definitely fight club, memento, and boondock saints…uhm juno, the departed (especially being from Boston), amelie (it was cute, but people are too obsessed with it)
I would definitely talk about Jules and Jim. Its such a good pairing of classic and new wave cinema. To me, it’s one of the best french epics ever made, almost up there with Children of Paradise,
I’d agree with Charilie’s comment there, it’s probably true of many other director’s bodies of work. (i feel like people naturally cite L’avventura over some of Antonioni’s work like Blow-Up or Eclipse because it has the most obvious commentary)
the birthday party in Pink Flamingos, any scene of Le Samourai, I especially love when he’s sitting in the stolen car trying every key on the ring and trying not 2 look suspicious, the suicide in Buffalo 66
Ive only seen I Dont Want to Sleep Alone by recommendation from a teacher but I thought it was pretty great. Whoever scouted the locations for that movie was brilliant
since I dont have netflix anymore, I’d really dig a sort of “Movies I Want to See” feature so I could keep a list of movies to get around to, and as has been said some form of recommendation system would be great
also, maybe a button to take you to your last post within a thread so you don’t have to search for when the new posts begin.
the thing about L’avventura was that it was released in the peak of foreign art house when it’s dealings with existentialism stood in direct contrast of hollywood cinema. The social impact contributes alot to the discussion of it. With a film like Blow-Up, it explored a much more subjective scenario, not as universal, so I guess you have to decide whether that’s something to consider in evaluating a movie. I find them similar, though, in that both films deal with relatively shallow people who have their souls momentarily stirred. To me, the major difference is that the characters in L’avventura intentionally avoid confronting the emptiness of their lives, whereas in Blow-Up he searches for an answer and never really finds it. I don’t claim to “get” Blow-Up either, and there probably isn’t one correct answer, but similar to L’avventura, I think it explores the idea of searching for something substantial in life. I think Antonioni explores this thirst by contrasting the photographers attempts to quench himself through his public life of decadence and the real passionate work he does for the murder case in private. Like Ebert, I believe he uses the case to preoccupy himself or as he put it, “get lost in his craft.” As far as the ending goes, the best I can make of it is that in succeeding to the mime’s antics, and tossing them back their imaginary tennis ball, he accepts that there isn’t always an answer or resolution, and that absurdity is an integral part of life.
Sorry, I digress, this is a thread about Kaufman. But anyways, hope that helped explain what I meant. I thoroughly enjoyed revisiting Blow-Up.
^I had no idea of that. My parent’s taped all the episodes on VHS from when they originally aired so that’s how I saw it. The continuity in NxE doesn’t seem to be all that important within seasons though, they’re fairly self-contained.
Film student at Emerson in Boston. As a Criterion buff and someone who even at film school doesn’t really know anyone who shares a similar taste for autuers, this site is especially awesome to me
^julien broke a few commandments in the process though. Crediting the director, using non-diegetic sound. I agree that he broke them tastefully and nevertheless stands as a good example of Dogma95
Salo for sure, just saw it last night. And to be totally honest, Rashomon. Nothing wrong with it, but I saw it several times before i started film school and ive had to watch it at least twice more since, I’m getting tired of it.
When I went to the theaters a few weeks ago they sold out like 5 different showings of Slumdog in the 15 minutes I was in line to get tickets for Synecdoche. It seems like one of those movies that college kids and twenty-somethings flock to so they can say they watch “indie” movies which makes it hard to be objective about how good the movie actually is. It was an alright movie, but the reaction and interest in it has been quite disproportionate, and I’m sure it’ll be the same way with another movie in a month or so.
I heard that Weekend was the result of a competition between Godard and Bunuel as to who could best mock the bourgeoisie. I would say that Bunuel won. Weekend is still an interesting movie, and one worth having in your film vernacular, but for me that’s about it.
WHICH DIRECTORS...NOT...CURRENTLY REPRESENTED IN THE CRITERION COLLECTION DO YOU WANT TO SEE INCLUDED? over 3 years ago
Definitely Almodovar, Ray, and PTA
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What films do you always catch shit for for not liking? over 3 years ago
definitely fight club, memento, and boondock saints…uhm juno, the departed (especially being from Boston), amelie (it was cute, but people are too obsessed with it)
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Movies That Should Be In the Criterion Collection over 3 years ago
BLOW-UP, Repo Man, Koyaanisqatsi, any Harmony Korine, Stroszek, Tarnation, I Don’t Want to Sleep Alone, Ashes of Time
and a Criterion set of Lindsey Anderson’s Mick Travis Trilogy would be rad
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What was the first Criterion movie you watched? over 3 years ago
la grand illusion
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Defining films of the deacade over 3 years ago
In the Mood for Love
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French Film over 3 years ago
I would definitely talk about Jules and Jim. Its such a good pairing of classic and new wave cinema. To me, it’s one of the best french epics ever made, almost up there with Children of Paradise,
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Favorite auteurs missing from the profile selection box. over 3 years ago
william klein, and another vote for Mellville and Barney
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Your favorite title sequence over 3 years ago
touch of evil, blue velvet
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Classic Actors/actresses over 3 years ago
cant forget marcello mastroianni, jeanne moreau, and malcolm mcdowell
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Charlie Kaufman over 3 years ago
I’d agree with Charilie’s comment there, it’s probably true of many other director’s bodies of work. (i feel like people naturally cite L’avventura over some of Antonioni’s work like Blow-Up or Eclipse because it has the most obvious commentary)
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BEST SEQUENCE OR SCENE FROM ANY FILM(CAN BE AN OPENING OR ANYTHING ELSE) over 3 years ago
the birthday party in Pink Flamingos, any scene of Le Samourai, I especially love when he’s sitting in the stolen car trying every key on the ring and trying not 2 look suspicious, the suicide in Buffalo 66
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Charlie Kaufman over 3 years ago
No commentary as in what themes Antonioni was addressing with the film
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Ming-liang Tsai over 3 years ago
Ive only seen I Dont Want to Sleep Alone by recommendation from a teacher but I thought it was pretty great. Whoever scouted the locations for that movie was brilliant
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Help make The Auteurs totally awesome over 3 years ago
since I dont have netflix anymore, I’d really dig a sort of “Movies I Want to See” feature so I could keep a list of movies to get around to, and as has been said some form of recommendation system would be great
also, maybe a button to take you to your last post within a thread so you don’t have to search for when the new posts begin.
