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Onderhond
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#19641

Post by Onderhond »

I find it a weakness more than a strength, but to each his own of course :)
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#19642

Post by Lakigigar »

Pretentious Hipster wrote: March 10th, 2021, 5:04 pm Fair enough, sorry about that.

I don't agree with a hedonistic lifestyle, but I can see its attraction. Life is empty and pointless, so hedonists want to make the most of it with fun yet meaningless pleasures.
That's no problem. I probably wasn't clear. My initial question was what is the appeal to Spring Breakers that cinephiles feel, while mainstream audiences don't (which I still feel it's unanswered), because it doesn't make much sense. I would actually expect the complete opposite, it being liked by mainstream audiences, and it being hated by critics (not cinephiles, but critics).

I think it is important to talk about what kind of hedonism we're talking about. Some people feel pleasure about murdering someone. I think the middle way is the most important one, because a life without hedonism is a life that actually has no purpose anymore and where humankind is basically purely and solely robotic with predetermined choice (the total opposite of hedonism would be an AI-dominated hive mind society, which might ironically happen if all humans go full hedonism, which is also a futuristic sci-fi scenario, so in some kind of sense the opposite of hedonism which is suffering and boredom, while hedonism means pleasure and self-gratification might actually also be an example of horseshoe theory because pure hedonism will require dependence on all non-hedonist values.

But in a certain sense, i feel like i should pursue more hedonist life approach, but i'm unable to (because i'm not like that), while others believe i should contribute more to society and become even more depressed and deprivated to the point my life would basically not matter anymore or have no purpose, unless contributing to society is equal to hedonism which is certainly the case for some hypothetical functions, like for example giving people a certain perspective of some experience or what life could be like, and showcase that through the form of art or in this case visual art, aka film.
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#19643

Post by Dolwphin »

Spring Breakers

Favorites: 511 :cheers: :party:
Dislikes: 480 :angry: :verymad:

Spring Breakers is an amazing visceral liquid audio-visual experience. Yet it almost has more dislikes than favorites. SAD! :hmph:
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#19644

Post by kongs_speech »

Anyone seen Blue Film Woman? It's a pinku that is today's film of the day on MUBI.
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#19645

Post by Mothravka »

kongs_speech wrote: March 10th, 2021, 8:38 pm Anyone seen Blue Film Woman? It's a pinku that is today's film of the day on MUBI.
No! Not yet. But I was actually planning on watching it with the girlfriend today. Either that film or Inflatable Sex Doll of the Wastelands (1967).
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#19646

Post by Onderhond »

Mothravka wrote: March 11th, 2021, 8:00 am
kongs_speech wrote: March 10th, 2021, 8:38 pm Anyone seen Blue Film Woman? It's a pinku that is today's film of the day on MUBI.
No! Not yet. But I was actually planning on watching it with the girlfriend today. Either that film or Inflatable Sex Doll of the Wastelands (1967).
Not sure what films MUBI has, but it looks to be related to Third Window Films' series. If so, be sure to check out Underwater Love. It has kappas and musical bits B)
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#19647

Post by Mothravka »

Onderhond wrote: March 11th, 2021, 8:35 amNot sure what films MUBI has, but it looks to be related to Third Window Films' series. If so, be sure to check out Underwater Love. It has kappas and musical bits B)
I actually saw that one in January. I didn't really like it, especially not the whole Kappa thing. A shame, because a pink musical sounds like something very interesting and rare on paper. I might give another Imaoka film or two a chance later on, several of them seem to be a bit different than Underwater Love (2011).
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#19648

Post by kongs_speech »

Mothravka wrote: March 11th, 2021, 8:00 am
kongs_speech wrote: March 10th, 2021, 8:38 pm Anyone seen Blue Film Woman? It's a pinku that is today's film of the day on MUBI.
No! Not yet. But I was actually planning on watching it with the girlfriend today. Either that film or Inflatable Sex Doll of the Wastelands (1967).
I have seen and rather liked Inflatable Sex Doll of the Wastelands!
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#19649

Post by Mothravka »

kongs_speech wrote: March 10th, 2021, 8:38 pmI have seen and rather liked Inflatable Sex Doll of the Wastelands!
We just saw it. I wish it was better, because it felt like a Wakamatsu film, but a bit more on the boring side. I was also hoping for more regarding the soundtrack. I'm a fan of Yamashita and while the music was good, I expected that it would be much more present.

