Author Topic: In Case Of No Emergency: The Films Of Ruben Östlund  (Read 4986 times)

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jenkins

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In Case Of No Emergency: The Films Of Ruben Östlund
« on: December 18, 2014, 12:52:28 PM »
+2
dates:
JAN 9 - 24    Los Angeles, CA: The Cinefamily
JAN 14 - 22    New York, NY: Film Society of Lincoln Center
JAN 15 - FEB 17    Silver Spring, MD (DC area): AFI Silver Theatre
JAN 17 - 18    Minneapolis, MN: Walker Art Center
JAN 23 - 27    Austin, TX: Austin Film Society
JAN 28 - 31    Boston, MA: Museum of Fine Arts
FEB 5 - 8    Seattle, WA: Northwest Film Forum
FEB 12 - 26    San Francisco, CA: Yerba Buena Center for the Arts
MAR 4 - 25    Pleasantville, NY: Jacob Burns Film Center
MAR 5 - 15    Cleveland, OH: Cleveland Cinematheque
MAR 12 - 22    Vancouver, BC, Canada: The CInematheque
MAR 26 - 29    Portland, OR: Northwest Film Center

trailer for involuntary:


trailer for play:
Every perspective is an act of creation.

jenkins

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #1 on: January 19, 2015, 12:06:38 AM »
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i need a day or so to think on how force majeure and play are similar and dissimilar
Every perspective is an act of creation.

KJ

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #2 on: January 19, 2015, 02:01:37 PM »
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i haven't seen force majeure yet. did you like it?

also, this is pretty funny:

jenkins

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #3 on: January 21, 2015, 08:08:37 PM »
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[you can actually skip this “opening” part that seems vaguely related to ornithology in like a basic way]

when you go a bit beyond the basic, there’s always more. a great example is birds

a reminder about birds:



they got dem feathers. beaks. wings. they use the wings to do the



flying-around biz birds do. a bird: feathers, beaks, wings, flight

you already know the curveball? famous curveball



ratite birds. birds that can’t fly. birds fucking up what a bird should be. they don’t seem bird-right, yet they’re birds

i already mildly regret my bird analogy, but i already wrote it so idgaf about your sass. anyway point is, i believe art should be seen as i believe birds should be seen (as i believe people should be seen too), and that’s with the main curiosity of what you don’t know

[this is when movies are talked about]

it was mentioned during cinefamily's intro to play that östlund’s main interests are psychological experiments and youtube

he’s a mixed drink of what it feels like to have old desires in a new world, a thing i tend to like

the structural foundation of his narratives is the impacting psychology of humans making choices

both play and force majeure are best understood as portraits of psychological experiments, rather than traditional narratives

i think their interpretations of narratives are similar. i think play closes similar to how force majeure closes. and i think that in a big picture way, the two movies have a lot in common. i like the name given to östlund’s retrospective: in case of no emergency

[spoiler section] tell you what, the wife and kids were unaltered by the avalanche, actually. it’s a heated emotional movie owing to results from a decision that didn’t alter the life course of the characters until it started being talked about. and the razz in play is clear — no one thought the kid’s phone was the brother’s phone[/spoiler]

but östlund isn't just dicking around, it's not the same movie twice, not at all, because you go in there and you look at what opens the narrative and how it unfolds, and there’s a lot of little moments to look at

[spoiler section]the kids in play seem worse because right away they know they’re conning the other kids, and what the audience gets to see is how far they can push the other kids, really. except, waiiit a minute, because isn’t the father in force majeure worse, since his impulse and first-decision is to run away from his family during the avalanche, which suggests he’s selfish and terrible at his core[/spoiler]

it's hard not to walk around thinking about östlund’s movies after seeing his movies

but, i’m having trouble with him, trouble with being impressed by his cinema but, this is tricky, because it takes a lot of talent to make what he's making. that’s a “because” and two “but”s, and the sentence should be taken to an editor. life is hard

on a formal level, östlund’s killing it. the dude did the slamdunk three moves ago, also a half-court three-pointer and he’s danced twice. example:

Quote
For Incident By a Bank, we were shooting the whole film with a fixed camera angle, and afterward we added all the movement, the panning, the zooming, and so on, in the editing. So we used a 5K RED camera, and if we're only projecting what amounts to 2K, what do we do with the rest of the K's? We can throw it away, or we can start to reframe the shot afterward.  That film is a reconstruction of a failed robbery attempt that I was an eyewitness to. When you see it, it feels like it's real time, single-shot. But actually it's a combination of four different shots.

