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500<400 (Nominations Sep 22nd)
Polls: Animation (Results), 2016 awards (Aug 25th), 1987 (Aug 25th), Benelux (Aug 30th), Knockout competition (Round 1)
Challenges: Romance, UK/Ireland, <400 Checks
Film of the Week: The Great White Silence, September nominations (Aug 30th)

In Competition at Cannes - Official Challenge May 2019

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allisoncm
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Re: In Competition at Cannes - Official Challenge May 2019

#161

Post by allisoncm » May 23rd, 2019, 4:27 am

SpoilerShow
1. 5/14 The Dead Don’t Die, Jim Jarmusch 6/10 2019
2. 5/15 Litigante 6.2/10 2019
3. 5/15 Bull, Annie Silverstein 5.5/10 2019
4. 5/15 Reves de Jeunesse/As Happy As Possible 6/10
5. 5/16 Dylda/Beanpole 6/10
6. 5/16 Les Hirondelles de Kaboul
7. 5/16 Hvítur, Hvítur Dagur/ A White, White Day 6/10
8. 5/16 Des Hommes -Alice Odiot, Jean-Robert Viallet 4.5/10
9. 5/17 Sorry We Missed You 9/10
10. 5/17 Papicha Mounia Meddour 7/10
11. 5/17 Vif-Argent 5/10
12. 5/18 Port Authority 6/10
13. 5/18 Jeanne (Bruno Dumont) 6/10
14. 5/18 Shorts I: -FAKH (THE TRAP) DE/BY NADA RIYADH                         20’
-THE MANILA LOVER DE/BY JOHANNA PYYKKÖ            26’
-KOLEKTYVINIAI SODAI 15’(COMMUNITY GARDENS) DE/BY VYTAUTAS KATKUS

15. 5/19, Chambre 212 (Christophe Honoré), 8/10
16. 5/19, Liberté (Albert Serra), 1/10
17. 5/19, Share (Pippa Bianco), 6/10
18. 5/19, Ceniza Negre/Cendre Noire/Land of Ashes (Sofía Quirós Ubeda), 6/10
19. 5/20, Portrait of a Lady on Fire (Céline Sciamma), 6.5/10
20. 5/20 Abou Leila (Amin Sidi-Boumédiène), 6/10
21. 5/20, Adam (Maryam Touzani), 6/10
22. 5/20, L’Angle Mort, 6/10
23. 5/21, Frankie (Ira Sachs), 6/10
24. 5/21, Le Jeune Ahmed (Dardenne Bros.), 6/10
25. 5/21, The Bears’ Famous Invasion of Sicily, 6/10
26. 5/21, Une Fille Facile/An Easy Girl (Rebecca Zlotowski), 6/10
27. 5/22, Nina Wu, 6/10
28. 5/22, Dwelling in the Fuchun Mountains, 6/10
29. 5/22, Evge/Homeland, 6/10

Since the main links don’t include films from this year, so... not sure why you’re having this challenge and making it hard for yourself. I could upload the schedule and no problem.

allisoncm
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#162

Post by allisoncm » May 23rd, 2019, 4:28 am

It won’t let me upload photo attachments. Says it’s too large.

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jeroeno
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#163

Post by jeroeno » May 23rd, 2019, 5:50 am

22. Die Marquise von O... (1976)
23. Accident (1967)
24. Leonera (2008)

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maxwelldeux
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#164

Post by maxwelldeux » May 23rd, 2019, 6:09 am

I prefer a bottleShow
1. A Taste of Cherry (1997)
2. Z (1969)
3. The Salesman (2016)
4. Cria Cuervos (1976)
5. Sin City (2005)
6. Elephant (2003)
7. The Piano Teacher (2001)
8. Kagemusha (1980)
9. Battle in Heaven (2005)
10. Silent Light (2007)
11. The Homesman (2014)
This... surprised me. Three women lose their shit living out West - totally expected. Another woman is chosen to take them back East for care. Along the way, she rescues a condemned man and solicits him to help her transport the women. Fascinating story with top-notch cinematography. It was confusing at times, but really pushed boundaries and challenged the viewer to consider their own responses in a similar situation.
SpoilerShow
The scene where he sets the hotel on fire and rides away from it in silhouette while the hotel burns and someone jumps from the upstairs window might be the single best shot of a film I've seen in quite a long time.

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sol
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#165

Post by sol » May 23rd, 2019, 11:25 am

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)
17. The Salesman (2016)
18. Moonlighting (1982)
19. Last Days (2005)
20. The Past (2013)

21. Jimmy P. (2013)

Image

Psychoanalysis is an interesting process - treating the "scars of the mind" - but as a 'talking cure', it is not an inherently cinematic topic, and despite some intermittent narrated flashbacks, this film on the subject did little for me. Over two thirds of it is just the two protagonists conversing, and not in the philosophical way that renders something like Waking Life or My Dinner with Andre so fascinating. Howard Shore provides a nicely moody score, but it is played too quietly and infrequently. Both lead actors are very decent at least though and Mathieu Amalric has a great final scene.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
Image Image Image

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flavo5000
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#166

Post by flavo5000 » May 23rd, 2019, 1:37 pm

11. Panj é asr (2003)
SpoilerShow
1. Friendly Persuasion (1956)
2. The Pumpkin Eater (1964)
3. Vizi privati, pubbliche virtù (1976)
4. Woyzeck (1979)
5. Modesty Blaise (1966)
6. Mouchette (1967)
7. Borgman (2013)
8. Le passé (2013)
9. Rosetta (1999)
10. Gli intoccabili (1969)
11. Panj é asr (2003)

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maxwelldeux
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#167

Post by maxwelldeux » May 23rd, 2019, 5:15 pm

I prefer a bottleShow
1. A Taste of Cherry (1997)
2. Z (1969)
3. The Salesman (2016)
4. Cria Cuervos (1976)
5. Sin City (2005)
6. Elephant (2003)
7. The Piano Teacher (2001)
8. Kagemusha (1980)
9. Battle in Heaven (2005)
10. Silent Light (2007)
11. The Homesman (2014)
12. Antichrist (2009)
Well, that was an experience. Visually cool and a very interesting look at depression, but could be a prime example of why you don't treat your family.

