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File: 41752cfaf3f7701⋯.jpg (34.36 KB, 655x527, 655:527, 41752cfaf3f7701e21117aef06….jpg)


Old one is too long already, and 3 years old >>6630

What was the last thing you watched, and what did you think of it?


I don't think the old thread is too long. It's not even half full.


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Some of it i loved, some of it i hated, basically the writing is pozzed to hell and back all minorities are excellent people and most whites are assholes, but it still has pretty good parts, mostly the scenes with dark comedy, liked the cinematography as well.

Decent overall, there's stuff to enjoy but only if you can stomach the blatant propaganda.


There's quite a bit of scrolling to go through though and it's not like it stopped existing.

>not even half full.

What would be a full thread in /film/ like 500 hundred replies? real question.



>What would be a full thread in /film/ like 500 hundred replies? real question.

I assume bumplock kicks in at 750. The longest thread I found is requests with 572.



Seems unnecesarily big to me


The house of mirth (2000)

An excellent portrayal of the beginning of the 20th century american bourgeoise. New york, to be more specific.

It's a dialogue/historical driven movie. That has its focal points in the relationship of persons with money, gossip, family, the "dos" and "donts" of the elite.

It is filmed in such a manner that one may think of this movie as a costumbrist painting of the 1900's. I dare to say that it was filmed with natural lighting throughout the whole movie, but i don't care enough to look it up. Still looks like they did.

Its pace isn't slow, but rather unworried. It takes its time to set the dialogues and actions, and its a spot on pace.

tl;dr: watch this movie if you are interested in the bourgeoise.


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Africa Addio.

That was extremely interesting, one of the best docs i've seen, though there's little actual data as it is mostly about the presentation and imagery, the context is just enough for the succession of "scenes" to make sense, so if you want to know the actual history of what happened then this film isn't for you. On the other hand if you want a basic idea of what was going on in an often misunderstood or outright forgotten part of history and the world then you should watch it.

Can't say the film is not racist, but as far as i know that's the reality of the situation, you'll come out of it with a lesser respect for blacks, sure the film might be showing the worst of them, but still, it's not completely undeserved.

There were some accusations of set ups, but as far as i know that was about the scene where the belgian mercs execute a man, the issue being that the film makers might have ordered the execution, which apparently wasn't the case.

A must watch imo, especially if you have any interest in any of its subjects.


I just want to say that Mission Impossible is the most underrated movie series, I just watched all six for the first time in the same year and there are actually amazing callbacks and nuances throughout, like how the rock climbing at the end of Fallout you saw how it saved Ethan and when he learned how to perfect it in MI:3, or how the bad guys are connected through each other from 1-6, or how the sticky hands from MI:1 comes into play during the Burj Dubai scene in MI:4.


YouTube embed. Click thumbnail to play.


Its bad reputation made me expect a different kind of movie, more mean-spirited or manipulative. I ended up enjoying it instead. Many of the scenes stuck with me -- the slaughter of hippos for food, the corpses lying in the road, etc.

I still need to watch Mondo Cane and Addio zio Tom. I thought the directors tried to make amends for Africa Addio with Addio zio Tom, but that one was also criticized for being racist.


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Definitely a must watch for anyone that likes animation and/or finds interesting the theme of growing up and coming of age, it was overall really enjoyable except for some plot stuff that made little to no sense in the end, or more accurately it should've been "explained" with more depth.


Kimi no Na Wa. Very emotional, great story (for the most part) and fucking amazing animation. The only thing that stops it being a 10/10 perfect for me is the ending, where things kinda get reset back to the beginning. I thought it would've been better with a happy where they get together properly, like roughly at the mountain scene where they're searching for each other, but it's still an incredible film otherwise


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The black cat (1934)

What the fuck does this shit have to do with the Edgar allan poe's story?

Anyway, entertaining little film.

It is interesting to note how the subtelty of a medium can only be achieved once the medium itself has evolved quite a bit. '34 was just seeing the beginnig of cinema.

One should check this movie if is interested in post w.w.1 american ideology.



Note: Hollywood has never been too subtle, but it's funny how pre 60's hollywood throw you every little piece of information right to your face.


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Black Cat felt like it was missing something. It doesn't always make sense. I read there were a lot of censored scenes that would have made the film more interesting. It's a shame we don't get to see the film as originally intended.

There's also a giallo "based" on The Black Cat with the mouthful of a title Your Vice Is a Locked Room and Only I Have the Key. As with the Karloff/Legosi film, it has little to do with the Poe story. It's not very good either.



Yeah well, that'd answer why the black cat is only 65 minutes. Appreciate the info.


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I found a description of changes (written as a wall of text). The Immortal Count is on Google Books if you want to read more. https://books.google.com/books?id=kJZmiLAz6qMC&q=black+cat#v=snippet&q=black%20cat&f=false


According to the book The Immortal Count by Arthur Lennig, The Black Cat and its original script were very different from the final version. Both Lugosi and Karloff both lusted for the virginal bride, and the chess game was to see who would get her. As the cat died from the thrown knife, its soul transferred to Joan, who now transforms into a lustful wanton woman. There was a scene where Karen enters Joan's room as the doorbell chimes and laughs hysterically, saying something about "your wedding bells." And something about Joan being a sacrifice for "my master," a satanic reference. The sequence where Lugosi is going to cut the flesh off Karloff was cut down to only a shadow. Where Lugosi is shot by Peter who thinks he is attacking Joan was originally where Lugosi was making his move on Joan. And the script referred to an orgasmic scream for the fainting woman. All of these and other scenes were ordered to be reshot when the movie company saw the finished film. Each of the above scenes were reshot; Lugosi was changed into a milder man who would free Joan and let the couple leave. The scene with Karen laughing was cut out; almost nothing of her remained except where Joan informs her that her father is alive "and in this house!" The soul transference scene was toned down and the lustful look changed to a puzzled one. There was a scene cut where Peter rants to the staff how he doesn't like anything about them or their ways. A scene on the train was cut where a man describes the dinner that is being prepared. And when the two officers come into the house and discuss their respective cities was also cut out a 4 foot man in too-large clothes (he is only visible in one long shot). Because many of the scenes were changed and others remained, there are a couple of lines that don't make sense because what they refer to has been cut out of the movie. And so it ended up very different than what it began as.



Hey thank you for this.


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A very comfy portrait of India's society and the mix between english/american people with the indians.

It touches the topics of: family, frustrations of teenage love, richness, tradition.


