1.Arvind Desai Ki Ajeeb Dastaan (Saeed Akhtar Mirza)
Agraharathil Kazhuthai (John Abraham)
Safrana ou le droit à la parole (Sidney Sokhona)
Sâdo (Yôichi Higashi)
Satiemania (Zdenko Gasparovic)
In einem Jahr mit 13 Monden (Rainer Werner Fassbinder)
Zwischen zwei Kriegen (Harun Farocki)
Die Allseitig reduzierte Persönlichkeit – Redupers (Helke Sander)
Die linkshändige Frau (Peter Handke)
Molière (Ariane Mnouchkine)
Le dosssier 51 (Michel Deville)
Les raisins de la mort (Jean Rollin)
Entrechattes (Gérard Kikoïne)
Perceval le Gallois (Eric Rohmer)
Les rendez-vous d’Anna (Chantal Akerman)
L’albero degli zoccoli (Ermanno Olmi)
Agonia (Júlio Bressane)
Veredas (João César Monteriro)
El lugar sin límites (Arturo Ripstein)
My Way Home (Bill Douglas)
(Jarman missed by a whisker, … and so many others I love! )
Well let me just say that I’m very excited, after being a silent observer of previous cups, of hoping to actively participate on this one. I was already envisioning a bombastic opening with two personal favourites, German & Rodrigues, but I have to say that the 2011 Cup couldn’t have started on a more stimulating note than with two films that are basically two sides of the same coin; this is Carpenter returning to the basics of Hawks by way of Robert Nelson – distorting, dilating, exposing its own B-narrative aesthetics and Reaganite desolation, with a prankster quality that is at once formally succulent and thematically resonant. Which is the same sense of discovery and playfulness Deutsch has in juxtaposing, correlating, negating his found footage to reflect on the “act of seeing with one’s eyes”. Couldn’t imagine Carpenter and Deutsch so near… It’s a tough call, I could happily swing both ways, but since ‘They Live’ needs my little help at this point,
John Carpenter (They Live) —1 vs Gustav Deutsch (Film ist. 1-6) —0
It could be the devastatingly beautiful , emotionally intense Chrysanthemums, one of my favourite Mizoguchis, sure, but at this very minute my little plain heart belongs to Susie; that heartbreaking moment where she sees her beloved beau William in the arms of “paint and powder” Bettina – Gish’s reactions, trying to understand the whys in a series of desolating little gestures, her legs barely standing, her face a series of complex feelings: guilt, sadness, envy -, I wanted to hug her, so,
Kenji Mizoguchi (The Story of the Late Chrysanthemums) – 0 vs D.W.Griffith (True Heart Susie) – 1
Mamoulian’s (and Lee Garmes) camerawork bring grace and beauty to the gangsters, and he’s a director I have great affection for, but only the glowing Queen Christina could have kicked the collective butts of Tommy, Irene,Carol & Co. As it is, there’s a little phrase that’s been echoing: "Why don’t you want to get out of bed this morning?’ – I’ve been asking this myself a lot lately, besides, I think the Death of Dorothy, the Cook, is one of the greatest dramatic happenstances to ever befall on this kind of observational/immersing film,
Rouben Mamoulian (City Streets) 0 – Allan King (Warrendale) 1
For the first time I have to say that I vote without any guilt, no physical pain; not that I didn’t like ‘Les raquetteurs’, I watched it with a permanent smile on my face, but Królikiewicz’s stunning film blew me into smithereens!!!
Through and Through (Królikiewicz) – 1 vs Les Raquetteurs (Brault) – 0
One of the greatest matches this round, with both directors using the possibilities of sound (non-naturalistic, diegetic/non-diegetic), in combination with décor and characterization, to mesmerizing effect; the two films move me immensely and speak very personally:
Ritwik Ghatak (The Cloud-Capped Star) 1 vs Todd Haynes (Safe) 0
I’m very glad to have been able to see Guerín’s debut, and I love how he develops the musical/narrative concepts of “motif” (short rhythms, figments of memory, melodic/dissonant passages, fragments of imagination), and “fantasia” (fanciful interludes, fugal sections, clashing harmonies, dreamlike states) into the film’s familiar territory, making it very distinctive, stunning to look at and quite touching, plus anything with Arielle Dombasle makes me happy; but this is ‘Sunrise’, for heaven’s mercy! ‘Sunrise’!!!
