More Claire Denis, like US Go Home and Nenette et Boni. Out 1: Spectre, too, while we’re at it. Celine et Julie?
Hell, why not A Brighter Summer Day?
Sticking with the butt-numbing: Chung Kuo Cina could be split up.
Fuck yes: Fountainhas TV!
I’d very much like to see some more Straub-Huillet and Naruse and Mexican Bunuel.
If Criterion delivers on the half-promise Costa gave this month then we’ll get a step closer to Fountainhas TV when Criterion releases the Fountainhas Trilogy, as it is often-dubbed, “in the fall”… SO: if you guys could swing Casa de Lava or Where Does Your Hidden Smile Lie?, then that’d be a pair of dope coups. And, failing that, Dave’s probably right. All it would really take is some clever networking to get some kind of Fountainhas TV thing… he shoots enough footage as it is…
“Contempt has the most gorgeous film score ever written.”
Word up. It may be my favorite. I’m looking forward to seeing it big at the Castro in May. That said, I dig a lot of those vivacious 60s films, including but not limited to Pierrot le fou and Masculin-Feminin and Week End and Bande à part. Vivre sa vie is great but it’s too “pure” to love (which makes no sense, I know). Or so I thought last time I saw it, three years ago. Oh heck: he’s a favorite for a reason: I dig ’em all, in some fashion or another.
I’m with the nods for 2001, Andrei Rublev_/_Mirror (really any Tarkovsky, but that’s a little over the top hero worship), Vertigo, La Jetee and Rules of the Game. (Even The Pianist.)
I’ll add: Beau Travail Contempt McCabe & Mrs Miller Yi Yi Playtime Where Does Your Hidden Smile Lie?
…I could probably keep listing for ages.
But what I’ve known (always) is that the odd films draw my love more and more. By my lights No Quarto de Vanda and The New World and Miami Vice and INLAND EMPIRE and Japon and Vivre sa vie are perfect but they’re kind of weird movies (well, definitely the Lynch, right?). Not “traditional” but I guess that’s what the vanguard does: try to redefine the medium. However, you could also argue that all three of those pictures are using tradition not against itself but by examining its limits to expand the conversation. In fact, that could probably be said about the first films I listed/echoed.
I’m into it. Especially Domino and Deja Vu, even if they’re compromised, because they’re just so wild. I think there’s a case to be made for the inconsistent, since, you know, life is hardly that way. Or, at any rate, mine is not. Basically I reiterate what d-kaz said and add that I think there’s good stuff to be enjoyed and read in there, not just tossed off as simple garbage. Unless, of course, we’re talking the hate-mongering bully-fest of something like Man on Fire. (Though, to be fair, it kind of worked on me in similar a-g terms bc of a serious plummet into misanthropy around the time of its release; still can’t quite “acquit” it, though, of its often-times idiocy.)
For this record, while I’m here, as if it needed repeating on this interweb: I find INLAND EMPIRE to be truly beautiful. I love the smear. Likewise, Mann knows what’s up. The paradoxical mechanics of aperture and shutter speeds makes Mann’s argument that much more interesting, too, since a lot of what seems to have motivated his shift is his interest in the speed (and the ramping up of the speed) of story and of action to the point where it gets hardly representational. I think this impatience operates differently in Soderbergh, though both men are interested in working and how one works and how much one works. It’s never a question of why one works. One simply works. That is, if they do not work, then they die. What’s cool about Mann is how much he’s after a vividness of the world over against the remove of Soderbergh; both are fascinating, but the world Mann makes is the world I want to live in; or, at least, the world I want to see every day. Then again, one might say that those are the same (though different, of course).