File: 065b8198505daae⋯.jpg (589.26 KB, 1299x1890, 433:630, zardoz.jpg)

Zardoz surprised me. I went in expecting trash and found a beautifully-shot (thanks to Geoffrey Unsworth) satire with acting and effects that aged really well. Yes, the director was obviously high as shit and the screenwriting is pretty fucking pretentious at times which might not be intentional, as again John Boorman was really fucking high when he made this, but it's pretentious in a very entertaining way. After watching it I'm honestly shocked to see people calling this a bad movie.

At its best it's great satire and at worst it's amazing trash. You should watch it if you haven't already: even if it isn't your thing it's still worth experiencing.


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Only scene i liked is at the beginning when Pierrot is in the party.


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The devils (1971)

A very chaotic, and noisy portrait of tensions between the royalty, catholics and protestants in the XVII century.

A look into some of the absurds of religion. A look into the relations of sex, lust and the repression of these two by religion. A look into the influence of religion in politics; how religion can be used as means of power. A look into the demagogy in religion. (Sorry for saying a look to much XDDD)

A very violent, at times violently lustful, fast paced movie filled with excellent acting (almost theatrically). Excellent scenery.

One may argue that this movie is not as historically truthful as it advises itself to be at the beginnig. I for one, am not very well versed on this period of time, so i couldn't give you an insight on this matter.


File: 83e8ba7a6405dbd⋯.png (391.97 KB, 720x576, 5:4, Tudzhi (Otar Iosseliani, 1….png)

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Tudzhi (Otar Iosseliani, 1964)

A gorgeous b&w short documentary on a metalworking plant in Georgia. The industrial situation presents a steady stream of striking images: workers in silhouette as molten metal erupts behind them, a vanishing-point view of people walking down on a street toward a billowing smokestack (as if they are going up in smoke), men "inflating" their shirts with a high-powered fan. Inside the plant the workers dig and prod while the metal flows like lava. The work is mysterious as there's no spoken dialogue.


I have not watched The Devils because part of it is still missing. Maybe the complete film will never be restored intact and I should just watch what's available.



>I have not watched The Devils

I can't imagine with everything that was shown in that movie what could be missing. Do you mean like censored? Or plain missing?

I'd suggest you to check it out.

On the other hand, have you seen any other Iosseliani film? I've seen Giorgobistve (1966), and found it to be one of the most tender romances i've seen. The protagonist is an awesome character.


File: b27c12185802223⋯.jpg (40.98 KB, 400x632, 50:79, sntjOHf.jpg)


As I remember part of The Devils was cut, maybe it was too extreme or whatever. Supposedly Warner Bros has the missing footage but they have not released it.

As for Iosseliani I have not seen anything else from him. He looks like an interesting director worth exploring. Thanks for recommending Giorgobistve. I also planned to see Once Upon a Time There Was a Singing Blackbird.


File: c3e974f3443be83⋯.png (2.97 MB, 1179x1485, 131:165, The Tragedy of Man 2011.png)

Az ember tragédiája (The Tragedy of Man)

Imre Madách’s popular nineteenth century play was adapted into an animated feature film by Hungarian director Marcell Jankovics back in 2011. In many ways, the themes of the play are like the Hungarian iteration of Milton’s Paradise Lost, Dante’s Divine Comedy, or a twist on Goethe’s Faust. The animated film adaptation initially went into production around 1988 and was expected to be completed in about six years, but due to some political turmoil and the fall of communism in Hungary, Jankovics could no longer rely upon the state-funded system to produce his movies. The film version closely follows the structure of the play, and the movie was slowly completed one act at a time (a total of fifteen acts over the course of twenty-three years). The story opens with God and the creation of the universe from the book of Genesis. Lucifer is present and berates God since Lucifer sees humanity as though they were created imperfectly, and because humans were created imperfectly with free will they will only try to become like God. Lucifer visits Adam and Eve in the Garden of Eden to tempt them with sin.

From there on is what primarily consists of the narrative meat of the play. Once Adam and Eve lose favor with God and are cast away from of the Garden of Eden, Adam turns his back on God out of sheer pride. Adam becomes determined to strive on his own strength to pursue personal glory. Lucifer takes Adam under his wing and proceeds to show Adam and Eve their future, as well as humanity’s future in a search for the meaning of life. Lucifer guides Adam through numerous periods of human history, including ancient Egypt, the age of Greek democracy, hedonistic Rome, the medieval Byzantine Empire, the age of enlightenment, the early stages of the French Revolution, and the Industrial Revolution in nineteenth century London. Industrial London is one of the last stages in the play before jumping over one hundred and fifty years into the future, but in the film version, Jankovics takes the time to offer Adam and Eve a brief glimpse at twentieth century horrors, such as the world wars. The narrative of Madách’s Az ember tragédiája clearly borrows from Hegelian philosophy and dialectic. For example, Adam wishes to see the rise of human achievement and glory, so Lucifer takes Adam to ancient Egypt, where they come across the great pyramids. Adam is initially overcome with joy at humanity’s accomplishments, but soon becomes dismayed when he notices that the pyramids are being constructed on the backs of slaves and demands that Lucifer moves him to another era. Slavery in ancient Egypt is a thesis while an individual’s freedom is an antithesis. A synthesis occurs when Lucifer takes Adam to the age of Greek democracy, where people in Athens can be equally free, unlike ancient Egypt. Then an individual’s freedom is challenged and a new thesis, antithesis and synthesis develop. The current era that Adam and Lucifer visit is the thesis, then Adam notices something or comes up with an antithesis, and the next era represents the synthesis; the new proposition (again, Hegel’s dialectical method). Adam grows increasingly dismayed with each new era that he visits as he notices humanity continues to make similar mistakes over and over again.



Adam becomes disappointed in man’s inhumanity to man; a timeless narrative to comprehensively include world history and themes of social conflicts, anarchism, prejudice, utopianism, disposition, and deprivation. This tale of Lucifer’s fight for the soul of man may seem needlessly bleak, preachy, and too cyclical for some. At the very least, Jankovics’ arthouse animation ambition is commendable and he puts his art degree to good use. Each segment of Jankovics’ Az ember tragédiája is carefully animated to reflect different periods that fit the era on screen. For example, when Lucifer takes Adam to ancient Egypt, the film shifts its art style to showcase the art style and paintings of the ancient Egyptian time period, including techniques such as hierarchical proportion. The art on display during the film’s depiction of Greek democracy resembles something that one would see on ancient Greek amphorae and pottery, like the black or red figure technique. Once the film is flung into the far future and depicts a cold technocratic utopia, the style shifts to comic pop art. For a movie that spent over two decades in production, it seems easy to think that it would try to implement modern animation techniques from the twenty-first century, but Jankovics is smart enough to shy away from newness. Compare the dizzying kinetic energy of Spielberg’s The Adventures of Tintin, an animated film which released the same year as Jankovics’ Az ember tragédiája. Spielberg’s Tintin is quick and without rest. It’s a great movie that prioritizes movement in a way to stimulate viewer awareness through motion capture (see how The Adventures of Tintin shifts focus from the way it incorporates different points of view, from looking through lenses and magnifying glasses). Jankovics’ Az ember tragédiája wouldn’t have the same effect if it were to include motion capture techniques. Az ember tragédiája is a slow and deeply philosophical film with plodding Biblical language. The art on display pays a deep homage to art history. The low budget of the movie is reflective of Jankovics’ personal art-conciousness, and his Az ember tragédiája has the potential to be remembered as an animated cult classic.

