Hello, the most recent movie threads have seemed a bit unfocused, this thread is for the discussion of movies we just watched and other anon's takes on them. So, without further ado I'll begin.
I just watched Parasite last night, it was pretty good I think, but not as cutting edge or witty as I was expecting. I thought it was a bit unfocused and threw a lot at the wall to see what stuck, but on the other hand, it was fun and more interesting than most. A solid 8/10.
I do an IMDB rating for each film I watch, for my own reference mostly, but you can see each film I watched lately and my rating if you're curious or want to ask about them. If other anons have something similar feel free to post.
https://www.imdb.com/user/ur46013471/ratingsI watched La Chinoise the other day, from the chart that someone posted on the other film thread. It's a prety interesting look into the french student maoist movements of the 1960s. Here's an online version: <a href="
https://vimeo.com/148381997" rel="nofollow" target="_blank">
https://vimeo.com/148381997</a><br/>Anyone else seen it?
<a onclick="highlightReply('2439', event);" href="/hobby/res/2278.html#2439">>>2439</a><br/>The first time I watched 2001, I fell asleep. Second time, my mind was shattered and it remains my favorite English language film of all time. I haven't even read the book!<br/><br/>It not really "fun", is it? Aside from the exquisite cinematography (which you obviously didn't appreciate, barbarian!) the film is incredibly slow and vague about the plot.<br/><br/>The final scene is an ascension to the next level of evolution, which is reasonable to assume because it is triggered by contact with the monolith. It's incredibly open-ended, especially the finale with the baby gazing at the Earth. I have my own interpretation which I'm sure has nothing to do with what the authors intended, but isn't that the beauty?<br/><br/>You also might have the wrong attitude going into this kind of movie. The vast majority of films are made for entertainment (to make the audience feel good), which explains why you (and pretty much every single living film critic at the time 2001 released) did not enjoy 2001. If you go into every film with the expectation of being entertained, or even pandered to in any way, you are doing yourself a great disservice! Films are an opportunity to challenge the viewer. Despite capitalism producing 99% capeshit, chick-flix, and fantasy clones, there are still plenty of movies that deliberately go out of their way to introduce new ideas to the audience, or better yet, to subvert existing ideas.<br/><br/>What's really funny is that as soon as you accept discomfort, confusion, and dissatisfaction as welcome breaks from the familiar viewing experience, you start to covet their intrusions! Shows like Twin Peaks scratch this itch. Finally, the entire categorization becomes completely inverted, such that any plot development is felt as pandering and dull, while ostentatious displays of the directors "not giving a flying fuck" become pure entertainment (think Lynch [b]movies[/b]). The first 10 minutes of the bar scene in Satantango, I thought I was gonna die. By the 20th minute I was laughing like a madman, as though I too was in the same bar.
Just watched The Lighthouse, was pretty fantastic, looked beautiful and the performances were quite phenomenal since it was largely just 2 dudes on screen for a couple hours. The ending was a little strange and I was super satisfied with the 'twist' thing, without giving out any spoilers. <br/><br/><a onclick="highlightReply('2439', event);" href="/hobby/res/2278.html#2439">>>2439</a><br/>The thing that stands out to me about 2001 is the fact that this film was released in 1968. That's one year before the actual moon landing, yet it looks incredible to this day. Not just aesthetically, but the technology doesn't look dated whatsoever, the endless directing choices by Kubrick that would lead to such a pristine sci-fi story is what really amazes me. I haven't seen it in a few years but this sticks with me. The score is as iconic as any film ever, the black monolith could have been some handheld space gizmo, but the restraint gives a much more timeless appeal. It is kind of weird now, I saw the Futurama and Simpsons spoof episodes before the actual film, the score I must have heard in dozens of other mediums, so all this does detract from how revolutionary the film was
I said in the Bong Joon Ho thread that I will do it and so here it is. I just re-watched the first Matrix film for the first time in years and here are my thoughts. I decided that it might be best to write these individually after each movie. As always this might be a bit scuffed. <br/>I don't really know where to begin. Guess I will first try giving it a more shallow perspective. The film is great in that regard: interesting and unique setting and premise, impressive even to this day special effects that managed to age really well, seemed like there was a nice bit of attention to detail given that rewarded noticing small things. I do have some issues with the plot / setting story though, which I'll get in later. <br/>Since I specifically watched the film with the intention of making this post I did actively try to analyze as much as possible. Hence I tried to do a leftist reading of the film. I feel it is quite a bit culturally grounded in the new left counterculture as well as Californian ideology. The first thing we see is the police state being presented as the antagonist and this theme continues on until the redpill scene. Presumably all our heroes were hackers before seeing the real world (Trinity already had a rep for breaking into the FED and others have what sound a lot like hacker nicknames). Also they all "felt that the world was wrong" and tried searching for the truth. It really feels inspired by real life counterculture, especially with all the "free your mind" talk. However I would also say that is possible to make a sort of Marxist reading of the film, as the machine enslavement of humans can be a parallel for class relationship, with the ruling class of machines keeping the humans down, forcing them to literally cannibalize each other and fuel the continued existence of the machines through their own life. The wide human population are all shown as lumpen and even actively collaborating with the machines against their own interest. The crew of Nebuchadnezzar are almost a vanguard of sorts, as shown in the "red dress" scene where Morpheus says that even though they are fighting to free all humans and end the Matrix, for now everyone in it is uninformed and can't join yet, they still need guidance and until they truly see can even be enemies trying to protect their system, the horror of which they don't understand (just like most people right now who don't see the flaws of capitalism and will actively try to defend it). However this is likely not an intended reading. <br/>However now my problem with the story - the concept of the chosen one as well as the "there is no spoon" line. Let's start with the first. I generally don't like straight forward prophecies and at least in my opinion this film could have done an interesting subversion of it. The prophecy here is completely straightforward - Neo is the one and that's it, he might have been forced to doubt, but in the end he only resurrects because of the prophecy. It would have been more interesting if anyone could have been the chosen one, as with only changing the deus ex machina resurrection Neo would stop being really special. All that was needed for his powers was to fully understand the truth of how the setting worked (that the spoon isn't real (and I get into this idea next)), thus I feel that the prophecy shouldn't have taken such a center stage, let Neo just be another redpilled recruit who through facing adversity and encountering specific conditions would eventually discover his potential in a seemingly desperate moment by putting together all he learnt. <br/>Now, about the spoon, and this will probably be my biggest critique of the film. Hot take: the spoon is real, or at least it should be. Leaving behind all the chosen one stuff, let's focus only on how the setting works here. The Matrix is a recreation of reality. It recreated the rules, yet these can be bent somewhat. The way I see it is almost like a console command in a video game. There is a really concrete vision of how things should be, yet there exist tools to sort of bend it like cheats or dev commands. That's how I see the agents - they are using the dev tools, hence can do Matrix equivalent of godmode, speedhack or teleport. To me it would make sense that when the heroes do their tricks it is them realizing the existence of such "dev commands" and using them themselves. After all, they never manage to reach the agent level of expertise. However this is not how the film decided to go. Instead we get complete and total idealism - that it is actually the human mind and will that bends the Matrix, since it is not real. Yet I contest that. Matrix is real. The code has rules - what can and can't be done. Neo not abiding by these rules is no more ridiculous idealism than 40k orcs painting shit red to go faster. I recall way back watching critique videos on Matrix 2 and 3 and how they jumped the shark with Neo using powers in the real world, yet that isn't surprising that he is already bending reality in the first one. Actually, instead of only critique, I'll try to describe how I think it should have went. The One shouldn't be any more powerful than an agent, actually, just have The One be just like an agent. As in my previous idea on how I think Matrix works with special powers basically fuctioning as console commands, The One should discover and learn about them all, including stuff like switching bodies. Also, there was a line in the Dojo scene where Morpheus says that "you'll be stronger than the agents since unlike them you won't need to follow the rules", which could now be fully realized with Neo managing to defeat the equally skilled agents by using unpredictable tactics and exploit the system fully. Smith could still be the exception from the agents and eventually become the main rival to Neo, even with all his powers, since unlike other machines Smith wanted independence and started to resemble a human, not a machine, thus also like Neo would be able to bypass the programming of what an agent should do and thus could fully exploit everything that could be done inside the Matrix. <br/>Probably could still write a few things but nothing right now of the top of my head. I will post another impressions post about Matrix: Reloaded in the near future.
