XIXAX Film Forum

Film Discussion => News and Theory => Topic started by: WorldForgot on March 20, 2020, 11:00:21 AM

Title: Quarantine Filmz
Post by: WorldForgot on March 20, 2020, 11:00:21 AM
Movies for our current COVID-19 atmosphere ~
Tight spaces / about being hunkered down. The Mist and probably many siege movies being obvious examples.

Although not specifically as secluded as a typical quarantine film, Xixax's top mention has been:

To get the thread rollin' I'll offer up:
Spoiler: ShowHide

its sequel iz essentially ALIENS within an apartment complex, really fun

Master Compilation of the Thread: ShowHide
The Hole (2001) (https://www.imdb.com/title/tt0242527/)

Honeymoon (https://www.imdb.com/title/tt3177316/)

After the Dark (https://www.imdb.com/title/tt1928340/)

The Night Eats the World (https://www.imdb.com/title/tt4266076/)

Evil Dead II (https://www.imdb.com/title/tt0092991/)

 Safe  (https://www.imdb.com/title/tt0114323/)

The Lighthouse (https://www.imdb.com/title/tt7984734/?ref_=fn_al_tt_1)

Woman in the Dunes (https://www.imdb.com/title/tt0058625/)

The Hole (1998) (https://www.imdb.com/title/tt0156610/)

Planet of the Apes Prequel Trilogy (https://www.imdb.com/title/tt1318514/)

The Aviator (https://www.imdb.com/title/tt0338751/)

Can we include games here? I'm playing Death Stranding which is has an eerie, isolated vibe, and I'm thinking of re-playing The Last of Us.

Epidemic (https://www.imdb.com/title/tt0092972/)

Title: Re: Quarantine Filmz
Post by: polkablues on March 20, 2020, 12:00:23 PM
Some suggestions:

The Hole (https://www.imdb.com/title/tt0242527/)

Honeymoon (https://www.imdb.com/title/tt3177316/)

After the Dark (https://www.imdb.com/title/tt1928340/)

The Night Eats the World (https://www.imdb.com/title/tt4266076/)
Title: Re: Quarantine Filmz
Post by: WorldForgot on March 20, 2020, 12:15:15 PM
Evil Dead II (https://www.imdb.com/title/tt0092991/)

The Lighthouse (https://www.imdb.com/title/tt7984734/?ref_=fn_al_tt_1)
Title: Re: Quarantine Filmz
Post by: jenkins on March 20, 2020, 12:34:40 PM
Woman in the Dunes (https://www.imdb.com/title/tt0058625/)

i thought polka had posted this maybe

The Hole (https://www.imdb.com/title/tt0156610/)
Title: Re: Quarantine Filmz
Post by: WorldForgot on March 20, 2020, 12:39:47 PM
i thought polka had posted this maybe

The Hole (https://www.imdb.com/title/tt0156610/)

Oh dang I actually own this one but never got to it, I'll put that on tn after Evil Dead II
Title: Re: Quarantine Filmz
Post by: polkablues on March 20, 2020, 12:43:26 PM
Basically just watch every movie called The Hole.
Title: Re: Quarantine Filmz
Post by: Robyn on March 20, 2020, 12:51:21 PM
Everything I've watched by Tsai Ming-liang is super good. You should watch The Wayward Cloud if you like The Hole, it did to melons what Call Be by Your Name did to peaches! Really, any Ming-liang films is fitting to watch right now because all the characters are social distancing themselves minus the threat of a virus. :p

Someone mentioned Safe (Todd Haynes) in the shoutbox and that's a good shout too!
Title: Re: Quarantine Filmz
Post by: Robyn on March 20, 2020, 12:57:37 PM
When the quarantine is over we should all watch Being There together. 
Title: Re: Quarantine Filmz
Post by: Axolotl on March 20, 2020, 01:59:26 PM
Safe (1995)
Title: Re: Quarantine Filmz
Post by: WorldForgot on March 20, 2020, 02:02:14 PM
Beautiful film. Criterion's restoration rules. Although it only features one essay on print, I recommend that blu-ray disc with a sickly swoon.  Includes an early Haynes short that TH hadn't seen until a family friend found it and sent it over during the process of Criterion's curation iirc.

insightful interview with Haynes about Safe's legacy: ShowHide
'Safe' Director Todd Haynes Talks About Julianne Moore's Early Greatness
By Ethan Alter
via Yahoo Movies


It’s been a great year for Julianne Moore. In May, the actress picked up a Best Actress prize at Cannes for her role in David Cronenberg’s Hollywood satire, Maps to the Stars. And there’s been lots of Oscar talk surrounding her performance as an early onset Alzheimer’s patient in the new drama Still Alice. So it’s only appropriate that the Criterion Collection picked this moment to release one of Moore’s earliest — and best — movies on Blu-ray. Arriving in theaters in 1995, the Todd Haynes-directed Safe unnerved audiences at the time with its chilling depiction of a woman so allergic to the contemporary urban world that she retreats to an isolated desert community where residents live in plastic bubbles. Speaking with Yahoo Movies about the long-overdue Blu-ray release of Safe, Haynes says he’s excited that Moore seems to be the current awards season frontrunner. “If this is her year, man, I couldn’t be more thrilled. I’m her first fan.” The director also told us about the first time he met Moore, how Safe was inspired by the AIDS crisis and the cult surrounding his 1998 glam rock opus Velvet Goldmine.

Among the bonus features on the Criterion disc is a recent interview between you and Julianne Moore that includes footage of her first audition for Safe. What do you remember about meeting her that day?

I don’t know if I’ve ever had a more singular kind of shock of discovery in another creative person. And in this particular case, the character, Carol White, was created without all of the expected ways audiences can latch onto the protagonist of a movie. She’s someone who is so passive and just barely fits in to the codes of her world, because I wanted to see how someone with that fragile sense of self would play in the viewers’ minds. All that’s fine when you’re thinking of it abstractly, but suddenly I needed her to also be real!

And what I didn’t realize is how much an actor needed to respect that distance and mystery and not try to fill in the gaps and make Carol this sensible person right away. That was the most amazing thing about Julianne: her understanding that the actor doesn’t have to do all the work to reach out and pull the viewer into the story. That’s a way of describing what some of the movie stars in the Golden Age of Hollywood did — whether it was Greta Garbo or Marilyn Monroe, there was always something about them that was just out of reach. And Julianne somehow has maintained that in a culture where everything has become more accessible and familiar.

Safe was one of her earliest leading roles and the first that made a lot of people sit up and take notice. Have you noted any specific ways in which the experience helped shape her subsequent career?

I think it was maybe one of her first roles that sort of necessitated a certain amount of research into a particular condition and that was interesting to watch. Julianne and I spent time with people who were chemically sensitive and then there were all these tapes of interviews and testimonials we watched. We also spent some time going to clubs and restaurants in the San Fernando Valley, studying the culture and the way people spoke and dressed and moved and all of that. I grew up in L.A. and my parents lived in the Valley, so I knew the tenor of that voice, and it was something I had never really seen in a movie before. Julianne doesn’t come from L.A., but she completely tapped into it. She’s somebody who thinks a lot about the film as a whole and doesn’t like to do a lot of analyzing and talking and yapping about it on set.

She’s gotten so much acclaim and awards attention for her roles in Still Alice and Maps to the Stars this year, and it’s striking just how different those performances are.

I haven’t seen Maps to the Stars yet, but I’m dying to. Her comic abilities are so remarkable; people forget that she’s an amazing comedic actress. She was so surprised by her [Best Actress] award at Cannes. I’m very dear friends with the Still Alice directors Richard Glatzer and Wash Westmoreland and I couldn’t be happier for everybody involved. And, you know, she’s playing another person in Still Alice who succumbs to a devastating and mysterious illness. That character is completely different from Carol White, but you watch the calibration of her performance and, as a starting point, it’s not dissimilar to Safe in how you observe the degeneration of a person.

In your interview with Julianne, you mention how Safe was inspired in part by the AIDS epidemic, but seen today it also seems to presage the current survivalist movement, which often espouses a profound distrust for government and modern medicine.

Absolutely. The survivalist thing may dovetail with aspects of popular conservative and libertarian instincts, which also have deep roots in the American idea of self-reliance and mistrust of government and of power. It all plays into that. At the time I made Safe, I was really intrigued by the whole culture around AIDS, which was turning to people like Louise Hay and these other West Coast New Age thinkers. They were doing their best to cope with this new era of illness and uncertainty, but I found it troubling that it was all about blaming yourself and not the society or culture around you. It was about loving yourself more and “don’t trust the government, don’t trust medicine.”

The line that really stands out to me now is when the leader of the retreat admits to no longer reading the news. That sentiment feels especially strong these days  within certain circles.

I [actually] heard about the environmental illness on tabloid television and these little news capsules on TV. There was just starting to be some journalistic awareness of it in the early ‘90s and they called it “20th Century Illness,” which immediately got my attention. What was so freaky and interesting to me was that, instead of finding some kind of natural response like using natural cleaning products, these stories described taking women into silicon-coating igloo enclosures in the middle of the desert as a recourse. It felt like their lives became more and more like science-fiction; their desire for achieving a kind of material purity is almost not possible in our modern world. I found all of that to be evocative, and it definitely registered at the time because of HIV and the panic around that. I feel like it plays out in each generation — there’s never a lack of other panics around the corner, Ebola being the most recent.

Until Criterion got their hands on it, Safe had been a hard film to track down. Why was it out of circulation for so many years?

I don’t really know exactly what happened. It was released by Sony Pictures Classics and I think they just didn’t have enough prints. It really was extremely hard to find for awhile; I’d have retrospectives of my films at festivals and it was always the one that was hardest to find a good print of. It was always a specialty item, so I think it slipped through the cracks. But SPC has been incredibly generous and worked very closely with Criterion in the release of the Blu-ray.

I’m just happy that Criterion finally released two hard-to-find ‘90s gems this year, Safe and Steven Soderbergh’s King of the Hill.

I haven’t seen King of the Hill since it came out! I really dug it at the time and it was already a different direction for Soderbergh from his other films. I’d love to see it again. I feel like in this era of diminishing 35mm projection and people watching movies on their phones, we have Criterion Collection and Turner Classic Movies and those are two extraordinary resources that shouldn’t stop. It’s important for us film nerd types to keep them going.

