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Post by Deleted on Oct 13, 2019 2:27:05 GMT
This is a film of haunting and hypnotic beauty... Individual frames look like Impressionist paintings - I felt as if I were walking through the exhibits at the Musée d'Orsay while watching it.
In terms of tone, comparisons to Hitchcock's Rebecca and Clayton's The Innocents are an inevitability, but I think Sciamma is more minimalist in her approach. The film is directed with incredible tightness - despite the slight high concept, it pounds with suspense and desire. The aural qualities certainly add to its allure - waves rock the shore and fires hiss in an incredibly sensual and evocative way.
Merlant and Haenel certainly make for an eye-catching pair, and their performances are fully committed and deeply-felt - the film is erotic, but never gratuitous in its sexuality. The romance between the two characters feels developed - genuine and human.
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LaraQ
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English Rose
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Post by LaraQ on Oct 13, 2019 12:22:10 GMT
It sounds incredible,I honestly can't wait to watch this.
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erickeitel
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The beauty of life is in small details, not in big events.
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Post by erickeitel on Oct 13, 2019 22:45:59 GMT
What a gorgeous creation. I could hang some of the still frames on my wall, they're so breathtaking.
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Post by mrimpossible on Oct 14, 2019 0:33:59 GMT
Y'all are making me even more excited for this!
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Post by Tommen_Saperstein on Dec 18, 2019 22:22:51 GMT
This was agonizingly beautiful.
Sciamma's vision is remarkably polished and observational without losing the burning passion at the story's core. She has such a wonderful, wonderful eye for finding the tiniest subtitles in human behavior (a glance, a sigh) to hint at what a person is thinking or feeling. I'm amazed by how erotic this film was, almost unbearably so, despite not containing committed love scenes or even much nudity (I'm looking at you, Kechiche), and it's precisely because the film thrives on those little flourishes. The first time Héloïse poses for Marianne, Sciamma zeroes in on Marianne's face and hungry eyes, constantly shooting from canvas to subject (not so much from subject to canvas) as if she can't take her eyes away even for a fraction of a second. It's in moments like those (for instance the first scene they share together on the cliffs where they can't stop staring at each other) that Sciamma reveals to the audience just how much these women are cultivating insatiable desire within each other without even realizing it themselves, which speaks to how society has cut off these women from their sexuality. The absence of men from this story is strongly felt. The island is a world unto itself, a place where these two women in their brief isolation can come to life and form a profoundly special bond imprinted forever in memory.
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Post by DanQuixote on Dec 18, 2019 22:49:20 GMT
This was agonizingly beautiful. Sciamma's vision is remarkably polished and observational without losing the burning passion at the story's core. She has such a wonderful, wonderful eye for finding the tiniest subtitles in human behavior (a glance, a sigh) to hint at what a person is thinking or feeling. I'm amazed by how erotic this film was, almost unbearably so, despite not containing committed love scenes or even much nudity (I'm looking at you, Kechiche), and it's precisely because the film thrives on those little flourishes. The first time Héloïse poses for Marianne, Sciamma zeroes in on Marianne's face and hungry eyes, constantly shooting from canvas to subject (not so much from subject to canvas) as if she can't take her eyes away even for a fraction of a second. It's in moments like those (for instance the first scene they share together on the cliffs where they can't stop staring at each other) that Sciamma reveals to the audience just how much these women are cultivating insatiable desire within each other without even knowing it themselves. And that's how this is possibly the most erotic film I've ever seen. I wish I had better words to describe how perfect this was. Has it leaked or did you see it in a cinema?
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Post by Tommen_Saperstein on Dec 18, 2019 22:54:31 GMT
Has it leaked or did you see it in a cinema? Leaked. It's not in any theaters near me and probably won't be any time soon.
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Post by DanQuixote on Dec 18, 2019 23:00:14 GMT
Has it leaked or did you see it in a cinema? Leaked. It's not in any theaters near me and probably won't be any time soon. Yeah, same here. Good quality? Are the subs good? I still refuse to watch the Parasite leak because the subtitles weren't good.
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Post by Tommen_Saperstein on Dec 18, 2019 23:05:00 GMT
Leaked. It's not in any theaters near me and probably won't be any time soon. Yeah, same here. Good quality? Are the subs good? I still refuse to watch the Parasite leak because the subtitles weren't good. Quality isn't great but it's decent and IMO the movie is so great that it transcends it but it comes down to whether it's a dealbreaker for you or not. I would love to see it again in better quality but I loved it regardless. Subs are great. It's an official screener so they aren't amateur subs, thank god. I can never watch a movie w/o professional subs either. Drives me up the wall. As for Parasite...hmm I watched the leaked version two months ago and the quality/subs were great. Maybe I saw a newer upload. You should check out your haunts to see if a newer rip has been uploaded since you last looked.
