No.2012 [View All]
Is /bestemma/ ever coming back?
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No.3427
>>3414
Just got done watching RELIC. Was not expecting this based on the trailer thumbnail. This is easily one of the best, if not the best, film of 2020. Absolutely amazing on every level. I’ll try to gather my thoughts and write down some thoughts on it later. Never seen horror film like this before; it isn’t pretentious at all, but it is horror for grown-ups.
Makes me want to check out The Babadook too.
Thanks for bringing this one to my attention.
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No.3428
>>3427
>This is easily one of the best, if not the best, film of 2020.
It definitely left an impression on me.
>it isn’t pretentious at all, but it is horror for grown-ups.
I thought you might find it a bit pretentious. Glad to see that's not the case. Everything about it just building to the final scene brought me to tears as the credits rolled. Also found Mortimer's accent surprisingly convincing.
>Makes me want to check out The Babadook too.
I need to watch this one again too. I recall it being pretty good with atmosphere and tension building.
>Thanks for bringing this one to my attention.
Most welcome.
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No.3429
>>3428
>Also found Mortimer's accent surprisingly convincing.
Saw on Wikipedia she is English/American, but when I heard her speak I assumed she’d lived Down Under.
>I thought you might find it a bit pretentious. Glad to see that's not the case.
The whole film had a very natural and authentic vibe to it. It didn’t go for the cheap jumpscares, the characters were all likeable and acted naturally. It was really refreshing to see a mature horror film like this. Think they found a very nice balance between the emotional drama and the horror in this one.
The house represents Edna’s mind; the black mould starting to appear, and the tagline (“everything decays”) shows how her mind is deteriorating due to the illness.
The whole sequence where Sam enters the attic room and finds herself trapped in a maze is so damn good. I have dreams/nightmares with that exact same kind of “nightmare architecture”; hallways that change dimensions and become very low and narrow so you have to squeeze and crawl through them, often cluttered with boxes and shelves and whatnot, getting in the way.
The way the maze changed angle was a really nice touch; really added to that nightmare feel. That whole third act was legit tense and spoopy.
Sam & Kay being lost in this maze of hallways with no exit must represent Edna’s memories of them being lost and inaccessible to her – they are still there somewhere, in her mind somewhere, but the doors opening to those memories are gone. Parts of the house is deteriorating, decaying; water damage and that black mould is taking over, wallpaper is coming off…
Assume that the shadowy figure we catch glimpses of, and who is making that noise inside the walls, is Edna’s dead husband who is haunting her memories, and slowly being reduced to a shadowy figure as her memories of him slowly decay.
The black mould stains reminded me a lot of 回路/Pulse (2001); when the characters become ghosts they leave behind a black stain – the only trace left of them is a fading black stain.
>Everything about it just building to the final scene brought me to tears as the credits rolled.
Loved that overhead shot of the three of them on the bed, showing the three generations.
Another scene that really stood out to me was Edna is confronted by Kay with the photo album; “I just wanna go home”, home being the past, where her loved ones are still happy and alive. She is trying to protect the memories by keeping them safe outside (her deteriorating mind, i.e. the house)
It looked like that scene could be in front of where the old cabin was located?
That was really powerful stuff, really sad. Some of the post-it notes she had left behind were quite the gut punch too – two of them really stood out: “My mother has green eyes” & “Am I loved[?]”
Two other scenes that stood out: when Edna accuses Sam of stealing her ring, and the scene where Sam is relaxing in the bathtub and hears someone sneaking around outside the bathroom door. Not only was that really creepy, but you feel extra exposed and vulnerable in that state of undress.
The only thing I didn’t quite like about the ending was that Kay closed and locked the door on Sam before she took Edna upstairs. That just felt too much like a film thing to do. It’d be better if Sam stood outside, pleading, begging for her mom to come with her and get out of the house, but Kay just shook her head and went back inside, leaving the door open. Or she could close the door, but not lock it.
When I saw the thumbnail for the trailer I half expected something with a lot of jumpscares.
I get why they promote it like that, but it could cause some teenagers or gore-enthusiasts leaving disappointed because the film turns out to be something different from typical horror fare.
Any idea what was up with all those candles?
And that black stain on Kay’s shoulder is an indicator that she to will fall victim to dementia, like Edna, and her (Kay) great-grandfather who lived alone in the old cottage?
Came across something writer/director Natalie Erika James said about the story behind the film:
<Several years ago I took a trip back to Japan to see my grandmother, who suffers from Alzheimer’s. It was a trip I’d kept delaying for one reason or another, and when I finally got around to seeing her, it turned out I’d left it too late – she didn’t recognize who I was. The guilt was hard to swallow. At a certain level, it felt worse than death – to see your loved one progressively lose parts of themselves, and slowly become a stranger.
<The rural town where my grandmother lives is where I’d spent many of my summer holidays, attending the local primary school with my cousins. During that trip I observed how much the town had declined – all the younger generations choosing to relocate to the bigger cities, leaving an aging community behind. There were horror stories about elderly people being found dead in their homes well after the fact – neglected and forgotten, their children in distant towns, their bodies starting to deteriorate. I could think of nothing more heartbreaking.
https://silverscreenanalysis.com/relic-2020-review/
Over at moviechat.org I saw one moron bash the film for how it portrayed people with dementia, and another tard claiming Bella ruined the film. Some people…
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No.3436
>>3429
>It was really refreshing to see a mature horror film like this. Think they found a very nice balance between the emotional drama and the horror in this one.
Agreed.
>The house represents Edna’s mind; the black mould starting to appear, and the tagline (“everything decays”) shows how her mind is deteriorating due to the illness.
You know I hadn't even considered this while watching it but it makes sense. I had read it as;
the mold is the illness, both the illness and the way ill people are treated are the monster. I read the maze scenes as Kay and Sam's experience of living and caring for someone with dementia. Never knowing 'which way is up' so to speak.
>Assume that the shadowy figure we catch glimpses of, and who is making that noise inside the walls, is Edna’s dead husband who is haunting her memories, and slowly being reduced to a shadowy figure as her memories of him slowly decay.
Yes, I think I thought the same thing while watching. Need to find a copy to watch it again more closely (originally watched a tv streaming service).
>回路/Pulse (2001); when the characters become ghosts they leave behind a black stain – the only trace left of them is a fading black stain.
