Hard to pin down, a nostalgic, melancholy journey into understanding the force (a long lost friendship) that motivates the walk of his sad woman towards her goal. Interesting camera work, almost entirely filmed in mid-shots and wide shots, no close-ups.

He directed the HBO produced Chilean show "Prófugos" which aired three weeks ago. Impressive show. Curious fact: Pablo is the son of Magdalena Matte and Hernán Larraín, both right-wing personalities of the UDI party (extreme right), yet in both of his most well-know movies he deals with the miliatry coup and how it affects the behavior of the main characters: in the case of Post Mortem, it produces a moral haze in which the characters stumble about, not really aware of their actions, nor really caring. A sort of shared lunacy, if you will and as for Tony Manero, it is the Coup that is responsible for the deranged climate in which murder and disappearances become a daily event, so much so that these crimes have lost their shock factor and for a sociopath like Manero, this mood becomes the cloak for his actions.

Watch the alternate ending here: http://www.youtube.com/watch?v=zoHldOn-i9E . A pity Michael Mann chose not to keep it. Hope to watch the uncut version someday. As it stands, I for one, really enjoyed it (I've watched it at least three times). Impeccable mood and lovely cinematography. Great music.

Absurd. What a disappointment. I love Cyberpunk and was looking forward to this... Not even Forest and Liev could save this awful, awful script. Some of the black humor was witty, the premise was super interesting, but the absurdity of it all... A waste.

Yes, it's Harold Robbins, but what a wonderful adaptation it is. Good pace, good editing and outstanding performances from Duvall and Olivier.

A study into the invisibility of a girl. The sweet Sebastién (Keine Bouhiza) happens to be the only one who sees her but even this she is willing to destroy due to her inability to accept the family she has been born into. Finally, with acceptance comes peace of mind. Jaoui and husband Jean Pierre Bacri are brilliant as always.

I agree with Deckert. Also my favorite Bond. The man has got amazing charisma and takes the character of Bond to never-seen-before levels of emotion and cool (with the exception of George Lazenby - On her Majesty's Secret Service -1969- who also pulled it off). A great actor and a very powerful on-screen persona.

Decent entertainment for a rainy day. Nothing amazing. No artistry, no cinema epiphanies. However, the chemistry between the leads is pretty good. I haven't seen chemistry like that since Benoît Magimel and Mélanie Doutey in Chabrol's "La Fleur du mal" (really good chemistry there). I'm assuming the Phillip K. Dick story is probably pretty good though, hope to read that sometime soon.

OMGosh I cannot believe I've forgotten Conan! I love this film. And the soundtrack, don't even get me started!

Interesting plot, pleasing visuals, nice POV, nice shots, nice framing... And keeps you riveted, immersed in the plot. I found it highly entertaining, while pleasing my sense of film aesthetics at the same time. Produced by Del Toro, very much infused with the typcial tone he sets for his films. And Belén Rueda y Lluís Homar were fantastic together. Just lovely.

This hit close to home as my brother has stammered since I can remember. He's gone to speech therapists and has had a hard time with the whole thing. That said, the film is beautifully, beautifully acted, therein lies its charm. Granted, it is your typical Hollywood production (no stunning visuals, groovy shots, POV's, camera angles) yet it's super appealing -the acting-. And I longed for it to continue into WWII.

Watch 5 minutes of it here: http://www.youtube.com/watch?v=ZB2u5lvSDe4&feature=channel_video_title

One of the most unsettling, nightmarish films I have ever watched. The photography is reminiscent of Apocalypse Now with a similar mood/tone. The framing is nicely built and composition is lovely. Emmanuelle Béart's brooding performance is well thought-out contrast to the shy and protective Sewell. I cannot say I enjoyed it. On the contrary, I wanted it to be over quickly. And that is what artistry is all about.

I wonder what she's doing now. She was pretty great in Liquid Sky and she co-authored the script as well.

Light, shadow, sound, silence, the four elements of cinema, at their bare essentials. Rinse and repeat. Rinse again. An love poem to Kubelka's preoccupation with form over content -structural cinema- and his obsession with metrics. A visionary, yes. But the experimental is not really for me.