Is it more challenging to secure financing for your films today than it was in the era of Safe?

Each production is its own experience. We just completed a film I’m incredibly proud of, Carol, starring Cate Blanchett and Rooney Mara. We shot it on 16mm, but it was a tight budget for a period film set in the early ‘50s. But you figure it out — we got through it and everybody involved really cared about it. I feel lucky and fortunate. I have a whole slew of things in development now; you never know which is going to bite when. I do think what’s happening in cable television is providing a lot of energy and healthy competition for works that are tough and that take risks.

Carol takes place in the early ‘50s, chronologically in between your HBO adaptation of Mildred Pierce and Far From Heaven. Coincidence or is this part of an unofficial trilogy?

It isn’t really, it’s quite different. Carol takes place in the really early ‘50s before Eisenhower has taken office. It’s based on a Patricia Highsmith novel, her second and most autobiographical book and the only one outside of the crime milieu. What’s so interesting about it is that it turns on the idea of this unknown and unspoken love, which is ultimately the love between two women, and that was a part of [the author’s] own life. But it’ also explores the idea that falling in love turns the lover’s mind into the criminal’s mind, which is always seething and creating various scenarios and obsessing over certain details. There’s this sense of danger and criminality at the centerpiece of the novel and we’ve opened it up a little bit in the film, but it’s still ultimately the story of the young woman’s point of view.

Going back to the beginning of your career, will your banned Karen Carpenter film Superstar ever find its way into legal circulation?  [The movie — which depicts the singer’s life story using Barbie dolls — didn’t have proper licensing for the Carpenters’ songs.]

There’s been solid resistance on the part of the estate and Richard Carpenter. It’s unfortunate, because it’s a film that only ever meant to bring Karen Carpenter back into the discussion for younger generations with incredible love and respect, even if my method of telling the story was unconventional. And if I take some shots at the family dynamic that was a factor in the conflict she faced as an emerging pop artist, it was always meant to honor her and bring that voice back into peoples’ ears. I never had any other intentions than that, but I understood that it could be misconstrued. I’d love for more people to be able to see it and Criterion would be thrilled if I’m ever able to get it out, so I know where I’d go with it!

The film of yours that really seems to have found a second life is Velvet Goldmine. Have you enjoyed seeing the cult that has sprung up around that movie, particularly online?

It makes me really happy. It’s a film that was inspired by the kinds of movies I would get obsessed with when I was a teenager, those sorts of trippy movies coming out of drug and music culture from the late ‘60s and early ‘70s. I felt like no one was making those kinds of head-trippy movies anymore and this was a perfect subject to celebrate in that way. It wasn’t something that maybe got the thorough theatrical distribution we hoped or the attention that we hoped; that was the year that Miramax was pretty occupied with some of their biggest heavy hitters from that era like Shakespeare in Love and Life is Beautiful. So we got a little bit lost in the shuffle, but it’s gained this whole new life since it’s been out on video and DVD that parallels with the emergence of the Internet. A lot of teenage girls click into that story even though it’s about all those pretty boys, and I find that to be so cool and surprising as well. When I screen the film somewhere, teenage girls come up to me and I always know they have a copy Velvet Goldmine they want me to sign.


Todd Haynes on the unsafe world of Safe
By Scott Tobias
via The Dissolve

Released this month on Criterion Blu-ray, Todd Haynes’ 1995 science fiction masterpiece Safe was voted the best film of the 1990s in a Village Voice poll, and it’s lost none of its relevance today. Where Haynes’ intended allegory about the AIDS epidemic—he set the film in 1987 for a reason—doesn’t register as strongly now as it did then, the vague “environmental illness” contracted by his lead character, Carol White, does well to stoke 21st-century paranoia about the damage modern life is doing to our planet and ourselves. Safe also marked the first collaboration between Haynes and lead actress Julianne Moore, who plays Carol as a wealthy, passive cipher who boldly attempts to upend her seemingly comfortable life when the world around her proves increasingly toxic. The two would reunite seven years later to equally devastating effect for Haynes’ Douglas Sirk homage/re-working Far From Heaven. Haynes recently spoke to The Dissolve about the shoestring making of Safe, its changing significance, and the similarities and contrasts between Moore’s performance here and in the new Alzheimer’s drama Still Alice.

The Dissolve: Your 1991 feature debut, Poison, won Sundance, and was a substantial arthouse hit, but it took a few years to get Safe made. Do you carry any momentum from Poison into Safe, or was it kind of like starting over?

Todd Haynes: It was still so much the beginning for me in those years. Safe was such a different kind of film than Poison. I always had fairly narrow expectations for the kind of audiences that my films might generate. If anything, I was always sort of surprised that they garnered more attention than I expected, often through circumstances that went beyond the films themselves, like the controversies surrounding “Superstar” and then the very different controversy surrounding Poison. Of course, we were hoping to get the film made more quickly than it ended up getting made in the ’90s. When I look back on Safe, it’s a miracle that it got made at all in my mind. I don’t how it could have possibly been made today in any regard.

The Dissolve: You feel like it’s more difficult now to get a film like that made than it was then?

Haynes: Yeah, for sure. Definitely. It’s an experiment, that movie. It was very much so at the time, and it remains so. It’s the kind of film that people didn’t really know what to make of initially, and it probably took a little longer…Well, all my films take a little time for some people to appreciate, and that was certainly true with Safe. Maybe that came somewhat from expectations coming out of “New Queer Cinema,” as it was called at the time, and really taking a very different course from the kind of stories and settings of films that were associated with [that movement]. But it was definitely something I conceived of fairly quickly after Poison. That it got made is really a testament to [producer] Christine Vachon’s persistence. It wouldn’t have gotten financed without her. I really was interested in doing it, and I really believed in it. It was a tough call to get the financing. All we needed was $1 million to make Safe. Even that little amount back then was tough. She just wouldn’t stop, and she was fearless, and the film owes its very existence to that tenacity.

The Dissolve: A lot of the story of Safe is told in the compositions, which are impeccable. Was it difficult to be that meticulous under the budgetary restrictions that you had?

Haynes: It was, but it just meant that like most of the films I’ve made, every single frame—and certainly every single day of shooting—had to be incredibly well-planned. We were still drawing on and exhausting all those favors that burgeoning feature filmmakers exhaust from family and friends at the beginnings of their careers. I shot some of the film in my uncle’s house in Malibu. I shot some of the film at my grandparents’ house at Laurel Canyon, and we exhausted all the possible resources that we could around us. But mostly, it just meant really careful planning and discussion with [cinematographer] Alex Nepomniaschy and myself, the designers of the film, and everybody involved. That’s really what was accomplished. I knew I really wanted that pristine, almost Kubrickian austerity to the look of the film, and the way that Carol White is set up as almost part of the mise en scene, or one of the objects that she inhabits in the film as much as the central character at the beginning of the story.

The Dissolve: Do you feel like the film reads differently in 2014 than it did in 1995?

Haynes: No doubt, it does. Certainly, everything was being interpreted around the specificity of AIDS and HIV at the time that Safe was made. That was on my mind quite specifically when I was conceiving of the film. At the same time, I wanted to bring up the behavior that we all exhibit around illness, particularly in the way we try to attach meaning and personal responsibility to illness, and how much illness and identity are mixed up with each other. Those were definitely motivating interests of mine that I felt were absolutely and totally being played out in the AIDS culture around me at the time. Since then, AIDS has faded as a No. 1 health emergency in this country, due to extraordinary developments in treatment and the great fortune of those developments for many people. I still feel like we are a culture that is continually reminded of our vulnerability to contaminants and illness. Ebola is only the latest version of that, but it’s certainly one that sparked such extraordinary and immediate panic. It was summoning up memories of the AIDS era for many people in the way it was being hysterically described at the beginning. It brought up a general sense of our fragility, even as we become more fortified by technology and knowledge, and our fragility as human beings on the planet, and the status of the planet and the lower regard the sciences are being held in nowadays. They’re all contributing factors to the sense of vulnerability and insecurity with our bodies, and that certainly hasn’t gone away. In that sense, Safe feels like this allegory about all kinds of indeterminate and imprecise notions of health, well-being, and immunity in peril.

The Dissolve: Are you comfortable with that? You set the film in 1987. As an AIDS allegory, it comes through strongly in the conception, but now as you say, it’s sort of faded.

Haynes: Oh sure. I still feel like it’s a very contemporary story. I don’t think the ways we signify or apply meaning and causality to illness, and the way it sort of undermines our sense of autonomy and freedom has gone away. I’m happy that [Safe] still triggers that, and feels like it’s maybe ahead of its moment slightly in discussing those themes in a more philosophical way, even though it also draws from very popular traditions of “disease movies of the week,” or a psychological horror film, in its structure. Those are things that hopefully make it more accessible as a film to younger audiences today. At least, the themes I think are relevant. I feel proud to have the film come out [on Blu-ray]. You know, it’s my first official Criterion release. They did a gorgeous job as they always do, and I thought Dennis Lim’s essay was spot-on and fantastic, as his writing always is. The whole thing was a great experience.

And come on, it’s funny how Julianne Moore—I’m very dear, good friends with Richard Glatzer and Wash Westmoreland, who directed Julianne in Still Alice, which is again a film about illness, early-onset Alzheimer’s, and it’s getting so much great attention, and it may be singling Julianne out in the awards shuffle, which for me is something long overdue. I just feel real excitement for all those guys in Still Alice. Safe gets mentioned from time to time in the reviews for Still Alice, and I’m just very proud of all of them. It’s a nice time to have Safe coming around.

The Dissolve: The thing that’s interesting with regard to Julianne Moore in both Safe and Still Alice is that she has illnesses in both, but her characters have such contrasting reactions. Carol is such a passive character and Alice is a character who does everything she possibly can to hold on to her memory, to the point where she’s able to cover up how rapidly she’s deteriorating.

