Too histrionic for my taste, and I know it was the whole point of the story, but, I adore Carole Lombard but in this one She was so annoying I couldn't enjoy the film. People keep telling how on point was John Barrymore in here, but as Lombard it was bothering hear and see so much drama, wailing and complaining.
Love these lines from Carol Lombard's character:
quote:
Lily Garland:
—That's the trouble with you, Oscar. With both of us. We're not people, we're lithographs. We don't know anything about love unless it's written and rehearsed. We're only real in between curtains.
And yup, that happens to everybody, feeling and comparing to some of the greatest scenes in Cinema, or the beauty in lines from a story in a book; we might as well being educated from all of these mediums, we might as well feel not so real, not so adept to love, not so knowledgeable in human behavior, clumsy at human relations, or unable to find meaning in our lives, at times...
Film noir always evokes an atmosphere driven by its witty dialogues, and The Petrified Forest finds its place in it in its own right by using a contained setting to develop its story, I read it was conceived as a stage play and I totally can see they maintained that through the film.
Also watching and listening to Humphrey Bogart delivering his lines is such a delight. But for me Bette Davies as Gabby Maple was a little bit off in her performance which is odd coming from Mrs Davies.
Instead of choosing a line from Duke Mantee (Humphrey Bogart) I chose one from the very first interactions between Gaby and Alan;
quote:
Alan Squier:
—The trouble with me, Gabrielle, is I, I belong to a vanishing race. I'm one of the intellectuals.
Gabrielle Maple:
—That, that means you've got brains!
Alan Squier:
—Hmmm. Yes. Brains without purpose. Noise without sound, shape without substance.
Great cast, it was fun to watch with the exception of the final act, it got tedious at the very ending, BUT none the less is far superior than most of heist movies, loved how they managed to incorporate great music to every scene. Music felt just like another character.
Great little film, the script was spot on and gives a powerful voice to muslim people in America. The story happens to be a political one but it doesn't feel as it, it is just tender and innocent.
The palette of colors are stunning, I was amazed by the level of saturation in colors used so contrasting with the whole trama. The dreamlike look on Denevue was true perfection! And the music, my god! Loveliest score!
And the drama, the heartbreak, the disillusion, the hopes that are not met that's how one make a romantic musical... I'm looking at you Chazelle *wink, wink*
That was soooo meta! It was funny, sardonic, and extremely clever! Best ending possible for the story.
Pretty well written, omg I'm kinda feeling guilty in not including my bf in the screening of this one, perhaps I'll see The Player all over again with him.
I enjoyed the cameos so much, Jack Lemon, Peter Falk, Malcom McDowell, and the posters, I loved the inclusion of those posters!
Can a propaganda film result in a work of art? Yes, it can, you just have to call the best at it, Mikhail Kalatozov managed to put the communist cause to the center, making it look inviting. The four stories he presents us invite us to feel the tragic ways of capitalism, the pain of corruption, and the abuse of power. That continues today more than ever, only that it is destroying us in a more subtle way.
Definitely an experience, I was reluctant to watch this film because of all of the backlash even knowing that I have a soft spot for Malick's pieces, however I loved its pacing, the daring decisions he usually takes storywise, the bold camera work. And in that, The New World proved to be no different than his other works.
For me, the first part of the story was shot in the best way posible, allowing us as audience to feel immerse in every shot, the camera work manages to let us feel included in the characters' points of view. Lubezki showed us the level of craftsmanship he has in himself. Q'orianka Kilcher achieved an engaging and powerful portrayal, now I cannot imagine this film without her. Lastly, the use of music was exquisite as well.
Basically, the only issue I have is not with the film itself, but with the source material, I cannot trust the conquistadores' point of view to be accurate and as tender in real life, but we'll never know, but for me is just common sense, colonialism was never respectful, nor gentle, nor even thoughtful in its approach.
