Yes, this.Trip wrote:Lore is wonderful.
Need to revisit.
He seemed to spend their entire time together sleeping with other women! Though, yes, he was connected to her in a way that he wasn't with anyone else. And double yes to the vividness. Anyway, a fantastic recommendation. Thank you! What did you think of the surreal bits? (Is it still time travel if people have fish heads?)charulata wrote:Also a love story above all else perhaps?
It's been too long since I saw The Wayward Cloud, but you might be right. I love it, anyway. And I'll look into Lightning, thanks.theaviator wrote:Mikio Naruse's Lightning fits the bill really well, though looking at your list you might be looking for something more stylized.
I wonder how most read the ending of The Wayward Cloud, but the way I read it it definitely counts as a "bleak, but with perks" movie.
Probably all among my top five.snapper wrote:will hopefully see I Hired a Contract Killer, The Match-Factory Girl and La vie bohème soon
Granted, but consider the similarly-renowned European names with infinitely more accessible work that have been neglected.Trip wrote:he's all finland has
Trip wrote:Drifting Clouds is the most perfect incarnation of his whole thing.
OK, thanks to snapper's prompting, I finally watched Drifting Clouds, and yikes! that was even bleaker than I expected. The comedy (which I mostly missed, as usual) is in the simple sets and deadpan expressions, I suppose. That, and the fact that they didn't actually eat their wallpaper, I guess. Haha? There's an air of gloom here that even warm colors and happy endings can't disperse. I absolutely loved Kati Outinen in this, by the way. Her performances are as physical as Buster Keaton's, since she doesn't show much on her face.Shieldmaiden wrote:I get the feeling that his Finnish-language films are a lot bleaker?
which one?Macrology wrote:Le Havre is the polar opposite of bleak. I'm personally a huge fan of Ariel. It contains one of my all -time favorite cinematic images.
The best.snapper wrote:The Match-Factory Girl is a fucking masterpiece
MrCarmady wrote: which one?
Haha! But, his other films seem more relaxed in their transcendence (from what I remember, anyway).snapper wrote:'straining for transcendence' should be the title of Tarkovsky's biography
Oh, snap.Izzy Black wrote:and Bresson's should be 'actually achieving transcendence'
I got the impression from that interview that he was maybe more inspired by Zweig's life than his fiction.* From the novels, I gather that he borrowed structure and theme, rather than atmosphere. (I think he Andersonized Fox, too. I just don't think he's interested in altering his tone for anyone.)MrCarmady wrote:not yet, and i haven't read the two books that anderson claims to have borrowed from, either. but it seems to me that unlike fox (which is probably my favourite anderson), there's little attempt to really reflect the author's atmosphere, which is in my experience far less whimsical and far more melodramatic and tragic. if you've seen letter from an unknown woman, you'll understand what i'm talking about
Tell me, please?Trip wrote:I've been reading some Zweig lately.
hallo. new & snooping.If you're ever in the mood for a bittersweet musical set in a haunted theater, I have the film for you. Half Goodbye, Dragon Inn, half Beetlejuice, Midnight Ballad for Ghost Theater has a goofy-nostalgic atmosphere that, surprisingly, works most of the time.
I’m not sure why I feel this desire to defend Wes Anderson, especially when the criticisms (like yours) are coming from a place of enjoying his films. Maybe the charm you feel is enough. Are other insanely visual directors expected to have something profound at the center? Is Greenaway? But, here I am, and, it turns out, I do think there’s something there, something that’s definitely not a vacuum. Exhibit A is, unfortunately, in my head: the way the film holds up over time. If the madcap structure doesn’t collapse, something is holding it up. Much has been made of the historical milieu, about Nazis and chopped-off fingers. And it is a very dark backdrop, but the comedy remains almost stubbornly lighthearted. Even the orange desolation of the once-great hotel offers little in the way of emotional foothold. What does stand out, as I mull it over, is Agatha. Though her character is peripheral (until the end), her image is the one I remember – covered in flour, listening on the roof. Unlike the hotel, she remains untouched by war and time, and the sadness of her story lingers when the Nazi capers fade. For me, nothing here quite competes with the personal failures and regrets at the heart of Life Aquatic. But Zero’s love for Agatha is more than enough to hold the nested layers together, and as mournfully nostalgic as anything I've seen in Anderson’s movies.katsu_kittens wrote:torn on the anderson question. i like his films. this feels sufficient to me, as though there's nothing to defend. but something itches, if only a bit. it's that absence, right? the sense that the (wonderfully enticing, almost entirely satisfying) marzipan filigree is arranged around a perfect vacuum. and yeah, much more present/absent in this film than the last couple. still: funny, charming, intoxicating for what it is. not sure it need be faulted for what it isn't. still itches though.