General Chat About Films And That

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this clump of trees
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Re: General Chat About Films And That

Post by this clump of trees » Sun Sep 23, 2012 16:09

oh my god, this imdb review of Turin Horse is the funniest thing
After an hour of watching people eat a potato (utter nonsense), or enjoying the thrill of a wild trip to the well to get water, the film's most dramatic moment arrives. On a particularly exciting evening when the near-mute father and daughter are watching clothes dry (I only wish I was making this up) a guest arrives. He spouts off some viewpoints that are obliquely Nietzshean and leaves. Then, it's back to the potatoes, wind, dismal music, and clothes drying. The film follows six days in the lives of the world's most vegetative humans. In truth, you would get more emotional angst from a celery stalk. It is not filmed in real time, but it feels as though it is.

Oh yeah, the horse. The horse supplies the intellectual content for the film. The horse dreams of having an opposable thumb so that he can pick up a pistol and shoot himself. Since he cannot, he develops an elaborate scheme of making his owner so angry that the owner will do this for him. Alas, the plan goes awry when the owner realizes he is trapped in a huge philosophical dilemma: If I shoot the horse, I have no horse. To be or not to be, that is the farmer's question. Eventually, the horse, being a true stoic, understands that he can only control himself and not others. He, thus, decides to starve himself to death, as death by boredom would take too long. Does the horse succeed? Watch this two and a half hour film to find out.

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This Is Helena
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Re: General Chat About Films And That

Post by This Is Helena » Tue Sep 25, 2012 20:48

diamond gala wrote:oh my god, this imdb review of Turin Horse is the funniest thing
After an hour of watching people eat a potato (utter nonsense), or enjoying the thrill of a wild trip to the well to get water, the film's most dramatic moment arrives. On a particularly exciting evening when the near-mute father and daughter are watching clothes dry (I only wish I was making this up) a guest arrives. He spouts off some viewpoints that are obliquely Nietzshean and leaves. Then, it's back to the potatoes, wind, dismal music, and clothes drying. The film follows six days in the lives of the world's most vegetative humans. In truth, you would get more emotional angst from a celery stalk. It is not filmed in real time, but it feels as though it is.

Oh yeah, the horse. The horse supplies the intellectual content for the film. The horse dreams of having an opposable thumb so that he can pick up a pistol and shoot himself. Since he cannot, he develops an elaborate scheme of making his owner so angry that the owner will do this for him. Alas, the plan goes awry when the owner realizes he is trapped in a huge philosophical dilemma: If I shoot the horse, I have no horse. To be or not to be, that is the farmer's question. Eventually, the horse, being a true stoic, understands that he can only control himself and not others. He, thus, decides to starve himself to death, as death by boredom would take too long. Does the horse succeed? Watch this two and a half hour film to find out.
I really want to see that film now.
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Re: General Chat About Films And That

Post by boney » Sat Sep 29, 2012 15:31

<3 <3 <3 Béla Tarr <3 <3 <3

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Re: General Chat About Films And That

Post by boney » Sat Oct 06, 2012 10:35

Watched 'Bunny Lake Is Missing' last night. Such an odd film. B&W, 1965, Otto Preminger directed. It could be 50s except for the slightly shoehorned in appearances of The Zombies* (*the band, not the brainmunching raised-arm marching hoons). An American woman newly arrived in London goes to collect her daughter from her first day at nursery school. The child cannot be found. The police are involved. There is a struggle to ascertain that the child actually exists. For ages it seems like the woman, and her creepy brother (played by Keir Dullea, of 2001:A Space Odyssey fame) are fabricating the existence of the child. Then the story twists, the tension gets ratcheted up and the final quarter became for me one of those films which manipulates your emotions and reaction in a way you have no actual control over. There are a few moments of understated visual menace, seemingly innocuous camera movements, one particular moment where the main protagonist slides out of bed that made my flesh crawl. I have no idea why.

*MAD Magazine's comment on The Zombies insertion into the film:

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Re: General Chat About Films And That

Post by Dan » Mon Oct 08, 2012 23:03

Several years ago snorkachu watched Punishment Park, and after due consideration she wrote:And the prisoners probably would have mobbed the camera crew to get at their water supply.
I watched PP yesterday, and being unable to suspend my disbelief w/r/t this particular fact really spoiled my appreciation of it.

I also watched Unmann, Wittering and Zigo, which is about a bunch of boarding school kids who claim to have murdered their former teacher. It is tense.