Addressing the fact that it should not take 3 hours to tell that story, some time ago I read that Hindi movies were so long because moviegoers in India wouldn't go unless they felt that the value of their money was reflected in the final runtime of the film, I don't know if that's entirely true but surely I'd prefer to watch a film focused more in content that in runtime.
The scene in the nightclub with the dancing was great, it was like watching a fancy music video, great dance moves, it was fun to watch. But my favorite was the scene were Sid is painting Tara.
The acting is over the top for my taste, and I feel off in stating that the notions of stereotypical romance depicted in the film are outdated and sexist, but hey the whole industry in the world is just like it in terms of romantic comedies, right?
It had a few good moments, I liked the relationship between Sid and Tara, they could definitely make a statement out of that plot but they chose to go safe on that.
I kept thinking about Black God, White Devil but I couldn't gathered the right thoughts on it at first. For me discovering this film makes clearer the way Brazilian Cinema has become one of the most prolific and true to its own context cinemas in the world. I really believe that once an art manages to emancipate from the chains of the mainstream culture begins an honest art-form that is difficult to evade.
I must admit that I had to pause the film in order to get some of the terms used trying to get the most from it. I had issues with the ample of the religious themes, but being from México another country in Latin America that has its history re-written in clerical ink gives me the notion the manner in which catholicism has permeated the Latin American countries' culture, and how was set to control the mind and acts! of the oppressed.
The very first shots are overwhelming, we're being forced to grasp the world of the common folk, the amount of work to produce food for a day. To truly know these people's town through their quests, to learn about their struggle with corruption, fake prophets and their search for purpose, or simply a different life.
The narrative is quite beautiful put, like a modest parable presents the story of Manoel who after killing his dishonest boss leave his home with Rosa, in his search for peace and justice stumbles upon with two different forces, the first from the "realm of god", a leader who promises a land full of everything the sertão is lacking, but the cost to it includes acts of utter violence; the second one offering to fight the system but with no honor, both asking for blind obedience and servitude. In the middle is Rosa, the voice of reason that we rarely give the credit deserved. The arc of Manoel and Rosa ends just how it began with they leaving behind everything they know, everything we came to know, with nothing but uncertainty about their future. Perhaps that's the commentary Rocha is offering us, that in a putrid system it is no good to trust rigid and tyrannical figures, and sometimes that in which we attribute power is leaving us empty.
For me the cinematography felt as a part of the narrative, the overexposed takes are fascinating, the contrast between black and whites makes you feel the rawness of that arid space the characters are into.
Perhaps is not a film for everybody not because the author made the effort to distance its oeuvre for a 'type of moviegoers' conceivably it has more to do with how we're used to learn only about our own struggles without reaching beyond the familiar, if you choose to ignore the history of other countries and detach yourself from their struggle surely you'll find this film 'boring', I think is time to learn about each other and be sensible about it.
Politics at the core of this intense and emotional depiction of fraternal love, support and the search for 'the' truth...
And sometimes dismantling the intricate apparatus of power is of not use, perhaps a depressing view but an accurate one, as Marianne's dubious dead hints.
Apart from the dark glimpse on systems of power in modern society that the film shows, it was such a delight to enjoy the astonishing performances of these two women, the casting of their younger selves (as teenagers and little girls) was spot on. I could relate better with Juliane's approach to women's right conviction, but something tells me that perhaps to achieve greater advances Marianne's fire for the cause is what is needed at times. For me, Marianne's conviction as an adult, and cheeky behavior as a young woman was enticing and contagious, but Juliane's gentle soul was lovely and engaging, the cause for her is built from woman to woman, with sorority at the center, supporting each other, establishing strong bonds, and for that same reason I think her role is even a little more hopeful.
I don't get how people could find this a 'boring' film, I liked it, and even enjoyed it a lot, but yeah I thought that level of unpreparedness in action seemed uncanny for a kid born in that dystopian environment, I kind of get how the Man tried his best to keep the Boy innocent and with a good heart, that was part of his idea behind telling him tales of goodness of a forgotten world but I guess at least for me there's the virtue of innocence and incorruptibility and there's naiveté and inexperience, I don't think is room in the world depicted in The Road for the latter.
