Ishmael Lasting
Have been described by a number of people as 'the wittiest person on Mastodon.' (Zero is a number.)
Writer of sorts. Not really here to talk about that though. So far, I seem to be mostly talking about la cinema -- art house, cult and classic mainly. (Side note: If you understand the L'angle du hasard reference without Googling it, that's numberwang).
Also, will post whatever other misbegotten ideas pass through my brain as my synapses misfire.
In 1946, in a 'Where were we before we were so rudely interrupted?'' gesture, 11 films tied for the top prize at the Cannes Film Festival. These are 4 of those films.
ANTOINE & ANTOINETTE - 🇫🇷
A working class couple win the lottery and lose the ticket. Masterfully directed. Comfortably the best film of these four
⭐ ⭐ ⭐ ⭐
PASTORAL SYMPHONY - 🇫🇷
A pastor takes in a blind orphan, falls in love with her when she grows up... and his love rival is his own son. So... ick.
My favourite moment is when it suddenly occurs to them (after she's a fully grown adult) that a surgeon might be able to fix her eyesight. And he does. All kinds of stupid, but entertaining
⭐ ⭐ ⭐
MARIA CANDELARIA - 🇲🇽
The intentional artificiality is nice -- almost Powell & Pressburger level -- but it's VERY melodramatic even for the 40s
⭐ ⭐ ⭐
MEN WITHOUT WINGS - 🇨🇿 🇸🇰 [Actually Czechoslovakia]
Solid Czech Resistance versus Nazis thriller
⭐ ⭐ ⭐
THE CURSE OF FRANKENSTEIN - 🇬🇧
Hammer Studios. Peter Cushing. Christopher Lee. You know the score.
⭐ ⭐ ⭐ ⭐
THE BRIDE! - 🇺🇸
First 45 minutes: 'I don't know what its detractors are talking about - this film is clearly a masterpiece.' Final hour and 15 minutes: 'OK... they may have a point.'
Fun. Ambitious. Messy.
⭐ ⭐ ⭐
THE VANISHING - 🇳🇱
Classic feel bad Euro horror.
⭐ ⭐ ⭐ ⭐
THE STRANGER - 🇫🇷
Fairly faithful adaptation of the Albert Camus novel, but goes about it all in a too obvious manner. How obvious? They actually play The Cure's "Killing an Arab" over the end credits in case you needed a summary of the film's themes.
⭐ ⭐ ⭐
RESURRECTION - 🇨🇳
This is quite something, although at 2hrs 40, I suspect it requires a higher than average tolerance for not knowing quite what's happening for long periods of time
⭐ ⭐ ⭐ ⭐ ⭐
THE BALLAD OF NARAYAMA - 🇯🇵
Grittier remake of Japanese classic that isn't quite as good, but does stand on its own merits
⭐ ⭐ ⭐ ⭐
EMMA (TV FILM) - 🇬🇧
Kate Beckinsale makes no attempt to be likeable as Emma. Thumbs up. Sam Morton is a good Harriet, because Sam Morton is good at everything. Mark Strong's Knightley is too stern though. It turns an unexpected romance into 'What does she see in him?' Solid enough though
⭐ ⭐ ⭐
EMMA (TV MINISERIES) - 🇬🇧
There are film adaptations that demonstrate you can tell this story in 2 hours, but inevitably if you've got 4 to play with, you can tell it better.
Also, the relationship between Romola Garai's Emma and Johnny Lee Miller's Knightley is (usually) more playful here so the attraction works
⭐ ⭐ ⭐ ⭐
MAI '68, LA BELLE OUVRAGE - 🇫🇷
Fairly straightforward documentary with footage from the protests alongside testimonies of the people who were there
⭐ ⭐ ⭐
SUMMER OF SOUL - 🇺🇸
The footage from the Harlem Cultural Festival is magnificent and alone earns the five stars, but the documentary also does an excellent job of contextualising the event and its 'disappearance' from public memory. Look at that Gladys Knight & The Pips dance routine!