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Traveller
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#168

Post by Traveller » May 23rd, 2019, 5:50 pm

58. Mother Joan of the Angels (1961) - 8/10
5000. check :)
59. A Report on the Party and the Guests (1966) - 8/10
ICM
August Challenge: ImageImage
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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albajos
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#169

Post by albajos » May 23rd, 2019, 6:48 pm

08. Heaven's Gate (1980) USA 8 official lists 1 488 checks [double]

Off. list progress:
+1 Cannes Film Festival - Palme d'Or (59,3%)

So Many Cannon films were sold at CannesShow
01. The Sun Shines Bright (1953) USA 4 official lists 379 checks [double]
02. La escondida (1956) Mexico 11 checks [double]
03. Friendly Persuasion (1956) USA 3 official lists 694 checks [double]
04. The Beguiled (2017) USA 1 747 checks
05. Jeremiah Johnson (1972) USA 1 988 checks [double]
06. The Long Riders (1980) USA 3 official lists 1 005 checks [double]
07. About Schmidt (2002) USA 4 official lists 13 207 checks

bonus
The Heart Is Deceitful Above All Things - side competition in 2004
Nordic films in competitionShow
1946
BLOD OCH ELD
BREVET FRA AFDØDE
DE RØDE ENGE
HETS

1947
SKEEP TILL INDIA LAND
TVA KVINNOR

1949
FRAMMANDE HAMN

1951
FRÖKEN JULIE

1952
HON DANSADE EN SOMMAR
NØDLANDING *

1953
FÖR MIN HETA UNGDOMS SKULL
VALKOINEN PEURA

1954
CIRCUS FANDANGO *
DET STORA AVENTYRET
KÄRLEKENS BRÖD

1955
DET BRENNER I NATT *

1956
SOMMARNATTENS LEENDE

1957
DET SJUNDE INSEGLET
QIVITOQ
SAME JAKKI *

1958
EN DJUNGELSAGA
NÄRA LIVET
NI LIV *

1959
FRÖKEN APRIL

1960
JAKTEN *
JUNGFRUKALLAN
PAW, BOY OF TWO WORLDS

1961
DOMAREN

1962
HARRY OG KAMMERTJENEREN

1964
KVARTERET KORPEN

1965
ALSKANDE PAR
MITT HEM AR COPACABANA

1966
SULT *

1967
DEN RØDE KAPPE
ELVIRA MADIGAN

1968
DOCTOR GLAS

1969
ADALEN 31

1970
HARRY MUNTER

1971
JOE HILL

1975
UN DIVORCE HEUREUX

1977
BANG !

1979
ARVEN *
VICTORIA

1984
THE ELEMENT OF CRIME

1988
PELLE EROBREREN

1989
KVINNORNA PA TAKET

1991
EUROPA

1992
DEN GODA VILJAN

1996
BREAKING THE WAVES
KAUAS PILVET KARKAAVAT

1998
FESTEN
IDIOTERNE

2000
DANCER IN THE DARK
TROLOSA

2002
MIES VAILLA MENNEISYYTTÄ

2003
DOGVILLE

2005
MANDERLAY

2006
LAITAKAUPUNGIN VALOT

2009
ANTICHRIST

2011
LE HAVRE
MELANCHOLIA

2012
JAGTEN

2015
LOUDER THAN BOMBS *

2017
THE SQUARE

!seen 8

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#170

Post by AB537 » May 24th, 2019, 3:53 am

16. Agassi - The Handmaiden (Park Chan-wook, 2016)
17. The Long Day Closes (Terence Davies, 1992)

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jeroeno
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#171

Post by jeroeno » May 24th, 2019, 4:25 am

25. Flandres (2006)
26. Taxidi sta Kythira (Voyage to Cythera) (1984)
27. Os Canibais (1988)

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Traveller
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#172

Post by Traveller » May 24th, 2019, 6:09 pm

60. My Brilliant Career (1979) - 4/10
61. Cyrano de Bergerac (1990) - 4/10
ICM
August Challenge: ImageImage
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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hurluberlu
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#173

Post by hurluberlu » May 24th, 2019, 7:36 pm

7. Of Mice and Men (Gary Sinise, 1992) 6+
8. The Salesman / Forushande (Asghar Farhadi, 2016) 7-
#JeSuisCharlie Liberté, Liberté chérie !

Image
ImageImageImageImage

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sol
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#174

Post by sol » May 25th, 2019, 2:49 am

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)
17. The Salesman (2016)
18. Moonlighting (1982)
19. Last Days (2005)
20. The Past (2013)
21. Jimmy P. (2013)

22. The Visit (1964)

Image

This searing drama about justice and revenge has a near Kafkaesque quality it as Anthony Quinn soon finds himself rightly paranoid here, but the whole film belongs to Ingrid Bergman. Dressed in exotic Oscar nominated gowns and excessively large sunglasses, she plays a puppetmaster character with relish, loving the way her impoverished hometown bends to her due to her money. The ending disappoints somewhat, reportedly altered from the source play, but the film still leaves a definite impact as a look at the power of wealth to influence others. One of the best films I have seen this year.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
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jeroeno
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#175

Post by jeroeno » May 25th, 2019, 8:32 am

28. Ifigeneia (1977)
29. El Haram (1965)
30. Shi no toge (The Sting of Death) (1990)

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Traveller
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#176

Post by Traveller » May 25th, 2019, 4:01 pm

62. The Year of Living Dangerously (1982) - 5/10
63. Jesus of Montreal (1989) - 7/10
64. Loulou (1980) - 5/10
ICM
August Challenge: ImageImage
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

AB537
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Location: Toronto, Canada
Contact:

#177

Post by AB537 » May 25th, 2019, 8:11 pm

18. La Pianiste - The Piano Teacher (Michael Haneke, 2001)
19. The Meyerowitz Stories (New and Selected) (Noah Baumbach, 2017)

Also - great to see Bong Joon-ho win this year's Palme d'Or. One of my favourite directors, I'm definitely looking forward to seeing this one.

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sol
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#178

Post by sol » May 26th, 2019, 1:50 am

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)
17. The Salesman (2016)
18. Moonlighting (1982)
19. Last Days (2005)
20. The Past (2013)
21. Jimmy P. (2013)
22. The Visit (1964)

23. The Van (1996)

Image

Running a fast food van has its up and downs for two longtime friends in this Irish comedy. Some of the drama early on really resonates with depression over being made redundant. The vast majority of the film is, however, spent on highly episodic comedic incidents involving the van. Some of these episodes are certainly amusing (most notably, a spat over an accidentally deep fried nappy; see above) but it is an uneven ride at best. The movie also attempts to weave in some commentary on how working alongside friends can fracture friendships, but this is mostly just lightly amusing stuff.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
Image Image Image

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Traveller
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#179

Post by Traveller » May 26th, 2019, 1:54 pm

65. Awaara (1951) - 7/10
66. The Home and the World (1984) - 7/10
67. Tender Mercies (1983) - 7/10
ICM
August Challenge: ImageImage
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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albajos
Posts: 5654
Joined: May 24, 2016
Location: Norway
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#180

Post by albajos » May 26th, 2019, 6:28 pm

09. Synecdoche, New York (2008) USA 8 official lists 12 947 checks
10. Lawless (2012) USA 6 715 checks
11. The Browning Version (1994) UK 117 checks
I have this on Philips VideoCD. I see why this format didn't survive long. I have 3-4 of them

