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 osnap - a film log 
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roujin wrote:
i see expressionless zombies in carefully arranged compositions who are completely uninteresting. the filmmaking's nice, but it seems grafted on to the film. i don't know how one doesn't see community more clearly in in vanda's room or colossal youth, which are tougher films overall, but more rewarding.
Well, in both those films, the community is literally falling apart, right? I'm especially thinking of Colossal Youth here, because I saw it more recently, but it's about the community dispersed, and the way some connections and memories stubbornly live on. Ossos is his portrait of the neighborhood before it was torn down, and it's squalid, sure, but also vibrant. And, the more I stared at their zombie faces, the more I saw in them. That's the whole film!

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Fri Apr 18, 2014 9:00 pm
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i just don't see any vibrancy in that film at all. there are moments of power and sadness (when he feeds the baby in that one restroom?), but I mostly can't get past the characterizations, which strike me as artificial and lifeless. He goes the other extreme In Vanda's Room where he allows his subjects to not only dictate the form, but also the narrative, or lack of it. He achieves a more assured tonal control in colossal youth.


Sat Apr 19, 2014 12:21 am
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i should add: i'm suspicious of the sort of acting Costa employs in Ossos in any film, not just this one. It's a big pet peeve of mine. So if it seems too calculated, as for me it did, it will annoy me pretty quickly.


Sat Apr 19, 2014 12:28 am
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he has a film called colossal youth?

Image

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Sat Apr 19, 2014 1:02 am
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roujin wrote:
i should add: i'm suspicious of the sort of acting Costa employs in Ossos in any film, not just this one. It's a big pet peeve of mine. So if it seems too calculated, as for me it did, it will annoy me pretty quickly.
Do you mean coached amateurs, or what? I was a lot more suspicious of the hybrid acting/documenting of In Vanda's Room.

takeshi wrote:
he has a film called colossal youth?
Yeah, and it's pretty great. Filmed poetry.

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Sat Apr 19, 2014 1:53 am
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I do agree that In Vanda's Room and Colossal Youth definitely have a greater sense of community. That's a bit hard to ignore, as fragmented and desperate as those communities are. That doesn't harm Ossos for me though, it's just a much more lonely, singular film. And yes, its characters are more removed. Sort of like Bresson but also more "landscape" oriented contemplative directors like Bartas.

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Sat Apr 19, 2014 2:29 am
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I'm referring to the whole "these characters will never talk, just pose meaningfully" style, which I find utterly obnoxious. I had similar issues with the Bartas films I saw.

In Vanda's Room I have no particular problem with since it seems Costa doesn't really graft a performance style upon his subjects, letting Vanda and company sort of shape the action and behavior.


Sat Apr 19, 2014 2:34 am
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roujin wrote:
I had similar issues with the Bartas films I saw.
:(

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Sat Apr 19, 2014 2:45 am
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roujin wrote:
I'm referring to the whole "these characters will never talk, just pose meaningfully" style, which I find utterly obnoxious. I had similar issues with the Bartas films I saw..


I remember that (;__;) and now I understand why you don't like Ossos as much.

Lonely looking characters posing meaningfully and not talking cuz they're too alienated = <3

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Sat Apr 19, 2014 3:37 am
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It depends on the film, really. Most of the time I don't think they're alienated, I'm thinking, "He can't think of anything interesting for them to say."


Sat Apr 19, 2014 3:38 am
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I spend a lot of time not talking (and being alienated). Maybe not the posing meaningfully thing tho...


Sat Apr 19, 2014 3:44 am
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Shieldmaiden wrote:
I don't think it's weak at all! It has those great faces, and the dancing, and the colors! It has this tactile sense of community that the others don't have (except, maybe, Casa de Lava). And that's not a flaw in the others; it's the point, of course. But, Ossos is the one I remember most vividly, as if I'd been there.


As usu, I agree with Shield. Ossos is arguably my favorite Costa.

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Sat Apr 19, 2014 4:26 am
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Acting isn't the right word for what Bartas and Costa are doing with faces, but neither is posing, really. They use faces like architecture and weather, to give us something interesting to look at, and evoke moods – sadness, nostalgia, contentment, restlessness. It's not anything to be suspicious about!

Izzy Black wrote:
As usu, I agree with Shield. Ossos is arguably my favorite Costa.
:heart:

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Sat Apr 19, 2014 4:32 am
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Shieldmaiden wrote:
Acting isn't the right word for what Bartas is doing with faces, but neither is posing, really. He uses faces like architecture and weather, to give us something interesting to look at, and evoke moods – sadness, nostalgia, contentment, restlessness. It's not anything to be suspicious about!


Excellently put. To each their own but I dunno, that old man with the reindeer in Few of Us for example aches with emotion. Sure he doesn't speak (and barely moves really, though just enough that every frame is vital) but it's the kind of connection that's so fragile that words would destroy it. Kind of like Bresson's "models" but in a more painterly way.

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Sat Apr 19, 2014 4:38 am
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The evoking moods thing (through that silence and the faces) only works for me half the time; or, to put it another way, that sort of thing doesn't sustain throughout an entire movie. I require more. Costa's other films provide for me in that sense.

I get Bartas and the landscape thing. It worked for Three Days, but I hated Freedom. The latter seemed like an aesthetic dead end; sure, you can do this, but why do you want to?


Sat Apr 19, 2014 5:27 am
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that album is great


Sat Apr 19, 2014 6:23 am
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Maskerade (34) C+. Glitzy but witless entry in a boring genre – game perfs but Forst really, really wishes he were Ophüls.

Ghost in the Well (57) C-. Inoffensive but enervating in its ordinariness. A far cry from the verve of Nakagawa’s potboilers.

São Bernardo (72) A-. Stirring woodcut of stubbornness, inertia & hate, negative energy turning landscape montage into chamber drama. Bravo!

