If videos do not work, hovering your mouse over the preview image should still reveal the video in preview mode.
Video reblogged from Goddamn Dracula Black with 5 notes
dappled light through foliage, a tree, shot reverse shot, gliding movement, snaps of figures in response, the naked cinema of auteurs doing television films (see also: Carpenter’s Elvis)
"The naked cinema of auteurs doing television films"
Video with 1 note
"This week I cannot decide between The Egyptian (Michael Curtiz, 1954) and The Cobweb (Vincente Minnelli, 1955).”
- Tobe Hooper (“Would you be able to tell me what your favorite movie is?”)
Excellent, excellent. Minnelli does dutiful melodrama, if not transcendent, but what intelligent, cutting melodrama it is about the fragility of minds and the pressures of living a life of both work and emotion.
Real (Kiyoshi Kurosawa, 2013)
Starship Troopers (1997) - A new kind of enemy. A new kind of war.
Paul Verhoeven’s gonzo satire was destined, even designed, to be misunderstood. An action spectacle with the heart of a Grade-Z creature feature, the movie was derided as “90210 in space,” missing the fact that Verhoeven deliberately cast blandly good-looking actors as fodder for the movie’s militaristic mill. Stealing shots from Triumph Of The Will, the story of a society abandoning individual rights, and even identities, in response to an alien invasion, Starship Troopers is a wicked, acidic comment on how easily people can be convinced to trade freedom for security. That it also functions for the unaware as a full-throated Fascist recruiting ad is part of its brilliance. Verhoeven admits and even indulges its appeal before turning it inside out. (Avclub.com)
Seventh Code (Kurosawa, 2013)
Suggesting both a Rivette film and a half-remake of THE SEVENTH VICTIM (ironically I have not seen DUELLE yet…), SEVENTH CODE is a free and associative sketch on courage (and more).
An unusual short subject piece - “minor,” so to speak - running at barely 60 minutes and doubling as stunt promo for a Japanese pop singer… Loved it, essentially, but really need to see the seemingly epic, hugely divisive REAL.
Photo with 2 notes
The silent and solitary but pestilential scientist surrounded by his destructive (and destructible) tools.
Photo with 1 note
The gladiatorial Spaniard is with his sought-for iron and armor.
Photo with 1 note
Hooper already tests out his interest in the world of objects as a parallel plane existing alongside ours, objects functioning as furtive, sneakingly poignant, perhaps more permanent stand-ins for humans’ already shaky and self-undermining ontological existences.
A rose and chalice is made to be what remains of the (apparently - and arbitrarily - Russkie) aristocrat into the finer things.
Page 1 of 21
Theme by nostrich.