Off. list progress:
+1 Cannes Film Festival - Palme d'Or (59,3%)

So Many Cannon films were sold at CannesShow
01. The Sun Shines Bright (1953) USA 4 official lists 379 checks [double]
02. La escondida (1956) Mexico 11 checks [double]
03. Friendly Persuasion (1956) USA 3 official lists 694 checks [double]
04. The Beguiled (2017) USA 1 747 checks
05. Jeremiah Johnson (1972) USA 1 988 checks [double]
06. The Long Riders (1980) USA 3 official lists 1 005 checks [double]
07. About Schmidt (2002) USA 4 official lists 13 207 checks
08. Heaven's Gate (1980) USA 8 official lists 1 488 checks [double]

bonus
The Heart Is Deceitful Above All Things - side competition in 2004
Nordic films in competitionShow
1946
BLOD OCH ELD
BREVET FRA AFDØDE
DE RØDE ENGE
HETS

1947
SKEEP TILL INDIA LAND
TVA KVINNOR

1949
FRAMMANDE HAMN

1951
FRÖKEN JULIE

1952
HON DANSADE EN SOMMAR
NØDLANDING *

1953
FÖR MIN HETA UNGDOMS SKULL
VALKOINEN PEURA

1954
CIRCUS FANDANGO *
DET STORA AVENTYRET
KÄRLEKENS BRÖD

1955
DET BRENNER I NATT *

1956
SOMMARNATTENS LEENDE

1957
DET SJUNDE INSEGLET
QIVITOQ
SAME JAKKI *

1958
EN DJUNGELSAGA
NÄRA LIVET
NI LIV *

1959
FRÖKEN APRIL

1960
JAKTEN *
JUNGFRUKALLAN
PAW, BOY OF TWO WORLDS

1961
DOMAREN

1962
HARRY OG KAMMERTJENEREN

1964
KVARTERET KORPEN

1965
ALSKANDE PAR
MITT HEM AR COPACABANA

1966
SULT *

1967
DEN RØDE KAPPE
ELVIRA MADIGAN

1968
DOCTOR GLAS

1969
ADALEN 31

1970
HARRY MUNTER

1971
JOE HILL

1975
UN DIVORCE HEUREUX

1977
BANG !

1979
ARVEN *
VICTORIA

1984
THE ELEMENT OF CRIME

1988
PELLE EROBREREN

1989
KVINNORNA PA TAKET

1991
EUROPA

1992
DEN GODA VILJAN

1996
BREAKING THE WAVES
KAUAS PILVET KARKAAVAT

1998
FESTEN
IDIOTERNE

2000
DANCER IN THE DARK
TROLOSA

2002
MIES VAILLA MENNEISYYTTÄ

2003
DOGVILLE

2005
MANDERLAY

2006
LAITAKAUPUNGIN VALOT

2009
ANTICHRIST

2011
LE HAVRE
MELANCHOLIA

2012
JAGTEN

2015
LOUDER THAN BOMBS *

2017
THE SQUARE

!seen 11

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jeroeno
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Joined: Jun 22, 2011
Location: Valkenswaard, The Netherlands
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#181

Post by jeroeno » May 26th, 2019, 7:04 pm

31. Libera me (1993) :wub:
32. Shabab Emraa (1955)
33. Oi kynigoi (The Hunters) (1977) (l)
34. Kauas pilvet karkaavat (Drifting Clouds) (1996)
35. Sur (The South) (1988)
36. Ouranos (Glory Sky) (1962)

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Joined: May 11, 2011
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#182

Post by allisoncm » May 26th, 2019, 8:38 pm

Official selection
1. 5/14 The Dead Don’t Die, Jim Jarmusch 6/10 2019 -official
2. 5/17 Sorry We Missed You 9/10 Official
3. 5/20, Portrait of a Lady on Fire (Céline Sciamma), 6.5/10 Official
4. 5/21, Frankie (Ira Sachs), 6/10 Official
5. 5/21, Le Jeune Ahmed (Dardenne Bros.), 6/10 Official
6. 5/23, Matthias et Maxime/Matthias & Maxime (Xavier Dolan), 6/10 Official
7. 5/23, Roubaix, Une Lumière/Oh, Mercy! (Arnaud Desplechin), 5.5/10 Official
8. 5/24, The Traitor/Il traditore (2019) (Marco Bellocchio), 8/10 Official
9. 5/24, Sibyl (Justine Triet), 7.5/10 Official
10. 5/25, Les Misèrables, 6/10 Official
11. 5/25, Atlantique/Atlantics, 6/10 Official
12. 5/25, Little Joe (Jessica Hausner), 6/10 Official
13. Official Shorts I
THE VAN Erenik BEQIRI Albania, France 15'
ANNA Dekel BERENSON Ukraine, Israel, United Kingdom 15’
ALL INCLUSIVE Teemu NIKKI Finland 15’
WHITE ECHO Chloë SEVIGNY USA 15'
14.333 Official Shorts II
THE JUMP Vanessa DUMONT Nicolas DAVENEL Documentary France 12’
THE DISTANCE BETWEEN US AND THE SKY Vasilis KEKATOS Greece / France 9’
INGEN LYSSNAR (WHO TALKS) Elin ÖVERGAARD Sweden 14’
MONSTRUO DIOS (MONSTER GOD) Agustina SAN MARTIN Argentina 10'
Federico Luis TACHELLA Argentina 14'
PARPARIM (BUTTERFLIES) Yona ROZENKIER Israel 7’LA SIESTA (THE NAP)
AND THEN THE BEAR Agnès PATRON Animation Movie France 14'


I’ll also post everything I saw in the next post.

allisoncm
Posts: 16070
Joined: May 11, 2011
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#183

Post by allisoncm » May 26th, 2019, 8:50 pm

SpoilerShow

1. 5/14 The Dead Don’t Die, Jim Jarmusch 6/10 2019 -official
2. 5/15 Litigante 6.2/10 2019 - Sem
3. 5/15 Bull, Annie Silverstein 5.5/10 2019 -UCR
4. 5/15 Reves de Jeunesse/As Happy As Possible 6/10 -Acid
5. 5/16 Dylda/Beanpole 6/10 -UCR
6. 5/16 Les Hirondelles de Kaboul UCR
7. 5/16 Hvítur, Hvítur Dagur/ A White, White Day 6/10 -Sem
8. 5/16 Des Hommes -Alice Odiot, Jean-Robert Viallet 4.5/10 Acid
9. 5/17 Sorry We Missed You 9/10 Official
10. 5/17 Papicha Mounia Meddour 7/10 UCR
11. 5/17 Vif-Argent 5/10 Acid
12. 5/18 Port Authority 6/10 UCR
13. 5/18 Jeanne (Bruno Dumont) 6/10 UCR
14. 5/18 Shorts I (Semaine de la Critique:
-FAKH (THE TRAP) DE/BY NADA RIYADH -SEM 20’
-THE MANILA LOVER DE/BY JOHANNA PYYKKÖ 26’
-KOLEKTYVINIAI SODAI 15’(COMMUNITY GARDENS) DE/BY VYTAUTAS KATKUS