"Cuando se acabe la guerra." (When the war ends)<br/>I just watch this spanish movie from the director Alejandro Amenabar, depicting the life of Miguel de Unamuno at the start of the civil war here in Spain. Miguel de Unamuno is a spanish writer which was pretty much a centrist, he didn't like the ways that socialism was unfolding in soviet russia (he was a socialist at some point) and was the rector of the university of Salamanca (he also made christian poetry, and was critical of the king of Spain when he was the ruler). Salamanca, like very province pertaining to Castille and Leon, fell inmediately to the fascists without much fight, they weren't an industrial center, it was an agrarial region and it still is.<br/>Miguel de Unamuno is a little special.<br/>Miguel de Unamuno initially suports the coupists, <span class="spoiler">even so far as giving them money before the coup, as he was thinking that they were there just to restore order in Spain, he thought that they would just inocently give power to the right party and that was all that it was, but then he discovers that wasn't the case. He has 2 close friends, a protestant which is supportive of the coup, because of how the reds were burning churches and such, and a socialist which isn't supportive of the coup for obvious reasons. The first one to go was the protestant one, as his wife denounced him on the charges of being a mason, and thus, he was executed without trial, and later, when Miguel de Unamuno forces his friend to get the fuck out of the city of Salamanca, just to breath some fresh air and calm down, and after having a heated discussion about politics, their stopped by 2 guys which proceed to beat the fuck out of his socialist friend and tell Miguel de Unamuno to not look, and push his friend into the car, to execute them later.</span><br/><span class="spoiler">He is also coerced by the national side to side with them, basically, and when they have this day at his university called "The day of the race" which he denounces to one of the generals of the nationalist side as "being remarkably close to nazi arianism" but has to go either way, he has no choice. Then, he is the last one to actually give a speech, where he denounces fascism, calling it "a mental disorder like bolshevism", (I told you he was a centrist) and pretty much btfo'ing the right, of course, this makes it so everyone at the stage starts screaming at him, and drawing their guns, until the wife of Franco, who was a real fan of his works, mostly christian poetry, saves him from being executed right there. He later died 2 months later because of a heart attack.</span><br/>Miguel de Unamuno is pretty much your clueless centrist. He is pretty much a conservative bitch that drinks everything that the rightist media serves him, because of that, he is supportive of the coup, seeing them as bringers of order, but when that order reveals itself to be pretty much fascism and straight murder, he develops a sense that he might have been wrong, thus evolving into an actual centrist.<br/>The important thing here is that a lot of people are like Miguel de Unamuno, they don't feel that something like that could ever happen, and support those people who want to actually execute such stuff. Of course, they don't believe it because the ones declaring so are godless socialists, but he believes everything that comes from the mouths of rightist propagandist, because of course he would, they're the press, how could they lie? Their job is to expose the truth. That's why, when he knows that Federico Garcia Lorca was killed, he didn't believe until his friend mentioned that the BBC said so. Miguel de Unamuno encaptures the spirit of the clueless libertarian which believes in the lies of the bourgeoisie until it's too late.<br/><br/><a onclick="highlightReply('2669', event);" href="/hobby/res/2278.html#2669">>>2669</a><br/><span class="spoiler">haha knife go slash slash</span>
also worth posting some of zizeks reading of the matrix. there's more good stuff in the full text, like agent smith being The Jew<br/><span class="quote">>Therein resides the correct insight of The Matrix: in its juxtaposition of the two aspects of perversion - on the one hand, reduction of reality to a virtual domain regulated by arbitrary rules that can be suspended; on the other hand, the concealed truth of this freedom, the reduction of the subject to an utter instrumentalized passivity. And the ultimate proof of the decline in quality of the following installments of the Matrix trilogy is that this central aspect is left totally unexploited: a true revolution would have boon a change-in how humans and the Matrix itself relate to jouissance and its appropriation. What about, say, individuals sabotaging the Matrix by refusing to secrete jouissance?</span><br/><span class="quote"><br/>>One of the great achievements of the second genre is the charmingly vulgar Conviene far bene l'amore (1974, directed by Pasquale Festa Campanile), whose fundamental premise was that when, in a near future, the world run out of energy, doctor Nobile, a young brilliant Italian scientist, remembers Wilhelm Reich and makes a discovery that a tremendous amount of energy is released by a human body during the sexual act - on condition that the couple is not in love. So, in the interest of humanity's survival, the Church is convinced to invert its stance: love is sinful, and sex is OK only if done without love. So we get people confessing to their priest: "Sorry, father, I've sinned, I fell in love with my wife!" To generate energy, couples are ordered twice a week to make love in large collective hills, controlled by a supervisor who admonishes them: "The couple in the second row to the left, move faster!" The similarity with The Matrix cannot but strike the eye. The truth of both films is that, in today's late capitalism, politics is more and more the politics of jouissance, concerned with ways of soliciting or controlling and regulating jouissance (abortion, gay marriages, divorce-).</span><br/><span class="quote"><br/>> A supplementary twist is provided by the very end of the movie, when Neo magically stops the bad squid-like machines attacking the humans by merely raising his hand - how was he able to accomplish this in "the desert of the real," NOT within the Matrix where, of course, he can do wonders, freeze the flow of time, defy the laws of gravity, etc.? Does this unexplained inconsistency point towards the solution that "all there is is generated by the Matrix,'' that there is No ultimate reality? Although such " postmodern" temptation to find an easy way out of the confusions by proclaiming that all there is, is the infinite series of virtual realities mirroring themselves in each other is to be rejected, there is a correct insight in this complication of the simple and straight division between the "real reality" and the Matrix-generated universe: even if the struggle takes place in the "real reality", the key fight is to be won in the Matrix, which is why one should (re)enter its virtual fictional universe. If the struggle wore to take place solely in the "desert of the real," it would have been another boring dystopia about the remnants of humanity fighting evil machines.</span><br/><span class="quote"><br/>>To put it in the terms of the good old Marxist couple infrastructure-superstructure: one should take into account the irreducible duality of, on the one hand, the I objective" material socio-economic processes taking place in reality as well as, on the other hand, the politico-ideological process proper. What if the domain of politics is inherently -sterile," a theatre of shadows, but nonetheless crucial in transforming reality? So, although economy is the real site and politics a theater of shadows, the main fight is to be fought in politics and ideology. Take the disintegration of the Communist power in the last years of 1980s: although the main event was the actual loss of state power by the Communists, the crucial break occurred at a different level - in those magic moments when, although normally Communists were still in power, people all of a sudden lost their fear and no longer took the threat seriously; so, even if "real" battles with the police continued, everyone somehow new that "the game is over". The title The Matrix Reloaded, is thus quite appropriate: if part 1 was dominated by the impetus to exit the Matrix, to liberate oneself from its hold, part 2 makes it clear that the battle has to be won WITHIN the Matrix, that one has to return to it.</span><br/><span class="quote"><br/>> Perhaps, however - and this would be the only way to (partially, at least) redeem Revolutions - there is a sobering message in this very failure of the conclusion of the Matrix series. There is no final solution on the horizon today, Capital is here to stay, and all we can hope for is a temporary truce. That is to say, undoubtedly worse that this deadlock would have been a pseudo-Deleuzian celebration of the successful revolt of the multitude.</span>
<a onclick="highlightReply('3049', event);" href="/hobby/res/2278.html#3049">>>3049</a><br/>Alright, just finished the other two. Since they are basically two parts of one movie I'll look at them together. <br/>First of I guess I need to take back my accusation of the film being ultra-idealist, as the powers of the One are explained in M2 Architect scene (I will refer to the movies by M1,2,3). As far as I understand the One simply has an inherent connection to the machine network, which further explains Neo's powers outside of the Matrix and grounds them in reality: his connection to Matrix let's him stop the sentinels and later see the network sources, thus letting him see after the blinding. However this is not good for the film. While I dislike the "no spoon" idealism, it was an authorial idea, so what ever, however this new explanation of Neo being a predicted powerful anomaly ruins the "no spoon" explanation, as now he has powers simply because he is the one, which contradicts with the first film. <br/>I guess I will continue with other things that were sort of ruined by the second film.