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This Year In Film / The Dazzling Light of Sunset - Documentary
« Last post by wilder on Yesterday at 06:51:41 AM »

Beautifully shot and strangely comic, Salomé Jashi’s documentary follows Dariko and Khaka, an ultra-low-budget local news team in rural Georgia. Whether it’s elections, death announcements, a rare owl, or an oddly stressful fashion show for prepubescent and teenage girls, the pair approach each story without ego and with absolute professionalism, managing every aspect of reporting and production themselves. Through subtle editing choices, Jashi suggests that nothing truly changes in this former Soviet satellite—but allows her subjects to have one last acerbic word on the matter of representation.

Quote from: Salomé Jashi
"I used to work for television, once. And it was always a very artificial work for me, to do something in a very short time, to present reality to viewers, to thousands of viewers, basically. [...] And the other [circumstance that led me me to make this film was] the way local news represented to the local residents...what was news for a certain kind of people in a small town?"

Directed by Salomé Jashi
Release Date - Screened at Lincoln Center a couple weeks ago, further release plans unknown
The Grapevine / Hounds of Love
« Last post by wilder on Yesterday at 06:01:37 AM »

In the mid-1980s, 17-year-old Vicki Maloney is randomly abducted from a suburban street by a disturbed couple. As she observes the dynamic between her captors, she quickly realizes she must drive a wedge between them if she is to survive.

Written and Directed by Ben Young
Release Date - May 12, 2017

This Year In Film / Re: Casting JonBenet - Documentary
« Last post by wilder on Yesterday at 04:37:05 AM »
This was secretly directed by Christopher Guest.

Quote from: Letterboxd user Kamilleroboter
Instead of another investigation of a murder case that was a big deal in the american media for a long time, we get a deconstruction of how people empathize and relate to other peoples real-life tragedies, especially as actors. We see how people try to wrap their minds around a situation where a lot of information is missing. We see how people bring in their own experiences and tragedies into their attempts to get what was going on in the heads of the people affected.

Quote from: Richard Brody
Green films in Boulder, Colorado, where Ramsey was killed, on Christmas night in 1996, on the pretext of making a dramatization of the story, and collects actors who live in the area. The actors being auditioned only occasionally perform lines or scenes from the script; instead, they speak to Green about the case, about their personal connections to it, about their speculations regarding it. But in the urgency of selling themselves to Green for the coveted roles, they divulge painfully intimate stories in the hope of establishing the bona fides of their emotional connection to the character they’d be playing. (One discusses the murder of her brother; another speaks of her mother’s diagnosis with borderline-personality disorder; another talks of the trauma of waking up to find his girlfriend dead in bed beside him; one mentions his son’s legal issues; and yet another discusses his own imprisonment.)
Paul Thomas Anderson / Re: HAIM - "Right Now"
« Last post by jenkins on Yesterday at 01:00:37 AM »
i don't want to know how you not like the song, that is your secret! i adore the song. the video is solid. this is obviously a studio version of the song.
The Grapevine / Lady Macbeth
« Last post by wilder on April 27, 2017, 09:16:24 PM »

Rural England, 1865. Katherine (Florence Pugh) is stifled by her loveless marriage to a bitter man twice her age, and his cold, unforgiving family. When she embarks on a passionate affair with a young worker on her husband’s estate, a force is unleashed inside her so powerful that she will stop at nothing to get what she wants.

The film is loosely based on a nineteenth century novella called Lady Macbeth of Mtsensk District by Nikolai Leskov and was later adapted as an Opera. Lady Macbeth is a tragic portrait of a beautiful, determined and merciless young woman seizing her independence in a world dominated by men.

From The Guardian's review:
A brilliantly chilling subversion of a classic. William Oldroyd’s fierce feature debut feels like Victorian noir, a twist on a genre probably invented by Shakespeare in the first place.

Directed by William Oldroyd
Release Date - July 14, 2017

Paul Thomas Anderson / Re: HAIM - "Right Now"
« Last post by ono on April 27, 2017, 07:16:59 PM »
Such a cool story.  Needed to read something like that today.  Thanks!
Paul Thomas Anderson / Re: HAIM - "Right Now"
« Last post by Lottery on April 27, 2017, 07:06:12 PM »
Oh man, that is way too cool. Too bad the song kinda sucks (they can't all be Daydreamings!).
I want to see that painting.
David Lynch / Re: HALFBORN: An Inland Empire Analysis
« Last post by Jeremy Blackman on April 27, 2017, 06:49:20 PM »
Why do the same actors play different characters?

I believe it's a cinematic illustration of reincarnation. As they go from one life to the next, seeing the same actor lets us know that it's the same "soul."

Why is Lost Girl at the end ecstatic while the Dern character is not?

For Lost Girl, this is the climax she's been building to. And she's been aware of it. Sue, on the other hand, is still absorbing the insane reality of the situation, being in a spirit world now. She's not confused, per se — just acclimating and slowly gaining an understanding. That is definitely how Dern's performance reads to me, and it's consistent with everything else.

Why is everybody so happy in the last scene

This is a reunion and the end of a period of suffering, so I think it's a happy occasion for everyone. The prostitutes are especially happy because they've been trying to guide Sue here, and now she's arrived.

Why does Sue get murdered and Lost Girl not?

First I should mention that apparently I still need to make this correction to my analysis. I confirmed earlier in this thread, here, that Lost Girl did in fact kill her lover's wife. That is why she's in her little viewing purgatory.

Lost Girl's experience via Sue allows/forces her to see the flip side — being the actual victim of a jealous lover. This goes to the whole point of the movie — the "ultimate understanding" I talked about.

What is the significance of the boy?

I suppose he's the son that Lost Girl never got to have. She clearly wanted a life and family with Old Poland Smithy, so this a fulfillment of that dream.
David Lynch / Re: HALFBORN: An Inland Empire Analysis
« Last post by Erniesam on April 27, 2017, 04:57:04 PM »
Hi Jeremy,

I've read your analysis and I found it interesting. Certainly an approach I've never encountered before. I'm not into spiritual stuff, but I know Lynch is to some extent. It may well be that you hint in the right direction where Lynch's intent is concerned. I will have more detailed questions for you later on for your analysis is pretty well argumented. As of now I have some general questions like:

1. Why do the same actors play different characters?
2. Why is Lost Girl at the end ecstatic while the Dern character is not?
3. Why is everybody so happy in the last scene while the Dern character is mildly happy? What does the sawing of the log represent?
4. Why does Sue get murdered and Lost Girl not?
5. What is the significance of the boy?
Paul Thomas Anderson / Re: HAIM - "Right Now"
« Last post by polkablues on April 27, 2017, 04:26:46 PM »
Really cool. It makes me wish I liked their music better.
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