15. 5/19, Chambre 212 (Christophe Honoré), 8/10 UCR
16. 5/19, Liberté (Albert Serra), 1/10 UCR
17. 5/19, Share (Pippa Bianco), 6/10 Spec
18. 5/19, Ceniza Negra/Cendre Noire/Land of Ashes (Sofía Quirós Ubeda), 6/10 sem
19. 5/20, Portrait of a Lady on Fire (Céline Sciamma), 6.5/10 Official
20. 5/20 Abou Leila (Amin Sidi-Boumédiène), 6/10 SEM
21. 5/20, Adam (Maryam Touzani), 6/10 UCR
22. 5/20, L’Angle Mort, 6/10 Acid
23. 5/21, Frankie (Ira Sachs), 6/10 Official
24. 5/21, Le Jeune Ahmed (Dardenne Bros.), 6/10 Official
25. 5/21, La fameuse invasion des ours en Sicile/The Bears’ Famous Invasion of Sicily (2019), 6/10 UCR
26. 5/21, Une Fille Facile/An Easy Girl (Rebecca Zlotowski), 6/10 Quinzaine
27. 5/22, Nina Wu/Juo ren mi mi (2019), 6/10 UCR
28. 5/22, Dwelling in the Fuchun Mountains/Chun Jiang Shui Nuan (2019) , 6/10 Sem
29. 5/22, Evge/Homeland, 6/10 UCR
30. 5/22, Seven Beauties (Lina Wertmuller) Classics/Rewatch
31. 5/23, Matthias et Maxime/Matthias & Maxime (Xavier Dolan), 6/10 Official
32. 5/23, Roubaix, Une Lumière/Oh, Mercy! (Arnaud Desplechin), 5.5/10 Official
33. 5/23, Mickey and the Bear, 7/10 Acid
34. 5/24, The Traitor/Il traditore (2019) (Marco Bellocchio), 8/10 Official
35. 5/24, Summer of Changsha/Liu Yu Tian (2019), 5/10 ?
36. 5/24, Sibyl (Justine Triet), 7.5/10 Official
37. 5/25, Les Misèrables, 6/10 Official
38. 5/25, Atlantique/Atlantics, 6/10 Official
39. 5/25, Little Joe (Jessica Hausner), 6/10 Official
40. Official shorts I
THE VAN Erenik BEQIRI Albania, France 15'
ANNA Dekel BERENSON Ukraine, Israel, United Kingdom 15’
ALL INCLUSIVE Teemu NIKKI Finland 15’
WHITE ECHO Chloë SEVIGNY USA 15'
41-42. Official shorts II+additional shorts
THE JUMP Vanessa DUMONT Nicolas DAVENEL Documentary France 12’
THE DISTANCE BETWEEN US AND THE SKY Vasilis KEKATOS Greece / France 9’
INGEN LYSSNAR (WHO TALKS) Elin ÖVERGAARD Sweden 14’
MONSTRUO DIOS (MONSTER GOD) Agustina SAN MARTIN Argentina 10'
Federico Luis TACHELLA Argentina 14'
PARPARIM (BUTTERFLIES) Yona ROZENKIER Israel 7’LA SIESTA (THE NAP)
AND THEN THE BEAR Agnès PATRON Animation Movie France 14'

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#184

Post by Knaldskalle » May 26th, 2019, 9:39 pm

2. Ten (Kiarostami, 2002). Considering that this is on 11 lists, I sorta expected more. It's not a bad movie, but it seems to me that the constraints put on the movie affected what you could do in terms of impacting the audience. It does, though, still manage to convey the conditions women live under in Iran (which, to be fair, are even worse in places like Saudi Arabia for instance).

Because we Cannes Cannes Cannes!Show
1. The Salesman (Farhadi, 2016).
2. Ten (Kiarostami, 2002)
Personal film goals for 2019.
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#185

Post by Mate_cosido » May 27th, 2019, 2:51 am

11. Jiang hu er nü - Ash Is Purest White (2018, Zhangke Jia)

12. Los sobrevivientes - The Survivors (1979, Tomás Gutiérrez Alea)

13. Between the Devil and the Deep Blue Sea (1995, Marion Hänsel)

14. Ek Din Pratidin - And Quiet Rolls the Dawn (1979, Mrinal Sen)

15. Ahlat Agaci - The Wild Pear Tree (2018, Nuri Bilge Ceylan)

16. The Fringe Dwellers (1986, Bruce Beresford)

17. La mano en la trampa - The Hand in the Trap (1961, Leopoldo Torre Nilsson)
Seen so far:Show
1. Los golfos - The Delinquents (1960, Carlos Saura)

2. Manbiki kazoku - Shoplifters (2018, Hirokazu Koreeda)

3. Sharaku (1995, Masahiro Shinoda)

4. Dolina miru - Valley of Peace (1956, France Stiglic)

5. Raíces - Roots (1954, Benito Alazraki)

6. La ciociara - Two Women (1960, Vittorio De Sica)

7. Deveti krug - The Ninth Circle (1960, France Stiglic)

8. Beoning - Burning (2018, Chang-dong Lee)

9. Yurîka - Eureka (2000, Shinji Aoyama)

10. La vendedora de rosas - The Rose Seller (1998, Victor Gaviria)

11. Jiang hu er nü - Ash Is Purest White (2018, Zhangke Jia)

12. Los sobrevivientes - The Survivors (1979, Tomás Gutiérrez Alea)

13. Between the Devil and the Deep Blue Sea (1995, Marion Hänsel)

14. Ek Din Pratidin - And Quiet Rolls the Dawn (1979, Mrinal Sen)

15. Ahlat Agaci - The Wild Pear Tree (2018, Nuri Bilge Ceylan)

16. The Fringe Dwellers (1986, Bruce Beresford)

17. La mano en la trampa - The Hand in the Trap (1961, Leopoldo Torre Nilsson)

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#186

Post by AB537 » May 27th, 2019, 3:31 am

20. Lazzaro Felice - Happy as Lazzaro (Alice Rohrwacher, 2018)

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#187

Post by sol » May 27th, 2019, 11:26 am

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)
17. The Salesman (2016)
18. Moonlighting (1982)
19. Last Days (2005)
20. The Past (2013)
21. Jimmy P. (2013)
22. The Visit (1964)
23. The Van (1996)

24. The Law (1990)

Image

The title of this Burkina Faso film has a deliciously ambiguous meaning and whether it refers to the law allowing polygamy, the law forbidding the son from being with his father's new wife or the law that requires the son's brother to kill him as punishment, the film is clearly about the detrimental effects of antiquated tribal laws. Fascinating a glimpse as the film provides into African customs and rituals, it is lacking in mood and atmosphere and the performances are merely decent. The mournful title song is very fitting and memorable though, especially when heard in full at the end.
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#188

Post by cinephage » May 27th, 2019, 2:10 pm

05. La grande bouffe, by Marco Ferreri (1973) 7/10

Sad and discomforting...

