/film/ - FILM

>>14618

>but it functions as reaction and it functions good imo.

Just like the tool, it depends on the man behind them but in the case of deconstructivism it's a specific ideology that has been used almost solely to cause reaction, the function part, at least from the buildings i've been, is poor because it's a normal system only slightly modified to support a fancy shell, which is the primary tool to visualize an idea thus create an emotion, because even the interiors are not that livid. I'm not a die hard functionalist, in fact i tend to dislike their contemporary proponents for ignoring such basic things as views (panoramic or simply light entries) but one needs to justify certain things when they are more than half of the project's budget, because we also need to take into our client might not be on the same page as our ideology.

>fatalist reaction on ever increasing alienation

The movement started somewhat benign, back when it was still called post-modernism and was almost solely a movement to make fun of the strict and sterile rules of the modern way, just like you said, a reaction to the architecture that had been degenerating itself. Robert Venturi being this way's principal advocate due to his terrorist projects which actually started having a justification (his mother's high tastes and low budget) until he went loony with stuff like putting a giant column in front of a main entrance because "why can't i do it if i'm this project's god?". One of the actual decent post-modernists would be Mario Botta, but anyways in terms of the form+function of the deconstructivism i can attest to:

You have the Walt Disney concert hall in Los Angeles, California in which the form only functions in the hall itself with the ceiling in catenary but the walling gets shafted due to the same irregularity thus having to place fake walls to create the optimal geometry for the acoustics, the rest of the public building is average steel beams+columns in orthogonal arrange that have small overlaps that create the supports for the shell made of some kind of alloy that blinds the shit out of you from the near highway and 2 street-level roads in most months not summer when thePost too long. Click here to view the full text.

I think i dragged on too much, what i meant to say is that the vast majority of deconstructivism is just the same old modern architecture made to support a distinctive outer image to either bring views and interest, make itself a landmark or place a strong message from its creators; It's just as, if not more, corporativist in its full extreme than the good old International Style. And it was always like that, since its conception in the mid-80's its most famous examples go to such lengths that it cripples even the most basic functions that it was meant to improve thus making the whole thing a joke as the strict functionalism becomes a preferred alternative. Zaha Hadid made IMO the most interesting projects but she also suffered from lack of maintenance factor and high costs for no reason, but she made, or at least her 300-men studio, very kicking interiors that did reflect the nature of the project (even when they were almost useless in some cases, see Firefighter Station turned into a museum just 2 years after build). And the original post-modernism has been retconned to be late-modernism but with more aesthetic liberties and "artist's share".

Of course that's only my opinion on the subject, i seem to be a little hard on the jewish aspect but it's a fact that most of the projects in this form of building are from jewish architects for jewish clients. Who knows what the correlation is between the ideology of deconstructing/destructing established objects, manufacturing from thin-air points of cultural interest and lots of money for the sudden betterment of areas which at the end get erased or ignored from the project.

Polite sages due to off-topic content or is it

>>14619

You can improve it by expanding it with your knowledge.

War comedy is a genre that hasn't had any downright bad movies yet and not widely attempted. Pic is from the Cuckoo, a Finn deserter and Russian sent to be executed reside in a Lapp's house in which none of them understand each other, the camera work was better than expected. There was also a jewlywood movie starring Jonah Hill about an arms dealing company during the Iraq War, it was decent.

last night i watched Dark Star which is labeled frequently as a "sci-fi comedy" (one of the main reasons why i avoided watching it when i first heard of it), but to me it came across as a sci-fi movie with comedic elements, it wasn´t a full blown out comedy like Spaceballs which i found very pleasant

The talk about Mekas in another thread made me think of Empire since he was involved with shooting it. There's this nice comment on karagarga about a screening of the complete version, a fun read for those of us who won't get to see it or wouldn't want to devote that amount of time

https://www.theabbeydalepicturehouse.com/event/yorkshire-silent-film-festival-empire-by-andy-warhol/

>>13904

This weekend (maybe)

It looks like they starting having a short freeleech on upgraded torrents. Neat.

So much for retirement

Béla Tarr to premiere new film Missing People at this summer’s Wiener Festwochen

<After funding troubles forced the shutdown of his innovative film school, the film.factory (located in Sarajevo, Bosnia and Herzegovina), Tarr has gradually been reemerging as a working artist.

https://www.cineuropa.org/en/newsdetail/370729/

>>8121

>He knows not to go on too long

Well done.

Since lack of funding is mentioned twice in this thread, would you say meager funding is part of the reason Bela Tarr developed the style of longer takes? More cuts means more time means more money.

And I fucking love Bresson. He's the greatest of all time for me. I have the deepest admiration for every single frame and sound he put on a screen.

What's the most you've been disappointed by an old movie, /film/?

For me it has to be C'etait un rendezvous by Claude Lelouch.

I'd heard of it in the past, and read Jeremy Clarkson's opinion on it, and assumed it would be the craziest shit I'd ever see in terms of driving. So I watched it, and I get that it's significant, but it is massively overrated, mostly due to its age and the fact it was unscripted. Also there's a couple parts where he's clearly slowing down/cruising, yet the sound implies he's getting faster. That made the dub far more obvious and ruined the immersion on the whole. The fact that Lelouch has lied many times about the film should have discredited it long ago.