F.W. Murnau (Sunrise) – 1 vs José Luis Guerín (Berta’s Motives) – 0
A little boy prays, his eloquent gesture captured in a Lotte Reiniger-like shadow, body elongated as if El Greco had painted it. Suddenly, he makes an important decision, he takes his pyjamas off, puts shirts and trousers, steals the keys from home, and off he goes to give his support to imprisoned daddy, but not before he tricks the guards, and Christensen uses spatial architecture (the cavities under the bridge) and variations in tone and rhythm to create a masterful sequence of suspense which is as stunning in plot-driven terms as it is in formal beauty, certainly one of my favourite single moments from the Cup so far. I love ‘Dog Days’, I firmly believe Maria Hofstätter gives one of the most fearless and brilliant performances from the past 15 years or so, and I love exposed genitals absolutely integral to the plot or not, but that resolute little boy conquered my heart of stone,
Ulrich Seidl (Dog Days) 0 – Benjamin Christensen (The Mysterious X) 1
Zwartjes needs my little help, besides I could watch Christian and Moniek messing up with their hairs for hours, and be utterly entertained by those delicious still lifes and poses, and be endlessly bewitched by Zwartjes’ roving, sensuous, intimate camera (and, yes, I love ‘Clouds of May’, possibly my second favourite Ceylan!),
Nuri Bilge Ceylan (Clouds of May) – 0 vs Frans Zwartjes (Spare Bed-Room) – 1
The eyes of Kerima can lead a man straight into the heart of darkness (she would destroy me with a mere gaze!), and both hers and Ibrahim’s final, helpless, and double-edged gestures (victims, but also agents of colonialist/patriarchal roots, which, tragically, they are not even aware of ), will haunt me for years! (very difficult, kudos to the selections by both managers)
Carol Reed (Outcast of the Islands) 1 vs. Ousmane Sembene (Mandabi) 0
Sometimes I laughed liked a mad hyena through ‘The Scenic Route’: “She wanted to go to Egypt to see the Sphinx, but she didn’t mind seeing the sequoias”, a perfect blend between pastiche and sincerity, and a fabulous dance number…, however, ‘The Long Day Closes’ is just one moment of beauty after another, sensual, sensorial, evocative, modern, a masterpiece,
Terence Davies (The Long Day Closes) 1 – Mark Rappaport (The Scenic Route) 0
Extraordinary, both! Can’t see either content or form sacrificed for an ideological, compromised stance; nothing of Nicolaescu’s penchant for historical revisionism in accordance to a particular political credo can be really applicable in the case of ‘Then I Sentenced Them All To Death’. It’s constantly surprising in formal terms, with the disorienting first 40 minutes – it keeps changing POVs to the point where we’re never sure to where or to what characters are looking at; sometimes “action” befalls over them without notice, or is suddenly interrupted and fragment with no ceremony -, thus creating a sense of uncertainty and chaos (emotional/physical/psychological) during troublesome times. The camera then rests during the astounding dinner table sequence, where the text and the actors’ bodies and gestures takes precedence and guides the narrative – I shivered, grinned and laughed during this sequence in equal measures as if Ionesco himself had written the coruscating, illuminating dialogue. This is immediately followed by the imagined funeral and it confirms its Absurdist influences (and as we know, Absurdism itself is the antithesis of of any kind of political conformism and/or suspiciously compromised ideologies). Ooh, earlier on, the remarkable sequence between the boy and the priest, stunningly, uncomfortably balanced between affection and harassment (and indeed daringly anticlerical, and far from “good taste”!). It has its faults, Nicolaescu can’t escape one or two moments of coyness and sentimentality, but overall a powerful film, an extraordinary achievement.