Still need to watch this one. I don't recall that being in the American version.
>She is trying to protect the memories by keeping them safe outside (her deteriorating mind, i.e. the house)
Makes sense with the house representing her mind.
>Two other scenes that stood out: when Edna accuses Sam of stealing her ring, and the scene where Sam is relaxing in the bathtub and hears someone sneaking around outside the bathroom door. Not only was that really creepy, but you feel extra exposed and vulnerable in that state of undress.
Yes! You really feel for Sam as she struggles to come to grips with what is happening to Edna.
>Or she could close the door, but not lock it.
Perhaps locking the door was symbolic of Kay's desire to protect Sam. The fact that Sam still comes in emphasises that this monster is beyond her control.
>I get why they promote it like that, but it could cause some teenagers or gore-enthusiasts leaving disappointed because the film turns out to be something different from typical horror fare.
Many seething IMDB reviews that's for sure. Studios need to but out of promotion I swear. Trailers mostly suck for this reason. It's probably also why the film hit me out left field. I had no idea what it was about, expecting a jump scare typical horror, only to end up crying with a brick in my stomach.
>Any idea what was up with all those candles?
At this point I don't remember them.
>And that black stain on Kay’s shoulder is an indicator that she to will fall victim to dementia, like Edna, and her (Kay) great-grandfather who lived alone in the old cottage?
Yes that was how I read it. That whole scene of Edna being reduced to something other than she was, a remnant, a shadow, broke my heart. And then Sam seeing the mark on Kay's back as they lay there showing love and care for what remained just kicked me in the gut. Life is so unfair.
<At a certain level, it felt worse than death – to see your loved one progressively lose parts of themselves, and slowly become a stranger.
One could even call it, horrific.
James certainly encapsulated that in the film. The horror, the neglect, the guilt, the loss of self and recognition. Brava.
>Over at moviechat.org I saw one moron bash the film for how it portrayed people with dementia,
Smoothbrain.
>and another tard claiming Bella ruined the film.
As if Bella could ruin any film she is in.
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No.3441
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No.3449
>>3436
>I read the maze scenes as Kay and Sam's experience of living and caring for someone with dementia. Never knowing 'which way is up' so to speak.
Nice one. I agree with that interpretation. The nightmarish layout of the maze mirrors the changes Edna goes through; caring and fully there, like when she gifts Sam the ring, and then passive-aggressive and different, like when she talks about Jamie, their next-door neighbour, and reacts to Sam’s offer to move in with her.
>Yes, I think I thought the same thing while watching.
Actually, thinking about it now, the shadowy figure could also be a general manifestation of the disease. Or her memories of her husband (and other relatives) are so hazy and unclear that they appear frightening to her.
>Need to find a copy to watch it again more closely (originally watched a tv streaming service).
I would recommend this one: Relic (2020) (1080p BluRay x265 HEVC 10bit AAC 5.1 Tigole)
All the special features are also included; behind the scenes featurette, (German) trailer, and interviews with Bella Heathcote, Emily Mortimer, Robyn Nevin, writer/director Natalie Erika James, cinematographer Charlie Sarroff, and production designer Steven Jones-Evans.
Haven’t even gotten around to watching these yet.
>Still need to watch this one. I don't recall that being in the American version.
They went overboard with the black stains in the American one. Remember Kristen Belle’s character’s friend getting sucked into the black stain on the wall. And they didn’t come close in matching that one ghost scene in the Japanese one – genuinely eerie that one, and beautifully done too.
>The fact that Sam still comes in emphasises that this monster is beyond her control.
Assumed she got in using the cat door again.
>Studios need to but out of promotion I swear.
As long as they get people to watch it, they get paid, and they are willing to go to extreme lengths to get people interest. Deceptive editing of trailers, and even scenes shot only for the trailer are not unheard of.
>At this point I don't remember them.
The grandmother had these homemade candles all over the house, and several times we see her carving them, doing these ornate decorations on them with a knife or tool.
>And then Sam seeing the mark on Kay's back as they lay there showing love and care for what remained just kicked me in the gut. Life is so unfair.
It was interesting to note the different reactions and responses to what happens as well, because of the different relationships between them. Kay has a stronger bond to Edna, due to the mother/daughter relationship, and Sam is more cautious and wary; it is when she sees the stain on Kay’s shoulder that she has that same powerful reaction.
There is a small sub-genre of creepy old people in horror films; The Taking of Deborah Logan and M. Night Shyamalan’s The Visit come to mind. Quite liked The Visit, quite eerie and disturbing. Not sure if it had be a found footage film though…
And this is the only one with some heart to it. I genuinely felt bad when Kay hit Edna with the steel pipe – I still felt like that was Edna and not a monster, and the sound was just awful to listen to.
>>3441
Uh-oh… Maybe related to his sister coming out as trans?
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No.3450
>>3449
>Maybe related to his sister coming out as trans?
The fuck? Quick rundown? I don't keep up with what he's up to much.
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No.3451
>>3450
He doesn’t modpost here, but he did in another thread it was brought up at /tv/.
<My sister who hasn't spoken to any of our family in nearly 3 years just decided to make her first message back to us that she's coming out as non-binary and is getting hormone treatment for it. She's ignored and talked shit about us for years, so I'm assuming this is her attempt at a "get out of jail free card" for treating us like horse shit this whole time. This shit is mental poisoning that corrupts a person's ego and morals and is just a shallow attempt to justify their own shitty behavior and choices into an identity that everyone else is at fault for not recognizing. These LGBTQ+ groups are parasites and will corrupt and indoctrinate anyone they think they can. I am tired of letting these fucks run roughshot on colleges and creative workplaces, fuck every LGBT group in the country and fuck every retard who supports them.
https://tvch.moe/dunk/res/22436.html
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No.3452
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No.3466
I just had the weirdest dream. Me and a lady friend (who may or may not have been Hulme, that part of my memory is fuzzy but she seems like the most probable candidate) were sitting in the snow outside some friend's posh house, about 10m from the street, watching the traffic in some boulevard intersection half a block away as we waited for my friend to arrive. At one point, a pickup truck goes past the house and its occupants recognize us and wave at us. It was the president of the country I'm currently at (where it doesn't snow in Christmas because it's summer) driving and Emma R*berts as his passenger. Then we wave back, they do the OK sign, we do it too and we all let out a knowing laugh. We all (us two and them) act like we've been each other's friends for a long time.