which is the same way he shot play and that’s called a good idea

the full range of possibility from the type of style he's exhibiting, tho, that's what i wonder about. that's how i wonder if there might be a wall

because he’s not using a lot of cinema, you ask me. coulda called his retrospective: in case of no cinema

[^cracked myself up]

he does long takes

stories exist, from moments that ripple the movie, but the stories feel unshaped. the dialogue feels unshaped. the characters feel shaped by emotions

long takes and an invisible script, that’s realism, innit

these fucking days, meohmy these days, cinema is sometimes seen and described as an "exaggerative effect", something like that, which boggles me, it's like everyone wants to forget that cinema is an art form. basic. shit. is. being. forgotten. expressionism. impressionism. and god bless me for saying it, but montages

a thing that happened to me during the romanian new wave is i realized the limitations of realism. romanian cinema is still thriving, still alive and well, btw, but it was a couple exits back where the freeway became less thrilling for me. my seatbelt became buckled. plenty of people say the same thing about usa mumblecore. it strikes me -- i'm generalizing -- that limitations of realism comes from a restrained use of cinema

i think the difference can be described as

the character being looked at
vs
the character being looked into

when i want to describe it that way to bolster my perspective here. i prefer when characters are looked into because i’m an emotional person, and the inside of people is emotion. and i think when you start looking into a character, you gotta use some cinema

because i think people look similar or similar enough when they do things. they’re moving their body parts and whatnot. that’s science. stuff to write on a data sheet

i think people can feel a lot fucking different from each other, while looking like they’re doing the exact same thing. it’s a flaw of ours, it’s the imperfection that’ll allow the robots to overtake us: humans have emotions. aka, emotions are science

so i think shared data entry results in a complexity of data output. and i’m curious about the complexity

i think the minimalism of cinematic realism is a brick wall in efforts to depict the multitudinous possibility of feeling human. i think it's asking the question, "who can make the brick wall look more fabulous?"

[sad ending]

and i think i could keep talking about this but i don't know with whom i'm having a conversation. pretty solid opening, imo, and if i kept writing maybe there'd just be more to disagree with. i haven't talked about extraordinary features in östlund's movies, like it impresses me that he got those kids as actors in play. it's hard to direct one kid and he put like nine together, sometimes in places of public transportation, what a show off. the kid in the tree in play. the attempt-to-be-positie explanation friend friend about why maybe the dad ran away from the avalanche to be the one who could come back to save the family, in force majeure. great stuff

i've written all this about two movies that i continue to think about after seeing, yet i wouldn't call either one a favorite movie of mine in general, or even from their respective years. i prefer play, fwiw

so östlund's doing a thing i always admire, where i'm impressed by him without being sure how much i like him. i respect him as a person
Every perspective is an act of creation.

wilder

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #4 on: January 22, 2015, 09:04:45 PM »
+1

wilder

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #5 on: August 21, 2015, 01:35:06 PM »
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Force Majeure director, actress ready new films for Swedish Film Institute
via Screendaily

Ruben Ostlund’s new film The Square is among a host of intriguing projects in development in Sweden.

It has been a notable 12 months for Swedish film.

Roy Andersson’s A Pigeon Sat On A Branch Reflecting On Existence won the Golden Lion in Venice this time last year, David Sandberg’s 30-minute short Kung Fury has notched up 20 million YouTube views, August 29 marks the 100th anniversary of Ingrid Bergman’s birth and a healthy crop of Swedish films are headed to Toronto.

The trend looks set to continue as the Swedish Film Institute (SFI) can point to a crop of exciting features now in development or production.

Among them is The Boyfriend (Jag Vill Inte Bli Gammal Nu), which will be directed by Force Majeure actress Fanni Metelius.

“Like her shorts it shows the relationships between guys and girls and sexuality from a female perspective,” said Andrea Reuter of the SFI, speaking to ScreenDaily at last week’s Way Out West festival in Goteborg.

The film is now shooting in Stockholm with Garage Film producing and Film Vast also investing.

Force Maejure director Ruben Ostlund is now in development on anticipated drama The Square.

