Skip to content
R15

RAVENS

Genre
Drama and Biography
Running time
116 minutes
Year
2024
Language
Japanese and English
Subtitle
English
Country
France, Japan, Spain and Belgium
Director
Mark Gill
Bio
Producer
Sam Fayed, Henry Gillet, Nitsa Benchetrit, Mohaan Naadar, Johanna Horn, David Barrera, Hiroyasu Nagata, Hideki Kawamura, Mark Gill, Megumi Fukasawa Ichii, Cyril Cadars, Orian Williams
Cast
Tadanobu Asano, Kumi Takiuchi, Kanji Furutachi, José Luis Ferrer, Sôsuke Ikematsu
Scriptwriter
Mark Gill

SHOWTIME

Fri 06. Dec
Culture Square - Auditorium
10:00 PM - 12:06 AM
Price: 140 SAR
Sat 07. Dec
Culture Square - Cinema 2
3:30 PM - 5:31 PM
Price: 40 SAR
Acclaimed Japanese photographer Masahisa Fukase, who died in 2012, was best known in his lifetime for his photographic book The Solitude of Ravens (1976-82), with its bleak images of distant birds evoking themes of isolation and tragedy. That work was his response to his divorce from his second wife of 13 years, Yoko Wanibe, which left him devastated. During their tumultuous years together, he photographed her constantly; she was a model, collaborator and object of his obsession. Tadanobu Asano, who was Emmy-nominated for Shogun, plays Fukase in this intense portrait of a passionate man caught in a love triangle between his wife and his art, incarnated here as a talking raven – a humorous touch to this profound exploration of love and loss.

Other movies

K-POPS

Director: Anderson .Paak

Eight-time Grammy winner Anderson .Paak makes his film debut with the story of a washed-up drummer whose life turns around when he meets his teenage son for the first time. Paak himself plays the father BJ, who is still holding out in middle age for rock’n’roll stardom; his real-life son Soul Rasheed plays the fictional Tae Young, whose mother Yeji is Korean. When BJ gets an unexpected gig on a Korean talent show, he discovers Tae Young, a hotly-tipped contestant. Eager to make up for lost parenting time, BJ becomes the boy’s mentor – but the truth is that he needs help to grow up himself. Riffing off their real family relationships, .Paak’s comedy is an instant winner full of charm and K-Pop fandom.

AÏCHA

Director: Mehdi M. Barsaoui

Aya is the sole survivor of a bus crash on a mountain road. When she realises that nobody knows she is alive, she makes a snap decision to escape her dead-end village existence and become someone else. In thriving, liberal Tunis, she calls herself Amira, a thrilling change until one of those men is murdered and the investigating police start to question “Amira”’s sketchy life story. Fatma Sfar is vivid and immediately sympathetic as Aya/Amira, while narrative twists and nested details gradually reveal that she isn’t the only trickster with something to hide. Aicha was judged Best Mediterranean Film from the Academy of Fine Arts at this year’s Venice Film Festival.

MOON

Director: Kurdwin Ayub

Sarah, a former mixed martial arts champion in Austria, knows she needs to make a new start. While her sister urges her to start a business, she jumps at an unexpected offer to go to Jordan to train three teenage daughters of a dazzlingly rich family living in an isolated, fiercely guarded mansion. Sarah soon sees that the girls don’t want to train, but have little else in their closeted lives: no internet allowed, no friends and only rare outings to the mall, where they are closely watched, for entertainment. The house, moreover, seems to hold its own secrets; why is Sarah forbidden to go upstairs? Director Ayub maintains the tension of a thriller in this story of life in a golden cage.

SANTOSH

Director: Sandhya Suri

When Santosh’s husband, a policeman in a rural district in North India, is killed in a riot, the widow can only keep their home if she takes his job. Eager to succeed, she shows more determination than is usual among the misogynist male police when a low-caste girl is reported missing and then turns up dead. A charismatic senior woman officer, Inspector Sharma, is duly drafted in to head the murder investigation, becoming Santosh’s mentor. Success for women, however, generally means showing they can bend the rules as flagrantly as the men, where survival always comes at huge personal cost. A fascinating police procedural, focusing on the relationships within the force rather than crimes or culprits, the film is an investigation into deep-rooted systemic corruption.