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Post by pacinoyes on Dec 18, 2019 23:06:14 GMT
It's in my top 10 and might stay in it too but I think I had a little different reaction than most - I didn't find the film that erotic actually because it is so thematically tied into other things - and I see something erotic in literally everything I suppose that was erotic but the way it played on me was that it felt more "sensuous" (of the senses) rather than "sensual" (an erotic quality) - vision, sound, touch, and how those tie into the female rites of passage we see (marriage, childbirth/abortion) and with nature (fire, water) and crucially to the myth - the story they discuss - Orpheus - and not turning around and the "shade" in that story (again, sensuous not sensual to me) - the gulf between feeling and actualizing feeling. It's a very fine film....
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avnermoriarti
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Friends say I’ve changed. They’re right.
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Post by avnermoriarti on Dec 18, 2019 23:29:21 GMT
This is something I post before:
Even though this is an emotive film and shows tremendous formal control, I think the result is primarily anecdotal, it goes back to the classic myth of Orpheus and the correlation between memory and love, the choices you have and how through art, memory has a strong impact; there are moments when this film achieves greatness, a scene where Sciamma plays with the surreal or another at the kitchen with the three young ladies simply being themselves, without playing the roles that society dictates.
I love the idea of the participation of the subject of the painting in the process of creation, but next to a film like Girl with a Pearl Earring, this one fells short.
Here the goal is more idealization rather than exploration and the execution reflects that in its attempt to amaze and touch, the result is effective and moving.
Sciamma creates a film that works better as a concept, a large portion of the composition evokes paintings, the likes of Persona or the portraits that the painter in the film does, the characters are carefully observed but the plot is thin and trite. The end result is sensitive and intimate but I don't think the sensibilities on display are homogeneous.
... Now that has is readily available I’m gonna give it another try because it was all about the direction for me, and at times felt like she wanted to include everything she thought of in the process; and I agree with pacinoyes, rather than erotic, I found the movie more sensorial ( just like Call Me by Your Name, actually ), the sound in particular was otherworldly, I think The Innocents is a very good call as well. Still, in a so-so year like this, is a standout.
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erickeitel
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The beauty of life is in small details, not in big events.
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Post by erickeitel on Dec 19, 2019 0:13:32 GMT
It's in my top 10 and might stay in it too but I think I had a little different reaction than most - I didn't find the film that erotic actually because it is so thematically tied into other things - and I see something erotic in literally everything I suppose that was erotic but the way it played on me was that it felt more "sensuous" (of the senses) rather than "sensual" (an erotic quality) - vision, sound, touch, and how those tie into the female rites of passage we see (marriage, childbirth/abortion) and with nature (fire, water) and crucially to the myth - the story they discuss - Orpheus - and not turning around and the "shade" in that story (again, sensuous not sensual to me) - the gulf between feeling and actualizing feeling. It's a very fine film.... I would attribute it being more sensuous than erotic to the time period. The women are well-aware of their mutual attraction, but also know it completely defies the gender roles they're assigned to and more. I think that plays to the movie's strengths, actually--Sciamma knows the actresses have to show restraint. And that's what makes their chemistry all the more palpable.
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Post by Tommen_Saperstein on Dec 19, 2019 0:26:34 GMT
It's in my top 10 and might stay in it too but I think I had a little different reaction than most - I didn't find the film that erotic actually because it is so thematically tied into other things - and I see something erotic in literally everything now that I think about it, "sensual" is probably a better word because I don't think "erotic" is strong enough. The film is alive with sexual energy but the bond between Marianne and Héloïse penetrates much deeper than their physical connection, and that Sciamma makes felt through subtle touches (sighs, glances, stares, small touches). Certainly I felt it anyways. It's definitely not sexual in the way that Blue Is the Warmest Colour is, but not necessarily less, just very different, and like Eric said, appropriate to the setting.
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Post by getclutch on Dec 23, 2019 21:27:14 GMT
Just phenomenal work by Mathon.
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Post by pessimusreincarnated on Jan 9, 2020 6:07:24 GMT
Gorgeously made and achingly raw film with some standout cinematography and performances. Couldn't help but feel like the narrative kept me at arms length slightly, however. Sciamma's sensuous and provocative direction recalled to me Guadagnino's work in CMBYN, but while I really felt like I had gotten to know Elio and Oliver by the end of that film, I can't quite say the same about Marianne and Heloise. Their chemistry is palpable and I bought their romance well enough, but I don't think the movie strained enough to explore it to its greatest potential. Another half hour or so could've fleshed it all out a bit more. I certainly wouldn't have minded if this film were longer- the imagery is breathtaking, and the characters elusively captivating.
Also worth mentioning- the final shot is a banger.
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Zeb31
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Post by Zeb31 on Jan 17, 2020 18:46:46 GMT
Just adding to the chorus here: favorite film of the year so far. Absolutely stunning work from all involved. There's no better word to describe this than hypnotic.