Exchange Students (82) A-. Might play too much with stereotypes, but this is stirring stuff, brilliantly acted, gleeful, emotional

Frances Ha (12) A-. Jittery caged-bird rhythms iris out from awkward-chic to moving/distressing rumination on arrested development

Sword of the Beast (65) B+. Feels bookended by non-existent sequels, but conciseness works in its favour. Taut and aggressive

Testament (83) C. Textured images and rich colours wilt under misjudged PC brouhaha and grafted-on sentiment. Watch LADYBUG LADYBUG instead

Child's Pose (13) B+. Ugly, nervous classicism stimulates as a pneumatic drill does, amping discomfort til a brilliant, risky final-act coup

Soleil Ô (67) A. Angry, sensuous and poetic agitprop with head in the clouds but feet firmly planted on barren earth. A jewel of 3rd cinema

Woodpeckers Don't Get Headaches (75) C. A refreshingly agenda-free but, despite a degree of freeform charm, pointless Soviet coming-of-ager

The Vanishing (88) B. Loses the plot when it ditches thriller affect to resort to silly pop psy, but bookending scenes affecting and scary

Another Girl Another Planet (92) B. Form echoes culture and generational psychology in slight but sparklingly clever experiment.

Christmas in July (40) B+. Suspicion of USA not yet congealed into cynicism, limns great pathos alongside crackup farce. Bursts with joy

The Clock (45) B+. A highwire strung between hope and hopelessness, continuously twanged by the frustrated tremors of Judy’s face.

Maniac (80) A-. Disquieting thriller works equally well as nailbiter and proto-feminist genre self-destruction. Grimy, gauzy nihilism

Oxhide (05) A-. Simplicity the essence of… genius? Autopsy of both family and economy gets under the skin and plucks the brainstrings

Our Sunhi (13) B. A cinenovella less formal, widereaching in its ruminations, but has own charms as empathetic reversal of ‘character study’

Hausu (77) B+. Stylistic coup after stylistic coup, shot through with a gleeful mean streak and a manic fetish for pop culture indexing

Émotion (66) B. Same style fully-formed 11 years pre-Hausu divorced of futurist wit and concrete narrative hooks. Pretty but no brainworm

Headfirst (12) C. Zigzag talent of the leads never gets room to breathe in these cardboard constructions; a waste of their effort

Evdokia (71) B. Aesthetic schizophrenia drowns out emotion until a finale striking in its emotional violence. Fragment of a larger canvas

Susan Slept Here (54) B-. Some nice Tash touches, but relative lack of wit becomes grim in this candy-coloured context. Pretty sleazy, too

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Wed May 21, 2014 2:31 pm
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Glad Another Girl... (mostly) worked for you! I love Almereyda. Happy Here and Now, highly recommended.


Wed May 21, 2014 2:46 pm
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Yessssss on Oxhide.

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Wed May 21, 2014 2:50 pm
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snapper wrote:
Susan Slept Here (54) B-. Some nice Tash touches, but relative lack of wit becomes grim in this candy-coloured context. Pretty sleazy, too

EXACTLY (said flieger to the other)


Wed May 21, 2014 2:55 pm
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A Free Woman (54) B-. Lanky dramatic divertimento wants more heft than it carries, but snappy dialogue + agitated camerawork take it halfway

A Talking Cat!?! (13) F. Bad in entirely novel ways. Deserves further research and study.

A Thousand Suns (13) A-. Mysterious machinations of image + scenario take this lean slice of genius from homage to sequel nigh-imperceptibly

Artists Under the Big Top: Perplexed (68) A-. Abstraction of theme approaches obscurantism but there’s edgy life here telling of polity/life in 60s WG

Boyhood (51) A-. Loses the plot + the tone in the last 20 minutes, but its first two acts are as moving and complex as anything he ever did

Dementia (55) A. Psychosexual tensions overlaid on picture-book sets, rattles in the brain like the memories of a childhood nightmare.

Desert Hearts (85) B-. Tender, matter-of-fact, sensual in a refreshingly grounded way – but still a league soapier than it thinks it is

Dribble (04) B. Perverse iconoclast humour tailor-made for found footage YouTube crowd but hook here is how well this film fakes its amateur

Fat Girl (01) A-. Infamous coda aside, there’s something profoundly unsettling in CB's calm-voiced evocations of extreme emotional violence

Fright Night (85) B. Ideas & pacing never quite as compelling as its effects or actors, but this is fun of a stripe that isn’t sold anymore.

I Hired a Contract Killer (90) B-. I prefer Aki @ home. Actors who don’t quite get the tone reduce his sad-eyed deadpan to galleries of cute

Mon oncle Antoine (71) B-. Pastoral parataxis is only intermittently engaging on a story front but image and mood offer their own charms.

Oh, Bomb! (64) B+. Cacophonous style gradually opens up, revealing a more cynical side to Okamoto’s recursive alchemies of genre. Very funny

Passport for a Corpse (62) B+. Odd horror noir more expansive than it 1st appears, metaphysics flop but good bits = lean, strong, menacing

Sandakan No. 8 (74) B-. Past and present sequences have own moments of fleeting interest, but become maudlin and inert when they intersect.