⭐ ⭐ ⭐ ⭐ ⭐
ELDRIDGE CLEAVER, BLACK PANTHER - 🇫🇷
He's in exile in Algeria. The director asks him questions. It's fine.
⭐ ⭐ ⭐
THE MIRROR - 🇮🇷
I remember the first time I saw this and at around the 40 minute mark thinking 'This is really good, but with respect, Mr Panahi, you've kind of made this film already.' And then, boom, it flipped. So, in a way, I did that!
⭐ ⭐ ⭐ ⭐ ⭐
THE PASSION OF ANNA - 🇸🇪
Ingmar Bergman. Sven Nykvist. Max von Sydow. Liv Ullmann. Bibi Andersson. Never goes too far wrong, does it?
NOROI: THE CURSE - 🇯🇵
A journalist investigates paranormal events that (I don't think it's a spoiler) all turn out to be linked. Nicely woven found footage folk horror
12:08 EAST OF BUCHAREST - 🇷🇴
At 12:08pm on the 22nd of December 1989 Nicolae Ceaușescu fled Bucharest. Dry comedy mostly focused around a TV debate about whether this particular town had a revolution or if people waited to take to the streets until 12:09.
THE LONG FAREWELL - 🇺🇦 [USSR, actually]
So stylistically odd, the Soviets didn't let director Kira Muratova make another film for seven years despite it not being narratively troubling. Say what you will about them, but those Stalinists knew genuine subversion when they saw it.
All films this week get ⭐ ⭐ ⭐ ⭐
Apparently, Keir Starmer has told European leaders they must face up to the fact that relations with the US are 'under strain.'
This from the man who repeatedly claims he doesn't believe the UK has to choose between closer ties to Europe and closer ties to the USA. This from a man who sent the King to Congress to argue that the relationship between the UK and US was 'unbreakable and irreplaceable.'
He's got some hide, hasn't he? In a world of Keir Starmers, be more Mark Carney.
THE GARDEN OF STONES - 🇮🇷
A man gets a vision and starts stringing stones up in trees and doing dervish dances. The authorities come out to take a look. 'No, he isn't crazy. He's an artist.' Strange, but mesmerising film
⭐ ⭐ ⭐ ⭐
CRIMSON GOLD - 🇮🇷
A look at inequity in Iran drives a pizza delivery man to extreme but futile action.
⭐ ⭐ ⭐ ⭐
HOW TO IRRITATE PEOPLE - 🇬🇧
Proto-Python TV sketch show special that needed more work and less sexism
THE ROUND-UP - 🇭🇺
Before it could be exhibited, director Miklós Jancsó had to sign a paper declaring this was not about the failed 1956 Hungarian uprising or in any way anti-Soviet. It's about the failed 1956 Hungarian uprising and anti-Soviet.
⭐ ⭐ ⭐ ⭐
BROKEN VOICES - 🇨🇿 🇸🇰
Subtle, based-on-true-story drama about grooming and abuse in a prestigious girls' choir. Beautifully acted by its young cast
⭐ ⭐ ⭐ ⭐
FRAULEIN - 🇩🇪
A young woman from Bosnia changes the outlook of an older woman from Yugoslavia ('No-one calls it that any more') through what the blurb calls 'an unlikely friendship'. Solid enough, but hits a few too many cliches along its way
⭐ ⭐ ⭐
FAR FROM THE MADDING CROWD - 🇬🇧 🇺🇸
Postcard pretty York Notes adaptation of the novel that hits most of the major plot points but completely misses the soul of the book by flattening the story down to a bucolic romance.
Also, Bathsheba Everdene is so modern, she doesn't know the origin of her own first name. In 19th century England? O...K.
