Theatr Mwldan Film Society / Cymdeithas Ffilm Theatr Mwldan

The Time That Remains – Chronicle of a Present Absentee

Cert: (15)

Elia Suleiman | UK | Italy | Belgium | France | 2009 | 110’

This breath-taking semi auto-biographic film about a Palestinian family spans the decades since the Nakba in 1948 when between 650,000 and 750,000 Palestinian Arabs fled or were expelled from their homes. Inspired by his father’s personal accounts of being a resistance fighter, and his mother’s letters to family members who left, Suleiman uses intimate memories to portray the daily frustrations and absurdities of life for those Palestinians who remain, living as a minority in their own homeland. This is humanist cinema at its finest: the absence of sentimentality, the gentleness of the cynicism and the curbing of rancour are remarkable.

“It’s a cool, controlled minor masterpiece, the tone detached, oblique, surreal.” The Guardian

Mae’r ffilm syfrdanol hon sy’n rhannol hunangofiannol am deulu o Balestina yn rhychwantu’r degawdau ers y Nakba ym 1948 pan adawodd rhwng 650,000 a 750,000 o Arabiaid Palestina eu cartrefi. Wedi ei ysbrydoli gan gyfrif personol ei dad o fod yn ymladdwr gwrthwynebu, a llythyron ei fam at aelodau’r teulu a adawodd, mae Suleiman yn defnyddio atgofion personol i bortreadu rhwystredigaethau ac afresymolion dyddiol y Palestiniaid hynny a arhosodd, yn byw fel lleiafrif yn eu gwlad eu hunain. Dyma i chi sinema ddyneiddiol ar ei gorau: mae’r diffyg teimladrwydd, ysgafnder y sinigiaeth a’r gallu i ffrwyno’r casineb yn sylweddol.

The Time That Remains – Chronicle of a Present Absentee

Cert: (15)

Elia Suleiman | UK | Italy | Belgium | France | 2009 | 110’

This breath-taking semi auto-biographic film about a Palestinian family spans the decades since the Nakba in 1948 when between 650,000 and 750,000 Palestinian Arabs fled or were expelled from their homes. Inspired by his father’s personal accounts of being a resistance fighter, and his mother’s letters to family members who left, Suleiman uses intimate memories to portray the daily frustrations and absurdities of life for those Palestinians who remain, living as a minority in their own homeland. This is humanist cinema at its finest: the absence of sentimentality, the gentleness of the cynicism and the curbing of rancour are remarkable.

“It’s a cool, controlled minor masterpiece, the tone detached, oblique, surreal.” The Guardian

Mae’r ffilm syfrdanol hon sy’n rhannol hunangofiannol am deulu o Balestina yn rhychwantu’r degawdau ers y Nakba ym 1948 pan adawodd rhwng 650,000 a 750,000 o Arabiaid Palestina eu cartrefi. Wedi ei ysbrydoli gan gyfrif personol ei dad o fod yn ymladdwr gwrthwynebu, a llythyron ei fam at aelodau’r teulu a adawodd, mae Suleiman yn defnyddio atgofion personol i bortreadu rhwystredigaethau ac afresymolion dyddiol y Palestiniaid hynny a arhosodd, yn byw fel lleiafrif yn eu gwlad eu hunain. Dyma i chi sinema ddyneiddiol ar ei gorau: mae’r diffyg teimladrwydd, ysgafnder y sinigiaeth a’r gallu i ffrwyno’r casineb yn sylweddol.

Cert: (U)

Jessica Hausner | Austria | France | Germany | 2009 | 99’

Christine only acts pious so she can be taken on church trips. As she readily admits, she doesn’t get many chances to travel while stuck in a wheelchair. Accompanied on a pilgrimage to Lourdes by a sceptical companion, and surrounded by desperate souls seeking a miracle, Christine is willing to befriend anyone she comes into contact with, regardless of form or faith. She will discover that the most important part of the journey is to believe in something, whether basic human kindness or divine intervention. Jessica Hausner’s subtle and mysterious drama wavers between a critique of religion and a story of redemption.