The Coens makes some of the closest things we might term “screwball” but the thing is that so few of their pictures are really romances, per se, which is such a big part of the dynamic of so many screwball comedies from the 30s and 40s. What they bring, in a screwball sense, is the speed of their pictures: each is short (except No Country, but less said the better) and zinger-filled and brisk and forever forward-moving. It’s no wonder O Brother was their biggest hit: it’s a tight little package of film history and jokes and songs all whirling about George Clooney’s dry turn, the closest we have to a real star these daze. Cuz, really, it may boil down to lower wattage. However, in a more basic sense, the world is different, and we have different concerns, and movies just don’t work like they once did. Again, there’s the obvious bit that there’s never going to be another Cary Grant, nor Irene Dunne, simply because stars aren’t quite stars as such anymore. Or, the reason I like those Oceans movies is precisely because they’re trying to do a real old-Ho’wood thing with all those “icons” lined up piling on the charm. Charisma is not only underrated these days (Robert Pattinson? Jake Gyllenhaal? these are the ‘throbs?) but underutilized. And, really, where are the women? The best thing about those older screwball films is how much equality you see: Irene Dunne and Barbara Stanwyck are FORCES, and Katherine Hepburn ain’t so meek either, that I can’t imagine anybody besides Clooney and Pitt and maybe Clive Owen standing up against. The closest, maybe, is Tilda Swinton. She’s fucking amazing. And perfect—down to the collar—in something like Burn After Reading. Oh, I guess Catherine Zeta-Jones is pretty powerful, or powerfully pretty, in a classic way.
Maybe that’s it: what happened to the American actress?
I think Brad Pitt is an underrated actor. Not one time have I thought him “obliterated.” In fact, I thought his performance in Benjie Butts was perfect: the real reason to watch the thing.
I feel like Danny and I had the T&E/Lynch convo ages ago but I never remember to pop into these forums. I sure do hope I feel compelled to write the first 5/5 review of Billion Dollar Movie; but even voicing that desire foretells my eventual love/shock. In any case, glad there’s some niche of the film nerd world that recognizes game.
Should be an incredible event. The Paramount is quite the Palace. Even moreso than The Castro. Plus a real orchestra? Call me crazy but that’s worth a cross country trip…
Which movies would you like to see on The Auteurs? about 4 years ago
More Claire Denis, like US Go Home and Nenette et Boni.
Out 1: Spectre, too, while we’re at it. Celine et Julie?
Hell, why not A Brighter Summer Day?
Sticking with the butt-numbing: Chung Kuo Cina could be split up.
Fuck yes: Fountainhas TV!
I’d very much like to see some more Straub-Huillet and Naruse and Mexican Bunuel.
Go to Comment
Which movies would you like to see on The Auteurs? about 4 years ago
If Criterion delivers on the half-promise Costa gave this month then we’ll get a step closer to Fountainhas TV when Criterion releases the Fountainhas Trilogy, as it is often-dubbed, “in the fall”… SO: if you guys could swing Casa de Lava or Where Does Your Hidden Smile Lie?, then that’d be a pair of dope coups. And, failing that, Dave’s probably right. All it would really take is some clever networking to get some kind of Fountainhas TV thing… he shoots enough footage as it is…
Go to Comment
Your Favorite Godard Film? about 4 years ago
“Contempt has the most gorgeous film score ever written.”
Word up. It may be my favorite. I’m looking forward to seeing it big at the Castro in May. That said, I dig a lot of those vivacious 60s films, including but not limited to Pierrot le fou and Masculin-Feminin and Week End and Bande à part. Vivre sa vie is great but it’s too “pure” to love (which makes no sense, I know). Or so I thought last time I saw it, three years ago. Oh heck: he’s a favorite for a reason: I dig ’em all, in some fashion or another.
Go to Comment
When I say "A Perfect Film", What One Film Pops Into Your Head First? almost 4 years ago
I’m with the nods for 2001, Andrei Rublev_/_Mirror (really any Tarkovsky, but that’s a little over the top hero worship), Vertigo, La Jetee and Rules of the Game. (Even The Pianist.)
I’ll add:
Beau Travail
Contempt
McCabe & Mrs Miller
Yi Yi
Playtime
Where Does Your Hidden Smile Lie?
…I could probably keep listing for ages.
But what I’ve known (always) is that the odd films draw my love more and more. By my lights No Quarto de Vanda and The New World and Miami Vice and INLAND EMPIRE and Japon and Vivre sa vie are perfect but they’re kind of weird movies (well, definitely the Lynch, right?). Not “traditional” but I guess that’s what the vanguard does: try to redefine the medium. However, you could also argue that all three of those pictures are using tradition not against itself but by examining its limits to expand the conversation. In fact, that could probably be said about the first films I listed/echoed.
