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 JediMoonShyne's [World Championship of Film] II 
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Post Re: JediMoonShyne's [World Championship of Film] II

I concur. Have so already, in fact.

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Tue May 10, 2011 11:33 pm
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Image Angela Schanelec's Passing Summer dwells on the detached lives of several people living in Berlin and the varying emotional crises they experience over the course of one warm, moody German summer. Valerie (Ursina Lardi) is a writer in her early thirties who has just moved to the city, and whose close friend Sophie (Nina Weniger) is about to leave for a work placement in Rome. Once her friend has left, Valerie tentatively embarks on an affair with Thomas (Andreas Patton), a local man who has recently divorced his wife and been left to care for their four-year-old son. While still finding her feet in this new relationship, Valerie's life is suddenly turned upside down when her father is rushed to hospital.

Image Based on the novel Tamama by Greek author Georgios Andreadis, Yeşim Ustaoğlu's third feature Waiting for the Clouds tells the story of an elderly woman named Ayşe (Rüçhan Çalışkur), who lives in Trebolu, a small village on the north coast of Turkey, with her ailing older sister Selma (Suna Selen). When the Turkish war of independence ended in the twenties, Greek people were forcefully deported from the country, but many - such as Ayşe and Selma - took the huge risk of remaining in Turkey under fabricated identities. Fifty years later, with the death of her sister and recent political upheaval once again threatening to uncover her true ethnic past, Ayşe travels back to Greece in search of her long lost brother.

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Image Upon watching German actress-turned-director Angela Schanelec's recent Afternoon and, now, her earlier Passing Summer, it strikes one how oddly accessible her most impressive film, Marseille, really is. Schanelec uses the same quietly understated, observational stance in Marseille as she does in both Afternoon and Passing Summer, the difference being that there is really only one subject in the former: Sophie, played by Maren Eggert, who is young German woman vacationing alone in the titular, southern France location. Schanelec's patient camera follows every step of Sophie's lazy wandering around the city, and is there to document - through long, unwaveringly static takes - an awkward meeting at a bar, or her emotional outpouring when being questioned by police after being attacked. The latter two films, by contrast, document the lives of a host of different subjects, all of which are given the same respect and opportunity to develop as characters. As such, we notice gaping holes in each character's advancing narrative - Valerie's affair is given very little exposure, for example - which makes our understanding all the more fragmented and gradual. Passing Summer, which could and has been likened to the work of Yasujirō Ozu for its gentle, unassuming capturing of human moments in detail, or even that of Hong Sang-soo for its splintered narrative structure, does however pose a few important questions that are perhaps beyond Marseille. Questions such as: "What kind of person am I?", "Where is my life headed?", or "Who can I truly confide in?" Questions that its characters reluctantly contemplate as the sun slowly sets on another sultry summer.

Image Nostalgia, which is a word that originates - rather ironically, in this case - from the Greek word 'Nostos' meaning to return home, is certainly a recurrent theme in contemporary Turkish cinema. From Semih Kaplanoğlu's aforementioned Egg to such slightly more mainstream titles as Serdar Akar's Offside, the approach is very similar. It is an approach founded on a strong remembrance of and connection with the past, and one that brings together such elements as identity, childhood, belonging, suffering and loss. Just as with Nejat İşler's character in Egg, here the protagonist returns to a place from her past, and it is a place that - given her recent loss and generally repressed existence under an intolerant Turkish government - evokes a happier, more innocent time. Many have spoken of an identity crisis in modern-day Turkish society, and films such as Waiting for the Clouds will therefore - given the director's deft handling of Nostalgia and all that this word constitutes - appeal to the public's collective consciousness. Yet another Turkey/Greece connection that can be drawn from Waiting for the Clouds is its noticeable kinship with the work of Theo Angelopoulos - indeed, Turkish co-scripter Petros Markaris has been working closely with the Greek director since the early seventies. The more glaring of these similarities are, once again, to do with the recurring themes of identity and loss, the brittle clashing of cultures and search for a lost loved one - something that Angelopoulos has explored on many an occasion. The difference being that Ustaoglu places less emphasis on the journey itself, and more on the effect it has upon her aged protagonist.

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Tue May 10, 2011 11:46 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

I'm totally in the mood for something like Passing Summer.

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Tue May 10, 2011 11:49 pm
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Trip wrote:
I'm totally in the mood for something like Passing Summer.

Watch it!

Then we can, you know, talk about it n' stuff.

