Powell & Pressburger
The Criterion Collection (’CC’)
Thanks for following the list. Just added two more films: Heat and Barry Lyndon. Both rewatches. Wasn't totally convinced about Lyndon back in the day but am now. It's probably my favourite Kubrick, and i'm nowhere near a Kubrick nut like many film buffs. I prefer directors like Tarkovsky and Angelopoulos, but Lyndon is a major achievement i think, and i am just a sucker for arty historical epics ;-) I noticed you only gave 'Heat' three. I don't know, it had a strange effect on me while i watched it. It has its flaws but i like it enough to include it in my top 100, or at least for now anyway.
No problem, it's a defining list. I've also drifted away from Kubrick as my tastes have evolved, but Lyndon is just artistic perfection, and still my favourite film. Glad we're now on the same page. I found Heat to be bloated through its multiple subplots, but might revisit it as well, having come around to Miami Vice just earlier this year. What did you think of that film?
I liked the mood and look of M.V but it didn't connect with me on any other level. I know Mann-fans on here argue it's meant to be some moody abstract piece, but i didn't click with it like Heat. I'll grant you the subplots in 'Heat', but there was something about the film as a totality that worked for me. Sometimes it's difficult to nail down exactly why that happens with some films and not others.
So did you just get around to Pedro Costa then? 'Colossal Youth' is probably my favourite movie of the last decade. I've seen it 5 times and it keeps getting better with each viewing. The imagery is truly haunting and burns itself into your mind. The film also works on an incredible amount of levels too, from the aesthetic, to the political, social and philosophical, among others. I have never seen that subject matter portrayed in quite that way before. And Costa's use of interiors is extraordinary.
It works in an odd way though, that's why it's worth seeing. As for Vanda vs Colossal, C.Y is clearly structured to be more of a 'film' and has symbolic meaning, whereas V.R is a little harder to pin down. It's more like a realist documentary but not quite. It's difficult to classify. Both films are really. But he refined his gritty-low-tech-minimalist-painterly approach on C.Y, so it feels more like a complete work. Ne Change Rien is interesting too. I'd say it's worth a look. I have never seen a portrait of a musician/artist like it.
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