<br/>Number one is obviously Tank, who was a great character and at least for me one of the best from the first film, but gets unceremoniously killed of in the background before M2 and never even gets mentioned. Not that Link isn't a good character either, it's just that instead of him it should have been Tank. This section of my criticism is a bit hyperbolic al, it's not a big deal, I just liked the character and that's all. <br/>More seriously though, Agent Smith. In M1, Smith was really interesting. He basically was a rebellious machine, wanting to it self become free and escape from the fake world. This made him in my opinion a great candidate for an anti-hero / sympathetic villain if he had survived (if we pretended we didn't knew how M2-3 will go, we'd assume he was dead at the end of M1). However later movies change him. Now he pretty much becomes pure evil type of villain and acting like a joker wannabe, maybe somewhat resembling in his motivations a rogue AI villain. He talks a lot about purpose, and how he wants to get revenge for having his taken away, but in M1 his main motivation was escaping that purpose. Though at least I guess his actions are quite interesting, even if he is retconed himself: having lost purpose, he is lost himself, thus not being able to do anything else but hyperjokerfied nihilistic destruction. I don't really get the point of Smith being Neo's evil twin however. Also in the end Smith is just a mcguffin: he (and more specifically his destruction) is just a bargaining chip for Neo to offer the Architect in exchange for ending the war. <br/>Don't have much on Architect. For what he was he was written well and was pretty good character. However I think his counterpart of the Oracle is more interesting. I really like her position of being the one who tries to break the balance. It is quite clear Matrix is a stagnant and not too good of a system. It seems the Architect maintains it as a path of least resistance: he mentions to Neo that in case it fails he has plan B, yet would rather stick to this. Thus from a progressive Marxist perspective I do like Oracle's motivations. <br/>In the end I'd argue that Matrix did have a pretty good resolution. Oracle succeeds, the war ends and the wheel of history once again moves forward, breaking the cycle of the One. Sure it could have been more explained what really happens, but is that necessary? So here is how I see the world moving forward: peace is achieved between the machines and humans (Architect seems to be respectful of his deal with Neo and will likely honor it), with both civilizations learning to coexist and eventually rebuild. Machines have to use their plan B, whatever it would be, to find a new source of power, while the sleepers slowly awaken out of the Matrix (it is presumable that at the point the movie happens if the Machines don't crush Zion the awakening would rise exponentially: one council member says they rescued more than combined in last few years and the Architect alluded that the system destabilizes around the time the One shows up). Finally I'd imagine the Matrix becomes a machine world, basically the place where they truly live while only acquiring energy from the real world. <br/>I guess I might have missed some things but if so I'll try to post more if I remember. Final thoughts then I guess. I was going in expecting that I will walk away with the opinion that M2 and M3 shouldn't have been made, but no, I kind of enjoyed them. Sure they were cheesy as fuck at times and maybe relied too much on ebin action scenes while losing the tightness M1 had (I'd argue the bit where they fuck about in Zion, train-driver sub-program and the hangar battle could have been cut a bit, but hey, can't really hate on gangster looking mechs who shoot their 40k looking bolters sideways at an angry swarm of wasps). Also I did like the end and didn't really find flaws with it that are too pronounced. I guess that there were some plot-holes, like why does Merovingian, a seemingly rogue element, exists, why did non-Smith agents tried to kill keymaster even if it would fuck up the prophecy (I guess he's an exile, but still, Architect should have made sure he'd live) or why did Neo couldn't break the program rules the Train Master had but could fuck as much as he wanted with the Matrix as a whole or with Smiths world at the end. Yet I don't believe plotholes matter too much if they are minor, and in the end I will say that the entire Matrix trilogy is net-positive. <br/><span class="spoiler">w h y d i d y o u k i l l T a n k</span>
<a onclick="highlightReply('3400', event);" href="/hobby/res/2278.html#3400">>>3400</a><br/><a onclick="highlightReply('3403', event);" href="/hobby/res/2278.html#3403">>>3403</a><br/><a onclick="highlightReply('3406', event);" href="/hobby/res/2278.html#3406">>>3406</a><br/><a href="https://web.archive.org/web/20120401022017/http://gpw.tellur.ru/page.html?r=books&s=beevor" rel="nofollow" target="_blank">https://web.archive.org/web/20120401022017/http://gpw.tellur.ru/page.html?r=books&s=beevor</a><br/>Using Google translate:<br/><span class="quote">>With the entry of the Red Army into the territory of the aggressor countries, extraordinary measures were taken against atrocities against civilians. On January 19, 1945, Stalin signed an order that demanded that no rude treatment of the local population be allowed. He was brought to every soldier. In development of this order, orders of the Military Councils of the fronts, army commanders, division commanders and other formations followed. The order of the Military Council of the 2nd Belorussian Front, signed by Marshal K. Rokossovsky, ordered looters and rapists to be shot at the crime scene.</span><br/><br/>More links:<br/><a href="https://web.archive.org/web/20140530214602/http://svpressa.ru/war/article/8271/" rel="nofollow" target="_blank">https://web.archive.org/web/20140530214602/http://svpressa.ru/war/article/8271/</a><br/><a href="http://actualhistory.ru/51" rel="nofollow" target="_blank">http://actualhistory.ru/51</a><br/><br/>I can't find source on pic attached but it's been circulating online <a onclick="highlightReply('3922', event);" href="/hobby/res/2278.html#3922">>>3922</a><br/>Okay, to be fair that number is just based on one article about a book I just read, but, it was a lot anyway.<br/><br/>Post war Germany had been utterly destroyed by the war, both from the Soviet and Allied advances and from Hitler ordering that infrastructure be destroyed to leave the Soviets nothing left to capture in a similar way to what the Soviets did in 1942/3. Hitler basically was despondent by the end of the war and took the attitude that the German people had failed him, and so they deserved the suffering that would befall them - he did little to nothing to try to shield civilians from death either during the invasion or after the war. By the time of the surrender of Germany, normal order had collapsed, with power, water, food, heating supply systems etc destroyed across most of the country. And it's safe to say the full realisation of the scale and scope of the holocaust didn't help the allies to sympathise with the huge human suffering of the immediate postwar period.<br/><br/>Add to that the fact that German settlers were forcibily thrown out of the territory the Nazis had conquered, and oftentimes they were victims of reprisal violence from local militias on the way out.<br/><br/><a onclick="highlightReply('3923', event);" href="/hobby/res/2278.html#3923">>>3923</a><br/>Oh yeah, I agree, it's very interesting to see what modern society is like when everything has collapsed and been destroyed, how quickly it reverts back to barbarism. I would also recommend Downfall if you haven't seen that, paints a very grim picture of Berlin as the SS officers are basically the highest authority and rule over their petty fiefdoms in the city lashing out against anyone who they pleased before the end of the war.
I have really come to appreciate DVDs. Ever since the libraries have shut down, I haven't been watching as many films. I recently tried to stream Rashomon on my library's streaming service and it just made me really depressed. There was a bunch of issues that bothered me like DRM preventing me from playing it on a game console browser, the image contrast being off, the captions being in an unpleasant font and position and the television not displaying my computer very well. I honestly just gave up on it.<br/> <br/>It made me realize that I hate streaming on every platform including shit like Netflix. It is hard for me to get in the mood for streaming something.<br/><br/>There is something about putting a hold on a DVD at the library (or, in the past, renting it) and having the anticipation of waiting for it to be available and going somewhere to physically pick it up. There is something about having a tangible object, putting it in my PS3 and having it just work. Browsing through a catalog and clicking a button takes a lot of the experience out of viewing a film for me, even excluding any technical or aesthetic issues I might take with the service. Maybe borrowing DVDs better replicates the experience of going to a nice theatre with the act of travelling to a place, exchanging for a physical item like a ticket and being able to build that anticipation for a piece of art. Even torrenting does a better job than streaming with the process of finding a link, waiting a bit for it to download and then doing whatever one might need to get it playing on their television. This move towards the convenience of streaming has killed the magic of film for me. It has stripped the away the anticipation of waiting and the communal aspect of a library, rental shop, theatre or even a torrent. <br/><br/>Thank you for reading my boomer tier rant. /blog
Watched Guns Akimbo with Daniel Radcliffe recently and really enjoyed it. It is slightly parodical and well filmed; a modern day Running Man. It also unsubtly points out the utter sociopathic go-nowhere existences of modern people and their unashamed lust for spectacles of violence and drama as a result.<br/><br/><a href="
https://en.wikipedia.org/wiki/Guns_Akimbo" rel="nofollow" target="_blank">
https://en.wikipedia.org/wiki/Guns_Akimbo</a><br/><a href="
https://fmovies.wtf/film/guns-akimbo.2pz2q" rel="nofollow" target="_blank">
https://fmovies.wtf/film/guns-akimbo.2pz2q</a><br/><br/>Honestly when I first saw the photos of the production I thought it was a twitter post about how Daniel Radcliffe had lost his marbles and gone on a post-Harry Potter rampage, pic 2 related
I'm gonna rewatch this film soon for like the tenth time. I love how it shows Che as just a regular ass dude, rather than the canonized revolutionary martyr that we often see him as today. <br/>I really like this scene<br/><a href="
https://www.youtube.com/watch?v=3u64vWkniKA" rel="nofollow" target="_blank">
https://www.youtube.com/watch?v=3u64vWkniKA</a><br/>where Ernesto and Alberto are confronted with the privilege they enjoy by two communists on the run. I can really imagine how the journey portrayed in this film can change one's entire outlook on the world.<br/>Just an all around fantastic /leftyfilm/.