Haynes: They’re almost mirror images of each other as characters and in narrative trajectory. In Safe, you find this women who’s almost a cipher, even though she lives the American Dream and this life of luxury. She has the lifestyle and material things that are valued in our world, but in many ways her encountering of illness is the thing that triggers her worry that maybe something is not quite right in her life. It was always true for this character, but not something that she was motivated to challenge or look at deeply until her illness. In many ways, her illness is the very thing that shakes her free from her comatose state. And obviously in Still Alice, it’s exactly the opposite. Alice is an extremely intellectually advanced and productive and professional subject at the beginning of the movie, and the horror of Alzheimer’s is the slow degeneration of all of that in somebody so vital and so intellectually engaged. Yeah, it’s completely the opposite direction. I just don’t have enough good things to say about Julianne. Of course, I’ve continued to work with her after Safe. Every experience has been extraordinary. That’s to say nothing against the other amazing women I’ve worked with throughout my lucky career, but I don’t know that there’s a better living actor than Julianne Moore. She deserves everything.

The Dissolve: How did your conception of Carol change once Moore got the part? What did she bring to it that you didn’t imagine in the writing of it?

Haynes: That’s a good question. Whether or not you write and originate your own material as a director, I think it’s always a mystical, mystified kind of process from page to screen, and how concepts on the page become embodied by real people and real actors. It’s hard to overestimate the importance of casting in films, and finding the right person for the role, but in this particular case, I don’t know if I had a bigger eureka moment than when Julianne auditioned for me for Safe. I had just been getting to know her [on screen]. I had just seen an early advance screening of Short Cuts, but I hadn’t seen her work on soap operas like some of my friends did, and didn’t really know who she was. She was starting to be discussed as someone who had a bit of buzz in the industry, and then I saw Short Cuts, and I was sufficiently blown away by her in that. It was an extraordinarily brave performance. But still, this role was so transparent. And I was impressed with how she could make somebody who is that much of a cipher into somebody who you believe is a real person, but not over imbuing it with too much editorializing or second guessing, or kind of winking to the audience.

That took a kind of bravery on her part, and an intuition that I never fully appreciated until she was there in the room doing it for me. All of a sudden, it really was a flesh-and-blood person who was speaking these lines, and that felt like a revelation. She said something similar about having read the script saying she was very excited about it, and she had never read something like it. She sensed that she had an understanding of the script that was her own, and if she didn’t jibe with the director, there’s nothing she could really do. All she knew is that she had some intuition about it. And as it turned out, she couldn’t have been more on the mark. I continue to watch that amazing ability of hers to know how to maintain restraint, and to really trust the viewer that you don’t have to do all this extra footwork to cajole the sympathies of the audience. They have tremendous powers themselves that you can respect, and you can elicit through all kinds of means. She really understands the complexity of that contract.

The Dissolve: What’s your favorite memory of making the film? Is there a moment that really stands out?

Haynes: It was a tough shoot. I’ve told this story before, but we lived through the L.A. earthquake on Safe, and it really did send shudders through the production itself. So we found ourselves shooting scenes with aftershocks still happening. in fact, this was true of all of the scenes at Wrenwood, which we shot at a Jewish day camp in Simi Valley, which was close to the epicenter of that earthquake in January of ’94. Literally, we were shooting through aftershocks, like the scene were Julianne gives that amazing, rambling speech at the end on her birthday celebration at Wrenwood. The reaction shot of Peter [Peter Friedman] and Claire [Kate McGregor-Stewart] and James Le Gros all looking at her—an aftershock actually occurred on camera, and they were just acting through it. The sense of existential uncertainty that the film does convey was only strengthened by the actual seismic conditions we were experiencing at the time. And it made everything just feel like we were really hanging from this apocalyptic edge where Christine and Lauren Zalaznick and I were all living, right off Cahuenga and Hollywood Boulevard. It’s in a really seedy part of Hollywood in a very cheap and seedy apartment house we could afford. The car wash across the street became a service center and water-resource center for people after the earthquake. Everything that was at work in that film was being played out externally around us in a trippy way. That didn’t make it easier, but it sort of resounded in what we were doing as filmmakers.
Title: Re: Quarantine Filmz
Post by: Fuzzy Dunlop on March 20, 2020, 03:14:19 PM
The new Apes trilogy, good pandemic cinema and I'd argue the best franchise film series of the century so far.

The Aviator. Though I wish the blu ray had more special features. I kept saying "show me all the bloopers. show me all the bloopers. show me all the bloopers."

Can we include games here? I'm playing Death Stranding which is has an eerie, isolated vibe, and I'm thinking of re-playing The Last of Us.
Title: Re: Quarantine Filmz
Post by: WorldForgot on March 25, 2020, 12:06:54 PM
From Dan Ozzi's Reply Alt

Title: Re: Quarantine Filmz
Post by: eward on March 25, 2020, 12:50:56 PM
Playful Trier.
Title: Re: Quarantine Filmz
Post by: jenkins on June 07, 2020, 01:30:54 AM
bumping this thread that’s obviously been forgotten
Title: Re: Quarantine Filmz
Post by: BB on June 08, 2020, 11:47:11 PM
Watched Deep Impact in the early days of quar, which has some end of the world vibes and some hunkering down in a cave vibes. Hadn't seen it since the theatrical release in 98 when I was a child and remembered nothing. Turns out it's a fascinating slice of unintentionally political cinema. Possibly the most neoliberal film ever made.

A fawning portrait of the elite (characters are pretty much only politicians, scientists, and journalists) who, when their initial plan (blow up the comet with nukes -- same as Armageddon) fails, quickly accept defeat and set about sequestering themselves underground. There are almost no characters representing the proletariat and so this ploy goes more or less unchallenged either by or within the film. A few dirty extras protest but that's it. The only regular characters the movie spends any time with are selected to join the elites in the cave via a lottery system. The perspective is 100% aligned with the chosen few. The director went on to make Pay It Forward and the Ruth Bader-Ginsburg biopic so I suspect this is not coincidental.

It's pretty boring but a great film is roiling just beneath the surface. There's almost no plot, just a few elements of intrigue at the beginning and the end. Majority of the runtime is laden with failures of logistics and political imagination. A miserable, hellish, cynical vision of mankind meeting an existential threat and resigning itself to it. We spend so much time just hanging around with people who don't know what to do. Sadly, astronauts sacrifice themselves and manage to destroy 3/4 of the comet but the remaining quarter still collides with earth, killing like a billion people, which the movie counts as an unmitigated triumph. It's INSANE. Had the movie ended with all life on earth being destroyed, with even the cave system failing, with this dry 90s TV movie aesthetic being used to tell the ultimate story of elite incompetence. Had they divested plot entirely and been aware of the vulgarity of their message ... my god, it would be an all-timer.

Anyway, those are my thoughts on Deep Impact.
Title: Re: Quarantine Filmz
Post by: Something Spanish on June 09, 2020, 06:23:48 AM
i was always more of an Armageddon guy
Title: Re: Quarantine Filmz
Post by: putneyswipe on June 09, 2020, 01:33:52 PM
Cronenberg’s Rabid is one and also is one of his best
Title: Re: Quarantine Filmz
Post by: jenkins on June 09, 2020, 01:58:11 PM
i don’t think he takes flight until Videodrome but you might be appreciating raw charm or something, people can appreciate whatever they want
Title: Re: Quarantine Filmz
Post by: putneyswipe on June 09, 2020, 02:15:11 PM
The combo of Marilyn Chambers and the sleazy, gray and depressing late 70s Canadian atmosphere just does it for me
Title: Re: Quarantine Filmz
Post by: jenkins on June 25, 2020, 01:14:22 AM
i've started watching the 31 non-amazon-marketplace movies i recently purchased, all of them having arrived, and just last night, for obvious reasons, i also purchased the new Thunderbean release, Popeye Original Classics In Technicolor

Model Shop -- i started with this one because i already seen it, not so long ago at the New Bev in 35mm, doubled with Bob & Carol & Ted & Alice i remember. the plot of this is like whatever but i'm obsessed with when the lead character is driving around, like when he picks up the photos and goes to the gas station. i have no fucking idea why there's the scene with him getting gas so i'm like head over heels about it for some reason i truly can't fully explain. its slow pacing is gorgeous to me. i recently heard Kiarostami say he only likes movies that make him fall asleep because with the others it feels like he's being taken hostage and maybe what i'm saying is in line with that philosophy and maybe i just find excuses to quote Kiarostami, whom a younger me considered silly arthouse stuff and an older me adores. some of this is pure chemistry

Max and the Junkmen -- i sort of regretted buying it but a friend of mine asked me to tell him what i thought of it after i watched it so i watched it right away to be polite, and it turns out that i adore this movie. the first night i began it without paying attention much, just kind of staring at it, like how Model Shop can be watched, but i admitted to myself that i didn't have any fucking idea what was going on when i returned to it the second night and started over, and like, totally. it's a whole world and it has this beautiful ending that's perfectly conceived. in any other movie that's actually a dumb fucking ending but yet this movie nails it and i'd fight you to the death about it or whatever. i'm also into sort of um partitioned narratives and this movie does a hella job compartmentalizing cops and criminals and this was when i read the wiki article about Romy Schneider whom  i wasn't already familiar with so i was able to like follow the bouncing ball there too

Quai des Orfèvres -- i've already seen this too but over a dozen years ago so it was like a first time. i didn't posses a fond memory of this movie, which i mostly bought because it was on sale, and first watched after Diabolique. and Diabolique, i didn't like it either, but thought it was better, and then i watched and still own Le Corbeau, which i thought was the least of the three. yet so this movie starts with fire and i was like hell yeah, but then there's this cop thing that's well done i guess but god i'm bored, except when the wrist cutting happens in the jail cell, so basically i think the french know how to end a movie when i generalize like that

Manhandled -- and Stage Struck -- you know what happened was i fell i love with silent cinema but when you bring that up in conversation it's kind of awkward and most people mostly nod because of course they love everything that came after silent cinema. i don't know man, some say youth is the best but probably baby shit is most awesome, when you don't even know you're becoming human, and that's what silent cinema is like to me. it's growing in front of my fucking eyes. and i'm very into the expressive acting. the titlecards give you fyi's but mostly it's about watching human behavior and i think that rules. anyway so i had kind of burnt out on silent cinema but these pulled me back in and prompted me to immediately regret not just ordering all of Kino's silent movies. they're both with Gloria Swanson and Manhandled is city-set so i'm a fan of that but definitely her wider range of acting comes through Stage Struck. this allowed me to appreciate Gloria Swanson and soon enough i'm going to go back to Sunset Boulevard, which she was only 51 when it was released by the way. she's a terrific actor. Stage Struck begins and ends in technicolor. a silent movie begins and ends in technicolor

