Shieldmaiden wrote:But, really, bookmarks, people!
I have a leather bookmark that my mother gave to me once, and she got it from my grandmother when she was young, I think.
Colonel Kurz wrote:I have a leather bookmark that my mother gave to me once, and she got it from my grandmother when she was young, I think.
Shieldmaiden wrote:Ha. I'll be waiting.
And, this, yes. Perfect.Notes from Underground wrote:Everybody's part Chase, part Perkus, I think. Just to varying degrees.
You have a good thread over there. Index and all!Rock wrote:I post mostly on Rotten Tomatoes and expanded my internet presence recently.
Shieldmaiden wrote:The Tenant is hilarious and truly disturbing, crazy entertainment with a satisfying density of detail and theme that makes rewatches rewarding. Polanski himself plays Trelkovsky as a wonderfully complex character, pathetically eager to please, yet strong enough to stand up for what he believes in, comic and tragic in equal measure. He lives in a world just slightly odder than our own, mundane, but menacing, peopled with ridiculous (but familiar) figures determined to pull him into their complicated troubles and feuds. Strangest of all is his apparent willingness to play along, to listen too carefully, to serve as the scapegoat they're all looking for. There's more than a little Kafka here, as he joins the absurd battle-in-progress in his new building, and there's a dose of de Palma, too, as the psychological stress takes its toll and we begin to question whether his paranoia is justified. Polanski is truly perfect in this role, attractive and silly by turns, likable to the end, even as he succumbs to the crazy plot, a fate written by a lunatic in a nightmare.[/box]
One of Kuchar’s few feature-length works is this ribald pastiche to postwar Hollywood melodrama, that period when the studios were trying very hard to be adult. The intricate, overheated plot involves a nurse trapped in an unhappy marriage who escapes the big city in search of greener pastures in Blessed Prairie, Oklahoma. Swerving from earnest homage to dark satire, Kuchar simultaneously imitates and savages the legacy of Sirk, Preminger and Minnelli that inspired him, gleefully intertwining the suggestive and the scatological, while also pointing towards the later postmodern parodies of Cindy Sherman. The Devil’s Cleavage is also a rich time capsule of 1970s San Francisco, replete with cameos from Curt McDowell and Art Spiegelman.
Yeah, I just checked his IMDb page.Philosophe rouge wrote:I can't keep up with him.
I'll be sure to check it out when it's released here in 2018.roujin wrote:I liked Himizu a lot.
I have only very hazy ideas. He's comparing life to a contest, obviously, something you have to work at, and need other people for. Which makes me think about his family, of course, but also Seven (who, together with Juan, seems to represents Mexico in some way I haven't come to grips with yet).plain wrote:also, what's your take on the film's final line? love the sudden abruptness; have some ideas of my own, but eager to read what others think.
Sokurov grinds up better lenses than that and eats them for breakfast!hirtho wrote:but cmom Sokurov scoffs at that lens!!!!
Adorable! I love how every single thing in this movie is comic and poignant at the same time.JediMoonShyne wrote:How about that restaurant scene with the fish?
I get the feeling that his Finnish-language films are a lot bleaker? Anyway, Drifting Clouds is next.Trip wrote:Adore Aki.
Shieldmaiden wrote:I get the feeling that his Finnish-language films are a lot bleaker? Anyway, Drifting Clouds is next.
She’ll always have a special place in my heart (and my history as a
cinephile), yet I’ve never really given her her due in this thread. It's
time to correct that! This is just a quick overview of things I’ve said
elsewhere about her films, in the order in which I love them.
of hers I saw. Her use of music and visual rhythm is
spectacular here, and the whole film is shot through with
piercing longing and regret. Am I the only one who still thinks
this is her masterpiece?
This one is a seed she plants in your mind, that grows until it's
all you think about, until you've watched it three more times,
until you find what might possibly be a handle-like projection
sticking out just enough to get your thoughts around. And, it's
worth all the effort!
This loving homage to Ozu’s Late Spring is Denis at her most delicate, as she uses fleeting expressions and tiny details to paint a father-daughter relationship that might have seemed too good to be true, but is made absolutely believable by her wonderful actors. This is such a likeable little family (and circle of friends), that I wanted to live there with them, or, at least, watch a longer movie about them. Sequel!
This feels like a bit of a departure for her, though whimsy's not so far removed from the playfulness of her editing and endings. Still, this one's clearly a fairy tale, set in a bewitching nighttime Paris, in which we watch our heroine struggle through a claustrophobic traffic jam until a charming stranger helps her escape. Denis steers us with small, perfect gestures (just as the characters do each other) until we, too, achieve a joyful escape from our mundane lives.
This one's a dark, seductive noir that slides us easily, almost imperceptibly, into its world until we're lost in a depressing maze of evil and desire and infinite regret.
I love the way Denis begins with the neighborhood, and seems to settle on Boni’s story only when it takes an interesting turn on camera. We get a vivid picture of his lonely days spent lusting after the local baker’s wife and longing for a type of life that's out of his reach. But, when his sister provides him with a problem to solve, he changes before our eyes, energized by a very different type of obsession.
I love this moody, thoughtful collage of disparate lives and overlapping stories. Camille is astonishingly played by Richard Courcet in his first role. But, Yekaterina Golubeva is also perfect, as our way into the mileu (an insomniac outsider, coldly observing the lives around her) and as a kind of foil to Camille (since she’s constantly being tempted to trade on her looks and youth the same way he does).
This lovely, semi-autobiographical film about a French girl growing up in Camaroon revolves around adult relationships and sexual tension, but the heart of the movie is the sweet, believable friendship between the girl and an African servant. With a minimum of dialogue, Denis uses insightful shot composition and the wonderful actor, Isaach de Bankole, to help us understand the complicated dynamics of colonial Africa.
Alex Descas and Isaach de Bankole give terrific performances as two men struggling to survive in the dangerous world of cockfighting. This is such a claustrophobic movie of close-ups, tiny rooms and limited human interaction. As you'd expect from Denis, the real action is not in the cockpit, but in conversation and glances, intense atmosphere, and a strong sense of doom.
More snapshot than story, this lovely little film gives us a poignant glimpse into the lives of a brother and sister in suburban France in the sixties. A musical clip would be more effective than a blurb for this one, so I'll just say it gets the teenaged restless energy and longing to grow up just right.
Another adaptation of a difficult book. I hate to be unfair, so I need to get this out up front: I'm not a fan of Juliette Binoche. (I know, I know!) Still, I think my problem with this one is probably in the novel. Our 'free-spirited' protagonist is alternately passive and petulant, and so easily led that the final scene with the psychic is hardly necessary to drive home the point. I can see we're supposed to love her anyway. I just... didn't.
Her third movie set in Africa, this one's still filtered, Denis-style, through one woman’s perceptions and memories, but this time it’s really about the place more than the person. Maria’s unhappy family struggle to survive as the country falls apart. But, in the end, they’re completely absorbed by their environment, emotional guerrilla fighters in a war of chaos and madness.
Though her films often deal with horrors, this is an outright horror film, albeit one packed with metaphor and food for thought within its overlapping stories of desperation. Beatrice Dalle is amazing here, looking young and scared one minute, and like a ferocious animal the next. It's hard for me to appreciate this one fully (around the gore), but the tension as the characters struggle for control is powerful stuff.
This documentary about French dancer and choreographer Mathilde Monnier explores the artist's drive and process. It ends especially well, with an beautiful solo by Monnier. I was pleasantly surprised to see Jean-Luc Nancy, the philosopher whose memoir inspired L'intrus; one of Monnier's productions, Alliterations, is based on his writings, and actually uses him on stage.