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Open Thread Open Thread 08/31/2020 (Mon) 21:01:08 No.34
[JW01 ~ 08/24/2019] There aren't many people here, but this bunker needs more content. Post something interesting that doesn't fit into other threads.
Edited last time by 11811 on 10/04/2021 (Mon) 15:32:03.
You need to advertise this board more if you want anons to know it's here.
Missed you guys.
Hey guys. I started typing a reply and then changed threads with the side catalog. The text stayed in the reply box for the new thread. I guess that's better than losing the reply, but it's kind of weird.
A few weeks ago I found this virtual art gallery for Shadows of Our Forgotten Ancestors: the book and the film. The site has a lot of good information and pictures. http://yakutovych.academy/shadows/en/ "Yakutovych Academy" is named for the artist who made the book's woodcut illustrations.
I remember a recent discussion on the old board about painters who became directors. Well here's one I didn't know about. https://www.rogerebert.com/far-flung-correspondents/piotr-szulkins-homespun-apocalypse >Given his background in painting, it is not surprising his movies are amongst the most visually striking ever to have emerged from Poland: together with Andrzej Żuławski and (lesser known) Wojciech Wiszniewski, Szulkin developed a highly experimental mode, in which grotesque cruelty, wry humor and Darwinian view of society’s pecking order go hand in hand with deep insight into what totalitarianism does to human soul. And what's this all about (from wikipedia) >In 2013, Piotr Szulkin demanded the removal of information about the Jewish ancestry of [his father] Paweł Szulkin in his biography in the Polski Słownik Biograficzny (Polish National Dictionary).
Can you rec me something from africa or about africa /k/? So far I watched Africa Addio, Empire of Dust, and, if you can count it, Who Killed Captain Alex. I dig africa things related due to them being fucking niggers, which lead to or may lead to interesting behaviour with the clash they make with modern civilization.
>>40 >africa /k/ Yeah I'll post a link for this one when I have time. It might be hard to find otherwise. Kommando 52 (1965) https://www.imdb.com/title/tt0887919/ <The film deals with the infamous "Kommando 52", which was active in the 1960s civil war in the Congo and was recruited mainly from West German men. Among them is the former Wehrmacht officer Siegfried Müller. Based on personal accounts and original material - backed by tape recordings of interviewed mercenaries and photos of murdered Africans - it creates a hard hitting historical document.
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>>40 >>41 Here it is https://mega.nz/#!elpDTKSC!dJn4fI-va3BAFp4H2lcyM4sg_qXNvYWTO5iVkPZb0_o I just watched it for the first time. It's a pretty interesting snapshot of a time when the leader of Congo hired German soldiers to help stop a rebellion. The documentary focuses more on the mercs than the Africans. The Germans are upbeat and carefree, yet they're merciless and downright sadistic to anyone they capture. I wondered where this sadism came from. It's not clear if they were ordered to be brutal, if they wanted to terrorize the population into submission, or if they were simply amusing themselves. In some cases the situation was so confusing (are these random villagers an enemy?) the mercs just killed everyone.
What do you guys think of Ben Rivers? I see his name often and he's always making new films, but I never bothered to watch any of them. https://cineuropa.org/en/newsdetail/376340/#cm
Is there any where that sells prints of movie matt paintings?
What are some good animated shorts/movies that aren't Nip or Disney shit?
I recommend The Tragedy of Man (2011) if you haven't seen it yet https://www.youtube.com/watch?v=0eSdOPcHum8[Embed] <Cannes Palm D'Or winner and Oscar-nominated Hungarian legend of animation, Marcell Jankovics adapted the script of The Tragedy of Man in 1983 from Imre Madách's play. The production of the film started in 1988 but only concluded at the end of 2011 after two and a half decades of struggle. The most acclaimed Hungarian play was written 150 years ago, it was translated to 90 languages, being constantly compared to Goethe's Faust or Dante's Divina Comedia not only because of its theme but also due to its qualities. The play still lives its life in the European cultural sphere: it has been recently translated to Russian and Italian for the umpteenth time.
Is there still a discord?
>>48 I don't think there was a discord for the board, only random people who spammed their rooms
>>45 >good animated shorts I like these Сочинушки AKA Russian Dreams (2000) - mix of live action and animation https://www.youtube.com/watch?v=YtUfD2Y0kw4[Embed] Elukka (205)- Finnish stop-motion https://vimeo.com/3266114 Peur(s) du noir (208) - spooky French monochrome https://www.youtube.com/watch?v=QyWKEZ8CKYw[Embed] Labirynt (1962) - surreal Polish cut-out https://www.youtube.com/watch?v=Z0ORbg9Gywg[Embed]
>>50 screwed up the dates but you get the idea
>>48 >(((Discord))) No thank you.
>>39 I remembered Sheeler, but he made only Manhatta. >>45 Се́ча при Ке́рженце >1971 Soviet animated film directed by Ivan Ivanov-Vano and Yuri Norstein. The film is set to music by Rimsky-Korsakov and uses Russian frescoes and paintings from the 14th–16th centuries. These are animated using 2-dimensional stop motion animation.
Some new TVs will have "Filmmaker Mode" that's intended to preserve "the filmmakers' creative intent on consumer displays." http://archive.is/n0Owp https://www.hollywoodreporter.com/behind-screen/martin-scorsese-christopher-nolan-launching-filmmaker-mode-tv-setting-1234968? This seems like a big deal over very little. People are too stupid to turn off auto-motion so they need Christopher Nolan to endorse a new television setting?
Here's a good video introduction to Richard Williams, visionary animator who died a couple weeks ago https://invidio.us/watch?v=iWAwfXsYMrA[Embed] <In a world where live-action and animation are growing closer and closer to one another, Richard Williams was and still is one of the last remaining members of the old guard who wanted to push animation in the exact opposite direction, to do what no other medium can, and that's perhaps most evident in the masterful way in which his films move.
>>55 While looking for another clip I found someone talking about Williams in 2014 on the old board https://www.youtube.com/watch?v=ZGw5DKX6U6w[Embed]
I never knew Tippy Hedren accused Alfred Hitchcock of sexually assaulting her. Who knows if it's true or not. The story isn't too lurid, but it doesn't take much to incite a sanctimonious mob anymore. So I wonder if we'll ever see Hitchcock facing harsher scrutiny from the outrage brigade.
>>57 Oops, I posted an account that strangely omitted the crucial part of Hedren's account: "It was sexual, it was perverse, and it was ugly". The previous version downplays her claims, this version make Hitchcock sound like a monster.
To people who've seen both, do you prefer the shorter or extended versions of Dekalog 5 and 6? Why?
Fresh video essay on Almodovar from Adrian Martin https://www.youtube.com/watch?v=HFAYKD598ho[Embed] <It’s an enabling paradox of Pedro Almodóvar’s films that he became a principal export standing for Spanish cinema by importing so much into it from other countries and traditions. And this is especially so in relation to his starring female characters. <Our audiovisual essay (the first in a series of three for the Notebook on Almodóvar) looks at some of the many allusions in two of his early features, Dark Habits (1983) and What Have I Done to Deserve This? (1984), to diverse forms, genres, and directors—from Italian neo-realism to R.W. Fassbinder. In every case, Almodóvar does not merely borrow or pastiche, but reinvents these idioms as his own.
Robert Frank obit. I don't know his films very well but I like his photography. https://archive.is/9Aofq https://www.theguardian.com/artanddesign/2019/sep/10/robert-frank-obituary
>>54 Doesn't Dolby Vision already do this?
>>62 Damn I don't think my TV has that.
>>64 Thanks That trailer got a niggas eyes damp. None of them have died yet?
Do you know any films where Asians pretend to be Europeans? You could call it whiteface. It looks kind of creepy. I saw a clip from The Burning of Yuan Ming Yuan where it appears that French and English soldiers are portrayed by Chinamen. I'm not certain of the exact history here -- perhaps some Chinese fought under the Union Jack. But this actor with a bleached beard looks like an Asian trying to pass as white. https://youtu.be/V26PRvdz-jg?t=1h1m53s
>>66 Was that a thinly-veiled Finpost?
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Does anyone else remember talking about vaquita poachers on 8/film/? Well here's a new National Geographic documentary about it. https://invidio.us/watch?v=QiFjJCUd9ro[Embed] <The vaquita, the world's smallest whale, is near extinction as its habitat is destroyed by Mexican cartels and Chinese mafia, who harvest the swim bladder of the totoaba fish, the "cocaine of the sea." Environmental activists, Mexican navy and undercover investigators are fighting back against this illegal multi-million-dollar business.
>>66 It's a good thing
I've read that North Koreans often played American villains because there were few white people at all in the country. I found one example where the US commander appears to be a North Korean with a fake nose. https://youtu.be/jmR5kSzYOnE?t=11m47s
>>71 They had James Dresnok
>>72 i still need to watch that documentary about him
>>69 I just asked a guy from Mexico about the vaquita and he said they're already extinct
Any idea how to get an invitation code for https://forum.snahp.it?
>>69 >>74 There was a mexican back in /vg/ who said something about it, the same thing that synopsis says. Crazy rich asians pay thousands of dollars to poor fishermen via cartel proxies to catch them and make chinese medicine, then the army go to the villages and either get bribed or butcher the men. Then the chinese go to another village and start again. Back then he said there was a massive gang war in that area of the country due to newer, paramilitary cartels trying to eliminate the older, more conservative ones that only used to smuggle drugs. One of them supported by chinese funds and maritime networks, while the other backed by U.S. interests. Just a matter of seeing one of the sides using brand new NATO armament and the others brandishing old dusty Norinco weapons and slavic surplus tools. The resident mexican here might know more.
Netflix has killed torrents in South Africa <South Africans once relied heavily on piracy and torrents to get access to the latest international shows and movies, but this changed drastically following the growth of Netflix and other streaming services in South Africa. <MyBroadband spoke to numerous local ISPs, all of whom said that Netflix and other streaming services had seen massive growth in terms of data traffic volumes. <This was matched by a relative decline in torrent traffic as South Africans no longer need to pirate their favourite shows and series. https://mybroadband.co.za/news/internet/321668-netflix-has-killed-torrents-in-south-africa.html
>>71 Don't you need to defect to North Korea to get those roles? >>76 That's pretty depressing to hear. Why are the Chinese hellbent on exterminating Nature's creatures? They can't even cook the meat right, most of the time their meat turns low quality and stressed due to their barbaric ways of killing the animals.
>>73 He's ded sadly
I heard the end of an NPR story about the Nobel Prize for literature awarded to a Polish female author whose work was attacked by internet trolls. She didn't let those nasty trolls stop her, said the NPR reporter smugly. Of course I root for the trolls by default without knowing the situation. Another author won the same award this year, Peter Handke, but I didn't hear him mentioned in the NPR story. Handke is also a screenwriter (Wings of Desire) and director (The Left-Handed Woman). What makes him an interesting chap are his heretical views on Slobodan Milosovic. Apparently Handke believes the genocide in Bosnia was a hoax. So as you might expect there's been a pronounced backlash to his selection. Anyway I didn't know about him before, but now I want to check out the films he wrote.
I like this trailer for State Funeral with footage from the USSR following the death of Stalin https://invidio.us/watch?v=JSvGX6syd_8 <In State Funeral, Ukrainian filmmaker Sergei Loznitsa has uncovered a wealth of astonishing, mostly unseen archival footage of the “Great Farewell” in the days following the death of Joseph Stalin in March 1953: the teeming mass of mourners clogging Moscow’s Red Square, the speech announcing the hasty appointment of Malenkov, and finally Stalin’s burial in Lenin’s Tomb. While speeches about the Soviet Union’s unyielding fortitude and unity in the face of tragedy blare endlessly on speakers, and the pomp and ostentation grows increasingly surreal, the brilliantly edited and sound-designed State Funeral becomes an ever-relevant meditation on not just the horrors but also the absurdity of totalitarianism and the cult of personality.
Criterion 24 hr flash sale https://www.criterion.com/sale The bastards deleted one of my comments on their website so I have mixed feelings about shilling for them
>>82 then don't
>>82 What'd you say?
>>84 One of their articles mentioned Peter Handke in a negative light, so I asked why a small-timer like Milošević is so reviled when US political elites slaughter substantially more people with zero consequences. I thought it was a fair question but it was gone the next day.
>>80 >>82 >>85 I'm confident to project that you actually knew those comments were against the established status quo but you wanted to question the matter, in a completely fair way too. It's just that i am surprised that you are surprised. Handke is the son of Axis soldiers and seems to be used to question what's on the other side of the argument, he also witnessed first hand, for a short period, actual yugo war countryside and civilian displacement. He's an anomaly that doesn't fit inside a politically correct landscape, hence ignored and when brought up into a matter the discussion is deemed "a bubble" and treated like a subject in isolation: Context is very localized and matters like reason to be brought up and usual discussion consequences like moral ambiguities and historical accuracy is thrown straight into the void. All fitting around the character assassination modus operandi, or merely a cheap hit piece along with progressive school graduates moderating things they probably shouldn't.
>>86 Most of their articles have zero comments so I was expecting to be welcomed with open arms. This is an outrage! Okay, I was expecting to be welcomed with an annoyed comment or two. But I planned to have fun with the responses. Contemporary film writing sometimes takes a detour to endorse Approved Opinions. It's annoying. But my first attempt to challenge was a bust.
I found a podcast that's examining Song of the South to coincide with the launch of Disney+. Gonna try to listen tomorrow. http://www.youmustrememberthispodcast.com/episodes/2019/10/21/six-degrees-of-song-of-the-south-episode-1-disneys-most-controversial-film https://www.omnycontent.com/d/playlist/aaea4e69-af51-495e-afc9-a9760146922b/8f57a588-9582-4b05-89c9-aaa001627e6f/5e92c398-71a9-4767-8181-aaa001627e86/podcast.rss I don't know why I never heard of this podcast before. The other episodes look fairly interesting -- fact checking Hollywood Babylon (which has plenty of bullshit). <You Must Remember This is a storytelling podcast exploring the secret and/or forgotten histories of Hollywood’s first century. It’s the brainchild and passion project of Karina Longworth (founder of Cinematical.com, former film critic for LA Weekly), who writes, narrates, records and edits each episode. It is a heavily-researched work of creative nonfiction: navigating through conflicting reports, mythology, and institutionalized spin, Karina tries to sort out what really happened behind the films, stars and scandals of the 20th century.
The new 4K restoration of Satantango is playing in select cities http://arbelosfilms.com/distribution/films/satantango/ https://www.youtube.com/watch?v=UuyznqAILAM Arbelos is a fairly new company but I'm liking their output so far. Their first restoration was Belladonna of Sadness and they're currently working on Marcell Jankovics' Son of the White Mare. Months ago someone said György Fehér films were going to be restored in 2019 but I haven't seen news on that front. I'm not even sure who was restoring them. Anyone know more?
>>89 Szürkület was restored by the Hungarian National Film Fund, dont know about the rest. I think it was on national tv a few months ago but no one recorded it because I couldnt find it on torrent sites.
Just found out the board was relocated here, happy to see most of us somewhat made it. Kinda intimidated that i have to re-learn and discover most of the boards and history of what constitutes "The Webring" but really glad there's still another chance after the old place went kaput. Shame about those user counts regarding the "main" boards, seems community fragmentation will really take its toll regarding them.
>>90 MNFA also put Szenvedély on Vimeo last year as a Christmas present. But the transfer seems upscaled from SD so I was hoping they'd improve on it. >>91 Part of the reason that user counts are lower on the webring is they are counted during one day instead of three
>>88 The podcast gets low marks from me. The host talks very slowly and enunciates every word like she's teaching kindergarten. She's probably stretching out the content to make a multi-hour "series" out of it. I'd heard that podcasts have moved away from this kind of tightly-produced and scripted style toward free-ranging and conversational format (hence the rising popularity of Joe Rogaine). I don't know if that's true or not; regardless YMRT seems like it's aimed at normies who'd never heard of podcasts 5 years ago. After about 20 minutes of meandering introduction and two ads, she finally starts to discuss Song of the South. I'm sad to say her first point put me off of listening to much more. She claims that black plantation workers singing "Gonna stay right here in the home I know" is very troubling because it suggests that free blacks were choosing to work on the white man's plantation, when in fact laws and cultural attitudes made it difficult for them to do anything else. While her claim carries a degree pf historical accuracy, she is misleading her audience (who probably haven't seen the film) by omitting a lot of relevant context. First of all, the song is about remaining steadfast in the face of hardship. The full chorus is "Let the rain pour down / let the cold wind blow / Gonna stay right here in the home I know / Trouble trouble trouble fly away". The lyrics imply nothing about subservience and it takes effort to find problems here. Secondly, the black workers are emphasizing one of the film's central themes. Earlier in the film young Johnny started to run away from the plantation, but Uncle Remus changed his mind by recounting a story of Bre'r Rabbit's ill-fated attempt to leave his home. Both Johnny and Bre'r Rabbit learn that they cannot escape troubles by running away. The main purpose of the song is to reiterate that moral lesson, not to instruct blacks in particular to "stay in their place" as docile laborers.
>>92 Good news: I've reached out to them and they are gonna launch a VOD site soon with all the restored films.
>>94 Wow, thanks for the update. Now we know what to watch for. I read a little about the recent history of film funding in Hungary in this book Space in Romanian and Hungarian Cinema. I sounds like there wasn't much money for filmmaking in the 1990s, but things have gotten better. Apparently the Hungarian National Film Fund (MNF) has been a big improvement over the old Hungarian Film Foundation (MMKA). One thing I've been curious about was whether there's been a shift toward ideas of Viktor Orbán in Hungary's publicly-funded films? State institutions tend to follow the leader. But I looked at Hungary's recent film productions and couldn't detect anything conclusive.
Jonathan Rosenbaum - Ten Best List for Sight and Sound, 2019 01. Vitalina Varela (Pedro Costa) 02. Transit (Christian Petzold) 03. It Must be Heaven (Elia Suleiman) 04. Flannery (Elizabeth Coffman and Mark Bosco) 05. Foxtrot (Samuel Maoz) 06. Conrad Veidt - My Life (Mark Rappaport) 07. Where's My Roy Cohn? (Matt Tyrnauer) 08. If Beale Street Could Talk (Barry Jenkins) 09. Ad Astra (James Gray) 10. Souvenir (Joanna Hogg) http://www.jonathanrosenbaum.net/2019/10/ten-best-list-for-sight-and-sound-2019/
Here's the Satantango tote bag you asked for
>>95 Yeah because his voting base (old and rural people) isn't really the movie going type lol. And the state is more concerned with national pride and international recognition. They pretty much fund anything that could give them that (including pro immigration films).
>>98 OK, that makes sense. But is there more national pride than before? I remember seeing an older discussion, maybe in the DVD extras for Werckmeister Harmonies, where Béla Tarr sounded disenchanted about Hungary. Anyway I found the book I mentioned earlier. I'll post it here in case anyone cares. Originally I could only read preview pages, but now I have the full text. The book is mostly about Romania but the last two chapters examine Hungary too. Anna Batori - Space in Romanian and Hungarian Cinema <The wish to categorise Eastern European art films under a defined and united aesthetic umbrella came to my mind as a university student when, after visiting so many Eastern European film festivals, film clubs and conferences, I felt a striking connection among the moving images from the post-socialist region. The more films that I, a true cinephile, watched, the more clearly I could understand the difference between global film- making practices and Eastern European cinema. My everydays in Hungary and Romania—together with my first-hand experience of the capitalist transformation of the region and the very strong socialist heritage that rules its everydays—only helped me to see the enormous imprint that socialism has left in people’s minds and the cinematic thinking of the region. These art films have a depressing, gloomy atmosphere that originates not only from the disheartening topics they deal with but from the very physical spaces they chose for the setting. This very recognition, together with my memories regarding these spaces, encouraged me to base my doctoral research on this topic.
>>35 >You need to advertise this board more where, 4chan? twitter?
Nobuhiko Obayashi has terminal cancer so his newest film may be his last... https://variety.com/2019/film/asia/tokyo-festival-nobuhiko-obayashi-labyrinth-cinema-1203381807/
>>100 No and No
The cyberpunk future is now upon us!
>>103 Thanks anon, that would have gone right past me most likely.
>>103 All the cons, none the pros
End-of-decade article about the (comparative) lack of strong film movements in 2010s. I'm out of the loop on festival films so it's interesting to hear this. <None of it has really cohered into the kind of movements or waves that have marked the cinema in previous decades, nor have any of these represented the point of departure for a sweeping aesthetic renewal of the medium. Instead, the dominant tendency has been one of continuity with and consolidation of the past, of variations on a theme rather than a revolution of the core. The author tries to offer an explanation for this phenomenon, but I'm unsatisfied. It sounds more like he's grafting onto his pre-existing economic and political gripes. <The collapse of communism and the total ideological hegemony of neoliberalism, which is only now beginning to fracture, saw the collapse of any belief in the possibility of a world other than the one we live in, with all its inequalities, injustices and ecological disasters. As such, it also heralded the atomisation and stagnation of art, culture and fashion. The wheels propelling cultural change forward are, before our very eyes, grinding to a halt. I was going to say technology has changed viewing habits, fracturing the audience and reducing attention toward arthouse films that are currently being made. With less focused attention there's less momentum for new film movements. I'm not sure that's an accurate explanation either, but I like it more than blaming neoliberalism in general. http://sensesofcinema.com/2019/cinema-in-the-2010s/slow-history-cinema-and-culture-in-the-2010s/
>>106 It's very hard to approach an explanation on why the slow progress, quite honestly it can also range into other mediums such as music and video games. TV productions not so much due to recent low costs in digital equipment (A complete Arri pickup can grabbed with 150k and a heavy duty drone can replace complex setups and vehicle rentals) I wouldn't dare to explain why without sounding simplistic it all went to pieces in terms of discipline and management, in both creator and consumer sides but it is interesting to think how few things are done in ideological groups (other than niche social movements) there has been good films but i feel it's been isolated cases of level-headed, sometimes overachieving workers than true mavericks experimenting with their craft while also making something in terms of storytelling. I can definitely buy "consumer's drastic change of habits" as a factor if we think about most people using digital services that are very quick but quite limited in selection of works, but i don't know, there must be something else, i can't buy economic crisis and politic mishaps as many countries produced good stuff in times of dire conditions (Post-WWII and early 90's Japan, 80's and early 90's Yugoslavia) At least in the West i feel a lack of big time investments into specialty/"give this man a chance" projects, it seems suits go for safe bets only and the eccentric millionaires ala Aurelio De Laurentiis seem to be working on other things unrelated, or also cinema but with mixed results and/or highly overlooked.