Sérail (76) B. Anything-goes companion piece to C&J works well with tongue-in-cheek baroque but is empty relative to its parent film

Shattered (21) C+. Melodrama at the extreme height of compound misery, what starts out stirring becomes lugubrious and laughable

Snow Canon (11) B-. Much stride taken between this 75%-there entr’acte and big bro ATS, but there’s value to the ideas and their

So Dark the Night (46) B-. Interesting daytime noir is much more B than Lewis’ best work, but slow run-up pays off in a truly creepy climax

Spring Awakens (47) B. MN was once a nature boy it seems Brill images lend Romantic lyricism to afterschool special material. Lags, though

Superstar: The Karen Carpenter Story (87) B+. Highwire strung between exploitation & tenderness, manages to be both ruthlessly cruel & impossibly moving at once

The Ball at the Anjō House (47) A-. States its intentions early on but builds on them gradually, building in both cinematic affect, interest

The Cloud-Capped Star (60) B. Beautiful images, music, faces but I can’t get past the awkward earnestness of its neorealist shrieking

The Idlers of the Fertile Valley (78) B-. Odd clashes of form and content, showcases affect more than it does satirical insight

The Little Girl Who Conquered Time (83) B-. Scenes of DTE poetry wrestle with increasingly convoluted sci-fi gab, dehydrated by bland leads

The Mist (07) C+. Strong ending the only part of its Romero worship that works, but the rest is typical horror fluff with poor effects

The Room (03) F. A singular experience of bloody-minded amateurishness, misogyny, unbalanced imagery and ambiguous intent. Ineffable.

The White Dove (60) B+. La Ronde with pigeons, not to give short shrift to this miniature’s gossamer, music-box form and rhythms

The X-Files: I Want to Believe (08) D. Pointless revisitation of show’s worst traits, exhausted actors flail against amateur treatment

Two-Lane Blacktop (71) B. Not sure I’m capable of getting this kinda woozy HNW wavelength but this impacts thru sheer existential insistence

When Strangers Marry (44) C. Slim bit of paranoid noir suffers, as most would, from casting Kim Hunter – but inoffensive enough

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Sat Jul 12, 2014 9:13 pm
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snapper wrote:
The Idlers of the Fertile Valley (78) B-. Odd clashes of form and content, showcases affect more than it does satirical insight

I liked this one.

Can't quite remember who recommended it: Bear or Sinny, probably.

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Wed Jul 23, 2014 3:07 am
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Bandy's obsessed

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The Tales of Beatrix Potter / Mills
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Most Beautiful Island / Asensio
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* Birth Certificate / Różewicz
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Wed Jul 23, 2014 5:22 am
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snapper wrote:
Actors who don’t quite get the tone reduce his sad-eyed deadpan to galleries of cute
Nothing wrong with the actors; Jean-Pierre Léaud is so good in this! If Kaurismäki's tone is less bleak outside of Finland (and it is) I'm pretty sure it has more to do with his feelings about the foreign cities than anything else. I mean, it's not surprising that he has a more complicated relationship with his home territory, is it?

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Wed Jul 23, 2014 5:50 am
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Precisely! Besides, it would be impossible to apply the exact same style to the British or French culture, even if you do borrow faces from other countries, and I think we'd probably be upset if he tried. Personally, I feel the joviality of Bohème and the banality of Killer are particular highlights of the Kaurismäki oeuvre up to this point.

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Wed Jul 23, 2014 9:21 am
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I have now seen 200 films this year. 2 months off of that benchmark for 2012 and 2013, doubt I'll crack 300 this year:

01. The Double Life of Véronique (1991, Kieślowski)
02. The Match Factory Girl (1990, Kaurismäki)
03. Shadows in Paradise (1986, Kaurismäki)
04. Safe (1995, Haynes)
05. Mr. Thank You (1936, Shimizu)
06. Letter Never Sent (1959, Kalatozov)
07. Fire Festival (1985, Yanagimachi)
08. Ganja & Hess (1973, Gunn)
09. Arrebato (1980, Zulueta)
10. Ossos (1997, Costa)

11. The Immigrant (2013, Gray)
12. Badlands (1973, Malick)
13. Black Coal, Thin Ice (2014, Diao)
14. Série noire (1979, Corneau)
15. Long Happy Life (1966, Shpalikov)
16. Soleil Ô (1970, Hondo)
17. Dementia (1955, Parker)
18. Exchange Students (1982, Ōbayashi)
19. North by Northwest (1959, Hitchcock)
20. Marketa Lazarová (1967, Vláčil)

21. Le feu follet (1963, Malle)
22. Serial Rapist (1978, Wakamatsu)
23. The Great McGinty (1940, Sturges)
24. The Ball at the Anjō House (1947, Yoshimura)
25. Touki Bouki (1973, Mambéty)
26. Songs from the Second Floor (2000, Andersson)
27. Hana-bi (1997, Kitano)
28. Millennium Mambo (2001, Hou)
29. A Thousand Suns (2013, Diop)
30. São Bernardo (1972, Hirszman)

31. Under the Skin (2013, Glazer)
32. Oxhide (2005, Liu)
33. Frances Ha (2012, Baumbach)
34. Fat Girl (2001, Breillat)
35. A Japanese Tragedy (1953, Kinoshita)
36. Ariel (1988, Kaurismäki)
37. A Touch of Sin (2013, Jia)
38. Grass Labyrinth (1979, Terayama)
39. Children Who Draw (1955, Hani)
40. Detective Story (1929, Dekeukeleire)

41. Artists Under the Big Top: Perplexed (1969, Kluge)
42. Sambizanga (1972, Maldoror)
43. A Report on the Party and the Guests (1966, Němec)
44. Boyhood (1951, Kinoshita)
45. Quick Billy (1971, Baillie)
46. Shopping for Fangs (1997, Lee & Lin)
47. Maniac (1980, Lustig)
48. Day of the Outlaw (1959, de Toth)
49. La cabina (1972, Mercero)
50. Candyman (1992, Rose)

51. Superstar: The Karen Carpenter Story (1987, Haynes)
52. We Won’t Grow Old Together (1972, Pialat)
53. Hausu (1977, Ōbayashi)
54. Divine Intervention (2002, Suleiman)
55. The Bedroom (1968, Biáfora)
56. The Day After (2009, Lee)
57. Anguish (1987, Luna)
58. A Moment of Innocence (1996, Makhmalbaf)
59. The Shopworn Angel (1938, Potter)
60. The White Dove (1960, Vláčil)