SFI executive Theo Tsappos described the film: “It’s in development. I’m not sure which way it will turn. It’s about an inner city square. Inside the square there is 10-square metres where you can do anything. There are no rules, only morals…people want to use the square for good, people can ask for help. Homeless people start to come there.”

Reuter added: “It explores group dynamics - that’s what Ruben has always been interested in.” 

Ostlund’s own company Platform will produce and the film is aiming to premiere at Cannes, 2017. In April, Ostlund made an art installation square in the southern Swedish town of Varnamo and explored the film’s concepts in an art gallery.

Platform is also producing the debut feature of Ninja Thyberg, who has made a number of award-winning shorts including Girls and Boys, Pleasure, Catwalk and Hot Chicks.

Thyberg’s feature will follow a Swedish girl in Los Angeles who wants to make it in the porn industry. The as-yet-untitled film will shoot in 2016.

Notable documentaries in-the-works for SFI include Erik Gandini’s A Swedish Theory Of Love, about how ideas from the 1970s have shaped Swedish society today; and Lawen Mohtadi and Gellert Tamas’ Taikon, about a Romany-rights campaigner and author (the latter had its world premiere at Way Out West).

There are also new films coming from Lisa Langseth (now in development); Lisa Aschan (now finishing White People) and Daniel Espinosa (about to start shooting The Emigrants).

wilder

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #6 on: February 15, 2016, 02:02:46 PM »
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Berlin: Ruben Ostlund Readies ‘The Square,’ Preps TV Drama Debut
via Variety

Swedish helmer Ruben Ostlund is getting ready to direct “The Square,” a provocative satire that looks to be one of his most ambitious movies. He will most likely shoot it in English.

Ostlund will be reteaming with his co-producer/sales agent Philippe Bober at the Coproduction Office, which handled his hit “Force Majeure.” That pic world premiered at Cannes’ Un Certain Regard where it won the Jury Prize.

“The Square” is set in a renowned museum where an artist is exhibiting a square, an installation that is meant to promote altruism, providing people with a symbolic space where only good things can happen. The movie’s protagonist is the manager of the museum who hires a ruthless PR firm to build some buzz around the installation but things get out of hand when the museum’s PR team goes too far with their publicity plans, sparking a public uproar and exposing the hypocrisy of the media.

The idea for “The Square” came to the director while he was making his 2011 observation on bullying, “Play.” “‘The Square’ can be interpreted as an allegory of how society works today. It seems that we’re getting more and more individualistic and we tend to see other adults as a potential threat. Overall, we’re less inclined to feel responsible for one another,” said Ostlund.

“The Square” will be produced by Ostlund’s Goteborg-based shingle Plattform. Shooting will take place between July and October.

Casting for the movie in under way. Ostlund is currently in London for the BAFTA awards and is meeting with actors.

Ostlund is also making his TV debut with “You Know That Weekend You Were Away With The Kids?,” an English-language comedy turning on adultery.

The series will explore the topic of adultery from different perspectives, said Ostlund. The pilot has been acquired by a soon-to-be-announced U.S. network.

wilder

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Re: In Case Of No Emergency: The Films Of Ruben Östlund
« Reply #7 on: June 09, 2017, 03:42:17 PM »
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Palme d’Or Winner Ruben Ostlund To Direct ‘Triangle Of Sadness’
via The Playlist

Variety reports that Ostlund will helm “Triangle Of Sadness.” The filmmaker will tackle the world of modeling, but unlike Nicolas Winding Refn‘s “The Neon Demon,” a lurid take on women trying to break into the industry, Ostlund will look at models trying to get out. The title refers to the spot between the eyes where plastic surgeons use Botox to fix wrinkles. Here’s how the trade describes the plot:

The two protagonists face different complications: The male model suddenly starts balding and sees his prospects shrink, while the female model is a lesbian and spurns rich men’s lavish offers.

Intriguingly, the film will mostly take place in a luxurious yacht hotel. There’s no word on when production might begin, but Ostlund is pretty busy as it is. The director is going back to the editing room with “The Square,” where he’ll apparently be padding it out to a nearly three-hour runtime. He also shot the short film “What It’s Like to Win the Palme d’Or” at Cannes the same evening he won his award, and has the TV pilot “You Know That Weekend You Were Away With The Kids?” on deck as well.

 

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