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The Small Screen / Re: Legion
« Last post by KJ on Yesterday at 04:16:45 PM »
I just finished episode 4, so I'll read that later.

despite its flaws, I still think it does a good job at being entertaining and feel more fresh than most marvel things. every episode has scenes or visuals ideas that I think are really cool and creative.
The Small Screen / Re: Legion
« Last post by Jeremy Blackman on Yesterday at 03:54:24 PM »
Merged threads.

I was not as thrilled with the show, despite some very transcendent scenes.
The Small Screen / Re: Legion
« Last post by WorldForgot on Yesterday at 03:03:24 PM »
Amazing show.

Actually just finished re-watching Szn 1 a week or so ago. I have many, many thoughts about this show, and some of my ideas about its Dialectic take on Perspective can be read in this bloggo'd essay. Don't read until you've seen up 'til episode 6, as it does have a few spoilers.

My favorite Marvel Anything. It's pulpy, heady, and faithful to Chris Claremont's (significant) additions to the Marvel-verse. Josh Boone's New Mutants film has a lot to live up to.
The Small Screen / Legion
« Last post by KJ on Yesterday at 01:39:29 PM »

did anyone watch this? it's pretty fun.
DVD Talk / Re: Criterion News and Discussion
« Last post by jenkins on Yesterday at 01:07:50 PM »
so okay so when those are on filmstruck i'll activate
Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by Something Spanish on Yesterday at 08:54:17 AM »

here's the Big Daddy phone call scene referred to in the article, bringing to mind Barry flipping out on his sister over the payphone in Hawaii.

Paul Thomas Anderson / Re: Knuckle Sandwich
« Last post by Reelist on Yesterday at 07:10:28 AM »
Thanks, I’ve never been able to find this! Delighted to know that Punch Drunk Love was refined over a ten year period and not just something that miraculously came out of him
DVD Talk / Re: Criterion News and Discussion
« Last post by wilder on Yesterday at 06:57:01 AM »
A Criterion box set is in the works of five films from Greek director Nico Papatakis. Yorgos Lanthimos talks about him, below.

“It’s become a cliché to call a filmmaker ‘rebellious,’ but from Gance to Eisenstein to Pasolini to Buñuel, the 20th century saw true rebels who fiercely defied both the cinematic and political establishments of their time. Nikos Papatakis (1918- 2010)—nicknamed Nico in France—holds a profound and unique place in this lineage through a body of work that blends anarchic fury with visceral and transcendent poetry. Born in Addis Ababa to an Ethiopian mother and a Greek father, Papatakis was an outcast by nature, mocked and ostracized as a child for being biracial. Deeply rooted in personal experience, Papatakis’s films are politically, morally, and formally subversive explorations of race, gender, and class that use the medium as a vehicle of opposition and dissent.” —Yonca Talu, Sept/Oct 2017 issue

Les Abysses (1963)

This allegorical portrait of the Algerian resistance was inspired by the real-life story of the Papin sisters, two maids who brutally murdered their employers in 1930s France—also the basis for Jean Genet’s influential 1947 play The Maids and Claude Chabrol’s 1995 psychological thriller La Cérémonie.

The Shepherds of Disorder (1967)

The Shepherds of Disorder (Thanos and Despina) juxtaposes an anthropological and materialist study of a rigid rural community with the mythologically imbued, forbidden romance between a rebellious shepherd and the angelic and compliant daughter of a rich conservative family, engaged in an erotically charged power game.

Gloria Mundi (1976)

Papatakis’s most psychedelic and intellectually challenging film, Gloria Mundi, a virulent denunciation of consumer capitalism and a hypocritical left-wing intelligentsia that deems itself political but does not take any action, begins with a scream and ends with an explosion.

The Photograph (1986)

Papatakis’s most accessible, gripping, and poignant work is a meticulously crafted, intimate meditation on immigration and exile centering on a 26-year-old Greek man fresh out of prison (where he was tortured for being a communist’s son) who leaves for France in hopes of a better life, and where he strikes up a complicated friendship with a distant relative.

Walking a Tightrope (1992)

The director’s final film—starring Michel Piccoli as a fictional version of Papatakis’s friend Jean Genet—is a compendium of the themes and motifs that pervade his distinctive filmography, including the torturous nature of love, the suffering induced by exile, and suicide as an act of rebellion.

DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by jenkins on Yesterday at 01:22:33 AM »
Paul Thomas Anderson / Knuckle Sandwich
« Last post by Pringle on February 23, 2018, 07:25:58 PM »
This pops up occasionally online, but here's a copy of the screenplay for the unmade 'Knuckle Sandwich' from 1993. It's got a lot of bits and lines that later ended up in PDL and Magnolia. The funny thing, reading it now, is that it seems to be more of what people maybe hoped IV would be after seeing the trailer.

Anyway, it's a very interesting peek at a very different PTA from way back when. Enjoy.
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