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Cinema is shite Anonymous 07/24/2021 (Sat) 17:24:18 No.1710
Almost everything has a slant, a bias, a nauseating moral tale behind that makes the act of watching unbearable once you're old and receptive. Terrible characters with terrible motivations, fake love stories, manichean villains, clumsy writing… the dreaded sense of being preached for 2 hours. I would go to the church or read the news if I wanted that. To me the only good films are those where all pretense is abandoned like a whore on the side of the road; films where the director embarks it almost like a scientific experiment, deprived of tropes, where the characters have their own motivation and not those of the director/writer/politics of the time. Abstraction, simplification; expression limited to stylistic & narrative choices. Nonexistent psychological studies; characters should be like microbes under the microscope of the filmmaker -absolute objectivity in the writing aspect. Something like Un Flic by Jean Pierre Melville is the perfect example of a film deprived of all the ills that plague the medium. Only films like these are the ones I can watch without feeling repulsive afterwards.
>>1710 What is a supposedly great movie that you hate? No Hollywood stuff please.
>>1712 Nowadays I feel great contempt for stuff that I loved when I was younger: Nouvelle vague, Italian neorrealism, war films, Bergman, most arthouse in general... Today I rather watch unpretentious crime films for example.
>>1713 >Bergman >arthouse that's your problem for watching such crap
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I agree OP I also don't like western movies much anymore because if they don't have that pretention or political charge then the movie is a jingling keychain for the masses after the work week, or just to use for some other purpose like launder money or fulfill contracts. Watching other people live their lives while you dream endlessly about it also turned me off from watching movies anymore especially made in the west where those movies are a staple.
>>1713 You aren't obliged to watch "great" films to be a film fan, no? Cinema is for recreational purpose after all. Nothing's wrong if you enjoy capeshit movies because they help you relax and turn your brain off after a hard work week or whatever. I think it's much more fun to watch movies that suit your taste other than watching what the critic of the week tells you. I've come to terms with that and feel more relaxed with my choice. Let the Oscars, Cannes and indie film awards congratulate their favorite award baits, I don't care about them. Hope you can find your favorite style and enjoy films again. >>1714 I'm not an arthouse-head but curious why you consider them crap lol
>>1713 >>1710 Also, feel free to post unpretentious crime thrillers in the thriller thread. We love that kind of movies.
>>1710 >To me To you, why think the medium is bad when you could've simply thought maybe you have wildly different standards on optimal preference? >Un Flic by Jean Pierre Melville is the perfect example of a film deprived of all the ills that plague the medium A poor example due to many of the characters showcasing a moral example. One of the robbers, an ex-banker, lived a relatively peaceful life with a caring wife and had to make her live in total shame when it was discovered he was one of the culprits, he ended himself in their room when this happened. This is explicit intent by the director. And of course the flic himself, who did his job the best he could, almost flawlessly but still finished it half-assed because they got to complete another job, didn't get the money back AND pulled a trigger too soon, practically executing an unarmed man in broad daylight. Even his partner belittled him, all the work went to the trash because in France that meant a demotion or a stain in your reputation/curriculum file. Obviously his cold-faced and frustrated gaze at the end is explicit director's intent. Then you have the main thief's girl, who cucked the man and betrayed his interests (to help him get a bargain easily, lol women) but was paid in spades when the flic executed him on the street with her as witness. Her disgusted and hopeless reaction, displayed on a close-up, is explicit intent by the director. The "example" our good old Hack Melville might've wanted to tell us (might because he was known to throw shit into the wall to see what sticks) is that crime doesn't pay like always (all his movies show this) that one should not play with people we care for if one cannot withstand the consequences (ex-banker, bar whore, the old man with homo tendencies, the flic) and that everything can go to hell in the end with one mistake (the thief, the flic, the thief that got killed in the beginning) Obviously these need a viewer who can interpret facial expressions as well as knowing that some scenes and reactions don't appear magically on the editing process, if a close-up of a sad person appears it means the director instructed the actor to show that, told the camera crew to move the rig to create the frame and told the editor to include it IF he was a free worker because sometimes productions/executives are the ones who control the editors. Still i don't blame you for disliking preachy scripts via dialogue choices, i tolerate them when they speak to my morals but dislike them when they don't so quite "hypocritical" from my part. Perhaps you would like a more visual narrative style? >Only films like these are the ones I can watch without feeling repulsive afterwards. Somewhat this standard of yours is a good thing, because it makes you a potentially interesting artist if you dared to write, draw or direct a project. I like Melville's methodical montages very much so i would def pursue seeing a work from an artist with such a rigorous taste.
>>1718 >Nothing's wrong if you enjoy capeshit movies Yes there is and you should be horribly shamed for it.
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>>1713 >most arthouse in general What are some exceptions not listed in this thread already? Does Tarkovsky have that same Bergman problem?
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>>1773 I'm going to say that there isn't despite hating them because it is sure to upset you.
>>1710 It seems you have problems with moralization? At least partially. I think part of this is, the "will of power" of artists to change reality according to their beliefs and values. Even popular film reviewers seem to want to make films "more moral". As in; "I want to create a society that is more beneficial to what I perceive my best interests to be." See: Why Modern Movies Suck - They Teach Us Awful Lessons The Critical Drinker https://yewtu.be/watch?v=Dnuqp4_K7ik 10:49 Another rather similar thought is; what I think is, the honest belief amongst people that others thinking for themselves is dangerous to them or what they value in some way, and must be destroyed. Also: https://encyclopediadramatica.online/Moralfag
>>2399 *will to power
>>2399 >films "more moral". As in; "I want to create a society that is more beneficial to what I perceive my best interests to be." Ironically that's the artist's personal reflection on his work, many like to put their values into their work, others prefer to showcase things as is ("realism") but problem is how to do such things. It's the case of doctrines around the "show don't tell" and "character/context consistency" a director and the writer have to do, in modern mainstream films for cattle these aspects are done poorly with many "lessons" being done telling but not showing but when they do show it the context the film was building itself around bends or stop existing to cater to said consequential actions that don't seem like consequences but inventions made out of thin air and annexed. Capeshit, to use a popular example, is chuck filled with this kind of antics but the nigger cattle ignores it for the sake of the romanticized ending, an example would be Spiderman 2, considered a classic in the genre but with a frankly horrible ending not even kids with consciousness could eat back in the day. The other popular examples of this do the other way, they "subvert" or create an anti-thesis of said effect but end up being as horrible because they do not build anything to create the necessary context to show it, they merely do the same but in the ending they commit the same mistakes but with a non-happy ending but still as romanticized or go cold turkey and stop it out of nowhere with no consequential inertia towards the previous actions. Jews should not be allowed in any writing department, hell, jews shouldn't be allowed anywhere near a film. Fuck it, jews shouldn't be allowed. >Moralfag Kinda a strange example of these phenomena, it was used as a pejorative back in the day by both edgy kids who wanted senseless mayhem or by some with a valid reason that some things were using standards too defined of another level of context or work. The classic example was Fist of the North Star, many hated that the main character despite being powerful used most of his power to do good and not create himself a harem while others rightfully said the premise was too rigid, invariable and the character too ideologically strong and unchanging for such a juvenile program meant for teenagers looking for people to get hit.

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