Den says:
Frans Zwartjes (Audition) —0 vs. Leos Carax (Sans Titre) —1
Frans Zwartjes (Audition) —0 vs. Leos Carax (Sans Titre) —1
Frans Zwartjes (Audition) 1 – Leos Carax (Sans titre) 0
Frans Zwartjes (Audition) – 1 vs. Leos Carax (Sans Titre) – 0
I’ll come back later and talk a bit b/c I’m at work right now.
Frans Zwartjes (Audition) – 1 vs. Leos Carax (Sans Titre) – 0
Zwartjes is the kind of filmmaker that I don’t enjoy, but this one had some beautiful music and some beautiful images. So, it easily beat the trailer!
Frans Zwartjes (Audition) —0 vs. Leos Carax (Sans Titre) —1
Frans Zwartjes (Audition) — 0 vs. Leos Carax (Sans Titre) — 1
Frans Zwartjes (Audition) 0 vs. Leos Carax (Sans Titre) 1
I have never been a fan of Leos Carax, but I was pleasantly surprised by Sans Titre. It is absolutely fascinating and it definitely makes me reconsider this director.
3-5 Carax
I’d like to see more conversation/discussion. I’m quite surprised by the votes (obviously).
Frans Zwartjes (Audition) 1 – Leos Carax (Sans titre) 0
Will write more later… but AUDITION is one of my favorite Zwartjes, one of my favorite directors.
Audition (Zwartjes) – 0 // Sans Titre (Carax) – 1
This is a difficult match to discuss, I think. Zwartjes is an interesting director to me – I’m always glad to explore experimental directors, and his aesthetic is certainly unique and distinctive. For me, these films are probing beyond comfortable surfaces and unveiling a very deep ugliness. The people in Audition seem to have bile spewing from between their teeth, corruption bubbling up from their pores, their eyes sinking like pits into their skulls; his cruel and relentless camera probes too deeply, turning the film experience into an uncomfortable one. This is deliberate, if I’ve understood correctly. I won’t forget Zwartjes’s unhappy, bared souls.
But then there’s Carax’s very brief cinematic poem, which I found terribly touching in a completely undescribable way. It felt almost pre-apocalyptic. I can’t describe how powerful I found it. I was sold even before Famous Blue Raincoat, one of my very favourite songs, started playing, and laid down thick layers of melancholy that hung over the rest of the short.
Truly a fascinating match to me, one of the best in the cup.
Audition 1 – Sans Titre 0
Zwartjes command of motion and color surprises me. His films feel physical in a way unlike most avant-garde work I’ve seen.
Audition 1 – Sans Titre 0
Both films I struggle with, and both ones I can’t really say much about, but Audition certainly works more on a gut level for me.
Frans Zwartjes (Audition) – 1 vs. Leos Carax (Sans Titre) – 0
Oh, I had forgotten about Carax’s use of Famous Blue Raincoat until someone mentioned it here. That is one of the things that really annoyed me about Sans Titre. I absolutely love Leonard Cohen. I had the chance to see him in concert a few years ago and it was one of the greatest shows I have ever had the opportunity to see. In fact, some of my favourite films have incorporated music and poetry from Mr. Cohen, from Brittain and Owen’s documentary Ladies and Gentlemen, Mr Leonard Cohen to Herzog’s Fata Morgana and Altman’s McCabe and Mrs Miller. However, over the years, Mr. Cohen’s music has been used progressively more lazily. There was a time when people used it to support already established ideas and scenarios, but now, it just gets used in place of emotion. Your girlfriend dumped you? Cue Marianne. Her name isn’t Marianne? Cure Suzanne. Going on a crime spree? Cue The Future. Do you miss your friend or are making love or have done pretty much any action? Cue that song that has been played so often by a million different people that its name has become entirely unnecessary. In Sans Titre, it just seems to come out of nowhere, just a lark that this may sound good here! End rant.
Frans Zwartjes (Audition) – 1 vs. Leos Carax (Sans Titre) – 0
Frans Zwartjes (Audition) – 0 vs. Leos Carax (Sans Titre) – 1
Audition was too over the top for me.