If you have never read the original play by Imre Madách, then I would suggest you do so before watching this movie. Chances are that many people haven’t read it, unless you’re a Hungarian schoolchild.


Is mankind not meant to understand or know all that there is? Is there a purpose or a meaning to our life? No matter the hardships we face and regardless of man’s inhumanity to man, we must stoically struggle in life’s journey for better or for worse. Strive on, trust in God, and do your best to live righteously.

“The goal is death, life consists of struggle, and man’s goal is the struggle itself.”



Awesome movie.




Definitely going to check that out


File: 08f07a79e74b308⋯.jpg (102.63 KB, 814x1200, 407:600, uncle_kent-227775261-large.jpg)

This film has put me uncomfortable beyond words. The directionless of the "adult" male character; his lack of passion; his nice manners, i can only look at those with a smeer of disgust.

I couldn't sympathise with any character, if anything, i despised them all.

I know it is a thing of this new american cinema movement to try to put you uncomfortable. Actually, its been a while since comedy has taken that turn (that's an interesting topic to investigate).

Overall i find it to be a very tasteless movie, that aspires to some interesting things e.g. realtionships in the internet era, but doesn't quite make them the justice they deserve.

The distasteful things it portrays somewhat are very american things that i can't quite put into words, or rather i could, but it'd take me a long time.

Remember: Nice guys never win, don't be a pussy.



welp, i didn't despised them all characters; the craiglist girl was nice.




Could you have expected anything else?



I didn't know him.

I like greta gerwig though.


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A very unique film which allows itself to play with ideas and portray them in a seemingly irrational way, or could i say not very conventionally.

I really cannot find much words to describe it. So instead i'm gonna do a simple and not that interesting commentary.

The night scenes and music reminded me a bit of Liquid Sky (1982)


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I never heard of this before but it looks kind of cool



Check it out. I'd love to hear your comments about it.

I can hit you up with a download link if you want. From mega.



Can I also ask for the link?



I see it on private torrents sites but go ahead and post a link. It's harder to find on the open web and it sounds like other people want to see it.





It comes with a .txt with spanish subtitles which you can just dismiss.

The french speaking parts come with attached english subtitles.

Hope you enjoy it guys. Post later on your thoughts if you feel like it.



Thank you!


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Pi is a good movie and in this movie Aronofsky really knows how to use his style to increase impact on his work. The script is good, well made, but sometimes the major character is quite boring when he is just acting like a maniac.


File: 2945d9aee81b79a⋯.png (5.95 MB, 3180x1431, 20:9, Intolerance.png)

I've watched D.W. Griffith's Intolerance yesterday. It's hard for me to put into words how I feel about this movie. I want to write a poem about Intolerance and I hate poetry.



I hated poetry until i started writing it. Give it a try.

A couple days ago i watched The birth of a nation (1915). I didn't enjoy it. It is more of a political message than a "piece of art".



A major chunk of film is political message as much as it is art no matter how much you or others wish it weren't, whether it's pro nazi, communism, or racism, some of the best films ever made are all 100% political or even outright propaganda.



I see we have a political scientist in here.


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La prima Angélica(1974)

Luis returns to his hometown to bury the rests of his mother.

And like Proust's cupcake, memories and present melt into one.

The past of the spanish civil war ('36), mixes with present ('74).

A story of love with his cousin; his experience in catholic primary school; The rivalries of the civil war.



Do you like anything else from Griffith besides the two films that most people watch?



So far I've written ten stanzas of three lines each, and each line is restricted to ten syllables. I'm not really doing much else aside from recapping the events of the movie but this seems like a good writing exercise for myself. I haven't thought of writing poetry since I was forced to in high school, and that was many years ago. I might try and see if I can wrap up the poem soon and I'll post it here by Easter Sunday.


Broken Blossoms and Way Down East are also fairly popular today despite their age from what I can tell. Even one of Griffith's last movies like Abraham Lincoln still holds up well despite being one of the early talkies. I have some fondness for Griffith's Abraham Lincoln. Although Griffith takes the deification of Lincoln to an extreme by the end of the movie, I like the way that the camera is almost always used from side to side to mask some cuts, but there's one distinct shot in the movie where Griffith avoids lateral movement by having Lincoln walk down a set of steps with his sons, and their faces are masked by shadows by the time the Lincolns arrive at the bottom of the stairs. In that moment you never really know if Lincoln will spend dinner time with his family or if he will respond to the Republican party's wish for him to be a presidential candidate. It's very ambiguous and Griffith used shadows well in that short scene.

A couple of Griffith's short films that were made during his time at Biograph hold up well too. Money Mad (1908) and Those Awful Hats (1909) are some of the better ones I can recall.


>There Was a Singing

A very american thing of sex, lustful, fast painting down on a street toward a billowing the "dos" and "donts" of them, but still looks like lava. The the plant in Georgia. The words. The thing is pozzed to hell versed on cheese. I dare to lose weighed


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Is that the right title?


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Indeed a very interesting watch. This film screams Underground!

A couple of good songs in this one too: Particularly i keep coming back to this song: https://www.youtube.com/watch?v=nZkQgm9iao4

I'll try not to sound reductionist and say this is a movie that explores the act of killing as a way of expressing love; and also the act of killing as a form of lack of love. The movie gives space to interpret it both ways i'd say.

A lot of the scenes felt like a theatrical improvisation, which i always see with fond eyes. It gives a sense of freshness to human movement and interaction,

It is in a sense a crude viewing, but i encourage you to watch it.




Here's that poem. I don't think it turned out that well but I had more fun than I expected. Need to find more ways to write about movies to keep these types of threads interesting:

Out of the cradle, endlessly rocking,

the eternal hand and immature babe

never cease their rhythm, interweaving

timeless tales of mankind’s flesh and folly.

Spurred onwards by the Fates and Motherhood;

peers can ruminate with melancholy.

Intolerance stains all of history.

Prince Belshazzar’s kingdom of Babylon

was destroyed from within by heavenly

treachery of faith. Ishtar’s devotees

grew slothful with their ritual practice

of prostitution. Marduk’s appointees

sought revenge against Ishtar, thus Cyrus

the Great’s army came to restore justice

and order. Belshazzar’s feast day virus

was stamped out; the writing was on the wall.