Oh, well. Blue Film Woman (1969) is on the schedule for tomorrow!
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#19650

Post by kongs_speech »

Mothravka wrote: March 11th, 2021, 5:20 pm
kongs_speech wrote: March 10th, 2021, 8:38 pmI have seen and rather liked Inflatable Sex Doll of the Wastelands!
We just saw it. I wish it was better, because it felt like a Wakamatsu film, but a bit more on the boring side. I was also hoping for more regarding the soundtrack. I'm a fan of Yamashita and while the music was good, I expected that it would be much more present.

Oh, well. Blue Film Woman (1969) is on the schedule for tomorrow!
Hope you enjoy that one! I intend to check it out soon.
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#19651

Post by St. Gloede »

For those interested in online festival the Vilnius International Film Festival 2021 is online for the second time due to corona.

The line up looks fantastic.

You can see the entire lineup here: https://kinopavasaris.lt/en/programa

Tickets: https://kinopavasaris.lt/en/tickets-offers-2021
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#19652

Post by Mothravka »

St. Gloede wrote: March 11th, 2021, 7:59 pm For those interested in online festival the Vilnius International Film Festival 2021 is online for the second time due to corona.

The line up looks fantastic.

You can see the entire lineup here: https://kinopavasaris.lt/en/programa

Tickets: https://kinopavasaris.lt/en/tickets-offers-2021
I can recommend Days (2020), Heimat Is a Space in Time (2019), The Woman Who Ran (2020) and Notturno (2002).
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#19653

Post by Lakigigar »

I just discovered that a female director (Anastasia Shulepova) of my fav music video has now become a real director. The story of her's is quite intruiging. I have added her shorts to ICM (in the row of films to be added).

http://voyagela.com/interview/check-ana ... s-artwork/
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Anastasia, we’d love to hear your story and how you got to where you are today both personally and as an artist.
2012: I’ve heard Grimes’ song “Dream Fortress” on my way to work: two months later, I quit the job at the advertising agency in Saint-Petersburg, Russia, to shoot a music video for it, using my last salary to rent the equipment.

It looked like a pretty insane thing to do, considering the fact I’ve never shot anything before. Nobody (including Grimes) asked us to make this bloody video, but I wanted to do it anyway out of pure obsession over the song.

2013: The video gained around 4 million views, Grimes reached out to us and suggested to make it an official video. We started getting attention.

2015: A year and a half later, I’ve moved to Los Angeles, got an MFA in film production and continued making music videos and short films. Our latest film, “Terry’s Women”, was screened at Cannes in 2019.

Music videos are still my favorite thing to work on.

We’d love to hear more about your art.
Music videos are my way to “play” music in a certain sense. Every good song is a story, and visualizing music can highlight its beauty and essence the same way a musical instrument could. My biggest nightmare is seeing a thoughtless music video for a great track. In terms of filmmaking, I’m trying to explore what seems the closest to me: the lives of misfits, outcasts, and underdogs beyond the political agenda. My work inevitably reflects my own background: an immigrant who lives between two disastrously different countries and tries to find her own place in the middle of it.

I’m trying to focus on finding beauty in the chaos of everyday reality and show the fascinating symmetry of life: living between two worlds always gives a broader perspective.

Artists face many challenges, but what do you feel is the most pressing among them?
Staying true to yourself and telling your own story regardless of whether it fits the political agenda or social trends, Although it’s endlessly important to create more awareness of social injustice, political terror and racial aggression, it’s also important to stay honest and tell the stories you truly feel for, not the stories you get a pat on the back for.

Do you have any events or exhibitions coming up? Where would one go to see more of your work? How can people support you and your artwork?
Our latest film, “Terry’s Women”, is currently running within the festival circle.


This is the music video. I got obsessed with the song and the video years ago, and now i've seen that they showcased her latest short in Cannes.

