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 Adventures, follies. 
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omg with the avs


Wed Nov 28, 2012 4:38 pm
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im a good poster


Wed Nov 28, 2012 4:38 pm
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contemplative cinema
sensual cinema
alienation
quiet
slow
walking
and
walking
and
silence


Wed Nov 28, 2012 4:40 pm
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the best posts this thread has ever seen.

Also, movies with all of those things. All of them.


Wed Nov 28, 2012 4:41 pm
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Das wrote:
Maybe Gort can chime in on this in particular - can't help but wonder what exactly being a cinephile back in the days before the internet and home video was like.

I feel like this post lost it's way a bit, but fuck it. FILM DISCUSSION.
First of all - this is ageism.

Second of all, the 2000s will be known as the decade when artifice died. Or, part of it. Ifice survived.

Also, it's not really ageism.

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Wed Nov 28, 2012 4:43 pm
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Ifice will have to find a new partner.

We should help it out, poor thing.


Wed Nov 28, 2012 4:49 pm
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Das wrote:
Ifice will have to find a new partner.

We should help it out, poor thing.
Suff just won't suff...

EDIT: WORD FAIL

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Wed Nov 28, 2012 4:50 pm
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It'll just to suffice with a bit of edi in it's fice for now.

Until art decides it's not dead.


Wed Nov 28, 2012 4:53 pm
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Art changed its name to 'fictitious documentary'.

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Wed Nov 28, 2012 4:55 pm
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Rudely specific these days, really.


Wed Nov 28, 2012 4:59 pm
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Das wrote:
Rudely specific these days, really.
If your implication is that all cinema can be interpreted as 'fictitious documentary' - I would have a hard time sensibly labeling anything non-narrative as 'fictitious'. Maybe 'documentary of sound and image' and 'truly independent of notions of truth and falsity'.

The truth hurts, but mostly because it tends to be beaten over one's head.

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Wed Nov 28, 2012 5:07 pm
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DREDD [Pete Travis/2012]
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Truth be told, Judge Dredd, the 1995 Stallone version, and the comics are both childhood favorites of mine - this however, really did exceed my expectations of it. It has the kind of ugly violence and ambiguity of some of the best Dredd stories, and it's incredibly lean - rarely wastes time in its pacing, the film is nothing but efficient, but also suitably tense, and visceral to match the quick pace. The violence is also signifigantly harder edged than I thought it'd be going in, not that this is a complaint - it has an impact to it. And impact is something a lot of action films lack, there's no gravity, or threat to the setpieces, but here they do. The guns are loud and messy, the spew smoke and shells, shattering concrete and flesh alike in the film's action sequences. But it's not brutal to the point of being unenjoyable, it enjoys the fine balance between being grueling, and adding enough heft to the violence that it has a nice intensity to it. Also of note is the film's cinematography, which even in the bad Korean-subbed rip I saw, just had all kinds of interesting texture and depth to it - I can definitely see where it benefited from 3-d, as it's one of the first films I've seen that feels like it's shot in a manner to benefit from it - if only 3-d didn't give me a headache half the time - but regardless, I can appreciate the aesthetic choice here. Even in 2-d shots feel like they have a great sense of space, and the action is pleasantly clean in its movement. Definitely got a great deal of enjoyment out of this, one of the better films of the year, certainly.


Fri Dec 21, 2012 3:59 pm
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Just going to blind buy that fucker on blu.

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Fri Dec 21, 2012 4:03 pm
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Fist wrote:
Just going to blind buy that fucker on blu.

:up:

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Fri Dec 21, 2012 4:13 pm
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I haven't bothered with physical media for a few years now, but really why isn't there a legal download service? I'd pay for high quality files/packages - fuck the streaming shit.

I'd probably buy it on blu if I owned a blu player.


Fri Dec 21, 2012 4:21 pm
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Pardon my ignorance, but isn't that iTunes? I don't really use it, but it seems like iTunes. Though I know they wouldn't have much of what you'd want to buy, probably.

But yeah, Dredd was good fun. Loved the drugged-out visuals and the overall leanness, as you said. That actress from Juno is so hot.


Fri Dec 21, 2012 7:30 pm
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Derninan wrote:
Pardon my ignorance, but isn't that iTunes? I don't really use it, but it seems like iTunes. Though I know they wouldn't have much of what you'd want to buy, probably.

But yeah, Dredd was good fun. Loved the drugged-out visuals and the overall leanness, as you said. That actress from Juno is so hot.