Death Takes a Holiday -- it's kind of the inverse of Quai des Orfèvres, in that during the beginning i was like oh shit this sucks my bad (a dumb af shadow haunts them, it's death and yawn), but actually when Death appears this movie becomes hella solid. first of all bravo to doing this cool thing in which embodied Death is both a shadow and transparent. then great job Fredric March as Mortal Death. i was like, what's going to happen what's going to happen, oh how interesting, which is a fun way to watch a movie, you know. and it's a love-positive movie which is kind of complicated

The Devil Incarnate -- Mondo Macabro is by far the best thing that's ever happened to global cult cinema from my perspective. they're rather towering by my estimation. so i needed to see this fellow Paul Naschy, and that's a semi-americanized pseudonym for Jacinto Molina, a body building horror fanatic spaniard. his actual cult reputation is that he "reigns supreme as the true king of Spanish horror cinema." he died underappreciated and his older movies also suck maybe (haven't seen them) anyway i can confirm that he's a hero figure to me since The Devil Incarnate hardcore slays this deadpan insanity only perhaps rivaled by José Mojica Marins and Coffin Joe. Paul Naschy is nasty in The Devil Incarnate and not only does he not bat an eye but he even explains why, and his reasons like nail it. and you're supposed to believe that he's the victim by the end, which how funny. i regretted not ordering Inquisition

The Wild Pussycat -- i've only started this one, and i started it because i am guessing that it will be the least impressive of my Mondo Macabro purchases, although in the end it might not be, who knows. it comes with a free double, The Deserter, and giving me an extra free movie sort of impedes my faith in your initial selection. it isn't the same director it's the same country, Greece, which Mondo Macabro has a whole thing about, this is their third volume, and it's the second sex film i've ever purchased, after Radley Metzger's Score. i watched the beginning which is a suicide scene and after that there's some office stuff which is all i know so far, and what i can say is the westernized idea of 60s cool was rather homogenized and american centered, like it is now, which isn't fully accurate, especially addressing the 60s, in which British cool was the leader perhaps, except i think The Wild Pussycat feels hella american in the beginning, it hasn't even gotten into the sex stuff and it's b&w
Title: Re: Quarantine Filmz
Post by: jenkins on June 27, 2020, 10:54:01 PM
The Wild Pussycat  -- (Cont.) so i had clearly thought i bought trash because i wanted to, but that's not what happened at all, it's not trash, and not even how the movie is advertised. let me quote the basic website stuff which i barely knew before beginning the movie:

The WILD PUSSYCAT is an unsung classic of exploitation cinema. Produced in Greece in 1968, it was not officially released there until 1972 and then only in a cut and compromised version. The simple plot concerns a women whose sister was exploited and driven to suicide by a sleazy pimp. In order to get revenge on him the woman seduces the man, drugs him and imprisons him in a sound proofed room, tormenting him through a large one way mirror (he can see out, no-one can see in) by performing sultry strip tease dances and having sex with men and women while he can only look on, helpless to stop it or join in. Her final vengeance on him is so shocking it raises eyebrows even today.


The Blu-ray includes both the 1972 Greek version (with much of the sex removed and a plot featuring a drug dealing con inserted) and the full on, uncut export version.

it was bad-wild, aka wrong, that i read "exploitation" and "sex" and hadn't heard about this movie and thereby figured that i knew what this movie would be like, not expecting it to be any good really. thus both praising and underestimating Mondo Macabro in my previous post

here is some more basic data:

In spite of its lurid subject matter and explicit visuals, The Wild Pussycat was not a low budget quickie with a cast of unknowns and a first time film maker. It was directed by Dimi Dadiras, one of the most successful director/producers of the period, and it features one of the big stars of Greek cinema, Gisela Dali, known in her day as ”the Greek Bardot”. So far as we are aware, this film has never before been released on home video anywhere in the world.

just frankly, Mondo Macabra is right about "unsung classic". this movie is on point. nails it and pitch-perfect accomplishes a big ending, while feeling like it could have been made in Hollywood, although actually more like 60s British cool indeed, definitely European in terms of its fashion i'd say, and i mean every bit of this as a compliment

funny enough you know i watched the greek version because it's original language, so i watched the least-sex version first, as the english-dubbed international version has 25 more minutes and most of the sex stuff

and i kind of shittalked there being a second movie, so i fast forwarded through the beginning of the second movie, to take a peek, and it's a different tempo, a different type of movie, more like a post-apocalyptic movie, such as Five (https://www.imdb.com/title/tt0043539/), but i bet it totally nails that too, or consider that more possible than i previously did
Title: Re: Quarantine Filmz
Post by: WorldForgot on June 28, 2020, 12:29:08 PM
Just watched this one and while it deals with libido more than the shunted science, there iz ample substance in its images of the body - starkly a reduction, always rabid, or a violent act - to consider how bodies are commodified, abused, neglected, and hole'd up to one self. A doctor at the forefront isn't by accident, but this movie deals essentially in real abstracts.

Spoiler: ShowHide

Title: Re: Quarantine Filmz
Post by: jenkins on June 29, 2020, 02:43:16 PM
In the Cold of the Night — what a fucking treat and a half this movie was. great recommendation wilder. prompts me to reconsider my perspective on the entire Vinegar enterprise. it’s slightly dumb but i think its dumbness is exaggerated and it’s not dumber than most things. do marbles have a true erotic potential? no. are illuminated waterbeds dope? basically. i adore the aesthetics this movie fetishizes, and how this movie fetishizes movies. the dialogue rhythm is taken from The Lady from Shanghai in a noticeable way especially at the ending but that’s a compliment. i’m glad i own this movie that i would watch again
Title: Re: Quarantine Filmz
Post by: wilder on June 29, 2020, 03:08:21 PM
Happenstance - my roommate bought it too and we’re watching it right now. Loading up your post as it’s playing on the screen.

Awesome you were so into it. I’ve gotta rewatch Lady from Shanghai to see what you’re talking about. There’s definitely a bit of Robocop in there, down to the casting. Brainscan and Lost Highway also have similar aspects. Something serious was in the air in the early 90s with all these characters having pixelated visions of themselves murdering people around them. Great sub-genre.
Title: Re: Quarantine Filmz
Post by: jenkins on June 29, 2020, 03:14:31 PM
nice nice nice. whenever it’s being philosophical it’s cribbing this in terms of even speaking like this

Title: Re: Quarantine Filmz
Post by: WorldForgot on June 29, 2020, 09:06:40 PM
TAMMY N THE T REX (1993) on VS'z blu ray and GRADUATE FIRST (1978 (https://www.youtube.com/watch?v=lp8YHs9YeWE)) on Criterion Channel.

One iz delusional, with the text and atmosphere of a children's film and violent, horny content of an adult magazine, Mad Magazine in the way the film Clifford ('94 (https://en.wikipedia.org/wiki/Clifford_(film))) rollz, if you're familiar. But add John Carl Buechler.

Maurice Pialat's iz just as horny but more polite about it. A precursor to Dazed & Confused, it's got an actual shape to its character arcs and includes notable Lens soccer footage.
Title: Re: Quarantine Filmz
Post by: jenkins on July 02, 2020, 12:27:46 AM
Time to Die -- it's grossly perfect to the extent that there's a video intro of Alex Cox trying to deal with the fact that Arturo Ripstein refutes it as part of his canon while it's better than anything Alex Cox ever made, which isn't an insult to Cox but a compliment to Ripstein of course. it's kind of insane what you're looking at here, genuine best-of-the-best stuff: Arturo was 25 and his father was a notable producer in the Golden Age of Mexican Cinema, and one might think "oh just a privileged son" except also he rules so hard, the editor is Carlos Savage, who descended from Mexican presidents, and he kills it, the actors were towering figures in their cultural era, and i'm leaving out a script by Gabriel García Marquez, with revisions by Carlos Fuentes. lol. i'd keep going but i'm out of breath
Title: Re: Quarantine Filmz
Post by: jenkins on July 05, 2020, 03:28:31 PM
Putney Swope — it really is that good and everything. it's rather ingenious because it allows a distanced perspective at why society does anything, and meanwhile it's playful the whole while. so it's both rebellious and lighthearted, which is a winning combination. its potential only flaw is that using a person of short stature as the president makes fun of the president at the expense of a person with short stature
Title: Re: Quarantine Filmz
Post by: putneyswipe on July 05, 2020, 07:13:41 PM
I’ve been going through some of John Singleton’s 90s output that I hadn’t seen before. I was really impressed by Poetic Justice... definitely 2pac’s strongest screen performance and the movie is a really enjoyable slice of black neorealism that segues nicely between hangout and road movie and romance without getting soggy
Title: Re: Quarantine Filmz
Post by: jenkins on July 10, 2020, 09:45:58 PM
Gran Bollito -- it's sort of tough to explain how good it is. Shelley Winters has tremendous acting ability, she plays a flimic interpretation of Leonarda Cianciulli (https://en.wikipedia.org/wiki/Leonarda_Cianciulli), men wear dresses while acting as if women, for example Max von Sydow does this, and it's a serial killer melodrama with piano moments, gorgeously intimate closeups, and i'm basically obsessed with the main song

Life life, what do you give me?
At least give me him
And he never comes
Why does he never come?

Life life, what are you doing?
You don't even give me him
And he will never come
Why will he never come?

