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Old 02-16-2017, 06:00 PM   #161201
omgkitty omgkitty is offline
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Quote:
Originally Posted by MifuneFan View Post
I said Naruse because he's a director that's fairly well known among fans of Japanese cinema, but still under the radar in general, and many people (including myself) wish more of his films would get released. The last release from Criterion was an eclipse set called "Silent Naruse" from 2011, which fits the 6 years part of The Debts statement.
Ah I didn't even think of Eclipse, and yes, Naruse makes more sense, especially given his status overall. Still doesn't make sense why they wouldn't just say who they were referencing.
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Old 02-16-2017, 06:36 PM   #161202
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Sorry, yes, Naruse. I wasn't being intentionally secretive, I just knew exactly who Fabs was referring to.

Aside From Criterion's output (one dvd and one eclipse set) and the BFI/MOC sets (both oop), there are no other officially released English friendly Naruse films out there.
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Old 02-16-2017, 06:40 PM   #161203
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Wasn't there a rumor circulating about a Blu-ray release of Floating Clouds?
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Old 02-16-2017, 06:42 PM   #161204
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Originally Posted by iScottie View Post
Wasn't there a rumor circulating about a Blu-ray release of Floating Clouds?
That might of just been my hopes and dreams manifesting themselves in the real world.

Or maybe it's happening. I dunno.
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Old 02-16-2017, 07:45 PM   #161205
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can anyone describe what it is they like about Jeanne Dielman? It is a film I have heard of, but never really looked into what it is about until today. so this morning, I read just enough today to get an idea...

so, it's like Gus Van Sant's Elephant stylistically? I found that and a couple other GVS films he did around the same time were worth a look.

I find it interesting, though, that a film well over 2 hours documenting a woman at home doing nothing of consequence has garnered such excitement from some.

again, I haven't seen it.. and I think I'd like to, so don't take my question as passing an opinion on something that I know little about. I'm just curious.
"It's my belief that history is a wheel. 'Inconstancy is my very essence,' says the wheel. Rise up on my spokes if you like but don't complain when you're cast back down into the depths. Good times pass away, but then so do the bad. Mutability is our tragedy, but it's also our hope. The worst of times, like the best, are always passing away." - Boethius
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Old 02-16-2017, 07:57 PM   #161206
SammyJankis SammyJankis is online now
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Quote:
Originally Posted by bwdowiak View Post
can anyone describe what it is they like about Jeanne Dielman? It is a film I have heard of, but never really looked into what it is about until today. so this morning, I read just enough today to get an idea...

so, it's like Gus Van Sant's Elephant stylistically? I found that and a couple other GVS films he did around the same time were worth a look.

I find it interesting, though, that a film well over 2 hours documenting a woman at home doing nothing of consequence has garnered such excitement from some.

again, I haven't seen it.. and I think I'd like to, so don't take my question as passing an opinion on something that I know little about. I'm just curious.
I know this is kind of a cop out, but it needs to be experienced. It's not the kind of film that is easy to convince others to watch on paper. "A woman does her daily routine for three consecutive days." The film almost puts you in a lull with its rhythm, and subsequently deconstructs that lull as the film progresses. It is one of the most memorizing experiences I've ever had in a theater - and I'm pretty sure dialogue isn't spoken until the 40 minute mark. It is not like Elephant, at least I don't think so (and I like that film.) The details in its duration are essential, and they're what make that duration so effective. It's one of the quickest 3+ hour films I've seen.

It's a feminist push, a marvelous display of form that pushes boundaries in film that almost all of its imitators fail at reaching, a center that holds a performance that makes you question what the off-screen dynamic was like for Akerman and Seyrig, and, most importantly, it's a voice from (unfortunately) one of the tragic directors that deserves to be heard by anyone interested in film.
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Old 02-16-2017, 08:11 PM   #161207
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Quote:
Originally Posted by bwdowiak View Post
can anyone describe what it is they like about Jeanne Dielman? It is a film I have heard of, but never really looked into what it is about until today. so this morning, I read just enough today to get an idea...

so, it's like Gus Van Sant's Elephant stylistically? I found that and a couple other GVS films he did around the same time were worth a look.

I find it interesting, though, that a film well over 2 hours documenting a woman at home doing nothing of consequence has garnered such excitement from some.

again, I haven't seen it.. and I think I'd like to, so don't take my question as passing an opinion on something that I know little about. I'm just curious.
Seyrig's performance and the film's composition are meticulous and fascinating, and those are the reason you should watch it, but be prepared to just settle in: the narrative is variational, not additive. It forces you to focus on the subtle variations in a daily routine which the main character has been forced into, the minor frustrations to that routine as they snowball, and the physical space in which that routine occurs. Akerman's use of framing, the way she builds the apartment and Jeanne's discomfort in it through obscured shots, slightly confused spatial relationships, and inferences from sound are brilliant contortions of film grammar, and she uses time and repetition to build the character of Jeanne not by direct action but almost exclusively by reaction. If you have an ounce of interest in formalism, it's worth seeing. If you have an actual love of films with formalist features, it's downright amazing.

