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Old 12-08-2022, 07:22 PM   #221
zen007 zen007 is offline
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From the critics' top 20, my top 10 list:


Man with a Movie Camera (1929) - If I include documentaries, this one is right up there with the best films. Probably serves as an inspiration for films such as Baraka and Samsara.

Persona (1966) - For its relative experimental nature where it attempts to combine various genres, leaning towards the psychological drama genre.

Vertigo (1958) - A noir-psychological thriller with intelligent cinematography esp. the use of colors and space, and an impactful score.

In the Mood for Love (2000) - An amazing film at many levels - sophisticated acting (where glances and eyes convey emotions), cinematography (use of frames within frames for e.g.), and score. Good to see it in the top 10.

Godfather (1972) - A timeless film showcasing some of the best in direction, screenplay, acting, cinematography (lighting), score, etc.

Tokyo Story (1953) - There are not too many films like this one in terms of emotional impact and message. The cinematography is notable where the camera remains static (characters do movement) and mostly in a low(maybe to replicate the sitting positions in the Japanese environment) or eye-level position. Tokyo Story is an example of a film where simplicity/minimalism keeps a film timeless.

Seven Samurai (1954) - Every shot can be a good photograph. An inspiration for many films.

2001: A Space Odyssey (1968) - A unique experience that provides a glimpse of an AI influenced future.

Singin' in the Rain (1952) - This film is a triumph of cinema, combining a musical with comedy in a film about films. It is also one of the best feel-good movies.

Cleo from 5 to 7 (1962) - I have picked this for its experimental nature, excellent choice of subject, and striking B&W photography. Also provides a brief tour of 1960s Paris!

Last edited by zen007; 12-08-2022 at 07:40 PM.
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Old 12-08-2022, 07:48 PM   #222
thelittleprince thelittleprince is offline
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Meh
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Old 12-08-2022, 11:51 PM   #223
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Quote:
Originally Posted by moreorless View Post
I'd agree using "woke" and "cancel culture" are very poor choices of words that I think most people would associated with bigoted conservatives
The term "cancel culture" was popularized by President Obama.
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Old 12-09-2022, 12:46 AM   #224
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Quote:
Originally Posted by zen007 View Post
One of the best ways to watch Jeanne Dielman is at 2x speed, which works for the most part!
I hope that's joke, because it sounds as repugnant to me as a Reader's Digest version of a classic novel.
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Old 12-09-2022, 06:24 AM   #225
Rayjg Rayjg is offline
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Quote:
Originally Posted by zen007 View Post
One of the best ways to watch Jeanne Dielman is at 2x speed, which works for the most part!
This was the only way I made it through Highlander II.
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Old 12-09-2022, 06:54 AM   #226
zen007 zen007 is offline
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I have watched Jeanne Dielman at both the regular and 2x speeds. 2x is one of the best ways to watch this particular film as:

a) It follows the concept of the transcendental style of filmmaking where the camera holds onto a scene for as long as possible, focusing on one person w/o dialogue. With 2x you would not miss out on anything unless looking for specific details.

b) It is in French so most will rely on subtitles, which are easy to read at 2x, esp. with not much dialogue (and score) in the film.

c) The 200+ minutes run time can be reduced to half (many may struggle to last 3+ hours).


You would probably need 1x if you looking for specific details and at the climax, if you want to study the "reactions" in detail when JD is sitting on the table (feeling liberated?).


Try it out and you have the option to revert to normal speed
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Old 12-09-2022, 08:42 AM   #227
kmhofmann kmhofmann is offline
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You must be f!@#ing kidding me.
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Old 12-09-2022, 03:05 PM   #228
ikms ikms is offline
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Like many, had the disc in the pile and took this chance to finally watch Jeanne Dielman. But unlike many - as a photographer - I noticed within the first two or three setups that the lens (and I mean THE lens) used in the production had a one to two degree leftwards swing. Either the lens was banged-up or the camera mount itself was out of calibration and needed shimming because the focal plane on every shot in the film is tilted, going from the foreground on the left side of the frame to the background on the right side. In indoor shots necessitating the lens be shot wide open the shape of the cone of focus becomes extremely distracting, with objects/characters on the left side in the mid-ground and background selectively blurred (the scene in the yarn shop is the easiest to see this effect: compare the arrow sign near the ceiling in the rear of the right side versus anything parallel to that on the left). Luckily the generous 200 minute runtime allotted to static shots allowed me to analyze this overlooked facet of transcendental filmmaking... at leisure.