I'm left wondering what the fuck my brain meant by all that. It doesn't snow here in Christmas, maybe it meant it's all fake. If that was really Hulme in it, it could mean a dream inside a dream. Was it an implicit Owlman dream about being friends with people who will be a letdown (or a "morbid marionette")? Was it a desperate, elaborate way of wishing them to be "secretly based"? Then there's all the implications about fuzzy memories and Hulme.
Also the cinematography (yeah, I'm being enough of a pretentious faggot to say my dreams have a certain cinematography) was MDE tier. PoVs shots and extreme mirror close-ups with extended laughing scenes (that seemed genuine unlike the party at Nick's where he trips Sam's wife).
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No.3469
>>3466
>We all (us two and them) act like we've been each other's friends for a long time.
Dreams are so weird like that.
>It doesn't snow here in Christmas, maybe it meant it's all fake.
That reminds me of the different realities (?) in Housewife. Wasn't the difference indicated when there was snow or not outside?
Was it Christmas time in your dream?
>If that was really Hulme in it, it could mean a dream inside a dream.
Or just because you have been watching the movies recently and she got put in there?
>Was it a desperate, elaborate way of wishing them to be "secretly based"?
Potentially. Or maybe your intuition believes them to be? Or maybe that we must stick together despite differences? I once had a dream of being friends with Hillary Clinton. Woke up confused and angry with myself kek.
>yeah, I'm being enough of a pretentious faggot to say my dreams have a certain cinematography
Completely understand, I get some that are utterly cinematic.
>that seemed genuine unlike the party at Nick's where he trips Sam's wife
Top kek.
Sounds like a cool dream anon. Did anything happen afterward?
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No.3472
>>3452
New Year vid by Gahoole is up: https://www.youtube.com/watch?v=xoo4wQSyZok
A clever shitposter at tvch made the following (spot on) comment/description:
<ASMR | Menacing Incel Torments You About Current Affairs ~ Rage Sounds, Unhinged Laughing (Plunged In Darkness)
>>3466
>it doesn't snow in Christmas because it's summer
Now that is eerie! And unnatural. No snow and Christmas during summer!
>Was it a desperate, elaborate way of wishing them to be "secretly based"?
Yes, sorta. This is a bad omen IMHO. How bad depends on how much of a tinfoil hat wearer you are.
Before I watched Las brujas de Zugarramurdi Macarena showed up in my dreams to nights in a row; very wholesome and æsthetically pleasant dreams involving a ballet performance (maybe Tchaikovsky’s The Nutcracker) in an absolutely gorgeous location, not unlike the Garnier Palace of the Opéra de Paris, and there was a beautiful winter wonderland outside in my dream too! Took that as a good sign and that is was why I decided to finally watch that film.
Are we watching 30 Monedas/30 Coins? Might be a nice way to kick-start the new year and get on a good course from the start.
https://macarenagomez.es/en/news/filming-of-the-series-30-coins-by-alex-de-la-iglesia/
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No.3474
>>3472
>Now that is eerie! And unnatural. No snow and Christmas during summer!
Laughs nervously in Australian
>and there was a beautiful winter wonderland outside in my dream too!
You know I don't think I've ever had a dream with snow in it.
>Are we watching 30 Monedas/30 Coins?
Will find a copy when back in the city. Still have yet to watch Las brujas de Zugarramurdi . So behind on everything.
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No.3475
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>>3472
<ASMR | Menacing Incel Torments You About Current Affairs ~ Rage Sounds, Unhinged Laughing (Plunged In Darkness)
Perfect. Poor Gahoole, I hope he makes it through the year. Maybe if he stopped hating women he would get laid.
And another vid!
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No.3478
>>3474
>Laughs nervously in Australian
And let us not forget that water drains clockwise Down there as well…
ʜɪᴄ ꜱᴠɴᴛ ᴅʀᴀᴄᴏɴᴇꜱ
>You know I don't think I've ever had a dream with snow in it.
Snow dreams are special. Not that often I have them, sadly. Had an interesting discussion about dreams with Refn via email a while back – remember reading that we can only dream about faces we have seen before, so maybe you’ve gotta see/experience snow IRL before you can dream about it?
>>3475
Now I am getting slightly concerned for the Big Guy… one moment he is depressed (as per usual), then he is back to his antics again, probably putting on a façade.
>Maybe if he stopped hating women he would get laid.
I want to believe, but it sounds like he is in a viscous cycle he can’t get out of.
Hope we can encourage him to try and get /fit/ in 2021. That could help with the depression, and maybe lead to him finding a GF down the road.
Got two new films on my backlog already, both by writer/director Fabien Delage.
Could have sworn there was a HD rip of La rage du Démon/Fury of the Demon (2016) out there, but now I can’t find it – if it even existed. The premise sounds really interesting, and I enjoy a good horror mockumentary, so I won’t give up this easily!
Fury of the Demon - Official Extended International Trailer HD: https://invidious.snopyta.org/watch?v=yOI5AUdLBSE
Cold Ground (2017) is a found footage horror film set in 1976 and shot (at least partially) on Super 8. Wonder if that one brief shot in the trailer (depicted on the alt/art poster) is a homage to, or was inspired by Lucio Fulci…
COLD GROUND (2018) Official Trailer HD Horror Movie: https://www.youtube.com/watch?v=gjQRmTidN_U
Documentary Filmmakers and Scientists Uncover Freezing Frights in Cold Ground (2017) - Diabolique Magazine: https://archive.vn/vYJPc / https://web.archive.org/web/20210101142336/https://diaboliquemagazine.com/documentary-filmmakers-scientists-uncover-freezing-frights-cold-ground-2017/
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No.3480
>>3469
>That reminds me of the different realities (?) in Housewife. Wasn't the difference indicated when there was snow or not outside?
Can't really say I remember that part but you could be right.
>Was it Christmas time in your dream?
Yes it was.
>Or just because you have been watching the movies recently and she got put in there?
It's the most natural explanation, although it's been over a month. I like to attach significance to it but you're probably right lol.
>I once had a dream of being friends with Hillary Clinton. Woke up confused and angry with myself kek.
kek, I haven't had that displeasure yet.
