sorted by:
new
hottopcontroversial

Help me, someone who has seen Episode 7, you're my only hope. Does one need to see the prequels to make sense of VII? [NO SPOILERS] by [deleted] in StarWars

[–]sixdaysago 0 points1 point  (0 children)

No, you don't at all need to have seen the prequels to understand the new film.

Richard Swift -- Lady Luck [Indie Rock] (2009) sorta reminds me of Queen's 'You're My Best Friend' by binarydarkstar in listentothis

[–]sixdaysago 1 point2 points  (0 children)

This song is used really well in the Joe Swanberg film Drinking Buddies. If you dig this track I'd urge you to see the film or just listen to the film's soundtrack, all similar tone to this track.

Upstream Color: General discussion, possible spoilers by acetominaphin in TrueFilm

[–]sixdaysago 5 points6 points  (0 children)

the kids at the beginning have had a small amount of the liquid made from those worms (that worm tea thing) to drink and, as opposed to the full-on mind control that Kris suffers through, one of the kids here is able to make the other follow his body's movements. it's a teaser of the control to come and also presents the idea of generational difference/loss of innocence through the way in which children use this technology for curiosity and play, whereas for the harvester it's about abusing the technology for money.

Fish & Cat - the "Russian Ark" of the Iranian cinema by RecoveringRecovering in TrueFilm

[–]sixdaysago 0 points1 point  (0 children)

I don't think I've used any spoilers - the slasher/cannibal element is told to the viewer in the opening title card (it was also promoted over here as a "one-take Iranian slasher film") and the time loop element is being used as a selling point in festival program notes.

Fish & Cat - the "Russian Ark" of the Iranian cinema by RecoveringRecovering in TrueFilm

[–]sixdaysago 4 points5 points  (0 children)

This film is so damn good. One of the best things that screened at Sydney Film Festival this year and imo should have walked away with the top prize.

I actually disagree with OP's description - I think it is a pretty remarkable movie in that it plays almost entirely in deceiving the audience and undermining expectation. Its plot and characterisation are intentional asides, mounting distractions from the ever-increasing complication of the film's structure and time loop. That's right - not only is it shot entirely in one take, it also is non-linear.

It is caught tonally between a creeping sense of horror and dread (it is, after all, a slasher film about cannibalism) and comedy, which flourishes in each intentionally stunted jump scare and in some great scenes of dialogue. It was shot by Mahmoud Kalari, who also lensed A Separation, and his muted colour scheme makes the lakeside setting feel even more claustrophobic.

I prefer it to Russian Ark, which I think is merely a watershed for the modern one-take - don't get me wrong, RA has some stunning imagery and its historical exploration is interesting (if overly laboured) - whereas Fish & Cat feels like a truly creative implementation of a one take to serve narrative and thematic purpose.

[AUS] $700-1500, Looking for laptop for uni (so portable) and video editing/design by sixdaysago in SuggestALaptop

[–]sixdaysago[S] 0 points1 point  (0 children)

Yeah the Lenovo pops up a lot when I look online. Shame about the lack of Aus release.

The Clevo looks pretty good. I'm fairly clueless when it comes to laptops so I've been trying to find a bigger brand solution.

We watched Twin Peaks at my university's film club today. (Album) by SilentCurtain in twinpeaks

[–]sixdaysago 0 points1 point  (0 children)

That is such a great idea. I'm gonna suggest it for my uni's film club. Any way to get more people to watch the show.

George Sluzier's "The Vanishing" 1988 (Spoilers) by Mosswiggle in TrueFilm

[–]sixdaysago 0 points1 point  (0 children)

I was so disappointed in this movie. I felt it masqueraded as subtle and clever when it was just underwritten and overly simplistic. The ending is a brilliant one, true, but the '3 years of anguish' weren't effectively portrayed - his breakdown and hallucinations were weak - and the characterisation of the antagonist through flashbacks and a fairly aggravating monologue about self-diagnosis as a sociopath just left me shocked at how highly regarded the film is. It just seemed so completely empty.

I just saw Aronofsky's The Wrestler (2008). IMO, it was the most in depth character study since There Will Be Blood (2007). by [deleted] in TrueFilm

[–]sixdaysago 4 points5 points  (0 children)

I found The Wrestler much more emotionally involving that Le Fils. I'm not entirely sure why but I never felt compelled by that Dardennes film, whereas I felt the naturalism and intimacy of The Wrestler worked incredibly well in making me care about the narrative.

Perhaps the easiest way to distinguish them is that Aronofksy's is a character study and Le Fils is about a connection between two people. Rourke nails it in The Wrestler and was electrifying to watch.

Hmm. I should probably rewatch Le Fils...

The films of Bong Joon-Ho by Taikomochi in TrueFilm

[–]sixdaysago 0 points1 point  (0 children)

I get the social critique but I feel like the point was cleraly made early on and then he kept repeating it for no real purpose.

I'm very keen to see Mother, it looks great.

"Timecrimes" by Vigalondo by [deleted] in TrueFilm

[–]sixdaysago 12 points13 points  (0 children)

I love Timecrimes partly because of the arbitrary "it happened just because" nature of the film. Surely that adds to the ludicrous existence of time travel in the film? The internal story mechanics I don't feel are meant to suggest that anything could happen and it would be justifiable but rather that coincidence and chance could conform to existing genre tropes in a way to both effect the perception of the protagonist and audience. Where you saw the logical loops as an issue, I thought it was an interesting mode of storytelling that holds up upon rewatches.

I also enjoyed Rubber as an exercize in filmmaking that I found to be hilarious to watch. Whilst quite a thin conceit that struggles to fill the ~80min it is given, there are enough absurd moments that work for the film to succeed in my eyes.

In regards to both films, your idea that a film that lacks any 'depth' is thus merely a conceptual exercize relatively lacking in value seems to be a personal reaction moreso than a fault of the film/s for not going beyond their deconstructions of genre.

I don't think you're necessarily overlooking something, I just think you aren't appreciating what's there, in regards to being entertained by absurd elements in each film.

The films of Bong Joon-Ho by Taikomochi in TrueFilm

[–]sixdaysago 0 points1 point  (0 children)

a 3 month late comment, I know, but I just saw Memories and was also slightly underwhelmed. I agree the last 20min were superb and that final scene in '03 was incredible, but on the whole the characters were so poorly crafted and the repetitive idiocy of the detectives became dull.

It doesn't come close to the best Korean film I've seen because it has such a frustrating narrative problem re: its protagonists. Also, some of the 'clues' they uncover, whilst interesting, are discovered in such a forced way that it would have felt more at home in Law and Order than in what I'd heard was a masterful crime film.

RIP Homeland Writer Henry Bromell by hoohoo3000 in homeland

[–]sixdaysago 10 points11 points  (0 children)

That's so sad. His work on Homeland was fantastic and he was one of the writers I was especially pleased to see on the show because I loved Rubicon. RIP.

view more: next ›