James Dean is gong to be CGI'd into a new movie as the secondary lead. Very weird stuff.
>>108 >So creatively bankrupt you got to shoehorn the dead into your films to make a quick buck Disgusting idea. An actor should be able to choose what movies they are in, alive or dead. I can only see it being used to place actors into positions of propaganda, like John Wayne helping communists or other situations where the actor would never have agreed to be in.
>>108 It's a fuckin movie about dogs. Just kill me now.
The Best Posters of the 2010s Some good posters, but overall it's little underwhelming tbh. Too bad there's no article about fanmade posters for the sake of comparison because there are a lot of talented artists working that niche. https://mubi.com/notebook/posts/the-best-posters-of-the-2010s
I'm always suprised when I see Eastern European posters. They are very creative and somehow often better
>>109 Good points, but basically it's inevitable. In fact there are already several short-take examples out there. 10 years ago I worked as a TD in a company and we were already creating effective digital doubles then. And The Curious Case of Benjamin Button took it to a whole new level. For the first 52 minutes of the film, there ''was no live image of Brad Pitt. 52 minutes of footage.
>>112 Agreed. A good site for that is https://www.terry-posters.com/posters There is a trick to remove the watermark by editing the URL (from "watermarked" to "original")
Is there something wrong with Secret Cinema or just me? Suddenly i cannot login and get a disabled screen. Lurking a little i found out it might mean BANNED. I didn't even download anything as i found everything desirable outside plus i always logged once a week to avoid any inactivity shenanigans. Their Riz IRC also seems to be desolated.
>>115 Did you try #sc on irc.brokensphere.net? otherwise the offsite forum is http://cosurvivors.proboards.com/
AvistaZ Network Open Registration! avistaz.to cinemaz.to exoticaz.to animez.to It seems like these sites are getting a little bit harder to join. There used to be open signups all the time, and this is the first I've noticed in months. Also avistaz.to has become a more important site with the demise of Asian DVD Club.
>>117 Thank you so much!
Is there a way to see a film's imdb rating change over time, aside from using internet archive? A graph would be best.
I'm looking for good end-of-decade lists. Most popular critics and websites are shit, heaping praise on mediocre movies I don't care about, but I found a couple more interesting lists: The 25 Best Latin American Films of the 2010s https://remezcla.com/lists/film/best-latin-american-films-2010s/ Top 10 Romanian Films of the 2010s written in Romanian unfortunately http://www.acoperisuldesticla.ro/film/cele-mai-bune-filme-de-fictiune-romanesti-ale-deceniului-top-10-3592/
>>121 >Roma being 4th place >La Region Salvaje in 20th The continent is not in a good shape if those two are considered top 20 in 10 years.
>>122 Probably right. I didn't watch Roma because it was getting hyped by all the wrong people.
[11/28/2019] What's the status on moving to 8kun? While the site was functional for a day and a half almost no one went there, reading most of the webring it seems even the ones most in touch with the situation and eager to go, Vch's /v/, seem to be highly cautious with it. The rest are in a limbo between what to do and when to start searching for past users lost in the situation.
>>124 I posted a brief announcement there hours ago. Maybe you can't even see it unless you use the catalog. Otherwise there's been one post and one person reported an old thread. 8kun is in sad shape so I'm not going to rush everyone back. You can post there if you want of course. But we may have lost everyone who didn't find this place.
>>125 Other people have also noted that the index is lagging far behind the catalog.
>>124 Wait did 8kun go up and then immediately get ddos'd down again?
>>127 It's been up and down a lot. I assume the DDoS is constant, from the bitter gnome who hates Jim.
>>125 >But we may have lost everyone who didn't find this place. If thats the case might as well just stay here. No way I'm gonna use that site without tor and apparently you can't post without js.
>>129 Yes, you basically have to use bare IP because of the Vanwa script. The main reasons to return would be 1) more traffic and 2) the old threads. At this point there must be less traffic at the old board. No one is posting there unless we decide to do it. Overall 8kun is much slower than before. I was hoping for a better recovery of the old threads (possibly to move some here). When the site was hacked long ago, 95% of the content was restored. This time there was no hacking. There was a migration by choice which somehow lost half of the images. I'm not expecting this to be fixed anytime soon, if at all, because there are many other problems with 8kun.
>>127 It'd be worth claiming the board back so at least a link to here can be posted for anyone who didn't find it already.
>>54 Sounds like a fancy excuse to add more DRM to me. >>66 Apparently it's quite easy to get poorly paid work as a white extra in nipland. Mostly for historical pieces and the Yakuza are involved with the agencies that dominate it but there you go.
>>133 Does anyone like The Last Movie? Maybe I need to rewatch it. I saw it when it was only on bootleg DVD and I didn't really like it. Hopper didn't know what to do with his subpar film, so he jumbled up the parts (I think Jodorowsky told him to do that). The American Dreamer was much better IMO.
Well, it's that time of the week again, 8kun isn't loading...
>>135 Yeah I see vch bunker is back
Just wasted 20 minutes at this site, a huge archive of home movies from East Germany. You can download the videos but unfortunately they are all watermarked. https://open-memory-box.de/ <Biggest digitized collection of home movies from the GDR <2283 rolls of 8mm celluloid film <415 hours total length <1947-1990 historical period <149 families from 102 locations
>>136 I'm starting to see Julay as more of a permanent option than the old place. Might as well start posting actual content if 8kun drops one more time.
>>138 True. Right now it's hard enough for them to keep their site online. I don't see how the problems end unless Fred kicks the bucket. Julay almost has the same amount of activity if you exclude /qresearch/.
The sooner the BOs in their bunkers realize there might be another life here, the sooner this puppy will hit full PPH like in the last months before the August hit. And it's not like Jim is losing any significant money with or without us, truth be told as long as his Q friends generate traffic and rev up a couple of bucks he can make the same or more money than all of us posting full time. Guess it's time to spam this local "Last film watched" thread and upload some books. Also i don't want to look like a butt kisser but i never stopped to commend the BO for his diligent work in this whole mess, other than a few unique posters that didn't find their way and missing banners i see /film/, in a technical perspective, being unscathed in this adventure
Maurice Pialat: three steps to magic https://www.youtube.com/watch?v=viOW63_aD1s New video essay from Adrian Martin and Cristina Álvarez López. This time they've over at Sight and Sound. <A deep look at how Maurice Pialat forged his searing emotional dramas across three stages of artistic alchemy – from discomposing his actors to distilling the resulting footage.
Reflecting on the past decade of experimental films, what's the first thing any normal person would focus on? <This list tends to be dominated by white men, which speaks to who still, in 2019 and in the advent of digital, has the resources necessary to work at feature length. Hopefully Japan, Korea, and China will eventually have the "resources necessary" to make experimental films. Meanwhile villagers across Burundi are dreaming of the day when they can make experimental films so that Michael Sicinski can rank their work on letterboxd. It's so vapid and paternalistic. These people ruin everything. https://letterboxd.com/msicism/list/25-best-experimental-avant-garde-features/
>>142 Also what kind of sicko puts Wavelength as their favorite film
Asian Cinema open signup https://asiancinema.me/register/ Warning: This site only has full DVDs and blurays
>>144 Tried to sign up, says registration closed
>>142 >>143 I'm pretty sure Sicinski baited me into watching Wavelength a few years ago. >This is my Star Wars. I will be watching Wavelength over and over until the day I die. This is the art of cinema at its absolute apex.
>>146 Maybe he's being genuine. People claim it's far better to watch Wavelength on film than the crappy online versions. Probably true but I remain skeptical.
Here's a website with Siskel and Ebert programs dating all the way back to 1976. The films reviewed are Hollywood releases with a few odd international titles that played in US cinemas. It's interesting to see how limited the entertainment choices were back then. But every episode or two they review a film that's been forgotten by now. https://siskelebert.org/ Roger Ebert was an excellent writer of reviews. I don't think I've ever read a review from Siskel. Despite attending Yale, Siskel hasn't left behind much of a legacy. (It doesn't help that he died first.)
>>148 >Roger Ebert was an excellent writer of reviews. I guess it depends on tastes and what are we looking for in a writing. Personally i think he was the devil himself in terms of reviews, a golden tongue (pen in this case) but with inconsistent standards, heavy bias towards many topics, disliked movies who played with the viewer's point (feeling cheated like some say, he would deny it every time) and valued the product depending on the ticketholder's intelligence and ability to interpret it, instead of the work itself. Not to say his style was copied and badly reproduced in other mediums, particularly Florida-based newscasters transmitting to other countries (latin america). And let's not go for the opinions outside cinema as he is a figure of considerable disdain due to his surprisingly ignorant arguments, or merely on-point ones trying to tackle something with purely mainstream cinema standards, like his football opinions (or jokes) video games and teletheater. But i'm glad he existed, if not then probably Jay Sherman would've not been created.
>>149 Okay that review is terrible. I confess I'm haven't gone especially deep into his writing, but I thought he was skilled at writing a crisp, compelling summary of the essence of a film (easier said than done) and then giving his take on it. I don't think his taste in film is anything special; his favorite film list is entry-level basics. His screenplays aren't so great either, of course. Those Russ Meyer titty movies indulge in plenty of bad behavior that he later poo-pooed as a reviewer. I watched this Worst of 1980 episode where Ebert was a little too indignant about the cheap titillation of The Blue Lagoon. https://siskelebert.org/?p=6694
>>149 I liked him better the less I knew about him. The older I got, the dumber he seemed. The Usual Suspects is overrated and not that great, though not as bad as he thinks.
>>142 50 Best Experimental Short Films of the Decade 2010-2019 https://letterboxd.com/msicism/list/50-best-experimental-short-films-of-the-decade/detail/ I don't think Hacked Circuit is as interesting as Deborah Stratman's other films, but for some reason people like that one the most
Merry Christmas lads, happy to still be here with all 3 of you I don't want to sour the mood because i am genuinely glad we are still around but browsing the rest of the boards, seeing the discussions of several different media enthusiasts, i was wondering, did something good happen in this decade? By good i mean a certain wave, stylistic school or "scene" that was known for its high quality and/or consistency under "old" standards like direct enjoyment and clear message in any of its layers? Everything i saw seems to me like the existing things from the past decade got sabotaged, outright stopped or subverted to transform itself into a husk, or worse, with the new things created being conceived as colorful vessels that only transport shallow and almost meaningless critique on its former shape or just to scream at the sky and spasm into itself for meta enjoyment; products that satisfy only the creator and all the inside jokes with his inner voices which leave nothing, not even academical precedents, in its path but money laundering schemes and perversion of mainstream culture (and maybe in some cases entire scenes) Even the production of niche stuff, at least in music, seems to have taken a halt. But i found all these applies to music, film, books, academia, architecture and maybe even culinary techniques. I cannot say about TV because i don't watch it and maybe something really big went through my sensors, i know many glittering things were created by individuals, but really nothing big happened other than spasms.
>>146 >>147 >posting on a /film/ board while not knowing sicinski
>>155 So tell me all about him
>>155 Elaborate
>>154 >did something good happen in this decade? I wonder the same thing. Most of my focus has been on previous decades. I don't get very excited for new mainstream releases and I lose track of the festival arthouse films because they take longer to make it online. Speaking of Wavelength I think slow cinema became rather fashionable during the 2010s, although it's probably in decline by this point.
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>>154 I'm a big fan of the Sensory Ethnography Lab at Harvard, responsible for an innovative new approach to documentary filmmaking. I think they've been overlooked in the articles summarizing the past ten years. I haven't seen anyone mention them yet. https://sel.fas.harvard.edu/
[01/01/20] so here we are
Is Criterion Channel worth it?
>>162 Worth a free trial at least. If I had a subscription I'd be hitting the World Cinema Project. I'm pretty sure CC is still unrippable, so none of their exclusive content can be seen anywhere else. I've wanted to watch this for a while: https://thefilmstage.com/connor-jessup-on-his-portrait-of-apichatpong-weerasethakul-and-the-profound-impact-of-his-films/
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Where is HawkmenBlues
What are some movies similar to Gemide.
>>166 You got one that ain't Turkish mate?
>>164 Oh shit wtf
>>164 Horrible. I thought about emailing him but then I found his twitter account. https://twitter.com/HawkmenBlues/status/1214515796229197825 >For those of you who wonder what happened with the Hawkmenblues film library, today, after 7 years, blogger deleted the blog. https://twitter.com/HawkmenBlues/status/1215605245713227777 >Overcome the shock, thank you all. After a couple of days of relaxation we already have a new vessel that we are supplying to go out to sea and raise our flag again. There will be news soon.
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VISUAL FUTURIST: The Art & Life of Syd Mead https://www.youtube.com/watch?v=_XTYMctdpHg& <Syd Mead was a designer for Ford Motor Company, U.S. Steel, and Philips Electronics. After establishing himself as a "Futurist" consultant, he visualized technology and products for companies like Sony, Chrysler, Mechanix Illustrated, and Playboy. Syd's movie designs appeared in 'Star Trek - The Motion Picture" (V'ger), "2010" (the spaceship 'Leonov' and all of its interiors and attendant craft), "Short Circuit" (the robot 'Johnny 5'), "Blade Runner" (the 'Spinner' police car, the dingy cityscapes, and Decker's apartment), and "Timecop" (the headquarters of the Temporal Police, and Van Damme's car).
Joe Shishido Number 3 got away some days ago. A seemingly normal guy who completed his basic studies and went to study theater, he landed a spot in a new talent contest and went to work for TV and movies by Nikkatsu. Little after that he was requested to change his name due to historical connotations and focus on romantic, chivalrous roles due to his manly figure. Man refused and somehow very soon spiraled into facial surgery that increased his cheekbones and also underwent a somewhat radical demeanor change that subsequently landed him villain and/or weirdo roles. After an unfortunate set of circumstances for the company, he became the prime lead role for action films and with a partnership with Seijun Suzuki (that the company would hate with all their spirit) he made a couple of movies that would become his main trademark in the international scene: Frantic and eccentric characters who live by the gun. Although this would happen much later, the 80's to be specific, around the time when small-time distributors were searching for quirky stuff to export, but it was enough locally to make him a sought figure for drastic individuals in yakuza films, mainly the great Battles Without Honor and Humanity.
>>172 I only know a few of his films but he certainly stood out. The cheeks are 3x as big as they should be.
Since this seems to be the place to ask on /film/, does anyone else try to limit the amount of American films that watched on a regular basis, or english language films in general? Not in the sense of avoiding them all of the time, but maybe seeing one maybe once every five, or 10 nonburger films.
>>174 At least for me it's about being free of any or most marketing or mainstream influence in your decision to consume media. Sure, sometimes you are taking the poison for the adventure of it but it's the freedom of choosing what you want to see, at your pace and because you might like it. Say you want to watch some acting-focused movie around a rural area or in specific some forgotten tundra, you read that the swedes were decent at some point, you check the usual suspects or someone you read or was recommended and bang there you have it, the movie suited for your desires. Most people these days consume the product in vogue from that moment, they don't care about quality they care about talking about it and feeling "normal", some i suppose develop a liking for it and go on their own (although very rarely alone, the imageboard joke about the singles policy in cinemas is not far-fetched). Some others might pretend to have free will and go to Netflix or some other streaming service, this is better but you are still consuming the menu someone else made and will change it at their liking any day they want. For me it's about seeing movies for what they are, moving pictures made by someone or something usually with a clear idea of what he wants to do with the minimal interference against his will as possible (quite rare but happens) an integral product. You can enjoy it, hell even enjoy very regulated stuff due to its particularities in its respective era, this without owning explanations or time to anybody, just your own enjoyment with further knowledge on where to find what you want to see later. But i will not lie to myself, it also has to with standing outside of it all on your own, while trying to help others with the names and experiences regarding some of these works (which reminds me that i need to recommend better movies). If you are fancied about seeing something very particular from the americans then in my opinion there's nothing wrong with it, but one should know there's stuff made without any kind of quality consideration or concise idea, just a brutal soulless product marketed specifically to take the money out of the bag of silly consumers who didn't know better. Some of these products are so "quirky" (let's call it unlikely juxtapositions) that they sometimes deserve a watch, like the american anti-hero macho action from the 70's (Bronson, Joe Doe Baker, Burt Reynolds), some folks enjoy film gialli in all its splendor, some others like the extreme copy-paste nature of Shaw Brothers martial arts/wuxia movies. They all have their charms and sometimes even high quality trademarks, but one should not focus or stick in there too long. If anything i would recommend not seeing a lot of current chinese/hong kong cinema over not seeing a lot of contemporary american cinema, their usual products are just as bad in terms of lack of consistency, cinematographic merits and acting. And it's not like their products back in their golden new wave were any better, it just had more space for unique experiments and more risky investments, which fortunately gave place to very interesting styles but it was not always like that, in one bad turn you can see one of their low-budget mainstream comedy-dramas and it will be like hearing and seeing someone molest a chalkboard for 2 hours. tl;dr I did extend a ton, what i tried to say is watch anything that will suit your current desires, part of checking world cinema is having a catalogue of possibilities to satiate specific tastes, quality standards and curiosities. If by some odds they make you see 5 american movies in a row, i guess there's nothing wrong with that if they are good
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James Benning 1979 / 2019
Karagarga freeleech ongoing. Don't hold back if you've got some hot tips...
>>177 >Hot Tips I would download every book i see, and some films that can only be get in HD on private places like there.
>>177 Sadly it's not the easiest site for discovery because the software is antiquated. One method for finding interesting unknown films is to choose an MoM and sort by number of downloads. Usually there's something good in the first few pages of results.
New site for Hawkmenblues https://hawkmenblues.net/
>>180 Such good news, I hope I'll be able to donate soon
>>180 Crisis averted, God bless that man. Also not trying to steal any spotlight but for any lurker that didn't know, there's also another site with rare films upload, although not that extensive and much more related to exploitation and R-rated stuff. >https://rarelust.com/ While not so crucial these days some years ago it was the main source for those Category III HK movies some fable about, along with tough to get TV movies like The Informant and a couple of gialli and polizia fluff. >>177 So what did you get? I was surprised at the book catalogue now that i went into it but i'm realizing some interesting cinematographer stuff is not being found anywhere on the web, reserving spaces like Bibliotik. I might start to delve into cool rare book scanning but i will have to research ways to do it without busting the spine permanently. Photoseries books are not that popular or hard to scan i see.
>>182 >So what did you get? I got 104 films. It took a day to burn through my priority bookmarks. Then I started looking for hidden gems. More and more I am gravitating toward the Enlightened Centrism of 576p mkvs in order to conserve storage space. That resolution usually looks good enough for basic dramas and documentaries. When a film has exceptional aesthetics I'll still go for 720-1080. I'm also getting this version of War and Peace, same version as KG. The full quality 73GB remux is way too big, but I might just buy it eventually. https://monova.to/816AA4343F8964E42FF43EDE7878659F20ED45ED
>>183 Which one of these is the best? The one guy said that the criterion release is spotless but there are so many? Lol >109 That's insane, I only downloaded C. Jung's collection, Field Guide to Table of the Elements, a guidebook of vinyl rarity thqt costs a ridiculous 200$ on Amazon and Switched on Bach. I really didn't know what to get
>>184 >Which one of these is the best? The Criterion remux is best but it's huuuge. Since it's an 8 hour film you need all 4 parts. I'm having second thoughts about going for 720p because the screenshot I posted is still too small. But I still haven't found the right 1080p version to get. During my dive into the archive I noticed this interesting uploader on KG (and SC). https://karagarga.in/history.php?id=96290 https://secret-cinema.pw/torrents.php?type=uploaded&userid=3542 I think he said he's getting rare stuff from his university film dept. Anyway his content is quite interesting.
>>183 >104 films Man, i got some film lists to download but never got to check if they can only be found in KG. Still i downloaded 30-something tough to get movies and more than 500 books, which i won't read even 50 but it's always nice to have them. I always feel something will happen and a ton of stuff like info will become precious commodities, especially basics like how to make soap. >the Enlightened Centrism of 576p mkvs in order to conserve storage space I go for 720p for B&W movies and 1080p for color stuff. If the film is not very good/flashy but worth preserving for a reason i go for 480p or the usual 700mb DVDrip. Same like before, i keep stuff at max. quality (not 4k) for preservation and sharing reasons... something will happen. Not very related but i always feel bad about downloading at KG, i told the anon that invited me that i would finish those subtitles there quick but i still haven't finished the file sitting on my desktop for 2 years now. I talked trash about some dude who took 3 years to finish a far more difficult movie than me yet here i am, will surely finish them by March i promise mate. Time does flash, especially when being flagellated by badly-taught studies. >>185 That's very interesting, i actually stumbled into one of his uploads when lurking around for something, "Dustin Hoffman Masterclass". Not fan of the little guy but was impressed about that format (20 something videos) in his age. The uploader himself is very particular, goes on upload sprees at times. Drifter caught my eye now that i see into it.
