Bleu Poster
22Mar12
Can't wait.
X.A. Coronel: Filmography
Wow, the person who chose the current still has no idea what Grandrieux is about. I hope this gets corrected. In fact, bored, tasteless users/editors need to stop playing with the stills, the grand majority were already perfectly selected by the best of them. This plastic "democracy" is getting annoying.
Palme d'Or 2012.
speakingparts and 3 others like this
"If I consider Rossellini to be the most modern of film-makers, it is not without reason; nor is it through reason, either. It seems to me impossible to see Voyage to Italy without receiving direct evidence of the fact that the film opens a breach, and that all cinema, on pain of death, must pass through it." Jacques Rivette, April 1955.
Arsaib and twodeadmagpies like this
Rivette's Letter on Rossellini. http://www.dvdbeaver.com/rivette/ok/letteronrossellini.html
Trailer http://www.youtube.com/watch?v=M4PFGhut_c4
dust in love likes this
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X.A. Coronel
22Mar12
Absolutely, I even think the french title was at some point "Les Amants". Assayas' Apres Mai is another upcoming mirror piece on these subjects and maybe even Garrel in particular. Can't wait!
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X.A. Coronel
11Apr12
Right there with you Dust. Need to stop reading stuff about the film or I'll go crazy for not being able to see it, like right now! this interview on the score is so not helping http://www.youtube.com/watch?v=by16b6nKhuU
In 1999 two Rivettian filmmakers released their own adaptations of Herman Melville novels with writer Jean-Pol Fargeau, Claire Denis with "Billy Budd" in Beau Travail and Leos Carax with "Pierre: or, The Ambiguities" in Pola X. Denis made one of her greatest films. Carax made his masterpiece.
Lights in the Dusk and dust in love like this
The true heir to Rossellini and Cassavetes.
Bucéfalo likes this
GTA Vice City Nostalgia.
Mauro and Trevor Tillman like this
Sci-fi exploration on lost insular civilizations. Rivers creates perfection between the blurry lines of documentary, experimental cinema and what is defined as fiction, evolving a brutal awareness of man, nature and time. My favorite Rivers.
I know where i'm going and This is my land please!
I'm not crazy about the new still.
Endless Desire and My Second Brother!
How can we dare to say anything unpleasant about this film. Not after what we have seen. Malick's own Zerkalo. His own spiritual reflection on memories, dreams and nightmares. We do get the feeling his work has been slowly building to this moment. Malick is finally making films exactly the way he wants to, and it's simply amazing how this moment of freedom has brought him so close to Brakhage in more than one way.
Trevor Tillman and Aquieu like this
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X.A. Coronel
24Oct11
Quit whining man, it's just a comment. No need to waste any childish sarcasm over this.
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WhatsUpWill
2Jan12
Roscoe doesn't like anyone being passionate about films that he's not passionate about.
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Le Danse meurtrière des Fantômes de la mer. Fucking Wow.
Fatzers likes this
I've been looking forward to this debut. I have. There were interesting things in Gavras' Born Free and Stress. I quite like them and care to defend in this videos the matters of fear/revenge of the abused/powerless as a seeminly sole way to save their own self worth. Yes the violence becomes here a different thing, a primitive act of self love. The last one before fading away. The problem is Stress already made a better point on this matter with its blatant 6-minute rapmage of violence than this 90 min first feature. In Notre Jour that idea is rancid, cynical and fake. He has travelled to the wrong places overthinking and stretching that thought. There really wasn't any more to say. Move over.
Some nice gangsta love.
Why do you people demand destinations to ideas! why do they need to go somewhere? wtf does that even mean! they are in motion, that's sufficient. That is development, not developed.
Colton Bose and 3 others like this
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ConallVision
16Apr11
A think a film has to say something, no matter how big or small. Up until after the performance nothing actually changes in therms of plot or the characters. It becomes boring quickly and feels pointless. I think the film redeems itself at the end with Diego Luna's character self realisation. I think that should have featured more prominently from much earlier on.
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Costa's Rabbit Hunters on youtube. http://www.youtube.com/watch?v=qs1sdBF8PNk
Neither do I.
Mournful Unconcern?
Father, forgive them, for they do not know what they are doing
Ryan Clark and 2 others like this
The faux trailer looked far less annoying, but hey, good for Danny.
Not as bad as one would expect.
This is what Q became after three decades. No words to describe it.
I've always found this to be one of the most beautiful films there are that speak of loss and mourning. Kawase's camera moves, follows and wanders through Nara and it's characters like a vigorous phantom with the curiosity of a child, discovering the visible and the invisible, since it's first awakened from the darkness to it's final flight of victory. A beautiful experience, it shouldn't be missed.
Slow-Immersion likes this
That's not Bulle Ogier! that's Juliet Berto!
I think that very quietly, resting inside this film, is one of Almodovar's Best films. (I don't know what that's suppose to mean)
What an amazing ride this film is, crude, impulsive, surreal and even cheerfully nostalgic.
De Palma's true self delirium. no screenplays needed, stories are excuses for real visual stimulation, De Palma's own Inland Empire. What can i say... a MASTERPIECE, this is what cinema is all about.