Great cinematography, I imagine the difficulty in shooting the whole picture, and as always Viggo Mortensen giving us an amazing performance.
Ahorita la que recuerdo montones es Redes (1936), cuando la vi rompió todos los esquemas de cómo me imaginaba el 'pasado' del cine mexicano, aparte para la época me hizo sentir que estaba mirando una pieza de neorrealismo italiano, además la música de ese filme lo compuso Silvestre Revueltas, así que hay más de una razón para verla, ¡ah!, y crítica social detrás. No es perfecta, pero hay muchos elementos que a mis ojos la hacen imprescindible.
https://www.icheckmovies.com/profiles/godpepper/ shared a fitting article about this groundbreaking short film, it is a Foucaldian view of the film and I'm quite sure Jean Genet will approve such words, the new link is here:
Unfortunately is in Spanish but I'm trying my best to translate a few words of the article that I think shed an important light on the film:
quote:
...el carcelero no tiene más poder que el de la violencia. La luz que sus ojos arrojan sobre los presos corriéndose no es más que un panóptico que desearía poder ser algo más que un gran ojo vigilante. La polla de un preso tiene más poder que la pistola, que solo aparece como farsa, y el deseo se reparte horizontalmente, de celda a celda, mientras el guarda las recorre con la vista, sin poder de intervención. la vida siempre está más allá del mecanismo
que
el verdadero poder está en la arquitectura. se construye la cárcel y sobre su relieve se construye la vida. el uso del dildo es, en este caso, el uso de las paredes, de los cigarros, de las manos, de las rejas. el espacio dividido, los cuerpos repartidos en el espacio, el arquitecto pintando las soledades en un lienzo, el sexo nace entre las paredes como el bebé nace entre el idioma que habla su madre
que
nosotrxs también tenemos la mano entre las piernas
y
hay que averiguar qué arquitectura nos separa y cómo hacer agujeros en las paredes
quote:
...the prison guard has no more power than that of violence. The light his eyes cast on the prisoners come is no more than a panopticon and he wished it could be more than a vigilant eye. The cock of a prisoner has more power than his gun, which only appears as a farce, and the desire is distributed horizontally, from cell to cell, while the guard walks it with the view, without any power of intervention.
Life is always beyond the mechanism
that
The true power is in architecture. The prison is built and life is built on its skirts. The use of the dildo is, in this case, the use of the walls, the cigarettes, the hands, even the bars. Divided spaces, bodies scattered in those spaces, the architect is painting the solitudes on a canvas, sex is born between the walls, as the baby is born between the language spoken by his mother
We also have our hands between our legs
and
We have to figure out what type of architecture separates us and how to make holes in the walls.
Perhaps is not the best translation I could do, I'm used to read Foucault mainly in Spanish, so I couldn't quite grasp the terms used in the English translations of his works, which are present in the Spanish article presented by GodPepper.
Loved the film, I truly enjoyed it and think it was way ahead of time, the content of the story is revolutionary, its use of symbolisms is hypnotic and alluring, the utilitarian camera work and detailing of the story just makes richer the experience of this amusing canción de amor.
The British Board of Film Censors famously reported that the film was "so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable"
I wonder if the fact that this was the work of a female director influenced people of that time to dismiss the importance of this particular piece.
Just with a little research we can find Dulac's political views about gender, thus for me is quite clear the intention behind this film, and perhaps we can have second guesses about the symbols used in it, but her questioning the church, the state and male sexuality and the positioning of women at that time was groundbreaking. Which is sad, because if not but that huge dismissal, this could be catalogued easily as the very first surrealist film of all times, BEFORE Buñuel-Dalí's 'A Chien Andalou' and don't get me wrong I enjoyed it, but even Buñuel stated that he didn't put any meaning behind it, it was just a dream put into film so why the double standard?
