/film/ - FILM

>>11469

This is great, I just watched it. The competent low-budget silent style reminded me of Guy Maddin. This one started off a bit bland. I think the lighting was too flat and contemporary at first, which undercut the pretense of a 1920s film. Its eventual change to expressionist lighting made the film much better.

I think it's cool that a "historical society" for HP Lovecraft is making films. I'd never seen a Cthulhu adaptation before, but it looks like this is the only one that's been made!

>>6930

>>6989

Just when you thought it was rightfully over, Michael Fassbinder is set to star in a "feature length version" of Kung Fury

http://variety.com/2018/film/news/michael-fassbender-action-comedy-kung-fury-1202695496/

>>11676

>>11688

>The purpose: not to tell a story but to involve the viewer "in the moments of a person".

Οh it involved me but not in the intended way. I got angry that the stupid roastie is chain smoking while gestating. How can someone be so egotistic and careless is beyond me.

>consider them more closely and to "think with her"

Think what? "I'm a stupid roastie who dun goofed" is literally all there is to it.

Just recently watched Like Me. Very disappointed. Not much here for me, some interesting visuals but the trailer is better.

2nd year of uni kicked off so I went on a bit of a beginners patrician-mission and watched a whole bunch of 'must see' classics

>Soalris:

Amazing, opening, boring 1st act as a whole though because of all the exposition, but absolutely amazing 2nd half that blew my socks off. Not as good as 2001 though.

>Ivan's Childhood: Wasn't as taken back by this one, I thought Tarkovsky created dream sequences better than Fellini though.

>Nanook of the North: This was fun look into the life of an Inuit family but clearly Flaherty wasn't very good at structuring a story together. From what I understand he was filming a documentary on the Inuk people but then dropped a ciggy on his film burning all of it. So he went back and refocused the story on one Inuk family. It get's bogged down in inter titles and focusing on the slow death of the animals that were hunted (Obviously that's how it is out there but watching a walrus get harpooned for 15 minutes is pretty painful watching).

>Tampopo:

Easily one of my favourite movies of all time. Charming, funny, beautiful vignettes. 9/10.

>Apocalypse now:

I went into this thinking, yeah it'll probably be as great if not better than everyone says and then I watched it and I was left speechless. This is my favourite film of all time hands down. Didn't think it would that fucking cooked.

I'm glad /film/ is still around

>>11835

>2nd year of uni

Do you mind me asking what school you go to? Are you majoring in film? I want to major in film very much but mental illness is fucking my life up.

>>10394

> The whole discussion of The Magic Flute was devastating - "The loveliest, and perhaps the most disturbing music that has ever been written."

Don't forget Bergman made a film version of The Magic Flute too

I saw this a month ago and I liked the ending rather than the whole thing which is a cruddy thing to do. The two plotlines weren't captivating but I understood that the focus of the movie was on character progression but we were just dropped into the middle of their lives without any "slope" and for that I felt the ending was just a new beginning and the real movie's start of where they go together afterwards but that won't happen as with the bitch's monologue riding on the bike which is a good example on how movies are more than movies and that its an art like photography or painting whether the still is in the context of the film (I didn't actualize/acknowledge this yet I'm not a movie person), this sounds basic but I don't get the buzz of films like this unless films of this tier are just plain artsy. Wong's life as a hitman and his escapades in it aren't fleshed out and Ho's story was decent enough compared to Wong. What was the poetry of the characters longing for a lover get together at the end while their counterparts die in one way or another, what was the poetry of the last puff of smoke, it's probably a basic linear digit of an answer.

>>12138

Funny, i liked the whole thing except the ending, which i found very crude and conceptually redundant after the highly stylish exploits from before (and even more so when i rewatched it after seeing Chungking)

But part of this enjoyment was because i somehow confused characters, i thought the fixer girl was also the schizo girl, until i saw the ramen & cigar scene close up in my small kitchen TV, and in the middle of this realization the movie ends with that silly song (in the context at least)

The focus/concept of the film and almost every K.W. Wong movie is like you said, longing for nostalgic, unfulfilled love, either of what has been or what could have been. I feel the background of the characters is just a stylistic choice from the director, either to communicate "even bad guys cry" or because he wanted an excuse to film some chinaman going akimbo on a bunch of indies, because at the end of the day, IIRC, every single character was suffering from that feel almost in the same way.