Life life, I would give you
I would give life
But don't kidnap him
I only have him

what's funny is i bought it during the Twilight Time closing sale because it was a foreign film among quite few foreign films, so i'd never heard of it but thought it must stick out for some reason or other, and dvdtalk didn't shittalk it, except i reread the dvdtalk review after watching the movie and what the writers says is funny really (https://www.dvdtalk.com/reviews/71765/gran-bollito-twilight-time/?___rd=1)

Gran Bollito is far from a typical serial killer movie. Even though it might bore genre hounds and might be too weird for anyone expecting a straight melodrama, it's certainly an original and unique experience.

you got yourself a "too weird to live, too rare to die" moment happening in film criticism. this whole "it's different from other movies and maybe that's actually a good idea, i can't tell for sure since it's so different" perspective is also used by Ebert in his review of Clifford, which i plan to stream tonight

so this is how his review (https://www.rogerebert.com/reviews/clifford-1994) begins:

A movie like this is a deep mystery. It asks the question: What went wrong? "Clifford" is not bad on the acting, directing or even writing levels. It fails on a deeper level still, the level of the underlying conception. Something about the material itself is profoundly not funny. Irredeemably not funny, so that it doesn't matter what the actors do, because they are in a movie that should never have been made.

and this is how it ends:

It's not bad in any usual way. It's bad in a new way all its own. There is something extraterrestrial about it, as if it's based on the sense of humor of an alien race with a completely different relationship to the physical universe. The movie is so odd, it's almost worth seeing just because we'll never see anything like it again. I hope.
Title: Re: Quarantine Filmz
Post by: jenkins on July 11, 2020, 09:58:43 PM
Clifford -- it's a family movie that doesn't feel anything like a family movie, it's a comedy that doesn't feel anything like a comedy, with a sweet message about Clifford being an example of a bad child, as in the thing is don't be like Clifford who pushes people away when they interfere with his dreams, and occurs to Clifford on account of his wanting to go to Dinosaur World so badly, and you do watch him break apart older men who themselves become awful, and Mary Steenburgen is the only light in the tunnel, which is why Clifford carries his dinosaur figurine bestfriend who is also a touch wild, plus now and then Clifford plays a recorder he carries in his magical pockets. by the end of the movie he goes through a roller coaster loop without wearing safety straps and it's like goddamn i wish i had been Martin Short and the star of that movie, everybody dreaming this with me. a true, honest-to-god champion in the manchild subgenre

Palm Springs -- traditional love-conquers-all propaganda, but, also, in the timeloop subgenre . i can be seduced by niches and science shit (quantum theory here). i like the sideplot involving the sister betraying the sister. that was "successfully developed." how successfully developed is this movie? well in the big picture life is bullshit and don't die alone, so it's a less-funny-Clifford that's strong-on-romance, and both as good and bad as movies are. the highest rank in the timeloop subgenre is Groundhog Day

Je t'aime, je t'aime -- this is my own Groundhog Day, one that inspired Eternal Sunshine of the Spotless Mind, and i watched it owing it to feeling lukewarm after Palm Springs, but now i can actually be easier on Palm Springs too, because they do hit differently. Je t'aime, je t'aime pretty much kills it by employing an editing method i've seen in Muriel, or the Time of Return and Don't Look Now too. the protagonist's psychology is being organized by quick-witted editing, and this is a scifi movie in which okay but get this--get this--scientists, because they understand science more than people, they consider it a good idea to test time travel that might kill somebody on a person who isn't afraid to die, so they handselect a person who recently attempted to kill himself, to relive his past year of life, thinking he isn't afraid of death, but somehow not a goddamn scientist in the room considers that he might not want to relive this particular year, and by the end he rediscovers the reason he wanted to kill himself. this also means the movie ends problem oriented rather than general existential

later i: edited out certain outlandish typos
Title: Re: Quarantine Filmz
Post by: wilder on July 12, 2020, 05:02:10 AM
Clifford -- it's a family movie that doesn't feel anything like a family movie, it's a comedy that doesn't feel anything like a comedy, with a sweet message about Clifford being an example of a bad child, as in the thing is don't be like Clifford who pushes people away when they interfere with his dreams, and occurs to Clifford on account of his wanting to go to Dinosaur World so badly, and you do watch him break apart older men who themselves become awful, and Mary Steenburgen is the only light in the tunnel, which is why Clifford carries his dinosaur figurine bestfriend who is also a touch wild, plus now and then Clifford plays a recorder he carries in his magical pockets. by the end of the movie he goes through a roller coaster loop without wearing safety straps and it's like goddamn i wish i had been Martin Short and the star of that movie, everybody dreaming this with me. a true, honest-to-god champion in the manchild subgenre

I haven’t seen it since I was a child and am excited to revisit the blu when it hits. Though I’ve got vague memories about how dark the whole thing (especially the final Dinosaur World sequence) was, your review seems to confirm that it's mining something stranger than most movies targeted at that age group.

Quote from: Letterboxd user Jstin Decloux
This shouldn't exist. It's a one-joke movie: Martin Short pretends to be the child from The Bad Seed as he tortures Charles Grodin. Short's face is in constant motion. Grodin's face is a mask of pure rage, never played as a joke, always bubbling with anger.

It's Problem Child dialed up to 11, the absurdity of the premise underlined by the fact that it's all adults behind the scenes. Here, they are just painful, destructive, and murderous. If Grodin brutally murdered Martin Short, the audience would nod in agreement.

I rewatched John Huston’s The Misfits (1961) last night. The movie is ripe with the feeling of looming personal apocalypse.


Quote from: Letterboxd user MadZack
The Misfits is a haunted film. It features a trio of utterly doomed sex symbols. It was Clark Gable’s last film, he would die only two weeks after filming had completed, some say as a direct cause of stunts performed in the film. The Misfits is also Marilyn Monroe’s last completed film and hers is the most eerily prophetic performance. The Misfits also documents Montgomery Clift’s last gasp of life. After The Misfits, Clift would relentlessly pursue a self-destructive path that ultimately led to his suicide. The Misfits accidentally recorded finality.

The fact that the trio in The Misfits were all singularly representative of sex and celebrity at different stages of Hollywood’s history is an astounding thing when contemplating the cultural implications of casting them together in a film like this. That it was each one’s last gasp of cinematic life gives the film an inconsolably elegiac quality. The film is basically about a group of misfit cowboys and a beautiful divorcé that set out to wrangle wild mustangs in order to sell them to be grounded up into dog food. Since the screenplay was written by none other than Arthur Miller, the metaphor inherent in the synopsis should be painfully self-evident. Miller wrote it with his then-wife Monroe in mind. This also adds to the creepiness of the character dilemma. You get the feeling that no one's really playing a character but dreamlike versions of themselves.
Title: Re: Quarantine Filmz
Post by: WorldForgot on July 12, 2020, 06:26:38 PM
Clifford - a true, honest-to-god champion in the manchild subgenre

lol! Too true.

That and Tammy and the T Rex should play Mission Tiki Drive In theatre while Drive Inz are in the air, so to speak. I've long wanted to watch The Misfits and je t'aime, je taime (and Marienbad!). Used to have a John Huston biography with a great full page print of this poster:
Spoiler: ShowHide

Watched Tommy today. A rightful trip, cuz Ken Russell's team of collaborators rulez.
Title: Re: Quarantine Filmz
Post by: jenkins on July 13, 2020, 04:23:23 AM
one perspective is that a viewer is not a person waiting to be entertained, but a pianist sitting in front of a sheet of music. and the idea is that the greater the skill of the viewer, the greater the gift of the creator. art only gives what you put into it: summary. and that perspective refers to interpreting stuff that has a lot of stuff to interpret. did you interpret everything you could have? are you a good interpreter? this thought model is actually based on pianists and ballerinas, who are doomed if they weren't trained as children. but i think this analogy is a logical fallacy: i don't think that it's first a matter of what the thing has to offer. i think that it's first a matter of what you can offer the thing. if you're going to love, love all way, in general, that's my opinion

and from a human perspective, if your perspective comes from love, it's always right. so anyway Show Boat (https://www.imdb.com/title/tt0028249/) is the Children of Paradise (https://www.imdb.com/title/tt0037674/) of the early-20th-century American south, from the director of Waterloo Bridge (https://www.imdb.com/title/tt0022550/). there's both realdeal blackface and Paul Robeson and Hattie McDaniel. there's both realdeal blackface and towering figures in black hollywood during the golden age, such as Mammy from Gone With the Wind. but so you're looking at a homosexual director from the golden age, and while social processing one strays from the question: based on their living reality, does everybody feel honest, does everybody feel strong? is it a decentralized narrative or a centralized narrative with sidecharacters--one person's narrative or everybody's? and the narrative is mostly the white people chosen as the lead protagonists, in terms of actual narrative, but it's everybody in terms of who matters, emotionally speaking, and with crucial songs considered

and here is everything mixed together

everybody mixed together is a crucial aspect of the movie, not "progressive" but "basic human shit" from two New Yorkians, really, Jerome Kern and Oscar Hammerstein II, borrowed from Edna Ferber
Title: Re: Quarantine Filmz
Post by: wilder on July 13, 2020, 04:39:26 AM
one perspective is that a viewer is not a person waiting to be entertained, but a pianist sitting in front of a sheet of music. and the idea is that the greater the skill of the viewer, the greater the gift of the creator. art only gives what you put into it: summary. and that perspective refers to interpreting stuff that has a lot of stuff to interpret. did you interpret everything you could have? are you a good interpreter? this thought model is actually based on pianists and ballerinas, who are doomed if they weren't trained as children. but i think this analogy is a logical fallacy: i don't think that it's first a matter of what the thing has to offer. i think that it's first a matter of what you can offer the thing. if you're going to love, love all way, in general, that's my opinion