That said, I’m absolutely in love with ‘Blind Child’: the diffuse first images, the initial words- “Children yell, ‘look at that blind boy’, I think it’s aw full, It makes my blood boil, You get so mad, You want to fight!”, then faces to the voices, everyday gestures and attitudes – I cried like a newborn, just watching their exercises in the field, or girls, and especially boys, walking hand in hand -, and those stunning final minutes of the boy making that big, difficult, beautiful, adventurous odyssey in the busy streets,
Sergiu Nicolaescu (Then I Sentenced Them All To Death) – 0 vs Johan van der Keuken (Blind Child) – 1
1978 Poll about 2 years ago
A pretty impressive year, I think.
1.Arvind Desai Ki Ajeeb Dastaan (Saeed Akhtar Mirza)
Agraharathil Kazhuthai (John Abraham)
Safrana ou le droit à la parole (Sidney Sokhona)
Sâdo (Yôichi Higashi)
Satiemania (Zdenko Gasparovic)
In einem Jahr mit 13 Monden (Rainer Werner Fassbinder)
Zwischen zwei Kriegen (Harun Farocki)
Die Allseitig reduzierte Persönlichkeit – Redupers (Helke Sander)
Die linkshändige Frau (Peter Handke)
Molière (Ariane Mnouchkine)
Le dosssier 51 (Michel Deville)
Les raisins de la mort (Jean Rollin)
Entrechattes (Gérard Kikoïne)
Perceval le Gallois (Eric Rohmer)
Les rendez-vous d’Anna (Chantal Akerman)
L’albero degli zoccoli (Ermanno Olmi)
Agonia (Júlio Bressane)
Veredas (João César Monteriro)
El lugar sin límites (Arturo Ripstein)
My Way Home (Bill Douglas)
(Jarman missed by a whisker, … and so many others I love! )
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1953 Poll about 2 years ago
1.Raya wa Sekina (Salah Abouseif)
Ugetsu monogatari (Kenji Mizoguchi)
Gion bayashi (Kenji Mizoguchi)
Tôkyô monogatari (Yasujirô (Ozu)
Entotsu no mieru basho (Heinosuke Gosho)
Jigokumon (Teinosuke Kinugasa)
Do Bigha Zamin (Bimal Roy)
El (Luis Buñuel)
El bruto (Luis Buñuel)
Bienvenido Mister Marshall (Luis García Berlanga)
Sommaren med Monika (Ingmar Bergman)
Gycklarnas afton (Ingmar Bergman)
Det stora äventyret (Arne Sucksdorff)
Sadko (Aleksandr Ptushko)
Les statues meurent aussi (Chris Marker/Alain Resnais)
Madame de… (Max Ophüls)
Rue de l’Estrapade (Jacques Becker)
Le salaire de la peur (Henri-Georges Clouzot)
Crin blanc: Le cheval sauvage (Albert Lamorisse)
Les vacances de Monsieur Hulot (Mr. Hulot’s Holiday) (Jacques Tati)
No room for Fellini, Chuck Jones, UPA, Dr. T….