>Completely understand, I get some that are utterly cinematic.
I appreciate the understanding kek
>Sounds like a cool dream anon. Did anything happen afterward?
I woke up, if I recall correctly kek. Also I didn't say it in the post but by "extreme mirror close ups" I meant the rear view mirror inside the truck.
>>3472
>Yes, sorta. This is a bad omen IMHO. How bad depends on how much of a tinfoil hat wearer you are.
kek, no ravens at least. That would have been one unkind dream.
>Before I watched Las brujas de Zugarramurdi Macarena showed up in my dreams to nights in a row; very wholesome and æsthetically pleasant dreams involving a ballet performance (maybe Tchaikovsky’s The Nutcracker) in an absolutely gorgeous location, not unlike the Garnier Palace of the Opéra de Paris, and there was a beautiful winter wonderland outside in my dream too! Took that as a good sign and that is was why I decided to finally watch that film.
Very cool! Also very odd, we saw it before The Black Gloves didn't we? Maybe you saw some trailer or something. Glad to hear you're getting visits from our muse in the oneiric realm.
>Are we watching 30 Monedas/30 Coins? Might be a nice way to kick-start the new year and get on a good course from the start.
Count me in, I just don't know when I can start watching it but I will surely give it a watch.
>>3474
>Laughs nervously in Australian
lel
>So behind on everything.
I haven't got around to even watching Bliss lol. Haven't seen a single film in weeks. Hard to find the time where I am right now, but hopefully I'll get the chance soon.
>>3478
>remember reading that we can only dream about faces we have seen before, so maybe you’ve gotta see/experience snow IRL before you can dream about it?
I very much doubt the IRL part is necessary. Also I think I've had dreams about people I don't remember seeing before (the old giant menacing man for example).
>Now I am getting slightly concerned for the Big Guy… one moment he is depressed (as per usual), then he is back to his antics again, probably putting on a façade.
It's been a rough year for him. With covid and the sister thing it's probably been some of the worst in a long time.
>he is in a viscous cycle he can’t get out of.
You probably wanted to say vicious but the implications of "viscous" and "can't get out of" are hilarious, it still works. Like being in a pond of thick oil.
Also did you get a new email address yet? A reliable one?
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No.3496
>>3480
>Very cool! Also very odd, we saw it before The Black Gloves didn't we? Maybe you saw some trailer or something. Glad to hear you're getting visits from our muse in the oneiric realm.
Yeah, easily one of the most pleasant and enjoyable dreams from recent memory.
I’m at this ballet performance with some friends, though I can’t remember who was there with me now; we’re standing around admiring something in a large, beautiful room, and I made a comment or correction, and when I look up or turn around I see Macarena there and our gaze met; I assume she must have heard what I said, because she smiled at me – not just her lips, but her entire face lit up with this amazing and beautiful smile, especially her eyes. I remember that amazing smile quite vividly. Imagine what it must feel like to have that smile directed at you IRL, and the knowledge that you are the cause of that smile… wew! Reminds me of the dialogue in The Neon Demon:
<Sarah: What’s it feel like?
<Jesse: What do you mean?
<Sarah: To walk into a room, and it’s like in the middle of winter. You’re the sun.
<Jesse: It’s everything.
When she smiled at me in the dream it felt like she was my sun on a cold winter day. Which is fitting since it was a winter setting and afterward we (sans Macarena) left in a sleigh or carriage; it was like something from a fairytale almost.
Saw your posts in the toonme thread over at tvch, and the Evil Presley song; that reminded me of her eyes in the dream too. Blue really is the warmest colour.
>Count me in, I just don't know when I can start watching it but I will surely give it a watch.
Swell. Let me know when you guys get the first episode. I could sure go for some Macakino right about now.
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No.3500
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The trailer for the new Lovecraftian/folk horror film Sacrifice with Barbara Crampton is out! Glad to see they updated the poster to get her name right.
Barbara Crampton Calls to Cthulhu in New Lovecraftian Horror Movie 'Sacrifice' [Trailer] - Bloody Disgusting: https://archive.vn/vW0RD / http://web.archive.org/web/20210112035607/https://bloody-disgusting.com/movie/3647838/barbara-crampton-calls-cthulhu-new-lovecraftian-horror-movie-sacrifice-trailer/
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No.3504
>>3478
>maybe you’ve gotta see/experience snow IRL before you can dream about it?
Have experienced snow a few times, but only briefly. Actually, now that I think about it, I don't think temperatures really ever feature in my dreams. Storms and winds, yes, but not heat or cold or that kind of thing.
>Hope we can encourage him to try and get /fit/ in 2021. That could help with the depression, and maybe lead to him finding a GF down the road.
Yes this would be helpful I reckon. But how do we help encourage him?
>>3480
>Also I didn't say it in the post but by "extreme mirror close ups" I meant the rear view mirror inside the truck.
Those cinematic ones are the best. Where you see things from different perspectives and different speeds etc. Usually they're the fun ones.
>>3496
>When she smiled at me in the dream it felt like she was my sun on a cold winter day.
That is awesome.
>I could sure go for some Macakino right about now.
>Macakino
Kek.
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No.3505
>>3500
>The trailer for the new Lovecraftian/folk horror film Sacrifice with Barbara Crampton is out!
Wew lad it looks great! Excited to see this one.
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No.3508
>>3505
Yeah, got a good feeling about this one. Barbara’s character refers to this local legendary entity as “inn sofandi”, which is Old Norse for “the sleeper”, and in an interview (see >>3303) she said she worked with a language coach to get the accent right.
Just little details like that really adds to the believability, and it shows how dedicated Barbara is to the role. Not sure if many actors/actresses on this sort of film would even bother to get the local dialect right when they are speaking their English lines. And they shot on location, which is really nice. All too often companies shoot elsewhere, and that is really distracting and noticeable as a native – Ireland and Eastern Europe is nice, but it doesn’t look like home.
How long till we hit the bump limit on these threads? Maybe we should start new ones for the new year? Some of these are getting out of hand.
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No.3515
>>3508
>And they shot on location, which is really nice.
It really makes a difference.
>How long till we hit the bump limit on these threads? Maybe we should start new ones for the new year? Some of these are getting out of hand.
I set the bump limit way back when as 500. But it can be set as low as 250 and as high as 750. What do you think?