Недавно я смотрел обзор на фильм 'Завод' от Быкого, и там препомнили работы Балабаного. От туда я вспомнил "Груз 200", пративнейший фильм и продукт своего времени. Многий кино-обзоршики, дейтили и даже 'народ' в Россий хвалят этот фильм за то чего он показывает "правду" в её 'идеи'. Лично я ненавижу это мразотное кино; после просмотра "Груз 200" мне стало физически тошно. Было противно и обидно видеть пустой фильм о пустой жизни пустых людей. "Груз 200" это анти-советский гротеск как *"Чистилище" Невзорова, 10 лет ранние; враньё и искажение времени и нравов. Копипаста Фолкнера, без указания его в сценарии, приврошёную в бредовую агитку в стиле "совок-кошмар". К примеру дата 1984г. это открыто ссылка на Орвелла и его дистопию. <br/><br/>Любители обясняют вот как:<br/><em>"Скрытый" смысл фильма. Мать "мента" - старая погибающая форма СССР; "Мент", который не дает окончательно спиться матери - исполнительная власть погибающего государства; Молодая девушка, Анжелика - изнасилованная алкоголем (бутылкой) молодая Россия. Будущая Россия, (сам Балабанов это сказал актрисе на Кинотавре, "А ты знаешь что ты сыграла Россию?"; Погибший парень в Афгане - "мертвая" армия, которой так грозилась Анжелика (Россия). Образ восставшего народа - в конце когда жена расстрелянного самогонщика (образ простого народа, грезящим о светлом будущем, но ничего для этого не делающим) оставила ее с трупами - образ 90х, где Россия осталась с мертвой армией и убитым госаппаратом, а разваленный СССР (мать мента) абстрагировался от происходящего в соседней комнате (Аналогия с неуважаемой госпожой Савицкой - сидящей у Гордона в программе с двумя медалями ГСС. Она прям идеально присутствует в передаче как собирательный образ Советской Коммунистки слепо верующей в то, что в СССР все было хорошо). Ну и в финале сцена с двумя парнями это образ олигархов и разворовывания страны (Задел на то, что Россию ожидает после распада СССР). Родители, каждого из героев, символизируют предыдущие поколения кажlого из классов населения (Элиты, Быдла, Интелегенции)</em><br/><a href="
https://yusev-alexei.livejournal.com/15802.html" rel="nofollow" target="_blank">
https://yusev-alexei.livejournal.com/15802.html</a> <br/><br/>Это просто хуета пзевдо-интеллегентов и разглядеть в этой картине 'правдивый' обшей образ СССР по-моему способны только люди с нездоровой фантазией, или анти-совечики.Точно такие же 'наблюдение' можно привязать к любой чернухе как Левияфан да и не только. Но почему-то то кино не любят… на верно потому что не достаточно графена. Да и что за образы? Сыграла Россию тут блять. Это уместно в 1994, но не 1984. Да и если я вижу по другому? Мнение Балабонава это всего лишь мнение которое ни есть истина. Фильм ужасная смесь психбольного восприятия и шизиков, если от этого фильма увеличества колличество маньяков и убийств реальных, кому вы потом будете рассказыват об искусстве? Высоцкий говорил, что после показа "Места встречи" уровень преступности в стране снизился. Так вот - после показа "Груз 200" преступность могло только взлететь. Чему этот фильм дал понять или научил? Что люди бывают уродами или что психи прячутса в социуме? Спасибо это и так любой взрослый знает. Что 80-90ии это был ужас? И так все знают кроме детей, а такое детям не покажешь. Как мы видем с Братом, Улица Разбитых Фонарей и другим кино, можно донести ужас и сатиру без такого разврата. Говорят, что картины художника - это его внутренний мир. Вот такой и есть внутренний образ Балабанова - злость, мясо и изврашение что напоменают Илью Деревянко и его разчленёнку. С точки зрения гиперреализма маниячелы какогото деревенского, фильм хорош, но это не делает его художеством. Кроме как через чернуху у нас умные мысли уже никак не показать? По другому не доходит до любителей правда-матушка? "Собачье сердце" или "Каждому Свой Ад (1977)" невеселие, есть о чем подумать. Но что-то я не помню, чтобы для передачи проблем того времени или трагедий ситуаций кого-то там с подробностями убивали, насиловали или калечили. Да блин не давный сериал "Вавилон Берлин" велеколепно показывает ужас Веймарской Германий, но без такой пошлости как Балабанов. <br/><br/>Обясняют советские люди <a href="
https://www.youtube.com/watch?v=ZFfqxRZRicI" rel="nofollow" target="_blank">
https://www.youtube.com/watch?v=ZFfqxRZRicI</a> <br/> 18:15 - 19:06 Не соответсвует реалиям большой частью советского обшество <br/> 28:32 - 29:05 Плохо сыграно потому что образы просто одно-типное быдло играют чяше всего <br/> 30:30 - 31:21 Картина плоская как фотография потому что персонажи плоский <br/> 21:50 - 22:42 Не чего оно не улучшает <br/>Юрий Лоза, кого песня Плот играет в фильме хорошо сказал ещё, <br/><em>"Когда мне позвонил Балабанов, то сказал, что «хочет снять фильм о том времени». Я дал свою песню, а он снял фильм про маньяка. Такого придурка можно найти в любом времени и любой стране, ведь количество шизоидов неизменно в процентном отношении во все времена и во всем мире"</em><br/><a href="
https://kino.rambler.ru/other/41648133-yuriy-loza-esli-by-ya-znal-chto-zadumal-balabanov-ne-otdal-by-plot/?updated" rel="nofollow" target="_blank">
https://kino.rambler.ru/other/41648133-yuriy-loza-esli-by-ya-znal-chto-zadumal-balabanov-ne-otdal-by-plot/?updated</a> <br/><a href="
https://archive.is/CpcW4" rel="nofollow" target="_blank">
https://archive.is/CpcW4</a><br/><br/><em>Критик Наталья Сиривля отмечала: хотя фильм позиционировался как основанный на реальных событиях, многие его сюжетные ходы повторяют фабулу романа Уильяма Фолкнера «Святилище»</em><br/><a href="
https://magazines.gorky.media/novyi_mi/2007/9/kinoobozrenie-natali-sirivli-35.html" rel="nofollow" target="_blank">
https://magazines.gorky.media/novyi_mi/2007/9/kinoobozrenie-natali-sirivli-35.html</a><br/><a href="
https://archive.vn/ehalD" rel="nofollow" target="_blank">
https://archive.vn/ehalD</a><br/><br/><em>Помимо сказанного двумя комментариями выше, добавлю: отдельно сцены до приезда жениха из Афгана вроде бы воспринимаются как нечто достоверное, но и тогда - трудно представить, чтобы вот так вот разом сошлись все звёзды и воплотился именно такой сценарий. Кроме того, не совсем понятно, что он хотел сказать - условно, показал диарею, но не показал способы лечения. В этом смысле фильм - сюрреалистская безделица. Отдельный счёт можно выставить и за Алексея Полуяна - ведь после этой роли узнававшие его зрители били на улице. То есть за психопатию Балабанова расплачивался игравший у него актёр, хотя играть такого персонажа, в общем-то, надо иметь некоторое мужество.</em><br/><br/>Какой можно зделать вывод<br/>1) Кино это, даже в вакууме некчёму. Оно просто показывает ужас, но не фантастический или интересный а просто обыденость; человеческие зверства в какой то дыре: то чего можно найти в любой стране, и в любое время. <br/>2) Это кино НЕ МОЖЕТ быть воспринять в вакууме, так как он по сюжету и деталям связано с (карикатурой) СССР и преподносит символику об этом времени. К тому же Балабанов сам обявил что "Я не про Москву снимаю или про
Петербург, это страшная, Советская(!!!!) провинцая". <br/><br/>*<a href="https://www.youtube.com/watch?v=76hQdfjtkoU" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=76hQdfjtkoU</a><br/>Иронично что в 90ие Питер был таким страшным местом, что это смешно слышать такий фразы. Манияки и душегубы? Там люди каннибализмом занимались, а сегодняшние олигархи рулили открытые крименальные банды уркаганов и мафиози, грабя народ и управляли полиций. Такого в СССР с времён 20их и 40их не было. Даже в Казахастане и Узбекистане такого не было в Микро-районах. И какой на хер Питер? в 1984 был Ленинград!.