61. The Blair Witch Project (1999, Myrick & Sánchez)
62. The Mystery of Alexina (1985, Féret)
63. Strangers on a Train (1951, Hitchcock)
64. Sword of the Beast (1965, Gosha)
65. The Clock (1945, Minnelli)
66. Child’s Pose (2013, Netzer)
67. Grey Gardens (1975, Hovde, Maysles, Maysles & Meyer)
68. Los muertos (2004, Alonso)
69. The Spectacular Now (2013, Ponsoldt)
70. Oh, Bomb! (1964, Okamoto)

71. Take Care of Your Scarf, Tatiana (1994, Kaurismäki)
72. Ladies in Retirement (1941, Vidor)
73. The Devil, Probably (1977, Bresson)
74. Les sièges de l’Alcazar (1989, Moullet)
75. Borgman (2013, van Warmerdam)
76. Outrage (1950, Lupino)
77. Eden (2012, Griffiths)
78. Himala (1982, Bernal)
79. Hyènes (1992, Mambéty)
80. Pour le mistral (1965, Ivens)

81. The Mating Season (1951, Leisen)
82. Nobody’s Daughter Haewon (2013, Hong)
83. Valerie and Her Week of Wonders (1970, Jireš)
84. The Wicker Man (1973, Hardy)
85. Killer of Sheep (1977, Burnett)
86. Josef Kilián (1963, Juraček & Schmidt)
87. Lost Book Found (1996, Cohen)
88. Christmas in July (1940, Sturges)
89. I Know Where I’m Going! (1945, Powell & Pressburger)
90. Enough Said (2013, Holofcener)

91. Morning Patrol (1987, Nikolaidis)
92. Killed the Family and Went to the Movies (1969, Bressane)
93. The Ballroom of Romance (1982, O’Connor)
94. The End (1953, Maclaine)
95. A Double Life (1947, Cukor)
96. Thus Another Day (1959, Kinoshita)
97. Passport for a Corpse (1962, Gariazzo)
98. Boat People (1982, Hui)
99. The X-Files (1998, Bowman)
100. I Even Met Happy Gypsies (1967, Petrović)

101. Fright Night (1985, Holland)
102. Whisper of the Heart (1995, Kondō)
103. Snowpiercer (2013, Bong)
104. The Cloud-Capped Star (1960, Ghatak)
105. Notorious (1946, Hitchcock)
106. Sightseers (2012, Wheatley)
107. The Vanishing (1988, Sluizer)
108. Evdokia (1971, Damianos)
109. Lord Love a Duck (1966, Axelrod)
110. Rancho Deluxe (1975, Perry)

111. Brother (1997, Balabanov)
112. Limite (1931, Peixoto)
113. Viola (2012, Piñeiro)
114. Gloria (2013, Lelio)
115. Buried in Light (1994, Cohen)
116. Erotikon (1929 ,Machatý)
117. Documenteur (1981, Varda)
118. Émotion (1966, Ōbayashi)
119. The Blood of a Poet (1932, Cocteau)
120. The Passenger (1975, Antonioni)

121. Alien (1979, Scott)
122. Hannah and Her Sisters (1986, Allen)
123. Intolerable (2006, Maclean)
124. Spring Awakens (1947, Naruse)
125. Dribble (2004, Andrews)
126. Sérail (1976, de Gregorio)
127. Two-Lane Blacktop (1971, Hellman)
128. The Night It Rained (1967, Shirdel)
129. Happiness (1934, Medvedkin)
130. My Child (2013, Candan)

131. Short Term 12 (2013, Cretton)
132. The Portrait (1948, Kinoshita)
133. Doggy Poo (2003, Kwon)
134. Peggy Sue Got Married (1986, Coppola)
135. Our Sunhi (2013, Hong)
136. Another Girl Another Planet (1992, Almereyda)
137. My Heart Is in the Highlands (1967, Khamdamov)
138. Mon oncle Antoine (1971, Jutra)
139. Uniform (2003, Diao)
140. Juha (1999, Kaurismäki)

141. La vie des morts (1991, Desplechin)
142. Stranger by the Lake (2013, Guiraudie)
143. Garden of Delights (1967, Agosti)
144. I Hired a Contract Killer (1990, Kaurismäki)
145. Sunday at 6 O’Clock (1965, Pintilie)
146. Wife (1953, Naruse)
147. Desert Hearts (1985, Deitch)
148. The Idlers of the Fertile Valley (1978, Panayotopoulos)
149. Death of a Cyclist (1955, Bardem)
150. The Little Girl Who Conquered Time (1983, Ōbayashi)

151. Melody of Murder (1944, Ipsen)
152. Louise Wimmer (2011, Mennegun)
153. Katatsumori (1994, Kawase)
154. So Dark the Night (1946, Lewis)
155. A Free Woman (1954, Cottafavi)
156. A Private Function (1984, Mowbray)
157. Ida (2013, Pawlikowski)
158. The Sign of the Ram (1948, Sturges)
159. Veronica Mars (2014, Thomas)
160. Aksuat (1997, Aprimov)

161. Sandakan No. 8 (1974, Kumai)
162. Ocean Waves (1993, Mochizuki)
163. Susan Slept Here (1954, Tashlin)
164. The Forbidden Quest (1993, Delpeut)
165. The Narrow Margin (1952, Fleischer)
166. Snow Canon (2011, Diop)
167. Not Reconciled (1965, Straub)
168. Sincerity (1939, Naruse)
169. The Mist (2007, Darabont)
170. Sunday (1997, Nossiter)

