/film/ - FILM

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.

>>14253

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.

>>14263

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.

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.

>>14347

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.

>>14379

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.

>>14379

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.

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.

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.

Boooooring.

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

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.

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.

>>14472

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.

>>14475

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.

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.

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.

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)

>>14584

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

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.

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.

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.

>>14637

Is that the right title?

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.

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.

>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.

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.

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.

>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.

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".

>>14711

http://archive.is/7M9Wx

>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.

>>14716

>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.

Jubal

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

>>14744

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.

>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

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.

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.

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...

>>14800

>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...

>>14837

Great picks. I love both of those.

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.

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.

>>14486

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.

>Cleopatra

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

>Heathers

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.

>Amarcord

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.

>>14996

Forgot about the file.

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.

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.

I don't know if this is true but

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

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.

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).

>>15035

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.

Hok hau fung wan (1988)School on fire

First of all i gotta thank this anon >>15052 for spreading the word about this film.

It is a film which depicts juvenile delinquency in Hong Kong. All throughout the movie there's a clear juxstaposition between violence and education.

The movie deals with prostitution; drug consumerism; and the likes.

It also deals with the corruption of the educational institution and that of the police. Particularly in the corruption of the authority of each of these institutions.

>>15262

>then solve the ridiculous captcha which I have to solve like three times because despite, I assure you, solving it perfectly, it forces me to do few other ones

You too? I thought I was going blind yesterday.

I watched Lynchs Dune and I dont know what I was expecting but it definitely was not that. Its like halfway through he just gave up and called it a day. Some fx seemed pretty damn good for the time but goddamn its been a while since I seen something that campy and over the top. Sting was great, easily the highlight, Kyle shone through at the end. The makeupon the Baron was hit and miss and could have been better but I can see why Lynch abandoned it. 1.5/4

Best film i've seen this year, but i've seen very few movies this year.

The build up towards the middle of the movie is excellent, i felt like i was about to have a nervous breakdown, because you know shit's gonna go down hard, but when it finally does it is amazing to see. The music, cinematography ad flow of some scenes was amazing, namely the clean up when the rich family is coming back. Also loved the tone shifts.

I really felt bad for the rich woman though, she was the only character that wasn't a cunt on some level.

Starting to get quite interested in Korean cinema.

A thread with working images? Maybe there's hope after all. I'm behind on writing reviews but I've seen several in the past few months. I'll try to post some new stuff here, maybe copy it over to julay too.

>>15564

>Best film i've seen this year, but i've seen very few movies this year.

I've only seen a couple 2019 films, and probably less than 30 made in 2010s.

>>14252

Finished this last night, enjoyed it quite a bit. Makes me wish Lucas did more sci-fi stuff after Star Wars, he has a good mind for it.

>Dark Was the Night [2014]

The main plot revolves around an undiscovered apex predator being flushed out of it's natural habitat by a logging company and finding new hunting grounds in a small town. If the movie just focused on this it could have been a cool monster flick or innawoods type of movie, but it doesn't. The film has another plot about a small town sheriff dealing with the death of his son. He hates himself for it but he gets over it and reunites with his wife. That's it, that's his plot. You've seen this plot in countless other movies and worst yet it has nothing to do with the movie's main plot about a monster terrorizing this small town, it's just there to lengthen the movie's running time.

The movie goes for a less is more approach with the monster's screen time, so at most you'll see a leg here, arm there. And even with those small glimpses you can tell the monster is CGI, bad CGI at that. And on top of that the cinematography just makes it painfully obvious when the monster is going to pop up. 'Gee, why is the main character in focus but in a corner next to a big open window?' kind of obvious.  

Another major problem with the film is the fact that every character is just boring. We have: Sad family man. Angry farmer. Farmer's daughter [don't touch her!]. Native american man. The preacher. Etc, etc. The very second you can identify the stereotype you've learn all there is to know about the the character on screen.

Everything about this movie has been done before, it's offers nothing new nor does even try to be creative. I read one review claiming this movie flew under the radar and he's right: It went under the radar because it sucks.

>The Lighthouse

All around pretty damn good, watching it felt like what a Swans album would look like, incredible performances by Pattison and Dafoe too.

>The Host

Some times i didn't know whether to laugh or to cry in a good way, expected a gory horror show but it ended up being much more than that, didn't even mind the cheesy ending.

>>15564

>>15613

Watched Parasite and The Lighthouse with my family since my brother wanted to see them. They're among the few vaguely mainstream films I wanted to see from last year. Still might watch Deerskin and Ad Astra.

Parasite played better with our group than The Lighthouse, and personally I enjoyed it more than Memories of Murder (the only other film I've seen from Bong Joon Ho). The Oscar announcement makes Parasite the first Best Picture nominee I've seen since Tree of Life. I'm rooting for it to win because I loathe contemporary Hollywood directors. The yearly moaning about Oscar "diversity" is completely undermined by the fact they ignore world cinema almost completely.

I haven't read many reactions to Parasite. I was wondering if there are subtle aspects of the film that only Koreans fully understand? For example, is there deeper significance to the rich family mocking DPRK propaganda, or to the wife's General Yi reference?

The Lighthouse was a mysterious monochromatic fever dream, a slow burn of stunning imagery and folk terror. Plenty of quotable sea slang too. But I think the salty dialogue is better than the narrative itself -- with all the buildup I was expecting more of a payoff. Looking back, the film mayy be better than I initially felt, and it's interesting to explore the theme of man vs. god.

It's true the acting was very good, although my anti-Oscar bias makes me wary of films that are driven by actors. I think /tv/ anons like this film because they watch all the other crap that's released, so The Lighthouse obviously stands out.