Loved the ideas behind The Seashell and the Clergyman, it was great to bump into this film, for it was an amusing discovery!
Loved the initial take, I loved Jànos definition of immortality, however I somehow deceived myself into thinking that was the kind of 'ride' Tarr was taking us which he never does, he's true to himself and avoids formula, avoids giving the audience what we think is appropriate and in doing so he manages to create an honest, truthful and refreshing cinema.
I'm not going to say I understood Werckmeister Harmonies, but there were ideas behind it such as how easy is to disrupt the quietness in life or of a culture/community in the presence of 'bright' new notions, views or acts.
However, after watching some interviews from Mr Béla Tarr I have the sense that 'making a statement' out of his stories is never his purpose, perhaps he's just trying to portrait life as he perceives, and being not only factual but also sincere in how narrative tends to display in real life.
I'm sure I will be trying to watch Werckmeister Harmonies for a third time, trying to catch more details, trying to pin things out even when Béla has already said that's not his idea of cinema...
The only "flaw" I could think of is that in catching moments on camera, and getting the audience (me) immerse in the story was a task better achieved in Sátántangó, it was easier for me to enjoy and lose myself in the moments captured in Sátántangó than in Werkmeister.
It was an arresting ride, it took me by surprise as I didn't read anything about the plot before watching the film, Barry Jenkins did an exceptional job with the pacing of the story, it was so intuitive to the different storylines, the interaction between characters is a result of that pacing, and for me the acting felt real, organic, it seemed muted at times but I think it was part of telling a story that resonated with that particular community.
Moonlight reminded me of In the Mood for Love a lot, that pacing, that stepping almost quietly between scenes, between storylines, it was glorious to watch. And the fact that the story is relevant more than ever makes it a huge achievement too.
Love and praises and I truly hope that Moonlight catches the eyes of more people, this is the type of cinema the industry has to rescue and encourage. These type of stories, honest and humble ones.
Hitchcock managed to make a great thriller out of a confined type of story. Can you imagine watching a group of people so different between them in a boat being entertaining and even exciting? I couldn't!
I also liked how the story is capable to question at some level how people can stay true to themselves and to maintain their values or not in such horrific conditions.
Most of the time I avoid and HATE documentaries, never the less the wittiness of Agnès is amazing, in an un-sensationalistic way portrays how capitalism is taking a huge toll even in first-world countries by the amount of food wasted everyday.
The stories depicted by some of the 'new' type of gleaners are tender, overwhelming at moments and so entertaining.
I loved the medium She chose, the grittiness in the photography made me feel like I was watching something recorded by some friend of mine, it was so personal and even kind of funny watching a great director using a commercial digital videocamera. The hip-hop music next to classical music was a delight also.
Oooh my! An amazing and exquisite piece of art, the vivid colors, the silhouettes created are beyond words, the story telling is bold for its time and tender at the same time
I don't agree with naturalistic interpretations anymore, after reading some Foucault; Freudian and 'human condition' or 'human nature' takes on storytelling feel outdated to me.
Nevertheless Ingmar Bergman's creations and mind are the result of his own context, his stories are fully dressed in those type of interpretative means, Sawdust and Tinsel is one of those! and as dark as it gets it is a work of art.
Even though I choose to avoid those naturalistic views I must say that all those hideous characters Bergman created are a caricature of a human being in total despair but what is truly amazing at least for me, is "how power is everywhere... because it comes from everywhere", and that's the root of 'all evil', 'insanity', 'corruption', 'abuse’, etc. by watching every character’s arc we can analyze how power operates in every encounter they have with each other, from Anne to Frans and viceversa, or Agda with Albert, Albert to Anne, Frost and Alma, et al. what amazes me is how much a little amount of power can corrupt us if we invisibilize our own privileges over others, ‘human decay’ is the result of a society driven by power and control of each other.
