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[SOON , A TITLE HERE ] - Page 63

post #931 of 1305
Thread Starter 
Quote:
Originally Posted by JuyLe View Post

I have another list for movies that I think is rather interesting, and also contains lesser known movies (available for download still)
Come and See (Elem Klimov)
On the Silver Globe (Andrzei Zulawski)
Pastoral : to die in the country (Shuji Terayama) GODDAMNIT I CAN’T JUST ONE this is torture
Stalker (Andrei Tarkowsky)
The color of pomegranates (Sergej Parajanov)
Werckmeister Harmonies (Bela Tarr)
Le Feu Follet (Louis Malle)
Teorema (Pier Paolo Pasolini)
Fear eats the Soul (R.W. Fassbinder)
10. Angst (Gerald Kargl)
11. Belladonna of Sadness (Eiichi Yamamoto)
12. Mishima: a Life in Four Chapters (Paul Schrader)
13. The Exterminating Angel (Luis Bunuel)
14. 4 (Ilia Khrzhanovsky)
15. Diamonds of the Night (Jan Nemec)
16. The Wickerman (Robin Hardy)
17. Visitor of a Museum (Konstantin Lopushansky)
18. Ascent (Larisa Sheptiko)
19. Blind Beast (Yasuzo Masumura)
20. Lucifer Rising (Kenneth Anger)




Have you seen Letters from a Dead Man from Lopushansky ?
post #932 of 1305
I have seen it as well. I don't know which one I like best, but they both really left a mark on my vision of cinema and narration and all. The atmosphere is just staggering.
post #933 of 1305
I enjoy seeing these movie lists, always good for inspiration. It pains me that Ozu is most often left out though, pretty much any film from Late Spring until his last could be on my list though I'm not sure I could pick one. I'd also argue that something by Yoshida and perhaps Oshima should be on a list like this too. Too much to choose from, I'm impressed by anyone able to compile a 100 list; I know I couldn't do it.

Haven't seen a majority of the movies on JuyLe's list but I like the inclusion of Blind Beast. nod[1].gif
post #934 of 1305
post #935 of 1305
post #936 of 1305
These two bits of media have been on my mind a whole lot lately:




(But more generally, the whole album Winter in America.)
post #937 of 1305
Makes me really sad that I forgot about this thread for several months since my subscriptions have been fucked. Time to get back in it!
post #938 of 1305
Thread Starter 


post #939 of 1305
Thread Starter 
Torre Velasca, Milan, 1958








































post #940 of 1305
BRUTAL(ist)
post #941 of 1305

Edited by BreezyBirch - 10/7/12 at 2:53pm
post #942 of 1305
Thread Starter 
At the occasion of the 500th anniversary of Raphael's Sistine Madonna, German artist Katharina Gaenssler produced Sixtina MMXII, an impressive book-object (81cm by 54cm) featuring 224 close up photographs of the painting (pigment printed on rice paper).


















































post #943 of 1305
post #944 of 1305
Thread Starter 
Seems like it might be a catalogue documenting Gaenssler's installation, the book is only one part of it.
Quote:
What happens with the blank space that is left behind by an absent painting? The photographer Katharina Gaenssler tries to answer this question in one of her artworks. Only for the anniversary exhibition, the Sistine Madonna will leave her traditional place on the first floor of the Gemäldegalerie Alte Meister where she has stayed for more than 20 years. This spot will be taken by Katharina Gaenssler’s contemporary work. Over the course of several days, the artist took thousands of close-up shots of the Sistine Madonna seen through the visual axis of the main halls. Then, the photographer assembled them anew in an outsized digital collage. This work constitutes the model for a wall-filling goblin that makes the absence of the original its subject and allows a new view onto art history’s masterpiece.

post #945 of 1305
Thread Starter 
Shadows of Forgotten Ancestors (Sergei Parajanov, 1964)


Quote:
In a small Hutsul village in the Carpathian mountains of Ukraine, a young man, Ivan, falls in love with the daughter of the man who killed his father. Though their families share a bitter enmity, Ivan and Marichka have known each other since childhood. In preparation for their marriage, Ivan leaves the village to work and earn money for a household. While he is gone, Marichka accidentally slips into a river and drowns while trying to rescue a lost lamb. Ivan returns and falls into despair after seeing her body. He continues to work, enduring a period of joyless toil, until he meets another woman, Palagna. Ivan and Palagna get married but the marriage quickly turns sour as Ivan remains obsessed with the memory of Marichka. Palagna becomes involved with a local sorcerer, while Ivan begins to experience hallucinations.

At a tavern, Ivan sees the sorcerer, roused into an uncharacteristic fury, he snatches up his axe, only to be struck down by the sorcerer. Ivan stumbles into the nearby woods and perceives Marichka's spirit to be with him, reflected in the water and gliding amongst the trees. As reality merges into dream, the colorless shade of Marichka reaches out across a great space and touches Ivan's outstretched hand.

Quote:
If The Colour of Pomegranates was a revolutionary declaration of the static camera's potential in cinema; then Shadows of Forgotten Ancestors(1964) is a revelatory extravaganza of delirious kineticism that's perhaps even more breathtaking. Mere words fail to capture the ecstatic rhythms of the director's pulsating camerawork here, the experience is akin to a primal romp played out at a hyperspeed - Paradjanov's camera bounces off walls, waltzes around entire communities and scrutinizes its picturesque surroundings with alarming intensity. [...]

The film describes a Carpathian folk tale, depicting traditions, rituals, locations, and costumes that have rarely if ever been seen on film. Greatly enhancing the vitality of the film is the revolutionary use of almost exclusively handheld camera, a method which ensures a kineticism is felt in the blood of every scene; every manic, breathtaking tracking shot and stunning movement. The viewer is inseparable from the camera's heartbeat, watching the events unfold with living presence and alien remove as though they were the hills themselves. The people and their story are beautiful but exaggerated in the way of legends, and the anthropological study of the culture is refracted through the beyond-real prism of aesthetic obsession and heightened emotion. [...]

Nearly every shot is ravishing, whether the camera is mounted on a tree collapsing onto a woodcutter, taking the POV of a man being murdered (complete with blood running all over the screen), spinning around a room as a family celebrates, scanning a line of dancers, ducking under a ladder as two people carry it, running down a hillside and across a stream in an unbroken take, or drinking in astonishing landscapes and intimate closeups.


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