Hereditary, Midsommar (7/3)

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby John Dark » Sat Jul 13, 2019 4:37 pm

unnecessary toop
Now here is the lake. And I still haven't changed.
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Postby Buddy Glass » Sat Jul 13, 2019 5:16 pm

Cannibal Holocaust & Cannibal Ferox both did the unwitting anthropologists thing way better, and those aren't particularly good movies
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Postby spix et chicho » Sat Jul 13, 2019 5:26 pm

yeah I mean i'm not saying this was a ~bad movie~ I just went in feeling suspicious of it and it did not really convince me over its 2.5 hour runtime. it is 100% dressed up conventional horror movie, replete with flimsy stock characters and moral comeuppance. the shitty boyfriend thing is so half-assed. who even are these people, who cares what happens to them? they're a series of empty vessels for the audience to fill in with assumptions (casting Chidi from the Good Place does a lot of heavy lifting for the Josh character if you're familiar with him) which is fine when you don't try to present your really quite plain horror film as something particularly intellectual. what if horror, but slower and with symmetrical One Perfect Shots? a24... thank you
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Postby spix et chicho » Sat Jul 13, 2019 5:28 pm

there were things I liked about it though don't get me wrong. the greenaway influence makes sense.
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Postby Buddy Glass » Sat Jul 13, 2019 5:38 pm

At some point in the past 5 or so years it's like everyone decided that symmetrical framings and slow push-ins are just what a great director does. Lift the shadows up a bit in the grade, even better, wow so cinematic so many feels. The shots look great when freeze-framed or excerpted as gifs, but my experience of watching Midsommar was that it didn't feel connected to the material or the moment-to-moment narrative beats or even atmosphere a lot of the time. There's no cinematic or formal coherence to it, it's just become the default house style that signifies something is 'elevated' or 'art' or whatever. When in doubt, center that shit and bust out the slider/dolly/gimbal/steadicam.

I suppose Aster likes Greenaway, who also loves his long tracking shots, but the difference is Greenaway is a genuine formalist who has thought his approach through in terms of his subjects, his engagement with the history of visual art, and so on. Aster isn't untalented, but the degree to which everyone seems to be grading on a curve these days is just maddening.
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Postby landspeedrecord » Sat Jul 13, 2019 5:47 pm

100%
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Postby Celiac » Sat Jul 13, 2019 5:55 pm

Good posts
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Postby walt whitman » Sat Jul 13, 2019 6:11 pm

whats wrong with the shots? it's not like american indie filmmaking was some bastion of radical visual style five years ago lol.

the focus on cinematography also overlooks the real source of style in the film: the costumes, the runes and other cultish objects, the pastel color palette of the rooms and ceremonial spaces, the drawings and embroidery, THE FLOWERS etc. you're missing the forest for the trees here
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Postby walt whitman » Sat Jul 13, 2019 6:21 pm

spix et chicho wrote:it is 100% dressed up conventional horror movie, replete with flimsy stock characters and moral comeuppance. the shitty boyfriend thing is so half-assed. who even are these people, who cares what happens to them?

gotta disagree with this.

the early scenes with dani and bf were razor sharp, capturing their relationship's slow-motion decline with micro-moments of emotional disconnect, awkward silence, resentment, willful blindness to another's feelings (and one's own).

even with "flimsy stock characters and moral comeuppance," horror captures the nuances of emotional experience better than most serious movies, i think
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Postby landspeedrecord » Sat Jul 13, 2019 6:37 pm

I'm so stuck in between the two poles of positive and negative reception for this film (my feelings were p solidly in the middle), but it's been an interesting film to think about, which is more than I can say about most things these days

the films I've thought about most this year have been high life, midsommar, and under the silver lake
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Postby john plainman 2 » Sat Jul 13, 2019 6:42 pm

I wish I had screenshots of the boyfriends ambient male aggression throughout the movie. he looks so pissed off whenever he's sitting at the dinner table, or on the edge of his bed, etc.it was great
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Postby Sweet Gregory Pectin » Sat Jul 13, 2019 7:40 pm

spix et chicho wrote:the shitty boyfriend thing is so half-assed. who even are these people, who cares what happens to them? they're a series of empty vessels


i hate supposed to be bad

BUT!

the movie is from dani's perspective not from the men in the movie they are non descript and disposable to help explain why dani eventually sides with cult it's like showing the beginning of the wizard of oz in black and white

they are giving her nothing only pelle shows any interest in her but even then it's only to take advantage of her as he's trying to sacrifice all his friends
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Postby Sweet Gregory Pectin » Sat Jul 13, 2019 7:53 pm

i thought the movie was okay when i saw it but whenever anyone tries to explain why they didn't like it just makes me like it more somehow

am i fucked up ain't i a stinker
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Postby Sweet Gregory Pectin » Sat Jul 13, 2019 7:54 pm