Babylonians remained in the dark,

contributing to their ungracious fall.

Onward to the time of Christ the Savior,

and of His deeds and miracles before

the kiss and betrayal of the Traitor.

Christian marriage raised into Sacrament;

once Jesus performed his first miracle

all of the wedding guests remained content.

Or of the adulteress brought to Him,

“The one without sin may cast the first stone.”

Forgiveness is the Nazarene’s hymn.

Scribes and Pharisees constantly chastised;

their unwilling nature and disrespect

led to calls for Christ to be crucified.

Sixteenth century France saw the murder

of Huguenots by Catholic royals;

religious pogroms were bolstered further.

Catherine de’ Medici turned French court

into ridicule. Her Edict of Saint-

Germain professed tolerance to purport

religious freedom for the Protestants.

Take an eye for an eye, kill or be killed;

Prosper’s marriage thwarted by regiments

of horsemen. Far too late to save Brown Eyes;

enough damage had been dealt. Yet beyond

death and decay, eternal love abides.

The early twentieth century tale

has a young couple wronged by reformers.

Poor working conditions force betrayal

of mill workers by Jenkins, evoking

the Ludlow massacre. The Boy turned to

life of petty theft and crime, provoking

racketeers. Spurned far from The Musketeer,

The Boy is arrested and thrown into

jail, leaving his only child with his dear

wife and framed by Griffith’s Queen of Sheba.

In an ultimate race against time, the

tales peak in a moment of eureka.

These intertwined stories are rife with themes

of intolerance. Man’s callousness to

fellow man can only be stopped by dreams

of divine intervention. The final

virtues of a dying nation may be

tolerance and apathy; the cradle

remains immature. Life has great value

given histories past; perfect peace is

not possible without Faith to pursue.



>Need to find more ways to write about movies to keep these types of threads interesting:

Yes indeed, sometimes I get bored in the middle of writing a review so I wonder how much the reader will feel the same way. Nice attempt at doing something original and with more passion behind it.


Thanks again for mentioning Ghost Dance. I really enjoyed it. I'll post a few thoughts later when I have more time.



Do you listen to music when you write?


YouTube embed. Click thumbnail to play.


>Nice attempt at doing something original and with more passion behind it.



Nah I don't write much and I didn't listen to music when writing that poem. Is it supposed to help? I tend to listen to classical music when I can. Usually Mozart.



>Is it supposed to help?

Nah, I was just curious.


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The secret diaries of Miss Anne Lister (2010).

Set in the beginning of the 19th century, this movie depicts the tensions of lesbianism at that time; letting go the loved ones; sensuality; the rise of capitalism; nature.

It is a very sensual movie. I can hardly get a hard on from watching porn, but this movie certainly knows how to treat the sex topic. (Enough of these vulgarities, which do not have anything to do with this very fine film).

In a sense it is a very protestant film. One may enjoy it a lot more if it is watched after reading "The Protestant Ethic and the Spirit of Capitalism" by Max Weber.


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>The Bay

The movie poster pretty much spoils the plot and the 'monster reveal' kicker, but it was still a lot of fun watching the in-movie events and side stories unfold and play out.


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Duelle (1976)

Jacques Rivette draws many story elements from film noir -- the femme fatale in a veil (The Big Sleep) looking for a lost love, the meeting at an aquarium (Lady from Shanghai), the Object of Great Desire (Kiss Me Deadly among others), the subway storage locker (Union Station). The urgent phone call from a doomed person is very noirish too, but I can't remember exactly where that was used.

Rivette usually does more than tell a straight story. Here, on top of the noir elements is a layer of fantasy that isn't fully explained until the third act. (But you can spoil the mystery immediately by reading the plot synopsis.)

Duelle is a lot like Noroît, released the same year. Both are female-dominated, and both involve two women struggling against each other for power. Both have a soundtrack of improvised music that is played live in the background of scenes. I might be in the minority, but I give the edge to Noroît because I think the castle setting works better for the somewhat subdued, somewhat theatrical style of acting (if that makes any sense). Even so Duelle is a strikingly beautiful film, the best mix of fashion and cinematography I've seen from Rivette so far.


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Red and Blue (1967, Tony Richardson)

A musical short -- most of the running time is devoted to songs. Vanessa Redgrave is a nightclub singer reflecting on her life and loves with a series of flashbacks. While the film can entertain with its late-60s visual style, and the cast includes Douglas Fairbanks Jr. and Michael York, I was left wondering why this was made. The music should be the main attraction, but it's painfully tedious. The story is too brief for you to become invested in her life. I don't recommend this and I don't know why it has an 8.0 imdb rating.


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>Signs [2002]

A movie about a man learning to accept the lost of his wife and struggling with his Christian faith... Also there's an Alien invasion going on.

I really couldn't tell just what this movie was trying to be. At some points there were these fantastic horror build ups only for the immersion to be ruined by an out of the mood joke. Other times you'd get these nice lighthearted family scenes but then an Alien would pop up and we're back to the horror movie.

I went into this movie expecting a horror film and I was disappointed, but if you got a late teen/adult church group and want to have a movie night I'd recommend it.


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I saw it because I thought that it'd be some "stronk womyn" shit and I'd have a good laugh, but it wasn't. It was just boring. I left about 20-30 minutes into the movie. I keep wondering if the shilling was purposefully done to draw idiots like me into those movies. I remember seeing an infographic once that explained that a popular way for PR to get buzz around a product was to stir up trouble around your product, and then once people properly react negatively the PR management acts like those people are reacting because the product is "diverse".



> I keep wondering if the shilling was purposefully done to draw idiots like me into those movies.

>idiots like me

At least you acknowledge it. Honestly you should have just pirate it like an intelligent person instead of giving them money like that.


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>One thing you can say for M. Night Shyamalan as a popular entertainer in a great tradition: he knows how to make the hairs stand up on the back of your neck. In a ghost story like The Sixth Sense, that was pretty much all he had to do. But with Signs, he has taken on what — for Americans, anyway — is a much bigger subject: our national obsession with extraterrestrials and the promise of more new worlds that they represent. With a ghost story you only have to skirt the edge of the greatest mysteries; with aliens you have to have a whole theology, and that’s one of the two major problems with Signs: the theology is confused and obscure and at times almost ridiculous, as his aliens prove to have rather too much in common with the wicked witches of The Wizard of Oz.