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No.3517
>>3515
Noticed a lot of the pics aren’t loading properly as of late, but that could be because the site has issues in general, and not because the threads take too long to load. If the site works and everything loads as usual we could keep going with the old threads for a good while longer.
Noticed two boards that I thought wouldn’t be brought back again after 8chan went down are up. Hardly any pics load on them, and whenever I try making a post I get this “invalid board” error, so I am not sure what is going on there.
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No.3518
>>3517
I noticed the pic thing as well, but only for posts prior to the migration to 8kun. Assumed it had something to do with getting lost in the process. Have you noticed it happening on more recent posts?
>Noticed two boards that I thought wouldn’t be brought back again after 8chan went down are up. Hardly any pics load on them, and whenever I try making a post I get this “invalid board” error, so I am not sure what is going on there.
Potentially still importing data/getting set up?
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No.3519
>>3518
>Have you noticed it happening on more recent posts?
Yeah, often it takes a few times hitting reload before everything on the main page loads, and clicking on files in the threads doesn’t always work either.
For some reason I can’t even phonepost on this site any longer, and I can’t remember the last time this board loaded properly on my phone.
>Potentially still importing data/getting set up?
Maybe/hopefully. But it might just be a glitch or incompetence. One of the boards never had much activity at all, and I doubt anyone ever requested it being brought back to 8kun.
With Ron gone as admin, where do I even look for updates? @infinitechan hasn’t been updated since 2019
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No.3520
>>3519
Testing from phone.
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No.3521
>>3519
>Yeah, often it takes a few times hitting reload before everything on the main page loads, and clicking on files in the threads doesn’t always work either.
Damn, it's been working for me mostly that I can think of.
>and I can’t remember the last time this board loaded properly on my phone.
Phone posting also still works for me >>3520
>With Ron gone as admin, where do I even look for updates? @infinitechan hasn’t been updated since 2019
I can't find anywhere. Been trying to access Gab for days and it just keeps timing out or barely loading. Haven't been able to even see what Ron has said on there. We really need /sudo/ back. I was surprised that wasn't the first one brought back tbh.
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No.3523
I had a chance to watch some stuff these last days and decided to delve into Sergio Martino's body of work, I had a lot of his films in my backlog. I went by chronological order.
Two days ago I saw Martino's first giallo, Lo strano vizio della Signora Wardh (1971). I was disappointed during most of it, it underestimates the viewer. It has some classic moments and is smart at parts, but it strains the suspension of disbelief. Most of it feels like a poor justification to have kinky scenes. It did pioneer the phrase "Il tuo vizio è una stanza chiusa e solo io ne ho la chiave" (your vice is a locked room and only I have the key) that later became the title of Martino's third giallo and that was later attributed to Edgar Allan Poe and used as the tagline for Lucio Fulci's Una lucertola con la pelle di donna from 1971 featuring Anita Strindberg who would later star in Martino's next two gialli.
We get plenty of Edwige Fenech, George Hilton, Alberto de Mendoza (from Fulci's Una sull'altra and Una lucertola con la pelle di donna) and Ivan Rassimov (from Bava's Planet of the Vampires), actors we'd see again in some of Martino's other works.
Yesterday I saw La coda dello scorpione (1971), it was better than the other. Has some thematic similarities to Ruggero Deodato's Affare Concorde (1979) and thematic and cinematic similarities to Mario Bava's Sei donne per l'assassino (1964) and Ecologia del delitto/Reazione a catena (1971) which was Bava's pioneering slasher (much dumber than his proper gialli, by the way). Even the main murder weapon is similar to the one in Bava's film. No Rassimov o Edwige, but Anita Strindberg, Alberto de Mendoza and George Hilton are in it. There's also Luigi Pistilli who was in Ecologia del delitto.
There's some "enlarge and enhance" that would put CSI to shame, but other than that it didn't strain the suspension of disbelief too much.
Il tuo vizio è una stanza chiusa e solo io ne ho la chiave (1972) was the one I watched today. Unexpectedlysapphic, it's a retelling of Edgar Allan Poe's The Black Cat with twists and turns typical of gialli. This one I'd recommend. You'll see paintings play an important role too, similarly to the ones in Emilio Miraglia's La dama rossa uccide sette volte and La notte che Evelyn uscì dalla tomba. This time we get Edwige, Anita, Pistilli and Rassimov but no George Hilton or Alberto de Mendoza. Probably the best Edwige look in a Martino movie besides Tutti i colori del buio.
Now I'm only missing I Corpi Presentano Tracce de Violenza Carnale (1973) and Morte sospetta di una minorenne (1975) and I'll be done with Martino's gialli. His films are interesting even from an scholarly point of view, you can use them to teach both what to do and what to avoid doing. Some of his choices can be quite puzzling sometimes, he has moments of brilliance surrounded by mediocrity or straight up cinematographic failure. You get brightly lit scenes supposed to be in the dark where the darkness is conveyed by the character in them attempting to turn on a lamp, for example. Or scenes filmed with much worse quality in order to do a shot he couldn't figure another way of doing (probably using an Super 8 camera or something like that to take them). Or shots taken with such poor lenses (or lighting) that there's ugly chromatic aberrations, as if a studio couldn't get him a decent lens. It really makes me think what was going in Martino's head when he made them. Was it poor choices on his part or studio interference? In any case, he lacks the flair of Fulci and Bava, who worked around limitations and even included them in smart ways sometimes. Like the intermission in Non si sevizia un Paperino or the rock in Planet of the Vampires. Don't take this criticism as harsher than it is, though. I see Martino as a less refined artist, but not as a talentless hack with no inspiration. He has interesting ideas and sometimes good visuals, but he's hit and miss. He wouldn't be my first recommendation to someone who isn't already into giallo, though.
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No.3524
YouTube embed. Click thumbnail to play.
>>3523
>It has some classic moments and is smart at parts, but it strains the suspension of disbelief.
In the same vein as Four Flies on Grey Velvet?
>Il tuo vizio è una stanza chiusa e solo io ne ho la chiave (1972) was the one I watched today. Unexpectedlysapphic
Well well look what I found on the gialli channel! Looks like this channel is a gem for as long as it sticks around.
>Was it poor choices on his part or studio interference?
Maybe as simple as funding?
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No.3526
And so the cat has the last laugh!