I formerly did some political donations, but i'm thinking of stopping them and supporting artists (who need that little support) instead, and she's certainly someone I'd consider to support by giving a small one-time donation.
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#19654

Post by Lakigigar »

Ken Loach seems to be completely my cup of tea. But not sure if Sorry, We Missed You and I, Daniel Blake indicate whether i'll like his entire filmography. I'm not sure what kind of movies he made, so i'm not sure where to go next with him. It's so big, his movies aren't in many official lists (exc. for a few) and it's not being voted on a lot. I think Kes, The Angel's Share and The Wind That Shakes The Barley and perhaps Ladybird, Ladybird, seems to be the next major ones? But... it's possible i'll be more into other movies of him (if...), so perhaps someone else knows what I could watch best next.
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#19655

Post by St. Gloede »

The Angel's Share is generally not considered to be one of his key films, and is a surprisingly light comedy. The Wind That Shakes The Barley is definitely one of his best though still different from his norm - bleak social dramas showcasing the troubles of the working class. Definitely recommended. Family Life is my favourite, but that is slightly more niche. Ladybird Ladybird is a perfect fit with what you have seen so far, and Kes is a very good beginning, both recommended.
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#19656

Post by Lakigigar »

St. Gloede wrote: March 12th, 2021, 6:25 pm The Angel's Share is generally not considered to be one of his key films, and is a surprisingly light comedy. The Wind That Shakes The Barley is definitely one of his best though still different from his norm - bleak social dramas showcasing the troubles of the working class. Definitely recommended. Family Life is my favourite, but that is slightly more niche. Ladybird Ladybird is a perfect fit with what you have seen so far, and Kes is a very good beginning, both recommended.
After seeing Sorry, We Missed You, i think i'll have to go throughout most of his filmography at some point, and he has done a ton.

Thanks, it might be a while before I see his next one though, but it's something i'll explore further. Perhaps a third one just before the director's poll (at the latest), so that if is a good one, he can make an appearance (and if i don't like it, watch a fourth one lol :D )
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#19657

Post by blocho »

I think that The Wind That Shakes the Barley is one of the best war movies I've ever seen, but it's quite different from most of Loach's movies. I would. Based on what you've liked so far, I suggest Kes, Sweet Sixteen, and My Name is Joe.
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#19658

Post by prodigalgodson »

I haven't seen much from Loach either but I was in tears leaving the theater at the end of Daniel Blake, which doesn't happen too often. I'll have to check out Sorry We Missed You.
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#19659

Post by cinewest »

Onderhond wrote: March 11th, 2021, 8:35 am
Mothravka wrote: March 11th, 2021, 8:00 am
kongs_speech wrote: March 10th, 2021, 8:38 pm Anyone seen Blue Film Woman? It's a pinku that is today's film of the day on MUBI.
No! Not yet. But I was actually planning on watching it with the girlfriend today. Either that film or Inflatable Sex Doll of the Wastelands (1967).
Not sure what films MUBI has, but it looks to be related to Third Window Films' series. If so, be sure to check out Underwater Love. It has kappas and musical bits B)
That description brought to mind perhaps the most audacious film by Tsai Ming Liang, The Wayward Cloud
Last edited by cinewest on March 13th, 2021, 10:52 am, edited 1 time in total.
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#19660

Post by Onderhond »

cinewest wrote: March 13th, 2021, 8:34 am That description brought to mind perhaps the most audacious film by Thai Ming Liang, The Wayward Cloud
I get the connection, they'd probably make for an awesome double bill too, but I'd doubt if you could find much of an audience that appreciated both.
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#19661

Post by Chilton »

Oh, the Oscar noms will be announced today apparently
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#19662

Post by brokenface »

How has Borat got an Adapted Screenplay nomination?!
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#19663

Post by Pretentious Hipster »

brokenface wrote: March 15th, 2021, 12:46 pm How has Borat got an Adapted Screenplay nomination?!
It's adapted from the original entry of course
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#19664

Post by kongs_speech »

Five Promising Young Oscar nominations. :wub:

Best Picture
Best Director
Best Actress
Best Original Screenplay
Best Film Editing
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#19665

