Movie Thread re: Movies, Re-retitled :neutral:

Let's talk Aguachile Alley

Postby bongo » Fri Apr 20, 2018 9:17 am

mystery meat wrote:filmstruck is sick. i know the social media person, she's awesome. i wish them the best. also i write for their tumblr so am biased.


say whats up to the philes for me
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby broodstar » Fri Apr 20, 2018 9:18 am

yeah, i think he's one of the best critics rn and he used to board
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Postby gambra » Fri Apr 20, 2018 9:51 am

Come back to us Nick.
THIS IMPACT WILL CONTROL ALL MARGINS

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virtuous wrote:lol imagine if your dad ran hpn
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Postby Buddy Glass » Thu Apr 26, 2018 1:33 am

Trailer for Godard's Le livre d'image

It looks like we're getting the end credits up front this time around :lol:

The audio track features the ending of Contempt (with Godard yelling "Moteur!") plus a track off of Hans Otte's The Book of Sounds (previously featured in JLG's Notre Musique and Origins of the 20th Century).

In the film credits, among other things, is Michael Bay's 13 Hours :twisted:
What became of her? She lived, as she liked to say, off the kindness of gentlemen. I assume she’s dead.
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Postby someguy » Thu Apr 26, 2018 10:42 am

great trailer
apologies
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Postby broodstar » Fri Apr 27, 2018 3:21 pm

great trailer and completely missed zama thrice now

:oops:
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Postby goofjan » Thu May 03, 2018 7:46 am

reviews say this is pretty mediocre, but it looks like damn good comfort food to me:

plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby neely o'hara » Mon May 07, 2018 11:50 am

criterion site bad now
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Postby bongo » Mon May 07, 2018 11:58 am

they’re trying to get on filmstrucks level
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Eyeball Kid » Mon May 07, 2018 12:07 pm

I get that Criterion's site is trying to be more than just an e-commerce thing, but the new UI is terrible.
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Postby goofjan » Mon May 07, 2018 12:08 pm

Squarespace. Build It Beautiful.™
plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby Eyeball Kid » Mon May 07, 2018 12:11 pm

Hmm, what extras are on the Criterion release of ___________; let me go to their site and look it up.

Image

wtf
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Postby Eyeball Kid » Mon May 07, 2018 12:12 pm

All I ask of the website for a boutique home-video label is that I not have to look at an extreme close-up of Johnny Depp's face on the home page.
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Postby bongo » Mon May 07, 2018 12:14 pm

well that is too much to ask
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby inmate » Mon May 07, 2018 2:23 pm

oh no
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Postby Buddy Glass » Wed May 09, 2018 7:47 pm

New Godard short on Notre-Dame-des-Landes, ZAD and capitalism:



Sort of a spiritual sequel to Je vous salue, Sarajevo.
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Postby broodstar » Wed May 09, 2018 10:07 pm

how pumped are u for livre d'image

plus the wang bing seems to have very good word already, and a followup to kaili blues and other neato stuff
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Postby Buddy Glass » Thu May 10, 2018 12:37 am

Extraordinarily pumped, for sure

If I get lucky I'll be seeing it next week (depends on whether it gets programmed at the satellite event in Paris - I would say it's a no brainer, but it might come down to what the distributor wants to do more than the programmers - there were some weird omissions last year)
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Postby quilty » Thu May 10, 2018 1:22 am

Buddy Glass wrote:New Godard short on Notre-Dame-des-Landes, ZAD and capitalism:



Sort of a spiritual sequel to Je vous salue, Sarajevo.

i really liked this, thanks for posting

i'm reading colin maccabe's book at the moment, i hope it's still fresh by the time i get to see livre d'image
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Postby Buddy Glass » Thu May 10, 2018 2:44 am

MacCabe's book has some decent stuff from what I remember. He has a good feel for the 70s period especially, given his involvement with stuff like Screen. As much as I hate to admit it, Brody's book is probably better - at least, it has a lot of details about later Godard that are absent in the MacCabe (in his defense, the book came out a lot earlier, but I mean even for the 90s films). Brody filters everything through his reductionist biography-centric readings of the films, but it's still a lot of new information. I've had the Antoine de Baecque bio forever but haven't gotten around to it yet other than reading a few sections I was most curious about.
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Postby quilty » Thu May 10, 2018 4:36 pm

this board & brody’s TNY writing over the last couple years have convinced me that even if his biographical/descriptive content is larger in quantity, his interpretations of the films aren’t really useful or even that coherent. maccabe has a much better handle on the conceptual preliminaries necessary for engaging with godard, and the interplay between history and biography is done much more confidently. plus he’s open about his personal relationship with godard, whereas brody conceals a major (humiliating) encounter with godard

anyway, that short is evidently a hoax!
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Postby Buddy Glass » Thu May 10, 2018 7:10 pm

MacCabe definitely wins on overall coherence, but I didn't like the way he kind of just skims past the 90s films and plays it off as like "He kept making films, but the real focus of his endeavors during this period was the Histoire(s)..." Whereas Brody discusses many more of the lesser known/seen works (Grandeur et Décadence, Le rapport Darty, Les Enfants jouent à la Russie, etc) and, forced biographical readings aside, still has a lot of valuable things to say derived from his interviews with crew members and so on from that period. There's just stuff in there I've never seen anywhere else so I like it for that reason, even if his overall project is pretty vile.