I really don't trust in Apple's quality when it comes to digital media.


Fri Dec 21, 2012 8:20 pm
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Super [James Gunn/2010]
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Because evidently what I've been in the mood for is superheroes (not really, but still.). I don't know when this one slipped my mind, but I've been wanting to see Super for about 2-ish years now. Slither's my favorite horror film of the aughts, and generally, just one of my favorite films. Gunn's mix of deft humor and goopy violence is really sublime in that. So it's not shocking that Super touches on that from time to time. But it's missing something - namely, the space to breath and develop its little world - Slither rises above mainly because the better part of the first hour of that film is spent building the film's worlds and relationships, and by the time it kicks into gear we not only have a very tangible sense of the film's spaces, but also, reason to care, to invest in it. Super has a similar pace and structure- but it's a noticeably shorter feeling film, despite being about the same length as Slither. That said, it's far from without pleasures - characters are quite well formed, and for the first time in my life I can say I didn't scowl at Rainn Wilson appearing on screen - and his chemistry with Ellen Page's character - the way the characters bounce off each others insecurities is fucking wonderful - they're in essence, such sad, broken characters - yet I wanted to laugh with them, I wanted to cheer for them - despite the fact that their hideous bouts of violence are often self-centered, and gruesome. And Gunn's acutely aware of that, violence has always been a basis of his comedy's punchlines, the insult and the injury are the punchline. Ultimately both Frank (Wilson) and Libby (Page) are caught up in their own heads, unaware, and uncaring of the affect they might have on the outside world - at times, that outcome is funny, other times tragic, and brutal. But at the end of it, yes it has issues with tone and pace - but on the whole it's a funny, and sad comedy, one with a big pumping black heart at the center of it. This is a world aware of the futility, and egocentric nature of the comic book hero, but it can't help but want to believe in it for a while - no matter what end those heroes might meet. Definitely not what I expected, but certainly worth seeing.


Thu Dec 27, 2012 7:35 pm
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that movie looked terrible and i hate rainn wilson

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Thu Dec 27, 2012 7:38 pm
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B-Side wrote:
that movie looked terrible and i hate rainn wilson

Trailers did it no favors, and I don't normally like him either. But it's considerably less quirky (and bad) than those trailers made it out to be, and he's good in it.


Thu Dec 27, 2012 7:42 pm
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(rief, mildly intoxicated impressions below, excuse any errors for the time time being - correct it in the morning, something.)
Summer Wars [Mamoru Hosoda/2009]
Madhouse, perhaps most known to me for Tatami Galaxy, although more specifically the work of Masaaki Yuasa in animation style and vivid plotting worked on this, as a result it's outright lovely, and incredibly imaginative (also, fluid in a really lovely way I REALLY appreciate in animation), it deals with a burgeoning, accidental relationship contextualized and strengthened through a dominant VR system that's seem to overtake the globe, like a Facebook of the future, with quasi-physical qualities - it's in these sequences that the film's imaginative visuals really bloom, offering context for the film's 'reality' and being generally enjoyable sequences by themselves. I greatly enjoyed the whole thing though, but I can't say I really comprehended it all - whether it remains good when not viewed through the pleasant haze of vodka and multiple beers or not I'll have to decipher tomorrow on a second, more focused viewing.

Total Recall [some schmuck/2012]
This however, stunk. A boring action film full of potentally really cool effects and no creative application of those effects, it's best moments are the ones that directly ape the vastly superior, and far more fun Verhoeven effort - Beckinsale and Farrel are done up too pretty and in a shallow manner to ever be good characters, where at least in the 90's film you had the fun of Arnold hamming up the place - I didn't really think I'd miss his screen presence ever, but I absolutely did here, he wasn't a great actor, but he had a charisma to him that made him enjoyable to watch in the Verhoeven effort. The main character is a glib, boring fucker. Humorless, soulless Hollywood garbage. Also, I wanted to go to Mars, and they never went to Mars. Fuckers.

Good and bad to start off 2013, nothing too heavy, but I didn't want heavy tonight. Happy new years.


Tue Jan 01, 2013 2:10 pm
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summer wars is lots of fun.


Tue Jan 01, 2013 4:36 pm
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roujin wrote:
summer wars is lots of fun.

Quite!

I really like how seamless a lot of the really out there VR stuff is with the plot that's taking place in the countryside - the introduction is really quite wonderful as well - how it just jumps into the meat of the story within its first 10 minutes, setting up so many important elements of the film without the viewer ever really realizing it. Great sense of how to frame and draw attention to elements.


