Oct 2, 2015

While I'm no @FilmAndWhisky, here are some quick thoughts on Mountains May Depart and Cemetery of Splendour.

Mountains May Depart
Jia Zhangke's latest is a generation-spanning tale depicting how the forces of capitalism and globalization mold the relationships and shift the lives of its characters over time. While this theme would often lend itself in Hollywood to some sort of cheap corporate villain, Zhangke's approach is far too reflective and subtle for such a simple characterization...which isn't to say he isn't above utilizing conceptual absolutes as character. While there is indeed a corporate a------ character, vying against a coal miner for the affections of the same girl, this character proves in his own way to be just like the rest...his life unknowingly being swept up by larger forces out of his control. The general sense one gets from Zhangke's film is a sense of loss and alienation. Something, perhaps ineffable, is being lost and the way the people relate and interact with one another is somehow being subtly and irrevocably altered in the globalized world of the 21st century.

However, while Zhangke conveys these ideas with measured clarity, the film never really resonates emotionally as much as it could or perhaps should (and I usually fall for narratives concerning the passage of time). Splitting the 2-hr film into three sections leaves the film feeling uneven and doesn't allow us to get especially close to any of the characters. The weakest, as many others have stated, is the final English-language section set in Australia. With its stilted dialogue and the relegation of Zhao Tao's character to the background, it's dramatically flat with the emotions dissipating rather than swelling. Overall, it's a flawed film from a major filmmaker so I'd say it's still definitely worth a look.

Cemetery of Splendour

I appreciate the honesty! While I don't have the same issue with Bresson, I must admit that I at times do have a similar one with Apichatpong Weerasethakul, which is paradoxically almost a testament to his abilities as a filmmaker. His films are so serene, so tranquil, so meditative that I often find myself so caught up in the mood he evokes that my mind starts to wander away from what's actually taking place on the screen. Cemetery of Splendour is very much in the same vein and I can't imagine that fans of his prior master works will be disappointed.

Enchanting imagery that turns the mundane striking...deliberate pacing that allows the film to breathe and enables the viewer to absorb the sights and sounds...a light, playful touch with a warm sense of humor...casual, surreal flights of fancy into folklore...it's basically everything one would expect from a Weerasethakul film (the only thing missing is a sudden time or narrative shift). At the same time, the film's easy-going, relaxed nature almost contradicts the director's introductory message prior to the screening...that this film was a reaction to the Thailand's recent military government and the country's loss of democracy.

The central plot, which concerns soldiers who have succumbed to sleeping sickness because they're fighting the battles of past kings, certainly conveys this reaction in a neatly codified metaphor, but it's perhaps Weerasethakul's idiosyncratic humanism that's the strongest act of defiance.

 

Oct 2, 2015

not crazy bout the new garrel

 

Oct 2, 2015

was excited as s---

 

Oct 3, 2015

Retooled how I rate things on Letterboxd. Better to do it now than once I have an extensive catalog of ratings.

Whole stars only based on personal response. So The Cabinet of Dr. Caligari gets a 3/5 regardless of being an influential classic. Too many intertitles, boring, copout ending, Etc. Out of the Past and Ikiru are also 3/5. Writing should be more objective. Hopefully about what a movie means, how the movie goes about meaning it, technical stuff, legacy, etc. Likes are reserved for 4/5 & 5/5 ratings. @FilmAndWhisky convinced me to change how I use that one.

Since I use it as a film diary, I'd like it to reflect me and my experiences with the movies. This should make logging rewatches interesting as well.

 

Oct 5, 2015

Just came out of the screening of Grant Gee's INNOCENCE OF MEMORIES. It was one of those few times I've left a theater in awe, as if life's essence had shifted in those past 90 minutes of pure cinema. A reflection on the transformative potential of objects and memory, of space and time, of reality and fiction. Cinema itself as transformation. Go see it if you can.

I particularly recommend this film, as well as Mark Lewis' Invention to @Rowjay Stan . Two modern avant-garde masterpieces I had the priviledge of screening today.

 

Oct 5, 2015

[REVIEW] 78/100 - LOVE AND... (Zhang Lu, South Korea)

A striking cinematic experiment, Zhang Lu’s divisive Love and… is both an homage to and a deconstruction of cinema, with its four episodic chapters subtly working towards a profound, accumulative end.

Read full review:

http://nextprojection.com/2015/10/04/viff-love-striking-cinematic-experiment/

• 
  Dead Slow Ahead 2015
  ★★★★ Watched 29 Sep, 2015
  
  [Review] 80/100 - Dead Slow Ahead (Mauro Herce, Spain)
  
  Through long takes, Herce leads us through a rather incredible journey, with never a feeling of stasis in spite of its constant feeling of presence.
  