>>186 Feel the same way about impending doom, I've gone so far as to consider investing in those Superman crystal storage things but it looks like it's only an optical storage so far. >At an elevated temperature of 189 °C the extrapolated decay time is comparable to the age of the Universe (13.8×109 years). By recording data with a numerical aperture objective of 1.4 NA and a wavelength of 250–350 nm, a capacity of 360 Terabytes can be achieved. But hey, if shit hits the fan, the first thing that will go is electricity so, I wouldn't worry about torrents. >Two years trying to sub Holy shit mane, I've done quite a few subs if you need any help, I'll be glad. Actually we're in almost the same position because a few months ago I started to sub a documentary called "il Potere" from KG about Italian politics but the audio is so fucked up that my ears start hurting after a while, so I'm just waiting for a better rip to pop up.
>>187 The electrical grid will eventually come back. So just build a good NAS and start hording films
>>185 I am a colleauge of him, I got 1.1k Torrents active right now, And my harddrive is nearly full from that many films, Any other people got some good rare stuff for us?
>>187 >360 Terabytes can be achieved in a 13.8×109 year format Holy molly, but i guess the optical reader is as complex as the disk. Maybe someday, but so far 8 terabyte HDD is somewhat cheap, 200 bucks and we can fill it with non-HD rips that can achieve a region's entire valuable filmography. >I'll be glad Thanks, it's easy to make them but i got an extreme case of procrastination and actual college mentally bugging me every free hour i have, if not then half of the board would be spammed with my long-winded ramblings and i would've done at least 10 subs more. Most of that file's progress was achieved in a weekend but i always stalled it thinking in another one i would finish it, had i struggled more to sync and write the dialogue i wouldn't trust myself so much. It's just some commie movie with 3 unlikable characters so nobody is missing anything other than a female prison guard diddling a female visitor Somewhat in the same league, but in my case i can't stand the characters and trite dialogue, but i like the main actor's career so there's that. Hope the guy who invited me didn't get angry at my eternal promises. >Italian politics Weren't some of the most titanic sub pots at KG italian ones? 4tb for 10 subbed hours sounds mindnumbling, wish i had finished my standard italian studies. But if the pot is that big i guess it's some obscure dialect. >>69 For some reason or another i never saw this post. What >>207 said is spot on probably because i usually posted on /vg/ I have a bunch of videos regarding their shenanigans, usually against the military and/or the police. Honestly here we have lived and joked with more violent stuff that we would like to admit, there's always those videos if you want to know what we are talking about. >>78 The chinese are a strange folk, the more you learn about them the more you get confused. Certainly their own continent with their own rules and sub-races with sub-cultures, somehow untranslated and unexplored.
Another download site on the open web, maybe helpful if you need Spanish language options https://www.misclasicosdecine.com/ It seems to use jdownloader, a program I really dislike, but perhaps you can get around it. There used to be sites that decrypt DLC files.
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Ken Russell's "banned" Richard Strauss film is going to be screened for the first time in decades http://archive.is/d2LbF During the late 60s / early 70s, there was a trend of making subversive films about Europe's greatest composers, specifically to knock down their pedestals. In this case, Dance of the Seven Veils portrays Strauss as a Nazi. Here's an interesting dissertation on another such film, Mauricio Kagel's Ludwig van: https://research.gold.ac.uk/7151/1/MUS_thesis_Stavlas_2012.pdf <Several composers of the time were affected by the antiauthoritarian climate in several respects: by rejecting the ideal of beauty as a product of bourgeois culture, and adopting Adorno’s aesthetics of negativity; by questioning traditional hierarchies of the classical music world, such as the opposition between composer and performer, or between conductor and musicians; or by adopting a critical stance towards the canon and the classical music tradition.
>>192 it's been on youtube for quite a while, but the film turned red, the quality is nothing like the picture you posted. Ken Russell was a huge fan of classical music, so the analysis doesn't quite match his many feature films for Omnibus or full movies about classical music composers in my opinion. https://www.youtube.com/watch?v=u7r2JHq7LMs
My Darling Quarantine brings the film festival experience online <Film festivals have been self-canceling around the globe like falling dominoes as the full scope and severity of the Coronavirus threat comes into focus. Though Cannes still has yet to pull that particular trigger, many film fans have been laid low by the prospect of going the rest of the year without any festival excitement. <It’s a big, gloomy cloud, but not without its silver lining – this morning came the announcement of My Darling Quarantine, an innovative alternative scratching the festival itch for the time being. Programmer Enrico Vannucci has corralled a coalition of colleagues to assemble a selection of short films with nowhere to go, and now they’re bringing them to the general public. <My Darling Quarantine, a project hosted on the platform Talking Shorts, offers an array of shorts scheduled to play at festivals already shuttered, including SXSW, Tribeca, Glasgow Short Film Festival, and Poland’s Short Waves Fest. It even adheres to the competitive spirit of a festival environment, pitting seven shorts against one another each week with voting on the favorite deciding a winner. https://lwlies.com/articles/my-darling-quarantine-online-film-festival-coronavirus/
Another online film festival starting yesterday https://ultradogme.com/2020/03/21/udvff-1-from-a-distance/ <This first program to kick off the Ultra Dogme Virtual Film Festival is titled From a Distance and will offer a selection of predominantly meditative experimental shorts of worlds without people; films I find fitting for the current situation not because they are dystopian or tunnel into post-apocalyptic disaster scenarios, but because they remind us of the beauty of empty spaces and the self-reflection enabled by isolation.
>>95 >>98 >a shift toward ideas of Viktor Orbán in Hungary's publicly-funded films Here's an article that outlines some proposed changes to theater funding in Hungary. I don't know if this bill actually passed, but it sounds like the government was attempting to put more of its ideology into arts funding. At the same time Orban-bashing is very popular in Western media, so it's tricky to gauge the accuracy of the reporting here. https://www.dw.com/en/hungary-governments-theater-control-plan-triggers-actor-protests/a-51602470
From Void to Memory by Jorge Suárez-Quiñones Rivas https://www.youtube.com/watch?v=qAqUSFm783k <This audiovisual essay proposes an understanding of cinema as a transformative device able to affect a series of re-signifying operations, involving political and historical re-examination as well as shifts in the subjective experience of time-space. <The essay is focused on the transformation that takes place in the viewer’s perception of a specific kind of cinematic entity: filmed void spaces, and how they may turn out to be read as places of memory. <Cinema has the possibility of qualifying spaces, materializing information and connotations that, at first sight, seem invisible. This potentiality of cinema unveils the paradoxical complexity of filmed void spaces: something simultaneously is and is no longer there. Late Spring (Yasujiro Ozu, 1949) The Quiet Man (John Ford, 1952) Tokyo Story (Yasujiro Ozu, 1953) An Autumn Afternoon (Yasujiro Ozu, 1962) Fortini/Cani (Danièle Huillet & Jean-Marie Straub, 1976) One Way Boogie Woogi (James Benning, 1977) Too Early, Too Late (Danièle Huillet & Jean-Marie Straub, 1982) Innisfree (José Luis Guerin, 1990) Sud (Chantal Akerman, 1999) One Way Boogie Woogie / 27 Years Later (James Benning, 2005) https://mubi.com/notebook/posts/video-essay-from-void-to-memory
>>196 The more I learn about this man, the more I respect him. Who would have thought the world would have such a based leader--in Yurope, no less--during (((currentyear)))? Bravo, Viktor. Godspeed.
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Farewell to the brilliant film/advertisement director Obayashi Nobuhiko https://www.youtube.com/watch?v=E-9k60vWG-s
I'm guessing at least a couple of you were on 8ch a few years ago. Do any of you remember a board that covered propaganda/psychology/sociology? The whole board was dedicated to discussing propaganda on a very deep level. It was not /deep/ btw. Anyways, I know this is unrelated, but maybe it can spiral into propaganda in film or something.
>>199 >Nobuhiko Obayashi passed away What the hell, man He was certainly a maverick with an enviable field of work. https://www.youtube.com/watch?v=XEqA84R0lYU
The first installments of Ilya Khrzhanovskiy's DAU are now streaming here https://www.dau.movie/en
>>200 I don't know, best I can think is /bmw/ or /fringe/ You could check the archived boards.html but you probably can only load the top 50 https://web.archive.org/web/20140930201025/https://8chan.co/boards.html An early snapshot that shows all boards. After two weeks /film/ had 224 active users and 1697 posts!
Does anyone know how much content is on this site? Is there anything exclusive? How does it compare to myspleen? I could apply for a membership but first I'd like to know if it's worth joining. https://vhstapes.org/
>>205 Could also be /scanners/
Anyone able to download these? Password protected vimeo streams. It's a little tricky to get it to work. https://fractofilm.com/Baillie-Strand-Stream
A few days late but https://filmarchiv.hu/en/news/hungarian-classics-free-to-watch <The National Film Institute offers free online access to 39 Hungarian Classics with subtitles – literary adaptations, historical films and animations contributing to digital education introduced in Hungary due to the coronavirus outbreak. Precious entertainment for all members of the family staying at home.
>>208 >fifth seal and psyche in 1080p Someone needs to rip that shit
Some of these were not on the other page. I recommend The Witness / A tanú (1969), dir. Péter Bacsó - https://filmarchiv.hu/en/news/unforgettable-comedies-free-online >>209 The Fifth Seal and The Round Up are both essential. There are better versions of Narcissus and Psyche - https://rarbg.to/torrent/19apqix
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This pic was taken by Alexandra Avakian in Iran in 1999, in every interview she mentions it was a movie shoot, but she never mentions anything else like the name of the film for example, does anyone recognize the actress/movie?
>>211 According to her site. >The director was the dissident Bahram Beyzaii. This is his wife, actress Mozhdeh Shamsai. I think the movie is a short called Dialogue with the Wind (1998) but I can't find it online. Maybe someone else will find it.
>>212 Thank you for the quick reply, I'm asking around in the Arabian corners of the world for the short, seems lost
Same director as Marg Yazdgerd? I need to see more of his films. Stunning photo, I love the traditional Persian garb.
Where could I find high quality music videos? I really need some kind of advice because I'm hitting dead ends
>>215 Same here buddy, tried the same you are doing and it seems that kind of content was missed by archivists on the free net. I found 2 places with "possibly" the most content in terms of music videos (the golden era at least, 90's to mid-00's .vob files) one is MusicVids tracker which is supposedly hard as nails to enter and doesn't have a lot of freeleech anyways, and the other is The Central Box, a good old forum with a quite abusive charging system, you have to pay for premium sections and it's limited by number of downloads/days and/or both IIRC, something like 1000 downloads over the course of a month or some sort of deal like that; it still has a bunch of videos for free if you make an account there. There's also a russian site which i always forget the name and Archive.Org, they also have some of those but it has its limitations in terms of selection and quality. That kind of content doesn't get re-releases due to its inherent nature: It's a side product of a heavily copyrighted item, directors have no power over it and the artists don't really care about that unless they have tons of videos (Madonna, for example) One of my thread ideas here in /film/ some years ago was making a thread about that while also uploading those .vob files but so far i haven't really amassed a big collection to make it worthwhile for y'all along with college/mental blocks making me stop downloading more of those.
>>216 That's awesome to know that there are more people interested in this as well, and I agree, music videos are often overlooked and just like that they become rare. I have a very small advantage because RAI releases literally never-before broadcasted music videos in a program called Techetechete, but even that show itself is very rare, only broadcasted a few times a year, they then upload the episode for a only a couple of days into their digital platform, I've managed to get some gems out of that but apart from ripping TV broadcasts I really want sure where to go. This is one of the few complete episodes I managed to rip. https://drive.google.com/file/d/1cxQWxunkOJLfgOT4izBOk3b9-gp5_tns/view?usp=drivesdk This is from another episode but it's quite literally some of the rarest footage I've seen when it comes to Italian artists on tour. RAI is so far up its own ass that they cut the Rock Your Baby scream for the sake of publicity breaks, fuck that https://youtu.be/5J0Cz1xoWxM Thank you again for your advice on those trackers, I'll leave you some of the footage I'm searching for just in case(?) https://youtu.be/xup73IJVeZY https://youtu.be/VAr8F1Cynm4 https://youtu.be/sen_orj_dWU https://youtu.be/pT2Ku4dfpBQ We should make a music video thread, let me know, I'll gather some stuff up in the mean time
I used to see invite offers for MusicVids but not anymore. I think they required new users to have high quality content to share. I'm surprised people would be so possessive about music videos. https://www.invitehawk.com/topic/105390-musicvids-mv-music-videos-2019-review/ There's a newer site Concertos that claims to offer music videos. They have invite threads on some sites. It seems fairly small though https://concertos.live/
>>216 Forgot to mention, I used to own this dvd and it featured alot of early 2000's techno/house video clips, I'll try to buy the series (they are 6 or 7 "years" of compilations) the resolution won't be the best obviously but at least it won't be compressed by online hosting https://www.discogs.com/Various-Mas-Nescaf%C3%A9-A%C3%B1o-Uno/release/1684413
>>217 >We should make a music video thread I'm getting kicked in the knees until the 17th, from them on i'm free half of the day for a month so i think we can rap, although my content would be mostly "mainstream" stuff but bundled by director instead of by artist. Yes, it is also very motivating to know people like the music video genre, it was like video art but with higher budget. >Techetechete Like the reggaeton song :^)? still that's very interesting, anthology programs are a vast rarity in my sector so i don't have that advantage, in terms of rarity for the sake of it i do have a local channel that shows only local music videos with high budget sponsored by cartel money featuring dudes in jacuzzis with tons of ladies and weapons so i guess not really... >>218 >I'm surprised people would be so possessive about music videos. My guess would be because in the mid to late 00's the digital jukebox rental scene was still a thing, you know those consoles that looked like an arcade cabinet that played music from an immense playlist and many featured music videos attached, that's where i think the music video scene became possessive, the more videos the more attractive the service was (especially because some cabinets had projectors included) so a good video catalogue meant money, and the less pixelation/audio channel muddling the better. What i find odd is how they still horde those files like gold, i mean i still see those cabinets from time to time in old town beer parties but it's not like it's worth bitcoin. It seems that Hawk fellow has a point system and one of the rewards is a MV account. Unlike what many said i have never heard or seen bad stuff about those shady invite sellers so i guess there's some water behind that reward thingy. Even if we had access i think the well known aspect that it is tough to keep ratio/no freeleech makes it an eternal venture, same reason Bibliotik/Cinematik gets a lot of flack although much more the former. >>219 >Mas Nescafé Año Uno >Born Too Slow by The Crystal Method I swear i had that video but i cannot find it, pretty cool, love me some John Garcia. Now i'm realizing i lost some stuff in an old HDD shortly before i bought this new machine, so there's that. >the resolution won't be the best Good or "Premium" .vob files, which are usually claimed to be source files, are around 480p but quite heavy, 150mb or higher for 4 minutes or so. DVD files are very normally the top of what you can get for that era as i don't recall seeing HD releases of music videos from the 90's. Quite the genre you lurk, electronica is tough to get due to the quantity released but europeans, notably the germans, are obsessed over it so maybe some things can be found for free. P.D. Fucking hell, i checked some old accounts and i saw that the Central Box changed their rulings, so nothing is free there anymore, asks for donations for download tokens, which in the long run aren't any cheap. And checking some others sites (found the russian one) it seems they also uploaded everything again but behind Premium accounts now or culled old stuff due to inactivity. Tough pill to swallow, some months ago you could still find stuff. Jesus, it's odd to think uploading old music videos for sharing seems to be a revolutionary/maverick thing to do now. If anything that's more motivation for me now.
>>220 It's the greedy tentacles of the entertainment industry that revolutionized "copyright" we should revert back to popular jongleury
>>217 Look what i found, here's an upload for you I changed the formatting a bit tho, at least from what i wanted to upload for the board back in the day at the old place. >https://anonfiles.com/f9Vck4y1o2/_-film-_MsVd_Large_Sommers_rar
>>222 Oh man that's great, I was really hoping to find this one clip, thank you! What do you mean by format? What did you want to upload before?
>>223 >What do you mean by format? Sorry i thought i typed that part there, i meant to say back in the day i would've uploaded just a single video by artist-name-director, but nowadays/next weeks i would rather make bundles by director and divide each video by year and then artist, so director-year-name-artist. And inside a jacket folder with an obscure enough name zipped as a solid file to avoid bots and the host from knowing it's copyrighted content. One can never be too sure. It's going to take a while (years or money) to get a complete director's field of work on .vob so i guess i will have to think of something decent for us to track what we have.
>>224 Geez oh man, seems like the ENTIRE collection was being shared just a couple of years ago, definitely missed that boat because every torrent I find is dead and buried without seeders https://www.taringa.net/posts/musica/1946984/_mas-Nescafe-Collection-_1_2_3_4_5_-6-y-7_-_empo.html This is an example of the menu I think https://www.youtube.com/watch?v=xb_jy-B2Osk
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>>225 >taringa.net That community got the copyright hammer really hard many years ago, i find interesting you even stumbled upon that post. Some dudes from it in that drama mayhem made another site, Identi, nowadays it seems some of their URLs redirect to other sites so there must've been drama i didn't know about, i stopped uploading because i didn't have the "rank" but they still have content, As trivia it's probably the biggest place for spanish dubs which are a highly-sought commodity in latin america, so now you know where they gather their own. Still i searched for the Nescafe DVDs there and there's 2 posts, one for the 2nd Nescafe but links are dead, so that party also finished time ago. You are making me scared about these recent purges buddy, so here's a "secret" archive.org/details/musicvideobin few are in good quality but it's a good start, there's some italian stuff but i didn't see any you are looking for, it was just Righeira and Laura Pausini.
>>54 you wouldn't fucking believe it's like people are literally blind
[05/13/2020] Annd we're back
The heck happened? Is Julay gone forever nao?
>>229 I'm not sure, I haven't followed all the drama
>>230 One of the globals indicated that he wasn't going to delete CP because he was upset with the BO of /v/, so everyone is jumping ship.
>>231 That's an oversimplified way of explaining it. Long story to avoid confusion the old BO of /v/ was talked into being lenient to the point of only enforcing global rules, then some days later Fatchan /v/ was taken down and all the refugees came into his place after hearing about it in the webring (even when they were antagonistic to it a month ago) the strategy backfired and had to go hands in again but was too late, weeks later things got even more awry after a hyped media game leaked and it devolved into all kinds of random and banter discussion that would've been usually out of line a month ago, so he used his old stance and it tremendously backfired because the board was already infested. So he quitted and the board was handed to the guy who talked him into being lenient in the first place, so when he realized he got it (he was surprised) he went onto say no more rules other than global rules in a pinned thread and everyone started going even more at it because they disliked the previous owner's stance on meaningful discussion aka no duplicates or off-topic threads, so someone posted manga and hentai of the loli variety and some global started deleting it without realizing that rule about deleting it was no more after Robi, the admin, changed hosting due to a previous controversy over it. So the new BO completely turned against the administration and started publicly condemning and antagonizing these guys by creating a narrative via IRC cropped screencaps and because, in clean terms, the administration couldn't do anything other than feel bad about it they decided to get a new janitor to handle that place instead of them putting their hands at it again to avoid direct trouble, but the new janitor was booted by the new BO (he still had site-wide powers) because that new janitor deleted borderline CP images (child modeling images from the start of a set when the girl was still dressed) without them being explicitly illegal (although the poster ended up actually posting the illegal ones sooner or later) so the administration went angry again and took his powers away because the janitor was global support and he quitted on the spot too, leaving the site without one again. Here it seems the order to "not delete the CP" came from after the Gvol told the old BO, who was still trying to help cleaning the place, to not act unless said so to make the new one clean anything he wanted unless the real nasty ones appeared and they could legally act upon it. After this action shit went straight into the fan and everyone got angry, Robi halted his dev time and yelled a little, closed the site after shit splattered, either due to maintenance or hosting issues, and when it returned the new /v/ owner deleted the board. So he was expelled and the majority of the refugees jumped ship, while the old userbase did a week ago in dissatisfaction when old threads got bumped out due to internal spam to pressure the old BO. In a personal note this is a prime example you need to do ban sprees mercilessly to give a message in situations when a board is being overcome by newcomers. W.T. Snacks said so and he effectively gave his old board one more year of life due to it, at the cost of being fired.
>>232 Great analysis Anon, thanks. >at the cost of being fired. m00t was very likely already turning coat by that stage, however.
The best Japanese film of every year – from 1925 to now https://www.bfi.org.uk/news-opinion/news-bfi/lists/best-japanese-film-every-year
>>234 I love numbered female prisoners, I've only seen a handful of Japanese movies tho (rashomon, page of madness, ichi, skycrawlers) so thanks for the list
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>>217 >>220 So, let's rap
>>236 Completely honest to God i wanted to use the Rita image as a way to say i was free at last after a long time, and now after a while i realized it fits with the Female Convict Scorpion's pics which i only very briefly saw some hours before. Talk about urgent subconscious imagery.
>>236 I asked for the record label if they were still selling the DVDs but they're temporarily corona'd
>>204 >>239 Signups open for a short time https://vhstapes.org/users/register
>>240 Damn, missed it
So VHStapes is over. It sounds like the sysop has a history of being a moron. https://old.reddit.com/r/trackers/comments/i7v5r7/stanky_aka_bmo_laserdisc_is_to_retire_for_the/ <He handed the site over to one of his alt accounts, because he couldn't attract any more dopes to donate money. <Stop seeding stuff, and stop giving this dude money. <This cycle repeats itself at least once a year. He will come back with a new web design, some new rules and then he's gonna hit the users up for some more donations
>>242 God forums are cancer, just look at that shit.