Tue Jan 01, 2013 6:51 pm
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yep, summer wars is really fun but also so gorgeously evocative of family stuff. My 2013 plans totally include more anime.

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Tue Jan 01, 2013 6:56 pm
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charulata wrote:
yep, summer wars is really fun but also so gorgeously evocative of family stuff. My 2013 plans totally include more anime.

Definitely, I'll be watching it again and getting a proper piece of writing about it done tomorrow - It deserves a bit more than my half-drunk rambling on it. Total Recall '12 however deserves nothing more.

What series/OVA/films? if you've got any particular plan for what to watch.


Tue Jan 01, 2013 7:01 pm
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Das wrote:
What series/OVA/films? if you've got any particular plan for what to watch.

The Melancholy of Haruhi Suzumiya + Kaiba + Honey and Clover.. but am also inviting recs!

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Tue Jan 01, 2013 7:08 pm
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charulata wrote:
The Melancholy of Haruhi Suzumiya + Kaiba + Honey and Clover.. but am also inviting recs!

Big fan of all those.

Tatami Galaxy if you haven't seen it is definitely worth seeing - best series I watched for the first time last year.


Tue Jan 01, 2013 7:11 pm
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I haven't.. so added to list!

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Tue Jan 01, 2013 7:12 pm
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Post a Mad House double feature! of sorts

Summer Wars [Mamoru Hosoda/2009] (take 2)
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A gorgeously rendered piece of animation, but that was my expectation - it not only coming from Madhouse, but Hosoda who was responsible for The Girl Who Leapt through Time (also, he did some work on Digimon, remember that show from the 90's?, more on that later, it's mildly relevant.) anyway, I admire a lot about this, but I think it's worth noting just how wonderfully full the film's opening sequences are - subtly setting up the film's major elements without ever feeling like introduction - it's full of intricacies and little details that come into greater light as the film progresses - incidental details that flourish into greater elements - it doesn't reveal the fullness of its character in a single go, but blossoms out - allowing quirks and flaws to build up. At the center of the film is both the social media aspect, in OZ, which is like a facebook of the far-future, and the family dysfunction of Natsuki, which offers up a tableau of Terayama-esque qualities, the sequence and motion of conversation wildly tilting and ricocheting into a rich mass of humanity - similarly, it's full of rich observation and detail about those people, the film is able to render qualities of characters within moments of their introduction, sometimes by simply design, other times by tone. But the film has a keen eye for establishing character.

The film's other great strength is its intricacies, how it intertwines such disparate elements so quickly, seamlessly building up detail after detail. It makes interaction incredibly enjoyable to watch, as each exchange tends to offer and hint at deeper qualities, of characters, of others – all the while making sense of this vivid digital space that also exists. The way the famial element and more overtly fantastic elements come together is wonderful.

Hells [Yoshiki Yamakawa/2008]
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The more I see of Mad House, the higher my expectation for quality seems to go. This has very little to do with Summer Wars, but it's also from the depths of Mad house's animation team - it's a wildly different style, the thick, imperfectly drawn lines of the animation only aiding the film's utterly wild energy - the screencaps of the film looked wild, but truthfully, they don't do it justice - it's utterly unhinged, unfettered by normal logic - it's the wild spilling over of the artist's imagination, rushing out into the screen, with its highly distorted, wildly stylized aesthetic decisions. But here it's not simply aesthetic, but also the form of the narrative, its introduction a vulgar, and humorous representation of angels, babies, with their privates protruding mildly out of focus into the viewer's face, while they discuss death with a flaming skull - from there, our main character is then hit by a truck and proceeds to go to school, seemingly unbothered that as far as we know, she's seemingly transitioned into hell itself. Hell, in the film is a kind of cultural spill-over, a fascinating mixture of cultural reference rendered across rough, texturally rich abstracts, in a lesser film, this would be a point of detraction, but the director's handling of the matter is lovingly subversive, transfering many of Japan's iconic character designs straight into the bowels of hell itself - this isn't to say that the film's design is derivative, while undeniably containing homage to cultural iconography, the film is overwhelmingly unlike anything you've likely seen - a mixture of abstraction and distinctly Japanese punk aesthetic, its closest cousin the early, counter-culture Doujin style mangas of the early 1960's, imbued with a vulgar, but undeniable commitment to subversion and parody. A unique film. A film worth seeing - albeit one I'd recommend with the caveat that there's a lot of reference and humor that might be missed without a fairly topical knowledge of popular Japanese media outside of film.