I, personally, can't wait. I saw it in theaters a few months ago and have been eager to see it again, especially since the print I saw wasn't in the best of condition. A cleaned up scan will be nice to experience.
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Old 02-17-2017, 03:03 AM   #161208
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Last night I watched Shindō's THE NAKED ISLAND. I am routinely blown away at how much can be expressed without dialogue, bringing to mind another Criterion that was first time viewing recently, THE PHANTOM CARRIAGE.

THE NAKED ISLAND's strength was its simplicity, which I think lends to its universal appeal. I was surprised to see Benicio del Toro's involvement in its restoration and really enjoyed the commentary by Shindō and the composer Hayashij. Also, Akira Mizuta Lippit's interview was helpful in understanding the context of the film in post-war Japanese cinema.

[Show spoiler]I was truly gutted by the scene when the mother climbs the island after her son's death and looks on as fireworks go off on the mainland. I wasn't surprised to hear Benicio also bring up this moment in his interview.


Another phenomenal film.
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Old 02-17-2017, 05:19 AM   #161209
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Quote:
Originally Posted by bwdowiak View Post
can anyone describe what it is they like about Jeanne Dielman? It is a film I have heard of, but never really looked into what it is about until today. so this morning, I read just enough today to get an idea...
I'd seen the film last year at a cinema. My impressions:

Quote:
At 200+ min, the majority of it devoted to scenes of a homemaker doing her chores almost in real-time, it's jumping off at the deep end as an introduction to a director, and based on reputation I was all prepared to pronounce it as pretentious and dull, but the film has a rhythm and a reason for its structure. Day 1 can be interpreted as the last of the woman's orderly if dull existence. We see her wholly a creature of routine, her life devoted to accomplishing a series of tasks, be it cooking dinner, polishing her son's shoes, babysitting a neighbor's infant or sleeping with a regular client for money, all with the same unemotional precision. Day 2, we see a repetition of those tasks but with slight instances of disorder, like a tiny crack on a window, creeping into her routine, suggesting a long gestating mental breakdown. Day 3 shows those cracks spidering ever so little more, until we reach an abrupt startling crescendo
[Show spoiler]where she stabs that day's client with a pair of scissors. Is it shown that she gets an orgasm during sex prior to that and is therefore disturbed by her emotional involvement? I felt so, but not sure
.

The rhythm is what defines the film, stick with the first half hour or so of the film and it will suck you in. The differences in Day 2 will further intrigue you as to where the build-up is leading to, and the film doesn't disappoint in its culmination. There are instances where the film tests your patience, with 5 min static shots of the protagonist staring into space, but even if indulgent they make sense within the context of the film's thrust. I would urge people to see this film.
I liked it a lot more than the other Akerman film I saw that day, Je Tu Il Elle, now that seemed a load of bollocks.
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Old 02-17-2017, 07:11 AM   #161210
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In all seriousness if this clip (this is the video that years ago made me import the Belgium DVD) doesn't make you want to rush out and buy JEANNE DIELMAN the movie might not be for you:

https://m.youtube.com/watch?v=5C5Az-239uM
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Old 02-17-2017, 09:36 AM   #161211
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Quote:
Originally Posted by senseabove View Post
Seyrig's performance and the film's composition are meticulous and fascinating, and those are the reason you should watch it, but be prepared to just settle in: the narrative is variational, not additive. It forces you to focus on the subtle variations in a daily routine which the main character has been forced into, the minor frustrations to that routine as they snowball, and the physical space in which that routine occurs. Akerman's use of framing, the way she builds the apartment and Jeanne's discomfort in it through obscured shots, slightly confused spatial relationships, and inferences from sound are brilliant contortions of film grammar, and she uses time and repetition to build the character of Jeanne not by direct action but almost exclusively by reaction. If you have an ounce of interest in formalism, it's worth seeing. If you have an actual love of films with formalist features, it's downright amazing.

I, personally, can't wait. I saw it in theaters a few months ago and have been eager to see it again, especially since the print I saw wasn't in the best of condition. A cleaned up scan will be nice to experience.
Well said, but there is only one thing missing from this explanation: how subtle her use of form is at times. The shots don't really call attention to themselves like they do in the films of other directors who favour long takes. Not that this is a bad thing necessarily, but in Jeanne Dielman you really have to pay close attention because there are no fancy camera moves from memory. It's most long static shots that focus on the quotidian aspects of her mundane existence.

As I've implied in a recent thread, I have a problem with the idea of Jeanne Dielman being called a feminist film. It is feminist in a narrow sense, but I think what it's saying about a particular mode/way of life is deeper than feminism although still very much conforming to an analysis of modern life that came out of the 1960's via academics like Adorno and Marcuse.
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Last edited by malakaheso; 02-17-2017 at 09:43 AM.
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Old 02-17-2017, 01:30 PM   #161212
MifuneFan MifuneFan is offline
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Sofia Coppola finally got in the database, thanks to Rumble Fish.