I don't think the appeal was "just plain artsy", it's just like any other movie, except it doesn't focus on a narrative or a specific display of power, it just wants to layout a simple concept, sometimes in a very reiterative manner, but also displaying many different examples (and distinctive visuals)

And the ending, i feel, was simply a very short ride, a comfortable moment from characters knowing deep inside that it would be just that instant, being represented by a good puff of smoke in the sunrise.

Looking back, i don't know how i confused schizochan with fixertan

Ming Green is an experimental short consisting of strobing and superimposed static shots of the inside of an apartment. I was not impressed. The technique has potential, but the images are bland and repetitive.

The Friends of Eddie Coyle (1973) - I love the gritty vibe of this crime film, it's rough and "real". The crooks are not the slick hotshots you find in other such films. They're down-and-out, barely scraping by, breaking the law not for glory or greed but to try to survive.

THE WAY I SPENT THE END OF THE WORLD (2006)

Selected at random from my voluminous collection of mkvs, this Romanian coming-of-age film takes place during the end of the country's socialist dictatorship. The story is about a family grappling with the question of whether to conform to society or rebel against it, further illustrated by the young daughter's romantic involvement alternating between the son of a policeman and the son of a revolutionary. The girl dreams of escape to see the world, but that would entail a hard lonely journey and a swim across the Danube River.

While the film's setting is interesting and unfamiliar to me, the story is told in a pretty conventional manner. It's essentially a well-made, well-acted drama -- but that alone is not enough for me to recommend it here.

I've been making bite-sized reviews of films I've watched, usually the threads die pretty fast though. I haven't tried posting here yet so I'm curious how it'll go.

_

Dreyer's depiction of Joan's trial and the emotions she went through were exhausting. Similar to German's Hard to Be God, I unconsciously kept putting myself in her shoes, a thing I rarely do, so good was Falconetti's portrayal. Though she was standout, I should mention that the work others put in their characters was superb as well, the raving deacon foaming from his mouth and spitting on Joan's face is a testament of this. Though the camera tends to prefer breaking personal barriers, its lingering shots of people around the key scenes sets the atmosphere perfectly. As Joan is ready to be burned at the stake, we see jesters and other entertainers have come to see the spectacle and profit from Joan's suffering, something very macabre yet fitting for its time. Haven't seen a film in a while that has raised such strong emotions as this, I admit I got teary eyed. During the climax as she was being tied to the pole, I kept thinking could I choose her path. The gift of life at the cost of denouncing your faith is tempting, as seen when she writes the abjuration, but her going back on the decision after she has been guaranteed safe life makes it even more powerful than if she had made the decision during writing. One of the very few films I've given a 10/10, what did you think of it?

Let’s get a cyclical analysis thread going. Talk about your most recent movie you have watched, and a short analysis on it. If it was good or bad, overhyped, aesthetically shot, plot quality, etc. I’ll sage and start in first post.

The Machinist. Mediocre. Kept thinking about NightCrawler when I was watching it. Ok twist. Made me want to go to bed, more than me feeling like the MC was losing his mind. Needed more reality altering hallucinations. Intellectually average, but better than mainstream shit.

since the board is a little sleepy

Nocturnal Animals. Visually nice. Very, very uncomfortable movie. It made me feel like I want to reach out and push the characters in the right way. Felt like no country for old men. The detective character made that movie. A little too dark for me. and I HATE AMY ADAMS.

Imaginäre Architektur - Der Baumeister Hans Scharoun

directed by Hartmut Bitomsky

I instantly loved the phrase "imaginary architecture" as it implies unbound creativity applied to structural design. German architect Hans Scharoun's imaginary architecture can be seen in the thousands of conceptual illustrations he made during WWII, a period when there was little work for him. He envisioned fantastical structures, enormous in size and unfeasible to construct. These structures resembled something you'd see in animated science fiction. Later in life he used these conceptual designs as a source of inspiration for his real-world projects.

