XIXAX Film Forum


Recent Posts

51
This Year In Film / Re: 1917
« Last post by wilberfan on January 20, 2020, 07:15:06 PM »
apart from the undeniably impressive technical bravado, which loses its narrative efficacy about a half hour in anyway... 
it’s a pretty bad movie.  i have a feeling it’ll win best picture at the oscars.

With a hug of condolence to Jeremy, I'm Team Samsong on this one. 

Just got back from a screening and had these random thoughts during the movie.  (I had plenty of time to ponder what I was watching--as I wasn't very engaged in the goings-on):

"This feels like something Disney Imagineering would put together for "World War I--the Ride."

"Jeez, when you take a powerful tool like the oner and make an entire film with it--it strips all the power and impact from it and essentially turns it into Steadicam Porn."

"Why am I completely unmoved by [redacted]?  That seems vaguely important and should evoke something emotional from the audience, no?"

"When the [redacted] is about to [redacted]--why not just run perpendicular?!  (This happens a lot in film.)

"Why would they choose to intentionally avoid the single most powerful tool in the Cinema Tool Chest--the fucking cut--to tell a story?!"

Sadly, I think Sammy is dead-on with his Oscar prediction. 
52
Paul Thomas Anderson / Re: Untitled PTA Project (2020)
« Last post by Pringle on January 20, 2020, 06:42:02 PM »
Would they actually be looking for a complete unknown as the lead--or more likely a supporting character?  The former would be pretty bold. (But also pretty exciting?)

I like the idea of a 14 year old Cliff Booth type.
53
The Director's Chair / Re: Kieslowski
« Last post by jenkins on January 20, 2020, 06:14:11 PM »
i'm not sure what Kieslowski's reputation would be like from just that beginning section. that's right up to Dekalog, and i mean everything changes at Dekalog. which is your favorite of the Three Colors is a sacred movie question, and any moment is a good moment for one to mention liking The Double Life of Véronique
54
The Director's Chair / Re: Bruno Dumont
« Last post by wilder on January 20, 2020, 04:35:20 PM »
This apparently came out on blu-ray from Kino in November with absolutely zero fanfare



Quinquin is now a grown-up and goes by the nickname CoinCoin. He hangs out on the Côte D'Opale and attends meetings of the Nationalist Party with his childhood friend Fatso. His old love, Eve, has abandoned him for Corinne. When a strange magma is found near the town, the inhabitants suddenly start to behave very weirdly. Our two heroes, Captain Van Der Weyden and his loyal assistant Carpentier, investigate these alien attacks. The Extra-Human invasion has begun.

55
The Director's Chair / Re: Kieslowski
« Last post by wilder on January 20, 2020, 04:34:06 PM »
April 20, 2020

Cinema of Conflict: Four Films by Krzysztof Kieślowski on blu-ray from Arrow UK





Few names are as synonymous with Polish cinema as that of Krzysztof Kieślowski, the renowned auteur responsible for the Dekalog and Three Colours trilogy. Prior to the fall of the Berlin Wall and his subsequent creative and critical success in France, Kieślowski plied his trade within the confines of the Eastern Bloc, capturing the realities of everyday life under Soviet rule. This collection gathers his four earliest narrative feature films, encapsulating the years 1976–1984.

In 1976's The Scar, a well-intentioned Party loyalist is charged with overseeing the construction of a new chemical plant in the face of fierce resistance and is forced to confront the conflict between his good intentions and local opposition.

In 1979's Camera Buff, a family man and amateur filmmaker experiences a dramatic change in fortunes when his newfound hobby opens up new horizons but also results in deep marital and philosophical conflicts.

Blind Chance, completed in 1981 and denied a release in its native Poland until 1987, presents three possible outcomes to a single, seemingly banal event – a young medical student running to catch a train – and, in the process, explores the relationship between chance and choice.

Finally, in 1984's No End, a recently bereaved translator juggles the conflicting demands of her work, caring for her son and her continued visions of her late husband, all against the backdrop of a Poland under the grip of martial law.

As socially conscious as Kieślowski's earlier documentary shorts, this quartet of films covers a tumultuous period in Polish and Eastern European history, shot with unflinching realism by a filmmaker of distinction.

56
David Lynch / Re: Lynch's short films
« Last post by Sleepless on January 20, 2020, 04:02:02 PM »
That was fun.

Hey, if Lynch is getting paid, I'm fine as that presumably means he'll make new stuff.

I was assuming this was maybe something to do with those rumors of Lynch taking meetings at Netflix from a while back. Apparently not. Anyone got any update on that? Last I heard it might have something to do with Antelope Don’t Run No More.
57
David Lynch / Re: Lynch's short films
« Last post by Drenk on January 20, 2020, 03:04:49 PM »
Fun fact: Netdlix didn't pay a cent for this short. It's from 2016. But being on Netflix makes you a Netflix product.
58
David Lynch / Re: Lynch's short films
« Last post by Sleepless on January 20, 2020, 01:21:09 PM »
Watch David Lynch Interrogate a Monkey in His New Netflix Short Film

Titled "What Did Jack Do?", the 17-minute film is Netflix's gift to Lynch fans on his 74th birthday.

David Lynch’s gift to his fans, on his 74th birthday today, is a peculiar and hilarious 17-minute short film titled “What Did Jack Do?”, which debuted on Netflix with a very enticing one-sentence synopsis: “In a locked down train station, a homicide detective conducts an interview with a tormented monkey.”

Shot in grainy black-and-white, reminiscent of classic movies of yesteryear, and Lynch’s own 1977 feature film debut, “Eraserhead,” the short film features Lynch playing a detective, interrogating the “Jack” in the title about a murder investigation, in the typical darkened, windowless interrogation room. The twist? Jack is a suited small monkey that actually speaks.

As you’d expect from Lynch, it’s quite bizarre and unsettling, but also very funny, whether intentional or not.

It’s an oddity of a film that Netflix categorizes as a crime drama, but it really can’t be adequately put into words, and is best experienced in non-synopsis form. On Martin Luther King Jr. Day, it will easily be one of the strangest things that viewers at home for the holiday can watch today.

The monkey’s voice is credited as “Jack Cruz,” but it’s unclear exactly who is really behind it. There’s also a waitress who appears for a few seconds, played by Emily Stofle.

“What Did Jack Do?” will demand multiple viewings, whether to make sense of it, or just to marvel in its surrealism. (The story may or may not also involve a chicken named Toototabon. Classic Lynch.)

In 2019, Lynch received an Academy Honorary Award, which represented his very first Oscar win, despite a storied resume.

His last major project was the “Twin Peaks” revival series, which was released in 2017 to much critical acclaim. The series consisted of 18 episodes, and concluded in September 2017 with a two-part finale. There has been speculation as to whether there will be another season of “Twin Peaks.” Although Lynch has not denied the possibility of another season, he has said if it were to happen, it would be a fourth season that will not air before 2021.

In the meantime, “What Did Jack Do?” is available to stream on Netflix right now.
59
Paul Thomas Anderson / Re: Untitled PTA Project (2020)
« Last post by wilberfan on January 20, 2020, 12:41:06 PM »
Would they actually be looking for a complete unknown as the lead--or more likely a supporting character?  The former would be pretty bold. (But also pretty exciting?)
60
Paul Thomas Anderson / Re: Untitled PTA Project (2020)
« Last post by rioh5 on January 20, 2020, 12:39:35 PM »
Although this character sounds a lot like Jack Dylan Grazer, a fresh face from valley would be even better.