RUS says:
Frans Zwartjes (Audition): 0 —vs— Leos Carax (Sans Titre): 1
Oh, I had forgotten about Carax’s use of Famous Blue Raincoat until someone mentioned it here. That is one of the things that really annoyed me about Sans Titre. I absolutely love Leonard Cohen. I had the chance to see him in concert a few years ago and it was one of the greatest shows I have ever had the opportunity to see. In fact, some of my favourite films have incorporated music and poetry from Mr. Cohen, from Brittain and Owen’s documentary Ladies and Gentlemen, Mr Leonard Cohen to Herzog’s Fata Morgana and Altman’s McCabe and Mrs Miller. However, over the years, Mr. Cohen’s music has been used progressively more lazily. There was a time when people used it to support already established ideas and scenarios, but now, it just gets used in place of emotion. Your girlfriend dumped you? Cue Marianne. Her name isn’t Marianne? Cure Suzanne. Going on a crime spree? Cue The Future. Do you miss your friend or are making love or have done pretty much any action? Cue that song that has been played so often by a million different people that its name has become entirely unnecessary. In Sans Titre, it just seems to come out of nowhere, just a lark that this may sound good here! End rant.
But couldn’t it be said that everything in Sans Titre seems to come out of nowhere? It’s a largely expressionistic work without any immediately apparent rhyme or reason. I found the song to come in abruptly as well, which is precisely why it worked so well. For me, it was neither unnecessary nor lazy, just putting into crystal clarity this distinct tone that the film had already whipstitched together. It all coalesced with those first few notes. It tied the short together. Actually, it reminded me of the similarly abrupt-but-perfectly-timed use of Bowie’s Modern Love in Mauvais Sang.
Frans Zwartjes (Audition) 0 — Leos Carax (Sans Titre) 1
Frans Zwartjes (Audition) 0 — Leos Carax (Sans Titre) 1
A fascinating work audiovisual experimentation.
8-9 Carax
Thought ol’ Frans was gonna blow this one out of the water! Close match and there’s still lots of time left.
8-10 actually
Ah man.. second time I’ve messed up the count recently! Thanks, Patapon!
Frans Zwartjes (Audition) 1 — Leos Carax (Sans Titre) 0
Sans Titre is the preface of Pola X. IF Pola X is to appear in any future round (in case Carax makes it through), I’ll be terribly shocked (and appalled) if most people here will have preferred Sans Titre to Pola X. Pola X is the sublime work of art of the two.
Audition 0 – Sans Titre 1
Not one of my favourite Zwartjes film, but like mentioned already, it has an amazing score. Carax is a director to explore further through his feature films, but for now my vote will go to Zwartjes.
Frans Zwartjes (Audition) 1 – Leos Carax (Sans titre) 0
Frans Zwartjes (Audition) 1 – Leos Carax (Sans titre) 0
House of Leaves
The extended voting period for this match lasts until 7:00 pm BST (6:00 pm GMT) on Wednesday, June 29, which means that users will have over 48 hours in order to publish their votes. The world map which lists all current time zones can be found on www.worldtimezone.com, so that everyone can be up to date about how much time is left.
After the voting period is over the votes will be counted and the results published. The next match will begin before 7pm BST (6pm GMT) on Tuesday, June 28.
Each user can vote on any match as long as he/she has watched both films that are lined-up against each other. An explanation for the preference in each case would be greatly appreciated. Managers are not allowed to vote on matches that their director participates in. The voting should be handled like this:
Film A 1 (or 0) – Film B 0 (or 1)
Please mark the winning film/score in large or heavy print.
PLEASE NOTE: IF YOU DO NOT NAME BOTH FILMS IN YOUR POST YOUR VOTE WILL NOT BE COUNTED
The match (managers in parentheses) you´re going to vote for on this thread is:
Frans Zwartjes (Max J Pell) Audition vs. Leos Carax (Jimmy Paradiso) Sans Titre
If you have not seen these films and are not able to access them on your own then pm me and I may be able to give you access to the streaming links.