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cinewest
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#1601

Post by cinewest »

Onderhond wrote: February 24th, 2021, 6:16 am
Lonewolf2003 wrote: February 24th, 2021, 12:08 am Knowing your taste and preferences and the importance of the audiovisual experience of a movie above plot/characters has for you, have you ever thought about venturing more into experimental/avant-garde movies? I'm absolutely not an expert on those, but there probably will be some interesting stuff for you there, I'm thinking mostly about ones that are about complete audiovisual immersion. Maybe some others better versed in experimental cinema can give you some good tips?
I know it sounds like a match made in heaven (and you're certainly not the first to tell me), but I've hadn't had much luck with it so far. Either these films are very conceptual (I have this one idea that is supposed to question the nature of cinema and I'm gonna lean on that for 30 minutes), or the aesthetic is very oldskool/technically amateurish (like Godard's contemporary films). ICM has been no real help so far since they either focus on older films or contemporary cinema that invokes oldskool aesthetics.

There also seems to be very little in the feature-length realm. But I'm sure I'm missing some true gems there, I just haven't found a way to them. I do have Umfeld in my Top 10, sadly that proved to be a dead end in terms of gateway project.
A lot of art house films focus more on the audio-visual experience, like Bi Gan’s Long day’s Journey into Night, which was one of my favorites of last year.

Malick is also very much like that, and if I remember, you can’t seem to stand his films, at least not Tree of Life, which I termed a symphonic poem.
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Onderhond
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#1602

Post by Onderhond »

cinewest wrote: February 24th, 2021, 6:43 am A lot of art house films focus more on the audio-visual experience, like Bi Gan’s Long day’s Journey into Night, which was one of my favorites of last year.

Malick is also very much like that, and if I remember, you can’t seem to stand his films, at least not Tree of Life, which I termed a symphonic poem.
I know they do, it's not that I hate all arthouse films (though I understand why some people might get that idea). And of course it's not because I prefer a focus on audio-visual qualities that I just randomly like every film that puts its focus there.

I mean, I prefer purely instrumental music over songs too, still I'm not into classic music. There are still 101 different flavors within audio-visual experiences, some of which I like, some of which I don't. In the case of Malick, I think he falls on the wrong side of poetic and often gets very cheesy, Bi Gan on the other hand isn't half as polished as I'd like him to be. Especially his tracking shots are unspectacular. They're just long. Just not the aesthetic that pleases me.
Bing147
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#1603

Post by Bing147 »

I lost 18 of the films that were removed and only picked up 12 of the new ones so a net loss of 6, but I'm sure I'll get them back as I see more of the 2020 films I still want to get to. Still, some really good ones in the list that were removed. Big fan of Victoria, Your Name, The Imposter, Frank, Blancanieves and Barbara in particular.
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cinewest
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#1604

Post by cinewest »

Onderhond wrote: February 24th, 2021, 7:20 am
cinewest wrote: February 24th, 2021, 6:43 am A lot of art house films focus more on the audio-visual experience, like Bi Gan’s Long day’s Journey into Night, which was one of my favorites of last year.

Malick is also very much like that, and if I remember, you can’t seem to stand his films, at least not Tree of Life, which I termed a symphonic poem.
I know they do, it's not that I hate all arthouse films (though I understand why some people might get that idea). And of course it's not because I prefer a focus on audio-visual qualities that I just randomly like every film that puts its focus there.

I mean, I prefer purely instrumental music over songs too, still I'm not into classic music. There are still 101 different flavors within audio-visual experiences, some of which I like, some of which I don't. In the case of Malick, I think he falls on the wrong side of poetic and often gets very cheesy, Bi Gan on the other hand isn't half as polished as I'd like him to be. Especially his tracking shots are unspectacular. They're just long. Just not the aesthetic that pleases me.
You seem to have very particular interests when it comes to movies (mostly slightly offbeat East Asian genre films and animation from the last 40 years, with a specific audio-visual aesthetic), and also seem to watch quite a lot you don’t really like, which strikes me as a bit strange.

Please correct me where I am wrong.
Last edited by cinewest on February 24th, 2021, 12:06 pm, edited 1 time in total.
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Onderhond
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#1605

Post by Onderhond »

Well, this may sounds like semantic tomfoolery, but when it comes to things I absolutely love (high 4.5* and 5.0*) I think you are right. That is because my hosanna material is quite niche (and I'd say, not yet 100% catered for), so these films jump out. When we get to films I really like (4.0* and above) it really widens up. And everything from 2.5* and up I find enjoyable to watch, it's just that when it comes down to it these films don't hold a candle to the ones I truly love. That spans everything from big blockbusters, genre filler to more commercial arthouse as well as obscure arthouse favorites. The only thing I consistently struggle with is things that have aged.

