The way both films convey the subject matter, from the tone of the narrator to the visuals of the ancient Mediterranean (sculptures and region itself) relentlessly makes me get the same impression. Any ideas? I think this is worth digging.
The way both films convey the subject matter, from the tone of the narrator to the visuals of the ancient Mediterranean (sculptures and region itself) relentlessly makes me get the same impression. Any ideas? I think this is worth digging.
Those that are acquinted with Monteverdi’s Magnificat might have recognized that in the original score ‘Depusuit Potentes’ comes prior to ‘Et Excultavit’ which is lighter and fresher in tone and by no means darker than ‘Et Excultavit’. Bresson reverses the order placing the former at the end of the film. This is perhaps a totally arbitrary choice or has some other grounds, yes, but nevertheless I think this suggests that after all the turmoils in the film we see the light at the end of the tunnel. I wouldn’t accept any desperate reading, at least for the suicide scene. Yet ofcourse, obviously there is much bitterness left in my tongue, my stomach aches and my diaphragm squizzes my lungs… There is something very real here rather than true.
Given a first thought, any short film could be considered as starting the match one goal behind; if for nothing for the difficulties in concentrating all that matters to the director in a time interval one could smoke a cigarette. But if the material condensed is striking enough I think it would even be an advantage over a feature film (i.e. Víctor Erice’s “Lifeline” would be very very hard to be overtaken by). That is to say I had similar concerns like others. Phantom needs time to develop the tragedy and I think overall it’s more effective than Hulahoop. I like Hulahoop a lot and I could easily vote for it had it been against likes of Ripstein’s overlooking “Así es la vida”. But at the end of the day it leaves the taste of a bright idea only, Phantom is more like an accomplished meal.
José Luis Guerín (Tren de Sombras) – 1 vs. Michael Winterbottom (24 hour Party People) – 0
in short tren de sombras is like a book one would like to go through again and again and dwell in to find something fresh each and every time. Few films pass that feeling of temps perdu. A very easy vote for me; no offence, ‘iggy pop’, but guerín and party people are not in the same weight category.
Here we are at the edge of the water
the sycamore and I.
Our forms appear in the water
the sycamore’s and mine.
The water casts light back on us
the sycamore and me.
Here we are at the edge of the water
the sycamore and I, and with us a cat.
Our forms appear in the water
the sycamore’s and mine and the cat’s.
The water casts light back on us
the sycamore, me, and the cat.
Here we are at the edge of the water
the sycamore and I, the cat—and the sun.
Our forms appear in the water
the sycamore’s and mine, the cat’s and the sun’s.
The water casts light back on us
the sycamore and me, the cat and the sun.
Here we are at the edge of the water,
the sycamore and I, the cat and the sun and all our lives.
Our forms appear in the water
the sycamore’s and mine, the cat’s and the sun’s and all our lives’.
The water casts light back on us
the sycamore and me, the cat and the sun and all our lives.
Here we are at the edge of the water
the sycamore, and I, the cat, and the sun and all our lives.
First the cat will go
and its form will disappear from the water.
I will go next
and my form will disappear from the water.
Then the sycamore will go
and its form will disappear from the water.
Then the water will go
and the sun will be left
but then it too will go.
Here we are at the edge of the water
the sycamore and I, the cat and the sun and all our lives.
The water is cool
the sycamore magnificent
I am writing poetry
the cat dozing.
The sun is warm—
how wonderful to be alive.
The water casts light back on us
to the sycamore and me, the cat and to the sun and to all our lives.
Hera could be nasty at times, especially when she’s jelous. Yet she disappoints her fans down on Earth as she doesn’t direct her hatred to Zeus but to his chldren from other goddesses! :) I would rather go for “Snow Queen”, but she’s too cold and distant to be considered a trickster female. Trickstary necessitates a “socialisable” nature.
head: Le mépris, tails: Méditerranée ?? about 2 years ago
The way both films convey the subject matter, from the tone of the narrator to the visuals of the ancient Mediterranean (sculptures and region itself) relentlessly makes me get the same impression. Any ideas? I think this is worth digging.
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head: Le mépris, tails: Méditerranée ?? about 2 years ago
The way both films convey the subject matter, from the tone of the narrator to the visuals of the ancient Mediterranean (sculptures and region itself) relentlessly makes me get the same impression. Any ideas? I think this is worth digging.
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Film Database Submission April 2010 about 2 years ago
“Lifeline” (2002), Episode in Ten Minutes Older: The TrumpetDirector: Víctor Erice
PS: ‘Ten Minutes Older’ as a set was previously entered by Nathan Heigert for March period.
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Film Database Submission April 2010 about 2 years ago
Respiro (2002)
Director: Emanuele Crialese
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Film Database Submission April 2010 about 2 years ago
Koncert Życzeń (Concert of Wishes)
(Krzysztof Kieślowski, 1967)
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Film Discussion on Mouchette about 2 years ago
Those that are acquinted with Monteverdi’s Magnificat might have recognized that in the original score ‘Depusuit Potentes’ comes prior to ‘Et Excultavit’ which is lighter and fresher in tone and by no means darker than ‘Et Excultavit’. Bresson reverses the order placing the former at the end of the film. This is perhaps a totally arbitrary choice or has some other grounds, yes, but nevertheless I think this suggests that after all the turmoils in the film we see the light at the end of the tunnel. I wouldn’t accept any desperate reading, at least for the suicide scene. Yet ofcourse, obviously there is much bitterness left in my tongue, my stomach aches and my diaphragm squizzes my lungs… There is something very real here rather than true.