Throughout his life, Scharoun designed many distinctive buildings -- private residences, apartment complexes, a school, a library, and ultimately the Berlin Philharmonic Concert Hall. Each of his designs was unique and inventive. My impression is that Scharoun was primarily concerned with how a building would be used by its inhabitants. He developed floorplans with specific and sometimes unconventional intentions. He preferred large open spaces where people would necessarily mingle, such as the Berlin Philharmonic foyer or the single long walkway in his apartment complex. He contrasted the open public space with areas for individuals and small groups to withdraw, for example Scharoun's classrooms were hexagonal and arranged like a honeycomb. Scharoun also devised a complex logistical system for his library, where books move from the stacks to the patrons by traversing a complicated network of conveyor belts.

I like to learn about these ideas for organization of people and things; it seems like architects always want to try something novel in that regard. For the most part Scharoun's ideas seemed to be successful in practice, but I was curious if any of his ideas did not work so well for the public. The documentary was only an hour long, and it did not really say.

I also wonder how many of Scharoun's unconventional ideas were imitated by others. I see these kinds of documentaries about architects with radical design ideas, yet few of their radical ideas seem to go mainstream. Why is that?

>>13540

>Pom Poko

I went into this with really low expectations. The premise sounds like a bad environmentalist movie and as good as Only Yesterday was, I didn't think Isao Takhata could salvage a comedy about shapeshifting raccoon dogs with large testicles.

What followed really wasn't what I expected. It builds on themes from Only Yesterday and examines the various ways people respond to globalism and loss of cultural identity, including terrorism and the blackpill. I got the impression the director was upset Only Yesterday didn't affect normalfags as much as he hoped and this was his second, less subtle attempt at getting his message across.

This is a difficult film to write about without sounding hyperbolic or miserable. It affected me way more than it should have. I also can't tell whether it lacked subtlety or whether browsing pre-2016 /pol/ made its themes more obvious: I looked up a bunch of reviews while writing this and only one reviewer caught on.

Most of /film/ won't watch this and I understand why. However, if you appreciated Only Yesterday or hung around 8/pol/ in its glory days, you may appreciate this too.

Don't Deliver Us from Evil ('71)

Satanic lesbian schoolgirls unleash petty cruelties upon a French village. A premise like that screams cheap exploitation, but this movie was more refined than I expected. The acting was decent and the nudity was minimal. The main problem was the questionable motivation for the girls' evil streak. Near the end, one girl mentions their parents don't love them, but you wouldn't otherwise draw that conclusion. Their parents could be criticized for being distant, taking vacations and sending the girls to boarding school, but do teenagers really want to hang around their parents all the time?

Interestingly this story was based on the same events that inspired Peter Jackson's Heavenly Creatures, probably a better film. However, Don't Deliver Us from Evil has the distinction of being listed in Film As a Subversive Art -- in large part because it was banned in France for "catering to perversion and fomenting moral and mental destruction". The ban is a little surprising, but I suppose the blasphemous view of Catholicism coupled with an unapologetically malevolent tone was too much for French authorities.

Joël Séria later directed the oddly fetishistic Marie Poupee, a story of girl living as a lifesize doll for her husband who seems to be gay.

>>13676

It's funny to watch that movie. First there's Keanu's bad southern accent, one of many bad accents he's done in movies. But the highlight is of course Pacino's crazy speech that probably lasts for 45 minutes. He is waaay over the top the whole time, totally in the Pacino zone. IMMA FAAAAAANN OF MAAAAANN!! I watched that movie when I was a teenager. At the time my friends and I agreed that Al Pacino's histrionics meant he was a superb actor.

It's a big difference from the timid, squeaky-voiced young Pacino in Dog Day Afternoon.

>>14056

he probably came from >>>/tv/1828193