Title: Re: Quarantine Filmz
Post by: jenkins on July 13, 2020, 03:23:41 PM

it’s just that i believe one’s own imaginative faculties are involved in interpretations. for example if you sit in front of sheet music for mary had a little lamb, well, make mary sound as she never has before
Title: Re: Quarantine Filmz
Post by: jenkins on July 17, 2020, 08:57:30 PM
News from Home and Je tu il elle and Les rendez-vous d’Anna (https://www.criterion.com/boxsets/691-eclipse-series-19-chantal-akerman-in-the-seventies) -- they're like the cinematic, autobiographic version of Chronicle of a Summer (https://www.criterion.com/films/28394-chronicle-of-a-summer), when they are like that, which they can be, though also they can posses a purely cinematic perspective, as in just long, patient shots. an example of a remarkable long shot is when Anna finally meets her mother in Les rendez-vous d’Anna. it's at a train station and the sound is cut from their first encounter, such that we can't hear their first words, not until we're inside a restaurant, which scene also begins wordless. then when Anna slumbers with her mother we hear a story from Anna, and every other time we listen to the story of another. for example a truly poignant scene within Je tu il elle is when the truck driver tells the story of his adult life, after Akerman, the lead actress, gives him a handjob. and the final man in Les rendez-vous d’Anna does a fullon existential thing that sounds like a true complication related to the human condition. News from Home was made after Je tu il elle, and after Jeanne Dielman, after Akerman had left NYC, but it was shot in NYC, and Akerman reads letters her mother wrote her after she first arrived in NYC. it's both true to say there's a rawness to these movies and that there's formal rigor. Jeanne Dielman has a formal audacity that's made it famous but within each of these other three movies there is a sense of concept too, and they thematically, artistically interlink like the Koker trilogy (https://en.wikipedia.org/wiki/Koker_trilogy). i adore Akerman's relationship with her mother, and while watching these movies i was rereading from My Mother Laughs (https://www.amazon.com/My-Mother-Laughs-Corina-Copp/dp/0998829080/). it's not about scripts it's about life, which is a favorite kind of thing of mine
Title: Re: Quarantine Filmz
Post by: jenkins on July 19, 2020, 04:57:54 PM
Tampopo -- the layers captivate me. to provide a western-culture analogy: it's Kurt Russell in Big Trouble in Little China (the link: Kurt Russel was a truck driver who fell upon adventure), crossed with Zemeckis-levels of pure-imagination, and with a lead who is something like Ripley and Sarah Connor. that's to describe the main narrative elements, concerning the construction of an impressive ramen shop. but, again with the layers, the development of a winning ramen store, and the story of each person who helps build the idea of a ramen shop, plus the yakuza in a food-sex relationship, and this is the opening of the movie

the layers

so the director began when he was fifty and he either did or did not commit suicide by falling from a building

One theory is that Itami's suicide was forced by members of the Goto-gumi yakuza faction. A former member of the Goto-gumi faction told journalist Jake Adelstein in 2008, “We set it up to stage his murder as a suicide. We dragged him up to the rooftop and put a gun in his face. We gave him a choice: jump and you might live or stay and we’ll blow your face off. He jumped. He didn’t live.”

plus it's Tati to which everybody compares writer/director Juzo Itami

Every so often, Itami was compared to his then recently deceased French counterpart, Jacques Tati, who utilised similar styles of critiquing their society's cultural transition while crafting films with trenchant distinctions in humour and sadness. They also had almost similar, brief numbers of films that they directed and wrote before their death and they also used similar elements in the majority of their films.

i'm currently quoting his imdb biography

Known to choose the subjects of his films through everyday observations, he often followed up significant events in his life with films depicting idiosyncrasies that he felt were unique to the evolving Japanese culture. He was the definition of an iconoclast who took the great Molière's words to heart, "castigat ridendo mores" (criticise customs through humour).
Title: Re: Quarantine Filmz
Post by: wilberfan on July 19, 2020, 06:49:29 PM
I loved Tampopo back in the day (saw it first-run).  It's been decades since I've seen it, worth a re-watch I think.  Had no idea the director met a dark fate.
Title: Re: Quarantine Filmz
Post by: jenkins on July 25, 2020, 02:03:20 PM
Shirley -- are Elisabeth Moss and Michael Stuhlbarg equally impressive? certainly their level of ability is complimentary at least. Moss is listed as a producer here too, and Martin Scorsese is listed as an executive producer. Josephine Decker of course gets things that you can't learn and you're just born with. it's not a finely tuned biopic it's a finely tuned movie, and i adore the dutch psychological angle. it's a thriller and the villain is vague existentialism. most of these scenes truly crackle and the degree to which the camera helps orient the narrative perspective is impressive. some snobbery shittalking which is among the harshest shittalking known to human kind, second only to the brutal observations of children. i actually didn't like watching this movie but i wasn't in the proper mindset. if i were in the proper mindset this movie would be there for me

Climax -- although the premise is, in some ways, silly, it's also so fully comprehensible that it's been Noé's most appreciated movie, which Noé adorably doesn't like. this is the exact imdb trivia bit:
One of Gaspar Noé's best reviewed movies, a fact that, by his own admission, made him somewhat suspicious, as he believes art in general and his movies in particular should be divisive and make the audience uncomfortable.
what he wants to present the audience is challenging emotions. this movie is so marvelously crafted it's distracting perhaps. when the kid is locked in the electrical closet is when the craft really starts popping. because then in the hallway you can hear the child scream. the woman with her hair on fire, just a sidenote. then that "single unbroken 42 minute long take," what a doozy. though that take transitions into an upside down shot. you know, i think the take ends in the blackness of the floor, then you return to the room's red lights and there's a lot of upside down stuff. i think it ends with me feeling unnerved but if it ended another way--amid the chaos instead of the aftermath--i could have left feeling hysterical, just in terms of discussing the lasting effect of the movie compared to the common intentions of Noé. but yeah i mean the bulk of this movie is simply wonderfully composed and alive and inspiring from a fundamental perspective, which is Noé's style
Title: Re: Quarantine Filmz
Post by: putneyswipe on July 29, 2020, 04:11:59 PM
Paris belongs to us - heads up to anyone curious but there are several Rivettes on the criterion channel rn. I feel like a dunce for putting him off this long, I really connected with this one. It has that expansive paranoid city narrative that I just love.
Title: Re: Quarantine Filmz
Post by: jenkins on August 01, 2020, 04:12:34 PM
The Watermelon Woman -- definitely the first thing i wondered was why am i just learning about this now. and now that i've watched it there's no good reason. it might in fact be that i'd seen it before but ignored it for some reason, except idk, because i do think i would remember the title, and the title became new to me rather recently (past few months). it's all my favorite stuff: Cheryl Dunye wrote a movie based on her own life and starred in it, character named Cheryl, directed it, and she's particularly focused on early 20th century cinema. the only difference is she's a black lesbian and she does speak about this, her early 20th century cinema topic of interest is early black actors. she dates a white woman and thus interracial relationships are discussed. speaking into the camera, Cheryl mentions that at this point in time she doesn't know what movie she wants to make but she knows there aren't enough movies about lesbian black women. so she's in the 90s but ahead of her time and in our time, not at the end but still going. and Cheryl is a laser sharp person so you believe in the people you see and their dialogue, it all feels so related to reality

Ghost World -- sometimes i say that america sucks at conveying depression but boy this movie nails it. i had forgotten what this movie was like, i realized while rewtatching this movie. i most recently heard such type topics from Seth (https://www.amazon.com/Seth/e/B001K7PJTY/): a vibrant sense of nostalgia rescues you from living in a hopeless present. its imdb trivia says that Steve Buscemi felt depressed playing his character, and this was after he wrote/directed Trees Lounge. in a way it's overall romanticizing the loser type by evoking sympathy, but also, yes, love the losers too. and the whole main topic is the complexities of Enid
Title: Re: Quarantine Filmz
Post by: WorldForgot on August 05, 2020, 09:18:05 PM
Agnes Varda's Along the Coast (https://www.youtube.com/watch?v=rLWDulgrP08) -- If you want to get out of the house and visit Cannes for a 'lil, you'll find gorgeous film stock at pristine restoration and plenty of charm.

Wes Craven's The Last House on the Left - My kinda quar film -- especially considering the songwriting/singing is performed by Hess, while simultaneously portraying pure scum. An odd film, tonally. You can see the personality all throughout. Freakin weird hippie-death-knell and I dug it. In this, Craven's first film, revenge starts with a Nightmare sequence.

Title: Re: Quarantine Filmz
Post by: jenkins on August 09, 2020, 03:34:07 AM
Pee (https://letterboxd.com/film/pee-mak-phrakanong/) Mak (https://www.netflix.com/title/80102950) -- i am dying of laughter if i'm ahead of you about this. is it that you're looking forward to Christopher Nolan? just kidding about your lameass. what i like about Pee Mak is nobody is better than anybody else. you know in western shit you usually get the comic foil and the serious person. why can't the serious person be the comic foil? because of ego, of course. 50% of this movie is the adult male protagonists screaming from being terrified and i've never felt more alive
Title: Re: Quarantine Filmz
Post by: jenkins on August 09, 2020, 02:16:22 PM
^ lol what goes through my head sometimes. what an angle of vision there. how rowdy my thoughts are. i like how i mention both death and life, which is thematically appropriate for the movie, and the final statement has brought this song to my mind

Title: Re: Quarantine Filmz
Post by: putneyswipe on August 10, 2020, 07:48:22 PM
Drowning by Numbers - Is Greenaway the closest thing cinema has to Pynchon? He’s like the dictionary definition of “postmodernism” - the filmic equivalent of like a Michael Graves or James Stirling building. Baroque and beautiful, and suprisingly warm by his standards
Title: Re: Quarantine Filmz
Post by: jenkins on August 10, 2020, 08:01:50 PM
he hasn't had anywhere near the weight of Pynchon, who, by the way, wouldn't have had anywhere near his weight if not for that goddamn adaptation, but at any rate i'd say he's more ilke cinema's John Ashbery (https://en.wikipedia.org/wiki/John_Ashbery), except he hasn't had quite the weight of Ashbery either, so really he's just Greenaway imo
Title: Re: Quarantine Filmz
Post by: putneyswipe on August 10, 2020, 08:27:44 PM
Yeah not sure Pynchon is right, his work seems to come out of the very 80s postmodern obsession with syntax and linguistics, from people like Derrida & Chomsky.
Title: Re: Quarantine Filmz
Post by: jenkins on August 10, 2020, 08:54:28 PM
he definitely seems acutely aware that he is following thousands of years of human culture, and he is definitely an intellectual artist who works in abstraction

such a rare bird type and it's good to appreciate everybody but i'm mentioning that it's good to appreciate him

Title: Re: Quarantine Filmz
Post by: putneyswipe on August 10, 2020, 11:02:08 PM
Makhmalbaf - The Silence - still need to see A Moment of Innocence but this is my fav from what I’ve seen from him, rarely has a movie approximated poetry as well as this.

