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2018 In Film / Hale County This Morning, This Evening - Documentary
« Last post by wilder on January 17, 2019, 04:41:29 PM »

Directed by RaMell Ross
Release Date - September 14, 2018

An inspired and intimate portrait of a place and its people, Hale County This Morning, This Evening looks at the lives of Daniel Collins and Quincy Bryant, two young African American men from rural Hale County, Alabama, over the course of five years. Collins attends college in search of opportunity while Bryant becomes a father to an energetic son in an open-ended, poetic form that privileges the patiently observed interstices of their lives. The audience is invited to experience the mundane and monumental, birth and death, the quotidian and the sublime. These moments combine to communicate the region’s deep culture and provide glimpses of the complex ways the African American community’s collective image is integrated into America’s visual imagination.

In his directorial debut, award-winning photographer and director RaMell Ross offers a refreshingly direct approach to documentary that fills in the gaps between individual black male icons. Hale County This Morning, This Evening allows the viewer an emotive impression of the Historic South, trumpeting the beauty of life and consequences of the social construction of race, while simultaneously offering a testament to dreaming despite the odds.
News and Theory / Re: What Films Are We Watching?
« Last post by Robyn on January 17, 2019, 04:37:24 PM »
"If we don't burn, how will the night be lit?"

Just finished House of Tolerance, one of the most disturbing and beautiful films I have ever seen, is my spontaneous reaction. If Lars von Trier made a film about a Parisian bordello in the 19th century, it probably would have looked like this. Basically perfect until the very last minute.

Spoiler: ShowHide
It was a bit on the nose to cut to modern times, it should have ended with the image of the women crying sperm

I'd recommend it to anyone regardless. It gave me a movie high that I haven¨'t felt in a while.
2018 In Film / Re: shoplifters
« Last post by wilberfan on January 17, 2019, 04:32:56 PM »
I haven't seen the film yet, but does this change anything for those of you that have?

Kore-eda’s “Shoplifters”: What Was Lost in Translation

Spoiler: ShowHide
“Shoplifters” has much better subtitles–at least until a key scene near the end. In it, Osamu Shibata, the head of a fictive family of societal throwaways says–according to the English subtitles–to Shota, the boy he has lovingly fathered, “From now on, I’m not your father.”

Unfortunately, that’s not what he says in Japanese. As spoken by the actor Lily Franky, that pivotal line is: “So, I’ll go back to being your uncle.”

What difference does it make? For starters, what seems to be Shibata’s rejection of the boy he bestowed with his own first name (both Osama and Shibata being pseudonyms) is anything but. He desperately wants to remain a part of Shota’s life, as Kore-eda makes clear when Shibata subsequently runs after the bus Shota is riding. In fact, it is Shota who rejects Shibata by not looking back, though when he is out of sight the boy whispers, “Dad.”
Filmmakers' Workshop / Re: The Black List (Scripts)
« Last post by Robyn on January 17, 2019, 06:19:33 AM »
The Director's Chair / Re: David Lowery
« Last post by csage97 on January 16, 2019, 05:28:45 PM »
Thomas Pynchon didn't invent anything.

At first I wondered WTF you were on about, and I was ready to grab my pitchfork ... until I applied some logic and read the previous comment. Strange Angel looks really interesting. I think I'd rather read the book before watching the series, though. Just in time, actually, as I've been looking for something different to read.
The Vault / Re: Interstellar
« Last post by Jeremy Blackman on January 16, 2019, 03:21:56 PM »
2018 In Film / Re: The Old Man And The Gun
« Last post by csage97 on January 16, 2019, 02:49:08 PM »
I was able to catch this one -- and yes, it was wonderful! The photography reminds me a lot of Magnolia minus the really long Steadicam sequences, though I don't think this one would be anamorphic if it were shot in 16mm. What I mean is that this film has that gushing sense of celebrating storytelling through the camera and film. There are a lot of magnificent whip pans, closeups on written or typed words, some small push-ins (from what I recall). I was blown away by the 16 escapes sequence, which also resembled a certain beginning from a certain PTA film.

The story itself was really well done; it was brisk yet breezed along and didn't feel rushed. The editing was pretty much perfect and the soundtrack was really nice, which was mostly swing jazz, but other things when it needed to be.

I don't know what the budget was for this film, but I'm guessing it was relatively small. I would just love to see what David Lowery could do with some more money to make a film like this with some expanded subject matter. Could you imagine something that has the artistic sensibilities that this has, but with a longer run time, perhaps an ensemble cast, "heavier" or more mysterious subject matter? Maybe he'd produce something different but no less magnificent. Judging by how good and tightly woven this thing was, I think Lowery could do it, and I certainly hope he gets the chance.
The Director's Chair / Re: Paul Schrader
« Last post by eward on January 16, 2019, 01:02:38 PM »

By the way, anyone here see Dog Eat Dog? It's batshit insane.
2018 In Film / Re: You Were Never Really Here
« Last post by eward on January 16, 2019, 01:00:10 PM »
Saw this again recently and, yeah, nail on the fuckin head, man. Happy to have been even a tiny insignificant part of it.