>>89 The 4k restoration of Son of the White Mare is now playing in virtual cinemas (what a weird thing). I'm not sure how good the translation is, but based on the trailer it seems somewhat basic. But I don't even think it's possible to translate some expressions to English, the language is just way too complex for that. They probably just called the 'Hétszűnyű Kapanyányi Monyók' Dwarf cause good luck translating that shit. http://arbelosfilms.com/distribution/films/son-of-the-white-mare/
>>244 >virtual cinemas Pay per stream? Also streaming a 4k movie needs tons of buffering time or the fastest internet in the world. Silly as clown hell.
>>244 That's great news since I still haven't seen it. I just found out that a subtitling class at the University of Debrecen worked on this film a few years ago. I wonder how their translation compares to the retail releases.
>>245 It's not streaming in 4k. It's a 4k restoration streaming at 1080p.
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[End of Dump JW01 ~ 08/25/2020] So here goes the first step, this was the most extensive one i think so this should be done quicker now. All me tbh fam
>>54 It sounds like a marketing ploy more than anything. >>132 >Sounds like a fancy excuse to add more DRM to me. I don't understand, did I miss something?
Why is fauxteur so based?
>>248 Impressive autism tbh smh.
>>691 Which one, there are so many today?
There were two movies that I saw maybe around 2004 to 2005. I don't remember the titles, perhaps someone also has seen them? One was a black and white samurai film that maybe was from the '50s or '60s. I just remember that there was a samurai running around a small village and getting shot to death, it had a real sad feeling to it. Maybe it's just a Kurosawa film? The second was a snowboarding video that was possibly made for no money by a bunch of friends. I remember that it was a mockumentary and the title may have been a play on of This is Spinal Tap. Thank you.
>>694 Yojimbo is a Kurosawa film where a samurai runs around a small village, but I don't remember him getting shot
This new book on the sweeping influence of Richard Wagner sounds interesting. It reminds me I still need to watch that Syderberg documentary with Winifred Wagner. >For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. >In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. https://us.macmillan.com/books/9780374285937
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Here's one of the better articles where "a neophyte enters the piracy community" http://revistaarta.ro/en/column/notes-on-pirates-i/ Apparently he doesn't last long on Cinemageddon, but (through Facebook) he lands at a couple other sites I didn't know about
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>>745 >What does this kind of closed community achieve? >And, most importantly, for whom? My, oh my Ironically Yuri's anti-subversion talks are getting subverted in the mainstream media
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It's odd he doesn't understand why a private community would exist to serve itself instead of the entire globe. Although Cinemageddon used to be open signups with torrents indexed on google. But that model is difficult to sustain with a vast library of copyrighted material. Best to fly under the radar.
>>745 Is his conclusion that distributors should share thousands of titles for free to garner mass audiences? Good luck with that. People interested in these types of films are already seeing them.
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Another beautiful retrospective trailer from French Cinematheque, promoting the work of Hiroshi Shimizu https://vimeo.com/459407644 Music:Hako Yamasaki - Mukaikaze
What's the easiest way to get around youtube country limitations? I don't know if a free proxy will last long enough for me to download 1 GB.
>>791 There's some web sites that connect via magical IP thingies to a YT version of another country. For downloading i think manually getting the links and using a normal YT downloader will do the trick, if it is en-masse then JDOwnloader is another option. I think that's what you meant right? or do you mean continuous streaming?
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>>792 I wanted content from Arte so I found this program to easily download online programming from several French television stations https://captvty.fr/ Similar for Germany https://mediathekview.de/download/
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Let's see what they're discussing at Filmboards
Can anyone recommend a lightweight video editor? Adobe Premiere is probably a huge program at this point and pirating Adobe is kind of a pain (the program may stop working eventually). I've also heard good things about Sony Vegas (for effects) but I never tried it. Really I just need to do basic cut + splice, work with audio, save as mp4 in a nice interface. Thanks.
>>797 Why is Premiere a huge problem?
>>796 Kinda off-topic but that kind of whipping irony made me remember that i was seeding that christian samurai movie, Shiro Tokisada, and after getting a good internet speed upgrade it seems i've shared it 85 times. There's been 85 people downloading an obscure title from a second-tier (in terms of popularity) director from Japan, which is a must-see country in terms of cinema but still an unorthodox choice for the mainstream, especially when the movie isn't from a popular stylistic wave: It is neither a femboy sitcom, nor a chanbara, nor a schoolgirl slasher, nor a surrealistic trip but it is a pessimistic/nihilistic protagonist journey but situated in a non-urban era and made 60 years ago. Taking into account many people download to archive and see later (my case) and that i'm not the only one seeding nor is it the only source available, let's suppose 50 watched that movie downright in the last 3 months. Checking sites it seems only two persons have commented on that in the time span, who said it was good to great, and another in a shill site (who seems to be ranked as a top critic) scoring it as mediocre at best. That makes me wonder, are the vast majority of niche film enthusiasts silent? i can understand most people not watching that kind of movies but i still find the number considerable enough to be more actual discussion or a group leaving some kind of collective feedback. One even mentioned that the view source was YT so the number is potentially higher. Just rambling about, it's one of the first real tacit examples, from my point of view, where i could see the proportions of action men vs. silent masses even when the example itself is a bit inconsequential. >>797 Everyone seems to be using DaVinci Resolve, i tried it once and it is better than Premiere in UI experience but nothing "lightweight" about it. I think one year ago i tried to search for the same thing, basic cut, audio levels and simple export. I don't recall finding a good alternative but i never went big into it as i had no urgency. All the cutting i do it using Avidemux, which isn't perfect, and the audio i edit it separately in Audacity and replace it; it's a ghetto workflow but i was in ghetto situations trying to deliver ghetto goods so no big deal. Vegas was the go-to years ago but i think they bit the dust time ago, or at least got overtaken really hard. Premiere is a RAM whore and Resolve got tons of shill power behind it but at some point justifiable so, it is good but nothing express. Adobe went full into the "software as service" and it is getting annoying to crack, i only use Photoshop 2018 because they stopped working with Windows 7/8 and they can easily reach 2GB of RAM use now, instead of optimizing stuff it seems the best solution is to buy more RAM.
>>796 The fat woman thread is on CG as well.
>>796 Celebration of the revolting and vile has been a typical trick going on for at least 2 decades now.
>>826 Nothing wrong with thicc girls and gilfs you prude, there is plenty of wrong in discussing movies solely for that.
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>>825 I hadn't seen that thread, but generally I appreciate CG horntposting as a throwback to simpler times
>>828 >Nothing wrong with thicc girls and gilfs you prude Yes there is. It's degenerating to the society at large, and literally destructive to the fat lardasses who can take comfort that they are 'celebrated' while they stuff more toxins down their voracious maws. The entire intent is to corrupt the culture and weaken it. Celebrating the healthy, the virile, the virtuous would be counterproductive to their plots for the West.
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Jan Svankmajer’s Genius Revealed in Documentary ‘Alchemical Furnace’ https://variety.com/2020/film/global/jan-svankmajer-alchemical-furnace-1234820992/ Given Svankmajer's distinctive animation style, I'm very interested to learn more about his creative methods https://www.youtube.com/watch?v=7OUpMiMDm6M
>>830 >fat lardasses Well you know i didn't really see that "fat" as in obese women but more around "chubby" or "voluptuous". In terms of actually FAT women then yes, you are right to the t. Still nothing wrong with checking gilfs out, older women need love too especially from their male partners and it celebrates them taking care of themselves up to a higher age.
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Half of the new images on KG are in the WebP format which isn't widely supported. Supposedly webp uses a lossless compression method, so how do I losslessly restore the original image? https://gateway.ipfs.io/ipfs/QmXxxKiRCWa6L7Cc5jDm6QAvF3r95EyYQoyqhZrk4VEA8D/vlcsnap-_01_29_19_2020-11-12-14h30m16s317.webp Converting with ezgif and GIMP produces two different pngs.
>>833 <Post something interesting that doesn't fit into other threads. >posts a documentary >there's a documentaries thread
>>853 It's a trailer for an upcoming release, not a documentary I've seen and can comment on Similar posts ITT >>64 >>69 >>81
I'm annoyed that a lot of good soviet/russian films don't have english subs. How to deal with this?
>>942 Learn Russian.
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>>942 >a lot of good soviet/russian films don't have english subs Examples? One I'd like to watch with subtitles is Chyornaya chayka (1962)
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>>944 I tried to but it's hard. Also don't have enough time for it. >>946 I'd like to watch Russian Field (1972), and more films in the catalogues of famous soviet directors
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Thinking of Soviet cinema I found this cool promotional video for Mosfilm studio as it currently exists. It's still a huge operation. I wonder if they are hurting financially due to the global lockdowns. https://www.youtube.com/watch?v=OFnI0YARdYA
>>953 Yeah I read about Mosfilm and get really interested in it. A huge studio with so much history, which produces some of the best films of all time. They're supported by the government so I guess they're doing fine. You can book a tour to visit it apparently. Here's a recent blogpost about a trip inside the studio: http://kiddingherself.com/mosfilm-studio-tour/
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How do I go about understanding a film?
I once saw a quote that went something like "Hollywood turns men into sissies and women into prostitutes." I thought it was from Raymond Chandler but I've been unable to find it again. Any ideas?
>>985 What don't you understand? That's a broad question.
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>>1038 I wasn't clear with what I meant. Describing any film in words is rather difficult to do (for me*). What usually happens is; I'll make an effort to describe a film, but all that is processed in my head are simply explanations for the very obvious metaphors/symbolism in the film. For example, a political film with historical context is rather easy to describe/analyse as a lot of the film's metaphors & symbols have direct relation to events and attitudes of that context. And yet if I were to describe a film that fits into this description; The Swimmer, the result would be words "stuck together" with very simple explanations, or a bunch of nonsense. Most of the time any attempt to make explanations about the film will turn into a "knot". I might be a little bit retarded.
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>>852 It would be really cool if webp worked on anon.cafe. The animations are superior to gif. Steven Lynx says the engine supports it. https://smelle.xyz/lynx/last/1916.html#2023
Merry Christmas, /film/. I hope your next year is well. https://invidious.snopyta.org/watch?v=ZTzyC9CZuOA
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>>1146 Merry Christmas!
CG Christmas freeleech
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>>1162 Any recs? Site is pretty slow.
>>1170 >Site is pretty slow. Well, you should get used to that, it's been slow for a very long time now, way before cafe. Why do people keep complaining about this? Does anyone know where this board was linked besides 4shit? Anyways, CG has a lot of old, shitty xvid encodes but there are some rare movies that I haven't seen in other formats. There's some nice soundtracks there if you listen to a lot of music. I don't know, what are your preferences? It has a pretty wide array of options.
What a shame this page went offline a few months ago HISTORICAL FILMS IN CHRONOLOGICAL ORDER https://web.archive.org/web/20200710123757/http://www.vernonjohns.org/snuffy1186/movies.html I checked the page for a list of films about prehistory (like Quest for Fire) but he doesn't offer much substance on that front
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There's this griffithfag on tvch/tv/ who made a Lillian Gish birthday thread and has been updating it for a few months now. At least one other anon and myself have been somewhat regularly archiving it. I haven't taken the time to archive the photos full res but the thumbnails are included. Since the thread still exists you can see the images at full resolution by clicking them but that will take you to the image itself on tvch, but not to the thread. Good reading if you care for it. https://archive.vn/IMf60 http://archive.today/2020.12.28-235932/https://tvch.moe/tv/res/107706.html
>>1190 I never understood why that guy puts effort into /tv/posting
>>1170 >Site is pretty slow. The site is unusable so the FL is basically a waste of time. It's not hard to keep good stats on CG. Protip for next time: preload torrents beforehand.
>>1228 >>1171 >>1170 >>1162 It's over /film/ until next time
>>1229 Don't leave..
>>1231 he meant cg fl
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>>1246 Honestly can't stand this channel.
>>1228 >FL is basically a waste of time It could be a waste on an individual basis, but FL is healthy for a site because it encourages all users to download, thereby lengthening the life of most torrents
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KG Freeleech for 6.5 days
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I'm annoyed that KG changed their Politics icon from Mussolini to this nobody hippie feminist, unless it's a photo of someone special that I don't know. None of the other genre icons were ever changed.
>>1331 If i had received an invitation from one of the staffers rather than an altruistic anon i would've definitely bitched about it, but because they punish the people that invite banned members i rather not. Won't stop me from changing my profile picture tho but it's another lesson in close community anthologies: No matter how small and closed, someone will infiltrate and subvert/take down the original ways.
>>1331 I can't think of any film tracker without liberal mods. KG is even more hipster-ish than others, it is said that there are some indie filmmakers and critics on there. Some people even give out KG invites on twitter (which was memed on /ptg/).
>>1331 Pretty blatant sign the Bolsheviks have displaced the former leadership there.
>>1338 >I can't think of any film tracker without liberal mods I noticed the Cinematik forums have taken a reactionary turn. There are a couple mods that like to gripe about PC culture, without much pushback from other members.
>>1340 I'm not on Cinematik. They're so closed now, like HDB
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>>1343 I finally got on HDB through one of their mods. A few years ago he had an application process on Cinematik and Bibliotik. I noticed he's also a mod at PTP now, so maybe there's a path to join for Topp Doggs on that site. I "have" HDB invites but my download/seeding amounts are below their absurdly high requirements to allow me to use them. Cinematik invites are only given to actively contributing members (upon request), and there's not many people actively contributing.
>>1343 >>1345 I got a 'tik invite years ago but i rarely use the site because it's tough to seed content, freelech is rare and and most downloads are the full DVD image, so one download and you are set for trouble. Definitely needs a mechanical/seedbox way to up the stats. Still if you guys need or suspect something from there just say the word and i will try to get it, i don't recall if i had invites but i highly doubt it because i didn't even download that much to begin with. To think Bibliotik is supposedly harder to seed makes me joyous for lib.gen.
>>1345 >>1346 I personally don't see a use for HDB and TIK; other film and HD trackers suffice for me. I don't have enough space to seed too much unwanted content either. I don't think there are films that are only available on HDB or TIK and not some where else like PTP/KG/CG.
path to PTP? I used to have an account there (like 4 yrs ago), got banned for no reason keep my KG account tho
>>1349 Did you appeal your ban? That would be the easiest way. Their disabled user channel is irc.passthepopcorn.me > #ptp-disabled
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I'm not sure there are enough relevant video essays being made to start a separate thread, but here's another new one Orders of Time and Motion - The shots of "Sátántangó" https://www.youtube.com/watch?v=oDHgnFSSiYE >Kevin B. Lee and Arbelos Films have generously allowed us to premiere Lee's new video essay, made for the release of the restoration of Béla Tarr's Sátántangó (1994). The video essay is also available on the Arbelos's Sátántangó Blu-ray .
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Turns out American gulags aren't so bad
A woman faces the danger of a Retvrn to Natvre with her tradchad boyfriend https://www.youtube.com/watch?v=qmNlmcXtQPI
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How it started / How it's going
>>1444 Q is cringe though
In Memoriam: Giuseppe Rotunno, ASC, AIC (1923-2021) https://theasc.com/news/in-memoriam-giuseppe-rotunno-asc-aic-1923-2021 >Of course, because we were shooting in Technirama in 1962, the lens was not so fast, and we needed a great deal of light. The candles were basically props; my light was over the chandelier. I made a wooden crown on the chain between the chandelier and the ceiling, and I reproduced the candlelight exactly. I put some light in the foreground for close-ups, but with three cameras, it was almost impossible to light [ anywhere but from above] — we had mirrors everywhere, and there was practically no corner of the set that was out of the shot. All of our lights were on dimmers, and we used as little light as possible, because it was really, really warm; it was summertime, and we had all of these people enclosed in various rooms with candles. As we moved from one camera to the next, I got many drops of wax on my neck, and so did Visconti. I had trained the whole crew for days to put out the candles when the scene stopped. There were a thousand candles, so everybody had his section, including me. I felt like a priest in a church!
Is there any Marguerite Duras film that's not talky? "Wordy" is probably a better descriptor because her scripts tend to be one long narration, never a fast-paced back and forth between characters. She approaches films like she's writing a novel. You could say that's her style but I don't think raw literature works well when dumped into a visual medium. The images are a distraction. There's good reason no one else does this. If you do not speak French, it's hard to enjoy 90 minutes of intensive subtitle reading. In most cases I'm skeptical her writing is even worth the trouble.
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Webrips have gotten very common lately, but I'm curious why the streaming sites often include thick black borders on the video? Is this a result of batch processing many different films at once? They would save bandwidth and/or improve quality if the files were properly cropped.
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TCM died with Robert Osbourne. I've watched their online presence become corrupted by social media and tumblrinas. Now it's seeped into the company itself. Do not trust any streaming services or cloud storage for your films! It's funny how Ted Turner was infamous for trying to colorize old films to make them more palatable to the public, Then he saw the error of his ways and created TCM which branded itself as the place of film purity. Apparantly they've returned to musing about the problems of old films...
>>1477 >White actors as asian man I mean we can easily bend that sideways with samoans portraying caucasians, asians portraying anglos, lithuanians portraying injuns, i don't think that's an issue at all, they just want to censor a joke they don't like. The rest are just creative decisions from the writers. Impartial discussion and viewing requires a strictly impartial space as adding labels before the actual screening will almost invariably predispose the audience. RIP Rob, his trivia was replaced with warnings.
Ted K (2021) https://www.youtube.com/watch?v=_eG14ihP3Jc Is this the first dramatization of his life? There's much of a trailer here, but this film is another example of the renewed interest in Uncle Ted
>>1481 That might have been the strangest trailer I have seen in a while.
>>1471 >It's people like me who have to carry on and pretend to be modest. people do this with me and I am a timid person. Do I have the Chaplin disease?
>>1477 I'm still waiting for them to start allowing advertisements or declare movies older then a certain date too racist/insensitive to show.
>>1477 >slaves were never happy What, they must always walk with a frown now? Fucking clownworld.
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TCM Classic Film Festival https://filmfestival.tcm.com/schedule/20210506/ All in all their lineup isn't too bad. They're premiering some new restorations and a new short from Bill Morrison that I hope to see. But it's stupid they're doing a virtual festival instead of holding it in Austin or something.
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Which of the shorts was your favourite /film/? I liked The Imposters most (the one with the old men in the hospital).
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>>1568 I can only remember the features in that Eclipse set. I was just thinking Report on the Party and Guests was odd and underwhelming to me when I originally watched it, but it must be worth revisiting after the absurd rulecuckery of Covid. Also Capricious Summer was a nice surprise, very comfy.
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Mubi is building their first movie theatre in Mexico City. It looks like a foam mattress. https://mubi.com/notebook/posts/mubi-releases-images-of-its-planned-first-physical-movie-theatre
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>>1577 >dat neighborhood >"Doctores 'hood in the Cuauhtemoc District has a reputation of being high crime" >"It is also known for its large numbers of cantinas, cabarets and timed rooms for a mostly lower-class clientele" >"Ranked fourth most “dangerous” neighborhood based on the total number of reported crimes per day" >"A Hummer stolen from El Paso, Texas, was recently found intact on the streets there" They could've placed it in plenty of the touristic places or the tiny available spaces near by but decided to build it in a "former" red-light district now used as clandestine storage center. Doesn't help the design concept is pretentious as hell and that's coming from someone who delves into obscure eastern european art house cinema. Once again it seems a case of southern mexicans doing dark business deals behind artsy intentions, because gentrification it isn't, building render looks like a sloped industrial shell for a garage or workshop.
>>1578 >>1577 >En otras noticias esta noche, el cartel ha robado cientos de peliculas muy valuables y raras
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Registration will open on ExoticaZ, CinemaZ and AvistaZ this weekend (21st May 2021) till Sunday (23rd May 2021)
>>1578 >Once again it seems a case of southern mexicans doing dark business deals behind artsy intentions do you have any article about this? I'm particularly interested in cartels money going to Netflix
>>1588 Didn't some Netflix employee get shot by the Juarez cartel while scouting shooting locations for Narcos Mexico? Seems like they don't have the best relationship.
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>>244 >At the age of 79, the Hungarian cartoonist, graphic artist, illustrator, cultural historian, and artist of the nation Marcell Jankovics has passed away, the Hungarian Academy of Arts (MMA) announced on Saturday. He was working on a new film too, fuck. I know Son of the White Mare is his most famous work but The Tragedy of Man is probably my favorite animated movie of all time .
