last movie watched.

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 delgriffith » Thu Dec 05, 2019 5:54 pm

Do Paterson. I know I haven't published my list yet (still in the kitchen) but I want you to see Paterson. And The Rider.
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Postby soft milk » Thu Dec 05, 2019 5:54 pm

yeah, paterson is the one i'd go with.
you are only coming through in waves
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Postby Pokemon Mastah » Thu Dec 05, 2019 6:42 pm

Ash Is Purest White is really good - one of Jia Zheng-ke’s best
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Postby bongo » Thu Dec 05, 2019 10:47 pm

Image
"words, planets" (lertxundi, 2018)

im a huge laida stan and this is my fav thign of hers ive seen so far.

apparently she said this film grew out of ruiz's "for a shamanic cinema" lecture which makes total sense. this is one ill return to over and over again
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby nicknap » Thu Dec 05, 2019 11:38 pm

Pokemon Mastah wrote:Ash Is Purest White is really good - one of Jia Zheng-ke’s best


Watched this on an international flight and fucked me up. Really amazing

Ive read that the director is supposed to be a part of a movement in recent Chinese cinema,
but Im not super familiar with any other directors from said movement.

Does anyone have any recommendations for the best in recent Chinese cinema?
anything on the level of Ash Is Purest White? thanks
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Postby bongo » Thu Dec 05, 2019 11:41 pm

the assassin
kaili blues
a touch of sin
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby soft milk » Thu Dec 05, 2019 11:42 pm

bingo don't rob us of your thoughts
you are only coming through in waves
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Postby goofjan » Fri Dec 06, 2019 8:38 pm

quick- I'm in the mood for a good ol sci fi fantasy exploration/adventure movie. like Annihilation but maybe a little less dense, like The Thing but less gross. what should I watch!?!??
plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby Franco » Fri Dec 06, 2019 8:41 pm

Snowpiercer
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Postby goofjan » Fri Dec 06, 2019 8:45 pm

I love Snowpiercer but it's the only movie my girlfriend ever made me turn off.
plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby Franco » Fri Dec 06, 2019 8:51 pm

From this year I liked I Am Mother. Falls a little more in the mindless category, but engaging.
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Postby Plainsong » Sat Dec 07, 2019 7:46 am

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The Woman On The Beach (1947)- Jean Renior
This was great. Loved the atmospheric dream sequences, and all the main performances.
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The Bigamist (1953)- Ida Lupino
This ruled.
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The Boy Friend (1971)- Ken Russell
Really loved this.
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The Cabinet Of Dr. Caligari (1920)- Robert Wiene
Really liked this.
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The Cranes Are Flying (1957)- Mikhail Kalatozov
This was brilliant. Really stunning cinematography.
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The Desperate Hours (1955)- William Wyler
Liked it.
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Postby Milk » Sat Dec 07, 2019 8:05 am

I watched Mauvais Sang which i thought i'd seen before. I kinda hated it. It's so....written by a 26 years old. I mean the cinematography is good although i don't know..his obssession with claustrophobic shots was annoying. Then i rewatched Les Amants du Pont Neuf because i thought wait do i still like this film though....and it's ok, i do. It had been a while i realised, like 14 years since last rewatch.
I must insist on being a pessimist, I'm a loner in a catastrophic mind
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Postby walt whitman » Sat Dec 07, 2019 12:21 pm

Plainsong wrote:Image
The Cabinet Of Dr. Caligari (1920)- Robert Wiene
Really liked this.

will there ever be a shot as good as this probably not
“Short film, Long film, It’s ALL film!” - Walt Whitman
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Postby aububs » Sat Dec 07, 2019 4:44 pm

i watched the polar express with the kids today and honestly really liked it

it has this sort of singular vibe and is kind of like they made a christmas kids movie out of deadly premonition
astonishing vigils
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Postby paused anime for this » Sat Dec 07, 2019 5:01 pm