Also, a phantom page was added for the director Renen Schorr
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Old 02-17-2017, 01:59 PM   #161213
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Quote:
Originally Posted by Harakiri41 View Post
Last night I watched Shindō's THE NAKED ISLAND. I am routinely blown away at how much can be expressed without dialogue, bringing to mind another Criterion that was first time viewing recently, THE PHANTOM CARRIAGE.

THE NAKED ISLAND's strength was its simplicity, which I think lends to its universal appeal. I was surprised to see Benicio del Toro's involvement in its restoration and really enjoyed the commentary by Shindō and the composer Hayashij. Also, Akira Mizuta Lippit's interview was helpful in understanding the context of the film in post-war Japanese cinema.

[Show spoiler]I was truly gutted by the scene when the mother climbs the island after her son's death and looks on as fireworks go off on the mainland. I wasn't surprised to hear Benicio also bring up this moment in his interview.


Another phenomenal film.
I've been kind of interested in this film. I see that 3 posters with whom I am frequently in tune with liked your post - Pedro, shell, and oildude.

hmm... maybe pick this one up from the library or in the next sale
"It's my belief that history is a wheel. 'Inconstancy is my very essence,' says the wheel. Rise up on my spokes if you like but don't complain when you're cast back down into the depths. Good times pass away, but then so do the bad. Mutability is our tragedy, but it's also our hope. The worst of times, like the best, are always passing away." - Boethius
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Old 02-17-2017, 02:05 PM   #161214
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Quote:
Originally Posted by MifuneFan View Post
Sofia Coppola finally got in the database, thanks to Rumble Fish.

Also, a phantom page was added for the director Renen Schorr
Now, if she can make into the database as a director!
"First, a brief preface. Every time I review a film by Jean-Luc Godard, I receive outraged letters from readers who hated it. It is suggested that my reviews and myself join Godard on the trash heap of history; that the customers wuz robbed. A common complaint is that Godard 'made no sense.' And so on." -- Roger Ebert (1966)

“It would be boring if we all just made safe films.” — Nicolas Winding Refn, My Life Directed by Nicolas Winding Refn
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Old 02-17-2017, 02:58 PM   #161215
MifuneFan MifuneFan is offline
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May's announcements had the most NYD clues includes from any month I can recall. Usually it's one, or two at the most.

Ghost World
Dheepan
Jeanne Dielman
Good Morning
Mysterious Object at Noon
Othello (maybe?)

They might knock out all the clues by the first half of the year at this rate

Remaining:

Marseille trilogy
Stalker
They Live By Night
Sixteen Candles?
West Side Story?

(ones with ? aren't certain)
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Old 02-17-2017, 03:51 PM   #161216
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Stalker could be barebones and it would still be superior since it's from a superior source than AE's poor PQ release.

And you really want to talk about Criterion being pretentious when they're releasing John Water's Multiple Maniacs?
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Old 02-17-2017, 04:00 PM   #161217
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Even though the hint is pretty on the nose, I still do think it will be Sixteen Candles, if for no other reason than I purchased the Universal edition within the last year -- that pretty much ensures that Criterion will be going with it.
"First, a brief preface. Every time I review a film by Jean-Luc Godard, I receive outraged letters from readers who hated it. It is suggested that my reviews and myself join Godard on the trash heap of history; that the customers wuz robbed. A common complaint is that Godard 'made no sense.' And so on." -- Roger Ebert (1966)

“It would be boring if we all just made safe films.” — Nicolas Winding Refn, My Life Directed by Nicolas Winding Refn
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Old 02-17-2017, 04:03 PM   #161218
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Quote:
Originally Posted by Ray_Rogers View Post
... Criterion is catering to their more pretentious fans and isn't as open as they were during their Laserdisc days. Especially since then they were releasing titles such as GHOSTBUSTERS, Close Encounters of the Third Kind, The Adventures of Robin Hood, Fobidden Planet, Dr. No, From Russia with Love, Goldfinger, Blade Runner, etc. I doubt they'd ever re-release RoboCop, The Silence of the Lambs, Rebecca, Notorious, Spellbound, Hard Boiled, and The Killer at all through theirselves...
That has got almost nothing to do with Criterion supposedly being pretentious and everything to do with how the home video market has changed since the LD days. Surely anyone who frequents this thread must realise that by now?
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Old 02-17-2017, 04:07 PM   #161219
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I'm convinced you're the only person still clinging on to the Laserdisc days. It's time to move on, my friend.
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Old 02-17-2017, 04:17 PM   #161220
MifuneFan MifuneFan is offline
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I would say it falls into the fetish range for him. Same with imports.
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