Yeah, this hoax thing... I'd love it if we got a slightly more direct statement than a couple tweets purporting to quote Godard's "press attaché" and Fabrice Aragno. If Aragno says it's bogus, it almost certainly is, but it still doesn't account for how well made of a fake it is, and how the hell they got the voice to match so closely. Clearly made by someone who is a great admirer and observer of Godard's style, if nothing else. I think the most doubt-inducing thing about it for me is how directly it goes at the subject itself, with lots of concrete references to NDDL and ZAD, using a lot of their own terminology at the end (la Gourbi, les 100 Noms, etc) that one would typically expect to see referenced a bit more obliquely than that, and how it maybe echoes a little too closely the text of Je vous salue, Sarajevo with the opposition of la règle and l'éxception. Then again, his film essays often build off of previous works/statements/metaphors/quotations, and there's apparently a lot of Histoire(s) appearing again in Le livre d'image. So... who knows! For now I accept it's fake but there still seems to be some larger explanation missing as to how it was created in the first place.
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Postby dcm » Thu May 10, 2018 7:16 pm

quilty wrote:whereas brody conceals a major (humiliating) encounter with godard


what's this?
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Postby Buddy Glass » Thu May 10, 2018 7:20 pm

dcm wrote:
quilty wrote:whereas brody conceals a major (humiliating) encounter with godard


what's this?

Brody went to Rolle to interview Godard for The New Yorker and Godard was pretty icy towards him. Bill Krohn talks about it in his takedown of the book:

http://cinema-scope.com/features/kinbrody-and-the-ceejays-richard-brodys-everything-is-cinema/

A decisive moment in the writing of Everything Is Cinema was the interview Brody planned to do with Godard for a profile he published in The New Yorker in 2000, which took him to Godard’s office in Rolle, Switzerland. The beginning of their first exchange was touching—or sinister, seen in retrospect: Godard showed Brody a New Yorker cartoon of a unicorn sitting behind a desk, as he was doing at that moment, with the caption: “These rumors of my non-existence are making it very difficult for me to obtain financing.” After that the interview proceeded swimmingly, continuing over dinner at Brody’s hotel, but when he went back to the office the next day he found a note stating that “Godard could not continue the interview because ‘it was not a real discussion and was ‘flou’ (out of focus, vague) but he wished me a better ‘game’ [an allusion to tennis, a sport Godard enjoys—there’s that stiletto] with people I’d be seeing in Paris.”

There’s nothing particularly secret about this incident, which is described in Brody’s article, “An Exile in Paradise,” as is the ghastly dinner he ate at his hotel that night with Godard and his wife, Anne-Marie Miéville, eating at another table and pointedly ignoring him, after a chillingly polite “bon soir” and “bon voyage” from Godard. It must have been a very painful experience, but Brody omits any mention of it in the biography, instead profusely thanking Godard for his time in the acknowledgments. Am I somehow insinuating that Brody’s book, with that one really bad thread, is some kind of patricidal passive-aggressive revenge on the author’s part? Yes I am, although I wasn’t sure until I reached the last page.
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Postby dcm » Thu May 10, 2018 7:22 pm

thanks
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Postby quilty » Fri May 11, 2018 1:00 am

Buddy Glass wrote:MacCabe definitely wins on overall coherence, but I didn't like the way he kind of just skims past the 90s films and plays it off as like "He kept making films, but the real focus of his endeavors during this period was the Histoire(s)..." Whereas Brody discusses many more of the lesser known/seen works (Grandeur et Décadence, Le rapport Darty, Les Enfants jouent à la Russie, etc) and, forced biographical readings aside, still has a lot of valuable things to say derived from his interviews with crew members and so on from that period. There's just stuff in there I've never seen anywhere else so I like it for that reason, even if his overall project is pretty vile.

yeah as i'm finishing the book it seems like maccabe may even have been in a rush to wrap up that portion, although i don't recall brody treating mieville's work hardly at all, so a little from column A, a little from column B. i also hold brody responsible for the legitimately stupid accusations of anti-semitism against godard that re-circulated when he got his honorary oscar. i interrupted a presentation by a (now somewhat up-and-coming) film writer in a class taught by another quite well established film writer to say that their equivocating about the anti-semetic content of histoire(s) was cribbed directly from brody, to which no one could provide a satisfactory response, so, yeah, i still get mad about that

Buddy Glass wrote:So... who knows! For now I accept it's fake but there still seems to be some larger explanation missing as to how it was created in the first place.

it was a very convincing fake. if AI is producing counterfeit films, it makes me very nervous that they're starting with late godard
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Postby broodstar » Fri May 11, 2018 12:14 pm

nicole brenez edited le livre d'image??
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Postby Phil » Fri May 11, 2018 3:56 pm

Well we've got the Frampton citation out of the way early in the game:

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Postby mellowgold » Fri May 11, 2018 4:23 pm

cannes
wimbledon, strawberries, bubbles, please protect me. happy midsumma, hope you spend it in your heart, everyone is there. bitch.
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Postby Buddy Glass » Fri May 11, 2018 8:29 pm

broodstar wrote:nicole brenez edited le livre d'image??

My understanding was she’s credited with ‘archaeologie’ which I would hazard a guess means research - she’s an authority on underground experimental and political films. But she is one of four names on the poster (alongside Godard, Fabrice Aragno, and Jean-Paul Battagia) which is amazing.
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