“This quiet, witty, observant film encompasses hope, faith, death and doubt” The Guardian

Mae Christine ond yn esgus ei bod yn dduwiol er mwyn cael mynd ar ymweliadau’r eglwys. Hi yw’r cyntaf i gyfaddef nad yw’n cael llawer o gyfle i deithio gan ei bod yn gaeth i gadair olwyn. Ar drip i Lourdes, gyda chydymaith amheugar, yng nghanol pobl sy’n chwilio am wyrth, mae Christine yn barod i fod yn gyfaill i unrhyw un, heb ots am ffurf neu ffydd. Mae’n darganfod mai’r rhan bwysicaf o’r daith yw credu mewn rhywbeth, yn garedigrwydd dynol syml, neu’n ymyrraeth ddwyfol. Mae drama gynnil a dirgel Jessica Hausner yn gwamalu rhwng dadansoddiad o grefydd a stori am iachawdwriaeth.

Cert: (U)

Jessica Hausner | Austria | France | Germany | 2009 | 99’

Christine only acts pious so she can be taken on church trips. As she readily admits, she doesn’t get many chances to travel while stuck in a wheelchair. Accompanied on a pilgrimage to Lourdes by a sceptical companion, and surrounded by desperate souls seeking a miracle, Christine is willing to befriend anyone she comes into contact with, regardless of form or faith. She will discover that the most important part of the journey is to believe in something, whether basic human kindness or divine intervention. Jessica Hausner’s subtle and mysterious drama wavers between a critique of religion and a story of redemption.

“This quiet, witty, observant film encompasses hope, faith, death and doubt” The Guardian

Mae Christine ond yn esgus ei bod yn dduwiol er mwyn cael mynd ar ymweliadau’r eglwys. Hi yw’r cyntaf i gyfaddef nad yw’n cael llawer o gyfle i deithio gan ei bod yn gaeth i gadair olwyn. Ar drip i Lourdes, gyda chydymaith amheugar, yng nghanol pobl sy’n chwilio am wyrth, mae Christine yn barod i fod yn gyfaill i unrhyw un, heb ots am ffurf neu ffydd. Mae’n darganfod mai’r rhan bwysicaf o’r daith yw credu mewn rhywbeth, yn garedigrwydd dynol syml, neu’n ymyrraeth ddwyfol. Mae drama gynnil a dirgel Jessica Hausner yn gwamalu rhwng dadansoddiad o grefydd a stori am iachawdwriaeth.

Cert (15)

Roman Polanski | France | Germany | UK | 2010 | 127’

Polanski turns a conventional political thriller into a triumph of tone, ensemble playing and atmospheric menace with this elegant and suspenseful adaptation of Robert Harris’ novel. Ewan MacGregor plays a gifted author hired to ghostwrite the memoirs of a controversial former British Prime Minister. Digging into the charistmatic politician’s past, he discovers explosive secrets that put his life at risk. The Ghost Writer is a triumph: extraordinarily precise, well-made and possibly the best thing Polanski has done since the seventies.

Mae Polanski yn troi ffilm gyffro wleidyddol yn llwyddiant cywair, chwarae ensemble a bygwth atmosfferig gyda’r addasiad gosgeiddig a gafaelgar hwn o nofel Robert Harris. Ewan MacGregor sy’n chwarae rhan awdur dawnus sy’n cael ei gyflogi i fod yn awdur rhith ar gofiant cyn Prif-Weinidog Prydeinig dadleuol. Wrth chwilota i orffennol y gwleidyddwr carismatig, mae’n dod o hyd i gyfrinachau mawr sy’n peryglu ei fywyd. Mae The Ghost Writer yn fuddugoliaeth: yn fanwl gywir, yn grefftus ac o bosib dyma waith gorau Polanski ers y saithdegau.

