PP¬ 1 of the most enjoyable films
PP¬ Cause I’m Alex, O my Bro’er (theatrically flies away)
After a few similar conversations I am able to translate his ideas on the film.
He thinks that because of the way the film was made (and the book written) you enjoy it despite its violence and cynicism.
Leos Carax’s short full of the most amusing controversions, and the film of choice for Pleasure Parrot.
‘This mo(N)vie chains the B’ts of absurd jokes like a song. + The splendid pride of the bizzare X’istences.’
Truly, the film celebrates and enjoys the transgressive element. The grotesque creatures of the film emerge from the sews as an undercurrent to Japanese neat calmness and rationality. Merde and Voland resist to the sensibility and correctness of their civilized persecutors with an apparent pride, knowing that their freakishness is much more enjoyable (yes, for the film viewers) and ultimately true to the behaviour of ordinary people. The TV news show how the crowds react on each step in Merde’s case, and the uproar in the streets does not quite seem to fit the calm and composed demeanour of the reporters. Madness and disorder are an inseparable counterpart of a controlled system, and Carax pictures them as much more attractive when displayed openly than when they are suppressed and denied by the reason.
For all those who love a sting of a little outrage, here is our ‘tres joli petit garҫon‘.
(Little link for those who find the soundtrack somehow familiar.)
Wim Wenders’ film available on vimeo. Absolutely lovely!
As if the several great directorial personas actually encompassed and cherished the different identities and shades of the phenomenon called Cinema (and surely, that is also the truth).
Godard begins as the collosal magician, who is only interested about the context and meaning, and as soon as nothing gives him a food for thoughts he will depart.
Herzog, being a one-man tragedy in himself, takes off his shoes, but then admits that the situation is not really THAT bad, and choke us with a pillow.
Spielberg talks to us with a brilliantly ego-centric posture of a prince of capitalist film industry. He allows us ‘one shot in the forest’ (29:50) (I can’t stop laughing).
Personal favourite is Antonioni. Being an extremely charismatic and elevated speaker (despite he says he is not a man of theories), he provides a contemplated and incredibly accurate prediction, and still present a great amount of vitality and will to cope with anything that is about to come.
I am omitting several filmmakers who got slightly shorter parts in the film. However, they all stand for very distinct and obviously completely valid opinions on the future and workings of Cinema.
‘That was TERRIBLE.’
Yes. Under the Skin (2013) can become a mighty frustrating experience if you’re not used to watching films with a bit of a detachment & if you do not fancy Scarlett Johansson as much as some of us.
‘It was good.’
– Your Beloved Writer (S. M.)
Don’t be afraid, my Near and Dear ones. This film is a pretty striking and honest reflection on Scottish people and land. Again, don’t be afraid.
Writing about Park Chan Wook’s Old Boy (2003) — a LOVELY job
Perhaps the most spoilable movie ever
Luckily, Spike Jonze decided to remake it and I can write about the differences.
It works really well. Unfortunately, you will probably have to see both the films to know what I am talking about. (If you don’t feel like it, watch just the original.)
A man in a cinema after a long and intense sex scene: ‘Thank god!’ (A saintly line indeed!) Then he laughs nervously and looks at what is probably his wife or sister sitting next to him.
Watching Blue Is the Warmest Colour (2013) is a great opportunity to understand the problem of sex in the cinema and all the things called ‘explicit content’.