For me the best film of all time is also the most important film of all time.£
Let's talk about...[Insert film/person]
It's not just the rescue, though. It's about the Holocaust and the brutal terror of it. It's also one of the first films that showed it to the mainstream audience.
Also, to say that somebody cannot speak on a topic is laughable. Other than the victims themselves nobody is special. But even in your books, as part Jewish and a Pole, I think I can say something in this department.
Also, to say that somebody cannot speak on a topic is laughable. Other than the victims themselves nobody is special. But even in your books, as part Jewish and a Pole, I think I can say something in this department.
For me as well. The best film is also my favorite film, the most important, etc. When I make my lists I never divide them into "best" or "favorite" because to me, it's the same thing. BUT when I talked about the importance of Schindler's List I wasn't speaking about it being the most important for me personally, but to the heritage of human kind. No film really HAS TO be made. But if you had to make and argument for one topic that you would HAVE TO document as a feature, I think the Holocaust is it.Master Virgo wrote:For me the best film of all time is also the most important film of all time.£
idk
I feel like Chicken Run had more to say
I feel like Chicken Run had more to say
Posts: 55632
Joined:
May 2010
Let’s talk about...
https://www.rollingstone.com/movies/fea ... ge-w521671
...Johnny Depp.
"It's insulting to say that I spent $30,000 on wine," says Depp. "Because it was far more‘’
A fascinating read, start to finish.
https://www.rollingstone.com/movies/fea ... ge-w521671
...Johnny Depp.
"It's insulting to say that I spent $30,000 on wine," says Depp. "Because it was far more‘’
A fascinating read, start to finish.
Posts: 55632
Joined:
May 2010
This man... Luca Guadagnino
For the last two days I’ve been captured in his cinematic worlds again, rewatched everything from I Am Love to Call Me by Your Name. Unfortunately, still haven’t been able to see The Protagonists (1999), his first colaboration with Tilda Swinton, but I will eventually. A Bigger Splash in particular feels like an underrated gem in there, with Ralph Fiennes being the acting powerhouse that he is and playing a character who is a complete extrovert, but it’s also a heartwarming story about past regrets and earthly desires, ultimately love, which either keeps us closer together or divides us irreparably. Really the corner stone of Luca’s filmography. His symbiotic relationship with cinematographers Yorick Le Saux (IAL, ABS) and Sayombhu Mukdeeprom (CMBYN and soon Suspiria), in correlation with classical music pieces and distinct eye for characters allow him to deliver a strong sense of directorial vision carried throughout all of his works.
His films aren’t that long (standard two hours) but are paced slowly, methodically, with precision that doesn’t always feel like it’s presenting much more than a daily conundrum or two (high class lady falling for a cook, rock star losing voice, gay teen in 80s Italy etc.), offen set in rural Italy, more than often dealing with forbidden fruits. And it’s preciselly those forbidden things that twist his realistic works, morph them into something more naturalistic, inner, hidden. Luca manages to surprise the audience by making them feel for his (often privileged) characters first, then putting them in a position in which the whole picture is suddenly turned upside down and all of the details become different entirely.
Ultimately, what keeps your eyes glued to the screen is that Italian elegance, where less is more and where not a single line feels unnatural or staged. Luca finds a way to constantly make you re-discover the beauty within the smallest of things, the sincerity within all of us, the reality of being a human, which is both painful and gorgeous to absorb on the big screen.
For the last two days I’ve been captured in his cinematic worlds again, rewatched everything from I Am Love to Call Me by Your Name. Unfortunately, still haven’t been able to see The Protagonists (1999), his first colaboration with Tilda Swinton, but I will eventually. A Bigger Splash in particular feels like an underrated gem in there, with Ralph Fiennes being the acting powerhouse that he is and playing a character who is a complete extrovert, but it’s also a heartwarming story about past regrets and earthly desires, ultimately love, which either keeps us closer together or divides us irreparably. Really the corner stone of Luca’s filmography. His symbiotic relationship with cinematographers Yorick Le Saux (IAL, ABS) and Sayombhu Mukdeeprom (CMBYN and soon Suspiria), in correlation with classical music pieces and distinct eye for characters allow him to deliver a strong sense of directorial vision carried throughout all of his works.
His films aren’t that long (standard two hours) but are paced slowly, methodically, with precision that doesn’t always feel like it’s presenting much more than a daily conundrum or two (high class lady falling for a cook, rock star losing voice, gay teen in 80s Italy etc.), offen set in rural Italy, more than often dealing with forbidden fruits. And it’s preciselly those forbidden things that twist his realistic works, morph them into something more naturalistic, inner, hidden. Luca manages to surprise the audience by making them feel for his (often privileged) characters first, then putting them in a position in which the whole picture is suddenly turned upside down and all of the details become different entirely.
Ultimately, what keeps your eyes glued to the screen is that Italian elegance, where less is more and where not a single line feels unnatural or staged. Luca finds a way to constantly make you re-discover the beauty within the smallest of things, the sincerity within all of us, the reality of being a human, which is both painful and gorgeous to absorb on the big screen.
^^^
Beautifully said.
Beautifully said.
PTA confirms he definitely will work with Leo in the future and it will be the right thing.
Anyone here seen this lil gem? Really nice film and GORGEOUSLY shot.
I loved the cinematography and overall what it was trying to do, very The Conformist in how it allows geography to inform narrative and drama, but the script and some of the direction honestly felt very film school for me. I know others that loved it though.
-Vader
-Vader
I understand your points yeah.Vader182 wrote: ↑August 21st, 2018, 5:40 pmI loved the cinematography and overall what it was trying to do, very The Conformist in how it allows geography to inform narrative and drama, but the script and some of the direction honestly felt very film school for me. I know others that loved it though.
-Vader
The cinematography is what mostly did it for me too. Some of the framing is really fucking gorgeous. I remember the shot of those 2 "floating" brick walls, the way it was framed looked so abstract, i loved it.
I also kinda related to Cho's character, who did good job acting wise tbh.
Anyways. For the cinematography fans here, its worth checking out.