Post by Pretentious Hipster »

Ivansxtc might have the best film reference. The Colour of Pomegranates

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#19666

Post by outdoorcats »

So Judas and the Black Messiah doesn't have a leading role? :think: Even for the Oscars, which have been historically weird at distinguishing "lead" and "supporting," that's an odd one. I can't remember, outside of maybe a big ensemble film, an example where they couldn't decide who was lead or supporting so just submitted both for supporting. Perhaps it's just a calculated strategy by WB who assumed the lead role would be too competitive this year. :shrug:

Don't have much to say until I watch more. I've been real sluggish on catching up on 2020 releases. But I'm surprised at no News of the World or One Night in Miami for BP, especially since there were two spots open.

Haven't yet heard of three of the international nominees (Better Days, The Man Who Sold His Skin (from Tunisia!), and Quo Vadis, Aida?). They look interesting.

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#19667

Post by Onderhond »

I've seen Better Days. Not a bad film, nothing spectacular either. I'm guessing it got in because it's a film about bullying. My short review from back in the day:

At its best, Better Days is a very stylish, gripping and well-made drama. Sadly the way the bullying is handled feels a little flat, which carries through to a somewhat disappointing ending. It's a shame, because the performances are amazing, the cinematography is beautiful and the score is on point. Very good, but could've been better still.
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#19668

Post by St. Gloede »

If I recall correctly the Academy does not actually decide if someone is leading or supporting role, it is the production/studio that nominates them, and which category they nominate you for is sometimes strategic rather than accurate.
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#19669

Post by Pretentious Hipster »

outdoorcats wrote: March 15th, 2021, 1:48 pm So Judas and the Black Messiah doesn't have a leading role? :think: Even for the Oscars, which have been historically weird at distinguishing "lead" and "supporting," that's an odd one. I can't remember, outside of maybe a big ensemble film, an example where they couldn't decide who was lead or supporting so just submitted both for supporting. Perhaps it's just a calculated strategy by WB who assumed the lead role would be too competitive this year. :shrug:
How was the film? I am a huge fan of Fred Hampton, I'm just worried that the film itself will fall into the standard "biopic" trap.
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#19670

Post by kongs_speech »

Pretentious Hipster wrote: March 15th, 2021, 1:55 pm
outdoorcats wrote: March 15th, 2021, 1:48 pm So Judas and the Black Messiah doesn't have a leading role? :think: Even for the Oscars, which have been historically weird at distinguishing "lead" and "supporting," that's an odd one. I can't remember, outside of maybe a big ensemble film, an example where they couldn't decide who was lead or supporting so just submitted both for supporting. Perhaps it's just a calculated strategy by WB who assumed the lead role would be too competitive this year. :shrug:
How was the film? I am a huge fan of Fred Hampton, I'm just worried that the film itself will fall into the standard "biopic" trap.
It's an incredibly radical film considering that it comes from a major studio. Unambiguously pro-Panther, pro-Hampton, pro-ACAB and anti-FBI. It's not a biopic at all.
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#19671

Post by kongs_speech »

outdoorcats wrote: March 15th, 2021, 1:48 pm So Judas and the Black Messiah doesn't have a leading role? :think: Even for the Oscars, which have been historically weird at distinguishing "lead" and "supporting," that's an odd one. I can't remember, outside of maybe a big ensemble film, an example where they couldn't decide who was lead or supporting so just submitted both for supporting. Perhaps it's just a calculated strategy by WB who assumed the lead role would be too competitive this year. :shrug:

Don't have much to say until I watch more. I've been real sluggish on catching up on 2020 releases. But I'm surprised at no News of the World or One Night in Miami for BP, especially since there were two spots open.

Haven't yet heard of three of the international nominees (Better Days, The Man Who Sold His Skin (from Tunisia!), and Quo Vadis, Aida?). They look interesting.
Stanfield being nominated in supporting is seriously bizarre. They're both lead, yet they both ended up in supporting. He wasn't even predicted by anyone for lead, let alone this.