As a whole, the film is amazing... As usual the cinematography created by Nykvist is overtaking, photography and the treatment of whites are purposely alienating, also the story can be read in two ways, the traditional way or with a deconstructive view, I chose the latter.
Comments 1 - 25 of 74
Movie comment on Twentieth Century
AdGuzman
Too histrionic for my taste, and I know it was the whole point of the story, but, I adore Carole Lombard but in this one She was so annoying I couldn't enjoy the film. People keep telling how on point was John Barrymore in here, but as Lombard it was bothering hear and see so much drama, wailing and complaining.Love these lines from Carol Lombard's character:
And yup, that happens to everybody, feeling and comparing to some of the greatest scenes in Cinema, or the beauty in lines from a story in a book; we might as well being educated from all of these mediums, we might as well feel not so real, not so adept to love, not so knowledgeable in human behavior, clumsy at human relations, or unable to find meaning in our lives, at times...
Movie comment on The Petrified Forest
AdGuzman
Film noir always evokes an atmosphere driven by its witty dialogues, and The Petrified Forest finds its place in it in its own right by using a contained setting to develop its story, I read it was conceived as a stage play and I totally can see they maintained that through the film.Also watching and listening to Humphrey Bogart delivering his lines is such a delight. But for me Bette Davies as Gabby Maple was a little bit off in her performance which is odd coming from Mrs Davies.
Instead of choosing a line from Duke Mantee (Humphrey Bogart) I chose one from the very first interactions between Gaby and Alan;
Movie comment on Baby Driver
AdGuzman
Great cast, it was fun to watch with the exception of the final act, it got tedious at the very ending, BUT none the less is far superior than most of heist movies, loved how they managed to incorporate great music to every scene. Music felt just like another character.Movie comment on Ghosts... of the Civil Dead
AdGuzman
Claustrophobic, raw, a film about penitenciary system, prison “life”, abuse of power, with Nick Cave!Movie comment on My Josephine
AdGuzman
Great little film, the script was spot on and gives a powerful voice to muslim people in America. The story happens to be a political one but it doesn't feel as it, it is just tender and innocent.Movie comment on Les parapluies de Cherbourg
AdGuzman
The palette of colors are stunning, I was amazed by the level of saturation in colors used so contrasting with the whole trama. The dreamlike look on Denevue was true perfection! And the music, my god! Loveliest score!And the drama, the heartbreak, the disillusion, the hopes that are not met that's how one make a romantic musical... I'm looking at you Chazelle *wink, wink*
Movie comment on Miss Sloane
AdGuzman
Great screenplay, such a powerful performance from Jessica Chastain!Movie comment on The Player
AdGuzman
That was soooo meta! It was funny, sardonic, and extremely clever! Best ending possible for the story.Pretty well written, omg I'm kinda feeling guilty in not including my bf in the screening of this one, perhaps I'll see The Player all over again with him.
I enjoyed the cameos so much, Jack Lemon, Peter Falk, Malcom McDowell, and the posters, I loved the inclusion of those posters!
Movie comment on Soy Cuba
AdGuzman
Can a propaganda film result in a work of art? Yes, it can, you just have to call the best at it, Mikhail Kalatozov managed to put the communist cause to the center, making it look inviting. The four stories he presents us invite us to feel the tragic ways of capitalism, the pain of corruption, and the abuse of power. That continues today more than ever, only that it is destroying us in a more subtle way.Dazzling camera work as well.
Movie comment on The New World
AdGuzman
Definitely an experience, I was reluctant to watch this film because of all of the backlash even knowing that I have a soft spot for Malick's pieces, however I loved its pacing, the daring decisions he usually takes storywise, the bold camera work. And in that, The New World proved to be no different than his other works.For me, the first part of the story was shot in the best way posible, allowing us as audience to feel immerse in every shot, the camera work manages to let us feel included in the characters' points of view. Lubezki showed us the level of craftsmanship he has in himself. Q'orianka Kilcher achieved an engaging and powerful portrayal, now I cannot imagine this film without her. Lastly, the use of music was exquisite as well.