Watched this like last week<br/><br/><a href="
https://www.youtube.com/watch?v=xw1vQgVaYNQ" rel="nofollow" target="_blank">
https://www.youtube.com/watch?v=xw1vQgVaYNQ</a> <br/><br/>It was an alright popcorn flick but the plot didn't make any sense. It was about an evil corporation that was selling pills that gave super powers to people. Their distro network was cartels and drug dealers. The evil corporation wanted to eventually sell them at cost so everyone could have super powers? It was like syndrom's ideology but even more ass backwards because all they did was make super drug cartels.
Best horror film I've seen in years <br/><a href="
https://youtu.be/aO4IktVcxyY" rel="nofollow" target="_blank">
https://youtu.be/aO4IktVcxyY</a><br/>10/10 Fuck this shit
I recently watched a 3 hour long german movie "Never Look Away" (2018) and it was really fucking amazing - it's about a german artist who is born in nazi Germany, then goes to school in east Germany, and graduates in west Germany. I am usually really picky with my movies, but I assure you this movie is fucking amazing. The reason it's so long isn't because it's super complex, but rather that this movie likes to take time to build up scenes, which I personally really enjoyed - lots of good camera work in there.<br/><br/><a href="
https://www.rottentomatoes.com/m/never_look_away" rel="nofollow" target="_blank">
https://www.rottentomatoes.com/m/never_look_away</a><br/><br/>A couple of films that have been on my mind lately:<br/>Cure by Kiyoshi Kurosawa. Brilliant use of atmosphere to build dread, both through how it uses the settings of each of the murders (it begins as a procedural about murders with the hallmarks of a serial killer, except that each is done by a different person who claims to not remember doing it) and through its deteriorating recurring settings. I discovered it a few years ago I think, and it might be my all time favorite now.<br/><br/>Christ Stopped at Eboli by Francesco Rosi. I saw this one last year when the newly restored and uncut version was released in the US. I'm thinking about it because I'm mad about that version not getting a bluray or streaming release. It's a 4-hour Italian epic about a city doctor who gets sent to some far flung, backwards village by Mussolini's government because he's been hanging out with his communist friends too much. It's a fascinating and very comfy (even if occasionally horrifying) depiction of what life was like at that time, and it gives a very good diagnosis of how bourgeois small-town governments and elites form their self-serving aristocracy that holds the common people in contempt. Unfortunately like I mentioned it's hard to find but if a screening happens near you, I highly recommend dropping everything to see it.
Just watched Love and Monsters and it was great. For a low-budget cheesy monster movie, it has good plot, fun characters, fairly good CGI and practical effects and a nice message. The monster designs are creative and really carry across the whole "mutant" idea, and reminds me of some other works of science fiction with similar premises. It's a shame it didn't go to theaters but what can you do. <br/>I won't go into the details of the good parts yet, because it's a new movie and I don't wanna spoil it for anyone until after they've had a chance to watch it. <br/><br/>Paramount's own trailer description is the best nonspoiler summary, <br/><em>Seven years after the Monsterpocalypse, Joel Dawson (Dylan O’Brien), along with the rest of humanity, has been living underground ever since giant creatures took control of the land. After reconnecting over radio with his high school girlfriend Aimee (Jessica Henwick), who is now 80 miles away at a coastal colony, Joel begins to fall for her again. As Joel realizes that there’s nothing left for him underground, he decides against all logic to venture out to Aimee, despite the dangerous monsters that stand in his way.</em><br/><br/>I enjoyed it the same way I enjoyed Pacific Rim or Zombieland and there's a lot of good stuff to find. It's available on fmovies.wtf (Have uBlock Origin and Popupblockers) and is plenty of fun to watch.
From what I can piece together of the film and book (because I can't make myself watch/read more than a few portions of it without feeling disturbed) is that much of the story feels similar to the rather disturbing Lolita - which was meant to be such - and the authors own unsubtle comments about "attraction" to 12 year olds, feels confirmative of this fact. If this film had featured an older man seducing a teen girl, but everything else was the same, people would be going batshit about it being 'grooming'. <br/><br/>The acting and cinematography is good in some places, but that doesn't make the film good. The female characters have less depth than fanservice girls from 80s action movies, the peach scene was there for pointless shock factor. There is no stakes or coherence in the story, it's not an award winning movie, it's a romantic soap-opera movie on the same level as 50 Shades of Gray - I guess you could call it 50 Shades of Gay, but that already exists. <br/><br/>The book is a "slowburn" that is supposed to be hyperdetailed and stuff because it's "first person" or something, but it frankly comes off as someone who thinks writing is "more words and details, more more more!" - i.e. word-salad. It just feels boring and contrived, and the content itself is ill, like I'm reading the perverted delusions of a drug addict. I didn't realize gay people liked being represented as either bumbling exploitable lunatics or as manipulative child-predators. It's a normalization of young, gay men seeking older men to feel valuable - and that is a genuine expectation in gay communities. <br/>TL;DR: This shitty flick is a pedophilic art nightmare with weak dialogue and nightmarish romance scenes.<br/><br/>While on the topic; I bring up Pixar's latest film, a film about friendship - Luca. The similarities are very superficial - an Italian seaside town and two male characters can be found in many films that are not gay-themed, so the constant comparisons, and the claims by 'activists' who say that regardless of authorial intent, Luca has to be gay, really belittles that wonderful Pixar film, pic related.
<a onclick="highlightReply('18949', event);" href="/hobby/res/2278.html#18949">>>18949</a><br/><span class="quote">>McNamara is still sketchy as hell like a typical American by avoiding talking about his work in the World Bank, and flat out lying through his teeth concerning the Gulf of Tonkin incident</span><br/>I didn't really care for that segment either. He seemed really antsy when discussing Vietnam in general, and flat out refused to answer some of Errol Morris' questions. I was more interested in McNamera's time during WW2 w/ Curtis LeMay re: Firebombing of Tokyo, etc. <br/><span class="quote">>As for Rohwedder I actually think the West Germany inside-job conspiracy makes the most sense.</span><br/>The docuseries actually sorta touches on this with the suspicious death of Wolfgang Grams! Evidence of his hair was allegedly found at the crime scene, but this wasn't confirmed until many years after his apparent suicide at Bad Kleinen station. Mention of a West German 'deep state' apparatus was actually uttered at one point. <br/><span class="quote">>The ex-RAF members themselves noted that the message left at the scene was somewhat incoherent/strange and didn't make sense. </span><br/>What ex-RAF members they interviewed would disagree that it was incoherent. The letter's analysis of Rohwedder was lucid, but never indicated a motive for anything beyond the assassination itself. Which is what raised questions on the legitimacy or capabilities of the so-called 'third generation' RAF to begin with. <br/><span class="quote">>The protestors in East Germany were getting increasingly agitated and creating a martyr out of Rohwedder did stop the protests. </span><br/>Yeah, it's kind of a shame such a movement died with Rohwedder. If it's any consolation, the docuseries has high quality footage of the protests in question, as well as archival footage of life in the GDR. It dropped onto Netflix in late 2020; not many people have watched it yet afaik.<br/><span class="quote">>False flag killings in order to destroy populist movements have been carried out before.</span><br/>I'm an American who lives in the Midwest, so when it comes to 'false flag killings' I immediately think of the numerous apparent suicides of BLM organizers in St Louis, or the more recent police killing of Winston Boogie Smith in Minneapolis.