The Man Who Sold His Skin is not a bad film, but it didn't really do it for me. It gets awfully weird, which could be great if the ending clicked for me, but it didn't. Quo Vadis, Aida? is great but it's an emotionally draining experience. Think Come and See more than the glossy sentimentality of Schindler's List.
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#19672

Post by outdoorcats »

Pretentious Hipster wrote: March 15th, 2021, 1:55 pm
outdoorcats wrote: March 15th, 2021, 1:48 pm So Judas and the Black Messiah doesn't have a leading role? :think: Even for the Oscars, which have been historically weird at distinguishing "lead" and "supporting," that's an odd one. I can't remember, outside of maybe a big ensemble film, an example where they couldn't decide who was lead or supporting so just submitted both for supporting. Perhaps it's just a calculated strategy by WB who assumed the lead role would be too competitive this year. :shrug:
How was the film? I am a huge fan of Fred Hampton, I'm just worried that the film itself will fall into the standard "biopic" trap.
The only one I've seen out of the lot is The Trial of the Chicago 7 (which isn't great). I'm just assuming the film has a role that could be considered "lead."
St. Gloede wrote: March 15th, 2021, 1:52 pm If I recall correctly the Academy does not actually decide if someone is leading or supporting role, it is the production/studio that nominates them, and which category they nominate you for is sometimes strategic rather than accurate.
So like I said. :P What I thought I understood is that campaigns will advertise "For Your Consideration" indicating to voters what category they want the actors to be considered for. But ultimately it's up to voters what they put on their ballot--I could be wrong about that though? I haven't paid close attention to the Oscars in ages.

A lie ain't a 'side of the story.' It's just a lie.
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#19673

Post by St. Gloede »

From what I understood it is set up so that you can only vote for what was nominated, i.e. a voter can note decide to switch a support nominee to a lead nominee, but I could be wrong as well.
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#19674

Post by GruesomeTwosome »

Damn, I kept putting off seeing Judas and the Black Messiah and now it just left HBO Max. Eh, I’ll catch up to it at some point.

So far out of the Best Picture nominees, I’ve only seen Minari (good stuff, especially Steven Yeun who was terrific I thought, but this wasn’t quite the great film I hoped it would be) and Trial of the Chicago 7 (blah...I’m really getting over Sorkin’s stuff, nothing good since The Social Network, especially since he started directing as well).

I want to see the rest of the BP nominees except for The Father, which looks like the dullest kind of Oscar bait.
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#19675

Post by outdoorcats »

If what I've heard about how The Father is made is true, it's actually a lot artsier than your typical Oscar fare.

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#19676

Post by dirty_score »

What's the difference between Mulholland Dr. (1999) and Mulholland Drive (2001), besides the first one is tagged as tv movie?
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#19677

Post by maxwelldeux »

dirty_score wrote: March 15th, 2021, 10:36 pm What's the difference between Mulholland Dr. (1999) and Mulholland Drive (2001), besides the first one is tagged as tv movie?
The first is a TV pilot that never took off. It was reworked with some additional footage and released as a feature film in 2001.
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#19678

Post by dirty_score »

maxwelldeux wrote: March 15th, 2021, 10:40 pm
dirty_score wrote: March 15th, 2021, 10:36 pm What's the difference between Mulholland Dr. (1999) and Mulholland Drive (2001), besides the first one is tagged as tv movie?
The first is a TV pilot that never took off. It was reworked with some additional footage and released as a feature film in 2001.
Thanks. I was looking through the entire filmography of David Lynch when that caught my eye. He seems it has done the same thing with Twin Peaks: The Missing Pieces.
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#19679

Post by Pretentious Hipster »

Saw a tweet about it, and I just realized. What happened to Xavier Dolan lol

I looked at his filmography. You'd think after Mother (which I wasn't into) was such a huge success that his career would keep going. Turns out he released 3 films since and they have low ratings. I'm curious to see them now.
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#19680

Post by Coryn »

I'm absolutely hooked on Riget AKA The Kingdom (1994)

Nice surprise I just discovered, I thought I was watching the final episode but it now seems there is a 2nd season :banana:

I went to IMDB and they are also talking about a 3rd season in 2022 :party:

https://www.imdb.com/title/tt0108906/episodes?season=3
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