Image
Personal Shopper (Assayas, 2016)

cringe film i had to turn off after 30 mins. have no patience for kirsten stewart's "acting" and a slow plot that goes nowhere. american critics love overrating anything by contemporary french directors
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Postby spix et chicho » Sat Dec 07, 2019 5:06 pm

great flick
CIARA IS DEFIANTLY A MAN AND ITS DISGUSTING MY CUZIN WAS THROWING UP FOR 2 WEEKSM YUUUUUUUUCCCCCCCCCCCCCCCKKKKKKKKKKK PLEASE SIGN THIS B/C THATS JSUT HERENDOUZ
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Postby paused anime for this » Sat Dec 07, 2019 5:10 pm

spix et chicho wrote:great flick

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Postby tricksforchips » Sat Dec 07, 2019 6:40 pm

Personal Shopper rips and you're wrong.
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Postby paused anime for this » Sat Dec 07, 2019 9:01 pm

tricksforchips wrote:Personal Shopper rips and you're wrong.

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Postby mystery meat » Sat Dec 07, 2019 9:08 pm

Personal Shopper is so good
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Postby soft milk » Sat Dec 07, 2019 9:10 pm

paused anime for this wrote:
tricksforchips wrote:Personal Shopper rips and you're wrong.

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Wow this rules thanks
you are only coming through in waves
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Postby soft milk » Sat Dec 07, 2019 9:10 pm

What a great movie
you are only coming through in waves
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Postby it's the suspense that gets me » Sat Dec 07, 2019 9:20 pm

edit:saving for something
Last edited by it's the suspense that gets me on Sun Dec 22, 2019 10:23 am, edited 1 time in total.
Riverchrist wrote:Ch-check it out Morty there are infinite universes in which to get our dicks sucked while we play Xbox. Infinite! And in one of them Mazzy Star sounds like (burp) ZZ Top.

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Postby it's the suspense that gets me » Sat Dec 07, 2019 9:22 pm

Wait where did that come from I meant to post Image
Riverchrist wrote:Ch-check it out Morty there are infinite universes in which to get our dicks sucked while we play Xbox. Infinite! And in one of them Mazzy Star sounds like (burp) ZZ Top.

ImageImage
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Postby soft milk » Sat Dec 07, 2019 9:24 pm

Goddamnit ur good
you are only coming through in waves
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Postby paused anime for this » Sat Dec 07, 2019 9:40 pm

OMG, goofy’s dead wife (hyuck!). epic post. i love the movie now, thx
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Postby dcm » Sun Dec 08, 2019 1:38 am

for the new page

goofy's dead wife wrote:
paused anime for this wrote:
tricksforchips wrote:Personal Shopper rips and you're wrong.

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comparing this to demonlover, which i also watched earlier this week, is interesting first and foremost because both films deal with technology in ways that are eminently contemporary to their time of creation -- demonlover as it pertains specifically to pornography and personal shopper as it pertains, generally, to patterns of usage and proliferation and, specifically, to technology's capacity in a postmodern world to act as a spiritualist medium of sorts, which i will elaborate on momentarily -- without the dubious and clumsy moralizing or philosophizing that tends to render those kinds of depictions rudderless in most of the films i am aware of that employ them. much of personal shopper consists of over the shoulder closeup shots of iphone text message conversations, clips of youtube uploads, google searches, and video calls, and though in theory that would seem to invite comparisons to something like Men, Women & Children -- a film tethered, inseparably, to a vision of technology that is ephemeral and fleeting and shortsighted, its message not only one of thinly veiled demonization but also one that is rendered necessarily incoherent by the process of time passing beyond the horizon of the vacuous snapshot it is dated to -- it quickly becomes apparent that assayas approaches these objects and the virtual spaces they facilitate with perspective and purpose and clarity, understanding them not simply in an immediately implicative (and eminently physical) sense but as representations of something intangible and abstracted and unspoken, representations that can be worked through to reveal, imbued onto it by us and back onto us by it as though in a feedback loop, something resonant and timeless and shared across experience by many of us, something inherently and intrinsically human burning at its increasingly incorporeal center.