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Tue May 10, 2011 11:53 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Semifinals (which I will miss, most likely, but luckily this competition doesn't require my involvement anymore :P)!
I must admit, I haven't seen this one, so can't discuss it unlike the previous two. Grabbing some Schanelec now, though.
I thought you drew the Herzog since you were showing up as a seeder of it on KG :P
Now, will my final quarterfinal prediction come true?!


Wed May 11, 2011 12:01 am
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Post Re: JediMoonShyne's [World Championship of Film] II

I remember seeing and liking Waiting for the Clouds when it first came out. In fact, I wrote a review about it then. It's in Dutch though, so useless to almost everybody here...

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Wed May 11, 2011 12:07 am
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At least Jedi doesn't have to inconsistently attempt to type Turkish names with the correct diacritics anymore.

I should watch Passing Summer. The only Schanelec film I've seen is Nachmittag, which isn't so trendy.


Wed May 11, 2011 2:26 am
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JediMoonShyne wrote:
While still finding her feet in this new relationship, Valerie's life is suddenly turned upside down when her father is rushed to hospital.
This makes it sounds deceptively dramatic, though! Seriously, I'm pretty sure I've never seen a movie that had less dramatic structure. And I'm including documentaries and Tsai Ming-liang. It really feels like we're just "passing time" with all the people whose lives connect with Valerie's in some way that summer. I enjoyed it, in case that's not clear. There are definite moments of payoff. For example, you could barely tell that she and her brother were related most of the time. Then they go to the club and there's the great scene where he makes fun of her dancing, then gets out on the dance floor and matches her, move-for-move.

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Wed May 11, 2011 3:40 am
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Circus Freak wrote:
At least Jedi doesn't have to inconsistently attempt to type Turkish names with the correct diacritics anymore.

I should watch Passing Summer. The only Schanelec film I've seen is Nachmittag, which isn't so trendy.

:(

I tried to use the glyph letters for the title graphic but it wouldn't let me. Something about the font not being Turkish enough.

And you should watch Marseille first. So pretty.

Image Image
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Wed May 11, 2011 3:52 am
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Punch-Drunk Love vibes from those screenies. *freeches*

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Wed May 11, 2011 4:07 am
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Mod Hip wrote:
Punch-Drunk Love vibes from those screenies.

God, I hope not.


Wed May 11, 2011 4:11 am
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MrCarmady wrote:
God, I hope not.

PDL's flavor comes very much from its movement, where those shots look as though they're more or less static... but then, I'm talking completely out of my ass because, due to my not having seen "Marseille" and those stills being, well, still, I have no clue.

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Wed May 11, 2011 4:18 am
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Post Re: JediMoonShyne's [World Championship of Film] II

Love it.


Wed May 11, 2011 4:25 am
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JediMoonShyne wrote:
And you should watch Marseille first. So pretty.
Marseille is terrific!

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Wed May 11, 2011 4:28 am
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Mod Hip wrote:
*freeches*

My word has been embraced!

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Wed May 11, 2011 5:43 am
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JediMoonShyne wrote:
I tried to use the glyph letters for the title graphic but it wouldn't let me. Something about the font not being Turkish enough.

I just found it amusing that you had Kaplanoğlu but not Ustaoğlu and İşler but not Yeşim or Ayşe.

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And you should watch Marseille first. So pretty.

Marseille didn't eliminate me. And Passing Summer came first, you chronology-crusher.


Wed May 11, 2011 6:06 am
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Circus Freak wrote:
Marseille didn't eliminate me. And Passing Summer came first, you chronology-crusher.
You watched Sokurov backwards for me...

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Wed May 11, 2011 6:12 am
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JediMoonShyne wrote:
Image Image
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*licks the screen*


Wed May 11, 2011 6:13 am
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Circus Freak wrote:
you chronology-crusher.

Hey, you're the one who recommended me a film from Kaplanoğlu's trilogy. :P

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Wed May 11, 2011 6:18 am
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Watch everything out of order always.

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Wed May 11, 2011 6:19 am
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Shieldmaiden wrote:
This makes it sounds deceptively dramatic, though! Seriously, I'm pretty sure I've never seen a movie that had less dramatic structure. And I'm including documentaries and Tsai Ming-liang. It really feels like we're just "passing time" with all the people whose lives connect with Valerie's in some way that summer. I enjoyed it, in case that's not clear. There are definite moments of payoff. For example, you could barely tell that she and her brother were related most of the time. Then they go to the club and there's the great scene where he makes fun of her dancing, then gets out on the dance floor and matches her, move-for-move.

Ha, yes, that was me filling in the gaps somewhat. Besides, what are synopsises for, if not making films sound deceptively dramatic?

