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News and Theory / Re: What Films Are We Watching?
« Last post by polkablues on September 24, 2018, 04:23:10 PM »
been wanting to see Exotica long time now, Felicia's Journey too. only significant Egoyan I've seen is The Sweet Hereafter.

All three of those are so good. Ararat is another one I'd recommend seeking out.
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The Grapevine / Re: Holiday
« Last post by jenkins on September 24, 2018, 03:58:09 PM »
i want to see it

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News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on September 24, 2018, 03:55:52 PM »
it's beach noir, in this case Florida noir, stemming from Floridian writer Charles Willeford, the first in his Hoke Moseley series.

Willeford also known for Cockfighter, which he adapted for Monte Hellman, and this memoir of his youth

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News and Theory / Re: What Films Are We Watching?
« Last post by Something Spanish on September 24, 2018, 02:24:06 PM »
Yeah, she’s very sweet in it. A bit naive for a prostitute, but we’ve seen those type before (in movies, that is). Never been to the Roxy before, any theater that plays 35 is a blessing.
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News and Theory / Re: What Films Are We Watching?
« Last post by eward on September 24, 2018, 12:08:22 PM »
I saw Miami Blues on 35 at The Roxy a few months back and found it similarly enjoyable. Jennifer Jaaon Leigh stole it for me.
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News and Theory / Re: What Films Are We Watching?
« Last post by Something Spanish on September 24, 2018, 10:13:03 AM »
been wanting to see Exotica long time now, Felicia's Journey too. only significant Egoyan I've seen is The Sweet Hereafter.

over the weekend I saw Miami Blues, a film that got on my radar nearly four years ago when BAM was having a film noir series ahead of Inherent Vice's release. not certain if this falls into film noir, it's way too batshit and off the rails to be categorized there. if not for baldwin and jason leigh and fred ward i don't think i would have made it all the way. it's awesome to see baldwin so untamed , his eyes glint animal primacy the entire time. he's a great actor, but no role he's had in the past 25 years compares to the lunacy of career criminal Junior. the movie is fucking out there, in the cheesiest of bad good movie ways. at one point baldwin attempts to stop a convenient store stick-up using a large jar of pasta sauce to fend off the gun toting robber. also, he somehow has the preternatural  abilities to place himself smack in the middle of criminal activity, be it a drug deal or robbery. if you're looking for something kitsch, completely unbelievable yet fun, you could do much worse.

also saw The Ballad of Jack and Rose last week for the first time, knew i was in for a good one the second 'i put a spell on you' plays at the start. a few good Dylan tunes come later. it's a very good, slightly disturbing, portrait of a father-daughter relationship.
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The Grapevine / Holiday
« Last post by wilder on September 24, 2018, 04:44:45 AM »


A love triangle featuring the trophy girlfriend of a petty drug lord, caught up in a web of luxury and violence in a modern dark gangster tale set in the beautiful port city of Bodrum on the Turkish Riviera.

Directed by Isabella Eklöf
Written by Isabella Eklöf and Johanne Algren
Release Date - TBD





Quote from: Letterboxd user matt lynch
This isn't playing REVENGE's tantalizing genre games, it's not IRREVERSIBLE's descent into Hell. Closer to ELLE but guts you with its patient austerity as opposed to Verhoeven's excited provocations. This'll be sticking with me.

Quote from: Letterboxd user Jacob Knight
Were ‘18 to end today, Holiday may very well rank as my #1 movie of the year, for the simple reason that I haven't been able to shake the troubling feeling it left me with since first seeing it in January. Isabella Eklöf's cold, precise, detached tale of a gangster's mistress – Victoria Carmen Sonne, delivering a freshman performance that's absolutely devastating – who learns what it means to become an object (and how she chooses to live with that fact) could have never been made by men. Because Eklöf – who also co-wrote the outstanding modern fairy tale, Border, which NEON is distributing later this year – is making a movie about a woman coming to terms with becoming a literal product, to be used and disposed of as her keeper sees fit, and never judges her once for it. The level of clinical examination is downright Cronenbergian in its amorality, treating this concubine like a test subject in the most gorgeous lab possible (the beautiful port city of Bodrum on the Turkish Riviera).

Quote from: Letterboxd user Lucinda
Unusually insightful about the ways women are conditioned to play nice and put on our people-pleasing personas even as terrible things are done to us, and about the ways anger can be misdirected when it’s too risky or destabilising to confront the underlying reason for it.

At no point did I feel unsympathetic towards the main character’s point of view, and I was pissed off about a question in the Q&A that assumed the film deliberately set out to mess with audiences’ feelings towards her and how likeable she was (FFS).

Interesting to hear Isabella Eklöf talk about the poster and how it deliberately makes the film look sexier and implies a revenge narrative that doesn’t actually exist. The way the film treats the aftermath of sexual violence is far more disturbingly realistic than any rape-revenge scenario that could have played out.
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Paul Thomas Anderson / Re: Untitled PTA Project (2020)
« Last post by Lottery on September 24, 2018, 12:05:00 AM »
He's become a chronicler of the 20th century in a way and his current style seems suited to period work so it would be very interesting to see him tackle something more contemporary after so long.
Hey, if it's visually similar to the Daydreaming MV, then I would be pretty damn happy, because it's absolutely gorgeous.


He could probably churn out masterpiece after masterpiece if he decided to do adaptations of 20th century American novels/short stories for the rest of his life. But of course, he shouldn't.