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 1: John Carpenter (They Live) vs Gustav Deutsch (Film ist. 1-6) about 2 years ago
Well let me just say that I’m very excited, after being a silent observer of previous cups, of hoping to actively participate on this one. I was already envisioning a bombastic opening with two personal favourites, German & Rodrigues, but I have to say that the 2011 Cup couldn’t have started on a more stimulating note than with two films that are basically two sides of the same coin; this is Carpenter returning to the basics of Hawks by way of Robert Nelson – distorting, dilating, exposing its own B-narrative aesthetics and Reaganite desolation, with a prankster quality that is at once formally succulent and thematically resonant. Which is the same sense of discovery and playfulness Deutsch has in juxtaposing, correlating, negating his found footage to reflect on the “act of seeing with one’s eyes”. Couldn’t imagine Carpenter and Deutsch so near… It’s a tough call, I could happily swing both ways, but since ‘They Live’ needs my little help at this point,
John Carpenter (They Live) —1 vs Gustav Deutsch (Film ist. 1-6) —0
Go to Comment
DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 2: Kenji Mizoguchi (The Story of the Late Chrysanthemums) vs D.W.Griffith (True Heart Susie) about 2 years ago
It could be the devastatingly beautiful , emotionally intense Chrysanthemums, one of my favourite Mizoguchis, sure, but at this very minute my little plain heart belongs to Susie; that heartbreaking moment where she sees her beloved beau William in the arms of “paint and powder” Bettina – Gish’s reactions, trying to understand the whys in a series of desolating little gestures, her legs barely standing, her face a series of complex feelings: guilt, sadness, envy -, I wanted to hug her, so,
Kenji Mizoguchi (The Story of the Late Chrysanthemums) – 0 vs D.W.Griffith (True Heart Susie) – 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 3: Rouben Mamoulian (City Streets) vs Allan King (Warrendale) about 2 years ago
Mamoulian’s (and Lee Garmes) camerawork bring grace and beauty to the gangsters, and he’s a director I have great affection for, but only the glowing Queen Christina could have kicked the collective butts of Tommy, Irene,Carol & Co. As it is, there’s a little phrase that’s been echoing: "Why don’t you want to get out of bed this morning?’ – I’ve been asking this myself a lot lately, besides, I think the Death of Dorothy, the Cook, is one of the greatest dramatic happenstances to ever befall on this kind of observational/immersing film,
Rouben Mamoulian (City Streets) 0 – Allan King (Warrendale) 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 4: Ermanno Olmi (Il posto) vs Hal Hartley (Henry Fool) about 2 years ago
Ermanno Olmi (Il posto) – 1 Hal Hartley (Henry Fool) -0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 5: Aleksei German (My Friend Ivan Lapshin) vs João Pedro Rodrigues (Two Drifters) about 2 years ago
One of my favourite matches this round, and it seems so silly to attach a “0” to Ivan Lapshin…,
Aleksei German (My Friend Ivan Lapshin)- 0 vs João Pedro Rodrigues (Two Drifters)- 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 6: Arturo Ripstein (Castle of Purity) vs Bernardo Bertolucci (The Spider’s Strategem) about 2 years ago
Excruciatingly difficult!!!
Arturo Ripstein (Castle of Purity) – 1 vs Bernardo Bertolucci (The Spider’s Strategem) – 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 7: Soldier of Orange (Paul Verhoeven) vs The Red and the White (Miklos Jansco) about 2 years ago
Love both…
Soldier of Orange (Paul Verhoeven) 0 vs The Red and the White (Miklós Jancsó) 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 8: Through and Through (Grzegorz Królikiewicz) vs. Las raquetteurs (Michel Brault) about 2 years ago
For the first time I have to say that I vote without any guilt, no physical pain; not that I didn’t like ‘Les raquetteurs’, I watched it with a permanent smile on my face, but Królikiewicz’s stunning film blew me into smithereens!!!
Through and Through (Królikiewicz) – 1 vs Les Raquetteurs (Brault) – 0
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DIRECTORS' CUP 2011 VOTING, ROUND 1, MATCH 10: Ritwik Ghatak (The Cloud-Capped Star) vs Todd Haynes (Safe) about 2 years ago
One of the greatest matches this round, with both directors using the possibilities of sound (non-naturalistic, diegetic/non-diegetic), in combination with décor and characterization, to mesmerizing effect; the two films move me immensely and speak very personally:
Ritwik Ghatak (The Cloud-Capped Star) 1 vs Todd Haynes (Safe) 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 11: F.W. Murnau (Sunrise) vs José Luis Guerín (Berta's Motives) about 2 years ago
I’m very glad to have been able to see Guerín’s debut, and I love how he develops the musical/narrative concepts of “motif” (short rhythms, figments of memory, melodic/dissonant passages, fragments of imagination), and “fantasia” (fanciful interludes, fugal sections, clashing harmonies, dreamlike states) into the film’s familiar territory, making it very distinctive, stunning to look at and quite touching, plus anything with Arielle Dombasle makes me happy; but this is ‘Sunrise’, for heaven’s mercy! ‘Sunrise’!!!