>>186>In Mexico, where the film is known as Los Héroes de Mesa Verde, it was refused classification and effectively banned until 1979 because it was considered offensive to the Mexican people and the RevolutionPerhaps
>>177 (cheke'd) is right
>>312>>314watched it, was pretty good, but indeed was amazed when I went to wikipedia and it apparently was even worse than depicted
also watched trumbo, was great (the baseball bat scene is absolutely hilarious), although a bit over dramatic with the end speech and not that radical
surprising you can still do such movies in hollywood
>>313first matrix was amazing on all front, other two were just nice actions movies
can still do good, but seeing john wick as neo feel a bit weird
waiting for dune too
>>3> Did you think the metaphor was weak then?What metaphor?
>>1As far as parasite, I don't really think killing off the daughter really had that much emotional impact for me. It seemed more like "oh we've reached the end of the movie, let's just add in some consequences randomly." I guess I wanted it to work out for both of the kids. Fine make it a tradegdy, but at least set up the downfall more. They could've really done more with the conflict between the former maid they pushed out and the family. It was just a sudden discovery for the maid, and then it became some kind of murder-thriller. Also the father's decision to randomly murder the boss off of one insult felt shoehorned as well.
>>345I found out about it through Saberspark
>2nd Queen's Corgi moviethere was a first?
Finally watched Inherent Vice.
It was pretty good. I had listened to a bunch of podcasts like TrueAnon, Programmed to Chill, Subliminal Jihad, and especially Death is Just Around the Corner that discuss Pynchon and basically domestic gladio.
Trillbilly's just had Dimitri and Jimmy Falon Gong on
https://soundcloud.com/user-972848621-463073718/year-zero-5-uncanny-alley-911-at-the-bleeding-edge-feat-jimmy-falun-gong-dimitriand they mentioned the Citations Needed episode on the CIA and writer workshops in the 60s that directed people to write about feelings instead of material relationships
https://soundcloud.com/citationsneeded/ep-144-how-the-cold-war-shaped-first-person-journalism-and-literary-conventionsand now I'm reading reviews of Inherent Vice that say its confusing and to not pay attention to the plot because the movie is an experience, and with each review I get increasingly more angry. A bunch of them are even gushing 5 star reviews about how "woah psychedelic bro" it made them feel and how hilariously funny it is while comparing it to the Big Lebowski.
Everything that people tell Doc turns out to be true. The movie/book is explicitly about the government trafficking heroin and vertical integration with drug cartels, real estate, police, doctors, cults, informants etc directly for anti-communist purposes to crush the growing class consciousness of the counter culture and the paranoia is completely real and justified. People are arguing over whether or not Doc is an unreliable narrator or if Sortilege is a real person, and some retards think the Golden Fang is a "metaphor" for capitalism. Its not a metaphor. The director has stated as much in interviews, and worked directly with Pynchon. Its not a fucking puzzle!
Its like people are intentionally misinterpreting it as just a pothead fever dream because they don't know or don't want to admit that it is basically a documentary.
>>339Movies meant for kids really get the tone and feel down a lot of the time, and the actors casted for the MC usually has a great look, i think. Emma for Nancy Drew, Diary of a wimpy kid casting, Harry Potter etc. Also I should watch Nany Drew, I remember seeing the ads as a kid
>>355>I still have to see>>Taxi DriverIt's time anon, the movie is amazing.
>>361The two guys you mentioned produced literal B-movies marketed to a Western audience as orientalist pop art. I am just tired of watching Asian movies including dialogs that are conducted at a snail's pace riddled with exposition that leaves you like "duh." There is a reason as to why they are seldom dubbed, because it would look ridiculously infantile in English. I'd rather watch a North Korean corny romance movie than South Korean and Japanese highly appraised movies, it's honestly more authentic.
My point is that Asian cinema is completely overrated. There are a few gems, sure, but I am done with watching this shit anymore. Isn't it funny how Bollywood never got the same treatment and is widely regarded as trash in the West?
Excuse me for my atrocious writing.
Just watched it, really good movie. It's very straightforward, so there isn't much character development, though i guess the movie itself is more concerned with the telling of the story through the historical events, which makes sense given its length, and it does so very well. However, i really feel like showing the motorcycle trips and Che's presence at the Guatemalan coup – even if briefly – would've helped better explain his motivations to the wider audience, as he just seems constantly stern throughout the movie (maybe this was done to aggrandize the man? Or maybe that's how he acted after those events irl? I don't know. At least we get to see multiple aspects of his character in regards to the revolution, and the way he handled himself and others).
Despite my light criticism, the movie is still very enjoyable and i blazed through it. The evolution of events, as well as the slightly non-linear storytelling, coupled with a cinematography that has really stuck with me for some reason, make it a great piece.
Also, the dude that played Fidel was on fucking point. From the hand gestures, to the accent, everything about him just felt right.
Now off to watch the second part.
>>1Finished "1921" yesterday, a movie that gives a general overview of the founding of the Chinese Communist Party, interesting, but not really a deep story or characters, but great material if you want to learn about the original founders.
You will see a young Mao Zedong and a teenage version of comrade Deng Xiaoping, learn more about the women in the movement (played by a gorgeous female cast) and beautiful scenery of Chinese landscape, 20th century cities, props, houses, clothing, and other visuals.
>>364I think motorcycle diaries came out a bit before (and was pretty successful afaik), so they prolly felt that part of the story was already told
>>362>My point is that Asian cinema is completely overrated. There are a few gems, sure, but I am done with watching this shit anymore. mate did you just discover that most produced entertainment is garbage ?
>>366I remember vividly "le salaire de la peur" (another adaptation of the same novel, although an earlier one)
did you see it ? how do you think it compares ? would it be worth to watch both ?
>>362>produced literal B-movies marketed to a Western audience as orientalist pop art.<Kurosawa Wrong. They're rated as B-Movies in the West because it's a foreign production lacking the doo-dads of Hollywood's movies.
>snails pace It's not slow, most people today just have shitty-attention spans and can't watch movie or read literature that doesn't constantly have dynamic action.
>Dialogue [is obvious] To you as the audience, not necessarily to the characters, or not necessarily as compartmentalized as a third-person understanding.
>Asian cinema is completely overrated It isn't, Their movies and TV-shows are considered mostly schlock for decades and the popularity only rose recently as Netflix and anime-culture has increased their presence outside Asia.
>a reason as to why they are seldom dubbed, because it would look ridiculously infantile in English No, not really. You really need to see the original Spartacus or Ben-Hur films.
>a North Korean corny romance movie than South Korean and Japanese highly appraised moviesThat's called personal taste.
>more Authentic<TFW Kurosawa made films specifically depicting the struggles and contradictions in Japanese society of the past and present. You definitely have a small attention span.
Watched V/H/S 94. It was decent for fans of the genre. While it wasn't as good as V/H/S and V/H/S 2, it held up to the standard more or less. The focus here is most definitely more on the gore than on the jump scares/tension which was a bit disappointing for me as I am not much into gore.
The wrap-around story was trash, but I didn't expect it to be any different. They should just ditch it and just show the segments, but that's just me. First segment was good, I liked it, although I didn't necessarily needed the crazy part in the end, which took away the humanity from the homeless, although the last scene was funny. Second segment was my favorite one, unlike the others it relied a lot more on tension and nerve-wrecking atmosphere. The ending was very typical, a "reveal" would have been a bit better. Third one definitely had the biggest budget and looked really impressive - a completely crazy mix between DOOM-like gore and aesthetics, body horror and existential nightmares that goes from making you feel disturbed to making you feel like in a video game. Not really my favorite either, but fans of the genre will love it. Last segment didn't really caught me, although the set-up was cool and the story kept you guessing until the end, it had some political references sprinkled which what everyone does these days after the January 6th Capitol Riots, it's a bit too on the nose for my taste. But overall this might be the weakest segment.
tl/dr: Decent, scary and fun ride, if you don't have anything to watch with your friends on Halloween, this might do the trick.
>>374Kinogo.la
fmovies.wtf
kissasian.sh
>>377Thanks to you as well.
>>378>Do yourself a favor and learn how to torrentHow do i go about learning it? I spent my entire childhood spooked that torrents and tor were the 'deep webz' and that they would get my computer filled with virus and l33t h4ck3rs would steal all my info.
>>380lmao same
I would recommend
1.download a torrenting client like bitorrent and purchase a vpn if you have the money and don't want to be bothered by network throttling/angry letters (depending on what country you live in)
2.go to a reputable website like the piratebay or rarbg and find a torrent you want with good reviews and comments
3.download, scan with antivirus, and install
4.enjoy!