But it's zippy and I can't pretend I wasn't entertained
⭐ ⭐ ⭐
AURORA - 🇷🇴
Imagine Chantal Akerman had made Taxi Driver. It's a little bit like that
⭐ ⭐ ⭐ ⭐
WHEN I SAW YOU - 🇵🇸
A defiant little boy in a refugee camp decides to walk back to Palestine. On the one hand, he should probably listen to his mother more. On the other hand.... Excellently paced drama
⭐ ⭐ ⭐ ⭐
GABBEH - 🇮🇷
Elderly couple wash a rug, magically bringing to life one of the characters in the design to tell the history of her tribe. Colourful, lyrical and strange
⭐ ⭐ ⭐ ⭐
TEN - 🇮🇷
A woman drives a car and has a number - of conversations with passengers that focus on the plight of women under the regime of Islamic Republic . That's it. That's the film
⭐ ⭐ ⭐ ⭐
THE CLAY BIRD - 🇧🇩
East Pakistan is about to become Bangladesh. A little boy is sent to an Islamic school. The film balances domestic drama against the political background.. but is too small for the story it is telling, as underscored when the Pakistani army arrives for the crackdown... entirely off-screen. All round feels a bit televisual
⭐ ⭐ ⭐
HARAKIRI - 🇯🇵
Stone cold classic, innit
⭐ ⭐ ⭐ ⭐ ⭐
TOKYO TWILIGHT - 🇯🇵
Peak Ozu
⭐ ⭐ ⭐ ⭐ ⭐
ONLY ON MONDAYS - 🇯🇵
Possibly the most French New Wave Japanese New Wave film I've seen. Starts off like an artsy exploitation flick, gets dark, ends with a cathartic visual joke about patriarchy. Also, lots of long close-ups of Mariko Kaga's face = cinema!
⭐ ⭐ ⭐ ⭐
FULL CIRCLE - 🇬🇧 🇨🇦
Atmospheric ghost story with Mia Farrow as a bereaved mother. I couldn't help but feel the story it looked like it was setting up would have been more interesting than the one it became
⭐ ⭐ ⭐
DAGUERREOTYPES - 🇫🇷
Agnes Varda films the shopkeepers on her street. And it's wonderful
⭐ ⭐ ⭐ ⭐
RUE DAGUERRE IN 2005 - 🇫🇷
Basically a DVD featurette -- remember those? -- going back to the same street 30 years later.
⭐ ⭐ ⭐
NO OTHER CHOICE - 🇰🇷
Park Chan-wook's dark comedy about the ruthlessness capitalism can enforce on us all
⭐ ⭐ ⭐ ⭐
LATE AUGUST, EARLY SEPTEMBER - 🇫🇷
In 1990s French cinema, everybody was a writer with a literary agent. Everybody. Another thing the internet destroyed. Ha.
⭐ ⭐ ⭐
'Girls will be boys and boys will be girls
It's a mixed up, muddled up, shook up world, except for Lola
La-la-la-la Lola'
Always very easy to take the piss out of #Moby, but I'm not sure how anyone can come away from The Kinks' #Lola and think it's 'unevolved'. Bizarre take.
Would you write it exactly the same way nearly 60 years later? No, probably not. But Ray Davies was one of the great pop lyricists and Moby... also works in the music industry.
@hex@dads.cool @onuryasar@mastodon.online I think that's true. And it's true of pretty much all the musicals I like (Dancer in the Dark is another favourite). It's the convention and the lightness I don't like... because I'm a grinch.
It's also, incidentally, why I hated La La Land. That borrows its template from Umbrellas, but when the love story is spoilt rich kids whose time together is disrupted by Hollywood career aspirations instead of someone being drafted into the Algerian effing war, it doesn't just lack the same resonance, I find it borderline offensive in its indulgence. But anywaaaay...
@hex@dads.cool @onuryasar@mastodon.online Umbrellas of Cherbourg is one of my favourite films. Top 10. Well, depending on the day. But it floats around there. And -- *drum roll* -- I'm not that fond of musicals generally. But because it's sung-through among other reasons, yeah, masterpiece
If I accidentally ram into the back of your car because my brakes don't work, you have every right to be livid about the damage I caused to your car. What we can't do, however, is pretend that accidentally ramming your car and doing it on purpose ,with malice aforethought, are the exact same thing -- legally or morally. Intent matters. Context matters.
Y'know what? There are some echoes of Suez 1956 in what just happened to the US over Greenland.