>To me, however, the more serious problem is the film’s disregard for Occam’s Razor, or the principle that entities must not be multiplied unnecessarily. And Occam might have added, if he’d thought of it, that alien entities in particular must not be multiplied unnecessarily. In other words there is way too much going on here. With his customary skill in plotting, Shyamalan makes use of all, or nearly all, the details he picks up along the way, but there are still far too many of them. In fact, by my count, there are an even dozen separate movies compacted into Signs, which makes for cramped quarters (to say the least) for what I take to be the main one, which has to do with the loss of faith by Graham Hess (Mel Gibson) a widowed priest, presumably of the Episcopal denomination, and farmer from Bucks County, Pennsylvania, after the death of his wife in an accident.

>Along with number one, however comes,

>2. The story of the crop circles that appear in Graham Hess’s cornfield and elsewhere throughout the world and which prove to herald an alien presence, mapping some kind of world takeover. Number two movie should stop with that, otherwise the “signs” of the title are merely incidental and not the central focus, and the hints and forebodings could generate quite enough fright by themselves. Instead, Shyamalan goes on to. . .

>3. The story of the alien invasion itself, which is defeated (or at least postponed) by an unexpected vulnerability in the aliens. Again, the War of the Worlds element is more than enough for a movie, but this one is spoiled by the feebleness of the device of the alien vulnerability when it is revealed. Shyamalan himself recognizes this implicitly when he has a news report tell us (and the main characters) that “the battle turned around in the Middle East where three small cities there found a way to defeat them. We have no further details at this time.” Of course, this is even feebler.

>4. The story of the tension between such world-shaking events, the stuff that gets on the breaking news bulletins that interrupt regular programming, and one family’s closeness, memories and personal attachments. This movie is hinted at in Graham’s putting, in some sense, the importance of his dead wife above that of the fate of humanity. There is a nice counterpoint to it in his respect for the determination of his young daughter, Bo (Abigail Breslin), to preserve the videotape of her ballet recital though the world might depend on a willingness to record over it.

>5. The story of Graham’s brother Merrill (Joaquin Phoenix) and his curious approach to baseball. As a minor league slugger who never quite made it to the big leagues he was always striking out because “It felt wrong not to swing.” There’s certainly a whole movie in that one sentence.

>6. The story of the daughter, Bo, who turns out to be clairvoyant and whose startling abilities to see into the future may or may not guide her troubled parent through the dangers either to the family or to the world.


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>7. The story of the curious book by someone called Dr Bimboo, of which Graham’s son Morgan (Rory Culkin) appears to possess the unique copy and which proves accurately to foretell the behavior of the aliens.

>8. The story of the guilty veterinarian, played by Mr. Shyamalan himself, who accidently killed the late Mrs Hess with his SUV when he fell asleep at the wheel. His own crisis of conscience and overwhelming sense of guilt which must finally seek a reconciliation with the neighbor he has injured is plenty of material for a movie by itself.

>9. Even more ample material is provided by the theme of the world’s return to faith in response to (presumably) an apocalyptic feeling excited by the supposed alien invasion. Former parishioners seek Graham out for spiritual advice even though he tries to disown his priestly past. Wouldn’t this by itself, even if there were no actual aliens, make a potentially interesting movie as Graham had come to terms with the fact that his own pain could not be the sole datum on which his faith or lack of it might rest?

>10.The story of how a piece of luck, first bad, then good, may or may not be coincidence. In other words, even apart from Graham’s crisis of faith, the movie could be said to make its own statement of faith or unbelief on the basis of the randomness or otherwise of fortune. A conversation between Graham and Merrill about the two kinds of people, those who believe in luck and those inclined to favor some kind of design, sets the stage for this movie, but it gets lost among all the rest.

>11. The story of the boy Morgan and his anger against his father. “I hate you. You let mom die,” he says at one point — which is rather too interestingly close to the way that Graham feels about himself. But this resentment turns out to be just a bit of grit in the machinery, to disappear when the occasion suits, instead of being given the attention it deserves.

>12. The story of the relationship between the brothers, Graham and Merrill, as suggested by the taciturn and brooding Merrill when he finally bursts into something like articulate speech: “There’s things I can take and things I can’t,” he says. And “one thing I can't take is when my older brother, who's everything I want to be, starts losing faith in things.” As with Merrill’s idiosyncratic approach to batting, there is way too much in this for it to be just dropped into the conversation and then forgotten.

>In addition to these twelve, we might even add a thirteenth in the story of Graham getting his faith back. This would have been better as a separate movie from number one, which invests too much narrative energy in his loss of faith for this account of his regaining it to seem other than contrived. It turns out, that is, that his wife’s babbling last words contained a significant warning that would save the survivors from, well, something less earth-shaking than an alien invasion. In any case, the story of Graham’s anger at God and its final deflection by a sense of His presence could have been dealt with and, I think, much more effectively dealt with, without recourse to an exotic threat posed by aliens in the backyard.

>But then it is undeniable that it is the aliens in the backyard and not crises of faith, however adroitly handled, that get the kids to come out to the multiplex.



I remember the scene of the guy with the bat and the alien in the reflection creeping me the shit out of me when i was a little kid. Probably one of the scenes that i've felt most uncomfortable with.



I know. I feel sick thinking about it. I justified it to myself at the time that it was the same thing as paying to see the bearded woman at the circus or something.


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I was very surprised at how much I liked this movie. Absolutely beautiful scenes with the Wyoming mountains in the background for almost all of the outdoor scenes. Great character building with Borgnine, Ford, French, and Steiger. Bronson's role was a solid fit for him as well and I think he did a fine job. I found the story entertaining as well, with it taking a significant turn when I was not expecting it. Would definitely recommend to a friend.

Really great scenery shots, I can't say this enough.

Congrats on winning the hunger games


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Ah, I didn't know Jubal was filmed around Jackson Hole. Now I have to watch it.

That's one of my favorite places. Shane was filmed there too, and later parts of The Big Sky.


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>White Material

Claire Denis and Isabelle Huppert are legends. I haven't seen High Life yet but I don't think Denis will top Beau Travail and Trouble Every Day, though


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IL BOSS (1973) is the third and weakest installment of Fernando Di Leo's Italian crime Milieu Trilogy. The story of warring Mafiosos seems to be inspired by The Godfather. Unfortunately the film gets bogged down with a lack of focus and too many characters. Granted hitman Henry Silva attempts to solve the latter problem by killing most of them.

To streamline the film, many scenes at the police station could have been cut. The scenes served little purpose and seemed to be shot in one take by a second unit crew. Since one prominent character was a corrupt cop, I wondered if they included pointless scenes of "good cops" as a balance.

It's better to watch Di Leo's Milano Calibro 9, one of the best of this genre, or La mala ordina, known for its excellent opening scene.


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REC had me hooked in the beginning until the mystery wore off and become a zombie movie but that was expected.