because if you've lost a friend in the past 10 or so years, or have experienced the demise of a friendship or a relationship (regardless of why, or to what degree it was traumatic or simply unavoidable) for some other reason, you will almost certainly be familiar -- perhaps intimate -- with the capacity of technology to accentuate and elongate the grieving process that follows, sometimes indefinitely. it is, to be presumptive, unavoidable for many of us in the developed world; we leave behind footprints in every virtual space we pass through, imprints of ourselves that when collected and stitched together constitute an avatar through which we navigate and communicate that remains stored and accessible and there long after the person behind the screen -- the person represented and thus replicated by that avatar -- loses access to them, dormant but always there, like a specter fossilized out of time. in other words, all of our tossed off thoughts and photos and connections and text messages outlive us and remain deceptively within reach to those who survive us after every other externalized aspect of ourselves has decomposed, lending a perverse physicality to the dead that robs us of our capacity to understand them as such, and in these representations we, thusly, appear not as though we are gone forever but as if we are simply away, gone for a moment but destined to return as though death were merely a period of inactivity or a change in phone number, the memories of us intermittently but perpetually buoyed to the forefront of our friends' and family's consciousnesses at the whim of an algorithm or wayward search.

and these fragments -- the remnants of a life that we find ourselves holding onto precariously -- give us hope, but oftentimes not the sort of hope we need to cope and grieve and return to some semblance of normalcy; that they exist out of time, assembled representatively within each virtual space where they persist, only makes it easier to internalize and conceive of them as we do any other piece of digitized information, there at once and capable of being experienced, as though for the first time, at any time we choose or simply by accident. it is not a coincidence that assayas juxtaposes the mysterious text messages maureen receives and suspects as being from her deceased brother (who, like her, reputedly had gifts as a medium) with "tacky" made for tv films -- experienced via youtube -- from the 1960s and informational videos about the works of early 20th century artists, both because they delineate, in terms of their content, a more practical understanding of and framework for applying the spiritualist notions of the afterlife that maureen seeks to utilize to communicate with her brother (the made for tv film is about a seance held by victor hugo, and the artist in question is early abstract spiritualist painter hilma af klint, whose paintings were inspired by messages she claims to have received from the spirit world) and also because they, themselves, exist spectrally, as ghosts that haunt digital addresses rather than physical ones and remain suspended in the ether of cyberspace indefinitely, timestamped but just as unbound from linearity as the twitter feeds and facebook montages we scroll through in the dead of night. we can weave, in other words, back and forth between maureen's browsing history and her text messages without experiencing any kind of tonal discrepancy, as though all of it were interconnected, each fragment a piece of a whole materializing in the open space left behind by the outward expansion of a point of infinite density; yet, the film presents these images, and even the phantoms that visibly stalk maureen at various points throughout the film, with an almost hyperreal sensitivity, each shot wreathed with atmospheric lighting and framed as though you were simply someone sitting in the room, distanced but decidedly not separated from what unfolds before you, a spectator to a haunting so drained of stylistic embellishment and misdirected by red herrings you begin, as assayas intends, to question the degree to which any of it is physically taking place in any kind of a shared reality, rather than simply manifesting as a reflection of the exhaustion of a woman simultaneously attempting as best as she can to get through the drudgery (and dangers) of day to day survival in a foreign country while remaining bonded in grief by her brother's childhood promise, a promise she, whether out of obligation or because it allows her to continue envisioning him as in some way still alive and conscious and simply absent in a way that is impermanent, lingers in paris to see fulfilled.


this fucks
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Postby Plainsong » Sun Dec 08, 2019 2:14 am

walt whitman wrote:
Plainsong wrote:The Cabinet Of Dr. Caligari (1920)- Robert Wiene
Really liked this.

will there ever be a shot as good as this probably not

I can think of shots that are probably better, but it's hard to top the insane set design.
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Postby Plainsong » Sun Dec 08, 2019 2:27 am

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The Doll (1919)- Ernst Lubitsch
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The French Connection (1971)- William Friedkin
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The Ghost And Mrs. Muir (1947)- Joseph L. Mankiewicz
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The Gold Rush (1925)- Charles Chaplin
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The Hitch-Hiker (1953)- Ida Lupino
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The Hustler (1961)- Robert Rossen

Really loved all of these.
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