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Re: General Chat About Films And That

Post by Cloudy Cat » Tue Oct 09, 2012 09:37

I remember seeing Unman, Wittering & Zigo many years ago on late night BBC. Seemed a sort of pale shadow of If....

As I subsequently found out it was originally a play from the late fifties. Maybe If.... was a little influenced by it but not having seen Unman etc. for thirty years I'm depending on a faltering memory to make reckless assumptions.

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Re: General Chat About Films And That

Post by this clump of trees » Wed Oct 17, 2012 00:27

watching Alien: Resurrection tonight. i haven't seen it before. the premise sounds really gross and wrong (200 years after the events of Alien3, Wal-Mart clones Ripley as human-xenomorph hybrid) but i figure, how bad can it be.

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Re: General Chat About Films And That

Post by this clump of trees » Sun Mar 31, 2013 16:49

so, The Ten Commandments is really about americans

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Re: General Chat About Films And That

Post by this clump of trees » Sun Mar 31, 2013 19:26

the movie Hop is about how communism goes against the natural order of things & caste systems work better because the chicks cant manage themselves, the responsibility overwhelms them & turns them in-to monsters

also chicks dont understand how supply and demand works. thats why when the latino chick foreman takes over he wants to deliver worms/birdseed/crickets to little kids instead of chocolates. only the bourgeois rabbits understand what the public wants & how to satisfy it

i dont know how they managed to smuggle such a poisonous message into a movie thats ostensibly about the Easter Bunny. i have a gnarly headache

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Re: General Chat About Films And That

Post by Temeura » Sun Jun 02, 2013 20:14

Just watched The Place Beyond The Pines. It is a truly breathtaking piece of cinema. I will watch Ryan Gosling in anything but this may be his greatest outing yet. Derek Cianfrance does an amazing job directing this and some of the cinematography is awe-inspiring.

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Re: General Chat About Films And That

Post by this clump of trees » Sun Jul 07, 2013 23:36

check out this thing i'm reading about cute/zany/interesting as aesthetic categories

http://www.cabinetmagazine.org/issues/4 ... r_ngai.php

Cuteness is a way of aestheticizing powerlessness. It hinges on a sentimental attitude toward the diminutive and/or weak, which is why cute objects—formally simple or noncomplex, and deeply associated with the infantile, the feminine, and the unthreatening—get even cuter when perceived as injured or disabled. So there’s a sadistic side to this tender emotion, as people like Daniel Harris have noted. The prototypically cute object is the child’s toy or stuffed animal.

Cuteness is also a commodity aesthetic, with close ties to the pleasures of domesticity and easy consumption. As Walter Benjamin put it: “If the soul of the commodity which Marx occasionally mentions in jest existed, it would be the most empathetic ever encountered in the realm of souls, for it would have to see in everyone the buyer in whose hand and house it wants to nestle.” Cuteness could also be thought of as a kind of pastoral or romance, in that it indexes the paradoxical complexity of our desire for a simpler relation to our commodities, one that tries in a utopian fashion to recover their qualitative dimension as use.

While the cute is thus about commodities and consumption, the zany is about performing. Intensely affective and highly physical, it’s an aesthetic of nonstop action that bridges popular and avant-garde practice across a wide range of media: from the Dada cabaret of Hugo Ball to the sitcom of Lucille Ball. You could say that zaniness is essentially the experience of an agent confronted by—even endangered by—too many things coming at her quickly and at once. Think here of Frogger, Kaboom!, or Pressure Cooker, early Atari 2600 video games in which avatars have to dodge oncoming cars, catch falling bombs, and meet incoming hamburger orders at increasing speeds. Or virtually any Thomas Pynchon novel, bombarding protagonist and reader with hundreds of informational bits which may or may not add up to a conspiracy.

The dynamics of this aesthetic of incessant doing are thus perhaps best studied in the arts of live and recorded performance—dance, happenings, walkabouts, reenactments, game shows, video games. Yet zaniness is by no means exclusive to the performing arts. So much of “serious” postwar American literature is zany, for instance, that one reviewer’s description of Donald Barthelme’s Snow White—“a staccato burst of verbal star shells, pinwheel phrases, [and] cherry bombs of … puns and wordplays”—seems applicable to the bulk of the post-1945 canon, from Ashbery to Flarf; Ishmael Reed to Shelley Jackson.