The Witch didn't do anything new for the genre, wasn't scary, wasn't fleshed out either, it just exists and is popular for someone reason. The current tone of cinema are clean shots//footage that leave nothing to ambiguity, and the plots are small or personal. Bridging scenes and pacing skipped over to get to the action of the film.



Just finished Three Billboards, along with his shortfilm Six Shooter, which was included in the billboards dvd.

Out of all the Martin McDonagh films was Three Billboards definitely the weakest one.


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The builder (2010)

As usual, Rick Alverson portrays a lonesome character. A mystery as a protagonist. We may only get close to him in a few glimpses. Perhaps a hand gesture; perhaps a word; perhaps a phonecall...

The yuxtaposition of the rural and the urban is a fundamental characteristic of the movie. At times teluric, at times distastefully artificial and plastic.

The ellipsis i'd say, is perhaps the key characteristic of this movie.

God i feel so sad after watching this movie...


Buddy came over and we decided to watch Chinatown. Fantastic movie, kind of hilarious Roman Polanski showed an old man like himself raping his daughter and granddaughter, a big league in LA. Really makes you think.



I also found a good camrip of Endgame. Not bad. Confusing, but the ending with strongly womyn charge really made me shake my head in disbelief.


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>Roman Polanski showed an old man like himself raping his daughter and granddaughter, a big league in LA. Really makes you think.

Polanski has the same situation in a few of his movies -- the spoiling of an innocent virginal maiden. You might get the idea he enjoyed that kind of thing. Mia Farrow dreamraped by Satan, Sharon Tate kidnapped and corrupted by Dracula, John Huston diddling his daughter...



>Can't say the film is not racist

How? It didn't set out to paint them as monkeys and it didn't make them out to be angels it merely documented reality, as you said yourself.


Grave Encounters was shit and those that insist that it was better than '18s Haunted Asylum have shit opinions.

Usually spoilers don't bother me, I can still appreciate the film/series but damn am I glad no one spoiled Rats Notte di Terrore. I've never burst out laughing that hard at a reveal/twist.


I watched Ménilmontant. The lead was fantastic. There was a really moving scene where an old man gives her some bread, that was great. The one thing that confused me was the stuff I read about it being impressionistic, other than the double exposure stuff it seemed a lot more realistic, with close ups and very intimate shots of interactions, touching, dirt etc.

Anyway I also watched Sherlock Jr, with Buster Keaton, and it was great. The 'chase' scene is fantastic but so many of the other shots are amazing too. There were some downsides though maybe it wasn't as funny as his other works, only the running gag about him not recognising Watson made me laugh. The plot was sorta weak and the pacing during the film within a film was meh. But in terms of technique it's one of the best I've seen in a while.


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Great picks. I love both of those.


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Hakuchi (1951)

Based on the book by Fyodor Dostoevsky.

This film transposes the original story into the post war Japan. As such, it portrays the the japanese relationships in family; marriage; and tradition.

It also deals with a great deal of more "essential" topics if you will, such as: love; honesty; the morality...

Always since i started watching carefully and with attention the cinema of Kurosawa, i've repeated to myself that he is an artist, at the core, interested in Morality. The same applies to this film.


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Assault on precinct 13 (1976)

To me, the richness of this film lays in the abundancy of characters; the amount of different people, different faces and gestures we may see. A sort of social look in the 70's United states.

So indeed, this is a character/dialogue driven movie. Filled with all sorts of emotions and one liners that could smash through the teeth of the elder or the weak of spirit.

Be sure to expect action and suspense. At times so, paradoxically, exquisitely kitsch, that one may only laugh and rejoice.



What do other people think of this one? I barely remember the plot but I didn't like the movie very much. The eternally repetitive soundtrack got on my nerves too. Carpenter's music usually sounds like a kid playing with his first synthesizer.



Incredibly boring. That's what I remember. Carpenter, what do you want?

>eternally repetitive soundtrack got on my nerves

Have you ever watched film with music so obnoxious, so off-putting, so out of place that it destroyed the film? I've tried to watch Tsar recently and holy mackerel, I didn't get past first half-hour because how horrible the music was.



The richness of this film lies*, still i'm messing up with those two verbs.


Well, i'm with you on this one. I hate when there's a track that becomes the leitmotiv of certain scenes, or even the movie itself.

I also liked how the movie was structured. With a lot of characters, seemingly unconnected, until a certain event in the middle of the movie connects them all.


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I just started watching this today. Wow! I need to push myself to watch more of these great films that I know about but procrastinate viewing.

The language is dense and often spoken in verse, which makes me sad that I have to pay close attention to subtitles and can't focus exclusively on the mindblowing images.


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It was good, don't get why it's so controversial.


The pacing is awkward and the murders are handled too calmly (the 80s wasn't ready to handle with death so casually) but it was far far ahead of its time.

>Dog Soldiers

Soldiers versus werewolves.

>Ginger Snaps trilogy

Fun movie about one of two sisters obsessed with death getting bitten and transforming into a werewolf, third movie is shit and really phoned.

>Evil Dead trilogy

The special effects in the first were good, 2 had some good scenes and Bruce was at his peak, in Army of Darkness it got extremely commercialized that reminds me of something that'd be shown on Cartoon Network with edits and Ash became a dick for no reason.


Didn't like it. Movie was strung together without anything connecting the scenes and vignettes of the time than a plot which is something that seems to be common with these older movies about nostalgia. The fascist interrogation scene was awkwardly placed into the movie too. That fat bitch was fucking hot.

>Dead Man

Jarmusch made his style of indie film in the confines mainstream Hollywood costume so a lot of it is unarticulated and didn't understand the point of it. The soundtrack is god-tier though.


>The Chekist

Imho way overrated, possibly just for the novelty of being russian, literally just couple of good scenes, but in general made awfully in my honest opinion. (the good scene is attached)


The worst of Bela Tarr so far, too melodramatic as it presses to much on a characters relations, without individually developing them. Still beautifully recorded, but I think recording style is not enough to make a movie great.

>Alexander Nevsky

Welp, it's Eisenstein. Perfectly edited, very simple story but it does not matter. Battle on Ice scene still fucking perfect despite a bit scruffy outfits.

>Mr. Freedom

IDK, why it shows up on so many charts. Is it because it is hard to get? Like seriously, it is a stupid oversimplifying movie which can be shortened to - America is bad, big nations are bad. Symbolism is subtle like a fucking hammer. Do not watch if you respect your time.

>Doroga k zvezdam

Perfect documentary with great style, if you have one hour watch it right now. Everything is exceptionally well made and makes you wish we had such a relation to space travel as Soviets had in the 50s/60s. When space travel was a task of humanity and not rich people.