Basically, the only issue I have is not with the film itself, but with the source material, I cannot trust the conquistadores' point of view to be accurate and as tender in real life, but we'll never know, but for me is just common sense, colonialism was never respectful, nor gentle, nor even thoughtful in its approach.
Movie comment on Dil Chahta Hai
AdGuzman
Addressing the fact that it should not take 3 hours to tell that story, some time ago I read that Hindi movies were so long because moviegoers in India wouldn't go unless they felt that the value of their money was reflected in the final runtime of the film, I don't know if that's entirely true but surely I'd prefer to watch a film focused more in content that in runtime.The scene in the nightclub with the dancing was great, it was like watching a fancy music video, great dance moves, it was fun to watch. But my favorite was the scene were Sid is painting Tara.
The acting is over the top for my taste, and I feel off in stating that the notions of stereotypical romance depicted in the film are outdated and sexist, but hey the whole industry in the world is just like it in terms of romantic comedies, right?
It had a few good moments, I liked the relationship between Sid and Tara, they could definitely make a statement out of that plot but they chose to go safe on that.
Movie comment on Deus e o Diabo na Terra do Sol
AdGuzman
I kept thinking about Black God, White Devil but I couldn't gathered the right thoughts on it at first. For me discovering this film makes clearer the way Brazilian Cinema has become one of the most prolific and true to its own context cinemas in the world. I really believe that once an art manages to emancipate from the chains of the mainstream culture begins an honest art-form that is difficult to evade.I must admit that I had to pause the film in order to get some of the terms used trying to get the most from it. I had issues with the ample of the religious themes, but being from México another country in Latin America that has its history re-written in clerical ink gives me the notion the manner in which catholicism has permeated the Latin American countries' culture, and how was set to control the mind and acts! of the oppressed.
The very first shots are overwhelming, we're being forced to grasp the world of the common folk, the amount of work to produce food for a day. To truly know these people's town through their quests, to learn about their struggle with corruption, fake prophets and their search for purpose, or simply a different life.
The narrative is quite beautiful put, like a modest parable presents the story of Manoel who after killing his dishonest boss leave his home with Rosa, in his search for peace and justice stumbles upon with two different forces, the first from the "realm of god", a leader who promises a land full of everything the sertão is lacking, but the cost to it includes acts of utter violence; the second one offering to fight the system but with no honor, both asking for blind obedience and servitude. In the middle is Rosa, the voice of reason that we rarely give the credit deserved. The arc of Manoel and Rosa ends just how it began with they leaving behind everything they know, everything we came to know, with nothing but uncertainty about their future. Perhaps that's the commentary Rocha is offering us, that in a putrid system it is no good to trust rigid and tyrannical figures, and sometimes that in which we attribute power is leaving us empty.
For me the cinematography felt as a part of the narrative, the overexposed takes are fascinating, the contrast between black and whites makes you feel the rawness of that arid space the characters are into.
Perhaps is not a film for everybody not because the author made the effort to distance its oeuvre for a 'type of moviegoers' conceivably it has more to do with how we're used to learn only about our own struggles without reaching beyond the familiar, if you choose to ignore the history of other countries and detach yourself from their struggle surely you'll find this film 'boring', I think is time to learn about each other and be sensible about it.
Movie comment on Die bleierne Zeit
AdGuzman
Politics at the core of this intense and emotional depiction of fraternal love, support and the search for 'the' truth...And sometimes dismantling the intricate apparatus of power is of not use, perhaps a depressing view but an accurate one, as Marianne's dubious dead hints.
