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The Small Screen / Re: The Leftovers
« Last post by Drenk on April 24, 2017, 05:35:03 PM »
Beautiful episode. Re-watched it today, then watched some scenes again. Cried and cried and cried. Nora Durst: what a character. Carrie Coon: what an actress. That trampoline scene on a big screen was amazing...

The theory part scene in Australia isn't in the future. The seventh anniversary of October 14th is coming. The women have read The Book of Kevin. How? They come from the future? Kevin who is not our Kevin is leaving with Kevin's father (our Kevin)? What about Nora at the end of episode 1?

Six episodes left.
The Director's Chair / Re: Michael Mann
« Last post by wilder on April 24, 2017, 04:00:41 PM »
Michael Mann Returns To TV With Vietnam War Miniseries ‘Huê 1968’
via The Playlist

Aside from his abortive collaboration with David Milch on HBO’s “Luck,” which was cancelled while early in production on a second season after controversy over mistreatment on set of horses, Mann hadn’t yet followed many of his A-list contemporaries to the current small-screen boom. But Deadline reports that that has just changed, with the news that Mann is teaming up with “Black Hawk Down” author Mark Bowden for a new limited series.

Mann and producer Michael De Luca have picked up the rights to Bowden’s new book “Huê 1968,” which will be published next month, with the intention of turning into into an 8-10 hour event miniseries. The book tells the story of the Tet Offensive, the key event in the Vietnam War that saw a mass surprise attack on the capital of Vietnam in the title, with characters ranging from a young revolutionary schoolgirl to President Lyndon Johnson.

This Year In Film / Re: The Lost City of Z
« Last post by wilder on April 24, 2017, 03:57:30 PM »
Blu-ray on July 11th
The Vault / Re: violet by bas devos
« Last post by wilder on April 24, 2017, 03:56:00 PM »
Blu-ray on July 11, 2017
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on April 24, 2017, 04:26:40 AM »
October 21, 2014

Bruno Dumont's entire filmography up through Camille Claudel on blu-ray from Blaq Out

Bruno Dumont : 1997 - 2014 - Amazon France

Apparently this contains English subs. Oh baby.

Maybe. Twentynine Palms and Flandres do. Twentynine Palms isn't listed as having English subs on Blaq Out's website but they've been confirmed by someone who purchased the set, and Amazon France lists the box as having them. For the other titles it's unclear. Whatever, the pictures stay.

This Year In Film / Re: Get Out
« Last post by Orgin on April 24, 2017, 01:06:43 AM »
Funnest movie I seen this year.
The Director's Chair / Re: Future Spielberg
« Last post by wilder on April 23, 2017, 05:26:06 PM »
Quote from: The Playlist
Arriving at a super-fast clip as usual is Steven Spielberg. The director, who turned around “Munich” in about seven months in 2005 from stem to stern, will be doing the same this year. His latest film, a Pentagon Papers drama tentatively titled “The Post,” stars Tom Hanks and Meryl Streep, and hasn’t even started shooting yet. But now it will debut in select theaters this Dec. 22 before going wide on Jan. 12, 2018.
David Lynch / Mulholland Dr.: challenging the "classical" interpretation
« Last post by Erniesam on April 23, 2017, 04:46:57 PM »
There are many different opinions and interpretations of MD, still there seems to be some sort of agreement of sorts called the classical interpretation. I do not go along with that explanantion; it doesn't make sense to me. I have a couple of questions regarding issues I believe this classical approach doesn't answer satisfactory.

1. If Diane had actually a person named Camilla killed and she is upset about thism, than why in her moment of absolute despair does she see this elderly couple? Why is the image of this elderly couple locked away in the blue box? What's their importance?

2. What relevance do all the sexual connotations have within this classical approach?

3. What significance does the kiss between Camilla and blonde Camilla have? IF the explanation of Diane's despair is the murder of her loved one than why is she so upset about this kiss? In the narrative she already lost Camilla to Adam so what's the point of being upset?

There are other poignont problems with the classical approach the way I see it, but for the discussion it's perhaps better to take it one question at a time. I hope people are interested in debating this.
David Lynch / Re: HALFBORN: An Inland Empire Analysis
« Last post by Jeremy Blackman on April 23, 2017, 03:52:45 PM »
What I gathered now is that you approach the movie as depicting "real" events. By this I mean things that we see are actually happening though depicted in an abstract way.

I think with this movie Lynch does his best to show us the mechanics of the spiritual world he's dreamed up. That's mostly why I did that analysis; when you begin sorting through all the insanity, a logic emerges.

Lynch has to make the spiritual mechanics at least somewhat abstract and confusing — otherwise it would all just lose its magic. In fact, I think you need to use heavy doses of mystery and confusion to describe spirituality in a way that makes sense. Inland Empire's spirit world operates with its own set of rules that we only somewhat understand. That feels right to me — if there is a spirit world, why should it be immediately understandable by the human mind?

My question is: what do you think is the crux of IE? What story does it tell and what is it conclusion?

This is definitely something I didn't really get to in my analysis. I think the film's crux can be summed up by the joyous climax, when Lost Girl and Sue merge. It's the perfect culmination of both their experiences. Throughout the film we see how dark and difficult life can be, but much is gained, and it's all for a purpose when that journey ends. This is a literal spiritual unification that we're actually being shown. You can take from that whatever you want — love, compassion, ultimate understanding.

Just think about what Lost Girl actually does when she watches Sue's experiences. From the start, she is bursting with empathy, and that only accelerates, until she achieves a profound understanding of both Sue and (I argue) herself, until she is finally ready for that unification.

David Lynch / Re: HALFBORN: An Inland Empire Analysis
« Last post by Erniesam on April 23, 2017, 02:55:30 PM »
Hi Jeremy,

I just skimped through your analysis and found it interesting. I will read it thoroughly next weekend. What I gathered now is that you approach the movie as depicting "real" events. By this I mean things that we see are actually happening though depicted in an abstract way. My question is: what do you think is the crux of IE? What story does it tell and what is it conclusion?

I'd like an in-depth discussion of this masterpiece. IMDB board is gone so I'm looking for another forum to discuss this and other movies by Lynch. My experience is that you can learn alot from a wide variety of views.
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