>The Cranes are Flying

Another great soviet film. Perfect romance, based upon war. Beautiful shots, same guy as Soy Cuba.


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Forgot about the file.


Lawrence of Arabia

The visuals are amazing, even more so when you consider that it was made in 1962. I was blown away by the movies scope and editing, the transition where he blows out the match in the first 15 minutes made me double take. The pacing was well done, my only complaint has to be that I wasn't too fond of Lawrence himself, this is a personal thing he was just too narcissistic which was kind of the point. All in all it's pretty fantastic, would recommend



>The chekist

Watched it with my mom. She almost left me to watch it by myself. She couldn't stand the execution scenes. Although one may argue there were too many of them; i think the reason for it was the monotonous repetition of it that gave the idea of the dehumanization of the CCCP.

The scene you attached (as far as i can remember), is easily one of the best of the movie.

I loved the last scene though.


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Buta to gunkan (1961) Pigs and battleships

A look into the post war Japan; the yakuzas; and the american intervention of Japan.

I'll never get tired of the depiction of japan's nightlife. The bands playing; the prostitution; the pianist's excitement: almost in a trance playing while the people are laughing, drinking, and shouting. One may see paralelisms in this depiction of japan's night life in Akira kurosawa's Ikiru, or The drunken angel.

It has a very clearly juxtaposition all throughout the movie about the "noble" way of living and the ignominious way of living. But in the end, we may only see the protagonist as a mere victim. A very immature mind who happened to be in the wrong place at the wrong time. We may draw comparisons between him and his girlfriend, the former with worrying detachment of the joys of life, and the latter with a very vital way of living (almost idealistic one may think).

The scene with the pigs is a sublime metaphor.



It may be cause I am slavshit, the shocking aspect of the movie is superlative for me, and for many people violence is something so distant that extremes of it seem just nauseating.


I just watched mulholland drive for the second time (first time it went over my head and left no impression, barely remember anything from first watch except the winkie scene at the beginning)

I liked it

what film should I watch next? I want something with a similar vibe and lives up to its greatness?



Well you could watch another one by David lynch. Particularly i'd recommend Lost highway (my personal favorite with Wild at heart, although the latter isn't as similar to mulholland drive as the former).

If you are looking for the "oniric" characteristic of it, Tarkovsky is a very interesting director in this matter.


That's where we differ i think.

>(...) Violence is something so distant that extremes of it seem just nauseating.

To me, the monotonous tone of the violence caused quite the contrary of these "nauseating" feel you describe. The monotonous manner of treating violence in this film drove you so far away of the real emotions that death and violence convey; that one felt nothing about it. This "to feel nothing" is what i think makes the movie a very fine piece of cinematography.


Invidious embed. Click thumbnail to play.


A great proto-Lynch "dream thriller" is La belle captive by Alain Robbe-Grillet. It seems like David Lynch was inspired by this film.


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I watched Seul Contre Tous for the 2nd time and it left me bored, as terrible as it may sound. There is no shock value in hearing the same garbage pessimistic views a second time and it leaves you untouched if you're used to it. If all this played out 20 to 30 years later, the butcher would have been posting his rants and rumbling on the internet.

The film is still great, the cuts are fantastic and the sound effects get me every single time.

It's a weird thing, watching an infamous movie like this and going "oh right, now comes part where he punches the baby in the womb, great". I think this is a weak point in most films that try to be shocking, you just don't give a damn if you've seen it before.

On the other hand, the film I watched right afterwards, Man bites Dog, had a huge effect on me. I can't deny that seeing the crew getting used to the murders and later on joining in felt like a rather unsubtle kick at myself and my lack of reaction towards Seul Contre Tous.

I love this film, it's funny but can turn absolutely disgusting in not even a few seconds.

My favorite scene was in the hideout when they meet the other filmcrew.

What leaves me thinking are the birds that frequently appear in the film. I feel like they would function as the complete opposite of what would be understood as remarkable or newsworthy, birds being the most uninteresting animal in a city with thousands of people. But Ben is fixated upon them, going so far as to write poems or looking at them during a firefight.



already watched most lynch and tarkovskys work, but I do plan on rewatching lost highway since its the same case with mulholland drive


will check this out, thanks



>Alain Robbe-Grillet

I already watched eden and after and didn't think of it much, will I like the one you mentioned?



Luis Buñuel is another director that deals a lot with the oniric. Mostly his french era. You could check out Le charme discret de la bourgeoisie, Or Belle the jour.


>C'est arrive pres de chez vous

Fantastic movie. I watched it a while ago; when my interest for cinema was just arising. I remember to bust out laughing in the scene where he gets in the old woman apartment.



>already watched eden and after and didn't think of it much,, will I like the one you mentioned?

With that in mind I can't guarantee it, but it's closer to the style of David Lynch than any of Robbe-Grillet's other films. And I will clarify the film is like 1990s David Lynch, technically not "proto-Lynch" because Lynch was well into his career by 1983.

L'éden et après is a different kind of film. Mundane elements of daily life are randomly blended together to create alternate fantasy stories. I thought some of the mathematics lecture near the beginning hinted at the film's structure. The professor talks about vectors and basis in a space, and he also mentions combining a sum of images. This got me thinking of breaking down a situation into discrete elements, then recombining some of those elements to create something new.




I don't like Fellini, I don't really care about Fellini at all, but still don't know why exactly though, main reasons are these I think:

1) Neorealism; reality stripped of reality, unpoetic dreg, numbing chore, what's the point?

2) His films are autobiographical and honest, he speaks only what he thinks; I don't care, he's but he, boring, moreover he cares more about what he says than how he says it (both things are the same imo), and when he does the opposite, which doesn't happen often, it's convoluted kitsch shit, always something serving something without self-serving, his flicks doesn't live its own life, being just fads of its age and his worthless tedious ego. I also think he chooses what to show but never really creates what's shown at all, he doesn't nuance, he's not creative, he doesn't paint, he just forcefeeds the camera images which are all so ugly and unbearably real they seem unreal to me, copies devoid of music, merely nitpicking, collaging, exaggerating and trivializing the reality available to all, then concealing that sad state of himself with form. Wasn't he a commie or fascist?

3) sentimentalism

4) I think he's italian godtard, so fuckin' self-important self-injecting prick it's disgusting Many directors are, I still don't know why, enlighten me, somebody?

5) Jung: Buñuel laughed at him as Jung was genuinly scared after seeing Un Chien Andalou by his own retarded system of nails and crosses.

6) He doesn't choose form and then picks the word, he has only one form, film, and he searches for the word, for his own little truth, or picks one that makes him able to convey his shitty thoughts, his nature, for which he then chooses subform he thinks is best, the form he deems necessary to show what he can show, his narcistic and obssesive necessity, and when he doesn't, he's pseud puritan. Fellini doesn't even think his creation is him, as if showing his name on the start and being created by him wasn't enough.