Apart from the dark glimpse on systems of power in modern society that the film shows, it was such a delight to enjoy the astonishing performances of these two women, the casting of their younger selves (as teenagers and little girls) was spot on. I could relate better with Juliane's approach to women's right conviction, but something tells me that perhaps to achieve greater advances Marianne's fire for the cause is what is needed at times. For me, Marianne's conviction as an adult, and cheeky behavior as a young woman was enticing and contagious, but Juliane's gentle soul was lovely and engaging, the cause for her is built from woman to woman, with sorority at the center, supporting each other, establishing strong bonds, and for that same reason I think her role is even a little more hopeful.
Movie comment on The Road
AdGuzman
I don't get how people could find this a 'boring' film, I liked it, and even enjoyed it a lot, but yeah I thought that level of unpreparedness in action seemed uncanny for a kid born in that dystopian environment, I kind of get how the Man tried his best to keep the Boy innocent and with a good heart, that was part of his idea behind telling him tales of goodness of a forgotten world but I guess at least for me there's the virtue of innocence and incorruptibility and there's naiveté and inexperience, I don't think is room in the world depicted in The Road for the latter.Great cinematography, I imagine the difficulty in shooting the whole picture, and as always Viggo Mortensen giving us an amazing performance.
Group comment on Mexico
AdGuzman
Ahorita la que recuerdo montones es Redes (1936), cuando la vi rompió todos los esquemas de cómo me imaginaba el 'pasado' del cine mexicano, aparte para la época me hizo sentir que estaba mirando una pieza de neorrealismo italiano, además la música de ese filme lo compuso Silvestre Revueltas, así que hay más de una razón para verla, ¡ah!, y crítica social detrás. No es perfecta, pero hay muchos elementos que a mis ojos la hacen imprescindible.Movie comment on Un chant d'amour
AdGuzman
https://www.icheckmovies.com/profiles/godpepper/ shared a fitting article about this groundbreaking short film, it is a Foucaldian view of the film and I'm quite sure Jean Genet will approve such words, the new link is here:http://disparamag.com/archivo/tras-las-rejas-una-soledad-corriendose
Unfortunately is in Spanish but I'm trying my best to translate a few words of the article that I think shed an important light on the film:
Perhaps is not the best translation I could do, I'm used to read Foucault mainly in Spanish, so I couldn't quite grasp the terms used in the English translations of his works, which are present in the Spanish article presented by GodPepper.
Loved the film, I truly enjoyed it and think it was way ahead of time, the content of the story is revolutionary, its use of symbolisms is hypnotic and alluring, the utilitarian camera work and detailing of the story just makes richer the experience of this amusing canción de amor.
Movie comment on La coquille et le clergyman
AdGuzman
I stumbled upon this on Wikipedia:I wonder if the fact that this was the work of a female director influenced people of that time to dismiss the importance of this particular piece.
Just with a little research we can find Dulac's political views about gender, thus for me is quite clear the intention behind this film, and perhaps we can have second guesses about the symbols used in it, but her questioning the church, the state and male sexuality and the positioning of women at that time was groundbreaking. Which is sad, because if not but that huge dismissal, this could be catalogued easily as the very first surrealist film of all times, BEFORE Buñuel-Dalí's 'A Chien Andalou' and don't get me wrong I enjoyed it, but even Buñuel stated that he didn't put any meaning behind it, it was just a dream put into film so why the double standard?
Loved the ideas behind The Seashell and the Clergyman, it was great to bump into this film, for it was an amusing discovery!
Movie comment on Werckmeister harmóniák
AdGuzman
Loved the initial take, I loved Jànos definition of immortality, however I somehow deceived myself into thinking that was the kind of 'ride' Tarr was taking us which he never does, he's true to himself and avoids formula, avoids giving the audience what we think is appropriate and in doing so he manages to create an honest, truthful and refreshing cinema.I'm not going to say I understood Werckmeister Harmonies, but there were ideas behind it such as how easy is to disrupt the quietness in life or of a culture/community in the presence of 'bright' new notions, views or acts.
However, after watching some interviews from Mr Béla Tarr I have the sense that 'making a statement' out of his stories is never his purpose, perhaps he's just trying to portrait life as he perceives, and being not only factual but also sincere in how narrative tends to display in real life.
