive back to Berkeley because the weather was so crummy, and I was just across teh street from a movie theater and was just in time for the start of a movie that lots of people had been telling me to see. So I went. The movie -- The Diving Bell and the Butterfly, I had no idea what it was about until the movie started, then I remembered hearing a Fresh Air show about it and finding it too painful to listen to. Now here I was in the theater, not just being asked to listen to it, but being asked to live it. Through some very wonderful film-making, you feel as if what is happening to the main character is happening to you. Or more accurately, probably, you get the slightest hint of what it's like to be this person. My immediate impulse, one which I gave serious consideration to, was to pack up my things and leave. Anything would be better than spending three hours living this guy's life.  Two things happen over time: 1. You get over it. 2. They change perspective, and instead of being inside his body, you move outside it.  I think those two things are the story we all live as we mature and learn to live inside our own bodies, with their limits. You learn to step outside and see the humor in your predicament. The main character says he lives in a diving bell because it's as hard for him to communicate with other people as it would be at the bottom of the ocean inside a diving bell. The movie teaches that it's not much easier for the rest of us, even though we can manipulate symbols better. On the other hand, of course it is. The film develops a relationship between the hero and his father, between the hero and his own children, his ex-wife, his lover.  We strive for deeper understanding of ourselves and each other. But it may be ridiculously easy to find the only meaning that exists, without language, without intellect, by just being. The Diving Bell and the Butterfly should probably be the picture of the year for 2007, it's that good. But like all great art it shows you something truthful about yourself, and you may or may not want to see it.
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Two new movies in  theaters boast grisly, disturbing violence that raises the  question: Where is the line between violent and too violent?
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In ÂThe Brave One,Â due out next fall, Jodie Foster plays a radio show host who becomes a vigilante bent on revenge after her fiancÃ© is murdered.
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Life hardens us and art desensitizes us. Is the culture of violence turning us into creatures without empathy? Commentary by Tony Long.
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âBridge to Terabithiaâ is a movie whose emotional depth could appeal more to adults than to their offspring.
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A frenetic remake of a cult classic shows how each film generation finds its own tone and terrors
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Producer J. Murli Manohar who plans to release Jagmohan Mundra's Provoked very shortly is very pleased
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Filmmakers never  seem to get tired of portraying the push and pull between the  sexes and what drives people to enter into a relationship.
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Heather Raffo's impassioned theatrical documentary gives voice to contemporary Iraqi women.
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Rhys Ifans plays the part of the scorned lover with neurasthenic delicacy and a spidery creepiness in this serious movie about the petty cruelties of love.
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Damien Atkinsâs occasionally provocative drama is about a mother who must learn how to take care of her autistic daughter.
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In his latest film, the young Thai director Apichatpong Weerasethakul pushes at the limits of narrative with grace and a puckish willfulness.
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Like father like son: exploratory variations on that old saw are the thematic heart of the Argentine filmmaker Daniel BurmanÂs ÂFamily Law.Â
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This innovative chronicle of a truly modern romance conveys, in a painful, darkly humorous way, a variety of ultra-identifiable truths.