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 26: Darezhan Omirbaev (July) vs. John Frankenheimer (Seconds) about 1 year ago
I like “Seconds” a lot but it doesn’t ‘turn the key’ to the end.
Darezhan Omirbaev (July) – 1 vs. John Frankenheimer (Seconds) – 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 1, MATCH 28: Vsevolod Pudovkin (Deserter) vs. Jerzy Skolimowski (Barrier) about 1 year ago
sheer indented propaganda – 0 vs. romantic impulses -1
“deserter " was still wonderful, but any reklama distracts me.Vsevolod Pudovkin (Deserter) —0 vs. Jerzy Skolimowski (Barrier) —1
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DIRECTORS’ CUP 2011 VOTING, ROUND 2, MATCH 1: F.W. Murnau (Phantom) vs. Edwin (Hulahoop Soundings) about 1 year ago
Given a first thought, any short film could be considered as starting the match one goal behind; if for nothing for the difficulties in concentrating all that matters to the director in a time interval one could smoke a cigarette. But if the material condensed is striking enough I think it would even be an advantage over a feature film (i.e. Víctor Erice’s “Lifeline” would be very very hard to be overtaken by). That is to say I had similar concerns like others. Phantom needs time to develop the tragedy and I think overall it’s more effective than Hulahoop. I like Hulahoop a lot and I could easily vote for it had it been against likes of Ripstein’s overlooking “Así es la vida”. But at the end of the day it leaves the taste of a bright idea only, Phantom is more like an accomplished meal.
F.W. Murnau (Phantom) – 1 vs. Edwin (Hulahoop Soundings) – 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 2, MATCH 2: Aleksei German (Trial of the Road) vs. Arturo Ripstein (Such is Life) about 1 year ago
Aleksei German (Trial of the Road) – 1 vs Arturo Ripstein (Such is Life) – 0
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DIRECTORS’ CUP 2011 VOTING, ROUND 2, MATCH 4: José Luis Guerín (Tren de Sombras) vs Michael Winterbottom (24 hour Party People) about 1 year ago
José Luis Guerín (Tren de Sombras) – 1 vs. Michael Winterbottom (24 hour Party People) – 0
in short tren de sombras is like a book one would like to go through again and again and dwell in to find something fresh each and every time. Few films pass that feeling of temps perdu. A very easy vote for me; no offence, ‘iggy pop’, but guerín and party people are not in the same weight category.
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Our Favourite Poems- for a site anthology 12 months ago
The Tale of Tales
Here we are at the edge of the water
the sycamore and I.
Our forms appear in the water
the sycamore’s and mine.
The water casts light back on us
the sycamore and me.
Here we are at the edge of the water
the sycamore and I, and with us a cat.
Our forms appear in the water
the sycamore’s and mine and the cat’s.
The water casts light back on us
the sycamore, me, and the cat.
Here we are at the edge of the water
the sycamore and I, the cat—and the sun.
Our forms appear in the water
the sycamore’s and mine, the cat’s and the sun’s.
The water casts light back on us
the sycamore and me, the cat and the sun.
Here we are at the edge of the water,
the sycamore and I, the cat and the sun and all our lives.
Our forms appear in the water
the sycamore’s and mine, the cat’s and the sun’s and all our lives’.
The water casts light back on us
the sycamore and me, the cat and the sun and all our lives.
Here we are at the edge of the water
the sycamore, and I, the cat, and the sun and all our lives.
First the cat will go
and its form will disappear from the water.
I will go next
and my form will disappear from the water.
Then the sycamore will go
and its form will disappear from the water.
Then the water will go
and the sun will be left
but then it too will go.
Here we are at the edge of the water
the sycamore and I, the cat and the sun and all our lives.
The water is cool
the sycamore magnificent
I am writing poetry
the cat dozing.
The sun is warm—
how wonderful to be alive.
The water casts light back on us
to the sycamore and me, the cat and to the sun and to all our lives.
Nâzım Hikmet
March 7th, 1958 – Warsaw.
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STOP THE LISTS! 5 months ago
Hera could be nasty at times, especially when she’s jelous. Yet she disappoints her fans down on Earth as she doesn’t direct her hatred to Zeus but to his chldren from other goddesses! :) I would rather go for “Snow Queen”, but she’s too cold and distant to be considered a trickster female. Trickstary necessitates a “socialisable” nature.
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250/50: The MUBI Forum Users' Top 20 List Finals 5 months ago
The Mirror (Tarkovsky) +2
Follow Me Quietly -1
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250/50: The MUBI Forum Users' Top 20 List Finals 5 months ago
Tale of Tales +2
Such a naïf and beautiful film. And the title is from Nâzım Hikmet’s poem. Definitely deserves to survive.
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250/50: The MUBI Forum Users' Top 20 List Finals 5 months ago
Documentary list would be perfect!
Shadows of Forgotten Ancestors +2
Woman in the Dunes +2
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250/50: The MUBI Forum Users' Top 20 List Finals 5 months ago
Jeanne Dielman, Quai du Commerce, 1080 Bruxelles +2
Shadows of Forgotten Ancestors +2
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Post a song you are currently listening to 23 days ago
Jan Garberek & Anouar Brahem – Manu Katche
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Post a song you are currently listening to 23 days ago
Erik Truffaz “In Between” & “Let Me Go!” (feat Sophie Hunger)
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