Fri Jan 04, 2013 4:07 pm
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Damn, Hells looks great.


Fri Jan 04, 2013 4:17 pm
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both takes of Summer Wars... :fresh:


Fri Jan 04, 2013 4:30 pm
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I love Summer Wars and Hosoda in general.

Need to see Hells

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Fri Jan 04, 2013 5:13 pm
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Has only Spengo seen Wolf Children? Do want to see that, as Girl who Leapt Through Time is really good as well.


Fri Jan 04, 2013 5:20 pm
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Mutable Fire [Erotic Psyche aka Bradley Eros/1984]
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A confusing, disturbing, but ultimately worthwhile piece of avant-garde cinema, it's almost instantly impactful, with the image of a newborn child, umbilical attached and an eyeball under surgery filtered through layers of filters and VHS fuzz - the sound worms its way in and out of channels, screams pepper the distance - about as aggressively disturbing as a film can get, but it's a hypnotic kind of disturbance, despite the shock of the image, I'm still compelled to move forward, see what comes out of the image - what permutation and association it takes on next. And for a film that operates in such wide abstraction, its point seems clear, the images of news, of culture rip across the screen, distorted, looped - and the eye is held open under the knife, the child screams, another child seems to be having a seizure - its purpose seems to exist in juxtaposition, underlying unthinking, force-fed images with the eyes (sight) and unthinking, crying youth (impression) - and that's simply within the short's first 2 minutes. It evolves more, more taking on the artist's fascination with the dulling impact of culture, the images are horrifying, yet as a viewer, I don't necessarily feel repulsion - but fascination, there's a clearly rendered degree of separation, the images aren't simply filtered through the lens of the camera(s) but even further through fragmentation and filtration. The images feel ancient, like found fossils of some past civilization, one unphased, and muted by images of death, of oddity.


Sat Jan 05, 2013 3:17 am
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that sounds great. Getting it.

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Sat Jan 05, 2013 5:14 am
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Willow wrote:
that sounds great. Getting it.

Let me know what you think of it! and Hells, if you're grabbing that in the freeleech.

I think my goal for this year is at least one movie a day for the entire year.


Sat Jan 05, 2013 5:35 am
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I'm not sure If I'll get to Hells before the freeleech is over, but I do have it bookmarked. Mutable Fire is stuck at 5% right now but I'm sure it will pick back up once one of my other torrents finishes.

I'll post something about both once I get around to them. I haven't watched anything yet this year. Mutable Fire might even be my first film of 2013 if it finishes soon.

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Sat Jan 05, 2013 5:54 am
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Loulou [Maurice Pialat/1980]
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Admittedly, my experience with Pialat is quite limited, only Van Gogh - but Loulou is fascinating to me - it's a film of definite humanity, but not in the idealistic sense of the word - its romance and tangible experience are colored as much by ugly, petty emotions as they are by a slight, uniquely french tinge of nostalgia and iconography for the French lover and rebel. Loulou, the film's rooted in the experience, moving scene to scene, filtering through moments as life as they were. In a lot of ways, Pialat's link to the new wave feels tangible here, while not imbued with the romanticism and overt love of cinema - its feeling, and nostalgia feels filtered through a similar lens, albeit one with less sentiment than his 60's peer. There's a frankness in the film's observation I admire, the film's characters are tangibly authentic, and with that authenticity, we get petty jealousies, and very troubling undercurrents. It's not always a comfortable film, but good art doesn't need to be. This is cinema drawn from life, and cinema not content to filter out the uglier parts of life, and love. The age of the actors is of interest to me - I don't think I've ever seen Isabelle Hupert look so young - it's not an observation normally worth pointing out, but it makes the sexuality, and her character more fascinating for it, this plays as a visual contrast with Gérard Depardieu's Loulou - With loulou, Huppert's character seems to cast a more youthful light, in her scenes with Andre (Guy Marchand) her youth seems slightly faded. The percieved difference in the age might not be an intentional contrast - but it's certainly one of interest to me. A play of the light, and a painterly touch - one of my few expectations of Pialat heading into the film. An interesting mileau, not always compelling to me but like life, an interesting mixture of short-sighted observation and insight inferred from the past.