I'm sure I will be trying to watch Werckmeister Harmonies for a third time, trying to catch more details, trying to pin things out even when Béla has already said that's not his idea of cinema...
The only "flaw" I could think of is that in catching moments on camera, and getting the audience (me) immerse in the story was a task better achieved in Sátántangó, it was easier for me to enjoy and lose myself in the moments captured in Sátántangó than in Werkmeister.
Movie comment on Shoulder Arms
AdGuzman
(partly removed by mod: please post in English)I thought this one in particular from Master Chaplin was funny and entertaining indeed
Movie comment on Moonlight
AdGuzman
It was an arresting ride, it took me by surprise as I didn't read anything about the plot before watching the film, Barry Jenkins did an exceptional job with the pacing of the story, it was so intuitive to the different storylines, the interaction between characters is a result of that pacing, and for me the acting felt real, organic, it seemed muted at times but I think it was part of telling a story that resonated with that particular community.Moonlight reminded me of In the Mood for Love a lot, that pacing, that stepping almost quietly between scenes, between storylines, it was glorious to watch. And the fact that the story is relevant more than ever makes it a huge achievement too.
Love and praises and I truly hope that Moonlight catches the eyes of more people, this is the type of cinema the industry has to rescue and encourage. These type of stories, honest and humble ones.
Movie comment on La muerte de un burócrata
AdGuzman
(removed by mod: please post in English)Movie comment on Lifeboat
AdGuzman
Hitchcock managed to make a great thriller out of a confined type of story. Can you imagine watching a group of people so different between them in a boat being entertaining and even exciting? I couldn't!I also liked how the story is capable to question at some level how people can stay true to themselves and to maintain their values or not in such horrific conditions.
Movie comment on Les glaneurs et la glaneuse
AdGuzman
Most of the time I avoid and HATE documentaries, never the less the wittiness of Agnès is amazing, in an un-sensationalistic way portrays how capitalism is taking a huge toll even in first-world countries by the amount of food wasted everyday.The stories depicted by some of the 'new' type of gleaners are tender, overwhelming at moments and so entertaining.
I loved the medium She chose, the grittiness in the photography made me feel like I was watching something recorded by some friend of mine, it was so personal and even kind of funny watching a great director using a commercial digital videocamera. The hip-hop music next to classical music was a delight also.
Enjoyed everything about it.
Movie comment on Die Abenteuer des Prinzen Achmed
AdGuzman
Oooh my! An amazing and exquisite piece of art, the vivid colors, the silhouettes created are beyond words, the story telling is bold for its time and tender at the same timeMovie comment on Gycklarnas afton
AdGuzman
I don't agree with naturalistic interpretations anymore, after reading some Foucault; Freudian and 'human condition' or 'human nature' takes on storytelling feel outdated to me.Nevertheless Ingmar Bergman's creations and mind are the result of his own context, his stories are fully dressed in those type of interpretative means, Sawdust and Tinsel is one of those! and as dark as it gets it is a work of art.
Even though I choose to avoid those naturalistic views I must say that all those hideous characters Bergman created are a caricature of a human being in total despair but what is truly amazing at least for me, is "how power is everywhere... because it comes from everywhere", and that's the root of 'all evil', 'insanity', 'corruption', 'abuse’, etc. by watching every character’s arc we can analyze how power operates in every encounter they have with each other, from Anne to Frans and viceversa, or Agda with Albert, Albert to Anne, Frost and Alma, et al. what amazes me is how much a little amount of power can corrupt us if we invisibilize our own privileges over others, ‘human decay’ is the result of a society driven by power and control of each other.
As a whole, the film is amazing... As usual the cinematography created by Nykvist is overtaking, photography and the treatment of whites are purposely alienating, also the story can be read in two ways, the traditional way or with a deconstructive view, I chose the latter.
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