The dynamic between the characters reminded me of The Blood Spattered Bride which coincidentally came out the same year.
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No.3528
Saw a thread over at tvch/tv/ that Julie Strain has died. She was in five of Sidaris’ Bullets, Bombs and Babes films. Turns out I had seen her before those, since she was the model, or muse, of Heavy Metal magazine artists like Simon Bisley & Luis Royo.
<“I am the chick that they call when they want a gun-toting amazon-bitch-Barbarella-merciless-bitch with a machine gun. Vampires, witches, sorceresses, double agents – that’s what I do and I like to headbutt people in fights and kick them and spit on them and bust them in the balls.”
Julie Strain, Heavy Metal Warrior Queen, 1962-2021: https://archive.vn/P7ZQj / http://web.archive.org/web/20210112050338/https://www.heavymetal.com/news/julie-strain-heavy-metal-obituary/
Cult films and the people who make them: interview: Julie Strain: https://archive.vn/ihQ82 / http://web.archive.org/web/20210116005005/http://mjsimpson-films.blogspot.com/2015/03/interview-julie-strain.html
F
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No.3529
>>3524
>In the same vein as Four Flies on Grey Velvet?
The stalking part is similar I guess but not the forensics. La coda dello scorpione however rivals Argento's film. This one suffers a lot from convoluted situations that make too little sense. I don't want to spoil anything but there's some situations that are hard to believe. Too many overly convenient happenings. Some attributable to conspiracy but other parts would require a stupid amount of luck to work.
>Maybe as simple as funding?
I entertained that idea at first but some of it could easily be solved without spending more money, simply by doing alternative shots or handling the lighting differently. A color filter in front of the light like he used in Tutti i colori del buio (which gets its name precisely from that) alone would do wonders. Or simply dimming the light a bit and making sure more light hits the actress than the surroundings. The chromatic aberration could be solved with not directing the light straight into the lens, as the fringing is caused by too much contrast. Then you have things like the scenes in Tutti i colori del buio where you can see the dark floors that are supposed to be a void. That could be solved in a lot of ways: putting a grid, a flag, a snoot, closing the barn doors a bit, using a graded neutral density filter, or failing all that simply shortening the time of the film stock in the developer bath in the lab.
Then there's things like poorly focused scenes where it makes no artistic sense to be out of focus or bad angles for scenes that should be sexy.
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No.3530
>>3524
>>3526
Wow, you were quick to watch it. That dub is like nails against a chalkboard to me lol. Italian only for me when it comes to gialli.
I wondered if it was one of the inspirations for The Black Gloves. Picnics near a cliff.
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No.3531
Here's an example of what I find puzzling. He managed to make Edwige look plain with his choices of lighting, lens and camera placement. It's like a reverse talent, kek.
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No.3533
Just saw I corpi presentano tracce di violenza carnale (1973, better known as Torso). This is a classic in full right. It has some sapphistry too, but of the blacked kind which is disgusting.
That aside, it's much better than all the others. Cinematographically, narratively and in mood.
Tension is always high on this one. The suspension of disbelief isn't tested too much. There's moments when you're not sure if you're seeing aware sadism or obliviousness, but it works in both ways and the guesswork makes it even more effective. I didn't get even close to guessing who the killer was. The story is also pretty engaging.
There were no faux passes (pun intended, you'll get when you see the film) in the cinematography, and sometimes you even notice some showing off with classic giallo shots using ornate objects as obstacles for the camera and mirrors for some trick shots. Camerawork aside, the visuals are really good even from a mise-en-scène point of view too. The foggy forested bog is amazing. There's many classic scenes in this one. I think it may have influenced Argento's Profondo Rosso and Tenebrae. Specially the latter. This one sends chills.
The low point would be the hippie meetup/party in the abandoned building with the dancing girl in the middle, but that's more personal taste than anything. It's a reflection of the era, but one that I find quite lame.
Highly recommended, I'd say this is a must-watch. The best work I've seen from Martino so far.
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No.3536
>>3533
One thing I forgot to mention: despite the general sleaze, the awful interracial scene was surprisingly restrained. At no point do we see lip locking, it's implied but obscured by a bed post. Makes me wonder if it was a request of one of the involved.
Also there's some discussion where some guy has a bad case of jungle fever but another one says he was never into negresses.
Still disgusting nevertheless.
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No.3539
YouTube embed. Click thumbnail to play.
Just finished watching Morte sospetta de una minorenne.
Something funny happened while I watched it, I was thinking "this is like a succession of theme park rides" because it has scenes that are straight comedy in the middle of chases to the point of silliness and other various aspects of it, when an actual amusement park showed up. I had to let out a laugh.
The soundtrack is very good at the parts that have nothing to do with Giuliano, reminiscent of Goblin. Some parts of the main theme are very reminiscent of Goblin's Profondo Rosso theme, notably the bassline. This has been noticed by others as I quickly found out by googling "Luciano Michelini Goblin":
https://www.soundohm.com/product/morte-sospetta-di-una-min
<*to be released in mid June* "Four Flies is pleased to introduce for the first time on vinyl another top level score for the Italian slasher/crime flick directed by Sergio Martino, The Suspicious Death of a Minor (Morte Sospetta di una Minorenne). Perhaps the best Luciano Michelini score ever (a composer well-known to Italian soundtrack enthusiasts for his famed RCA works - Anna - Quel particolare piacere and La conquista di Luna), and for sure one of the toughest of the whole genre. The main theme echoes certain passages from Goblin’s Deep Red (Profondo Rosso) - recognizable by the use of the same church organ located in the historic Ortophonic Studio in Rome in 1975, only a few months after Claudio Simonetti’s hands played it for Dario Argento’s masterpiece. That said, the entire soundtrack sounds somehow “Goblinesque”, thanks to the prog-rock & funk action themes that are used for chases, murders, and suspense scenes. Remastered from the original reels preserved in the C.A.M. archives, this vinyl edition features new LP editing, and is housed in a hard tip-on sleeve with a stunning artwork designed by Luke Insect."
Funnily enough (and unsurprisingly) looking for the soundtrack on youtube using the English title, Too Young to Die brings up Too Old to Die Young, with one of the thumbnails having Janey lying against the fence as she waits for Martin.