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Post by JangoB on Jan 19, 2020 23:50:02 GMT
What an astonishing film. Just one genius choice after another. I've only seen Sciamma's "Girlhood" before and I liked it but this seems like a stratospheric leap forward for her. It might be one of the very greatest films about the connection between the creation of art and the experiencing of a feeling - the way the two are juxtaposed with each other is nothing short of amazing. How at first Marianne has to create an image of Héloïse bit by bit with each brushstroke serving as a deeper step into the process of capturing her soul - and yet it's an interpretation of a person, a search for her. But then she gets to truly know and feel her and that experience opens a door to emotions that neither of them have felt before. And how beautifully and powerfully Sciamma and her actresses portray the waves of those emotions... The two women know that the relationship will be cut short and that sense of their love intensifying because of that inevitability is just incredibly palpable. And heartbreaking.
This is just one perfect decision after another. Every cut, every shot, every entrance of music into the film - what a soundscape, by the way! I'm just blown away by this film. I mean, how does one even come up with an idea as brilliant as '28'? What a film.
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chris3
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I just ordered a slice of pumpkin pie...
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Post by chris3 on Feb 13, 2020 6:00:02 GMT
Just got home from the theater. I think this is one of the best films I've ever seen.
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Post by Tommen_Saperstein on Feb 13, 2020 7:39:14 GMT
can't wait to hear your thoughts, Sharbs!
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Post by Sharbs on Feb 13, 2020 17:58:25 GMT
I wasn't watching two actresses portray characters; I was watching this budding romance of real women unfold in real time, playing back the empty spots of the timeline while viewing. It honestly kind of felt like it was experiencing this in real time. I was filling in them staying up struggling to fall asleep, the extra glances that the runtime couldn't fulfill, the time spent cooking and other chore like tasks, the laughter we couldn't visit, etc.. Then somebody shakes their popcorn bag directly behind me and disrupts that a bit..
I'm lucky enough to have a small hotbed of cinephilia at my warehouse job because this has been a film anticipated by a few people I work with and this morning was great spending my first half-hour or so clocked in and talking this up to point out that it wasn't just internet over-hypage for me. But once I started boxing some receipt printers and had some quiet space to reflect even more, the scene that really popped was the recreation of the abortion and Marianne painting it. That scene moved me greatly and even though I knew this is a fictional story, it honestly felt like I was being told this secret history of a real painting that has been hiding in the crawlspace of a Parisian Apartment for a century. I started welling up at work just a bit ago.
Perfect use of music in this. It doesn't desensitize the viewer to a constant score, which would diminish the final scene greatly. That orchestra was a fucking blast to the senses as it was for Heloise. Claire Mathon creates the second best cinematography achievement this decade, second only to Malamaire's work on The Master (#1 all-time), those beach scenes are to die for. I love how the camera subtly keeps Heloise in the exact center of the frame for most of the first half without the background becoming too shaky. Haenel acts circles around every other human this year. Merlant is also incerdible. ***I might write a different entire post regarding these two when I rewatch it***
A final shot to end all final shots.
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chris3
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I just ordered a slice of pumpkin pie...
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Post by chris3 on Feb 14, 2020 6:56:55 GMT
SPOILERS FOR THE END:
We're all intense movie lovers on this board, which means that we process the emotions of our real lives into the films that we love. That ending shot (extremely reminiscent of the ending to The Purple Rose of Cairo, visually and thematically) is the greatest representation of the importance and revelation of art to art lovers I've seen in many years. Great movies bring out important memories within us, mostly subconsciously, and by virtue of the fact that we watch so many movies we film lovers end up being forever changed by our fixation on films. To focus and obsess over something is to love it. That final shot is the shot that defines all of us, all of our varying tastes and the experiences that bred such tastes, better than anything I can think of in the medium. Think of your favorite moment of your favorite film and it's the final shot of Portrait of a Lady on Fire. Think of the song that makes you cry because of the love you'll never have and it's the entirety of Portrait of a Lady on Fire. We think in this final moment of our previous relationships and lost loves, but also of how beneficial those experiences are, because they make us see and feel the world around us more fully. So when we hear a piece of music or watch a film we feel it more because we've lived more. And that's just the final shot. I mean, I'm still just stunned.
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Post by ingmarhepburn on Feb 14, 2020 8:20:05 GMT
Can't wait to watch this. Perhaps my most anticipated film of the year. No screener leaks though, I'd rather wait a couple of weeks and see it at a movie theater.
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Post by mhynson27 on Feb 17, 2020 5:39:02 GMT
Huh, just realised I never actually posted my thoughts on here from when I saw it all the way back in July. So here it comes... it's a big ol meh from me friends. Yes it's beautiful but it's beautiful nothing. Just meanders along and I never felt any kind of emotional connection to the characters or their love story (which I never really bought).
Oh, this will be fun.
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Post by TerryMontana on Feb 17, 2020 6:32:42 GMT
Huh, just realised I never actually posted my thoughts on here from when I saw it all the way back in July. So here it comes... it's a big ol meh from me friends. Yes it's beautiful but it's beautiful nothing. Just meanders along and I never felt any kind of emotional connection to the characters or their love story (which I never really bought). Oh, this will be fun. Right there with you, man.
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Post by TerryMontana on Feb 17, 2020 10:48:24 GMT
Right there with you, man. I believe you have low taste 👅 Thank you. Nice movie, nothing special.
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