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Postby landspeedrecord » Sat Jul 13, 2019 7:58 pm

I don't think it's wrong at all

for me the film is amazing on paper aka conceptually, but the filmmaking didn't quite deliver on its message

even still, it's going for something really interesting, and even if it didn't work 100% for me, it's still super interesting and gave me a lot to chew on

I'd rather watch some imperfect work striving for something greater than anything safe anyday
Last edited by landspeedrecord on Sat Jul 13, 2019 8:00 pm, edited 1 time in total.
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Postby goofy's dead wife » Sat Jul 13, 2019 7:58 pm

mellowgold wrote:I’m glad I’m not the only person who saw queer themes in this and in hereditary.
http://dimthehouselights.com/2019/07/midsommar-is-queer-and-camp-actually/


i still haven't seen midsommar (will probably go sunday night) but yeah no absolutely i have no idea what my take on hereditary would be if i didn't but it's a big part of why it worked for me.
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Postby landspeedrecord » Sat Jul 13, 2019 8:03 pm

I can only speak for myself, but I found the inability of the family to connect with one another in hereditary (and the subsequent ruptures) to be very affecting
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Postby landspeedrecord » Sat Jul 13, 2019 8:05 pm

the horror/genre aspects of hereditary paled in comparison to the emotional truths
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Postby landspeedrecord » Sat Jul 13, 2019 8:14 pm

the success of midsommar hinges on its emotional connection w the audience. I was a bit removed tbh
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Postby MikeyJ » Sat Jul 13, 2019 8:41 pm

landspeedrecord wrote:the entire film focuses on how a group of westerners view/react to foreign rituals that are depicted without judgment


weird you could also look at it how its also about climate change and the inability of the patriarcial capitalist system to stop devouring itself!! tediois plot and characters, stay for the ideas.
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Postby gauchebag » Sat Jul 13, 2019 8:49 pm

going to see the 11pm have avoided spoilers but really excited from what little i heard. never watched hereditary.
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Postby walt whitman » Sat Jul 13, 2019 8:55 pm

john plainman 2 wrote:I wish I had screenshots of the boyfriends ambient male aggression throughout the movie. he looks so pissed off whenever he's sitting at the dinner table, or on the edge of his bed, etc.it was great

omg yes! Jack Reynor and Florence Pugh give such masterful performances.

the film early on shows that you can't trust their dialogue; instead, you have to decipher meaning from their faces, their scrunched shoulders, the way they tug at their shirts, or in the boyfriend's case- his flared nostrils- to see what they are 'really' feeling.

i was especially drawn to dani's face, and how her true feelings - and discomfort- often leaks out, even when she tries to wear a mask and appear 'neutral.' it's a quality that i think a lot of us suffer from- being unable to hide emotions in order to 'save face.'

aster trusts us enough to foreground the ambiguity of his characters. i appreciate that. obviously many horror films feature characters whose dialogue doesn't make sense and can't be trusted. but midsommar almost puts you in the position of an armchair anthropologist, watching everyone's behavior, gesture and dialogue in a hyper-analytical way
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Postby ripersnifle » Sat Jul 13, 2019 10:57 pm

has Lights seen this?
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Postby surly » Sun Jul 14, 2019 12:36 am

lotta bad opinions itt!
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Postby Locke » Sun Jul 14, 2019 12:46 am

which ones
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Postby Slamwich Artist » Sun Jul 14, 2019 1:07 am

John Dark wrote:
walt whitman wrote:one of the best movies about anthropology


If you reduce anthropology to the number of times characters say "My thesis!" maybe.

Lol. I liked when the Swedish guy said “we respect the incest taboo” or whatever the fuck, like straight out of a freshman anthro textbook
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Postby jalapeño ranch » Sun Jul 14, 2019 1:53 am

The more I think on this, the more it really does feel similar to Fabrice du Welz's work (namely Vinyan and to a lesser extent Calvaire). The slow dread of descent that culminates into a sort of distorted euphoria as the main character finally succumbs to their surroundings.
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Postby ASH NERVE » Sun Jul 14, 2019 2:28 am

just saw this after avoiding spoilers for weeks. 100% banger, better than hereditary which tried to do way too much. we loves it.
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Postby carlagain » Sun Jul 14, 2019 3:00 am

the may queenToggle Spoiler
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Postby carlagain » Sun Jul 14, 2019 3:23 am

it’s difficult but you’re all right basically. making a movie is a weird posture. it’s nuanced direction and performance but that’s also all good movies. and all good movies are queer movies. it’s true the image has no autonomy. the boyfriend is half assed like a shittt boyfriend. there’s a foot in the flower bed. the may queen
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