Help me finding out, share your personas.

>soundtrack is god-tier though

I like his soundtracks very much, although sometimes it feels like they were partly created apart from the film or doesn't fit very well (so he's hit-or-miss for me) like in the limits of control, where boris is often redundant, as much as redundant he's hamfisted, out of place, for literally no reason and only rarely he's right on the spot, where he belongs. Only lovers left live has great soundtrack tho, pretty much always suiting the scene, either perfectly creating the mood, forcing and extending what's shown, sometimes painting its own imagery, serving as both background noise and as the main feature. Great use of music, really. Another film, animation worth a mention, has great music too, and that's Krysař; drony and hissy, music accompanies the image nicely and ranges from tenseful guitar to melancholic, sardonic flute.



never heard of it


I had it on disk for like a year and couldn't get to watch it, safely deleted now, thanks.

>scruffy outfits

You know, some people, like me, take great pleasure in costumes and by extension appearance, as it's vital part of any play, film or opera, of everything, especially historical pieces, because sparkling halo of the past weighs more than crown of thorns of now, so I think it's half-assed shit. You can more easily show and make actors say and wear pretty much whatever however you want because it's history, why choose medieval setting when you then make armors from cardboard, swords from bronze and mitres from plastic? They sure are above amateur costumes, nevertheless, they're horrible. still looks better than post-80s commie/capitalist fairy tale film

Also, film is tactile, for weak-minded sensation without volition, invading and hypnotic. I didn't like it. Way too fuckin' ugly for something concrete.

>perfectly edited

Yes, but for what purpose? It sure wasn't enough to hide buckets as helmets.

>Mr. Freedom

>why it shows up on so many charts

>stupid oversimplifying movie

"critics" and redditors

>Doroga k zvezdam

I sure don't miss the soviet scientism, but it has its magic now it's thankfully dead.

>The Cranes are Flying

>beautiful shots




Did any of you watched it or put on backlog after seeing it mentioned in 250 list thread?

>favorite scene

I like the scene where they walk in the "low-cost housing project". He reminds me of me self all too much, with his played vigour and morbid sarcasm, for the very first time in film. I wouldn't care any less if he were saying that smokers should be tortured.


>too fond of Lawrence himself, this is a personal thing he was just too narcissistic which was kind of the point

Either he failed hard as a director or it was intended.



Him I can recommend, but I ran out of breath, so fuck it.



>Did any of you watched it or put on backlog after seeing it mentioned in 250 list thread?

Not in my case. Around 2014 an anon on /tv/ recommended me the movie.


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I don't know if this is true but

<According by some Czech sites Mulholland Drive was inspired by this movie


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About a woman who got raped by a bunch of guys and gets revenge. Real fucked up movie you should watch it if you have not already.


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L'ange (1982)

Probably unlike anything you've ever seen. Indeed a very unique film.

A study and experimentation of lighting; montage; and movement. The movie felt more like an aesthetic experience so it is difficult to find words to talk about it.

Some of the first scenes felt as if they took a lot of influence from the romantic era of painting; take for example Francisco Goya. Towards the end a lot of sequences felt as if they took a lot of influence from german expressionism (I'm not talking about paintigns here but about cinema).


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His influences for L'ange are interesting. The woman with the pitcher looks like something from the Dutch masters, and the staircase at the end reminded me of Murnau's Faust (or German expressionism like you say). Some of the other scenes are based on works from Albrecht Dürer and Lars Bo.



I get your view of Alexander Nevsky, it is a film that is greatly limited by its very cheap costumes and low style. But, the sequencing is pretty much basis for majority of battle scenes in cinema, and I think there are of course better battle scenes, but they do follow similar methodologies. Still, would be much nicer if it were not for the fucking buckets as helmets and set which is visibly tiny.

Also yeah, internet opinions are so often so trash and people think they are somehow more influential if they watched a BIG NUMBER of films. I do not even hold a count, cause I know I will forget bad films usually.

Ok, some next films I watched:

>On Body and Soul

Very, very romantic. Ildiko Enyedi is imho one of the most underappreciated directors, she can pretty much portray both sides of gendered emotion, and imho one of the best portrayals of love in modern cinema. Also On Body and Soul is literally autistic gf kino so what's to ask of more. As in any Enyedi, the editing and composition pretty much produce very slight magical realism, imagine if Wojciech Has decided to make films that are more grounded in reality -> you have Enyedi's style.

>Electric Dragon 80.000 V

Very simple film, but with great audiovisuals. Within its low budget it manages to push for experimental style and unique experience. It is also quite short so it keeps its focus very well. If you enjoyed Tetsuo, I am pretty sure you will enjoy Electric Dragon.

>Trouble in Paradise

Well, it's Ernst Lubitsch. Zizek was quite right in seeing it as transgression comedy as it reverses the change of roles and it shows how upper classes are limiting in comaprison to criminal life. Not really great cinematographically, but well it's pre-code comedy, not really focused on that as Soviet Montage styles still were not (quite) dominant in Western Cinema.

>Guilty Hands

tbh just watched it because Kay Francis was fucking beautiful (and I literally don't find any of gals now even attractive). Not really that good as a film, but still enjoyable in its pre-code transgressions and show of the cultural changes of the 1930s.

>3 on a Match

If you see a pattern, you are fucking right. Even more 30s beauties to just improve my life. Again, the same transgression, the same style, the same levels of enjoyment. tbh watching most of pre-code movies is like watching TV show as style and skill is quite consistent. Let's not idealise early cinema.

>In Brugge

I know, that is more mainstream, was not my choice, but my brother is more pressuring to family. As comfortable film as it is, transgressions as acceptable as they can be, and the film is OK just to say. A good benchmark imho of what should be considered AVERAGE.



> is a film that is greatly limited by its very cheap costumes and low style.

True, that organ looked like it might fall apart if someone sneezed on it. The sinister organist is a memorable character, but I wondered why the organ was there in the first place. I guess it was to underscore the religious drive (thus anti-Soviet) of the advancing army. Instead of battle horns they march to a church organ.



>If you have never read the original play by Imre Madách, then I would suggest you do so before watching this movie.

That is good advice. I watched it without reading, but it's hard to pay attention to both the words and the images because of the richness of both.

Is there any particular reason why you read the play first? It's an uncommon text as you say.

I didn't read your review either until now, but I want to praise the effort you put into it. You provided a sharp analysis of the concepts at hand.

My first exposure to this material was through András Jeles's Angyali üdvözlet (1984) which was difficult to follow lacking knowledge of the source. I'm going to return to that film with a better understanding.

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