171. The Worthless (1982, Kaurismäki)
172. Wild Reeds (1994, Téchiné)
173. Twenty-Four Eyes (1954, Kinoshita)
174. You’re Next (2011, Wingard)
175. Blue Jasmine (2013, Allen)
176. Rich Kids (1979, Young)
177. Maskerade (1934, Forst)
178. A Drowning Man (2001, Ichio)
179. Ginza Cosmetics (1951, Naruse)
180. Poitín (1978, Quinn)

181. Shattered (1921, Pick)
182. Our Very Own (1950, Miller)
183. The Thing (2011, van Heijningen)
184. When Strangers Marry (1944, Castle)
185. Headfirst (2012, van Elmbt)
186. American Hustle (2013, Russell)
187. Testament (1983, Littman)
188. Dangerously Excited (2011, Koo)
189. Blue Is the Warmest Colour (2013, Kechiche)
190. Electrick Children (2012, Thomas)

191. Woodpeckers Don’t Get Headaches (1975, Asanova)
192. The Black Cat (1934, Ulmer)
193. The Bespoke Overcoat (1956, Clayton)
194. Ghost in the Well (1957, Kōno)
195. The Kill-Off (1989, Greenwald)
196. The X-Files: I Want to Believe (2008, Carter)
197. The Heart of the Wise Lives in the House of Sorrow (2009, Malešević)
198. Ghost Soup (1992, Iwai)
199. A Talking Cat!?! (2013, DeCoteau)
200. The Room (2003, Wiseau)

BEST PICTURE
Mr. Thank You
Safe
Shadows in Paradise
* The Double Life of Véronique
The Match Factory Girl
---
06. Letter Never Sent
07. Fire Festival
08. Ganja & Hess
09. Arrebato
10. Ossos

BEST DIRECTOR
Alfred Hitchcock, North by Northwest
* Mikhail Kalatozov, Letter Never Sent
Krzysztof Kieślowski, The Double Life of Véronique
Nobuhiko Ōbayashi, Hausu
František Vláčil, Marketa Lazarová
---
06. Roy Andersson, Songs from the Second Floor
07. John Parker, Dementia
08. Shūji Terayama, Grass Labyrinth
09. Bigas Luna, Anguish
10. James Gray, The Immigrant

BEST ACTOR
* Patrick Dewaere, Série noire
Sérgio Hingst, The Bedroom
Maurice Ronet, Le feu follet
Joe Spinell, Maniac
Miles Teller, The Spectacular Now
---
06. Philippe Vuillemin, The Mystery of Alexina
07. Matti Pellonpää, Shadows in Paradise
08. Robert Liensol, Soleil Ô
09. Kirill Lavrov, Long Happy Life
10. Othon Bastos, São Bernardo

BEST ACTRESS
Marion Cotillard, The Immigrant
Luminiţa Gheorghiu, Child’s Pose
* Satomi Kobayashi, Exchange Students
Julianne Moore, Safe
Kati Outinen, The Match Factory Girl
---
06. Yūko Mochizuki, A Japanese Tragedy
07. Kim Bo-young, The Day After
08. Judy Garland, The Clock
09. Kati Outinen, Shadows in Paradise
10. Cate Blanchett, Blue Jasmine

BEST SUPPORTING ACTOR
Bill Gunn, Ganja & Hess
Andy Lau, Boat People
Matti Pellonpää, Ariel
* Osamu Takizawa, The Ball at the Anjō House
Tony Todd, Candyman
---
06. Jan Klusák, A Report on the Party and the Guests
07. James Gandolfini, Enough Said
08. Bernard Blier, Série noire
09. John Gallagher, Jr., Short Term 12
10. Carlos Casaravilla, Death of a Cyclist

BEST SUPPORTING ACTRESS
Chi Cheong-nam, The Day After
Michiko Kuwano, Mr. Thank You
Season Ma, Boat People
Yatsuko Tanami, Wife
* Dianne Wiest, Hannah and Her Sisters
---
06. Zhao Tao, A Touch of Sin
07. Johanna ter Steege, The Vanishing
08. Magda Vášáryová, Marketa Lazarová
09. Isobel Elsom, Ladies in Retirement
10. Cecilia Roth, Arrebato

BEST ADAPTED SCREENPLAY
Le feu follet – Louis Malle
Mr. Thank You – Hiroshi Shimizu
São Bernardo – Leon Hirszman
* Série noire – Alain Corneau & Georges Perec
The Clock – Robert Nathan & Joseph Schrank
---
06. We Won’t Grow Old Together – Maurice Pialat
07. The Wicker Man – Anthony Shaffer
08. The Spectacular Now – Scott Neustadter & Michael H. Weber
09. The Mating Season – Charles Brackett, Richard L. Breen & Walter Reisch
10. Exchange Students – Wataru Kenmotsu

BEST ORIGINAL SCREENPLAY
Child’s Pose – Călin Peter Netzer & Răzvan Rădulescu
Long Happy Life – Gennady Shpalikov
The Day After – Lee Suk-gyung
* The Great McGinty – Preston Sturges
Shadows in Paradise – Aki Kaurismäki
---
06. Ganja & Hess – Bill Gunn
07. Badlands – Terrence Malick
08. The Immigrant – James Gray & Ric Menello
09. Arrebato – Iván Zulueta
10. Frances Ha – Noah Baumbach & Greta Gerwig

_________________
Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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Mon Sep 22, 2014 6:57 pm
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Post Re: osnap - a film log

omg remembs this thread

_________________
Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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Tue Apr 07, 2015 4:06 pm
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stolen from facebook

I had a great year for viewings in 2012 – I was a student, I still had a lot of the canon to work through, I had a lot of downtime and a lot of passion for cinema. I saw 340 films that year, and managed to echo that number in 2013. By that point my desire to make up numbers trumped my discrimination as a viewer, so I ended up queuing heaps of featurettes, experimental works and shitty potboilers to fill quotas. Last year was an example of that mentality at its abortive worst – watching shit I didn’t care about for the sake of it and getting depressed because my main activity was not providing me any joy or stimulation. This year I made a conscious decision to watch shit with a pedigree, lose my phobia of long films and just let numbers be numbers – and I’ve probably had my best year for viewings since 2010, or maybe ever. Not necessarily on a case-by-case basis – I’d probably seen more A+s at this point in the game in 2013, certainly in 2012 – but as a whole this is a remarkably strong and varied selection and I hope to keep up this run throughout the rest of the year.

