A group of children, fleeing the war, is taken to Luanda accompanied by a nun. When they reach the aeroplane, 12-year-old N'Dala decides to leave the group and to reconnoitre the city. The nun then starts her unceasing quest for the missing boy. N'Dala, only carrying a textile bag and a doll made of wire, walks through the busy streets filled with people and traffic. Later he finds the tranquility of the island off the coast, where he meets the old fisherman Antonio, with whom he becomes friends. Not much later, he meets the lively, whimsical Zé, who is a little older than he is. N'Dala starts to experience the city and its inhabitants as increasingly forbidding and he would most like to return to the countryside from whence he came. Then he meets Joka, a fringe figure who persuades him to help with a robbery in exchange for money. With this film, Maria Joao Ganga wanted to provide a realistic sketch of the bitter political situation in Angola. One of her most important motivations ...
A group of children, fleeing the war, is taken to Luanda accompanied by a nun. When they reach the aeroplane, 12-year-old N'Dala decides to leave the group and to reconnoitre the city. The ... . You can read more in Google, Youtube, Wiki
Emil S (ru) wrote: Who knew Djimon Hounsou could do that much action. Not too shabby from start to finish. Kinda quirky dialogue but entertaining. Recommend for a slow Saturday to pick up the heartbeat a little. Bacon is funny, where'd he learn to speak like that? See it, then you'll know what I mean by 'Quirky'.
David N (ag) wrote: Je prfre le premier, mme si celui-ci bouge plus. Autrement je les trouver sympa, sans plus. Et vous ?
Charles E (kr) wrote: awful acting and dialogue, in spite of that entertaining bad movie.
ramis v (mx) wrote: lots of violence and action
Luciano S (it) wrote: Another bad one, with an equally bad name. Dag, yo.
Blake P (ru) wrote: The best thing about "My Own Private Idaho" is the way it so sure-handedly captures the lifestyle of the drifter. Its main characters depending on the kindness of strangers to make ends meet, the film might have, in different hands, been a depressing, slice-of-life character study with few likable characteristics besides its acting. But because it is a film directed by Gus Van Sant, whose body of work has frequently crawled under the guise of the avant garde, "My Own Private Idaho" is a mercurial but touching drama far more affecting than a film as experimental as this one would be expected to be. The depicted drifters are hustlers, wandering the streets day and night in hopes to turn a couple of tricks for quick money. One is Mike (River Phoenix), a homosexual whose existence is incessantly tormented by a relentless search for his long lost mother and a severe affliction of narcolepsy. The other is Scott (Keanu Reeves), a child of wealth who takes to the streets for the sole purpose of rebellion. Both pimp themselves out to whoever calls, most being men, though Scott obsessively assures us that he's straight, only willing to please male callers if money awaits him. We can see that Mike is in love with Scott, and maybe Scott would admit to loving him too if he weren't so convinced that working as a prostitute is only a temporary vocation. He'll inherit his father's money when he's twenty-one, he explains. But these young men are much too caught up in self-discovery to really mean anything they say or do - "My Own Private Idaho" is like a journey, us acting as voyeurs as they travel from customer to customer, as they travel around the Washington/Oregon area, and even to Italy in search of Mike's mother, whom he believes will mystically be awaiting him somewhere random with open arms. Considering the way its story is as arbitrary as its characters are, I cannot stand by the conviction that "My Own Private Idaho" is much more than a better-than-average art house flick. But that's still a significant achievement, considering how much it haunts us on a humanistic level in light of the way so much of its aesthetic is more arty than anything Godard's '60s could have ever dreamed of. Van Sant's writing and direction is enthusiastically off-kilter, frivolously (if somewhat illogically) funny in some places and heavy in others, and adeptly portrays the lives of these characters as being both humorously without aspiration and troublingly tragic. Phoenix and Reeves are similarly proficient, masterfully portraying potentially unplayable (in terms of realism, that is) characters with enough demureness to keep their ingenuity intact, despite them working in perhaps the most innocence destroying field of all. Phoenix, quiet and sensitive, prodigiously captures Mike's demons, no matter how chucklesome, how desperate, they might seen. Reeves brings an ironic, comic edge to his performance, Scott's laments ridiculously dim in their wit but delivered by Reeves with total seriousness. So while "My Own Private Idaho" is decidedly imperfect, its story told with too much experimental looseness to profoundly deter our emotions, we cannot help but be taken by Van Sant's risky approach, by the subtly superb performances from Phoenix and Reeves. Who knew a tale about street hustlers could be such a trip?