Go to Comment
Tony Scott about 3 years ago
I’m into it. Especially Domino and Deja Vu, even if they’re compromised, because they’re just so wild. I think there’s a case to be made for the inconsistent, since, you know, life is hardly that way. Or, at any rate, mine is not. Basically I reiterate what d-kaz said and add that I think there’s good stuff to be enjoyed and read in there, not just tossed off as simple garbage. Unless, of course, we’re talking the hate-mongering bully-fest of something like Man on Fire. (Though, to be fair, it kind of worked on me in similar a-g terms bc of a serious plummet into misanthropy around the time of its release; still can’t quite “acquit” it, though, of its often-times idiocy.)
Go to Comment
Soderbergh on Red Camera about 3 years ago
For this record, while I’m here, as if it needed repeating on this interweb: I find INLAND EMPIRE to be truly beautiful. I love the smear. Likewise, Mann knows what’s up. The paradoxical mechanics of aperture and shutter speeds makes Mann’s argument that much more interesting, too, since a lot of what seems to have motivated his shift is his interest in the speed (and the ramping up of the speed) of story and of action to the point where it gets hardly representational. I think this impatience operates differently in Soderbergh, though both men are interested in working and how one works and how much one works. It’s never a question of why one works. One simply works. That is, if they do not work, then they die. What’s cool about Mann is how much he’s after a vividness of the world over against the remove of Soderbergh; both are fascinating, but the world Mann makes is the world I want to live in; or, at least, the world I want to see every day. Then again, one might say that those are the same (though different, of course).
Go to Comment
Twin Peaks: Fire Walk With Me almost 3 years ago
@D-Kaz: did you recently rewatch the picture? How come we never got around to that?
Go to Comment
What are the best Neo-Screwball comedies? almost 3 years ago
The Coens makes some of the closest things we might term “screwball” but the thing is that so few of their pictures are really romances, per se, which is such a big part of the dynamic of so many screwball comedies from the 30s and 40s. What they bring, in a screwball sense, is the speed of their pictures: each is short (except No Country, but less said the better) and zinger-filled and brisk and forever forward-moving. It’s no wonder O Brother was their biggest hit: it’s a tight little package of film history and jokes and songs all whirling about George Clooney’s dry turn, the closest we have to a real star these daze. Cuz, really, it may boil down to lower wattage. However, in a more basic sense, the world is different, and we have different concerns, and movies just don’t work like they once did. Again, there’s the obvious bit that there’s never going to be another Cary Grant, nor Irene Dunne, simply because stars aren’t quite stars as such anymore. Or, the reason I like those Oceans movies is precisely because they’re trying to do a real old-Ho’wood thing with all those “icons” lined up piling on the charm. Charisma is not only underrated these days (Robert Pattinson? Jake Gyllenhaal? these are the ‘throbs?) but underutilized. And, really, where are the women? The best thing about those older screwball films is how much equality you see: Irene Dunne and Barbara Stanwyck are FORCES, and Katherine Hepburn ain’t so meek either, that I can’t imagine anybody besides Clooney and Pitt and maybe Clive Owen standing up against. The closest, maybe, is Tilda Swinton. She’s fucking amazing. And perfect—down to the collar—in something like Burn After Reading. Oh, I guess Catherine Zeta-Jones is pretty powerful, or powerfully pretty, in a classic way.
Maybe that’s it: what happened to the American actress?
Go to Comment
What are the best Neo-Screwball comedies? almost 3 years ago
I think Brad Pitt is an underrated actor. Not one time have I thought him “obliterated.” In fact, I thought his performance in Benjie Butts was perfect: the real reason to watch the thing.
Go to Comment
Eric Wareheim, Director. over 1 year ago
I feel like Danny and I had the T&E/Lynch convo ages ago but I never remember to pop into these forums. I sure do hope I feel compelled to write the first 5/5 review of Billion Dollar Movie; but even voicing that desire foretells my eventual love/shock. In any case, glad there’s some niche of the film nerd world that recognizes game.
Go to Comment
Abel Gance's Napoleon 11 months ago
Should be an incredible event. The Paramount is quite the Palace. Even moreso than The Castro. Plus a real orchestra? Call me crazy but that’s worth a cross country trip…
Go to Comment