I’ve got a more specific reading of post-Fordist or contemporary zaniness, which is that it is an aesthetic explicitly about the politically ambiguous convergence of cultural and occupational performance, or playing and laboring, under what Luc Boltanski and Eve Chiapello call the new “connexionist” spirit of capitalism. As perhaps exemplified best by the maniacal frivolity of the characters played by Ball in I Love Lucy, Richard Pryor in The Toy, and Jim Carrey in The Cable Guy, the zany more specifically evokes the performance of affective labor—the production of affects and relationships—as it comes to increasingly trouble the very distinction between work and play. This explains why this ludic aesthetic has a noticeably unfun or stressed-out layer to it. Contemporary zaniness is not just an aesthetic about play but about work, and also about precarity, which is why the threat of injury is always hovering about it.

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Re: General Chat About Films And That

Post by this clump of trees » Mon Jul 08, 2013 03:35

i saw The Place Beyond the Pines, thought the first hour was ok because it reminded me of Drive, the second hour was cop movie trying at being thoughtful, and then the last half hour felt like a whole hour.

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Re: General Chat About Films And That

Post by Dan » Tue Jul 09, 2013 00:06

I agree with the above 300%; 100% for each hour.

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Re: General Chat About Films And That

Post by this clump of trees » Tue Jul 09, 2013 23:40

i'm not sure what it *means* though. i guess its about the pointless lives of the underclass. only the troubled conscience of a smart young cop gives their lives meaning. watching a movie about the complex relationship b/w a Morally Ambiguous cop archetype and surplus people is a good deed.

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Re: General Chat About Films And That

Post by Dan » Thu Jul 11, 2013 22:04

You might like the film CRASH.

Have you seen The Act of Killing?

this clump of trees
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Re: General Chat About Films And That

Post by this clump of trees » Sat Jul 13, 2013 00:41

thats the one about the destruction of the PKI right? i have not but i definitely intend to

did you watch Man of Steel? what do you think is going on there.

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Re: General Chat About Films And That

Post by indiansummer » Sat Jul 13, 2013 10:15

diamond gala wrote:did you watch Man of Steel? what do you think is going on there.
THANKS FOR BLOWING UP EVERY BUILDING IN SIGHT, SUPERMAN
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Re: General Chat About Films And That

Post by SophieC » Sat Jul 13, 2013 11:14

diamond gala wrote:thats the one about the destruction of the PKI right? i have not but i definitely intend to

did you watch Man of Steel? what do you think is going on there.
someone wrote a spectacularly trolling blog that posited that superman man of steel is in fact a drone. in fact the bit where he describes the superman/drone sex scene made me actually want to watch it for a second.

http://samkriss.wordpress.com/2013/06/1 ... ne-action/
When the people are being beaten with a stick, they are not much happier if it is called 'the People's Stick.'

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Re: General Chat About Films And That

Post by this clump of trees » Sat Jul 13, 2013 21:02

i havent seen the movie yet myself but the drone comparison makes sense. personally i think superman is how the bourgeois-democratic establishment perceives itself. like it was very sure of its own benevolence in the 70s movie (doing *cute* stuff like rescuing a cat stuck in a tree), where superman was basically trying to curtail various radical technological excesses as embodied by lex luthor (and like all technology under capitalism its mainly a weapon against labor). so superman's moral prerogative was a reflection of the empire defending its technological monopoly, the social peace that prevailed in the postwar era derived from that - the compact b/w US labor and capital that is now defunct

in Man of Steel the technological monopoly has been more or less broken by the survival of another kryptonian other than jor-el (& zod trying to create krypton i.e. imposing a caricature of a planned economy on earth) so superman is forced to abandon any protective feelings he mightve had about the population of metropolis in order to save the human race. just as the empire must abandon its democratic pretenses to save its monopoly position.

but its implied US cant save its monopoly position w/out destroying civilization (basically a lot of tall buildings - all that accumulated dead labor) in the process, and its willing to do just that.
Last edited by this clump of trees on Sun Jul 14, 2013 00:10, edited 1 time in total.

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Re: General Chat About Films And That

Post by Dan Pop-o-matic » Sun Jul 14, 2013 22:52

Just watched A Field In England. Genuinely brain scrambling stuff, I can't recall seeing anything else like it. Amazing performances from people who are mostly known as comedy actors as well.

Ben Wheatley is my new favourite director, what with Kill List, Sightseers and this.

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