The film is clearly influenced by Massimo Dallamano's La polizia chiede aiuto and I could sense where the plot was going since Pesce showed up. I should have taken the clue before, with the main character being played by the same actor in both. I can't say it surprised me because the title hinted similar themes. And just like in that one, there's a blend of poliziottesco and giallo in Martino's film. But this one isn't as brutal, it switches from thriller to comedy very quickly. I feel like there was a desire to compete with the likes of Dirty Harry at parts, to have one-liners and such. While not being as brutal tone-wise and not as cynical in its political implications, the tragedy is even more extreme in the case of one of the girls.
The cinematography is on point, this time when there's optical artifacts there's an artistic purpose for them. The film looks good from start to end. And you see details like the mirror sunglasses used to great effect too. Brian De Palma would do something similar years down the line in Body Double and Carlito's Way.
There's a cinema scene much like in Messiah of Evil and Martino took this opportunity to play a part from Il tuo vizio è una stanza chiusa e solo io ne ho la chiave in it.
The chases on foot are much more serious than the car ones, very intense.
There was a scene near the end that went dark really quick, and I believe the intent of the soundtrack was to create contrast but it was too predictable to work properly.
The ending itself, however, is great. I expected it to be even more cynical than it was, but it was really good.
Overall I recommend watching it if you don't get overly annoyed by the inconsistent tone. The comedy music really lowered the quality of the scenes it was in. Wherever you hear the song in 2:48 in the embedded video and its variations you know the scene will be low quality. Not only because the song is Yakety Sax tier, but because the scenes consistently become dumb comedy whenever it plays. That said, I think the rest of the film is well worth enduring the comedy scenes. I feel like they undermined the gravitas of the rest of the film.
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No.3565
YouTube embed. Click thumbnail to play.
Went to the grocery store today and for some reason I started reminiscing about the song Run Away With Me, specially the "baby… every… single… minute" chorus, and thinking whether it was by Ava Max or Dua Lipa. For some reason I also thought it was actually Your Type. As I entered my home I realized it was actually by Carly Rae Jepsen and decided to play it, thinking of posting it here. At one point the "and I want you to miss me" line is played and I realized it was the song from one of the videos by our disgraced former muse. She was doing tiktok-like videos before tiktok, it's amazing when you think about it.
After the song ended, the actual song I was thinking of started playing, and I realized my mistake, embed related. I wonder if those conveniently fuzzy memories came to my mind as the first drop out of a fountain of inspiration and I hope that's the case. The well of ideas has been pretty dry for a while and I could certainly use some help. This gave me some cinematic ideas.
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No.3570
Only got around to watch three films this month, and one was a short film. My backlog is already pretty damn long, and now I’ve found three more films to add to it. Two giallo films by Umberto Lenzi; Così dolce… così perversa/So Sweet… So Perverse (1969) & Sette orchidee macchiate di rosso/Seven Blood-Stained Orchids (1972), and No Orchids for Miss Blandish (1948) a British gangster (noir?) film based on the novel by James Hadley. It was panned by critics, which is partly why I wanna check it out.
<No Orchids for Miss Blandish received strong criticism for its treatment of violence and sexuality.[11] Cliff Goodwin says that it was “unanimously dubbed ‘the worst film ever made’” by British reviewers.[4] The Monthly Film Bulletin called it “the most sickening exhibition of brutality, perversion, sex and sadism ever to be shown on a cinema screen”.
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No.3586
Was looking through my lengthy link archives for a quote by NWR, and found this interesting article on Film Noir. So of course I had to add two of the films mentioned, The Third Man (1949) & The Big Combo (1955), to my backlog, as well as the sequel to Lady Snowblood: Blizzard from the Netherworld (1973), Lady Snowblood: Love Song of Vengeance (1974) after bringing them up in the Kill Bill thread over at tvch/tv/.
One still from Sex & Fury appears to show Reiko Ike caressing Christina Lindberg’s nude breast – the thing is, I don’t remember it being /sapphic/… maybe I need to rewatch it?
Also, here is the NWR quote (it was on a magazine picture I had in a folder, not an online article at all, so I wasted a good thirty minutes looking for it):
<“For me, it was more about Does it look interesting? than, is it right? My films are pretty simple, and simplicity is a powerful effect. The simpler, the better. Less is more in my philosophy, nothing is everything.”
— Nicolas Winding Refn talking to Christian Monggaard
The cinematography of Film Noir - Screenhead - The art of cinema: http://archive.is/BnQKI
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No.3603
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No.3604
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No.3606
>>3604
Sacrifice, the Lovecraftian/folk horror film with Barbara Crampton. There is an interview linked to earlier ITT where one of the two directors say the film is inspired by Drive. Also, there is northern lights in a still I have seen. Probably gonna watch it tonight.
Trailer: https://www.youtube.com/watch?v=igUyQPawlps
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No.3608
>>3606
Oh, nice. I've been a bit out of tune with everything, out of tune with the world I guess you could say kek. I've been meaning to get some stuff off my backlog but can't seem to find the right time. If everything goes right I'll have some time next week.
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No.3612
>>3603
Oooh exciting. Will see if I can watch tonight too.
>>3608
>I've been a bit out of tune with everything, out of tune with the world I guess you could say kek
>>3608
>I've been a bit out of tune with everything, out of tune with the world I guess you could say kek.
Same anon. I think I disconnected during around March last year and haven't been able to reconnect since.
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No.3613
50 mins in. Man the bitch boy is quite unlikeable. Will be happy to see him bumped off for a bumper harvest.
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No.3615
>>3613
Top Kek. What a satisfying beheading.
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No.3618
>>3613
Not an easy role to play though. Think they found a good balance between sane and unhinged for Isaac. They could easily have gone off the deep end and into camp territory, but he kept the performance grounded. That makes it harder to sit through when he turns on Emma.
That opening credits sequence was really beautiful – very much like the opening to Corman’s Poe adaptation Pit and the Pendulum (1961) – very colourful, which is a welcomed change from the usual dreary and dark colour palette in most horror films. The open shot with Isaac’s mother washing her bloody hands in the sink was great too.
Wish the film would had kept all the weird, unnatural elements to the dream scenes. When the sword is thrown back from the sea it kinda lessened the impact of the film’s end. Deranged cultists acting on their beliefs can be just as eerie and disturbing without revealing whether or not they are right or wrong.