Also, the no cinematographer experiment was a success in my eyes so I wouldn't mind if he did that again (provided there are no guild rules or whatever in the way).
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Paul Thomas Anderson / Re: Untitled PTA Project (2020)
« Last post by Lewton on September 23, 2018, 07:13:49 PM »
I actually wouldn't even mind if he never made another film set in the present.
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News and Theory / Re: All things Cult Cinema
« Last post by jenkins on September 23, 2018, 05:44:19 PM »
Keeping the exploitation-film fires burning with Nicolas Winding Refn

I like Nicolas Winding Refn’s films—the ending of The Neon Demon was enough to redeem that otherwise flawed film for me, though that’s a topic for another time—but I’m a huge fan of his ongoing side gig as a film preservationist. He first caught my eye when he bought a collection of film prints by obscure exploitation director Andy Milligan, including the only known copies of several of Milligan’s works, back in 2012. I was delighted when he said he was motivated to buy Milligan’s work by Jimmy McDonough’s (now out of print) biography The Ghastly One: The Sex-Gore Netherworld Of Filmmaker Andy Milligan, which I had just finished shortly before the news broke. I later wrote about attending an exhibit of Refn’s movie-poster collection in 2015, at which I shyly sidled up to the autograph table and told him that I collected movie posters, too.

Refn likes to speak in modest terms about his obsession with vintage exploitation films, saying, for example, that he hadn’t even seen most of the movies in his art book The Act Of Seeing. But the care and attention to detail with which he restores these films and re-presents them to the public betrays his affection for the material, an affection that seems at least partially driven by sympathy for the filmmakers whose works end up in landfills. As he told The New York Times at the end of July, “A lot of the films [had] maybe just two prints existing—once they were gone, there would be nothing. All the hard work in making a film and then they would be lost, which would be really sad.” I identify with that sense of duty, as anyone who has lived with me, and therefore has had to deal with the crates and crates of weird old VHS tapes I drag with me to every new apartment, can attest.



So perhaps it was a foregone conclusion that I would be really into Refn’s new preservation venture, byNWR, a highly curated—and free, if you’re watching on a computer—streaming service that was announced last October and has been slowly rolling out new content ever since. byNWR, which describes itself as “an unadulterated cultural expressway of the arts,” combines the best attributes of two other speciality streaming services: the curated selection of Shudder, and the excellent supplemental features of FilmStruck.

The content on byNWR is truly unique: These are films in danger of being lost forever, not well-known cult classics. And frankly, they’re not to everyone’s taste. They’re all crudely made, many of them have pacing issues, and some are downright offensive to contemporary sensibilities. (This is particularly true of the “hicksploitation” films featured on the site.) If you stumbled on one of them on some bizarre late-night cable channel, you’d probably change the channel after a couple of minutes. But byNWR puts them in context, not only historically, but also artistically, revealing their true value as fascinating documents of their respective eras and misunderstood works of outsider art.

Titles are released in quarterly collections, each with a new film released monthly. Last fall came the “Regional Renegades” collection, featuring the films The Nest Of The Cuckoo Birds (1965), Shanty Tramp (1967), and Hot Thrills And Warm Chills (1967). I watched the latter, a collection of vignettes loosely strung together by a thin plot about a gang of female jewel thieves plotting a heist during Mardi Gras. You never actually see the heist, but you do get a lot of footage of the French Quarter in the mid-’60s, as well as burlesque dancers with gloriously caked-on eye makeup and sky-high hairdos performing their signature routines. Materials accompanying the film include extensive interviews with the four self-proclaimed “broads” who make up the core ensemble—one even includes some of her poetry!—as well as essays from various authors about regional cinema, the music and culture of New Orleans, and the art and business of exotic dance.

This month launched a new, slightly more highbrow series called “Missing Links,” which opened with a title I had heard of before: Night Tide, a 1961 magical-realist horror-romance from prolific ’60s and ’70s B-movie director Curtis Harrington. (He also did a pair of Grande Dame Guignol movies, Whoever Slew Auntie Roo? with Shelley Winters, and What’s The Matter With Helen? with Debbie Reynolds, in the early ’70s.) The film is notable not only because it features a very young Dennis Hopper, but also as a document of the early ’60s L.A. beatnik subculture (there is a lot of bongo drumming in this movie) and as a bridge between ’50s drive-in cinema and the then-nascent American independent film movement. The plot recalls a gender-swapped The Shape Of Water, as lovestruck sailor Johnny Drake (Hopper) falls in love with reluctant mermaid Mora (Linda Lawson) on the Santa Monica pier; the pace undeniably drags, but the film is hypnotic and worth a watch anyway.



Next month’s looking to be a good one on byNWR, as the service adds the second film in its “Missing Links” series: If Footmen Tire You, What Will Horses Do? (1971), an infamous Christian scare film from holy-rolling huckster Ron Ormond that contains an absolutely gobsmacking scene where a Communist gets a bunch of kids to renounce Jesus and embrace Fidel Castro by giving them candy. (It’s embedded above.) I’ve seen it, and can attest that it’s a must-see for those who watch Pure Flix films ironically. After that comes November’s selection, Spring Night, Summer Night (1967), an obscure art film shot on location in Appalachian Ohio that was re-edited for maximum sleaze and released under various titles to capitalize on its incestuous theme. In its original form, however, it’s reportedly more Killer Of Sheep than Common Law Cabin. I’m looking forward to it.

byNWR is now up and running on its own website. It isn’t currently available in its free form as an app for Roku et al, but if you prefer to watch the films on a TV (and don’t have one of these also-recommended cables that essentially turns your TV into an external monitor), they also stream on MUBI as they are released
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