>>1581 I can see the pirate networking being extra quick there so rips will be fast. >>1588 I can talk by personal experience, art scene around here is filled with jews really, they buy cheap and sell high in Scottsdale and also trade archeological findings too which is a felony but the real money makers are in the south, particularly in the capital city where politicians can fund museums and administer some resources for it, you can steal money from the Secretary of Education & Culture (aka SEC, the ones sending you funds to build/maintain it) and also grab from its treasury (objects, sold items). Because the one who is signing the income/outcome is also the one checking what went in and out, it's grounds for strange stuff to happen. Right now there's 150+ official museums in the capital and tons of funds go there despite many being eternally closed due to "repairs", in pandemic times i can only imagine how much they pillaged. Private museums are another story, that one is much more related to the money laundering schemes well known by the US/Europe (buy trash, sell art, clean the money of some philanthropic patron in your organization). The tax organization here, SAT (which are heavily armed and have the same cars as the feds) say 50% of all art activities are private transactions so you can imagine how much it is badly seen, hence why the cartels rarely mess with art nowadays, they rather buy/sell sport players/clubs or cars which they love to bits. In the case of this Mubi theater, it is located in the Cuauhtemoc District which is home of 80+ of those public museums already (not counting the private ones) so you can expect monkey business, then it's also in an infamous place too so double it, and what my suspicion of the deal is the treatment of the place as a culturally-important spot which means sponsorship of the government via SEC aka not paying much taxes if at all, that means the place can pay taxes but they might not be reported locally because it officially doesn't but the owners also might never know such exempt because the paperwork was done clandestinely someone is getting that money anyways, as little as it is. MUBI itself, i mean the HQ and/or the ones in charge, might not know all of this and operate it as a legit business outside while in Mexico it might be treated as a museum of sorts and just pay the owner's royalties while keeping a stash underhanded, that's what usually always happens with these bug-eaters. The building is already scummy in conceptual terms, it's a rigid and clever steel structure with pre-made concrete panels which means it was well-designed but also cheap as hell to build, the justifications for its form are also pretentious and hat rabbit-tier which already shows its shadow intentions, it probably means some elite art-scene player convinced some MUBI directives about the project (and scheme) and worked around it to make it sound like high-art when in theory it's a bike garage with a projector and 12 folding chairs designed by somebody in Milano who never visited the site; no popcorn machine either. Works both ways too, because it's artsy and tiny you can "customize" the customer attention and make everything by hand aka no logs in a machine, you can keep the tax money in your pocket and claim 200 people pay 10 bucks to use it a day (cleaning up to 1800 a day because no more than 20 people will walk that shitty place to watch an obscure Bollywood production) operational costs are almost nil because it's literally a garage without machines and with little light. Of course all of this could be a legit business decision with good intentions behind its unorthodox decisions but i've dealt and seen too much backroom talks to think sanely, so apologies if i wrote too much poison. As a side note the sports case i can attest first hand that they fake sport event entrances, they claim for example that 5275 went to watch sunday's game but the one trying to fill the entry report (not me) was given the number 2450 directly from the machine. What happens later depends on the team, in very small teams (like mine) if you don't have more than 3000 spectators you get a fine so they rather fake the number to not fuck your organization, but in bigger clubs they either bribe the commissioner or the report man (not me) which is usually a direct employee and all's settled. A small team, and by that i mean a very small one, can launder around 12k bucks a weekend if you fake 2500 entries, 34 games a regular season means you can clean half a million, which is not a lot but in the long run it's significant and that doesn't include selling players, a good one can go for 3 million and tons of the in-between money can easily disappear if the intermediary/player agent is a foreign citizen who can (he will not) pay taxes somewhere else. The operational costs pay themselves with sponsors so not a lot of trouble there either.
>>1588 >I'm particularly interested in cartels money going to Netflix That i don't know very much sadly, i've heard Netflix goons being hit like >>1590 said but that usually falls down to americans feeling cocky and going around thinking they are the king of the hill in a ghetto. But by the Juarez Cartel? in the 10's they haven't got that much of a presence anymore, their normal strong arm are literal gangbangers in beat-up cars bought in indian reservations and the elite soldiers are way too busy dealing with safehouses and new tunnels than bullying, let alone killing, an american film scout. But if that really happened and not someone (probably a southern immigrant) who assaulted him and claimed it was a cartel that practically stopped existing years ago, then usually the procedure i've heard to do anything at all in shady areas and avoid getting dusted is to contact the boss of a neighborhood who's usually a friend of the jefe de plaza (Sector Boss), the former is the one checking all safehouses are safe and to distribute the goods (also kill petty criminals if found because they might snitch to someone for favors/leniency), the latter is the distribution boss in a city or region, he does all the numbers and also controls the paramilitary units although since the 90's they delegate that labor to "special" groups (local hit squad, angry soldiers, greedy special forces, retired foreign special forces, guerrilla vets, hobbyist sociopaths, etc). So anyways the irony here is that the easiest way to talk to the most violent guy in town is talking to your local important pastor/father, cartel members are very catholic for some inane reason but sometimes the rare good pastors are the ones trying to help the most shitty places which are directly controlled by cartel men, and they will usually know how to find them. Then when meeting face to face you'll work a deal, they will give you access and protection but you will pay a fee (rarely) or make them a favor (usual deal). I've heard about some american production team in Sonoyta (border town to Lukeville, AZ) that was granted all access but was requested to produce the local boss daughter's sweet 16 party in terms of lighting and camera work, sounds hilarious to think some town girl had a literal Hollywood-tier crew making all the work for her dance routine but i don't doubt it for a second, a night's work of shooting and editing is significantly a small fee to be granted almost full power in a town for a couple of days. But at the end of the day it is a rare occurrence for americans to be entering the country for that kind of things, they usually stick to border towns in the US because some constructions are similar for a very shallow eye/oblivious audience and the people are already there (this sometimes backfires as not all immigrants have the accent or even know spanish). And you add a yellow/orange/red filter on top of the footage and many will think it's actually the other side of the border, it's hilarious but it worked in Villeneuve's Sicario (a man fond of the piss filter) and in Breaking Bad too (NM Albuquerque's poor 'hoods and a orange filter). Narcos Mexico wasn't that well received locally (yeah i know i always say the same) because they radically change a lot of facts/characters and that isn't very liked by some, especially when they are still alive unlike otherwise claimed and very much controlling hitmen in small towns. For example one of the main protags in Narcos MX re-appeared around the same months the series premiered and that made the main actor move out to the States although he doesn't like to admit this, yet for example in the soap opera of El Chapo the main actor was saluted by the guy himself in his own court hearing, man actually told his wife to wait while he went to shake the actor's hand (same thing happened to the Narcos guy portraying him). Being faithful to the real story is somewhat a kind of power among those actors
Who are your favorite directors?
>>1608 In fear of sounding like a pleb because i still need to explore a bunch of notorious scenes, eras and artists, i would say that right now the ones i recall most often and take inspiration from are the works of Akira Kurosawa, Alfred Zinnemann and Takeshi Kitano, to mention 3 and not 5 or 10. It is to take note that those fellows had particular hard-to-get traits and/or contexts that made them successful, Akira was a disciplined workhorse that slept little and didn't see his family often but that work ethic and "free" time made him overly detailed with his works which included the entire editing process and sometimes sets and costumes. Kitano is/was packed full of money from his comedy shows and tours so in his free time he carefully devised his personal style and exactly what he wanted to do without much stress other than having to commit to his "real" work and finding collaborative actors, but because he had a certain cult following his crew was fairly easy to get and motivate. Alfred Zinnemann was a jew plugged in Hollywood, not much to explain but he had some semblance of soul which made him act and work outside the usual charlatan, neurotic and conman antics of his damned kin. He was very methodical, his idea of making every scene have a meaning and count towards a goal is common sense but often forgotten, and also had an interesting philosophy bit that i learned the hard way later in my life: Doing things properly and like they should is paradoxically not an obligation but a privilege, hence the act of being able to make a good movie with all the powers behind you is a royal opportunity, it's a one-shot chance of placing yourself in time and all the efforts should be used to make it work like it should with planning and without cutting corners for the sake of saving some small time which can be reflected in decades to come when people rewatch your work. Most people will work for the sake of finishing something, and it's very often that they will wing it at some point to get it over quickly... that is fatal in the long run if you want to make a quality difference but the vast social context of most societies easily allow for this because it's an inertia created by low moral/"bad vibes"/no rewarding feedback, yet when you try to do something good the same context pressures you to rush it because they are not used to that doctrine. These are all very bizarre ideas taking into account where he came from but his latter opinions towards his own tribe do reflect he was at odds with most, and to be fair this idealistic thinking can only be constantly achieved with the big money (and influence) he had in his back, the major and sometimes only motivator for your crew. He did pull out good work outside that sphere of influence so he probably was a skillful motivator too apart from director. I can also pull out people like Takashi Miike or Paul Verhoeven but i don't understand their context that well, Miike for example had tons of groupies which might've influenced many works in his vast repertoire that changed in tone after they left (also it is said he had rare full yakuza backing) and the dutchman is a strange entity, he walks a thin line between being a very commercial craftsman with unusually high levels of self-awareness and taste or a quite artistic madman director that knew how to play the mainstream game and often conned big-time producers into doing bizarre projects that ended up working well; his projects are often mainstream products but stand out for their uniqueness in intentions and frankly very dark humor to the point of mockery but without overdoing it, like plenty of contemporary projects have done.
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The statue of Rev. Egerton Ryerson featured in R. Bruce Elder's Illuminated Texts was pulled down today by a mob.
>>1626 Ryerson Addio
>>1626 I didn't even know about the man until this little spergout by the leaf featherniggers (unsurprisingly, fomented by antifa). But I looked into him briefly, and now pretty much consider him a hero of the West. He refused to educate females past a certain age, since their duty was to the home, not a career. That alone makes him a man worthy of honor.
>>1628 Taking into account he was the guy in charge of educating the canadian injuns i say he did a pretty bad job, they are the most uppity ones in the entire region down to the Darien Gap and that's adding that they don't even have the hypothetical excuse the north american and southwest redskins have that they were relatively peaceful and got their shit slapped, the canadians were the ones who waged war with everyone all the time. His system also evolved later into taking injun kids, often by force, and handing them to newly-arrived immigrants who were in vast majority of european descent, to educate them and pretend they were their own which ended in many of them being psychopaths due to abuse and general dissonance. Also reason many of them have germanic surnames rather than color-animalism-action names (Timmy Yellowfeet, Bobby Redhawk, Johnny Flying Elk). Canadians did them weird, killed them like anglos do then tried to help them but not really and then gave them full rights out of thin air due to the french. Very different from Americans who killed them, secluded them and then started giving them rights little by little... or like Spaniards who killed them, segregated them and then educated those who wanted while further segregating the others and letting the educated red ones do away or force the others as time passed on. Still there's no reason to topple down history, forgetting it only leads to ignorance of societal context and disassociation with your nation (not that canadian nationalism exists anyways)
>>1629 I see. Well, meh. All your color commentary pales into insignificance relative to the absolute devastation that feminist golems have wrought on the Western Tradition. Sounds like the Spaniards had the best ideas related to the featherniggers, though.
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>>1630 >All your color commentary pales into insignificance relative to the absolute devastation that feminist golems have wrought on the Western Tradition Agreed but i wouldn't say "pale into insignificance" because the guy practically erased most of the traditions of a good chunk of people, ones who were the closest to the secret of why some "pure-blooded" injuns had old european stock (irish/basque aka pre-indoaryan) in them meaning some earlier migration via either olde viking-tier travelers or something even older. The miscegenation of violent native apaches (who are from Canada, not the US like amerifats want to imply to justify the Indian Wars) with low-tier immigrants made some hellspawn that still roams middle Canada and Quebec with their passive aggressiveness and low-tolerance to alcohol. Also because the mistakes of the past have bigger connotations than today where most things are achieved already, one could banish the Zulu today and nothing would be really lost as most everything we could learn from them has been registered. But yeah, in general sentiment i am more concerned about commie women having rights... period, just extended myself long because Ryerson is the father of Canadian rural alcoholism. >Sounds like the Spaniards had the best ideas And mostly by accident but sure enough, injun peer pressure with their women wanting to adopt more of a comfortable sedentary life with european luxuries was much more effective than the sword of various mercenaries and royal soldiers. If not then we would have an entire mediocre continent dedicated to doing nothing but hunting and fishing, consuming crops of tobacco, coke and weed, where time is measured if it is day or night. Didn't intend to make that sound good but it just happened
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Is Vertigo worth watching
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New video essay on Nobuhiko Obayashi’s classic Hausu (1977) https://www.youtube.com/watch?v=Q13oNZlTr_o | https://yewtu.be/watch?v=Q13oNZlTr_o Hausu of the Rising Sun: Death of the Girl >Seven girls enter a house, only one emerges as the perfect embodiment of ideological womanhood. >This audiovisual essay explores the Japanese cult film Hausu (1977) and the ways in which it represents feminine/female coming-of-age as a bodily, psychological, and social process, as depicted in the fate of its protagonists.
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How do I undo this moronic change to the imdb page layout? Also how do I download imdb poster images without sifting through the page elements? I used to use the greasemonkey script IMDbcom_enable_right_click_on_images.user.js but it stopped working.
>>1779 You could search for "a ilha dos amores 1982" on Google images and it'll always show the imdb poster at the top. Just save the poster image from there, that's what I do.
>>1782 I could do that but I was hoping to get imdb to function as it used to. The script is pretty simple but I'm not a coder and I don't know what changed to make it stop working. Just need to force "Save image as..." to appear when right clicking on an image. // ==UserScript== // @name IMDb.com enable right click on images // @namespace https://openuserjs.org/users/cuzi // @license GPL-3.0-or-later // @copyright 2020, cuzi (https://openuserjs.org/users/cuzi) // @version 1.0 // @description Enable right click on images in the IMDb.com media viewer // @author cuzi // @include https://www.imdb.com/* // @grant none // ==/UserScript== (function() { 'use strict' window.setInterval(function() { document.querySelectorAll('div[class*="PortraitContainer"],div[class*="LandscapeContainer"]').forEach(function (div){ div.style.zIndex = 2 }) }, 1000) })();
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It's strange that multiple fires have occurred at Brazil's cultural archives. This article written in May blames poor facilities and govt neglect, then warns of a fire at the Cinemateca Brasileira, the largest audiovisual archive in Latin America. https://www.frieze.com/article/fires-consume-brazilian-cultural-heritage-could-cinemateca-brasileira-be-next The prediction came true a few days ago and 4 tons of historical documents were burned.
>>1808 This is in line with whats happening globally. Gotta destroy history so the slaves of tomorrow don't question their self-appointed rulers.
>>1808 I remember something in the line happening in Philippines i believe. Argentina and Brazil are the foremost countries in social studies and jewish populations in non-anglo America, one having the Council and the other being the house of the Sao Paolo School which is the american version of the Frankfurt School, so i suppose it's not strange to see such things happening in historical archives of any thing. But i doubt anything non-brazilian of value was lost and many countries are skeptic of Brazil being an hispano-american member, let alone the archivist of the region. But fun trivia, the original country that usually was in charge of doing so was Venezuela and shit hit the fan since the gommies took power in 1999. But >>1809 already said it, in global matters some countries are getting hit by bizarre "accidental" burn outs at historical places and not replaced in any shape or form.
>>1808 So the journalist is a spook who was informed of it before it happened? Nothing new there. >>1809 Tailoring history is an old game.
Yeah so much of the cultural destruction has been encouraged you have to wonder about these "accidents" that do the same thing I saw this quote posted a few months ago, then realized Milan Kundera wrote one of my favorite banned films https://ulozto.net/file/9t5se4OOhpoT/ https://www.imdb.com/name/nm0475081/
I was taken to Jungle Cruise today. It feels like if someone was trying to make something like the 1999 Mummy and almost doing okay, but then someone else says “how can it be indiana jones without nazis!” “But sir, it’s early 20th century!” “AH just get the WW1 nazis, also BE SURE TO ADD BOYS BEING CONFUSED BY A STONG WOMAN IN PANTS. However, when the overy british brother of the female lead we get to play our Jonathan ripoff has a moment, make sure to make it clear that he is a fag. I know it has nothing to do with the plot or his motivation. I’m sure the man he tells this to who was confused by women in pants is fine with buggery.” Just take the story beats of the mummy and try to mix it in with the story beats of indiana jones, and force it through with some unlikeable characters, and don’t even add a Beni! How you not gonna have a Beni! Sorry just wanted to vent at how much the movie irked me. They honestly did good in making it faithful to the rides corny puns and fake river cruise motif, but so much of the adventure side of it felt so forced and the characters weren’t likeable and the world was very based on OH MAN HISTORY HAS OPPRESSION OF WOMEN AND GAYS RIGHT? Fucking glad it is over.
>>1820 Thanks for the sharing. It isn't anything unexpected from a big budget PG-13 wide-released hollywood movie anyway, gotta propagandize hard. I would never watch that in the cinema in any circumstance lol
>>1820 It's so obvious to me that movies are written by clever talents who get the money for them, then are morphed into a different thing via the studio's script council and then left in a ready state on an archive, when the time comes it's pulled out and gets made but while doing it they churn in the current year bullet points and pervert some aspects of it to pander to vocal minority sensibilities. This last step is what gets me, studios still haven't been able to do it properly without looking and feeling forced as hell, be it a sore-thumb chinaman, an open homosexual or a talking monkey outside the zoo. And the cattle does notice this, everyone i talked to knows when something of that sort happens it doesn't work yet they ignore this because they tolerate it, they allow it to happen as part of the suspension of disbelief. This same mental mechanism is what drives fringe communities of weirdos and fetishists to pull their tricks in public, obviously with the complicity of certain other groups. The trick to know which group is to see who gets the villain role even when the context is outside their realm, in the case of historical movies is a strict and disciplined germanic armed force similar to the Reich's SS, i recall Wonder Woman having obvious SS troops despite being a fucking WWI movie (and them gassing a town despite the french being the ones who used gas the most), so no surprise a river boat movie pulled the same antic again and made by Disney too. I want to dynamite a bagel shop, in GTA. I remember The Critic mentioning this library of unmade scripts ready to go with even the equipment and crew allocations specified, waiting for a moment or an actor to trigger their activation.
>>1820 Mummy is great, this manufactured greenscreen monstrosity shouldn't even be mentioned in the same breath.
>>1824 Hard agree. The best example I can think of is Onward. The movie has a heart warmng solid plot about a younger brother yearning to meet his dad and realizing that his older brother has been his father figure all along, but then there’s a bunch of strong women and oh this one cop has to mention being a lesbian. Sure enough, there’s two main names in charge of the project. One is the writer and director, a white male who’s early life may as well be a copy paste of the main characters, raised by his brother, with this movie reflecting his own realization. The other is a disgusting looking leabian jew who was integral to a bunch of california gay law pushes. WONDER WHO WROTE WHAT.
>>1825 I can’t agree harder, Mummy may genuinely he my favorite movie, but this movie is clearly trying to rip it off while missing everything good. Instead of likeable qt librarian we get annoying cunt, both women find an artifact and have a scene involving losing balance on a ladder, both have a brother they drag along with who is very british (though one is funny and likeable while the other is just full retard), both meet some experienced strong man who knows much about the treasure, both movies involve a reawoken cursed man who original was motivated by love. It’s makes me angrier how shallow a copy it is.
>>1826 Hell they're really pushing degenerate LGBT shit upon children now. This world has gone fucking mad.
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>>1827 There's more to The Mummy than that. It was pretty much the last hurrah to the traditional adventure genre, being made on the very cusp of "digital revolution". It's shot almost entirely on locations and on big spacious sets hearkening back to the great historical epics of mid 20th century. Or otherwise superimposed on miniature work, using CGI only when absolutely necessary. There's always something tangible on screen and you can see where every single penny of the budget went. Then you also have the iconic score that you will recognize even if awaken in the middle of the night, that just screams "exotic adventure" at you https://www.youtube.com/watch?v=LWly0yvaY5M It's the definition of a fun spectacle cinema done right and the best fourth Indiana Jones film we will ever get bar The Fate of Atlantis. Now we have this fake conveyor-belt Mummy meet Pirates of the Caribbean wannabe which looks like every movie made in the last 10 years, shot almost entirely on green screen and tiny token sets that are photographed so flat they come off as a green screen anyway. Everything is digitally color corrected to the ugliest possible shades that might have looked better had they not touched them. Might as well be a cartoon honestly, at this point it's not CGI inserted into a film but some footage inserted into CGI. The direction is utterly flaccid, you can't grab a single screencap from this that will look appealing. It's all either shot reverse shot for efficiency coverage or the CGI cutscene where camera just flies wherever. It's a completely manufactured fake fun, helmed by fake manufactured "likable" personality the Rock, as apposed to actually likable and liked peoples champion Brendan Fraser. Ironically this isn't the first time they had Rock replace Brendan as the forced likeable lead. Nobody will remember this shitpile in 6 months when another "adventure film with Rock" that looks exactly the same comes out.
>>1830 Yeah. The CG in this gets especially bad in some parts towards the end. There’s so much stuff that could have been done with little to no CG instead but oh no better have someone run along the branch of a big CGI tree as it blooms and unblooms when you could cut that shit out completely. I only really came to appreciate The Mummy after someone I know who normally has hit or miss taste put it as her absolute favourite. She can recite the whole movie by heart, even parts like sighs and noises right on cue. I can think of so many great aspects of it. The scale of it, the music, the interesting fights, the sense of a grand adventure just knock it out the park. The villian is formidible and ever present, and the side characters have weird quirks and mostly die off like a table top campaign. Evie and Jonathan feel like regular people being swept into a fantastical journey instead of whats her face from jungle cruise who without any explanation can beat up the boys too and OH MY WE GOTTA BRING UP THAT SHE WEARS PANTS 10 TIMES MINIMUM. Just about every line and event in The Mummy is memorable and I’m having trouble remembering much of Jungle Cruise already.
>>1828 >now
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I always enjoy when Tuesday Weld appears in some random film I'm watching from the 60s/70s. She usually outshines the rest of the cast, making me wonder why she wasn't more famous. Here's a well-written article posing the same question before delving into her enigmatic career. https://lithub.com/inside-the-career-of-tuesday-weld-a-hollywood-poet-of-failure/ With reference to this 1971 episode of Dick Cavett https://yewtu.be/watch?v=Dvl9j8foex4
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>Be having a cheeky wank with a segment from a modern french movie, watched from random video in a pronz site >Day later (today) Youtube recommends me out of nowhere the soundtrack for said movie >Never used Youtube for anything film related and movie is obscure enough to never show up anyways EVERY THING IS IN THE BOTNET
>>1881 I feel like a schizo when that happens
>>1882 Video also literally has only 5 views, so not really a 10k views video which coincidentally appeared in the main feed near the top in an act of synchronicity. I was convinced before, now even more. No happy fappy time again for this chappy, at least for a while. >>1883 >Luc Besson That reminds me i need to post about someone in that director hate thread.