Also, when the big twist comes and Isaac is sacrificed instead of Emma, it struck me as very contrived that the cultists tied her up and put her on the raft. That was just to trick the audience.
Some of the lighting was beautifully done; at times it was a bit too much, especially some of the kitchen scenes were too saturated in orange – maybe the wooden panelling made it look that way?
Some fun nods to HPL thru the film too, which was nice. Really prefer this more subtle take on it, than the all out monster films.
At first I found it hard to imagine Emma going to Renate, but when I thought about afterwards, she only knew Renate was involved with these strange customs. As the audience we, of course, expects her to be a sinister character, but Emma couldn’t have known the cult was Wicker Man style crazy.
>>3615
What do you think happens afterwards? Is Emma heading back home, or does she stay on the island? She knows too much about the cult, and she knows, or at least suspects, that the Slumbering One is real, so does she join the cult?
I want a woman to look at me the way Astrid looked at Isaac during the supper scene
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No.3619
>>3618
That makes it harder to sit through when he turns on Emma.
When he wakes up and doesn't give a shit that she is hyperventilating from a nightmare was when I paused it to comment. It felt like there wasn't much of him shown as anything more thank blank in the beginning to show much change. We see him say "a lady is present" at the bar and that's about it. And even that can be said by anyone keeping up appearances. There was no 'original' Isaac for me to care for to lament his 'change'.
>That opening credits sequence was really beautiful
Yes, LOVED the opening credits but the colour scheme got overdone and quick.
>Some of the lighting was beautifully done; at times it was a bit too much
The phrase 'paint by numbers' came to mind when considering the lighting. For the most part it lacked something, maybe atmosphere? Though I did like the nightmare with the glowing amulets in the night scene. Like a fun retro 80s horror.
>Deranged cultists acting on their beliefs can be just as eerie and disturbing without revealing whether or not they are right or wrong.
Agreed.
>Also, when the big twist comes and Isaac is sacrificed instead of Emma, it struck me as very contrived that the cultists tied her up and put her on the raft. That was just to trick the audience.
Again agreed. I was surprised for a split second when she was tied as I was sure that Isaac was to be slaughtered. But even then presumed it would play out as it did. The narrative has been done before. As soon as he spoke of his dad at the house, I had suspicions. These suspicions were cemented with the bar scene that followed. Made me think of that Niven and Kerr movie Eye of the Devil.
>As the audience we, of course, expects her to be a sinister character, but Emma couldn’t have known the cult was Wicker Man style crazy.
Same. I was like "as if!" but then I remembered most of her fears were from her dreams.
>What do you think happens afterwards?
<You'll get used to it
I guess she stays. Voluntarily not sure.
>I want a woman to look at me the way Astrid looked at Isaac during the supper scene
Kek. Emma should've punched Isaac in the mouth when they got home. When they met under the lights, I thought they would have sex and that Astrid would get pregnant so they wouldn't need Emma if she escaped or died. Lol.
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No.3621
>>3619
>When he wakes up and doesn't give a shit that she is hyperventilating from a nightmare was when I paused it to comment.
Yeah, that was a rather odd reaction. It was also a bit weird how he just got out of the car and went for the front door when they arrived, without helping or making sure his pregnant wife was OK.
When they are looking at the painting of the boat caught in a storm I got the implication that he was a Christian; at least he had been raised Christian, yet he is very quick to abandon that and his wife to join this new, weird cult he’s just found out about.
>Yes, LOVED the opening credits but the colour scheme got overdone and quick.
They blew their load too quickly. It would be pretty hard to keep up after an opening like that.
>I guess she stays. Voluntarily not sure.
Sounds exactly like what happened to Isaac’s mother, only she managed to get away when she found out they were going to sacrifice her son.
Since their sacrifice, Isaac, got away they would have to find another person to sacrifice, yes? Maybe that person was Renate’s husband? That would explain why it felt like a catharsis for her when she finally sacrifices Isaac – if he hadn’t managed to get away, maybe her husband would still be alive?
>Kek. Emma should've punched Isaac in the mouth when they got home.
Some of their interactions were quite fun tbh. The talk about whales and harpooning…
>I thought they would have sex and that Astrid would get pregnant so they wouldn't need Emma if she escaped or died. Lol.
Was certain it’d be some kind of Innsmouth-style story where the baby, Isaac & Emma’s, would be some eldritch abomination, but my expectations were pleasantly subverted. I think that kind of story has been done to death already, and it was nice they went in a different direction.
Emma’s nightmares also reminded me of the line in The Last Wave (1977): “A dream is a shadow of something real.”
It was a clever way of foreshadowing things – the eldritch abomination sleeping beneath the waves, and Isaac turning on her was foreshadowed in the sexual abuse dreams.
The cult’s practice of collecting the head of those they sacrifice and place it in the Tupilaq sounds like the practice of the head cult of the Celts in France in the late Iron Age, who would take the heads (skulls) of their enemies and put them in a niche in a “head pillar”.
The entrance to the Paths of the Dead in “The Return of the King” is probably also inspired by this Celtic head cult practice of displaying the skulls in “head pillars” (and lintels).
Looked up the word “Tupilaq”, and according to Wikipedia it is:
<an avenging monster fabricated by a practitioner of witchcraft or shamanism by using various objects such as animal parts (bone, skin, hair, sinew, etc.)[2] and even parts taken from the corpses of children. The creature was given life by ritualistic chants. It was then placed into the sea to seek and destroy a specific enemy.
https://en.wikipedia.org/wiki/Tupilaq
Remembered that there was a Greenland connection in HPL’s The Call of Cthulhu, where a professor of Anthropology encountered “a singular tribe or cult of degenerate Esquimaux who religion, a curious form of devil-worship, chilled him with its deliberate bloodthirstiness and repulsiveness.” The story also uses “certain queer hereditary rituals” and a fetish, Tupilaq?, “around which they danced when the aurora leaped high over the ice cliffs.” https://archive.vn/UlKqG#selection-365.289-212.115
With this in mind it seems like they’ve just switched the “tribe or cult of degenerate Esquimaux” with Norwegians. Something tells me these filmmakers would not have portrayed Eskimos/Inuit as having these same attitudes and beliefs, including human sacrifices…
https://en.wikipedia.org/wiki/Kingittorsuaq_Runestone
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