>>380>How do i go about learning it?Download a lightweight client like qBittorrent or Transmission and torrent away, lol.
>I spent my entire childhood spooked that torrents and tor were the 'deep webz' and that they would get my computer filled with virus and l33t h4ck3rs would steal all my info.You're at more risk pirating movies through shady direct download links or getting phished through some ad-ridden streaming site (that often throws their watermarks on release groups' files anyway). BitTorrent is just a peer-to-peer file sharing protocol; every time you download a .torrent file and open it up in a client it gives you a list of everything contained in its folder. Think of it as a preview of what you're about to download; it's very easy to tell what is and isn't legitimate—like picking out bread at the grocery store. If you find it satisfactory and end up choosing to download, your client will then attempt to connect to whichever peers are currently seeding it; and if enough connections are made then your copy will finish downloading in however long it takes. This whole process is decentralized so the more seeders a torrent has the faster your download will be in general. Most media piracy websites also provide magnet links as a more convenient alternative; they're basically just the raw hashes of the torrent files themselves—click or copy and paste into your client, boom you get the same file list. This method is more dependent on torrents having a healthy amount of seeders though; because you didn't actually download the .torrent file, your client will automatically try to connect with peers in order to obtain the file list. If you're like me who is always searching for films from old release groups or otherwise obscure media, this can be a little frustrating. You will be humbled by the lone seeders in Siberia, etc etc.
>>381VPNs aren't really necessary unless you're looking for media that came out within the last year or two, and that's only on public trackers like thepiratebay, rarbg, 1337x, etc (or search engines like btdig). The more popular the media, the more likely you'll be flagged. Copyright trolls are inconsistent as fuck, though; my first notice came after pirating an episode of Amazon's Waco miniseries in 2019—and I'd been torrenting for over 10 years up until that point! Getting into private trackers, even when your speeds are dogshit, can really help you in the longrun at that point. It's easy to understand why some people wouldn't want to pay to pirate—at least at first.
>>381>>382Thanks again, you beautiful lads.
>purchase a vpn if you have the money and don't want to be bothered by network throttling/angry letters (depending on what country you live in)I have been using the that one comes with fucking opera gx. Would you suggest something more robust? I'm definitively on board with using vpn's (the paranoia never goes away), but which?
>>364>Now off to watch the second part.Well, that was pretty depressing.
>>369>I think motorcycle diaries came out a bit before (and was pretty successful afaik), so they prolly felt that part of the story was already toldVery well, i'll watch it as prequel then.
>>362>Kurosawa >b movies only for westernersAre we talking about the same person?
Kurosawa almost killed himself because when the Japanese didn’t like one of his films.
Vid related
basically the American Der Untergang
https://rarbg.to/torrents.php?imdb=tt0113987 (adblocker warning)
>>390Oliver Stone's original JFK
https://en.wikipedia.org/wiki/JFK_(film) was made in 1991
This film is an update on new information that was declassified since then.
>>393They are quite cool.
Its crazy that a sitting leader of a superpower is willing to indulge in all of these questions. American politicians would must give politician answers for the voters or whatever.
>>395i remember there was a documentary on mubi that was pretty liberal but it had this bit where the director, some journalist, showed unreleased footage of him interviewing putin in a limo and it showed a lot of his political thought process in his early years of government. p interesting
here it is
https://mubi.com/films/putin-s-witnesses >>391>>389I'm watching the original 1991 film before the new film, and I can't believe this was actually released back then…
I bet the collapse of the Soviet Union contributed to the release as a form of "alt history", but damn. This covers every basis I can think of…
>>399watched it, tapped out 2/3 of the way in
it's just sooo boring and dense
>>400The ending where he's doing the whole lawyer scene, the entire conspiracy gets summed up.
Arguably, the entire film besides the last scene in the court house is unnecessary if you're already familiar with the whole conspiracy theory.
>>1Watched Apocalypse Now recently. I thought the Blacks die before Whites shtick was more of an horror movie trope.
On the other hand, you can consider Apocalypse Now some kind of HORROR movie
>>388It was
cool btw, I give it a 7/10
There were lots of
awesome, fun scenes
I liked the podcast kid, he was funny
>>408It is based on this guy
https://en.wikipedia.org/wiki/K._ChandruThe language is Tamil, but you will find subs in english easily on the streaming service sites or with the leet speaking pirate.
>>417body horror, cosmic horror, demons
i remember something about rituals or something like a girl is posesesed or attacked by an evil entity or something
i remember mirrors with all that hot pink colours
>>419nah
i don't remember it being a familiar name
something demon name related and it had a white actress like anna taylor joy and the name i think was related to that director who always worked with ryan gosling
nicholaus ren or something
HOLY SHIT I FOUND IT WHILE TYPING THIS POST
is neon demon worth watching?
>>1So I just watched this crazy Indian movie about a dude who starts collective farming in his small indian village
A whole lotta shit happens, If lenin just had bollywood fighting plot armour we woulda had communism by now
In the ending the business guy literally gets torn by limbs and the blood splatters on his apple watch for some heavy symbolism
The movie ends with the director literally talking about Marx and his theories
Movie too deep for me, Whole lotta concepts
>>429I am assmad for paying money to the mouse for experiencing the nostalgia bait on big screen. Which is a shame since it was the only fun part in the movie, despite very tacked on. And I am only beating myself over it.
>>431Says a lot about MCU Spiderman movies that it took characters from Raini and Webb movies to make one emotionally invested in it, which also happens to be 3rd one.
>>428Good
Absolute garbage film
They listened to all the bitches whining about muh iron man about killed off marisa tomei
Worst spider man film
I'm sick of seeing spider man broke ass fuck depressed, It was the only reedeming thing about the MCU spidey to see him happy
>>428Does anybody remember when the first Spiderman movies with Toby Maguire came out and launched the superhero movie revival, that they were lauded like it's some fucking cinematic history? I remember critics completely losing their shit over something that is a bog-standard superhero movie.
My conspiracy is that reviews for Marvel and DC movies, but especially Marvel, are the most corrupted out of all. Like, all fucking critics lauded this Avengers dreck.
>>435magnet:?xt=urn:btih:d3cd1fc553dc56d6a3a7c5cac2f1f5608070e795&dn=%e9%95%bf%e6%b4%a5%e6%b9%96.%e6%97%a0%e6%b0%b4%e5%8d%b0%e5%9b%bd%e8%af%ad%e4%b8%ad%e6%96%87%e5%ad%97%e5%b9%95%e7%89%88.mp4
shitty camera rip but it has english subtitles and it's available
>>443just downloaded and scrolled through it
the first 20 minutes were basically cringy HBO Silicon Valley meets Robot Chicken self-reference jokes
then your usual "let's go to the dangerous place and save the other character, even if it means risking thousands of lives" subplot to make the action going
and the ending is the most capitalist realism liberal bullshit ever, almost Harry Potter tier:
> In the aftermath, Neo and Trinity return to face the Analyst, promising to reform the Matrix, and assuring him that he will face dire consequences should he try to seize control again.REFORM THE MATRIX!! OR ELSE!!!
>>452>cringy HBO Silicon Valleyyou dind't like that show?
also yeah it's kinda tiring how every thing is self referential nowadays
>>454Yeah, just watched it. I was put off at first by the smarmy meta references. But by the end I'm pretty happy with The Matrix 4 because it never stopped being meta, no compromises. The whole movie is taking the piss at itself, the industry and the , umm, mythology? around The Matrix. It's like an elaborate admonishment for what media and the fans have done with The Matrix (1999), in movie form. Like Jesus Fucking Christ, even the subtitle, "The Matrix :
Resurrections" is giving it up.
I'm surprised it got approved. I guess the story and the ending could be cajoled into neoliberal "end of history" or capitalism realism "social media divides us" harm-reduction narratives. But frankly, I feel like those things were put there with the same enthusiasm they'd put product placement and , in the rest of the context, it only highlights the message.
To me, the message of the movie is clear:
>"It was right the first time, you voracious idiot-pigs. Slobber on this trough of piss and prove me right."and slobber they did.