06. The Dead don't die, by Jim Jarmusch (2019) 6/10

Jarmusch and friends seem to have a good time together...

07. Dolor y gloria, by Pedro Almodovar (2019) 8/10

A bittersweet, almost autobiographical movie. Banderas's acting is fantastic.

08. Sibyl, by Justine Triet (2019) 8,5/10

A complex depiction of a female character. Really intense and well-written.
SpoilerShow
01. The Long Day Closes, by Terence Davies (1992) 8/10
02. Fröken Julie, by Alf Sjoberg (1951) 7/10
03. Forbrydelsens element, by Lars von Trier (1984) 6,5/10
-3- Chronik der Anna Magdalena Bach, by Danièle Huillet & Jean-Marie Straub (1968) 3/10 (Semaine de la critique)
04. Oberst Redl, by Istva, Szabo (1985) 8/10
-4- Guy, by Alex Lutz (2018) 8,5/10 (Semaine de la critique)

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#189

Post by Traveller » May 27th, 2019, 5:22 pm

68. Hyenas (1992) - 6/10
ICM
August Challenge: ImageImage
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#190

Post by hurluberlu » May 27th, 2019, 6:13 pm

9. The Unknown Girl / La Fille Inconnue (Jean-Pierre Dardenne, Luc Dardenne, 2016) 6+
10. Staying Vertical / Rester Vertical (Alain Guiraudie , 206) 6
#JeSuisCharlie Liberté, Liberté chérie !

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#191

Post by albajos » May 27th, 2019, 9:36 pm

12. Ta'm e guilass (1997) Iran | France 15 official lists 3 126 checks [double]
13. Broken Flowers (2005) USA | France 3 official lists 8 484 checks
14. 3 Women (1977) USA 5 official lists 2 525 checks
15. 8 ½ Women (1999) UK | Netherlands | Luxembourg | Germany 224 checks
16. Norma Rae (1979) USA 4 official lists 1 787 checks
17. A Raisin in the Sun (1961) USA 3 official lists 1 433 checks
18. Taking Off (1971) USA 4 official lists 413 checks

I was only going to see 5, but found out that I actually own 4 unseen that has been in the competition (have seen 3 so far). And after some math I figured out that the average number of movies is the competition is 24.08, so I should at least see 25 every year to get some progress.

Off. list progress:
+2 Cannes Film Festival - Palme d'Or (59,7%)
+2 Cannes Film Festival - Grand Prix (62,1%)

So Many Cannon films were sold at CannesShow
01. The Sun Shines Bright (1953) USA 4 official lists 379 checks [double]
02. La escondida (1956) Mexico 11 checks [double]
03. Friendly Persuasion (1956) USA 3 official lists 694 checks [double]
04. The Beguiled (2017) USA 1 747 checks
05. Jeremiah Johnson (1972) USA 1 988 checks [double]
06. The Long Riders (1980) USA 3 official lists 1 005 checks [double]
07. About Schmidt (2002) USA 4 official lists 13 207 checks
08. Heaven's Gate (1980) USA 8 official lists 1 488 checks [double]
09. Synecdoche, New York (2008) USA 8 official lists 12 947 checks
10. Lawless (2012) USA 6 715 checks
11. The Browning Version (1994) UK 117 checks

bonus
The Heart Is Deceitful Above All Things - side competition in 2004
Nordic films in competitionShow
1946
BLOD OCH ELD
BREVET FRA AFDØDE
DE RØDE ENGE
HETS

1947
SKEEP TILL INDIA LAND
TVA KVINNOR

1949
FRAMMANDE HAMN

1951
FRÖKEN JULIE

1952
HON DANSADE EN SOMMAR
NØDLANDING *

1953
FÖR MIN HETA UNGDOMS SKULL
VALKOINEN PEURA

1954
CIRCUS FANDANGO *
DET STORA AVENTYRET
KÄRLEKENS BRÖD

1955
DET BRENNER I NATT *

1956
SOMMARNATTENS LEENDE

1957
DET SJUNDE INSEGLET
QIVITOQ
SAME JAKKI *

1958
EN DJUNGELSAGA
NÄRA LIVET
NI LIV *

1959
FRÖKEN APRIL

1960
JAKTEN *
JUNGFRUKALLAN
PAW, BOY OF TWO WORLDS

1961
DOMAREN

1962
HARRY OG KAMMERTJENEREN

1964
KVARTERET KORPEN

1965
ALSKANDE PAR
MITT HEM AR COPACABANA

1966
SULT *

1967
DEN RØDE KAPPE
ELVIRA MADIGAN

1968
DOCTOR GLAS

1969
ADALEN 31

1970
HARRY MUNTER

1971
JOE HILL

1975
UN DIVORCE HEUREUX

1977
BANG !

1979
ARVEN *
VICTORIA

1984
THE ELEMENT OF CRIME

1988
PELLE EROBREREN

1989
KVINNORNA PA TAKET

1991
EUROPA

1992
DEN GODA VILJAN

1996
BREAKING THE WAVES
KAUAS PILVET KARKAAVAT

1998
FESTEN
IDIOTERNE

2000
DANCER IN THE DARK
TROLOSA

2002
MIES VAILLA MENNEISYYTTÄ

2003
DOGVILLE

2005
MANDERLAY

2006
LAITAKAUPUNGIN VALOT

2009
ANTICHRIST

2011
LE HAVRE
MELANCHOLIA

2012
JAGTEN

2015
LOUDER THAN BOMBS *

2017
THE SQUARE

!seen 18

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#192

Post by OldAle1 » May 27th, 2019, 11:12 pm

Cant' Can Cannes, Can We?Show

1. Pale Rider (Clint Eastwood, 1985) (re-watch)
2. The Man Who Knew Too Much (Alfred Hitchcock, 1956) (re-watch)
3. Heaven's Gate (Michael Cimino, 1980)

Despite being a pretty big western fan for, oh, almost 30 years, I've never gotten around to this behemoth - and I'm also not scared of long films - until now. Why? Well, my experiences with Michael Cimino are... seeing Year of the Dragon when it was new and HAAATTTINNGG it like nothing I'd ever seen at the time; moderately liking Thunderbolt and Lightfoot on VHS a few years later; pretty much disliking The Deer Hunter when I finally got to that one about a decade ago. I guess I buy into the self-indulgent macho bullshit image of the guy and his films overall.