F.W. Murnau (Sunrise) – 1 vs José Luis Guerín (Berta’s Motives) – 0
(Go Guerín!)
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 12: Edwin (Blind Pig Who Wants to Fly) vs Michael Winterbottom (Wonderland) about 2 years ago
Edwin (Blind Pig Who Wants to Fly) —0 vs Michael Winterbottom (Wonderland) —1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 13: John Landis (An American Werewolf in London) vs. Marcel Carné (Hôtel du Nord) about 2 years ago
John Landis (An American Werewolf in London) 1 – Marcel Carné (Hôtel du Nord) 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 14: Fritz Lang (Dr Mabuse: The Gambler) vs. Louis Malle (God’s Country) about 2 years ago
Fritz Lang (Dr Mabuse: The Gambler) —0 vs. Louis Malle (God’s Country) —1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 15: Ulrich Seidl (Dog Days) vs Benjamin Christensen (The Mysterious X) about 2 years ago
A little boy prays, his eloquent gesture captured in a Lotte Reiniger-like shadow, body elongated as if El Greco had painted it. Suddenly, he makes an important decision, he takes his pyjamas off, puts shirts and trousers, steals the keys from home, and off he goes to give his support to imprisoned daddy, but not before he tricks the guards, and Christensen uses spatial architecture (the cavities under the bridge) and variations in tone and rhythm to create a masterful sequence of suspense which is as stunning in plot-driven terms as it is in formal beauty, certainly one of my favourite single moments from the Cup so far. I love ‘Dog Days’, I firmly believe Maria Hofstätter gives one of the most fearless and brilliant performances from the past 15 years or so, and I love exposed genitals absolutely integral to the plot or not, but that resolute little boy conquered my heart of stone,
Ulrich Seidl (Dog Days) 0 – Benjamin Christensen (The Mysterious X) 1
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Director's Cup 2011: Round 1, Match 17: Nuri Bilge Ceylan (Clouds of May) vs Frans Zwartjes (Spare Bed-Room) about 2 years ago
Zwartjes needs my little help, besides I could watch Christian and Moniek messing up with their hairs for hours, and be utterly entertained by those delicious still lifes and poses, and be endlessly bewitched by Zwartjes’ roving, sensuous, intimate camera (and, yes, I love ‘Clouds of May’, possibly my second favourite Ceylan!),
Nuri Bilge Ceylan (Clouds of May) – 0 vs Frans Zwartjes (Spare Bed-Room) – 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 18: Bill Forsyth (Gregory’s Girl) vs. Leos Carax (Mauvais sang) about 2 years ago
Bill Forsyth (Gregory’s Girl) —0 vs. Leos Carax (Mauvais sang) —1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 19: Carol Reed (Outcast of the Islands) vs Ousmane Sembene (Mandabi) about 2 years ago
The eyes of Kerima can lead a man straight into the heart of darkness (she would destroy me with a mere gaze!), and both hers and Ibrahim’s final, helpless, and double-edged gestures (victims, but also agents of colonialist/patriarchal roots, which, tragically, they are not even aware of ), will haunt me for years! (very difficult, kudos to the selections by both managers)
Carol Reed (Outcast of the Islands) 1 vs. Ousmane Sembene (Mandabi) 0Go to Comment
DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 20: Terence Davies (The Long Day Closes) vs. Mark Rappaport (The Scenic Route) about 2 years ago
Sometimes I laughed liked a mad hyena through ‘The Scenic Route’: “She wanted to go to Egypt to see the Sphinx, but she didn’t mind seeing the sequoias”, a perfect blend between pastiche and sincerity, and a fabulous dance number…, however, ‘The Long Day Closes’ is just one moment of beauty after another, sensual, sensorial, evocative, modern, a masterpiece,
Terence Davies (The Long Day Closes) 1 – Mark Rappaport (The Scenic Route) 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 21: Aleksandr Sokurov (Mother and Son) vs. Pedro Almodovar (Matador) about 2 years ago