Medi September 19 @ 6.00, 20 @ 8.20

Cert (15)

Roman Polanski | France | Germany | UK | 2010 | 127’

Polanski turns a conventional political thriller into a triumph of tone, ensemble playing and atmospheric menace with this elegant and suspenseful adaptation of Robert Harris’ novel. Ewan MacGregor plays a gifted author hired to ghostwrite the memoirs of a controversial former British Prime Minister. Digging into the charistmatic politician’s past, he discovers explosive secrets that put his life at risk. The Ghost Writer is a triumph: extraordinarily precise, well-made and possibly the best thing Polanski has done since the seventies.

Mae Polanski yn troi ffilm gyffro wleidyddol yn llwyddiant cywair, chwarae ensemble a bygwth atmosfferig gyda’r addasiad gosgeiddig a gafaelgar hwn o nofel Robert Harris. Ewan MacGregor sy’n chwarae rhan awdur dawnus sy’n cael ei gyflogi i fod yn awdur rhith ar gofiant cyn Prif-Weinidog Prydeinig dadleuol. Wrth chwilota i orffennol y gwleidyddwr carismatig, mae’n dod o hyd i gyfrinachau mawr sy’n peryglu ei fywyd. Mae The Ghost Writer yn fuddugoliaeth: yn fanwl gywir, yn grefftus ac o bosib dyma waith gorau Polanski ers y saithdegau.

(CERT 15)

Christopher Morris | UK | 2010 | 101’

Chris Morris (Brasseye, The Day Today) is Britain’s darkest satirist and cultural provocateur. His outrageously funny first feature follows four bumbling suicide bombers from Doncaster. These characters – their idiocies, their contradictions – represent Morris’s big idea: that terrorists, far from being ideologically honed, precision-bladed revolutionaries, are just as likely to be a raggle-taggle Dad’s Army of chancers, mouthy dossers and chumpheads. As always, Morris audaciously seeks out the things we didn’t know we could laugh at.

Chris Morris (Brasseye, The Day Today) yw dychanwr tywyllaf a phryfociwr diwylliannol blaenaf Prydain. Mae ei ffilm gyntaf hynod ddoniol yn troi o gwmpas pedwar bomiwr hunanleiddiol lletchwith o Ddoncaster. Mae’r cymeriadau hyn – eu gwiriondebau, eu gwrthddywediadau – yn cynrychioli syniad mawr Morris: bod terfysgwyr, ymhell o fod yn chwyldrowyr ideolegol penderfynol, yr un mor debyg o fod yn griw blêr, dioglyd a chegog. Fel arfer, mae Morris yn amlygu’r pethau ni wyddom y gallem chwerthin arnynt.

(CERT 15)

Christopher Morris | UK | 2010 | 101’

Chris Morris (Brasseye, The Day Today) is Britain’s darkest satirist and cultural provocateur. His outrageously funny first feature follows four bumbling suicide bombers from Doncaster. These characters – their idiocies, their contradictions – represent Morris’s big idea: that terrorists, far from being ideologically honed, precision-bladed revolutionaries, are just as likely to be a raggle-taggle Dad’s Army of chancers, mouthy dossers and chumpheads. As always, Morris audaciously seeks out the things we didn’t know we could laugh at.

Chris Morris (Brasseye, The Day Today) yw dychanwr tywyllaf a phryfociwr diwylliannol blaenaf Prydain. Mae ei ffilm gyntaf hynod ddoniol yn troi o gwmpas pedwar bomiwr hunanleiddiol lletchwith o Ddoncaster. Mae’r cymeriadau hyn – eu gwiriondebau, eu gwrthddywediadau – yn cynrychioli syniad mawr Morris: bod terfysgwyr, ymhell o fod yn chwyldrowyr ideolegol penderfynol, yr un mor debyg o fod yn griw blêr, dioglyd a chegog. Fel arfer, mae Morris yn amlygu’r pethau ni wyddom y gallem chwerthin arnynt.