Post by avnermoriarti on Jan 2, 2019 21:22:49 GMT
Didn't see as much movies as I wanted, I think I only saw half of what I did the year before
More than anything it was about rewatching certain movies and some are now all-time favorites, but sticking to the rule, this is it:
The Decalogue. Stupidly I saw years ago only half of the episodes and not even in order, but finally isnot on my bucket list and just comfirm Kieslowski as one of my favorite directors. One quick observation that makes this great work never lose its importance is that never becomes a condemning work ( in terms of the politics / the world were the characters live ), which is the problem with many tv shows right now and for that reason I don't think are gonna age well.
Fanny and Alexander. The TV version. The fantasy sequences are the cherry on top, I loved it on film version but this just elevates it, even though there's so much familiarity within the plot, I think the experiences of the kids and the mother ( well, the entire family ) are so open and fully developed that the result is incredibly moving. But there's so much to it that I'm not even going to try.
Orpheus. Jean Marias, a rolls-royce, mirros, scenes playing backwards, is Cocteu in his most playful mode, there's so much style but he keeps it simple, many things feel improvised but are in tune within the rest of the movie and gives you a lot of marterial to discuss the importance of life, death and art, it's wonderful
The Great Silence. This is the perfect example of how the details adds a lot of volume to a story that's been done dozens of time. This is heavy in mood, the snow, wind, blood, it almost feels as if we're breaking right into that moment in time. Trintingnat and Kinski are amazing.
Happy as Lazzaro. I still don't know exactly what is it that I love about it but I think it is a film of enormous freedom, taking inspirations from Bresson, Pasolini, Rosselini, Kusturica even Dreyer, and while it couldn't be more different from them the references had the same effect on me, I think Rohwacher what is looking for is to transmit the strange experience of a miracle without even explaining it while denouncing explotation and action through a face that is not easy to forget, Lazzaro, that reminded me of the donkey from Bresson or Rosselini's St. Francis, a character is quite a treat, I think for a lot of people, or at least a wish I always had, to know a person entirely kind.
The Fire Within. Who would've thought that a movie about suicide could be life affirming ?
Nocturama. I have no idea why Bonello is not discussed enough, even just when it comes to provocateurs or masters of creating mood, idk, but I knida like it that way, haha. Of course I love this film and is so well thoughtout in how to approach the terrorists, honestly, in this day and age, is the only way I can see them to be portrayed and acknowledges how we're broke from within. And not to mention how chilling and stylish it is.
Phantom Thead. Well, it looks like every single existent love story is here.
Burning. In the last couple of years I've seen quite a few movies that follow a similar structure, movies that gives me the impression that we're not watching crucial moments that would give reason for many other things happening within the plot. However, here works wonderfully. My impression is that this movie is not interested in talking about the power relationships ( class / erotic ) in clear ways, on the contrary, here is through the omissions that is suggestings the ideas for us to complement in the doubts and discussions. "Why the girl disappear ?" is probably the main question but gives room to much more and within that tells a lot more about coexistence and love
Phantom of the Paradise. I'm a sucker for musicals, and this has to be up there as the most out there I've seen, so raw and kitsch, a middle finger to showbiz
HM: The Story of Qiu Ju, Aloha Bobby ad Rose, The Confession, Man of Marble, Isle of Dogs, Saturday Night Fever, The Killing of a Sacred Deer
More than anything it was about rewatching certain movies and some are now all-time favorites, but sticking to the rule, this is it:
The Decalogue. Stupidly I saw years ago only half of the episodes and not even in order, but finally isnot on my bucket list and just comfirm Kieslowski as one of my favorite directors. One quick observation that makes this great work never lose its importance is that never becomes a condemning work ( in terms of the politics / the world were the characters live ), which is the problem with many tv shows right now and for that reason I don't think are gonna age well.
Fanny and Alexander. The TV version. The fantasy sequences are the cherry on top, I loved it on film version but this just elevates it, even though there's so much familiarity within the plot, I think the experiences of the kids and the mother ( well, the entire family ) are so open and fully developed that the result is incredibly moving. But there's so much to it that I'm not even going to try.
Orpheus. Jean Marias, a rolls-royce, mirros, scenes playing backwards, is Cocteu in his most playful mode, there's so much style but he keeps it simple, many things feel improvised but are in tune within the rest of the movie and gives you a lot of marterial to discuss the importance of life, death and art, it's wonderful
The Great Silence. This is the perfect example of how the details adds a lot of volume to a story that's been done dozens of time. This is heavy in mood, the snow, wind, blood, it almost feels as if we're breaking right into that moment in time. Trintingnat and Kinski are amazing.
Happy as Lazzaro. I still don't know exactly what is it that I love about it but I think it is a film of enormous freedom, taking inspirations from Bresson, Pasolini, Rosselini, Kusturica even Dreyer, and while it couldn't be more different from them the references had the same effect on me, I think Rohwacher what is looking for is to transmit the strange experience of a miracle without even explaining it while denouncing explotation and action through a face that is not easy to forget, Lazzaro, that reminded me of the donkey from Bresson or Rosselini's St. Francis, a character is quite a treat, I think for a lot of people, or at least a wish I always had, to know a person entirely kind.
The Fire Within. Who would've thought that a movie about suicide could be life affirming ?
Nocturama. I have no idea why Bonello is not discussed enough, even just when it comes to provocateurs or masters of creating mood, idk, but I knida like it that way, haha. Of course I love this film and is so well thoughtout in how to approach the terrorists, honestly, in this day and age, is the only way I can see them to be portrayed and acknowledges how we're broke from within. And not to mention how chilling and stylish it is.
Phantom Thead. Well, it looks like every single existent love story is here.
Burning. In the last couple of years I've seen quite a few movies that follow a similar structure, movies that gives me the impression that we're not watching crucial moments that would give reason for many other things happening within the plot. However, here works wonderfully. My impression is that this movie is not interested in talking about the power relationships ( class / erotic ) in clear ways, on the contrary, here is through the omissions that is suggestings the ideas for us to complement in the doubts and discussions. "Why the girl disappear ?" is probably the main question but gives room to much more and within that tells a lot more about coexistence and love
Phantom of the Paradise. I'm a sucker for musicals, and this has to be up there as the most out there I've seen, so raw and kitsch, a middle finger to showbiz
HM: The Story of Qiu Ju, Aloha Bobby ad Rose, The Confession, Man of Marble, Isle of Dogs, Saturday Night Fever, The Killing of a Sacred Deer