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tv shows? over 3 years ago
man if there’s one show that deserves to be rediscovered its Northern Exposure
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Charlie Kaufman over 3 years ago
the thing about L’avventura was that it was released in the peak of foreign art house when it’s dealings with existentialism stood in direct contrast of hollywood cinema. The social impact contributes alot to the discussion of it. With a film like Blow-Up, it explored a much more subjective scenario, not as universal, so I guess you have to decide whether that’s something to consider in evaluating a movie. I find them similar, though, in that both films deal with relatively shallow people who have their souls momentarily stirred. To me, the major difference is that the characters in L’avventura intentionally avoid confronting the emptiness of their lives, whereas in Blow-Up he searches for an answer and never really finds it. I don’t claim to “get” Blow-Up either, and there probably isn’t one correct answer, but similar to L’avventura, I think it explores the idea of searching for something substantial in life. I think Antonioni explores this thirst by contrasting the photographers attempts to quench himself through his public life of decadence and the real passionate work he does for the murder case in private. Like Ebert, I believe he uses the case to preoccupy himself or as he put it, “get lost in his craft.” As far as the ending goes, the best I can make of it is that in succeeding to the mime’s antics, and tossing them back their imaginary tennis ball, he accepts that there isn’t always an answer or resolution, and that absurdity is an integral part of life.
Sorry, I digress, this is a thread about Kaufman. But anyways, hope that helped explain what I meant. I thoroughly enjoyed revisiting Blow-Up.
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Movies That Should Be In the Criterion Collection over 3 years ago
MVD good call on Five Easy Pieces, it’s often overshadowed in discussion by Nicholson’s other work during that period
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tv shows? over 3 years ago
^I had no idea of that. My parent’s taped all the episodes on VHS from when they originally aired so that’s how I saw it. The continuity in NxE doesn’t seem to be all that important within seasons though, they’re fairly self-contained.
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Inventive Narrative Structures over 3 years ago
I’d definitely talk about Jim Jarmusch, “Life has no plot, why should film?”
Simple but effective.
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What is so great about this movie? over 3 years ago
what movie are we talking about exactly?
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New to The Auteurs? You Belong Here over 3 years ago
Film student at Emerson in Boston. As a Criterion buff and someone who even at film school doesn’t really know anyone who shares a similar taste for autuers, this site is especially awesome to me
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DOGMA films over 3 years ago
^julien broke a few commandments in the process though. Crediting the director, using non-diegetic sound. I agree that he broke them tastefully and nevertheless stands as a good example of Dogma95
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WHICH MOVIES...PUT OUT IN LAST 5 YEARS...DO YOU THINK WILL ONE DAY JOIN THE CRITERION COLLECTION? over 3 years ago
Mister Lonely!
Bright Future
Any applicable Ming Tsai-Lang
Old Joy
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What's your favorite Jean-Pierre Melville film? over 3 years ago
tough to say, but I would have to agree that Le Samourai is still the one that gets me goin the most
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GREAT SITE, BUT AM I THE ONLY ONE WHO'S NOT A BIG FAN OF AUTEUR THEORY over 3 years ago
I’d say very often the screenwriter is an equal anchor of the film. what would casablanca be without its’ dialogue?
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Great movies that you never want to see again over 3 years ago
Salo for sure, just saw it last night. And to be totally honest, Rashomon. Nothing wrong with it, but I saw it several times before i started film school and ive had to watch it at least twice more since, I’m getting tired of it.
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Slumdog Millionaire Overrated Film of the Year over 3 years ago
When I went to the theaters a few weeks ago they sold out like 5 different showings of Slumdog in the 15 minutes I was in line to get tickets for Synecdoche. It seems like one of those movies that college kids and twenty-somethings flock to so they can say they watch “indie” movies which makes it hard to be objective about how good the movie actually is. It was an alright movie, but the reaction and interest in it has been quite disproportionate, and I’m sure it’ll be the same way with another movie in a month or so.
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Who do you read? over 3 years ago
Breece D’J Pancake, Marcel Proust, Herman Mellville, and Andre Breton
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Jean-Luc Godard's "Weekend" over 3 years ago
I heard that Weekend was the result of a competition between Godard and Bunuel as to who could best mock the bourgeoisie. I would say that Bunuel won. Weekend is still an interesting movie, and one worth having in your film vernacular, but for me that’s about it.
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Why I Love Jim Jarmusch over 3 years ago
the fact that someone could make both Stranger Than Paradise and Ghost Dog is proof enough of that they belong here.
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