But I finally did it, and I'm sure glad I waited for the Criterion edition, because the glory of this film is most definitely in it's visuals. Yeah it's dirty and dusty much of the time - as I remember, Ebert hated it and.... looking at his review I see I'm right, he despises it in great part for how "a grim industrial pall hangs over everything". I think maybe he missed the point, for this is a film in which the savagery of unrestrained capitalism is at work throughout, undermining and destroying the promise of liberation that the first sequence at Harvard expresses so joyously. And it's not all ugly and dirty, though perhaps this is one film that actually looks better now than it did in cinema, I have no idea. At any rate I think it has a pretty nicely varied visual texture, with the much of the city (Casper, WY) contrasting with the openness of the prairies, the purity of the mountains, and even a different kind of muck in the small town where most of the action takes place.

As to that action - well, this film ought to be getting renewed attention not just because of this sparkly Criterion edition but also because of the heart of the story - the capitalist exploitation of, and attempted destruction of, new immigrants to that particular part of the west. It's a story as old as the west and one told a million times in westerns - the violence and hatred of the cattle barons towards anybody who might impinge on "their" stolen-from-the-natives grazing grounds. It's probably never been told at this length and this detail, but unfortunately the political-economic story which is the heart of the narrative still feels a bit incomplete and sketchy even after 3 2/3 hours, mostly because of the great amount of time spent on the love triangle between the characters played by Kris Kristofferson, Isabelle Huppert, and Christopher Walken as, respectively, the marshall of Johnson County (this is based, loosely, on the real Johnson County War of 1892), a prostitute and madam of the local whorehouse, and an employee of the cattlemen who realizes too late that his bosses intend to commit genocide. I just didn't find a lot of the interpersonal stuff all that interesting, and even with these great actors and others like Jeff Bridges and Sam Waterston (in an atypical role as the sadly underdeveloped main bad guy), it simply doesn't add up to a cohesive and meaningful work. But it's certainly worth looking at for it's physical beauty, and some of the actors, particularly Walken, handle themselves quite nicely.
An alternate view from a genius immigration expertShow

I saw this movie the other day because one of my advisors, I think the pointy-headed Jew guy maybe, told me I should see it. The guy loved it and he was sure I would but what my base love about me is that I am always unpredictable and I didn't but it had some good things even if I know I could do better covfefe. It looked real pretty if you like those mountains and grass and stuff, I think it needs a golf course, Wyoming that's where Jackson Holes and Aspen is right? But anyway this is a long time ago, hundred of years ago around the Civil War or something like that, so they didn't have golf then. Not many people know that. The hero is a guy named Canter or something, and you know he's the good guy cuz he's a tough hombre, and he's the best dresser there. I mean the guy looks really great, I wonder if my company made his suit, looks like it could be one of ours and back then maybe it was even made here and not in Gina. Beautiful black suit, I don't like black, it's good for fat people it makes you thinner but Im in perfect health and haven't gained a pound since the bone spurs came out in 67, anyway the guy isn't fat he just looks so tough in black I guess good guys wear black I think Arnold was in that, good movie. The bad guys are an ugly hairy old sheriff guy and a hooker, you might think I'd like the hooker but she's running the damn cathouse and everybody knows that back then special in Canada it was all men like my grandpa who owned the whores. And that brings up another thing I don't like, the bad guys are all Germans and Russians. The Germans and Russians are the good guys and always have been, they were our allies in two wars! But my friend the Jew-guy tells me things were different back in 16-whatever and I believe him, because I know a lot about history, I was just forgetting, I have so much on my mind, Mueller has fucked me over so bad and its treason and they'll all get their heads chopped off like my friend does it in Arabland. Anyway Candy the man in black, he knows the illegals who don't speak English and are poor are the problem, and they don't have sissy laws in the old west like now and congress getting in his way so he decides to kill them all and there's a big fight. The only bad thing is he dies, but so do most of the dirty peasant ugly euro-trash, some are probably Jews too and not the good Jews who are accountants working for me.. So it wasn't a bigly great movie but it was OK I'll bet Jared would like it he's boring.

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#193

Post by AB537 » May 28th, 2019, 3:16 am

21. La Ciociara (Vittorio de Sica, 1960)
22. Wonderstruck (Todd Haynes, 2017)

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#194

Post by Knaldskalle » May 28th, 2019, 4:12 am

3. Eternity and a Day (Angelopoulos, 1998). Beautifully shot, but I didn't feel this one at all. I get the story and the life journey and I enjoy the mixing of past and present in the same shot, but it all feels too familiar and it just doesn't come to life for me.
Because we Cannes Cannes Cannes!Show
1. The Salesman (Farhadi, 2016).
2. Ten (Kiarostami, 2002)
3. Eternity and a Day (Angelopoulos, 1998)
Personal film goals for 2019.
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#195

Post by sol » May 28th, 2019, 12:27 pm

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)
17. The Salesman (2016)
18. Moonlighting (1982)
19. Last Days (2005)
20. The Past (2013)
21. Jimmy P. (2013)
22. The Visit (1964)
23. The Van (1996)
24. The Law (1990)

Jeff Nichols Double:

25. Loving (2016)

Image

A very well acted drama with Ruth Negga in particular shining with lots of longing looks and silent stares that convey more than words could; the story though is not particularly cinematic. The couple are not even involved in the Supreme Court case, which we instead see argued by their lawyer in a very brief segment set to formulaic uplifting music (the music at the end is too maudlin too). It is hard not to admire the couple for going ahead and living together despite the social stigma, but they are so passive and need such convincing to push for change that it is hard to see them as the heroes here.