As usual, I'm sticking to the grade-school rubric for making value judgments:

A+ = masterpiece, instant inclusion on my "top films of all time" list
A = near-masterpiece
A- = superlative
B+ = very good
B = good
B- = fair with some bad qualities
C+ = so-so with significant bad qualities
C = bad qualities outweigh good
C- = bad with some redeeming qualities
D = awful with limited redeeming qualities
F = execrable

Here are the 100 films I’ve seen for the first time so far this year, ranked by letter grade:

01 Elle a passé tant d’heures sous les sunlights… (1985, Philippe Garrel) A+
02 The Long Day Closes (1992, Terence Davies) A+
03 In a Year of 13 Moons (1978, Rainer Werner Fassbinder) A+
04 Gertrud (1964, Carl Theodor Dreyer) A
05 Khrustalyov, My Car! (1998, Aleksei German) A
06 Timeless Bottomless Bad Movie (1997, Jang Sun-woo) A
07 Sombre (1998, Philippe Grandrieux) A
08 Crimson Gold (2003, Jafar Panahi) A
09 Romance (1999, Catherine Breillat) A
10 The Young Girls of Rochefort (1967, Jacques Demy) A

11 Children in the Wind (1937, Hiroshi Shimizu) A
12 The Aviator’s Wife (1981, Éric Rohmer) A
13 Baxter, Vera Baxter (1977, Marguerite Duras) A-
14 A Child in the Crowd (1976, Gérard Blain) A-
15 An Inlet of Muddy Water (1953, Tadashi Imai) A-
16 Where Is the Friend’s Home? (1987, Abbas Kiarostami) A-
17 La rupture (1970, Claude Chabrol) A-
18 Sound and Fury (1988, Jean-Claude Brisseau) A-
19 Jonah Who Will Be 25 in the Year 2000 (1976, Alain Tanner) A-
20 Akira (1988, Katsuhiro Ōtomo) A-

21 Goodbye First Love (2011, Mia Hansen-Løve) A-
22 Pari (1995, Dariush Mehrjui) A-
23 The Marriage of Maria Braun (1979, Rainer Werner Fassbinder) A-
24 Mommy (2014, Xavier Dolan) A-
25 The Wages of Fear (1953, Henri-Georges Clouzot) A-
26 M (2006, Ryūichi Hiroki) A-
27 Boyhood (2014, Richard Linklater) A-
28 Leila (1997, Dariush Mehrjui) A-
29 India Song (1975, Marguerite Duras) A-
30 Police (1985, Maurice Pialat) A-

31 The Enclosed Valley (1995, Jean-Claude Rousseau) A-
32 Sound Barrier (2005, Amir Naderi) A-
33 Fallen Angels (1995, Wong Kar-wai) A-
34 The Crowd (1928, King Vidor) A-
35 Le Horla (1966, Jean-Daniel Pollet) A-
36 Mauvais sang (1986, Leos Carax) A-
37 Simple Men (1992, Hal Hartley) A-
38 I Am Keiko (1997, Sion Sono) A-
39 American Dreams (lost and found) (1984, James Benning) A-
40 Utopia (1983, Sohrab Shahid-Saless) A-

41 In the Family (2011, Patrick Wang) A-
42 Hotel Monterey (1972, Chantal Akerman) A-
43 Alice (1988, Jan Švankmajer) B+
44 The Traveller (1974, Abbas Kiarostami) B+
45 Nachalo (1970, Gleb Panfilov) B+
46 Downfall (1997, Im Kwon-taek) B+
47 That Old Dream That Moves (2001, Alain Guiraudie) B+
48 A Single Girl (1995, Benoît Jacquot) B+
49 A Wife’s Heart (1956, Mikio Naruse) B+
50 Love Streams (1984, John Cassavetes) B+

51 O Sangue (1989, Pedro Costa) B+
52 A New Leaf (1971, Elaine May) B+
53 A City of Sadness (1989, Hou Hsiao-hsien) B+
54 The Yotsuya Ghost Story, Part 2 (1949, Keisuke Kinoshita) B+
55 River (2011, Ryūichi Hiroki) B+
56 Baptême (1989, René Féret) B+
57 Brief Encounters (1967, Kira Muratova) B+
58 Veronika Voss (1982, Rainer Werner Fassbinder) B+
59 Le camion (1977, Marguerite Duras) B+
60 Ivan the Terrible, Part I (1944, Sergei Eisenstein) B+

61 When a Stranger Calls (1979, Fred Walton) B+
62 White Beast (1950, Mikio Naruse) B+
63 Mary Jane’s Not a Virgin Anymore (1997, Sarah Jacobson) B+
64 Few of Us (1996, Šarūnas Bartas) B+
65 The Yotsuya Ghost Story, Part 1 (1949, Keisuke Kinoshita) B+
66 That Night’s Wife (1930, Yasujirō Ozu) B+
67 Thérèse (1986, Alain Cavalier) B
68 The Dreamlife of Angels (1998, Érick Zonca) B
69 There’s Always Tomorrow (1956, Douglas Sirk) B
70 La vie de bohème (1992, Aki Kaurismäki) B