Seriously though, as I touched on above, there's a distinct difference between Passing Summer and Marseille in that the former seems a lot less concerned with narrative structure or progression. Schanelec almost uses the absence of each character, or each character's lack of expository scenes, to help develop them. We don't follow Sophie to Rome on her placement, which is probably an important sequence in her life, but with one short scene (the café, with the stranger who asks her for a cigarette) we can imagine exactly how it went.

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Wed May 11, 2011 6:42 am
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JediMoonShyne wrote:
Ha, yes, that was me filling in the gaps somewhat. Besides, what are synopsises for, if not making films sound deceptively dramatic?
To be fair, it's sort of hard to say anything about this one without implying structure. Even my description of the dance-floor scene is probably deceptively dramatic!

Quote:
Seriously though, as I touched on above, there's a distinct difference between Passing Summer and Marseille in that the former seems a lot less concerned with narrative structure or progression. Schanelec almost uses the absence of each character, or each character's lack of expository scenes, to help develop them. We don't follow Sophie to Rome on her placement, which is probably an important sequence in her life, but with one short scene (the café, with the stranger who asks her for a cigarette) we can imagine exactly how it went.
I agree about the difference. As strange as Marseille's narrative choices are, it has a definite structure. And, while I liked the voyeuristic nature of Passing Summer, I didn't feel that I learned very much about the characters. The Sophie bookend scenes are probably my favorite part: her hopes before the trip, her disappointment afterward. (Plus, her name is Sophie, and she fantasizes about a new life, speaking another language, saying "Goodbye Germany." It's like a screenplay being written before our eyes.)

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Wed May 11, 2011 7:17 am
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JediMoonShyne wrote:
Hey, you're the one who recommended me a film from Kaplanoğlu's trilogy. :P

Because it was the only one of the three you hadn't seen. Why? Because you watched them out of order in the first place, see. Not that I give a shit, I'm just looking for a reason to attack you and an excuse not to watch Marseille. Why? Because you've confused me.


Wed May 11, 2011 7:29 am
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JediMoonShyne wrote:
I'm trying!

It's getting difficult with all these earthquakes, though.

I knew those were going to cause problems for you. :(

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Wed May 11, 2011 11:23 am
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Shieldmaiden wrote:
(Plus, her name is Sophie, and she fantasizes about a new life, speaking another language, saying "Goodbye Germany." It's like a screenplay being written before our eyes.)

Completely missed this parallel, too. :oops:

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Wed May 11, 2011 3:10 pm
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MrCarmady wrote:
I thought you drew the Herzog since you were showing up as a seeder of it on KG :P

Yeah, I've just been grabbing anything that interests me, since it's free-leech and all.

Also, grabbing recommendations that I didn't get to watch, both from this WCoF and the last one.

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Thu May 12, 2011 4:47 pm
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Just want it to be over for the top 10.

You should make a top 10 once you've watch every film that was selected. I don't know how big an ask that is, but I'm sure you wouldn't be too far off doing it for the first thread.

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Thu May 12, 2011 5:23 pm
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Trip wrote:
Just want it to be over for the top 10.

You should make a top 10 once you've watch every film that was selected. I don't know how big an ask that is, but I'm sure you wouldn't be too far off doing it for the first thread.

Too many films, not enough time!

That goes for the free-leech, too.

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Thu May 12, 2011 5:59 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

It scares me just how closely related some of the films that get drawn are, but this next match-up has to be the scariest yet.

As a nice prelude, here's a cutting from the April 11, 1994 edition of New York Magazine:

Image

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Thu May 12, 2011 7:08 pm
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Two posts in a row, what a loser. Etc.

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Thu May 12, 2011 11:55 pm
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Image
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Image Zhuangzhuang Tian's The Blue Kite is split up into three separate chapters - titled Father, Uncle and Stepfather - which are used to capture several integral moments of political reformation during the 1950s and 1960s. Loosely, they represent the Hundred Flowers Campaign, the Great Leap Forward and finally the Cultural Revolution. Set in Beijing, the story is told from the perspective of Tietou who, as the film progresses, we see grow from a mischievous toddler (Tian Yi), into a curious youngster (Wenyao Zhang) and eventually a difficult juvenile (Xiaoman Chen). The Blue Kite was banned in China after director Tian shot the film using a different script to the one which had been previously approved by censors.