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Roman Polanski playing chess in Saint-Tropez, 1979
>>1908 death to pedophiles
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Criterion Forum Top 100 Films of each decade (as voted in the mid 00s) https://www.criterionforum.org/forum/viewtopic.php?f=24&t=94 Rankings are always interesting but I think these lists are more useful for finding new titles to watch As a sample here is their 1940s list (which stops at 88) 1. Day of Wrath (Dreyer, 1943) 2. Notorious (Hitchcock, 1946) 3. The Magnificent Ambersons (Welles, 1942) 4. Citizen Kane (Welles, 1941) 5. Ivan the Terrible (Eisenstein, 1945-46) 6. Late Spring (Ozu, 1949) 7. My Darling Clementine (Ford, 1946) 8. His Girl Friday (Hawks, 1940) 9. To Have and Have Not (Hawks, 1944) 10. The Big Sleep (Hawks, 1946) 11. The Lady from Shanghai (Welles, 1947) 12. I Know Where I'm Going! (Powell and Pressburger, 1945) 13. Black Narcissus (Powell and Pressburger, 1947) 14. The Third Man (Reed, 1949) 15. Meshes of the Afternoon (Deren/Hammid, 1943) 16. Letter from an Unknown Woman (Ophuls, 1948) 17. Monsieur Verdoux (Chaplin, 1947) 18. To Be or Not to Be (Lubitsch, 1942) 19 .The Shop Around the Corner (Lubitsch, 1940) 20. (Tie) Shadow of a Doubt (Hitchcock, 1943) The Red Shoes (Powell and Pressburger, 1948) 22. Beauty and the Beast (Cocteau, 1946) 23. Double Indemnity (Wilder, 1944) 24. Meet Me in St. Louis (Minnelli, 1944) 25. Cat People (Tourneur, 1942) 26. Fantasia (Disney, 1940) 27. Life and Death of Colonel Blimp (Powell and Pressburger, 1943) 28. Orpheus (Cocteau, 1949) 29. The Great Dictator (Chaplin, 1940) 30. Sullivan's Travels (Sturges, 1941) 31. Brief Encounter (Lean, 1945) 32. Les Dames du Bois de Boulogne (Bresson, 1945) 33. Rome, Open City (Rossellini, 1945) 34. (Tie) The Bicycle Thief (de Sica, 1948) The Treasure of the Sierra Madre (Huston, 1948) 36. Scarlet Street (Lang, 1945) 37. King-Size Canary (Avery, 1947) 38. The Reckless Moment (Ophuls, 1949) 39. The Best Years of Our Lives (Wyler, 1946) 40. Red River (Hawks, 1948) 41. (Tie) Children of Paradise (Carn�, 1945) Christmas in July (Sturges, 1940) Germany Year Zero (Rossellini, 1948) La Terra Trema (Visconti, 1948) 45. (Tie) Le Corbeau (Clouzot, 1943) Miracle of Morgan's Creek (Sturges, 1944) 47. (Tie) Force of Evil (Polonsky, 1948) Out of the Past (Tourneur, 1947) 49. Laura (Preminger, 1944) 50. Women of the Night (Mizoguchi, 1948) 51. Louisiana Story (Flaherty, 1948) 52. (Tie) Leave Her to Heaven (Stahl, 1945) Record of a Tenement Gentleman (Ozu, 1947) 54. (Tie) How Green Was My Valley (Ford, 1941) Pasian (Rossellini, 1946) 56. (Tie) Cluny Brown (Lubitsch, 1946) Spellbound (Hitchcock, 1945) 58. (Tie) Jour de f�te (Tati, 1949) Lifeboat (Hitchcock, 1944) White Heat (Walsh, 1949) 61. The Philadelphia Story (Cukor, 1940) 62. (Tie) Casablanca (Curtiz, 1942) The Lady Eve (Sturges, 1941) 64. (Tie) The Heiress (Wyler, 1949) The Little Foxes (Wyler, 1941) 66. Unfaithfully Yours (Sturges, 1948) 67. (Tie) A Matter of Life and Death (a.k.a. Stairway to Heaven) (Powell and Pressburger, 1946) Rope (Hitchcock, 1948) The Battle of San Pietro (Huston, 1945) 70. I Was a Male War Bride (Hawks, 1949) 71. The Maltese Falcon (Huston, 1941) 72. Utamoro and His Five Women (Mizoguchi) 73. (Tie) Screwball Squirrel (Avery, 1944) Suspicion (Hitchcock, 1941) 75. The Pirate (Minnelli, 1948) 76. Quai des Ofevres (Clouzot, 1947) 77. (Tie) Odd Man Out (Reed, 1947) Prison (Bergman, 1949) 79. I Walked with a Zombie (Tourneur, 1943) 80. Red Hot Riding Hood (Avery, 1943) 81. (Tie) Gun Crazy (Lewis, 1949) The Devil and Daniel Webster (Dieterle, 1941) 83. Stray Dog (Kurosawa, 1949) 84. The Southerner (Renoir, 1949) 85. Key Largo (Huston, 1948) 86. Ossessione (Visconti, 1943) 87. Rebecca (Hitchcock, 1940) 88. It's A Wonderful Life (Capra, 1946)
>>1966 granted the 1940s lists doesn't have many unknown titles...
>>1963 go back to cuckchan and stay there.
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>>1966 Those guys are knowledgeable but the main drawback is that their choices are dependent on home releases. It was hard to find films elsewhere 15 years ago and the overall availability of them was much more limited at the time. It's interesting they still ranked Rose Hobart as high as they did. That short is better in theory than in execution. Rules of the Game is pretty good but I don't understand the wide appreciation for Grand Illusion. Even though I listened to the commentary track after watching, I thought it was bland and forgot it existed.
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A very new "movie database for cinephiles". Something to watch and see how it grows. https://www.kinometer.com/intro I tried it out a little bit. My main complaint is that many functions require registration. I'd definitely like to use something besides IMDb. (They recently had another awful redesign.) I'd like a site that's a lightweight mirror of IMDb with whatever added features.
>>1979 A joke trendy name for sure but the features seem promising, extensive which makes me believe it will take a while to organize unless they have 100 or so people willing to pull weight in the first months. >>1970 >Those guys are knowledgeable but the main drawback is that their choices are dependent on home releases. I want to call this out too but it kinda happens to me, i want to watch certain movies and the subtitles just aren't there. A home release might be the same thing, one can check a movie in a national cinetheque but doesn't mean they will have subtitles unlike an official release, which are the key for most audiences. Truth be told there's plenty of decent stuff, perhaps not great but still, that are locked into their small original audiences. Recently i've experienced this with some obscure yugo stuff and a couple of chinese movies, hell not even the slant eyes are safe because plenty of their own stuff is only available in their hastingly-made dirt cheap english dubs done for the american audience.
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What's the best Henry James adaptation(s) besides The Innocents?
Has anyone seen this? Palme d'Or winner that seems to be very extreme https://ytprivate.com/watch?v=T975nUk_uNA
>>2065 I doubt Cannes allowed something similar to Taxidermia to win the Palme, that's why they threw that one to the general functions which still won a prize. It's cheap hype or they went full retard with pandering to something or someone now that Hollywood doesn't care about them. Looks trashy by the official poster but a PdO winner is always an interesting thing to gaze.
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A really interesting video about the two versions of Neverending Story. It's presented by some cringy soyfag, but the subject at hand is so fascinating and editing is generally pretty good so it's tolerable. https://www.yewtu.be/watch?v=kw3q65OxtCQ
Can you guys think of any films or documentaries with an English dialect that is unintelligible without subtitles? I've encountered some before, but I did not watch or make note of them. I see that Cumbrian carries Old English/Norse influence making it hard to understand, and some rural Scottish/Irish can be tricky too. I don't know if there's enough linguistic variation in the United States for unintelligibility, but maybe heavy ebonics or spanglish would get there.
>>2131 God I hate these youtubers shitty attempts at humor. Otherwise interesting video.
>>2141 Yeah it's fucking awful. Sadly it's a common trend of a decent video being made by some insufferable eceleb. And it's usually one good video on the entire channel otherwise filled with leftysoy.
>>2131 What program can produce those effects and animation? Nice job on the presentation but I don't know why this guy cares so much about that movie unless he has kids
>>2166 >why this guy cares so much about that movie unless he has kids Go back to plebechan.
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Another good comparison video, this time about the blight of bad remasters on the example of The Matrix. https://www.yewtu.be/watch?v=KEdgmNZnLs4
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Here are the Best Films of 2021 according to these sources https://www.artforum.com/print/202110/best-films-of-2021-john-waters-87205 https://www.artforum.com/print/202110/best-films-of-2021-cassie-da-costa-87211 https://www.artforum.com/print/202110/best-films-of-2021-amy-taubin-87208 https://twitter.com/cahierscinema/status/1465213184638394369 https://www.vanityfair.com/hollywood/2021/12/10-best-movies-2021 https://www.yearendlists.com/category/movies As someone who watches very few new films, it's instructive to take the temperature of tastemaker opinion. The main problem is these lists are almost entirely "bedtime stories for adults" -- I'm more inclined to watch James Benning photographing trains for an hour or two. Admittedly I was interested in The Power of the Dog, but Amy Taubin makes the Montana western sound like an audacious feminist manifesto
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>>2193 >watching pozzed modern garbage
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I plan to watch a movie at home today and a movie at the theater on the weekend. Can I get some recs?
Not really 2021's end had some lackluster films and that's about it. I think the most important development this year was a bunch of remasters for classic films from 1899-1930. I'm going to go watch the new nostalgia cashgrab on December 16th or 17th. If normalfaghouse cinema (art house for normalfags, A24, CC, SPC, Searchlight) doesn't bother you you can always watch C'mon C'mon. Another film that took like 20 years to make using different varieties of film was recently finished but I thought it was shit. You can watch whatever though.
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>>2193 >Wes Anderson in the top 10. Oh wow it really has been a shitty year, even 2020 was better than this.
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>>2199 >a movie at the theater
Grimdark Diabolik remake? https://www.youtube.com/watch?v=3CnA2WFXLdw I randomly noticed this months-old trailer which says the film premieres in 2 days. It's been delayed a full year due to covid. They are already making a sequel.
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>>2208 From my part i am still waiting for part II of this one
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>>2203 >Let’s try that scene again, but this time I want all of you read your lines as if you’ve just woken from a nap
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>>2210 Great film
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>>2212 >Oh fuck i just totally screwed this scene's framing and focal distortion because me and my dp smoked a fat moist weed blunt rolled by some african illegal immigrant's butt cheeks >Fuck it, let's just keep that scene >And today, dear class, we will discuss Wes' framing technique which is known for being perfect with its imperfection, a true master in his realm
🎄Merry Christmas, /film/🎄
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>>2233 Somewhat accurate now that some countries allowed for euthanasia, let alone all the other more laughing aspects (soy being everywhere and modifying behavior, mass hysteria and forced social measures, massive polarization, informed and tough-spoken white/regional native men being considered the outcast from the get-go)
the irc is a ghost town, uh? Also is /film/ associated with KG? I saw their support channel on the same network.
>>2241 /film/ isn't officially associated with KG but some people are members there
>>2242 >tfw KG invite is now 240 bucks God bless the Man who gave us entry some years ago, still due to upload the subs despite saying so 6 months ago :^)
>>2243 Am I too late, anon? :( I got out of college and got a fiber internet connection only a couple months back. I've been mostly uploading to MEGA on the 'megalinks migration' forum but I still depend on public trackers and DDL sites to source stuff.
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post your top 10 films and an email, if they are decent I will invite you to KG
>>2244 The Man heard you >>2246 Don't screw it up buddy, list the things you like the very best not the most famous or "well-done" >going to college and forfeiting fun with anons >depending on fiber for HD stuff rather than 700mb dusty DVD rips First and second mistakes, third one will get you a dry hand spanking
>>2246 > 5 invitations Elite user >>2244 What is the megalinks migration forum?
>>2246 Thank you anon. 1. In the Heat of the Sun (1994) 2. The Servant (1963) 3. Day of Wrath (1943) 4. A woman under the influence (1974) 5. Les Cousins (1959) 6. Even Dwarfs Started Small (1970) 7. A man escaped (1956) 8. Taxi Driver (1976) 9. The White Ribbon (2009) 10. Jules and Jim (1962) >>2248 it's the snahp forum that was created after r/megalinks was shut down. Everything is shared in either Mega or Zippyshare. Has an active uploader community.
Edited last time by 11811 on 07/15/2023 (Sat) 07:13:56.
>>2249 Oh yeah, snahp. Do you have any invites for that?
>>2250 No, mate. I think they only give out a couple to higher rank Uploaders and Donors. I believe/hope I'd be promoted to the higher rank within the next couple months. I'll let you know here when.
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>>2252 Okay, thank you
>>2249 Sorry, nope.
How /comfy/ is Sweet Tooth? Trailers from netflix never show the true quality of the shows and i don't want to pirate a whole season to just watch one episode.
'Out of the Past', 1947, Jacques Tourneur, or 'The Third Man', Carol Reed, 1939? 'Lost in Translation', Sofia Coppola, 2003, or 'Millennium Mambo', Hou Hsiao-hsien, 2001? You tell me.
>>2258 I like both Out of the Past and The Third Man, but I'm giving the latter the edge because it's more distinct. Millennium Mambo is definitely way better than Lost in Translation
>>2246 Can i try? 10 in no particular order, just ones that stayed on my mind for one reason or another: Il Grande Silenzio Days of Heaven Aguirre Chimes at Midnight Andrei Rublev The Color of Pomegranates Legend of the Mountain Throne of Blood The Human Condition Battles Without Honor and Humanity sinahemomi -@- gmail (.) com >>2258 The Third Man i would say the same as >>2259, it has a more particular style of cinematography like the heavy use of german angles and a more refined noir sense, along with still decent narrative. I don't recall Lost in Translation that much as i saw it long ago but Millennium Mambo is much superior in terms of camera work, all natural shot by one of the best in his field with club fancy lightings making a prominent appearance... the story itself is not that much interesting due to the viewer feeling not that much sympathy towards the shallow protag girl but still that kinda can be said too with Lost yet it's not a snore either due to its ambiguous nature towards some characters (suspected triad boss, suspected pusherman, suspected pimp, random jap dude who got laid with something above his league). I think with these the main difference is that Hou filmed Mambo as an exercise towards the viewer being a "realistic witness" (characters being usually always at non-personal distances, introspection sequences being only about the lass and her pink thinking rather than logical skills like a dreamy girl would recall something) while Lost in Translation is more towards a normal narrative a movie would do but with more monologues.
>>2246 I actually asked on the KG IRC to be invited and offered to translate films in 3 different languages, but no one responded :( Here's 10 of my favorites. Gertrud Scattered Clouds The Quiet Man Demons Heroic Purgatory Nostos Tie Xi Qu Khrustalyov, My Car! The Unchanging Sea Bound for the Fields... Amd my email: joeksdi -@- gmail (.) com
>>2279 There's also the Drama Obamanesque, a term a couple of us used time ago to refer to most oscar/prize bait americans did post-2007 about the highly fantasized struggles of afro-americans. You can also go back in time and look at the original meaning of Blockbuster and its standards, a genre/form of working which was what killed the New Hollywood era of almost or full-on auteur workflow many directors had in the 70's.
>>2279 Indiana Jones will pass the baton to some wommyn soon
>>2279 What is 'Burger King Kids Club'? Is it some euphemism for autistic kid?
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>>2282 A group assembled solely for its diversity
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>>2283 >5 Aryan kids >1 nigger >1 chink You call that d*versity?
>>2285 for 1995 yes
>>90 >Szürkület was restored by the Hungarian National Film Fund >>94 >Good news: I've reached out to them and they are gonna launch a VOD site soon with all the restored films. If you're still around, what happened? There's still no upgrade for Szürkület. It's interesting to compare that film to It Happened in Broad Daylight which was an earlier adaptation of the same story. That film is less moody and ambiguous than Szürkület. It includes additional story elements like the detective living at a gas station as a ploy to catch the murderer.
Anons we're dying out, need some plan.
>>2299 It's getting very tricky, honestly i've seen many places losing numbers or simply not interacting as before. I think everywhere not the big sites is suffering, centralization made the activity-addicts stick with anything in terms of quality and the small sites do need some activity to maintain themselves. Hell, even ZOGbook lost tons of numbers in favor of WA and IG, which abruptly focused on chat and stories rather than its original photography-oriented gig. The only option i can think of after trying some tactics is just plain shilling in other sites, the advantages are still on this site but most everyone prefer going to the numbers, after all most everyone likes the feedback but perhaps the problem is most people are becoming more passive. I don't know anymore, i stopped coming as constantly because i got into the waveslaving to feed myself after getting my gibs canned due to the pandemic.
>>2292 They're probably in the process of selecting a distribution company to release it on physical media or even a theatrical run. Kino Lorber recently announced a Miklos Jancso boxset so I believe there are a few companies trying to acquire rights to them.
>>2292 The VOD site is up, seems like they add new and old films regularly. Szürkület is not uploaded there yet. https://filmio.hu
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Senses of Cinema World Poll 2021 https://www.sensesofcinema.com/category/world-poll/ Here's an extensive roundup of new releases and new discoveries from the previous year. Thankfully this "poll" is not a democratic ranking of films (a.k.a. a useless popularity contest). Instead it's a 8-part collection of thoughts from numerous writers, programmers, academics, film groups, etc. >I’m fed up with distant work, online meetings and virtual festivals. I was never happier than visiting the live edition of Le Giornate del Cinema Muto, although in Pordenone I was mostly distant working at my hotel room. There has never been such turbulence in the film world, and it was so exhausting that in 2021 I missed most films I wanted to see and had little energy to write. >Do millennials dream of heterosexual romantic love?
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>>2301 >Kino Lorber recently announced a Miklos Jancso boxset so I believe there are a few companies trying to acquire rights to them. I'm certainly looking forward to that. Right now the web-sourced HD transfer of The Red and the White is kind of muddy so I hope there's improvement with the blurays.
>>2299 Maybe we need a fun posting thread for pph?
>>2299 >>2300 >>2342 Sorry, I've always wanted to interact more on this site but I keep falling down the open manhole. I'll make sure to interact more specially in regards to restorations and retrieving rarities and the like, two become four, four become eight, etc...
>>2342 Like what?
>>2344 I used to make edit threads years ago back on 8chfilm where we shared fun ideas, I made a cut of Requiem exclusively showing the Mrs Goldfarb plotline and American Graffiti where R. Dreyfuss goes insane. Edit threads could be good for interaction, Have You Seen My Movie? does that in an interesting way https://ww.imdb.com/title/tt6112836 , there are some crazy ones out there too... A madman or woman edited an insane amount of films and synched them to a Wu Tang Clan song, I've never seen anything like it https://youtu.be/H-8N3BEoyHk
>>2342 More like shitposting, lol
>>2345 >Direct link. >Age restricted. Better l8nk: https://yewtu.be/watch?v=H-8N3BEoyHk
Crimean film director Oleg Sentsov is geared up to defend Ukraine against the Russian invasion. (This video is a little propagandistic as I don't think Russian casualty rates are in the thousands.) https://twitter.com/EuromaidanPress/status/1498448662204198914 In 2015 Sentsov was sentenced to 20 years in prison by the Russian government on terrorism charges. Western institutions championed his criminal case and honored him with several awards. He was released in 2019 as part of a prisoner swap. Sentsov's new film Rhino stars Serhii Filimonov, the Kiev leader of the Azov Battalion's National Corps. Many such cases! https://www.belltower.news/rhino-from-ukrainian-neo-nazi-to-international-filmstar-126819/
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>>2367 Get this propaganda shit outta here.
>>2370 I for one think it's valid to post about it, if anything it really proves to the usual first world urbasodomite that the govs and human rights associations are more prone to financing overt propaganda than the real ministries of propaganda. >Western institutions championed his criminal case and honored him with several awards >released in 2019 as part of a prisoner swap >Sentsov's new project Rhino stars Kiev leader of the Azov Battalion's National Corps >Same Azov Battalion that was attacked by soyboys but always pushed by jewish media despite being "nazi" The cognitive dissonance regarding this can and will confuse many uninitiated to the point of them finding the "nazi" Azov Battalion is fully sponsored by a jewish entrepreneur who bases many of his operations in Israel. Then they will find out the founder of modern Neo-Nazism, based in the U.S., was also a jew who got canned for being a pedo and made the organization to snitch and be a fed informant. Strong propaganda serves both ways, to indoctrinate the weak and make aware the not that weak or merely the contrarians.
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>>2370 I'm not bashing the director. I never heard of him before, but knowing his story makes him more interesting.