Johnnie To - Office - I missed this in theaters and now regret it terribly. Some of the best staging and mise-en-scene I’ve ever seen, To is one of the few working that can probably go head to head with the old Hollywood masters. Streaming on Prime, watch it if you missed it please watch it.
Title: Re: Quarantine Filmz
Post by: jenkins on August 18, 2020, 08:29:20 PM
His Girl Friday -- TCM is doing that Cary Grant thing so people keep talking about Cary Grant and i thought to myself, okay, let me bring out my copy of His Girl Friday. this is my second time watching the movie and i watched it in two installments. i didn't previously think highly of this movie and now i think about the same, but i didn't see that coming. what happened was the first installment was, naturally, the first part of the movie, and i like the frantic energy. there's the country bumpkin who's too slow for city people and that's pretty funny. classic dis track material. i liked the high-energy and looked forward to finishing the movie, thinking i might like it better this time, except uhoh latter half of the movie and never mind
Title: Re: Quarantine Filmz
Post by: jenkins on September 04, 2020, 04:25:39 PM
Diamantino — if Sean Baker and James Ransone had been european. i think Abrantes/Schmidt and Carloto Cotta bring it. it’s basically a flawless movie because at any point it’s exactly like Diamantino. anybody can adore Diamantino and nobody wants to be one of the sisters. although props to the sisters for being who they are. his own face on the pillows. his mini-motorcycle. this guy. asexual. what a character. is it that in the end they’re dead and that’s heaven i couldn’t really tell or wasn’t paying enough attention

Wild Strawberries — Victor Sjöström as the lead. you guys, Bergman is “acing it.” and it’s so richly human. so tender and fragile and poetic and musical, which is spoken about. it’s both classic and contemporary which is the sweet spot. i rewatched it twice in a row because i really wanted to savor it. two dream sequences. he goes to sleep alone, that’s how the movie ends (although her door is open if he needs anything lol). released the same year as The Seventh Seal, this follows Smiles of a Summer Night, Sawdust and Tinsel, and Summer with Monika. it’s different than the darker and more serious Bergman, this the Bergman who reappears in Fanny and Alexander. he’s always utterly human but sometimes warmth and magic are involved. this movie deeply touches me and is a top-shelf old-man movie, alongside The Last Laugh, Umberto D. and Ikiru

Buffet Froid  (https://www.imdb.com/title/tt0078913/) -- it's an example of the kind of thing in which to be better it'd have to be a different movie. it's perfectly what it is. so it's a situation in which to like it more i'd have to be in its mood, like with Shirley. my reaction depends on my level of bleakness, and right now my bleakness isn't so low. if so this movie would be hilarious. it's deadpan, macabre, and lightly nihilistic. nihilism as nbd. nihilism as the normal. the whole urbanization leads to alienation leads to a detached sense of feeling alive thing. they want the sound of birds and i want more elastic narrative and aesthetic possibilities. but all the notes it hits are properly tuned, you know. his own father as a lead actor, so sweet
Title: Re: Quarantine Filmz
Post by: jenkins on September 04, 2020, 10:37:50 PM
Kills on Wheels (https://www.imdb.com/title/tt3037164/) -- in terms of cinematic inclusion, usa seems a bit behind on the matter of ableism. i'm discussing this movie, and others might remember, from two years prior, The Tribe (https://www.imdb.com/title/tt1745787/). this is a cool movie because it treats disabilities in a realistic manner while maintaining a realistic plot. this movie possesses both coherence and character. there's an emphasis on the art of graphic novels but that's fine. it's just a component in the movie and that's fine. i'm not really into graphic novels but also i am, just like i'm not really into crime movies and yet wait, this is a movie about criminals
Title: Re: Quarantine Filmz
Post by: jenkins on September 06, 2020, 12:20:10 PM
Big City Blues (https://www.imdb.com/title/tt0022676/) — fucking jackpot here. such a succinct portrayal of a country boy entering the city at the end of the prohibition era, gin parties in hotel rooms. early bogart. directed by mervyn leroy. this one movie showcases so much
Title: Re: Quarantine Filmz
Post by: WorldForgot on September 06, 2020, 12:53:16 PM
CitizenFour and Risk. Purportedly free, trapped indoors. Counterpoints of free data iconography. A double feature for considering the sort of 'stage' and 'players' that free information has developed, in the early bit of this century. Poitras' latter film iz almost more of a personal essay than a true Assange biopic - too much gets in the way, particularly from the subject and his team itself - and that complicates its arc, gives it its own tinge.

Title: Re: Quarantine Filmz
Post by: jenkins on September 09, 2020, 11:08:01 AM
My Twentieth Century -- in a cinephilic sense i'm late to this party, although of course most people still have no idea. well i was missing out before, and this is a movie that most people would like too. it's gorgeously crafted and impressively triumphant. i kept waiting to see the cracks at the seams but they never appeared. the vast majority of filmmakers will never make a film this good, it's plain true. the female protagonists have layers of complexity expertly portrayed by the female filmmaker, it's grounded in a sharp sense of reality, while existing in a dreamlike state. i watched it once and i'd watch it again and again, taking notes the whole while. if i haven't by now expressed profuse admiration i'll have to further elaborate
Title: Re: Quarantine Filmz
Post by: jenkins on September 12, 2020, 09:30:59 PM
A Trip to the Moon — it’s simply still an astonishing movie from 1902. fucking 1902

Un Chien Andalou — showed this to somebody and called it the most famous short film ever and that was what resulted in our watching A Trip to the Moon actually. this has the slit eye the ants from the hand the hand on the street the moth i mean still a stunner

Belle de Jour — he was fucking retirement age when he made this movie. what a fucking accomplishment. and this movie slamdunks itself, fully delivers a portrait of the human condition
Title: Re: Quarantine Filmz
Post by: jenkins on September 13, 2020, 07:41:02 PM
The Sunlit Night  (https://www.imdb.com/title/tt8368394/) — somebody else picked this movie that was largely chosen for Jenny Slate, which was helpful because the biggest problem is the “romantic other” sucks. a slight narrative redeemed only by the force of Slate, it’s also the American debut of a European filmmaker and thus from my perspective all its problems are forgiven

The Beaches of Agnès — there i go falling asleep during a perfectly good movie yet again, here is an autobiographical movie which thus appeals to all of my personal interests, although i might go ahead and say i prefer Heart of a Dog actually, as a movie, while the force of Varda’s imagination and personality is indisputable
Title: Re: Quarantine Filmz
Post by: jenkins on September 14, 2020, 01:41:41 AM
A Glimpse Inside the Mind of Charles Swan III — it’s not a little better than CQ. do you know where this is headed? correct: it’s a lot better than CQ in basically every way, because it takes those ingredients shakes them up and removes the David Holzman’s Diary bologna. it replaces that bologna with some Lenny knockoff but that’s less distressing. look: he’s older and wiser, and his tastes have grown, referring to writer/director Roman Coppola. it’s rich people stuff but it’s wildly imaginative. this follows Roman writing with Wes Anderson, you know. they wrote The Darjeeling Limited together, and that’s pure rich people stuff. Charlie Sheen is indeed perfectly cast. the part does sing to him. if this same movie was made for a not-rich-person/not-womanizer it would be a big deal. there’re too many imaginative juices for it to not be appreciated, and it was not only worth going back to but like i said, it’s worth returning to more than CQ is
Title: Re: Quarantine Filmz
Post by: csage97 on September 16, 2020, 06:48:04 PM
I'd like to watch this documentary about my favourite photographer, Jay Maisel, but I don't subscribe to any of the streaming services it's on. It's about his move out of his massive home called "The Bank" in the Bowery area of Manhattan.

From wikipedia:
For almost 50 years Maisel lived with his family in the historic Germania Bank Building on the Bowery in lower Manhattan. Built in 1898, the 35,000-square-foot (3,300 m2) building contains 72 rooms over six floors. Maisel purchased the building in 1966 for $102,000 when the neighborhood was in severe decline. He used it as a single-family residence and studio. The building's value was estimated at $30 to $50 million in 2008. New York magazine called it "maybe the greatest real-estate coup of all time".[9] It cost $300,000 annually to maintain, including heat and taxes.[10] In February 2015, the building was sold for $55 million to developer Aby Rosen.[11] A 2019 film, Jay Myself, documents Maisel's life and his move from the building.
Title: Re: Quarantine Filmz
Post by: jenkins on September 17, 2020, 04:20:39 PM
Mary Jane's Not a Virgin Anymore (https://www.americangenrefilm.com/home-videos/the-films-of-sarah-jacobson/)--oh shit, like what happened with Vinegar through In the Cold of the Night (http://tt0097573), this one movie justifies the entire AGFA enterprise. like what often happens when i don't think to trust the distributor, when i have my personal doubts, it turned out that this isn't a guilty pleasure but a remarkable piece of DIY cinema. it's way smarter than i would have guessed. i thought it would be somebody who hadn't figured things out but this is so figured out. its cinematic grammar, shall we say, is sound. and it has an impressive strong female voice. Sarah Jacobson was the writer, director, cinematographer, and editor. shoutout to the also-remarkable I Was a Teenage Serial Killer