Sat Jan 05, 2013 6:31 am
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Das wrote:
Mutable Fire [Erotic Psyche aka Bradley Eros/1984]


That's a good one, mister, there's this film on this internet called sodom by luther price, you may want to see this film, you may not want to see this film, here's a poem.

If I lived a thousand years ago
I'd probably be running half naked
in the scorching sun
over jagged rocks
ripping open the bottoms of my feet
and tearing off my toes.

Blood-curdling screams behind me
A tribe of men chasing me
If they caught me
they'd probably chop my head off

If I lived two thousand years ago
I'd walk for months through the desert sand
with no food or water
I'd be OK until someone came by
and chopped my head off

If I lived three thousand years ago
In France, Italy, Texas, or Japan
I'd probably be so cold and small
if somebody ever found me
they'd definitely cut off my head

If I lived four thousand years ago
and hid long enough I'd be OK
as long as I talked to myself out loud
and scribbled something on a wall
every once in awhile
No one would chop my head off then
and I would be safe
as long as I hid long enough

If I lived five thousand years ago
I'd probably still be hiding ...

If I lived six thousand years ago
I don't know what I'd be doing

If I lived seven thousand years ago from now
I'd probably be taking a quiet walk
across Lake Michigan
until somebody decided it would be a good idea
to cut off my head


Sat Jan 05, 2013 6:54 am
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Where's all the other ds, yo?


Sat Jan 05, 2013 6:55 am
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I must admit I was mildly bewildered by that post at first - but after a look, Sodom's indeed a film I want to see.

Also, where do I go next with Pialat, We Won't Grow Old Together, The Mouth Agape? I just remembered I have seen À nos amours, but that was a long time ago. That one worth revisiting?


Sat Jan 05, 2013 7:01 am
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That would be Pinhead's first post here. :)

That one is worth revisiting, I'd say. Those two options are good, if not my favorite of his. But I don't know, you can't really go wrong and his (feature) filmography is relatively small.


Sat Jan 05, 2013 7:19 am
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pinhead's here now?


Sat Jan 05, 2013 8:02 am
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roujin wrote:
pinhead's here now?

You tell me.

I'll probably be watching one more film today, and I went through the old entries and resized caps so the entire thread is nice and all the right size. Also, finally did up a banner.


Sat Jan 05, 2013 8:41 am
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Das wrote:
Also, finally did up a banner.

I like it; what's it from? Tineye wasn't any help to identify.

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Sat Jan 05, 2013 8:44 am
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A shot from Lucifer Rising, famous, great short film by Kenneth Anger.


Sat Jan 05, 2013 8:46 am
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Das wrote:

Also, where do I go next with Pialat, We Won't Grow Old Together, The Mouth Agape? I just remembered I have seen À nos amours, but that was a long time ago. That one worth revisiting?

I love all 3.. A nos amours best of all but y, can't go wrong with them.

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Sat Jan 05, 2013 9:07 am
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Sodom [Luther Price/1989]
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Sodom bares some similarity to Mutable Fire - however, it's not quite as effective in its experiment to me, a retelling of a biblical tale contextualized through incredibly graphic, frank sexual intercourse cut and chopped into a whirling rhythm, faces disperse between serene and mutilated states, - footage intercutting what's mostly a completely repurposed piece of gay pornography - against a looped chorus. Violent images, or at least, my perception of violent images flash across the screen at certain intervals, however, I can't be sure, as the film obscures the images with effect, rotting film and blurred state - is the violence more a result of association or is it what I think it is? It's certainly visceral - but I guess the problem I have with this is that unlike Mutable Fire, which is a continuous stream of image, this functions more in cyclical functions, building patterns of footage to hypnotic effect, but with not as much impact as I'd have liked. However,it's certainly worth seeing, as like most notable avant garde efforts, its really unlike anything you've ever seen before. A worthy experiment. Part of me can't help but wonder that is this one of those that benefits greatly in a space where you can let the sound and image lull you into a state of synesthesia. Thanks for the recommendation Pinhead, it was worth seeking out.


Sat Jan 05, 2013 11:27 am
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Post Re: Adventures, follies.

das kicking ass

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Please TRIP and Die


Sat Jan 05, 2013 11:34 am
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Post Re: Adventures, follies.

Trip wrote:
das kicking ass

I wish it was always freeleech, because if I keep up the pace I'm at now I might have over 100 new films to watch by the end of it.

I skimmed several off your year end list, I might watch Across the Everglades tonight.


Sat Jan 05, 2013 11:40 am
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