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Oh snap, curse has stroke again and a couple of days after watching a movie its famous main actor died, last time it was Von Sydow or Chan Sing. Zhengquan Wang, better known as Jimmy Wang Yu, was probably the most famous chinaman actor in the west, or even in his home turf until Bruce Lee broke the scene in 1971, or shortly before in some other regions with Lieh Lo, but still that is from 1967 to 1971 aka the first years of Hong Kong breaking the international scene. Trained actor but untrained action stunt (although supposedly a prolific bar brawler and successful trained swimmer) he somehow made his fame via action movies from the famous Hong Kong action director Chang Cheh, notably due to his resolute, solemn characters that are hard to dislike due to their unpretentious nature but who are, in context, somewhat sluggish compared to other stars who were untrained actors but well-trained stuntmen. Despite losing some steam in terms of fame he stood out from the vast majority due to his seemingly good business savviness/connections, acting as a producer (sometimes even writer and director) to his own projects that were sold with the intent of distributing overseas and having good criteria in selecting quality specialists from time to time, most of these in his homeland of Taiwan which was the origin base of many 70's kung fu stuntmen and actors, some of his picked people even went on to become stars on their own years later. This because he realized, sans studio sets, he could make any movie he wanted as he found the movies they made were too basic in terms of planning and that the specialists usually made the bulk of the contribution, when he started to do his own thing (aka messing with the direction) the studio attempted to strong arm him and he resisted, the result was chaotic and he was essentially expelled from the island and exiled to Taiwan where he bagged more money than before and lived to tell it, unlike Lee who crossed not one but two studios and got his head stomped to the ground while being written-off as a stroke some year or two later. These specialists made him look physically way better than he really was due to good set planning, notably in the ending sequence of Master of the Flying Guillotine (One-Armed Boxer pt. II), but these projects were depending on the producing and distributing company and as they could be big, like said movie, they could also be very low-budget and quickly done like Tiger & Crane Fists which went on to become what is better known in the west as Kung Pow, with Steve its silly producer/director/writer/voiceover/protagonist digitally replacing Wang Yu's original character. In some way his work can be compared to George Lazenby's, a man not really trained for his surroundings but with the wits and guts to stand out, such comparison even made a coincidental encounter when they both decided to collaborate and create a Hong-Kong/Australian action movie early in the Aussie's own cinema wave with The Man from Hong Kong, an aussie Dirty Harry-esque product about a chinaman tackling an australian crime kingpin. But surely this fella's career will be always defined by his portrayal of the eponymous One-Armed Swordsman, the movie that cemented the all-encompassing one-man army kung fu sub-genre and considered one of the most important works of Hong Kong alongside A Touch of Zen despite, in my opinion, not being as close in terms of quality or acting but certainly a fun venture with said protagonist being hard to dislike even if still being not really a charismatic figure. Lee himself barely scrapped off his fame due to months previously Yu acting in The Chinese Boxer, one of the first "modern" (full color, set designed) famous movies focusing on unarmed hand-to-hand combat, which was surpassed later by Lieh Lo's King Boxer (or known better in the west as The Five Fingers of Death). In my opinion, the movie that can define the guy's acting career is the movie he was doing at the very same time he did OAS, 1967's The Assassin, a pretty basic, traditional and predictive item that still was executed practically without flaws other than not explaining how the guy pulled a supernatural move in the end without the viewers knowing it previously and which in latter years has been subject to renewed cult status (for the second time) in the Hong Kong youth due to its unapologetic message about chopping and butchering higher authorities who do not hesitate to sell their own people. Jimmy Wang Yu could've probably been famous even if he didn't act in One-Armed Swordsman due to The Assassin being released shortly after, if not then perhaps due to his brash moves he could've still been cast for The Chinese Boxer but due to his enterprising and networking nature he probably could've been famous anyways even if he didn't act as a protagonist at all. With his demise we now might hear even more classic chinese whisper legends regarding his antics, if he really did pay the triads aka producers money to have them stop pushing Jackie Chan around which in turn made him finally switch studios and become an established actor, if he won a drinking contest against Lazenby (a first for an asian to beat an anglo-saxon) if he knocked Oliver Reed out in a brawl or simply smashed his nose bloody, if the Coffin Drinking Tale was true, if he married a girl and killed his husband who was a director at the time as revenge for him kicking her around all the time, if he killed a dude in a Thailand bar brawl from a palm strike, if his rich family bought him a spot in the studio, if his links to the port authority triads made him that spot, if he really stole hundreds of documents and burned them all before going to Taiwan which led to a contract crisis in the studio which in turn led to many actors roaming free to join Golden Harvest or call it quits due to many of these being "forced contracts", if he banged Brigitte Lin who was deemed the unbangable one and, usually what many mention, is if he really was one of the unarmed henchmen in Taiwan's famed Bamboo Union which also made him easily recruit trained street urchins as stuntmen (many who have later admitted to having been gang members) and export them to Hong Kong who somewhat purged them in the 80's when the studios switched to a more cantonese-focused market with more businessmen/bureaucracy involved. Certainly the man's life is stuff for books and now somewhat with his death the stuff of legends, at least in the east asian underworld.
>>2367 I've been meaning to watch Rhino for a while, is there a copy with english subs around?
>>2451 Fuck. I've downloaded so many movies from that blog and visit it atleast once a week. KG-bro, please come back; you were my only access to кино.
>>2453 Not the KG Lord but i do have some access there, did you need anything? haven't checked the request thread due to time laziness
>>2454 Thanks bro. For me, the blog was like a catalog to browse; it's the stream of his collection that made the blog very valuable. I don't really have anything specific to request (at the moment). I usually just go on the blog, see the recent posts and if the movies sound interesting, download and watch. I'll be sure to mention (you) when i do have a request.
Coincidence has once again struck me, this time somewhat inverse. In the last two days i've seen a couple of movies using the same actress, who rarely acted in her own time, doing outrageous roles for its time and genre along with them being widely distributed but i guess that's a story for another day. Due to mainstream Hong Kong cinema from certain eras (50's to late 70's, even to mid 80's) rarely had any semblance of thoughtful cinematography by the big studios it is notable when one finds constant glimpses in a single work, let alone two in a row because i pick movies at random from a big folder (Shaw Brothers torrent of 150+ items shame they are all the censored versions) and due to said actress doing the same things romantic taboo roles and punching a hole into a lover's stomach i suspected they were done by the same guy and indeed they were, a man who i could say was somewhat of a pioneer along with the giant King Ho: Chuen Yor (or Chu Yuan / Yuan Chu) was the son of an established chinaman opera actor (and later cinema star) but the jr. decided to go straight and study a real job, he did some drafting and studied chemistry until he got an opportunity to script doc some small fry productions, he seemed successful at this and it seemed too he was destined to go balls deep into it. In relatively short time he made billing credits a single year he took into "collaborative director" which sometimes means the real guy but giving main billing to someone else again, that's another oriental story and years after doing constant well performing low-budget films he was grabbed by the big studio in HK and given relatively free reign, he didn't miss these chances and made himself a name not only in portraying controversial subjects for asian audiences, and with mainstream distribution, but because he also did it with relatively well-packed narratives and some decently-thought scenes. Again my standards have dropped dramatically in these last years, SB productions are almost soap operas at times, but one usually can recognize when someone is clearly heads and shoulders above other artists; his silly but very effective enhancements of the tired old sets, dynamic backgrounds or objects as visual stimulants and meta-enticing placements of cameras are probably inspired by japanese masters but it doesn't take away him doing it with small budgets. Later in his career, and after having befriending many people plus his father's own acting tips, he took a shot at it and acted in some films usually starring his pal Jackie Chan (for some reason he didn't want to appear in Bruce Lee ones earlier). His main era of work, 1971 to late 80's, show tons of numbers and names but the few i've seen unknowingly from him (chinese names in credits are easy to forget sometimes) he wasn't that much of a improvised like others were, good or bad, his background as engineer i suspect plays part as his narratives are well-paced and well-streamlined, something rare in those productions especially when he adapted some fantasy warrior novels which are widely known to be poorly chopped down and edited in haste when brought to the screen, not with this guy as his movies might probably ignore many details but they don't seem like it unlike others who sinned too much from this and were quite obvious they skipped hundreds of pages in 5 minutes. I recall one case where they skipped almost the entire book from one scene to another. This dude, who was also a T*r*ntino rip victim for anyone keeping tabs on that list, lived in relative peace and money since the 90's and passed away February of this year, i recall very well reading his obituary and somewhat dismissing it due to glimpsing his credits there on some cheaply looking action stuff i remembered from that folder, shame on me for dismissing him as i didn't pick those folders yet but destiny has made me see his "lesser" known works in the cheap-action oriented western scene (but rabidly more known in the nudity and fantasy-oriented east). One does never know exactly who was the guy dying in turn until one sees his work in form, from a random action peddler to an oddly visually refined man who seemingly took planning quite seriously in his big projects, a few among his 125 overall credits as director in which he also script tweaked 70+ of them. I shouldn't underestimate anyone as easily, obituaries and retrospectives sometimes are made by people who haven't actually seen or read shit about some and can't do written justice to their actual achievements, and have to say i am in their position often to my own detriment. Again this guy probably wasn't a King Ho or was he? but in the context we are speaking i can say he was a name often mentioned as big but few knew how to explain why... now i know kinda, from pervy taboo slashers semi-imported from Nippon like Intimate Confessions of a Chinese Courtesan to some ethereal vignettes in a bunch of his fantasy tale adaptations, his efforts somewhat reminds me of that Fred Zinnemann quote, being able to make films is a privilege and one should act knowing this fully at all times to make a respectable product no matter who or what is the audience; this guy seemed like he did that sometimes and that's most appreciated even if, again, the context is about mysterious and flamboyant flying chinamen in shiny clothing slapping people and swinging swords almost exclusively for revenge in sets that are repeatedly shared among dozens of movies.
Do you ever feel like you watch too many films from the same region? I feel like I only watch films from East Asia and the Anglosphere, but I don't want to force myself to watch films from other regions as I won't appreciate them.
Are there any directors who you've watched their entire filmography?
>>2474 Yes, same with East Asia (Hong Kong) but also Eastern Europe (Yugoslavia) and my own country. It is a tricky thing because you feel near like an otaku or something being focused on a specific scene but it is enjoyable, you learn their some of their little details and recurring themes, changing scenes very often (as is watching a movie from x place then y then z then b then a then c...) will end up with one using a general standard, that is the best movie you watched in that run instead of the context. Some places are just pure guilty pleasure and consuming them is akin to eating fries and grape soda everyday, it's not healthy but who can stop you? at least you can see other stuff with different eyes at times. >>2475 Should be easy but not often done because directors always have a particular work or two that aren't worth it or merely not interesting compared to their other works. In my case i reserve some stuff for latter days, Kurosawa i reserved myself his colour works but 15+ of his B&W i have seen. By accident i remember seeing, i think, all of Paul Verhoeven and Jim Abrahams + Zucker Brothers works, some others i am shy two or three movies like JP Melville or Sergio Leone, KW Wong is another and now that i remember Chan-Gook Park. Usually most people will be shy a few works due to that certain thematic oddity.
>>2475 I have seen all films directed by Charles Laughton and Ester Krumbachova. I've seen all of Orson Welles' major works besides Macbeth and Chimes at Midnight. Since he has so many unfinished projects and assorted TV episodes there's still plenty for me to watch.
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>>2326 Bluray looks great. I can finally watch this!
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Has Trinh T. Minh-ha made anything worth watching... or is she a mediocrity elevated by the progressive stack? Reassemblage is not an essential short and it's sloppily "assembled" to boot. I see a lot of people gushing over her work as if it unlocks some profound truth. Trinh has a 3000 word wikipedia page, over three times longer than legitimately interesting directors like Ulrike Ottinger and Kidlat Tahimik.
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The first part of this video outlines some of the new applications of "AI" in video production For example, LED backdrops replace greenscreen to improve natural lighting. (This of course reveals that AI itself cannot convincingly reproduce natural lighting.) Some of the other uses have an uncanny valley feel to me. https://www.youtube.com/watch?v=ixgFtjfO_7Q https://inv.riverside.rocks/watch?v=ixgFtjfO_7Q
Currently coursing a writing activity thing once a week and getting instructed on how to write specifically technical documents to present at producers/directors, not really scripts but yeah practically scripts, instructive documents on how to make short projects without going into the director's dossier/shooting list. Been lagging around here so i expect to pass that on digital, translate it and post it around here and then start the PDF dumb just for the heck of it and kick myself a bit to read about camera work. If i ever get spare money then a video camera and try my hand at shorts but because nomonies i will probably end up doing "video art" aka experimental nobudget pretentious series of cinemagraphs, so that opens a whole new area i know very little aside from music videos. I remember reading the best only acceptable kind of video art projects are the ones experimenting about new or little used techniques, in this case because of no money what should i do? what do cinematographers even do when they have absolutely no money at all other than their camera? The Man with a Movie Camera version #88? should i expect to know after reading 2 or 3 books about camera work?
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>>2590 >what do cinematographers even do when they have absolutely no money at all other than their camera I'm inspired by Paul Clipson, although now I can't find the relevant quote (from an obit) ) where he summarized his approach. He said something about a preference to just go out and shoot instead of spending hours planning what to do. As a result his work had a compelling spontaneity. Granted that's not an easy thing to duplicate without developing a sense of what to shoot and how to shoot it.
Once again this year another lore character of Hong Kong's film industry has passed away: Ni Kuang or sometimes written I Kuan was a shanghainese bookworm and a fanatic of fantasy/wuxia and science fiction literature, later on these feelings of utopian or impossible ideals and other assorted fantastical tastes naturally made him enroll in the communist party (police academy area) but he soon faced the dire reality of being coy while serving as a bookie in a mongolian commie security bureau outpost, in which he was often in charge of signing the written notices to send people either to the camps or to be executed. At some point he received a notice himself after poaching wood from the outskirts of a farm (owned by the family of a party leader) to warm the office at winter and soon escaped said outpost, back in his town his family refused to shelter him due to fear of being all send to the steppes and, like many cultured enough in gommie china, fled the country while in his particular case he went to Hong Kong after months of journeying in the rural areas and paying up 3 months of salary money to be shipped across the mainland to the island. Here is where things got relevant, he worked as hard labour for a while but due to his knowledge in several genres along with very disciplined workflow (consequence of being a chicom pencil pusher both to survive and entertain himself) he started penning amateur work for some newspapers and became a solicited freelancer both as a writer and as a quality control not much later, at some point writing a column for 12 newspapers at the same time, and after making friends with some literatefags in the city he was suggested to make his very own novel. Later on the novel was made and supposedly became an influential hit we don't know if they were good because hongs very rarely translate their literature and after getting a bit more fame he was invited to collaborate with the hegemonic film studio of the city-state, the Shaw Bros., where he became the almost-omnipresent staff script doctor for almost every screenplay that was considered worthy of filming. The hong industry has a particular thing, in which i know has a name in terms of industry practice but i forget about it, where an entity will oversee almost every output made and credit itself entirely even if they haven't touched the product but will also produce and cover up most expenses along with functioning as a supporting role if work gets trickier; such is the case of Ni Kuang and the Shaw Brothers film output, where he is credited at almost 400 scripts in 20 years (191 in the martial arts realm) if someone entered a basic idea or an advanced script he would supposedly come in, format it to industry standard to present it as an official screenplay, maybe fix some plot points here and there and then credit himself while other times maybe he would do the entire thing or some other times he would credit himself to make some freelancer avoid contractual problems with another studio. Most of these ranged in the wuxia/fantasy, urban crime, military drama or the studio's main source of income: Martial Arts flicks. There was a comment i read time ago which said something around the lines that "if you watched any hong kong movie from 1965 to 1985, there is a solid legitimate 33% chance it was penned at some point by Ni Kuang" and honestly it is not a hyperbole. After ditching the newspaper gig in the late 60's he went on to concentrate his efforts in the studio along with doing some "novels" chinamen call a lot of things novels, we can say chapters, comics, short stories, actual novels, etc and sometimes even if he didn't sign the script his work would be adapted by someone else as he freelanced or doc'd fiction works for other people, so if we believe the numbers there are around 500 products out there with his ideas or foreign ones with their consent as he was drinking buddies with many well-known writers of the time; if some movie's story was way too similar to a famous novel it could be maybe that he either supported said writer with the same plot points or just ripped it off with previous blessings by the man himself. To make things more absurd there's known work that was his but went uncredited to avoid contract problems, such was the case of Bruce Lee's Fist of Fury and The Big Boss, done because Bruce paid good money to disregard "the rules" which was the real reason why he got bumped off We can even argue the majority of the cliches, tropes or what have you in the martial arts genre was invented or implemented narratively by Kuang, so if someone thinks most martial arts movie play the same and have no variation at all, as if they were written by the same dude, then surprise... it probably was. In reality the guy probably didn't write, in an integral form, more than 100 works but his orders to format the napkin stories and streamline most anything with the same plot points, ideas and even basic dialogue lines makes him a core personality in Hong Kong's film lore and basically the entire martial arts/hand-to-hand combat action genre. With his death the last of the 4 major writers of the Hong industry rests in peace, in the coming days we'll see if he will receive an outwardly fanciful farewell like he did at some point being the co-protagonist of that Coffin Drinking Tale (along with recently deceased Jimmy Wang) or if he will be somewhat ignored by their media due to his staunch anti-communism position, rumored umbrella sympathizer along with being an allegedly somewhat famous PRC critic via satirical columns done both in the 60's and the late 80's, the main reason of his departure from the island in the mid-90's (along with many other chicom expats like Jet Li) which also effectively ended his script doc and big editorial career. Coincidentally i saw a movie penned by him yesterday although that's not an oddity lol, RIP nevertheless
In my recurrent watch on chinaman cinema today i've come, once again, to be disgruntled at the recurrent problem of their industry from the 70's through the 90's: a) They often have very compelling concepts but almost never have the time, skill and/or clear idea on how to do it, still usually it is a concert of omissions rather than poor craftsmanship, but way above this my main beef is b) The contemporary and even early viewers in the west, who have paved the first reviews and overall reputation of many works, are stupid fucking niggers and not even exaggerating, U.S. east coast's hydrant-busting pickpocketing ghetto rats who got low-budget tickets into china-owned cinemas and badmouthed anything they didn't understand, in reason because the concepts were quite abstract but also because whatever that isn't some top action is deemed wrong. At this point i've written, but not posted, 2 or 3 very long-winded posts (much more than this one, think 12,000 characters kinda like) about certain movies i've found flawed but absurdly original, often due to the idiosyncrasy their were made in, but appalling to me they are often deemed as some of the worst movies in the region despite not being unwatchable at all nor that much confusing, but its unintended audience in the west due to being misled by greedy or plain ignorant promoters were throw to the seats to watch stuff they expected to be way different... is this enough to burn on the stake projects that can hardly be compared to any other work and that serve its purpose in entertaining its actual intended original audience? This led me to think what if a Kaurismaki comedy was shown to a modern romance-comedy audience? would they crucify it or put it in another sub-group altogether? if a Takashi Miike movie was shown to a melodrama-oriented audience used to british period pieces? would they excommunicate it or merely call it a specialty item for another scene? i've seen similar situations in those intended audiences and the response is usually the understanding of other fields and the products for them (rom-comfags usually just try to forget something they didn't like happened); so then when a Power Rangers-tier action movie suddenly explores the afterlife, the religious, the magick aspect of life and the trivial/surreal/ironic view on them... why is it then that scares the hoodlums more than a torch does to a troop of baboons? why is two flying swordsmen throwing dense plasma out of their hands plausible but an extremely religious man having his soul wander around seeing the lives of others (and even interfering in them) makes a monkey hyperventilate? especially when it is even told in very entry-level comedy absurdism? Some genres and scenes have works that are not easily classifiable in their own context and sometimes not even in outside ones despite sometimes being based on old canon works, it would seem very silly to attach Savitrian tags on them but why the hell not, some movies seem to be "against time" in terms of them using unorthodox and almost vain methods to display almost-opposite mischievously deep timeless concepts, such case for 2 particular movies i've seen "complex hand-to-hand combat and Sesame-level comedy skits to show interdimensional life forms and human efforts in transcendence" based on literature and tales from centuries ago. Such bizarrity has happened and has also somewhat worked in terms of entertainment but my disdain towards niggers, kung fu-centric pavement apes to be precise, remains for having vanished such works (otherwise far from perfect and who their originality plainly saves them from the "mediocre" tag) into the realm of "unquestionable crap that no one should buy a DVD from" rather than "this is particularly niche even for its original audience, proceed if fan of the genre". Had some works been released as japanese no one would've batted an eye for their content, how many works in other parts of the world are lingering in almost complete obscurity because the supposed gatekeepers deemed them "sacrilegious"? how much damage and dark energy did the hongs do to have much of their industry be gatekept in the west by a feetfag guido rip-off artist and a pack of feral howling primates in some New York slum who do nothing but smoke meth and stab cabbage-filled trashcan bins? and who call themselves "martial art enthusiasts" sometimes to boot it all off to the same absurdity levels of spirits shapeshifting into girls to torment the military or angels going to hell to play mahjong. /rant
>>34 >>2621 While I can't write something on this scale talking about nth dimension stuff I can recommend Nobody. That was a good film, compared to most of the other ones of the past couple years.