Image Preceded by A Summer at Grandpa's and succeeded by Dust in the Wind, Hsiao-hsien Hou's autobiographical A Time to Live, a Time to Die is the middle film in a loose coming-of-age trilogy. Covering the years 1947-1960, it tells the story of Ah-hsiao, who moves from mainland China to Taiwan at an early age when his father takes up a temporary position working for the government. Unlike his elder relatives, Ah-hsiao quickly adapts to life in the Taiwanese countryside, which in turn dissociates him somewhat from his extended family. Thanks to the Communist takeover of the mainland and his father's poor health, Ah-hsiao's stay on Taiwan soon becomes permanent, much to the distress of his grandmother.

Image
Image The kite, when considered in a general sense, is an object that inspires feelings of freedom and flight. When flying a kite, we ourselves are essentially up there among the clouds, navigating the flowing air currents with a certain reckless abandon. For those living in a world of social oppression and political trauma, then, such an object must surely be cherished as a form of escape. At least, this is what one would expect. In Zhuangzhuang Tian's The Blue Kite, however, people are rarely seen playing with this titular object. Indeed, the blue kite belonging to our young protagonist Tietou gets caught in a tree branch towards the beginning of the film and is left there for its duration, so as to perhaps symbolise a loss of innocence in fifties China. Indeed, as events unfold; as Tietou grows older and comes to inherit different, increasingly incomplete father figures, the snagged kite quietly observes everything from its lofty perch, battered by the winds and rain as the years fly past. By the end, as Tietou is lying on the floor outside his house, a brief glance up at the kite sees that it has come to represent a tattered but honest account of recent history, unlike the propagandist political flyers that hang elsewhere, fluttering from street lights and trees alike. The Blue Kite, while boasting a fairly rigorous plot structure, is punctured by small, human moments of relief throughout that serve to lighten the load somewhat. It is quite clearly - and ironically, in this case - influenced by Hsiao-hsien Hou's A Time to Live, a Time to Die in that it is content to observe where others attempt to exploit. There is also a meditative aspect here that diverges strongly from other Fifth Generation Chinese cinema such as the films of Chen Kaige and Zhang Yimou.

Image Shot on location in the neighborhood and house in which Hsiao-hsien Hou grew up, A Time to Live, a Time to Die is certainly the director's most personal film to date. Unlike his New Cinema co-founder Edward Yang, Hou didn't have the privilege of being trained at a film school overseas, so was, during the conception of this trilogy, deceptively ignorant of world cinema and its trends - quite ironic then, given early critics' hastening to compare his work to that of Yasujirō Ozu. One thing Hou did have however was life experience, particularly on what it was like to grow up in a rapidly changing Taiwan, all of which was then pooled into his work to give a resounding level of authenticity. Perhaps the most interesting character in A Time to Live, a Time to Die, aside from Hou's self-representative young protagonist, is that of the grandmother, whose addled and insistent attempts to return to the mainland on foot - one of which ends, tellingly, when she becomes distracted by a tree full of native fruit - are symbolic of the general arc of forgetting the past that Hou's characters go through. Another and recurring theme in Hou's work is that of a dominant father figure, which the character of Ah-hsiao loses here at a young age. Therefore, while Hou points out during his initial voice-over that this is a film about a son's impressions of his father, it is clearly inspired by the absence rather than the presence of this influential figure in his life. Just as Ah-hsiao's father dies, as does his mother and, eventually, his grandmother. As each of these members of the older generation passes away, another frayed link with the family's Chinese past is severed, eventually leaving Ah-hsiao to care for his younger brothers and sisters.
Image
Image

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Fri May 13, 2011 12:15 am
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Post Re: JediMoonShyne's [World Championship of Film] II

yesss!


Fri May 13, 2011 12:39 am
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Post Re: JediMoonShyne's [World Championship of Film] II

Hou best.

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Fri May 13, 2011 12:59 am
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Holy shit I didn't even realize I'm still in this baby! Let's go Czeckosloblablabla!


Fri May 13, 2011 1:58 am
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Post Re: JediMoonShyne's [World Championship of Film] II

I was 4 days old when that article was published. Wahey.
All quarterfinal predictions correct, huh.
1. Czechoslovakia vs Hungary
2. Germany vs Taiwan

Winner of Match 1 vs Winner of Match 2


Fri May 13, 2011 2:51 am
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Post Re: JediMoonShyne's [World Championship of Film] II

czechoslovakia doesn't even exist.


Fri May 13, 2011 3:30 am
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Post Re: JediMoonShyne's [World Championship of Film] II

Magic Fister wrote:
Hou best.

Rank 'em?