>Claims to have got up to 230 km/h during filming

>Researchers calculate he couldn't have gone any faster than 140 at the beginning; rest fluctuated around 100

>Claims the car was driven by an F1 racer

>Turns out it was himself all along

And forget about the car itself being a Merc, there is no evidence to suggest Lelouch even owned a 275 GTB to begin with. There is not a single photo of him next to the car, and some have even put forth the theory the sounds were ripped from the 1971 film Le Mans, though I've heard it and to me there's a definite difference between the V12 of the 330 and the V12 of the 275.

If you want unscripted high-speed car driving with real risk of accidents, watch some later footage of Japanese street racers on the Wangan, or touge drifting. Or hell, just watch some Group B onboard videos of 1980s rally

Climax might have been based on a real story of a party where the punch was spiked. But I doubt there was so much chaos in any real world events.

This movie is a depiction of societal breakdown. In the first half the precise choreography would have you believe that everyone is in perfect harmony. But a mild disturbance tears apart the social fabric, leading to mob behavior and tribalism. Maybe this breakdown mirrors what's been happening in France -- there's a huge French flag looming in the room where most of the action takes place.

I noticed the typical Gaspar Noe protagonist is David. His short hair and cocky attitude resembled the lead actors of previous Noe films. In the second half David is completely impotent - beat up, called a Nazi by the black dancers, he loses his girlfriend to a lesbian, and a gay man tries to seduce him.

Now how many trannies were presented as female characters? I would say at least two - Gazelle and Emmanuelle. That shit creeps me out.

"WHAT HAPPENED WAS TRUE..."

>>14459

>>3075

I love the filming style of that Clarke short. No wonder GVS copied it. The wide angle lens and agile camera is a perfect complement to the cavernous industrial locations.

First I thought Elephant took place in Northern England. And I admit I was confused by the film. I sat stunned watching the credits roll as if some answer would appear. At the very end were the words "BBC Northern Ireland" which made the preceding 37 minutes of random remorseless murder finally begin to make sense.

>>14507

Now with audio which comes from the center image

A wild Hitchcock giallo appears!

A new article lobs accusations of wrongthink at the giallo genre: misogyny of course, homophobia for negative portrayals of lesbians (as if Italian Catholics take kindly to homewrecking dykes)

https://brightlightsfilm.com/wp-content/cache/all/design-killing-giallo-bava-argento-blood-fetish/

I'm generally unsatisfied when horror films are condemned as misogynistic. It strikes me as lazy and simplistic analysis: "The director kills women... because he hates women!" Deeper in the article I think they stumbled upon a better explanation:

Victims must always be enviable: either beautiful and sexy or rich and swellegant, or all of the above, so the average moviegoer can rejoice in their dismemberment with a clear conscience.

This fits into my personal theory that ghoulish horror directors "kill" gorgeous women as revenge for rejecting them earlier in life. Just look at pictures of some of those directors, what decent girl would date such creeps? If true, this is slightly different (and more complex) than boring old misogyny.

maybe you would like Taking Tiger Mountain for a ScaryFuture film

the first four words of the synopsis sell it: " militant feminist scientists brainwash … "

>>2689

ZPG / Zero Population Growth is similar to Logan's Run in aesthetics, setting and theme. The film imagines a near future where humanity is plagued by overpopulation, pollution, and other relics of 1970s alarmism (nuclear fallout, peak oil, etc.). Since the urgency of most of these problems has diminished, the film's basic weakness is that it invested too heavily in the theories of its time.

However, this film is still somewhat prophetic. Like Logan's Run, ZPG features an authoritarian government which tightly manages the life and death of its citizens. To fight overpopulation, the rulers have issued an edict banning childbirth for a period of 30 years. This "solution" mirrors reality a bit -- of course it's resembles China's One Child Policy, but also recent controversies where Britain's NHS made end-of-life decisions for a child against the wishes of the parents. Allowing domineering bureaucrats to become arbiters of your child's life is certainly frightening.

A dystopian film often involves a rebellion against the established order, so (as you can guess) the protagonists of ZPG ignore the edict and conceive a child. Starting a family is an affirmation of traditionalism, self-determination, individualism, and freedom -- ideals which had been cast aside to make way for the stifling conformity of their centrally-planned society. Logan's Run frames the issues in the same way.

Given the all similarities, I initially thought this film was a knockoff of Logan's Run. Actually ZPG was released a few years earlier. So perhaps it was an inspiration for the later, more popular film.

>>12170

Gene Roddenberry's Genesis II is another example of 1970s fears of a dystopian future. The story involves a New Age-y authoritarian

society where (among other things) sexuality is frowned upon as barbaric. And yes, the main characters rebel and try to escape.

I had never thought to compare Star Trek to 70s dystopian films, but now it stands out that the Enterprise existed in a utopian future. In the 1960s, stories about the future were generally optimistic. Space movies glorified humanity's triumph of science. Several years later, movies reflected a general pessimism about where things were headed.

A couple days ago Japan announced the name of their new era - Reiwa 令和

>>14516

>>4401

>Szőts István: Emberek a havason

Sentimental social realism about mountain folk, in a similar vein as How Green Was My Valley.

It's an unexpected Christmas film too. In fact it's very Catholic.