It wasn't until I saw the trailer that I got truly excited to see this one. It's here in high definition. Has anybody watched this movie yet? I guess I'll have to try to go see it at the festival that is coming up.
It wasn't until I saw the trailer that I got truly excited to see this one. It's here in high definition. Has anybody watched this movie yet? I guess I'll have to try to go see it at the festival that is coming up.
Seeing it next week.
I've seen it. I grew sort of bored with it before it ended, but objectively speaking, it's a pretty good movie.Quoting Clipper Ship Captain (view post)
Have you had any other experiences with her? Beau travail and L'intrus are two of my favorites. I Can't Sleep is really good as well and Trouble Every Day is not so bad either. I need to revisit Friday Night, and soon.
Trouble Every Day, and I liked it. Got more involved with that one.
Incidentally, this was during the film festival, and she was there for Q&A. Cool lady.
Sick. The last time I saw a movie at this particular festival, it was the amazing La France (I really hope this gets a release so more people can see it). The director Serge Bozon was there. I'm hoping maybe Claire Denis will show up, because she's basically one of the great female directors by now, I'd say.
I saw it last year at TIFF. I loved it. It's very similar to an Ozu film, but with the camera moving fast enough to keep up with a galloping horse.
Wishful thinking, perhaps; but that is just another possible definition of the featherless biped.
Unsurprisingly, I thought this was pretty fantastic. Have to admit Denis' subtle depiction of families trying to relinquish the past struck a chord with me at this point in my life, so I was on the verge of choking up at virtually every line, gesture, shot, and Tindersticks cue. I noticed that this time round Denis has a slight tendency to be elliptical and elusive about plot details in her trademark way, before spelling out what was implied a few moments later, and this is certainly her most accessible film to date (as well as something of a palate cleanser after L'intrus). But this occasional bluntness dovetails nicely with the film's primary themes of not wanting to let go, to always make your presence felt around those you fear slipping away from. I think it's a bit of a one-note film in a certain sense, but it's a lovely note nonetheless.
Does the bolded part mean you didn't like L'Intrus?
Wishful thinking, perhaps; but that is just another possible definition of the featherless biped.
Nah, just that Rhums is a lot easier to swallow. (EDIT: unintentional, I swear!)
Haha, I wouldn't even of picked up on that if you hadn't pointed it out. Yeah, L'Intrus got better for me on a second viewing. First time through was a little bewildering.
Wishful thinking, perhaps; but that is just another possible definition of the featherless biped.
Yep, awesome.
More thoughts later probably.
Probably her third best. I've been thinking it over a lot, and I think I'm more impressed by how human the whole thing feels. She's crafted what truly does feel like real people in a real world, rather than just some made-up characters. She also has an impressive control over her actors and there are some seriously brilliant performances her: from Descas, Diop (who isn't even an actor, I've been told) and from Colin. But it's also her ability, along with Agnés Godard to create stunning environments which push the emotional resonance to an even further level. The dreariness of the subway tunnel Lionel makes a saddening discovery; the pleasant nature of the restaurant where Jo and Noé first connect; the claustrophobic and somewhat depressing nature of the working place; the freeness of the subway tracks. You can see this in many of her movies, especially Friday Night, but here I think it's done so brilliantly since it dovetails the themes of the lower class and their society.
Also wanted to note how they say this was inspired by Late Spring, and it definitely helps to see that first if only so you can have fun noting the similarities. Denis and Ozu really both craft equally likable characters in very similar situations.
Just opened stateside; currently has a stratospheric 96 rating on metacritic, thus placing it one position ahead of Dr. Strangelove as the 6th highest rated film of all time. Sure, it'll likely drop when more reviews roll in, but go see it anyway ya chumps!
Pan's Labyrinth had a stratospheric rating on metacritic for awhile. Not sure if it is still that high.
Ratings on a 1-10 scale for your pleasure:
Top Gun: Maverick - 8
Top Gun - 7
McCabe & Mrs. Miller - 8
Crimes of the Future - 8
Videodrome - 9
Valley Girl - 8
Summer of '42 - 7
In the Line of Fire - 8
Passenger 57 - 7
Everything Everywhere All at Once - 6
#4. Hasn't beaten Superman II, though (#2?!).
Haha that's awesome. Love me some Supes II. "Kneel before Zod!"
Ratings on a 1-10 scale for your pleasure:
Top Gun: Maverick - 8
Top Gun - 7
McCabe & Mrs. Miller - 8
Crimes of the Future - 8
Videodrome - 9
Valley Girl - 8
Summer of '42 - 7
In the Line of Fire - 8
Passenger 57 - 7
Everything Everywhere All at Once - 6
Yeah, yeah, don't be so pushy, I'll get to it.
I'm writing for Slant Magazine now, so check out my list of reviews.
Hopefully I'll have the energy to update my signature soon.
Awardsdaily called it the best movie that won't get an Oscar nomination.
Yup, it's beautifully observed and simply lovely. In particular, I love Denis' use of sound, from the Tindersticks score to the pop music to the noise of trains to the clicks of light-switches.
I'll be seeing White Material in a week or two, even with the help of Isabelle Huppert, and I'm not expecting it to top this one.
I'm writing for Slant Magazine now, so check out my list of reviews.
Hopefully I'll have the energy to update my signature soon.
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