Aleksandr Sokurov (Mother and Son) —1 vs. Pedro Almodóvar (Matador) —0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 22: Jacques Tourneur (The Leopard Man) vs. Dziga Vertov (A Sixth Part of the World) about 2 years ago
Jacques Tourneur (The Leopard Man)- 1 vs. Dziga Vertov (A Sixth Part of the World)- 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 23: Luis Bunuel (Los Olivados) vs. Peter Forgacs (Danube Exodus) about 2 years ago
Luis Buñuel (Los Olvidados) – 1 vs Péter Forgács (The Danube Exodus) – 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 24: Sergiu Nicolaescu (Then I Sentenced Them All To Death) vs. Johan van der Keuken (Blind Kind) about 2 years ago
Extraordinary, both! Can’t see either content or form sacrificed for an ideological, compromised stance; nothing of Nicolaescu’s penchant for historical revisionism in accordance to a particular political credo can be really applicable in the case of ‘Then I Sentenced Them All To Death’. It’s constantly surprising in formal terms, with the disorienting first 40 minutes – it keeps changing POVs to the point where we’re never sure to where or to what characters are looking at; sometimes “action” befalls over them without notice, or is suddenly interrupted and fragment with no ceremony -, thus creating a sense of uncertainty and chaos (emotional/physical/psychological) during troublesome times. The camera then rests during the astounding dinner table sequence, where the text and the actors’ bodies and gestures takes precedence and guides the narrative – I shivered, grinned and laughed during this sequence in equal measures as if Ionesco himself had written the coruscating, illuminating dialogue. This is immediately followed by the imagined funeral and it confirms its Absurdist influences (and as we know, Absurdism itself is the antithesis of of any kind of political conformism and/or suspiciously compromised ideologies). Ooh, earlier on, the remarkable sequence between the boy and the priest, stunningly, uncomfortably balanced between affection and harassment (and indeed daringly anticlerical, and far from “good taste”!). It has its faults, Nicolaescu can’t escape one or two moments of coyness and sentimentality, but overall a powerful film, an extraordinary achievement.
That said, I’m absolutely in love with ‘Blind Child’: the diffuse first images, the initial words- “Children yell, ‘look at that blind boy’, I think it’s aw full, It makes my blood boil, You get so mad, You want to fight!”, then faces to the voices, everyday gestures and attitudes – I cried like a newborn, just watching their exercises in the field, or girls, and especially boys, walking hand in hand -, and those stunning final minutes of the boy making that big, difficult, beautiful, adventurous odyssey in the busy streets,
Sergiu Nicolaescu (Then I Sentenced Them All To Death) – 0 vs Johan van der Keuken (Blind Child) – 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 25: Sidney Lumet (The Pawnbroker) vs. Pere Portabella (Warsaw Bridge) about 2 years ago
Sidney Lumet (The Pawnbroker) —0 vs. Pere Portabella (Warsaw Bridge) —1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 26: Darezhan Omirbaev (July) vs. John Frankenheimer (Seconds) about 2 years ago
Darezhan Omirbaev (July) – 0 vs. John Frankenheimer (Seconds) – 1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 27: Michael Mann (Heat) vs. Benedek Fliegauf (Dealer) about 2 years ago
Michael Mann (Heat ) —0 vs. Benedek Fliegauf (Dealer) —1
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 29: Robert Altman (Brewster McCloud) vs. Shin Sang-ok (Flower in Hell) about 2 years ago
Robert Altman (Brewster McCloud) —1 vs. Shin Sang-ok (Flower in Hell) —0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 30: Masahiro Shinoda (Pale Flower) vs. Richard Stanley (Dust Devil) about 2 years ago
Masahiro Shinoda (Pale Flower) – 1 vs Richard Stanley (Dust Devil) – 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 31: Pedro Costa (Ossos) vs. João César Monteiro (Trails) about 2 years ago
Pedro Costa (Ossos) — 0 vs. João César Monteiro (Trails) — 1
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