71 She Was Like a Wild Chrysanthemum (1955, Keisuke Kinoshita) B
72 La perle (1929, Henri d’Ursel) B
73 I Was Born, But… (1932, Yasujirō Ozu) B
74 Beware of a Holy Whore (1971, Rainer Werner Fassbinder) B
75 The River Fuefuki (1960, Keisuke Kinoshita) B
76 Nathalie Granger (1972, Marguerite Duras) B
77 I Am an S+M Writer (2000, Ryūichi Hiroki) B
78 Metropolitan (1990, Whit Stillman) B
79 The Lady and the Beard (1931, Yasujirō Ozu) B
80 Apart from You (1933, Mikio Naruse) B

81 A Woman’s Place (1962, Mikio Naruse) B
82 Breaking News (2004, Johnnie To) B-
83 Where Chimneys Are Seen (1953, Heinosuke Gosho) B-
84 Times of Joy and Sorrow (1957, Keisuke Kinoshita) B-
85 The Merchant of Four Seasons (1971, Rainer Werner Fassbinder) B-
86 Drôle de drame (1937, Marcel Carné) B-
87 Son nom de Venise dans Calcutta désert (1976, Marguerite Duras) B-
88 The Nest (1980, Jaime de Armiñán) B-
89 Cake (2014, Daniel Barnz) C+
90 Tokyo Chorus (1931, Yasujirō Ozu) C+

91 Castle of Sand (1974, Yoshitarō Nomura) C+
92 Night Watch (2005, Edgardo Cozarinsky) C+
93 Love Like Poison (2010, Katell Quillévéré) C+
94 I Flunked, But… (1930, Yasujirō Ozu) C+
95 The Brady Bunch Movie (1995, Betty Thomas) C+
96 Cargo 200 (2007, Aleksei Balabanov) C
97 The Lightning Tree (2010, Ryūichi Hiroki) C
98 Summer Clouds (1958, Mikio Naruse) C
99 The Egoists (2011, Ryūichi Hiroki) C
100 God’s Comedy (1995, João César Monteiro) C-

No Ds or Fs, yet!

-----------------------------------------------------------
Some awards!

BEST PICTURE
* Elle a passé tant d’heures sous les sunlights…
Gertrud
In a Year of 13 Moons
Khrustalyov, My Car!
The Long Day Closes
---
06. Timeless Bottomless Bad Movie
07. Sombre
08. Crimson Gold
09. Romance
10. The Young Girls of Rochefort

BEST DIRECTOR
Catherine Breillat, for Romance
Henri-Georges Clouzot, for The Wages of Fear
Terence Davies, for The Long Day Closes
* Aleksei German, for Khrustalyov, My Car!
Jang Sun-woo, for Timeless Bottomless Bad Movie
---
06. Philippe Grandrieux, for Sombre
07. Xavier Dolan, for Mommy
08. Jan Švankmajer, for Alice
09. Leos Carax, for Mauvais sang
10. Richard Linklater, for Boyhood

BEST ACTOR
Hossain Emadeddin, in Crimson Gold
Kengo Kōra, in M
Antoine-Olivier Pilon, in Mommy
* Volker Spengler, in In a Year of 13 Moons
Charles Vanel, in The Wages of Fear
---
06. Patrick Wang, in In the Family
07. Charlie Wilson, in Sound Barrier
08. Yuri Tsurilo, in Khrustalyov, My Car!
09. John Cassavetes, in Love Streams
10. Walter Matthau, in A New Leaf

BEST ACTRESS
Élodie Bouchez, in The Dreamlife of Angels
* Inna Churikova, in Nachalo
Caroline Ducey, in Romance
Hanna Schygulla, in The Marriage of Maria Braun
Gena Rowlands, in Love Streams
---
06. Mireille Perrier, in Elle a passé tant d’heures sous les sunlights…
07. Nina Pens Rode, in Gertrud
08. Virginie Ledoyen, in A Single Girl
09. Marie Rivière, in The Aviator’s Wife
10. Elina Lowensöhn, in Sombre

BEST SUPPORTING ACTOR
Benoît Magimel, in A Single Girl
Seiji Miyaguchi, in An Inlet of Muddy Water
* Ali Mosaffa, in Pari
François Négret, in Sound and Fury
Khosro Shakibai, in Pari
---
06. Tōgō Yamamoto, in That Night’s Wife
07. Hiroshi Akutagawa, in An Inlet of Muddy Water
08. Michel Bouquet, in La rupture
09. Jacques Denis, in Jonah Who Will Be 25 in the Year 2000
10. Gérard Depardieu, in Nathalie Granger

BEST SUPPORTING ACTRESS
Chikage Awashima, in An Inlet of Muddy Water
Suzanne Clément, in Mommy
Françoise Dorléac, in The Young Girls of Rochefort
Anne-Laure Meury, in The Aviator’s Wife
* Haruko Sugimura, in An Inlet of Muddy Water
---
06. Imke Barnstedt, in Utopia
07. Marjorie Yates, in The Long Day Closes
08. Nina Ruslanova, in Brief Encounters
09. Maiko Hōjō, in An Inlet of Muddy Water
10. Chieko Nakakita, in White Beast

BEST ADAPTED SCREENPLAY
Children in the Wind, by Ryōsuke Saitō & Hiroshi Shimizu
* Gertrud, by Carl Theodor Dreyer
Khrustalyov, My Car!, by Aleksei German & Svetlana Karmalita
Love Streams, by Ted Allan & John Cassavetes
Pari, by Dariush Mehrjui
---
06. An Inlet of Muddy Water, by Toshirō Ide & Yōko Mizuki
07. The Wages of Fear, by Henri-Georges Clouzot & Jérôme Géronimi
08. La rupture, by Claude Chabrol
09. Le Horla, by Jean-Daniel Pollet
10. The Yotsuya Ghost Story, Part 1, by Eijirō Hisaita & Masaki Kobayashi

