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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.
Those self-imposed restrictions were well worth it in the end. It feels like a very cohesive, very honed piece of work. Subtly devastating in a way that a more straight-forward telling of the same story couldn't have achieved.
This Year In Film / Re: Raw
« Last post by pete on April 23, 2017, 01:23:53 PM »
so good - one of my faves. between this and Get Out we're off to a very good start. i think we're in a mini-renaissance of interesting horror films. it's like what the gangster genre went thru in the 90s but with horror, which is an infinitely more malleable form.
it was a pretty crazy experience making this - I thought it was gonna be some fast bucks that would take maybe three months at most, but it ended up lasting three years plus a ton of re-writes, re-edits, and a trip to Toronto where I acted out the entire final fight scene for the animators. It was pretty brutal to try to cram 22 years of someone's life into 22 minutes, and Josh - although a very seasoned writer, is a first time director. We spent a lot of time just trying to teach each other new skills - he really stressed on some hard and fast rules we just can't break in telling this story, no matter how convenient it seems (for example, in no way he wants to portray his brother as a snowflake or talk about this experience as a lesson in life with some type of character arc, he feels like those cliches are the reason we still can't talk about cancer in an honest way) and I told him that we can't be married to any detail, no matter how poetic, unless they work into the development of the story - or everything has to be represented visually  - via home video footage, photos, something we've shot, or animation, but we don't do talking heads and we don't do title cards. We didn't know those two rules would increase the production time to three years, but here we are finally.
The Small Screen / Re: Fargo (TV series)
« Last post by Jeremy Blackman on April 23, 2017, 01:46:49 AM »
Watched the premiere and absolutely loved it. It was more than an hour long, but I wanted more. Nothing (including the actual Coens) has quite the same sensibility. I think every musical cue made me giddy. Even loved all the performances.

This could easily be better than Season 2.

Minnesota accuracy corner! The rich brother's place is supposedly in Eden Prairie. That's fine, but Eden Prairie is a rich southern suburb of Minneapolis. There's not that much open land. I think the most rural house you'd see there is something like this:

Probably nothing quite like the frozen tundra that we see in this episode. Doesn't bother me that much, though, because an upscale ranch house on a decent amount of land is certainly something you see in slightly more rural parts of the state, some that are only 10-20 miles away.


Here's the more bothersome inaccuracy. Everyone knows Eden Prairie. It's the 12th biggest city in Minnesota and a memorable part of the metro area. However, I had literally never heard of "Eden Valley." Absolutely no one, not even Scoot, would make this mistake.
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