As for my own tastes, on (off) the list more generally: Marketa Lazarova?
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Old 12-09-2022, 03:37 PM   #229
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I'd be interested in seeing this movie, but only one Blu-ray edition exists (Criterion, so region locked), and it is not on any streaming service I can subscribe to.

For such an supposedly important movie, it is curious how apparently un-important it is that people are able to see it.
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Old 12-09-2022, 07:00 PM   #230
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Quote:
Originally Posted by Atomic Salad View Post
I'd be interested in seeing this movie, but only one Blu-ray edition exists (Criterion, so region locked), and it is not on any streaming service I can subscribe to.

For such an supposedly important movie, it is curious how apparently un-important it is that people are able to see it.
You could save some time and money and ask the manager of a local restaurant if you could just watch the dishes being washed in the back.
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Old 12-09-2022, 07:16 PM   #231
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Quote:
Originally Posted by Atomic Salad View Post
I'd be interested in seeing this movie, but only one Blu-ray edition exists (Criterion, so region locked), and it is not on any streaming service I can subscribe to.

For such an supposedly important movie, it is curious how apparently un-important it is that people are able to see it.
To be fair, itís not like itís gonna be topping Netflix Top 10 anytime soon. I believe itís on HBO Max stateside but here in the UK itís borderline unobtainable in any form.
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Old 12-10-2022, 06:48 PM   #232
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anyone who says you should watch a movie at 2x speed won’t have anything of interest to say about any movie.
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Old 12-10-2022, 09:09 PM   #233
zen007 zen007 is offline
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When I see ad hominems, strawmen, generalizations, etc. I know those folks don't have much to say about films (or the topic)

Last edited by zen007; 12-10-2022 at 10:32 PM.
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Old 12-10-2022, 09:11 PM   #234
zen007 zen007 is offline
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Quote:
Originally Posted by ikms View Post
Like many, had the disc in the pile and took this chance to finally watch Jeanne Dielman. But unlike many - as a photographer - I noticed within the first two or three setups that the lens (and I mean THE lens) used in the production had a one to two degree leftwards swing. Either the lens was banged-up or the camera mount itself was out of calibration and needed shimming because the focal plane on every shot in the film is tilted, going from the foreground on the left side of the frame to the background on the right side. In indoor shots necessitating the lens be shot wide open the shape of the cone of focus becomes extremely distracting, with objects/characters on the left side in the mid-ground and background selectively blurred (the scene in the yarn shop is the easiest to see this effect: compare the arrow sign near the ceiling in the rear of the right side versus anything parallel to that on the left). Luckily the generous 200 minute runtime allotted to static shots allowed me to analyze this overlooked facet of transcendental filmmaking... at leisure.

As for my own tastes, on (off) the list more generally: Marketa Lazarova?
Interesting observation on the focal plane.

Last edited by zen007; 12-10-2022 at 09:21 PM.
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Old 12-11-2022, 02:09 PM   #235
dancerslegs dancerslegs is offline
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Quote:
Originally Posted by ikms View Post
Like many, had the disc in the pile and took this chance to finally watch Jeanne Dielman. But unlike many - as a photographer - I noticed within the first two or three setups that the lens (and I mean THE lens) used in the production had a one to two degree leftwards swing. Either the lens was banged-up or the camera mount itself was out of calibration and needed shimming because the focal plane on every shot in the film is tilted, going from the foreground on the left side of the frame to the background on the right side. In indoor shots necessitating the lens be shot wide open the shape of the cone of focus becomes extremely distracting, with objects/characters on the left side in the mid-ground and background selectively blurred (the scene in the yarn shop is the easiest to see this effect: compare the arrow sign near the ceiling in the rear of the right side versus anything parallel to that on the left). Luckily the generous 200 minute runtime allotted to static shots allowed me to analyze this overlooked facet of transcendental filmmaking... at leisure.

As for my own tastes, on (off) the list more generally: Marketa Lazarova?
Many lower-budget European films from that era were shot with inferior or obsolete lenses, cameras, filmstock, lighting equipment, mics, etc. Not unlike low-budget American films from the same era.

Doesn't necessarily have a noteworthy impact on the overall quality of a film.
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Old 01-25-2023, 04:22 PM   #236
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I would be interested to see an aggregate of only the new Sight and Sound voters. Does anyone know if that is posted anywhere?
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Old 01-31-2023, 06:05 PM   #237
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