subsequent to this viewing, i immediately ordered Effects (https://www.americangenrefilm.com/home-videos/effects/) (a meta-enhanced takedown on the philosophy of horror that doubles as a sleazy and terrifying movie on its own) and have plans to watch Godmonster of Indian Flats (https://www.amazon.com/Godmonster-Indian-Flats-Christopher-Brooks/dp/B078HJXTRL) tonight
Title: Re: Quarantine Filmz
Post by: jenkins on September 17, 2020, 11:34:00 PM
Godmonster of Indian Flats—Mary Jane’s Not a Virgin Anymore was a better intro to AGFA as this one has some stuff but also validates streaming, would not need to own this
Title: Re: Quarantine Filmz
Post by: jenkins on September 18, 2020, 12:49:42 AM
The Violent Years (https://www.americangenrefilm.com/theatrical-film-catalog/the-violent-years/)—57min. female gang movie written by ed wood. shot in florida. “the party is over, but the night is just beginning.” when bad taste feels good
Title: Re: Quarantine Filmz
Post by: jenkins on September 18, 2020, 10:07:27 AM
Who Killed Captain Alex (https://www.americangenrefilm.com/home-videos/wakaliwood-supa-action-volume-1/)—a cool thing to watch
Welcome to Wakaliwood, Uganda: home of “DA BEST OF DA BEST MOVIES!” and the vanguards of DIY commando cinema! Under the guidance of writer-director-producer Nabwana Isaac Godfrey Geoffrey (IGG) and with producer-star Alan Ssali Hofmanis, this crack crew of self-taught filmmakers and martial arts aficionados produce dozens of gonzo action films in the Kampala ghetto with budgets that rarely exceed $200 USD. Utilizing scrap parts to build computers, machine guns, and a full-sized Huey helicopter, these real-life superheroes inspire more heart, imagination, and soul than a thousand Hollywood blockbusters. AGFA is proud to bring two of the most reckless, out-of-control brain-blasts in the Wakaliwood canon to home video for the first time ever -- WHO KILLED CAPTAIN ALEX and BAD BLACK! And in Uganda's finest storytelling tradition, the films are complemented by the acerbic wit of narrator/VJ (Video Joker) VJ Emmie, who sums up the Wakaliwood experience with a single sentiment: “It is a love story . . . LOVE OF ACTION!”
the vj part is extraordinary and i’m thankful to having been exposed to it. so it’s like the commentary track is part of the movie. it’s if mystery science theater was both friendly and part of the filmmaking. the vj provides outside context about the movie and also sometimes supplies the sound effects, e.g. the vj will vocalize the sound of a neck snap
Title: Re: Quarantine Filmz
Post by: jenkins on September 19, 2020, 05:33:06 PM
Actress (https://www.imdb.com/title/tt3212392/)—oh hello, Robert Greene. it’s the kind of shit i like: life as art as life
Title: Re: Quarantine Filmz
Post by: jenkins on September 21, 2020, 03:52:08 AM
Effects (https://www.americangenrefilm.com/home-videos/effects/)—i adored this movie
Title: Re: Quarantine Filmz
Post by: WorldForgot on September 21, 2020, 11:49:45 AM
Feels Good Man - A scary doc about disinformation thru memez, on our lack of control over whatever we post on the net. Even if we created it - once it's online, it belongs to everyone. Cool Boys' Club animations from Lisa Hanawalt.

Rob Zombie's HALLOWEEN II - Quicker on its feet than the first, but also a bit less interesting for all its fun brutality. Whatever, plots are for dead people, poreface.

Scout Taylor-Compton's performance in both these filmz as Laurie Strode iz powerhouse scream queen work, imo. Watching her unravel alongside Michaels "homeward" bound mission iz eerie - and I really adore how Zombie uses horror red-herrings as part of the character's psychological state. Genre and perception as illusionz. For us House of 1000 Corpses fanz, Chris Hardwicke roasts Loomis alongside Weird Al.

Weird Fiction - Did I post about this one yet? A No-Budget, totally DIY horror anthology by Jacob Perret. Really endearing, and as a filmmaker without financing it's inspiring, too. 
Title: Re: Quarantine Filmz
Post by: jenkins on September 26, 2020, 01:49:08 AM
Cry-Baby—some of it slaps so hard. some real smacks in here. Hairspray changed the path of his movies and everybody knows that. you see this on the horizon with Polyester, which preludes Serial Mom, but john waters as a movie-movie-movie man began with Hairspray. here are Johnny depp and iggy pop and i’m such a fan of the alphabet bomber story. The final song is my favorite
Title: Re: Quarantine Filmz
Post by: jenkins on September 26, 2020, 06:32:11 PM
City of Pirates (https://www.imdb.com/title/tt0086546/)--it's so fully realized, so fully accomplished, so fully imagined, and so outside the regular. the internal logic here is comprehensible and utterly human despite the movie behaving so unlike reality. Raoul Ruiz the writer and director here, my my my. when wanting to describe him i shall defer to the beginning of his imdb biography, "one of the most exciting and innovative filmmakers to emerge from 1960s World Cinema, providing more intellectual fun and artistic experimentation, shot for shot, than any filmmaker since Jean-Luc Godard." how impressive that is: a lot. very. mucho. this is the fourth film of his i've seen and i mean as with Godard there is a constant state of intellectualism that can cause the movie to feel lifeless, when of course it is exploring the chambers of the soul, which is where life comes from. i heard it said like this recently: we don't have a soul, we are a soul, and we have a body

wf passed on to us the youtube location of this movie (https://www.youtube.com/watch?v=BXdPSfXv9RA)
Title: Re: Quarantine Filmz
Post by: jenkins on September 27, 2020, 07:21:33 PM
Sleeping Beauty (https://www.imdb.com/title/tt1588398/)—toward the end of the movie i realized i’d seen the movie but it took me that long to remember. my guess is that when i first saw it i thought “here i am watching this acclaimed high brow erotic movie idgaf about” but now i gave a fuck about it. it creates an alternate reality and also i used to be harder on certain alternate realities maybe sure. or this isn’t even an alternate reality so much as a specific reality and that’s what i meant
Title: Re: Quarantine Filmz
Post by: Alma on September 28, 2020, 03:35:44 AM
Sleeping Beauty (https://www.imdb.com/title/tt1588398/)—toward the end of the movie i realized i’d seen the movie but it took me that long to remember. my guess is that when i first saw it i thought “here i am watching this acclaimed high brow erotic movie idgaf about” but now i gave a fuck about it. it creates an alternate reality and also i used to be harder on certain alternate realities maybe sure. or this isn’t even an alternate reality so much as a specific reality and that’s what i meant

I love this film. It actually got pretty bad reviews when it came out at Cannes, and the director hasn't made another film since. I thought it was really well done though.
Title: Re: Quarantine Filmz
Post by: jenkins on September 28, 2020, 12:40:28 PM
Thank You and Good Night (https://www.imdb.com/title/tt0103070/)—i wouldn't call it a documentary. i would call it an autobiographical movie. although it's not biographical so much as a documentation of the final days in the life of the filmmaker's grandmother, and reflections upon family and death, still i think what's most being exposed is the filmmaker, in a really lovely way. death, you know, it isn't fun, and some of this movie is quite heavy, like a large part of it, but it's well done and inspiring in its own right. one might not call death inspiring but that's what i would call this movie
Title: Re: Quarantine Filmz
Post by: jenkins on October 01, 2020, 01:07:48 PM
Lightning Over Braddock: A Rustbowl Fantasy (https://www.imdb.com/title/tt0097752/)—not such a huge fan of this movie that there's kind of a lot to talk about in reference to. i wouldn't call it a documentary i'd call it autobiographical, except it also has fictive elements. it almost does a great job except i think it muddles the ephemeral and the eternal. so apparently Werner Herzog hyped filmmaker Tony Buba and bolstered his career, which i know because it's repeatedly mentioned. although it isn't explained who Herzog is. of course i know who Herzog is, but i'm not sure why the movie wouldn't provide context. it's set outside of Pittsburgh and another name mentioned is Pittsburgh heavyweight George Romero. it just so happens that Tony Buba's brother, Pasquale Buba, first edited my-above-mentioned Effects, then went on to edit Knightriders and Day of the Dead and was one of the editors of Heat even. but so Tony Buba repeatedly mentions how he wanted to stay around Pittsburgh in order to be a big fish in a small pond rather than a small fish in a big pond. he mentions how the collapse of the steel industry led to the collapse of his hometown Braddock and also the rise of his own career. because the media became interested in doomed steel towns the media became interested in Tony because he was making documentaries about a doomed steel town. he tells us this. a lot of what is described is what you hear today: the boomer generation had lower life comfort than their parents' generation and factory jobs were being sent overseas and what the hell were people supposed to do and things like that. there's a sidestory that's based on a true story (i suppose) about a person from an earlier documentary becoming obsessed with the success of Tony. this person plays himself in the movie and thus it is reality inspired fiction and works well. there's a lot going on in this movie and i just wish the movie wasn't so obsessed with itself
Title: Re: Quarantine Filmz
Post by: jenkins on January 11, 2021, 10:56:45 PM
The Blob (https://www.imdb.com/title/tt0051418/) -- I watched it at the right time. after all it is just The Blob. however much you love or hate it it's The Blob. I felt really moved by it. the sincerity of the absurdity is the key. sergeant Bert, or Bert the Schmert as the teenagers call him, is a paranoid individual suffering from PTSD after serving in the war. as in, it's not a reasonable person who finds the teenagers suspicious. now I'm not going to lie and say this movie fully operates on sound reasoning, I just mentioned a thing. how in the hell the blob kills 50 people in the movie theater is beyond my understanding. also, as a teenager of today would say, the ending is deadass lit. it's so preposterous but this is these people's lives. what a wonderful actor Steve McQueen is. his lip biting and his look of compassionate concentration. what a good and honest person he appears to be, as his father notes about his character. how does this movie remain modern in any way? why it remains ultra-modern in a very intense way

Title: Re: Quarantine Filmz
Post by: putneyswipe on February 08, 2021, 03:41:26 PM
While watching the excellent Silent Partner (1978) on the criterion channel - which I would highly recommend to anyone here who hasn’t seen it, I noticed a similarity with another Canadian film that was released a year earlier, Rabid (1977). Both films strangely include shootouts in malls that involve Santas...

The Silent Partner


Coincidence or in-joke?
Title: Re: Quarantine Filmz
Post by: jenkins on February 09, 2021, 11:47:52 PM
"One anonymous source described it as PTA's personal bildungsroman, a long-awaited return to entertaining mainstream commercial cinema, 'It's like, imagine a cross between The Last American Virgin and Truffaut's Day for Night'"

putneyswipe shared that in the Soggy Bottom thread. I simply searched to see if the movie was talked about here, in other words I did not watch it because I heard about it this way, which is what happened between me and Live and Let Die

The Last American Virgin is a favorite kind of thing of mine: a person from another country making a Hollywood movie. written/directed by Boaz Davidson from Tel Aviv, Palestine (that's what it says), a remake of his own movie, Lemon Popsicle (https://www.imdb.com/title/tt0079118/?ref_=nm_flmg_dr_17). from period piece to contemporary. it's like a live-action anime. hyper-sexualized teenagers, melodrama, fashion, and music is always playing

later I thought to mention that The Last American Virgin takes place in the valley
Title: Re: Quarantine Filmz
Post by: putneyswipe on February 11, 2021, 03:21:21 AM
I'm surprised you hadn't already seen this! One of the great valley films, IMO.
Title: Re: Quarantine Filmz
Post by: jenkins on February 11, 2021, 04:43:21 PM
it was actually a friend's copy in a friends setting. you know I was more into movies about troubled outsiders