Unsere Afrikareise, an ode to the displacement/juxtaposition of sound and film, and how sound tarnishes or enhances meaning, even if the sound is not the one pertaining to the action depicted. Innovative, but the obsession of Austrian fringe filmmakers of the time with form over content doesn't really do it for me. However, I find more of an emotional connection in this film than in Arnulf Rainer and Adebar.

Had to watch this one twice. Great framing & composition.The heartbeat/industrial noises (a saw I think) makes the viewer have a visceral reaction to what is being shown.The serious demeanor of Mac Emshwiller juxtaposed with the soundtrack and the woman, almost spirit/demon-like in her irksome dance gives chills. Great distortion of lights at the end.Nightmarish, haunting stuff.True to its title, "seeing our death".

Though this doesn't beat Robert Ludlum's fine, fine novel, it is a great fast-paced adaptation of it with a pretty good score to boot. Nice camera work and POV's on some scenes. I believe this is one of Frankenheimer's finest pieces, right up there with The Manchurian Candidate, French Connection II, 52 Pick-up, Ronin. I've watched this movie 5 times and it gets better with each viewing. One of my favorite films.

I'd love to watch Haendel's Hercules (2005) and see him sing. He is quite the accomplished Baritone. And he can act as we all saw in Certified Copy.

Their romance is a Certified Copy of the real thing.We all get it. However, as far as a movie rich in dialogue goes, nothing can really beat the Hawke-Delpy-Linklater collaboration (totally agree with the Sphinx down there).The film however is beautiful in its cinematography.Worth basking in the framing, the closeups and the reflections on the windshield. Makes me want to watch Last Year at Marienbad all the more.

A grizzly, grizzly tale of a sociopath and his obsession; the one thing that keeps him going. As is customary in Larraín's filmography, there is no redemption here, not an ounce of sympathy for the viewer. Just one disturbing sequence after another. Brilliantly executed. Though the camerawork, framing and composition is not as beautiful as what he and the DP achieved in "Post Mortem".

I would love to see this! Hopefully it will be on Mubi.

The framing and composition in this film are astoundingly beautiful. The space off the screen is cleverly used; important, even though we cannot see what goes on. The film conveys the events of the 1973 military coup with historical accuracy and grizzly precision while at the same time documenting the effect on the main characters who wander around aimlessly,detached from their surroundings,in a sort of moral haze.

He's also a director. Pity his films are not on Mubi.

Though Breillat is a great cinematic craftsman and a woman to admire (intellectually), this film rather offended me (I cannot stomach kids used in film in this way). However, Breillat tells it like it is and manages to raise strong questions: sex/virginity/relationships in today's patriarchal society, alienation, narcissism, dysfunctionality. And the cherry on top: was Anais the one who was raped or was it Elena?

In the tradition of Frantic and The Ninth Gate, Polanski is always at his best throwing the leads into situations they did not bargain for, surrounded by peculiar characters with their own agendas. Great storytelling, the setting of the mood and atmosphere are impeccable. Even the beach seems foreboding. And Ewan McGregor carries the film practically on his own, no effort at all. Great acting on his part.

The camera lingers lovingly on each character's face, because truly, communication is so much more than words. There is no rushing here, every pause, every nuance of gesture is captured in detail, via great framing. A tale on the complexity of human character and human interaction, La Nana is sure to enthrall and inspire.

Choi Min-Sik (which many know from Oldboy,2003,Park Chan Wook) is wonderful as the foul-mouthed, angry-at-the-world psychopath. Other than that, a predictable film... and most of the fades to transition from sequence to sequence are so darn long in comparison to the fast pace of the action going on. This bugged me. Some frames were nice though, Lee Byung-Hoon's confused daze at the beginning, for instance.

Aesthetically speaking, beautiful. Wonderfully framed mid-shots, an ominous score, well-devised close-ups at exactly the right moment, vibrant colors that jump at you from the screen; characters with one marked emotional feature making them even more intriguing... However, after an hour, the film loses tempo and the climax seems watered-down in relation to the rest of the film. That said, I love Almodovar.

It was a very beautiful, very moving piece of work. The colors were bright and sharp, the eye-level medium close-ups were done majestically, lovingly taking in all the subtle glances, half-smiles and nuanced gestures the actors so wonderfully executed. It is an elegant film. And one worth watching (in its original language, please). The ending however could have been different. I felt the tiniest bit cheated.