This thread is for the discussion of "serious" film outside of blockbuster productions, feel free to post your watchlist and any recommendations that you might have.
youtu.be/rM4V7lAy74M Does any one know of other experimental film maker's like Peter Hutton or James Benning? Something extremely slow and meditative.
Hudson Powell
Has anyone found a rip of River of Fundament?
I highly suspect that Matthew Barney is a genuine dude and artist who produces a lot of really interesting stuff to Matthew Barney, but to everyone else it's fucking impenetrable garbage as a whole (with some good stand alone visuals scattered around); like something you can conceptually get behind, but still fall asleep 1 hour in... but I want to find out for myself.
Well, yes. Have you never seen an Ozu film before? It works.
Jace Sanchez
It's fucking dumb as soup. No projectionist in his right mind would open the fireproof boxes when a film has caught fire. It's literally impossible to put out a film fire, even dunking it in water won't put it out. Every projectionist back then knew, if the film catches fire: Let it burn in the fireproof boxes, that's what they're for. This shit unironically triggered me.
Grayson Lee
Thanks bro, I'll get the subscription next month.
Angel Phillips
>It works. "No!"
Leo Ross
>dumb as soup Isn't the correct expression "dense as soup", but when describing a person's intellect ?
Levi Cox
I've heard "dumb as soup" before, dunno, english ain't my 1st language tbqhwy my familia
Justin Kelly
This reminds me of that time I went to se Ba'aria >go to late night showing because forever alone and don't want to be surrounded by normies >showing starts around 1am >I'm literally the only one in the cinema >films is like two and a half hours long >all other showings ended around 2am or 2.30 at most >the whole kinoplex has to stay open just for me until 3.30, they prolly would have called it a night earlier if I hadn't gone >walk out like a sir, all the wagies have bags under their eyes >movie was aight
William Bennett
me neither Although maybe it was "thick as soup"
Brayden Evans
Come on user, not even a youtube clip? I'd say that you're trolling, but this is 2019 Yea Forums after all.
The 180 rule is, mostly, a huge cinematic faux pas to break, but Ozu does it for a reason. It drags you into his world far better than any conventional shot would; he isn't ranked as one of the medium's greatest directors out of mere happenstance.
John Sullivan
Gotta see that one. I enjoyed reading Leonardo Sciascia so I guess I'll like it
Jackson Jones
You're just saying that because "le he's ozu he can do that". That kind of thinking pisses me off. Yours is no reasonable explanation on why it supposedly works with his movies. I saw Tokyo Story in the cinema and everyone was laughing at the frontal-to-frontal cuts. It doesn't work. It seems completely amateur. You're just giving the guy a free pass.
>he isn't ranked as one of the medium's greatest directors out of mere happenstance. Filmmaker "rankings" are largely bullshit, contrarians looking for some underdog to call le great artiste just to seem cultured. I can get behind valuing a filmmaker for actual quality that holds up to analysis, even if there's always a subjective element to it. But hiding behind some random ranking is just bogus. Also a lot of this valuing le innovative filmmakers thing has simply been carried over from a handful of counterculture figures from the 1960s, like the nouvelle vague, who said such dumb shit like hurr hitchock is an auteur durr and muh monogram pictures, back when there was no such concept of film analysis.
I'm not saying Ozu is complete trash, but it's not like everything he does is automatically great. He tried an idea of making these cuts, and it didn't work. Just deal with it.
Joseph Green
It's a strange film which doesn't really go anywhere but it's still kinda entertaining. I'd say 6/10 as I remember it.
Adam Lopez
My reply was only a quick statement, I'm sorry for not clarifying my words. For Ozu, much like the plot, camerawork was kept as simple as possible. He wants you to chiefly focus on the characters. You're sitting directly there, on the tatami mat, with the best possible view to explore their individual thoughts and emotions through a direct look at the individual. Donald Richie wrote a fantastic book on Ozu that I would fully recommend, he describes Ozu's filmwork far better than I ever can. He doesn't break the rules for the sake of breaking rules. Hell, Ozu is a complete traditionalist compared to the concurrent New Wave material that was getting chucked up by the early 60's.
>A Spring for the Thirsty, Memoirs of a Sinner, In My Skin >Ponette, The Best of Youth, Letter Never Sent >The Cranes are Flying, Przesluchanie, Legend of the Mountain A little more varied here, not that many known ones, good nontheless.
>The Annunciation, On the Silver Globe, Symbiopsychotaxiplasm >Witchhammer, The Valley of Bees, Marketa Lazarová >Pather Panchali, Ashes and Diamonds, Camille Claudel East European-centric here.
>Babette's Feast, Visitor of a Museum, Neco z Alenky >The Red Balloon, Black Moon, Farewell My Concubine >The Journey to the West, Chinese Odyssey: Cinderella, White Mane Loved the shorts of Albert Lamorisse, also if Cinderella interests, I'd urge watching the first part of the duology, Pandora's Box.
WTF happened to Neil Labute? He had such a promising career with his first features - In the Company of Men, Your Friends and Neighbors, The Shape of Things - and his amazing plays. He had a few misfires and then sort of redeemed himself with a TV show no one watched: Billie and Billy. Now he's doing shlock Syfy stuff like Van Helsing and I-Land. I cannot wrap my head around how hard this guy fell.
I've never seen an Ozu film. Where should I start?
Logan Perry
i remember liking lakeview terrace but his remake of death at a funeral was just bizarre. literally just the same except everyone was black except dinklage. i completely forgot i watched billie and billy until you mentioned it. only thing i remember about it was the basic plot.