BEST ORIGINAL SCREENPLAY
Crimson Gold, by Abbas Kiarostami
Elle a passé tant d’heures sous les sunlights…, by Philippe Garrel
In a Year of 13 Moons, by Rainer Werner Fassbinder
Jonah Who Will Be 25 in the Year 2000, by John Berger & Alain Tanner
* Romance, by Catherine Breillat
---
06. The Aviator’s Wife, by Éric Rohmer
07. Mommy, by Xavier Dolan
08. The Marriage of Maria Braun, by Rainer Werner Fassbinder, Peah Fröhlich & Peter Märthesheimer
09. Leila, by Mahnaz Ansarian & Dariush Mehrjui
10. Nachalo, by Yevgeni Gabrilovich

BEST ENSEMBLE
* An Inlet of Muddy Water
Children in the Wind
Khrustalyov, My Car!
Nachalo
The Wages of Fear
---
06. Jonah Who Will Be 25 in the Year 2000
07. Utopia
08. Police
09. A Wife’s Heart
10. Timeless Bottomless Bad Movie

BEST ART DIRECTION & PRODUCTION DESIGN
A City of Sadness
Alice
* Downfall
I Am Keiko
Thérèse
---
06. Khrustalyov, My Car!
07. India Song
08. Gertrud
09. God’s Comedy
10. The Long Day Closes

BEST CINEMATOGRAPHY
Elle a passé tant d’heures sous les sunlights…
Khrustalyov, My Car!
* Sombre
The Long Day Closes
Veronika Voss
---
06. Mauvais sang
07. O Sangue
08. Thérèse
09. Downfall
10. When a Stranger Calls

BEST COSTUME DESIGN
Downfall
Gertrud
* India Song
Mommy
The Marriage of Maria Braun
---
06. The Young Girls of Rochefort
07. Metropolitan
08. The Long Day Closes
09. Ivan the Terrible, Part I
10. In a Year of 13 Moons

BEST EDITING
Khrustalyov, My Car!
Mauvais sang
Sombre
Sound Barrier
* Timeless Bottomless Bad Movie
---
06. The Wages of Fear
07. Mommy
08. Crimson Gold
09. A Single Girl
10. Romance

BEST MAKEUP & HAIR
Castle of Sand
Downfall
India Song
* Khrustalyov, My Car!
The Young Girls of Rochefort
---
06. The Long Day Closes
07. The Marriage of Maria Braun
08. The Yotsuya Ghost Story, Part 2
09. Gertrud
10. Veronika Voss

BEST SOUND
Khrustalyov, My Car!
* Sombre
The Long Day Closes
The Wages of Fear
When a Stranger Calls
---
06. Sound Barrier
07. India Song
08. Mauvais sang
09. Baxter, Vera Baxter
10. Mommy

BEST VISUAL EFFECTS
* Alice
Breaking News
La perle
The Long Day Closes
The River Fuefuki
---
06. The Yotsuya Ghost Story, Part 2
07. Le Horla
08. Cargo 200
09. The Yotsuya Ghost Story, Part 1
10. The Lightning Tree

-----------------------------------------------------------
Some stats!

My grades for the year:
A+ = 3 films
A = 9 films
A- = 30 films
B+ = 24 films
B = 15 films
B- = 7 films
C+ = 7 films
C = 4 films
C- = 1 film
D = 0 films
F = 0 films

My friend Matt was kind enough to put his math degree to good use and figure out some averages for me. Assigning a 0-1 value to each of the letter grades showed that every year since 2012 has had a GPA in the B range for their first 100 viewings, although this year’s is the highest yet at 0.686. To my surprise, last year – not my favourite, viewing-wise – came in second at 0.636 followed by 2012 (which I expected to top the charts) at 0.634 and 2013 at 0.628. 2012 was quite pear-shaped as far as viewing quality went, while both 2013 and 2014 petered out somewhat. Hopefully I can maintain this year as the one to beat.

So far I’ve seen films from 98 different directors representing 23 different countries, 2 of which are former sovereign states. 29 of these directors’ films are marking my first introduction to their work. 9 of these directors were female, 21 of them were POC.

I’ve been carrying out monthly viewing projects for six directors – Marguerite Duras, Rainer Werner Fassbinder, Ryūichi Hiroki, Keisuke Kinoshita, Mikio Naruse and my long-running reverse-chronological exploration of Yasujirō Ozu, whose work I have almost completed. Naturally, I have seen 5 films from each. Other directors from whom I’ve seen multiple films this year are Abbas Kiarostami and Dariush Mehrjui with 2 each.

I’ve seen films from 21 different countries:

26 films each from France and Japan
14 films from the USA
6 films from the former state of West Germany
5 films from Iran
3 films from the former USSR
2 films each from Belgium, Hong Kong, Portugal, the Russian Federation and South Korea
1 film each from Argentina, Canada, the former state of Czechoslovakia, Denmark, Finland, Lithuania, Spain, Switzerland, Taiwan and the UK

I’ve seen:

30 films in French
26 films in Japanese
15 films in English
6 films in German
5 films each in Farsi and Russian
2 films each in Cantonese, Korean, Portuguese and Spanish
1 film each in Czech, Danish, Min Nan and Tofalar
I also saw 1 film with no dialogue or intertitles

This is my first year where American films and films in English do not top these statistics.

I’ve seen:

0 films from the 1910s
2 films from the 1920s
8 films from the 1930s
3 films from the 1940s
9 films from the 1950s
6 films from the 1960s
18 films from the 1970s
17 films from the 1980s
20 films from the 1990s
8 films from the 2000s
9 films from the 2010s

Years from which I’ve seen multiple films:

1995 with 6 films
1997 with 5 films
2011 with 4 films
1953, 1971, 1976, 1988, 1989, 1992, 1998 and 2014 with 3 films each
1930, 1931, 1937, 1949, 1956, 1967, 1970, 1972, 1974, 1977, 1979, 1984, 1985, 1986, 2005 and 2010 with 2 films each

_________________
Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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