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I find odd how extremely crucial or enduringly influential craftsmen die and get ignored by tons of media, perpetuating the myth you need a PR ace under your pay to have your name do the rounds often on mainstream (or any) media. Just Jaeckin was an artist specialized on sculpture and photography, with formal education in architecture with an interior design focus, who at some point and somehow in his early 30's had the chance to direct a decently-budgeted feature film, Emmanuelle, in 1974. His early life was, according to official sources, a dude who left suddenly his parents to explore northern lands, live like a bohemian, photograph some stuff, return and for some reason join the military, travel some more, study college thanks to army bonds and with the money gotten by doing artsy stuff do a movie heavily focused on the erotic/banging sculptural chicks in cool, photogenic sets. If you had to wonder what place was this lad from, you would quickly think such a human specimen would be french because only them can be this picturesque in both the good and the really bad way... and you would be right. The influence Emmanuelle had in cinema cannot be underestimated easily as in a mere softcore flick, despite not being that good it had a tremendous influence by practically founding the genre of late-night softcore film, plenty of trademarks started here with his influence from portrait photography (diffuse lighting, backlit subjects, sepia, heavy posing) performed great by pretty good cinematographer Robert Fraisse, this influence extended in actions showcased after classic frenchfag shenanigans (banging in second-floor old town room with open windows, wine, eating seafood before banging, sucking ice cubes before slurping people, wine, kissing everything except face, exotic music in background, drinking wine from breasts, foot antics, infidelity, being a degenerate under the influence of stinking wine). Despite not getting that much money from the immense success Emmanuelle had (including 32 sequels and/or related works using the character or something very similar to it) he went on to direct other stuff, he was offered the helms of the series but recommended a friend and carried with other stuff. Why did he do this i don't know for sure but it certainly needed a good amount of balls because he damn well knew the success, anyways he did a couple of more softcore stuff, which did not fare well, and that wasn't the exception in terms of theatrical with the 1981's release of a Lady Chatterley's Lover version, which did otherwise massively in the home market section which later became a staple in late-nite television peeping saw that one around 2004 or 2005 on TV, always looking at the door to avoid getting caught this one also starred the original Emmanuelle's protagonist, venerable and interesting character Sylvia Kristel, the pack-a-day smoker bag-a-day snorter sophisticated lounge girl (who was probably a groomed girl in the euro elite circles) who was also known for being extremely badly advised by doopy-headed friends due to rejection or ignoring several big projects and decisions due to them being high all the time and giving as higher rules of action for her sadly-not-as-high career. The man himself made another film and a couple of TV episodes later, not as successful, and after getting hyped and getting his ideas crushed by nosey producers he decided to call it quits and use the money he had made (not as much as one would think despite his gold-printing products) to do art, sell it and just live relatively calm with his cutesy wife somewhere in i guess France; despite this it seems he decided to film some small-scale stuff once in a while, mostly commercial stuff like adverts, one for Seiko which gained some recognition later on. As a sidenote it seems the japs loved the guy and his stuff, i mean most did but they were more open about it letting him direct stuff not related to porn or chicks; also some say (tabloid headers) he photobanged both Marika Green and Marlene Jobert which is very commendable and i feel envious about it until i realize i had to be french to do that So this dude called it quits from everything some days ago, leaving a seemingly forgotten legacy by most other than that sharp eyed fellow who interviewed him extensively a year ago out of nowhere, kudos to him and shame there's no subtitles. For us non-frog tonguers we will be left with his pictures of girls and flawed but certainly very charming film adaptations of adulterous roasties being eternally inquired by horny rich dudes bordering the cuckoldry line, something most recently von Trier successfully (and unnervingly) mimicked in his 4-hour degenerate journey called Nymphomaniac. For us still living all we can do to serve this frenchman's memory is to remember, if vaguely, his name and what he did which is something few do in these genres' realms where everyone are, including me, just jaeckin off :^)
>>2724 I never realized his filmography was so brief. I don't think I've actually seen one of his films though. I watched a few Italian Emanuelles but none of the French.
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Godard died and i feel i should write something about him, but i can't remember when i last enjoyed something made by him. So i won't. I do commend him on having good taste in women and probably having the skill to wrap them up via personality rather than shady tricks, but who knows because he was jewish and rich enough to masquerade in/as the elite like his uncles and father did. He did great work in the editing room but no product of his made me feel they were employed in fulfilling ways, i do wonder sometimes how he got his name in the first place or if i am too far ahead in time to appreciate his supposed pioneering work, or if the famed communist press in France helped build his fame later on in the 70's when most cinema scenes were aligned with the red wave. Seems the french are doing charity and have been scheduling their own assisted deaths themselves, J.L. being one and supposedly Alain Delon being the upcoming feature. That one will certainly wreck many hearts in old ladies but also french new wave viewers who watch actually enjoyable movies. >>2732 There's also some american ones but the euro versions have that artsy but really depraved vibe to them that makes them shocking but also arousing to women. Americans are just jovial about relations and do it "for fun" according to what the movies show, the euro ones explore it as secrets or adventures while often too as "fever dreams" so it adds an atmosphere of spontaneity, danger and downright body integrity degeneration. The ones set in travels through Africa are a prime example as they show people with very primal behavior, and you can guess what C.K.-tier antics appear at times. The ritualistic and dark nature of some of those scenes do show a glimpse of how the sex tourists and high-ranking swinger/elite parties work or at least look like, the montage/editing/mise en scene are also quite above-average at least for porn.
>>2738 Yes, when I familiarized myself with the full spectrum of European cinema, I was confused why the mediocre midwit Godard held status as a classic entry point. There are so many more interesting directors but somehow his films are the first that people watch. Even my film school friends were introduced to Breathless which they treated like a stroke of genius.
>>745 One of the sites mentioned in this article "La Loupe" is back at laloupe.org. I guess they are a French news and sharing community that was banned from Facebook.
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I have not even fucking started drawing the crude schematics to the action thread and one of my fav performers called it quits; Chung-San Chui Alan has turned into a wooden tablet recently at 70 years old, so far from what i've seen one of the best stuntman of the entire hand-to-hand combat genre, being particularly notorious in the golden age of "pure" action choreography circa 1977-1982. As was often the case with his genre's era and history, he was a youth enlisted into one of those 12=hour-a-day opera schools (i think Beijing) fancy word for circus which was a fancy idea sometimes of undercover gangbangers/militants, also fancy word for orphanage/"can't pay this kid's food and education" and did dirty work for budget movies until climbing ladders to high-profile action movies, which were still budget, and later on being a surviving 70's pro in the new wave era of Hong Kong movies (1982-1994) which is codeword for the cantonese appropriating their own industry after Shaw Brothers and other companies focused on TV productions and soap operas, leading to him winning some awards for stunt coordination/action director and appearing sometimes in decent-budgeted productions, mostly for TV but also sometimes in movies. A great acrobat who was forced to act as was the case in the era where stuntmen ruled most aspects of filmmaking, in which his acting chops weren't very endearing due to quite wooden and sometimes even nervous demeanor mainly because he was quite the unlovable face and also often cast as senseless villains, he more than made up for it due to being quite precise (and natural looking when the footage was sped up slightly) and running as double for a wide variation of actors which sometimes came as obvious due to his visible superiority in movement or due to being considerable higher than normal for chinamen (which isn't saying that much). The Pocked Squareface was then, due to his low market value looks, often relegated to secondary roles or downright thrown into the directing/choreagraphing scenes but that's probably where he mostly shone and is/was appreciated by viewers of such niche genres; it is normal to see his fight scenes being technically better than the main fights, including the grand finale ending ones. And so despite having rare leading roles one could be guaranteed at least a single very good sequence if he appeared on screen as it meant he was going to get a scene or was going to be a stunt for some actor later on which meant knee-busting low stances, long uninterrupted exchanges or physical sacrifice in getting a kick or being thrown around without visible protection vests or cables. Farewell to a face that meant a sure telltale sign of quality in a field full of budget, uncertain products that is the kung fu action cinema. What is it with knowing mostly yellow devils recently than euro actors? guess i have to see more euro quality asap
You are hereby reminded that Wake in Fright is a Christmas movie
>>2781 >Christmas not being a main concept of the movie >Christmas values not being seen through character development >No Christmas aesthetics being the main or secondary artistic direction through out the movie I don't think so, the movie could've happened in "summertime" vacations (mid-year winter time down under) and would've been the same thing except the protag would've had lots of cold and his purgatory lasted twice. A medium-sized steak and two fried eggs was 70 cents of a US dollar back then
>>2782 My argument that Wake in Fright (1971) is the best Christmas film ever made may come as a surprise to some; however, it has everything that a great holiday movie needs. The setting of a small outback Australian town on the brink of its Yuletide celebrations captures the essence of the festive season. It embraces themes such as family, togetherness and communal spirit in which Christmas plays an important part for any small community. For those who know or grew up in rural Australia, this is a tale that speaks directly to their experiences and understanding of Christmas traditions and how far-from-home ‘mateship’ can bring people closer together at this special time of year. The main protagonist, John Grant (played by Gary Bond), is bored with city life, so his work and leisure takes him out into the bush over the festive period. Initially discontented when he arrives in the fictional town of Bundanyabba, John soon discovers that despite their challenging circumstances, locals here still have much to celebrate at Christmastime. As more people arrive from other towns hoping to make Yuletide merry, they find ways to connect with each other through makeshift parties and increasingly drunken games fuelled by supply of emu beer delivered by local magistrate Jock Crawford (played by Chips Rafferty). John’s journey through the town takes him on a rollercoaster of emotions – he meets both supportive friends and potential foes who interact with each other in ways that have them laughing one moment then crying the next – making their moments together intense yet poignant enough for us all to relate to around Christmas time. What makes Wake in Fright particularly effective as a Christmas movie is its acknowledgement and exploration of diversity within both cultures and beliefs; John encounters individuals from multiple backgrounds who also embrace certain idiosyncrasies about themselves— including passion for kangaroo hunting – which challenge his own view on Christmas cheer but ultimately teach him what true companionship really means during festivities away from home. This sincerity makes it easier for viewers worldwide who don't necessarily share similar cultural perspectives but can nonetheless appreciate what these characters are trying to achieve during their remote celebration amongst strangers. Ultimately it is Roger Ebert's famous remark which elevates Wake In Fright into legendary status – calling it “the roughest, toughest most brutal Australian film ever made”; there are no easy undertones or allusions here - this movie pulls you tight & fasten your seatbelt for an exhilarating experience where danger & emotion collide against backdrop of stark beauty surrounding Bundanyabba making it uniquely powerful yet small-town enough for every viewer identify with - especially for those with roots deep inside heartlands Down Under! From this pointof view therefore ,it is without doubt that Wake In Fright becomes perfect choice candidates when searching stand-out movie capture true meaning being merry at Yuletide .
>>2805 Nice although i have my opinions >embraces themes such as family, togetherness and communal spirit in which Christmas plays an important part >‘mateship’ I agree, especially with the last word because it does happen often in work towns and even on college circles in studies were no women often appears (agronomy, mining, engineers) but family is stretching it a bit and the communal spirit doesn't go as far as community building but conservation of it mostly. I can agree in the end WiF is about mates passing time and wanting companionship by trading trust, which the protagonist hasn't been able to reciprocate due to his education and experience... or at least until the very end in the train ride. >The main protagonist bored with city life, so his work and leisure takes him out into the bush over the festive period Kinda, he was forced by the ministry to take his work into the outback and he wasn't supposed to stay in the 'jabba on his festivities, he is marooned there due to his mistakes and his sweet time only lasts half a night. >makeshift parties The only kind of party, baby >making their moments together intense yet poignant enough for us all to relate to around Christmas time. It does happen everyday in small workplaces, not isolated in holidays. >effective as a Christmas movie is its acknowledgement and exploration of diversity within both cultures and beliefs I mean i can say the same sentence regarding the movie but with hunting, everyone in the movie is a hunter but they have their different methods and some their different preys. I can expand upon this later if you ask me, i don't think this can take Christmas as its focus point but rather man and his constant need for human contact. >Ultimately it is Roger Ebert's famous remark which elevates Wake In Fright into legendary status I have been trolled, good going. I thought you were going to say that a hobo ejaculating on your chest in the middle of the desert was as Christmassy as eating cold bread with eggnog but somehow your post's punchline was much more offensive than i thought. And even if aussies get angry i still think Wake In Fright is one of their very best cinema works, made by a canuckold to add insult to the pleasure.
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>>2814 Full disclosure: I escalated the earlier post by instructing OpenAI to write an essay arguing that Wake in Fright is the best Christmas film ever made. The result was pretty funny so I posted it here. You might have noticed the writing starts to come unglued toward the end.
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>>2815 I didn't need to become even more paranoid towards anons replying than i was but here we are I can see a slightly more advanced version being used already in some imageboards, a bunch claim some big sites have done so since 2016. We probably are fewer people replying in general on almost every site than 10 years ago.
>>2816 it's called dead internet theory and it's true.
How to plan the minute story and scenes of your show I know the premise but i cant seem to decide how many characters or how should the scene be or even what is happening to make story sensible Like how should the hero reach the goal or what are the obstacles or the motives how select or even generate ideas for it?
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lmao what a shitty board. bunch of pseuds saying superficial shit about thematically empty movies. no wonder this board is dead, it was never even alive.
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I like this board. This is a cute board.
>>2834 What thematically rich films have we overlooked?
>>2738 Females don't care about personality. Looks, money, status. They'll use you to further their career and then cry rape 20 years later.
>>2847 What a nerd.
>>2738 his work was overrated, just like hitchcock and he used his influence in tv and film production, which was nothing more than a product of jewish collectivism, to "get" the women. he was fat and ugly. without the money and the status he would've died a virgin. he used women who whored themselves just as much as they used him to get parts in his boring films.
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I can't find what Tarkovsky said about his opinions on modern life and that he'd preferred to have been living in the pre-Rennaisance. Does anyone know what I'm talking about?
>>2892 Always saw posting in private trackers as playing russian roulette, sooner or later some ill jannitoid/mod will slap you for wrongthink
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Does anyone know what this is from? The aspect-ratio is so W I D E!
>>2894 Was it from a book, interview or documentary? >>2896 Salaryman 6, experimental bugman short film
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>>2892 >>2895 Source https://karagarga.in/details.php?id=321889 Too many people were shitting on his upload from feminist hobgoblin Nina Menkes
IMDB gets shittier with every update. I just want to check film credits without clicking all over the page first. Is there a way to restore something that resembles "classic view"?
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I don't know how I never found this site before but MNTNFILM is an online database of mountain films. One for the Resource Library: https://www.mntnfilm.com/en The map feature provides a list of films shot on particular peaks. For example, the Pennine Alps https://www.mntnfilm.com/en/p/map-search/climb:pennine-alps
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>>2903 Add /reference to the URL of the film. Reverts it back to the classic layout with all the necessary details in one page. Don't know how long THEY will allow its existence. But no hopes on the individual actor/director pages. that ship has sailed.
>>2897 Interview I think.
Do any CG-brothas post here or is this strictly KG country? Yes, I am indeed fishing for an invite - genuinely is tougher than KG/PTP
>>2922 I'm on CG. List twenty most lusted after movies that you'd find on CG and a ratio screenshot of your kg account. If i like them I can give you invite
>>2909 Neat! Thanks Anon, welcome!
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Reposting this list for future reference The Fallow Field (2009) Angel Mine (1978) Dead Funny (1994) White dwarf (1995) Biohazard: The Alien Force (1994) I'm the Elephant, U Are the Mouse (1994) Forevermore: Biography of a Leach Lord (1989) Eliza's Horoscope (1975) Defenceless: A Blood Symphony (2004) Kung Fu: The Movie (1986) The House of Dies Drear (1984) The Blue Light (2004) Urchin (2007) Harry Knuckles and the Pearl Necklace (2004) Revenge on the Highway (1992) The Shells (2015) Nightlife (1989) We're going to eat you (1980) Drive In Massacre (1976) Tattoo (1991)
OK i need a site/repository to upload cinema PDFs and not have it taken down or purged. Zippyshare got the boot, AnonFiles purges pretty quickly if the link is inactive (which is fair of course) and Mega has that limit which is okay but many might want to download a lot, also the fact it detects copyright material and i plan to have tons of it. I don't want to dump it here because admins have said they rather have space for posts and images rather than PDFs and i agree with them. Internet Archive is constantly being threatened too. What do, i am suspecting i might have to use Mega with solid and locked RAR archives, MediaFire is okay but it's been ages that i don't use it, Torrent i can do but i am doubting i will be able to seed it due to upcoming events.
>>2980 Mega works until you forget to login and lose all your files. Libgen might last longer? It has an upload feature though I haven't used it myself yet.
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>>2980 make a torrent; takes seconds/minutes to create one. share the magnet in a /t/ thread on 4ch. You'll have atleast one autist with a seedbox keep it alive for a month. Copy it over here and the KG elite permaseeders here will take it from there.
>>2980 You should definitely do this >>2985 but what if, hear me out, you TATTOO the pdfs into your skin,
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I haven't watched cable TV in a long time, but apparently Turner Classic Movies has hit a rough patch https://www.newyorker.com/culture/cultural-comment/turner-classic-movies-is-a-national-treasure >The gutting of Turner Classic Movies by its parent company, Warner Bros. Discovery, is a grim omen for the future of the channel. Much of its leadership team was pushed out, including its respected lead programmer, Charlie Tabesh, who’d been there more than twenty-five years. The C.E.O. of Warner Bros. Discovery, David Zaslav, has said that he’s a viewer and fan of the channel, and the company offered assurances that the channel’s offerings will remain largely unchanged. (The layoffs are part of an over-all cost cutting at the parent company, and affected other channels, too.) A trio of movie directors who care deeply about TCM—Martin Scorsese, Steven Spielberg, and Paul Thomas Anderson—talked with Zaslav to seek assurances that the channel will be maintained in its current form: a round-the-clock cinematheque centered on Hollywood movies from the nineteen-thirties to the eighties, along with silent films, international and independent films, and documentaries about the art and history of movies. The danger that TCM faces spotlights an enduring crisis in the field that the channel covers: the history of cinema.
>>3005 TCM has gone to the gutter since Robert Osborne went away, perhaps not because of his influence but his demise really foreshadowed such situation. Ted Turner might be a silly goose but he knew how to make TV a bit more enjoyable foreign of particular politics which included his own, nowadays having a 2-minute warning before a movie because it used nigger as a dialogue piece or having chunks of its run cut off despite being called a historian's channel is absurd. Now that i think of it fuck niggers in the ass, since they implemented Negro History Month the politrickery started sipping through the seams.
>>3006 >Robert Osborne I haven't watched TCM since he vacated the premises. I was never a huge fan of Ben. How have they gone in the gutter besides the PC implementations? Did their curation change?
>>3007 >Did their curation change? Downright cutting the run of the movies is one, at least Ben discussed the context and how we could interpret the media before showing a thing, nowadays it's more of a how we should do it which is silly, kind of understandable from a zealous curator but not when you tamper it.
>>3006 >having a 2-minute warning before a movie I forgot they started doing that. i haven't actually watched the channel for at least 5 years.
William Friedkin died today
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>>3020 Fucking hell, i remember last week i thought he was going to kick the bucket for some reason so i downloaded most of his stuff, don't know why i had that stronng sentiment but it made me do a retrospective as he is a saint patron for me. My curse strikes again if true, sad as he was one of the very greats in the New Hollywood era pre-Blockbusters.
I was curious about Friedkin's Sorcerer. A lot of dudes say it's great but I doubt they've seen Wages of Fear.
TSPDT is running an interesting public film poll called "Beyond the Sight & Sound Greatest Films of All Time" They're asking for the best films that were NOT nominated for the 2022 Sight and Sound list. So, excluding these 4366 titles https://docs.google.com/spreadsheets/d/1zR2_O_uoz4R_w9oXEC8m33BZ2I7ImsS7h1Y0rUjsNy0/edit#gid=739684069 Some I see missing are Az ember tragédiája / Tragedy of Man, Taiga, Rapsodia satanica, anything from Arnold Fanck. Surprisingly the original list included Szürkület and Parallel Street. https://www.theyshootpictures.com/
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Disney owns rights to The French Connection and they have cut the word "nigger" from streaming versions. The Criterion Channel hosts the censored version. Some report their digital copies have been altered as well. For all the outrage, no one dares to say "nigger" in reporting the story. (I wasn't impressed by this film when I saw it long ago.)
Looking for a monster movie called Cicada Men from the Moon. I haven't been able to find any information on it on the web, the only reason I know it exists is some guy's blog and pic related. https://johnrozum.blogspot.com/2011/10/31-days-of-halloween-day-25.html File name says Ann Dio, but I've never heard of an actress by that name and now I'm starting to wonder if the whole thing is just an elaborate joke. Where should I go for more information? >>3024 >Some report their digital copies have been altered as well. You mean digital downloads?
>>3027 Weird. I wonder if it's an alternate title of an already obscure movie. Maybe it's because search engines are garbage, but I'm definitely not turning anything up either. I'd like to know more if anything pops up.
>>3028 >alternate title Maybe. Do you know of any other monster movies featuring giant cicadas? I'm also wondering if it wasn't originally released in English especially since Dio sounds like a Spanish name. I think it would be "Hombres cigarras de la luna"?
>>3029 >Do you know of any other monster movies featuring giant cicadas? Not anything that seem close to Cicada Men from the Moon. I found a few modern ones, Cicada! and The Attack of the Giant Cicada from Outer Space, which clearly aren't it. There's also The Beast Within from 1982, which seems to feature a cicada monster, but that's definitely not it either. >I'm also wondering if it wasn't originally released in English especially since Dio sounds like a Spanish name. I was thinking it might be an Italian movie. I knew there was the goombah gangster Johnny DIo, although I just looked it up and his real surname was actually "Dioguardi." It doesn't seem like "Dio" is a very common last name. I wonder if anyone at the Classic Horror Film Board would know anything about the movie. A lot of those people seem have encyclopedic knowledge of those kind of movies. You'd think there would at least be some search engine results from the site bringing up a mention of it if that were the case though. Maybe it's not a real movie, but the picture sure could pass as a real VHS screenshot of a '60s B-movie. It's not detailed, so it's also hard to tell where it was shot. With that arid-looking environment it could have been in Western U.S. or Southern Europe. This whole thing is strange.
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>>3024 >(I wasn't impressed by this film) It was one of the first i saw when i started my film journey and i agree that it wasn't impressive at all other than the car chase which actually felt underwhelming initially after being hyped as the best thing. Later on i have to say the cinematography is pretty decent, the use of natural light and cool chiaroscuro in gloomy settings did stuck but i didn't appreciate it that much back then. But the acting and story weren't that great, who knows how it got an Oscar in one of the most competitive eras of Hollywood, i dare to say the other Friedkin movies were more compelling. >Nigger censored Honestly the "Americans Worship..." copypasta is becoming less of a hyperbole satire and more of a reality, shame on Criterion but i am not surprised seeing how they got co-opt by the mental minority-appeasing tactics
Global bumplock must be set at 500 posts New thread >>3090 New thread >>3090 New thread >>3090

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