These blew me away in the last 7 months:
Milk of Sorrow
Tree Of Life (The birth of life sequence blew me away)
The Guard (Not laughed like that since I watched In Bruges)
A good year for eye-openers so far:
A Man EscapedRed DesertArmy of ShadowsPickup on South StreetThe ChildGertrudYou, the LivingDogvilleThe Apu Trilogy
The Cement Garden (Andrew Birkin)Dangerous Liasons (Stephen Frears)Heartless (Philip Ridley)Fantasia (Walt Disney)Deconstructing Harry (Woody Allen)
Uncle Boonmee, easily. Great structure and pacing.
lol @ the help. u serious?
New film: Midnight In Paris
Older film: The Mirror (Panahi), Purple Rose of Cairo, Decalogue V
the best film I have seen this month:
Englishman in New York (Richard Laxton)
Many thanks for inserting a link to "Thoughts on ‘Dogtooth’ " within this thread. I’d somehow missed it. It took well over an hour, but I read it all from start to finish and it’s one of those well-elucidated discussions to be found in this forum that compel my loyalty to the site.
It’s also the first time I’ve come across “Jeanrzej”. I tried to connect or to find his/her profile unsuccessfully.
S(he) is a persistently challenging intellect with a bit of a mean streak like Christopher Hitchens or William F. Buckley, Jr.
Thanks again. It was a very rewarding read.
I watched Son of Paleface last night, and again this morning, and it’s in the same league as Duck Soup as far as comedy goes. For me, that is saying a lot.
But the last film I watched where I really sat back and told myself that it was a genuinely supreme work of art was Imamura’s Vengeance is Mine.
i’m in the middle of todd haynes’ safe. wow
Newer: No Country for Old Men
Older: La Strada
M by Fritz Lang
36th chamber of shaolin
I really Loved:
O Tio Boonmee Que se Lembra das Suas Vidas Anteriores
Loong Boonmee raleuk chat
2010 – Apichatpong Weerasethakul
Tree of Life.
I was underwhelmed by Boonmee, for some reason.
I wholeheartedly agree, No Country For Old Men is awesome.
Dariush Mehrjui’s Leila
The Duchess of Langeais aka Don’t Touch the Axe
New Film: Tree of Life
Older Film: Once Upon A Time in America
The last films to truly blow me away the most were Hiroshima Mon Amour, Strike, The Steel Helmet, and most of all, Shadows. From the last five years, very few films: INLAND EMPIRE, No Country, 4months3weeks2days, Rachel Getting Married, My Winnipeg, Burn After Reading, Revanche, Bad Lieutenant, The White Ribbon, Scott Pilgrim vs. the World. Scott Pilgrim is the last one to truly blow me away.
MR THANK YOU by Hiroshi Shimizu, in the Eclipse box set, was amazing.
In fact, the whole box set blew me away because it was a real discovery of a filmmaker I had never heard of.
The Tree of Life, of course.
@Deimel—Shadows of Forgotten Ancestors is maybe my fave film (well, right now The Tree of Life might take top honors but time will tell). It’s unique in cinema history and in the oeuvre of Paradjanov. Have you noticed that there is such a dynamic sense of movement and texture in that film, so visceral, whereas his other films are more reserved and static? I’m apparently in the minority in considering it his most exciting—most seem to prefer the style he established with Color of Pomegranates onward. I admire it but his later work simply did not grab me the way Shadows of Forgotten Ancestors did.
I would highly recommend Dog Star Man if you haven’t yet seen it. It’s the most experimental film ever made—Brakhage is the master of the avant-garde. If I had to choose the one film that has blown my mind the most, it would definitely be Dog Star Man.
Also if anyone is interested in a discussion on the representation of space in the film frame via the dichotomy of Apollonian/Dionysian imagery, here is a link to the thread:
Have you noticed that there is such a dynamic sense of movement and texture in that film, so visceral, whereas his other films are more reserved and static?
One thing that stood out for me right away when watching Shadows of Forgotten Ancestors was the radical camera movement… and so I’d agree that it is visceral! I was particularly impressed with the shot near the beginning of the film in which a tree falls on top of the man from the camera’s point of view… but even though the camera is more static as you point out, I personally prefer Parajanov’s mode of expression in Colour of Pomegranates; I think because of its surreal symbolism, which completely bowls me over every time… at any rate, I’ve only just watched Ancestors for the first time, and I still haven’t seen Parajanov’s later films.
It’s been a long time since I’ve seen Dog Star Man, but I wouldn’t mind watching it again soon.