26. Mud (2012)

Image

The story here has some intriguing dynamics with both boys finding a surrogate father and stability in the stranger given their own shaky backgrounds (one's parents are getting divorced while the other is an orphan). The film has some acute disillusionment themes too as the boys struggle to find their own place in the world and come to terms with what love means. The characters are a little too old though for credibility; at 7 or 8, their altruistic belief in "true love" may have been believable, but at 14-years-old, they come as far too naïve for credibility. Great climax and resolution though.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
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#196

Post by Traveller » May 28th, 2019, 5:39 pm

69. The Dreamlife of Angels (1998) - 6/10
70. Szerelem (1971) - 8/10
ICM
August Challenge: ImageImage
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#197

Post by AB537 » May 29th, 2019, 4:29 am

23. Padre Padrone (Paolo and Vittorio Taviani, 1977)

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#198

Post by jdidaco » May 29th, 2019, 5:26 am

(Screenshots from 'Otôto' & 'Katerina Izmailova'),

Image

51. Otôto (Her Brother, Kon Ichikawa, 1960) 10/10 (l)
52. Kyûpora no aru machi (Foundry Town, Kirio Urayama, 1962) 8/10
53. Wu Ze Tian (Empress Wu, Li Han Hsiang, 1963) 8/10
54. The Visit (Bernhard Wicki, 1964) 8/10
55. Katerina Izmailova (Mikhail Shapiro, 1967) 9/10
56. The Appointment (Sidney Lumet, 1969) 8/10
57. O Palácio dos Anjos (The Palace of Angels, Walter Hugo Khouri, 1970) 8.5/10
58. To Find a Man (Buzz Kulik, 1972) 8/10
59. Sovsem propashchiy (Hopelessly Lost, Georgiy Daneliya, 1973) 9/10
60. The Nickel Ride (Robert Mulligan, 1974) 8.5/10
61. Pascual Duarte (Ricardo Franco, 1976) 8/10
62. Los ojos vendados (Blindfolded Eyes, Carlos Saura, 1978) 8/10

Image

That's it for me! One of my favorite challenges this year, thanks again for hosting it, max.

!seen 62

SpoilerShow
1. Il relitto/To hameno kormi (The Wastrel, Michael Cacoyannis, 1961) 8/10
2. Les abysses (The Depths, Nikos Papatakis, 1963) 9/10
3. Los pianos mecánicos (The Uninhibited, Juan Antonio Bardem, 1965) 8/10
4. Feldobott kö (The Upthrown Stone, Sándor Sára, 1969) 9.5/10
5. Matzor (Siege, Gilberto Tofano, 1969) 9/10
6. The Buttercup Chain (Robert Ellis Miller, 1970) 9/10
7. Loot (Silvio Narizzano, 1970) 8/10
8. Il était une fois dans l'est (Once Upon a Time in the East, André Brassard, 1974) 7.5/10
9. Budapesti mesék (Budapest Tales, István Szabó, 1977) 7/10
10. Kravgi gynaikon/A Dream of Passion (Jules Dassin, 1978) 7/10
11. Carambolages (Carom Shots, Marcel Bluwal, 1963) 8.5/10
12. Pierwszy dzien wolnosci (The First Day of Freedom, Aleksander Ford, 1964) 9/10
13. El juego de la oca (Snakes and Ladders, Manuel Summers, 1965) 8/10
14. Último encuentro (The Last Meeting, Antonio Eceiza, 1967) 9/10
15. Polowanie na muchy (Hunting Flies, Andrzej Wajda, 1969) 7.5/10
16. Michael Kohlhaas - Der Rebell (Man on Horseback, Volker Schlöndorff, 1969) 7.5/10
17. Malatesta (Peter Lilienthal, 1970) 9/10
18. Le bateau sur l'herbe (The Boat on the Grass, Gérard Brach, 1971) 8/10
19. Les arpenteurs (The Surveyors, Michel Soutter, 1972) 8.5/10
20. Lotte in Weimar (Egon Günther, 1975) 9/10
21. Madalena (Dinos Dimopoulos, 1960) 8/10
22. Ouranos (Glory Sky, Takis Kanellopoulos, 1962) 9/10
23. Prodosia (Treason, Kostas Manoussakis, 1964) 10/10
24. Morgan: A Suitable Case for Treatment (Karel Reisz, 1966) 8/10
25. Gli intoccabili (Machine Gun McCain, Giuliano Montaldo, 1969) 7/10
26. I tulipani di Haarlem (Tulips of Haarlem, Franco Brusati, 1970) 8/10
27. Zycie rodzinne (Family Life, Krzysztof Zanussi, 1971) 10/10
28. Perla w koronie (Pearl in the Crown, Kazimierz Kutz, 1972) 10/10
29. Abu el Banat (Daughters, Daughters, Moshé Mizrahi, 1973) 7/10
30. Black Joy (Anthony Simmons, 1977) 8/10
31. Kam cert nemuze (When the Woman Butts In, Zdenek Podskalský, 1960) 7.5/10
32. Het mes (The Knife, Fons Rademakers, 1961) 8/10
33. Harry og kammertjeneren (Harry and the Butler, Bent Christensen, 1961) 8.5/10
34. Harry Munter (Kjell Grede, 1969) 8.5/10
35. Ådalen 31 (Bo Widerberg, 1969) 9/10
36. Magasiskola (The Falcons, István Gaál, 1970) 9/10
37. A Fan's Notes (Eric Till, 1972) 7/10
38. Un divorce heureux/En lykkelig skilsmisse (A Happy Divorce, Henning Carlsen, 1975) 8/10
39. Egy erkölcsös éjszaka (A Very Moral Night, Károly Makk, 1977) 8.5/10
40. Een vrouw tussen hond en wolf/Femme entre chien et loup (Woman Between Wolf and Dog, André Delvaux, 1979) 9/10
41. Codine/Codin (Henri Colpi, 1963) 9/10
42. Fifi la plume (Circus Angel, Albert Lamorisse, 1965) 8.5/10
43. L'immorale (The Climax, Pietro Germi, 1967) 8/10
44. I protagonisti (The Protagonists, Marcello Fondato, 1968) 8/10
45. Les Gauloises bleues (Gauloises Blue, Michel Cournot, 1969) 9/10
46. La califfa (Lady Caliph, Alberto Bevilacqua, 1970) 8/10
47. Mimì metallurgico ferito nell'onore (The Seduction of Mimi, Lina Wertmüller, 1972) 8.5/10
48. Monolog (Monologue, Ilya Averbakh, 1973) 8/10
49. Moy laskovyy i nezhnyy zver (My Tender and Affectionate Beast, Emil Loteanu, 1978) 9/10
50. Jaguar (Lino Brocka, 1979) 8/10

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#199

Post by sol » May 29th, 2019, 3:12 pm

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)
17. The Salesman (2016)
18. Moonlighting (1982)
19. Last Days (2005)
20. The Past (2013)
21. Jimmy P. (2013)
22. The Visit (1964)
23. The Van (1996)
24. The Law (1990)
25. Loving (2016)
26. Mud (2012)

Avarian Double Feature:

27. Bird (1988)

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This biopic of jazz musician Charlie Parker features one of Forest Whitaker's best performances and he is supported well by Diane Venora as his long-suffering wife. Clint Eastwood won a Golden Globe for directing work and it is pretty classy for a biopic with shadowy shots and dreamy jazz music interludes. As a narrative though, the film focuses solely on the decline of its alcoholic protagonist, tells an all-too-familiar tale of a tortured artist and the non-linear approach leads to the project feeling highly episodic. Some episodes are great though (Parker and his band visiting the Deep South).