Image

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Fri May 13, 2011 4:43 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Not Fister, but:

A Time to Live and a Time to Die
City of Sadness
Summer at Grandpa's
Dust in the Wind
Flowers of Shanghai
Flight of the Red Balloon
Goodbye South, Goodbye
Millennium Mambo
Good Men, Good Women
The Puppetmaster

Top four make Hou the director of the 80's.


Fri May 13, 2011 6:20 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

ugh, greatest

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Fri May 13, 2011 6:26 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Flight of the Red Balloon
A City of Sadness
A Time to Live and a Time to Die
Cafe Lumiere
Dust in the Wind
Millennium Mambo
Flowers of Shanghai
Three Times
Goodbye South, Goodbye

Have The Puppetmaster and Good Men on computer somewhere.

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
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Fri May 13, 2011 11:22 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Damn that would have been tough to beat. :(


Sat May 14, 2011 2:59 am
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Post Re: JediMoonShyne's [World Championship of Film] II

Oaktown wrote:
Damn that would have been tough to beat. :(

Especially since one film so heavily influenced the creation of the other!

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Sat May 14, 2011 3:41 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

I like The Blue Kite.

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Like Someone in Love (Kiarostami, 2012) 4/10
Killing Them Softly (Dominik, 2012) 2/10
The Wonderful World of the Brothers Grimm (Pal/Levin, 1962) 6/10
The Dark Past (Mate', 1948) 7/10
New Rose Hotel (Ferrara, 1998) 3/10


Sun May 15, 2011 5:59 am
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Post Re: JediMoonShyne's [World Championship of Film] II

soitgoes... wrote:
City of Sadness
Magic Fister wrote:
A City of Sadness
Both of you having this so high makes me sad. I've wanted to see it for so long. Tony Leung! :(

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Sun May 15, 2011 6:29 am
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Post Re: JediMoonShyne's [World Championship of Film] II

Shieldmaiden wrote:
Both of you having this so high makes me sad. I've wanted to see it for so long. Tony Leung! :(

I kind of expected more people to have Red Balloon higher on their lists.

Most Europeans I've spoken to prefer it by a large margin, usually followed by Café Lumière and Millennium Mambo.

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“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

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Sun May 15, 2011 4:40 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

JediMoonShyne wrote:
I kind of expected more people to have Red Balloon higher on their lists.

Most Europeans I've spoken to prefer it by a large margin, usually followed by Café Lumière and Millennium Mambo.

Millennium Mambo and Cafe Lumiere are my favorites! But you can tell I'm not European because I didn't love Red Balloon. And, of course, I don't have access to any of his early films.

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Wonder Woman ▪ The Running Man ▪ Mohabbatein ▪ Veer-Zaara ▪ Guardians of the Galaxy Vol. 2 ▪ Pierrot le fou ▪ Highway ▪ Leningrad Cowboys Go America ▪ Band Baaja Baaraat ▪ Rab Ne Bana Di Jodi ▪ Jab We Met

Voyage | Female Gaze | MACBETH | Sokurov | Fassbinder | Greenaway | Denis | Book Shelf


Sun May 15, 2011 9:21 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Shieldmaiden wrote:
Millennium Mambo and Cafe Lumiere are my favorites! But you can tell I'm not European because I didn't love Red Balloon. And, of course, I don't have access to any of his early films.

Didn't love it, or hated it? :P

Binoche is probably my favourite working actress; I love her dizzy, blonde turn in Red Balloon.

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“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

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Mon May 16, 2011 4:25 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Red Balloon omg

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Mon May 16, 2011 4:34 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

Trip wrote:
Red Balloon omg

omg is right.

I grabbed Lamorisse's film in HD over the weekend, too.

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“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

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Mon May 16, 2011 4:44 pm
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Post Re: JediMoonShyne's [World Championship of Film] II

JediMoonShyne wrote:
Didn't love it, or hated it? :P

Binoche is probably my favourite working actress; I love her dizzy, blonde turn in Red Balloon.
I was indifferent. Binoche is kind of blind spot for me. I like her... sometimes.

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Wonder Woman ▪ The Running Man ▪ Mohabbatein ▪ Veer-Zaara ▪ Guardians of the Galaxy Vol. 2 ▪ Pierrot le fou ▪ Highway ▪ Leningrad Cowboys Go America ▪ Band Baaja Baaraat ▪ Rab Ne Bana Di Jodi ▪ Jab We Met

Voyage | Female Gaze | MACBETH | Sokurov | Fassbinder | Greenaway | Denis | Book Shelf


Mon May 16, 2011 8:53 pm
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