But films like Tokyo.sora (as arthouse as it can get) or Umfeld (avant-garde) are also part of my Top 10. For some reason though they never caught the eye of the cinephile hive. I can give you 100 reasons why that may be, but in the end that's just what it is :)

And yes, I also watch quite a bit that lies outside my comfort zone. If I don't people will use that as an argument to say I have no clue what I'm talking about, if I do people will wonder why I watch a bunch of films I probably won't like anyway. It's a simple lose/lose situation. But for myself, I find worth in watching these films, as they help me to get a better idea of film as an artform and the way people move within that sphere. And that's all that matters for me.
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#1606

Post by Lakigigar »

Onderhond wrote: February 24th, 2021, 9:01 am Well, this may sounds like semantic tomfoolery, but when it comes to things I absolutely love (high 4.5* and 5.0*) I think you are right. That is because my hosanna material is quite niche (and I'd say, not yet 100% catered for), so these films jump out. When we get to films I really like (4.0* and above) it really widens up. And everything from 2.5* and up I find enjoyable to watch, it's just that when it comes down to it these films don't hold a candle to the ones I truly love. That spans everything from big blockbusters, genre filler to more commercial arthouse as well as obscure arthouse favorites. The only thing I consistently struggle with is things that have aged.

But films like Tokyo.sora (as arthouse as it can get) or Umfeld (avant-garde) are also part of my Top 10. For some reason though they never caught the eye of the cinephile hive. I can give you 100 reasons why that may be, but in the end that's just what it is :)

And yes, I also watch quite a bit that lies outside my comfort zone. If I don't people will use that as an argument to say I have no clue what I'm talking about, if I do people will wonder why I watch a bunch of films I probably won't like anyway. It's a simple lose/lose situation. But for myself, I find worth in watching these films, as they help me to get a better idea of film as an artform and the way people move within that sphere. And that's all that matters for me.
Yes, but sometimes it doesn't make much sense. I would expect you to like (early) Tarantino more, and a long time ago you did, but it seems when you watched Kill Bill vol. 1 (2/10) you decided that Tarantino wasn't your director, rewatched Pulp Fiction, and downgraded it from 8/10 to 5/10 (and usually ratings rarely change if you rewatch a movie). It's your choice, but I think you suppress you'd like it at one stage.

I also honestly expected you to like Funeral Parade of Roses, The Neon Demon and Like Me more, but they've all been only 7/10 or 8/10 movies. I sometimes have trouble understanding your taste, although I can get you're not a big fan of older cinema (i can appreciate it more than you do, i just have barely watched anything from it).

I'm also curious if you would enjoy Europa Report. If you like science & space, a good and "realistic" movie, you'll like it perhaps, since it's not made from a philosophical perspective, but from a science one (NASA helped creating the movie).
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Onderhond
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#1607

Post by Onderhond »

Lakigigar wrote: February 24th, 2021, 11:38 am I would expect you to like (early) Tarantino more, and a long time ago you did, but it seems when you watched Kill Bill vol. 1 (2/10) you decided that Tarantino wasn't your director, rewatched Pulp Fiction, and downgraded it from 8/10 to 5/10 (and usually ratings rarely change if you rewatch a movie). It's your choice, but I think you suppress you'd like it at one stage.
I liked Pulp Fiction when I was 15 or so. I also really loved Memento, which has made an even worse drop. I wasn't really into film back then and liked just about anything that deviated from the Hollywood norm. When I finally discovered films like Eraserhead and Tetsuo I saw something that truly triggered me, which is where I really started my journey into film. It has nothing to do with watching Kill Bill or suppressing something I liked when I was younger (Following for example is a film that survived my taste pivot).

Also, 8/10 is a high rating for me. That means a film is good enough to spend 2-3 hours writing a full-length review, picking screenshots for it and including it in my yearly rankings. Giving a score like that comes with serious effort on my side, so I just don't do it lightly. When I give a 7/10 I still like the film a lot, just not enough to spend that much time raving about it.

As for Europa Report, I liked that one a lot, gave it a 7/10. Good sci-fi. I reviewed it on MM, so no point in wondering :)
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Torgo
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#1608

Post by Torgo »

Ah, the list rankings finally have updated. Just gonna leave this here after you guys hijacked the thread for another "contemporary vs. classics" discussion. :P
Panunzio wrote: February 20th, 2021, 2:16 pm The update to the 21st Century List is live!
Up from #214 with 618/1001 checks to #202 with 621/1001 checks. Still not happy with the update, probably lost some cool, now unofficial checks. :pinch:
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#1609

Post by OldAle1 »

I actually gained 4 checks and moved up 19 spots, which is really surprising to me because I've watched fewer new or even kinda-new 2000s films this past year than ever. I guess I just lucked out this time.
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#1610

Post by Fergenaprido »

I gained 1 check and improved my rank by 68 places. I've only seen 10 of the new entries, so I guess I went up because a lot of people ahead of me saw more of the films that left than I had (9). Looks like overall I only lost 2 official checks (The Fits & How to Survive a Plague), and gained 2 official checks (Dylda & Wolfwalkers).
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#1611

Post by Lakigigar »

I noticed earlier that I improved my rank by 400 spots because of that update lol.
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