  Read full review:
  nextprojection.com/2015/10/04/viff-dead-slow-ahead-authentically-cinematic/
  
  No likes
  
  
• 
  O, Brazen Age 2015
  ★★★ Watched 29 Sep, 2015
  
  [Review] 72/100 - O, Brazen Age (Alexander Carson, Canada)
  
  While certain notions or language may seem unclear or even contradictory, Carson’s intimate and spirited journey of self-discovery is both accessible and meaningful, inspiring in the viewer a sincere feeling of purpose.
  
  Read full review:
  nextprojection.com/2015/10/04/viff-o-brazen-age-accessible-meaningful/
  

 

Oct 5, 2015

 

Oct 5, 2015

I've officially watched all of Malick's work except for the second half of The Tree of Life.
To The Wonder and Days of Heaven are easily my favorite. I might put his longer films at the bottom tbh.

 

Oct 6, 2015

Dude, get the f--- on with Tree of Life now. lol

@Rowjay Stan right about In The Shadows of Women. First two acts are pure brilliance, third act is pure poop. I think I'm forgiving though.

Some big guys coming. Cemetary of Splendour tomorrow, Son of Saul Wed, Our Little Sister and Francofonia Thurs and Anomalisa Fri. s--- bout to get real.

 

Oct 6, 2015

[Review] 79/100 - Kaili Blues (Gan Bi, China)

The film’s tender spirit is to capture and convey the tiny moments found in the everyday.

Read full review:
http://nextprojection.com/2015/10/05/viff-kaili-blues-conveys-tiny-moments-found-everyday/

• 
  Mustang 2015
  ★★★★ Watched 30 Sep, 2015
  
  [Review] 82/100 - Mustang (Deniz Gamze Ergüven, France/Germany/Turkey/Qatar)
  
  Mustang offers hope and inspiration in its heartwarming conclusion while being sure not to override its underlying sense of tragedy.
  
  Read full review:
  nextprojection.com/2015/10/05/viff-mustang-offers-hope-inspiration/
  
  No likes
  
  
• 
  Lost and Beautiful 2015
  ★★½ Watched 30 Sep, 2015
  
  [Review] 60/100 - Lost and Beautiful (Pietro Marcello, Italy)
  
  Lost and Beautiful is exquisite, with many arresting images throughout its duration, particularly in the final sequence. This is not enough, however, as the meandering narrative only finds thematic grounding through an unbelievable, convoluted premise.
  
  Read full review:
  nextprojection.com/2015/10/05/viff-lost-beautiful-well-shot-episodic-art-film/
  

 

Oct 6, 2015

I'm too pleb.

 

Oct 6, 2015

Rest in Peace Chantal Akerman. Holy s--- this is heart breaking

 

Oct 6, 2015

lol what

Tree of Life is so easily his best to me

 

Oct 6, 2015

RIP to the greatest filmmaker to ever lived.

 

Oct 6, 2015

I'm happy for you.

 

Oct 6, 2015

Tree of life was a pretty decent experiment imo,

It had the choreography and acting, but it lacked the dialogue and execution to fully express it's extremely ambitious ideas, also those cuts to shots of the universe and dinosaurs were a little overused, i didnt personally need all that to understand what the movie was about, as beautiful as they were....

 

Oct 6, 2015

 

Oct 6, 2015

????

 

Oct 6, 2015

Well s---, I'm convinced.

The rumors of suicide make it even more sad. Her latest is playing at NYFF the next two days, but I don't think I can make it.

I did see Jafar Panahi's Taxi, which I really liked a lot and is easily one of my favorites of the year. I'll admit that I found last year's Closed Curtain somewhat overly conceptual and I wasn't quite able to get on its wavelength. However, this one, with its humanist bent and light-hearted tone, I found to be far more accessible. Set entirely in a cab that Panahi himself is driving, Taxi is a typically Iranian cinematic blend of reality and fiction and wholly consists of conversations between Panahi and various passengers, reminiscent of Kiarostami's Ten.

While the tone is mostly light (with one episode as an exception), Panahi casually shifts each conversation towards commentary on Iranian everyday life and critiques of the restrictions under theocratic rule. That Panahi can convey these points while also crafting an immensely watchable and entertaining movie is a testament to his ability and creativity under less than ideal circumstances. Also, I would definitely watch a Marvel Cinematic Universe-style spinoff centered on Panahi's young niece #BestSupportingActress

 

Oct 7, 2015

How did Jurassic World get positive reviews this summer? Are Fantastic Four and Terminator Genisys just that much worse? Frankenscript, flat characters, worse CGI than 2 decades ago, etc. Not a single character, relationship, or emotional beat hits. One of the worst things I've seen in a while. I'd rather watch Super 8 and Godzilla 2001 in a double feature, no hyperbole. This thing setting box office records is incredible to me.