28. Birdy (1984)

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This mental illness drama is very well acted and the patient's ornithological fascination is well conveyed with the film perfectly capturing the freedom and serenity that he sees in birds. There are several memorable images too, from Matthew Modine perched naked while moonlight streams through a window, to repeated shots of his first attempt to fly, to a breathtaking "skycam" dream sequence in which the camera swoops through the air. Director Alan Parker also manages to find a nicely lighthearted note on which to conclude this otherwise rather grim film. A worthy Grand Prix winner.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
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OldAle1
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#200

Post by OldAle1 » May 29th, 2019, 5:07 pm

Cant' Can Cannes, Can We?Show

1. Pale Rider (Clint Eastwood, 1985) (re-watch)
2. The Man Who Knew Too Much (Alfred Hitchcock, 1956) (re-watch)
3. Heaven's Gate (Michael Cimino, 1980)
4. Pasazerka / Passenger (Andrzej Munk / Witold Lesiewicz, 1963)

Munk died in a car accident during the middle of filming, and as the titles explain over still photos at the beginning, the decision was made to release the film more or less "as is" - only an hour long, and with significant material missing/unfilmed. And so there are some challenges here in understanding exactly what might have been, what it would have added up to in the end, but even the fragment we have is hugely impressive, a Holocaust-set drama that has a Bressonian purity to it in it's first segment, the first of Auschwitz guard Liza's series of memories of Marta, an inmate who she was close to in the camp but who she's sure is dead - until she sees a dead ringer on the cruise ship she's on, many years later. There are all kinds of questions of guilt, jealousy (a strong implication that Liza was attracted to Marta, and resented her boyfriend, also a prisoner), and Liza's motivations - was she a true Nazi, a hanger-on, or something else? Shot at Auschwitz, one of the earlier features to be filmed there. I need more time to reflect on this, and probably another viewing, but it's quite powerful as is.

5.Panj é asr / At Five in the Afternoon (Samira Makhmalbaf, 2003)
watched alongside Lezate divanegi / Joy of Madness (Hana Makhmalbaf, 2003) which doesn't count for this challenge

Filmed in and around Kabul after the overthrow of the Taliban, these two works along with several others from the Makhmalbaf family during this period represent an attempt at political filmmaking and energizing the public - mostly outside of Afghanistan and Iran of course - into becoming more aware of the injustices in these parts of the Islamic world, particularly towards women; given how few people have seen them, and how little from the family (and only from patriarch Mohsen) has shown up since 2010, I wonder if this is a brave experiment that has failed through government interference and suppression, or merely audience indifference? At any rate I've liked most of these films, which also include Mohsen's Safar e Ghandehar and Hana's Buda as sharm foru rikht among others, though I've yet to be as knocked out by any of them as I am by some of Mohsen's films from the 90s, or the two films from Marzieh his second wife.

And these are of a piece with the rest, strong works expressing feminist and humanist concerns, and also the ongoing Iranian cinematic fascination with where the truth lies, and whether it can best be found in the documentary or feature format, or some hybrid. Samira's feature is a gorgeously shot story of a young woman, Nogreh, struggling to find her place in that space between poetry and prose, youth and adulthood, tradition and modernity - Lorca's poem which provides the title also provides the theme, which might be said to also reside on the cusp between day and night, the possibilities of either a dreadful future as awful as the Taliban or something else that is as beautiful as the sun - but also as unreliable. Nogreh lives with her old and traditionalist father - who drops her off at school everyday, unaware that she's actually going to a secular school and doffing her plain shoes for white pumps, and talking about becoming the first female President of the country - and her sister-in-law, caring for a dying baby. They live in - or inhabit might be the better word - a crumbling, spectacular ruined palace and Nogreh has something like a boyfriend, though little can come of it, as the father wants to go off to somewhere more purely Islamic, pursuing a myth that is unfortunately more potent in this world than that of democracy, education, and the empowerment of all outside of ancient traditions. An ending that is typically open-ended provides a tiny bit of hope, at least if we want it to. In some ways this isn't as 'tough" as I might want it to be, but the acting by the entirely non-professional cast is wonderful and there are visual moments throughout that, I think, reflect better on the values of a modern, cinematic and art-conscious generation than on the medievalists who are alas as strong as ever, if not in this film.

Hana's film seems to be not merely a video diary of big sister's film, but also something like a casting diary for future use by the filmmakers, and it's a fascinating work in it's own right though I can't say I'm in the camp that likes it more than the feature it pairs so nicely with. Much of what we get out of this is that Samira, while quite confident and capable, can perhaps be a little too rough and hard on her potential cast, not always sympathetic to their issues in being in a film at all in a country where the threat of fundamentalism is still very real, while at the same time the girls' father Mohsen plays the good cop and tries sometimes to smooth over his daughter's more aggressive behavior. It's all very well put together and as some critics have pointed out, it may be more honest in how it portrays the views of these ordinary, poor Afghanis, but I guess this is a case where the poetry of the feature works better for me than the frankness of the non-fiction work.

6. Deus e o Diabo na Terra do Sol (Glauber Rocha, 1964)
7. O Dragão da Maldade contra o Santo Guerreiro / Antonio das Mortes (Glauber Rocha, 1969)

One of my thoughts while watching the first of these radical leftist western-protest-histories was "the missing link between Huillet/Straub and Pekinpah?" To which I might add Godard as well - but when you consider that the first one was made in 1964, before Peckinpah's "mature" style came into the fore, and when I'd imagine it would have been hard to see a lot of the early works of the other filmmakers in Brazil (or most places), this seems a pretty silly statement on my part. Mostly it's because I don't know how to place them - they are the first Rocha films I've seen, and the first Brazilian films before the 70s apart from Orfeo negro, and they offer such a distinct film language that I'm rather at a loss for description; it also doesn't help that I probably wasn't in the best mood or state for viewing them when I did, these are films that though quite voluptuous and beautiful in their visuals and perhaps especially their music, demand pretty close concentration when it comes to understanding their politics and characters. So I'm not going to get too much into any of that, and just leave it that while I liked both quite a bit, I'm not quite sure how I feel about them in the context of the pantheon - not sure that I got enough out of the long speeches and very stylized dances, violent sequences, or just scenes of contemplation. What does it all mean? Does it matter that I don't know? Overall I liked the very crisp b/w visuals of the earlier film more and even though it's in 1.33 instead of the 1.66 of the later, color film it seems to define the beauty of these mountainous landscapes better, and give a better sense of the isolation from the world that these bandits, holy fools, and peasants experienced as late as the even of WWII. Of course the second film takes place in the more modern world of the late 60s, and offers the theme of modernity intruding on traditional ways of life in more definition. Both films have absolutely incredible music, mixing the classical work of Villa-Lobos (credited at the beginning of the first film but not listed on IMDb credits, strangely) and a wide variety of traditional and (I assume) contemporary pop music, much of it performed onscreen.

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