Welp, just saw Matrix 4 so I guess its time to follow up on these posts of mine:
>>36>>44Don't really know where to begin, so let me just ramble on what I can recall, let's call it a rumination. General thoughts are somewhat mixed, but in a weird way. Best description that hopped to my mind is that its a solidly a 9/10 or maybe even 9.5/10 sequel to Matrix 3, but which is also crossbread with a 3/10 Marvel film. Because I do think you have both the ideas and the story which made Matrix great, continued in both respectful and interesting further path, but then also it has a ton of crap around the sides of that slowing it down, and even bits of shit sticking on top of the story, which while not kill the movie, deffinetly make it feel less enjoyable and just simply less good. It completely lacks the tightness of the previous Matrixes (even if M2 and M3 did have some bits that stuck out as bad, it wasn't as noticable).
So I guess let's just go over the main flaws I had since I both got more to say on the narative side and I am more positive there. First - right off from the first fucking scene - Marvel dialogue. Like when Bug dropped on the agents and then went "oopsie ignore me XDDDD". Or "huck yuck, so u tellin' me infiltratin' da tower is the easy part xDDD". Yeah, shit like that, fucking get rid of it from my screen. Secondly, what's up with the action? It just feels wrong somehow, like it was all dulled out or something. The original lobby scene still btfo's anything in this movie despite its age. I guess this also leads into Neo's "superpowers". Why the fuck does the film fixate on bullet time, flying and bullet holding as the main thing Neo does? The whole point was that Neo was able to bend all the rules of the Matrix through the power of will, and those mentioned powers were just some of the most pronounced examples of him breaking them. Now its like he is some sort of RPG mage who specializes in telekenesis and flight but forgot to upgrade his chrono-magic resistance (like there really was no point for the Analist to have the time power, or have the time power break Neo, you just could have rewrote those scenes easily without it). Like ok, the explanation could be that he is weaker without Trinity which explains his lack of better powers or resistance to the Analist, but that doesn't mean he couldn't pull some more interesting tricks that are less powerful, just feels like there was no creativity spent on what he could do. And finally the biggest problem - fucking lousy plot writting that reminds you of some D grade Marvel thing where things just happen to push the plot forward or just to have an action scene, so for example: "Oh ok, so them finding Neo's Matrix module is in medias res", "Oh ok we just have a fight with the French for no reason", "Oh ok so Smith just shows up to save the day by fucking up the Analist… but doesn't kill him, despite killing him being his goal? And then he just fucks off? Ok". Around this you get a bunch of other problems forming, like how you don't really manage to get a good feel to care for Io simply because how quickly that part goes by, or how Morpheus doesn't really get any character development at all, because the film has fuck all clue what it is doing with its time, despite being 2 and a half hours long. So all in all it leaves you, the viewer, to pick up the pieces and rebuild what was once, at least I assume (maybe my future insights into the film are all bullshit and its just trash on purpose) good Matrix sequel yourself, and your success will only depend on your own good will towards either the franchise or your lack of anything better to do. I'll leave it up to you to guess which one is me.
So, here was the bad. Now the good. Well, not now. I will let it stew with me for the night and post the part on the story tomorrow if I'll be bothered to.
>>458>That people prefer the blue pill?No in that the original movie was self sufficient as a story and everything past it is this movie's blue pill. The plot is intentionally retreading the first movie while trolling/mocking the audience at every turn. It is the same story, with the same ending and the differences are meta mockery at the industry and the soyfacing fans who asked for more. The first movie built the story and Matrix 4 deviates only to rub it in the audience's noses why they are idiots for
Resurrecting this franchise.
>"Want more? Fuck you I did it right the first time. Have a shitty reheat, you uncritical cucksumers!" >>460You're implying that Reloaded and Revolutions weren't stories that the Wachowskis didn't want to tell. It feels to me that Reloaded and Revolutions was the creators having almost full creative control, moreso than the first Matrix. Some people didn't like the sequels which is to say that studio meddling or studio controlled films are what people "want". This is proven by Path of the One video game where there's a fourth wall break with both Wachowskis talk about the ending of Revolutions and all the themes and subtext of the ending rambling on and it ends with both Wachowskis "giving the people what they want" by throwing in a Smith Kaiju fight that's SUPER EPIC BRO because no one likes all this philosophical mumbo jumbo, they just wanted an epic battle and that's it.
So they were shit talking the haters of their sequels way back then. This movie was not much different compared to the sequels and the Wachowskis had a specific vision for what they intended with this franchise that's not limited to one action movie that dude bros liked cuz they was cool fight scenes and leather.
>>455I liked it, but that's not the mood I expect in the Matrix
agree with other anons that the first movie is all that needed to exist, Matrix sequels are like Madoka sequels – do not add anything and break the integrity of message the original had already delivered
>>468I liked that they drove the "human batteries" plotpoint completely into the ground
by making Neo/Trinity be magical supergenerators when edged. Great argument for gooningAnd the whole point about them being rebuilt/resurrected/cloned versions of the originals is great meta trolling too! "Haven't aged a day!" They say to the 57 year old Keanu Reeves. Which to be fair, the man does seem to dodge half of his years.
>But they also pulled a great-man theory with Neo being the oneI took it they were retconning the one as the intended artifact of the matrix with an even cringier "power of friendship" with a side of "female character gets abuse in place of character development and now she's a badass as plot compensation". But then again, it's not like Neo or any other character got any development at all either, and the movie pretty much redid the first Matrix>>460>The first movie built the story and Matrix 4 deviates only to rub it in the audience's noses why they are idiots for Resurrecting this franchise.It's actually really funny that they did that to the point of leaving the ending open in the exact same way. With two wildcards that know CHIM instead of just Neo, like they were aiming for a remake rather than a sequel but pussied out of not recasting Carrie-Anne Moss & Keanu Reeves. Because I doubt there will be any more drive to revisit this pile of compost which was once a dead horse. not him but torrents my brother
you need bittorrent client like
>>382 exelently explained
here is link… idk if i can post here directly
https://1337x.to/torrent/4996579/1921-2021-1080p-WEB-DL-H264-AAC-BBQDDQ/remember to seed (meaning sharing downloaded file with others)
>>477based
people were bitching about it so much
but i am only 1 hour in and it shows what kind of an insane world capitalism has constructed
i don't care how much of a lib adam mckay is
we should spread this movie for more people to watch to help shed and erode the sense of confidence people have in capitalist institutions
it's a long line of buffons all the way down and they're wasting our resources
>>477> But then again this movie is unintentionally about the failure of liberalismUhhh, unintentionally?
Because from your description it sounds like overthrowing the government and exterminating the rich to create a plan their profit motive won’t fuck up was the only actual solution even within the film.
The only way the film could have been better would of course be if humans somehow caused the asteroid to come to Earth, the real lib position is that capitalism is not directly causing ecological collapse
Anyway I hope as time shifts we will start to see genuinely communist films crop up somehow, I want a movie where climate change is solved via a world revolution that overthrows the West and has western workers use technological revolution to start rebuilding the environment
>>481>Because from your description it sounds like overthrowing the government and exterminating the rich to create a plan their profit motive won’t fuck up was the only actual solution even within the film.Agreed that's why I'm so confused by so many lefties online bitching about this movie being hypocritical or profiting off of the climate emergency or something
I think they are warped in their own social media game of clout where everything has to be derided
I mean that is a very stupid form of critique no? How is a movie maker supposed to solve that?
What do you think the intention of this movie maker was?
Hold up a mirror to society? or just simply profit of a hot topic
>>481>Because from your description it sounds like overthrowing the government and exterminating the rich to create a plan their profit motive won’t fuck up was the only actual solution even within the film.The movie never even implies that's a solution though. Hell there isn't even any mention of strikes. At the end it really seems like the conclusion is they didn't retweet hard enough or convince enough chinlets. Or worst yet there was no solution and we were doomed from the start. Maybe "overthrow" the government is something that can't explicitly be said and it's more coded but I didn't get that impression.
>Anyway I hope as time shifts we will start to see genuinely communist films crop up somehow, I want a movie where climate change is solved via a world revolution that overthrows the West and has western workers use technological revolution to start rebuilding the environmentThats another thing about this movie is the rest of the world outside America is barely mentioned. There's a snippet of the U.N saying it'll build its own comet defense program. Which never gets mentioned afterwards implying that the U.S is vetoing the rest of the world from stopping a planet destroying asteroid hitting the earth. That would have been funny to see and in passing its mentioned that Russia and China had a joint mission but it failed.
>>482My critique of the movie is that it's good and super close to getting it. Like frustratingly close. The fact they don't wimp out and show earth getting destroyed because of American incompetence, greed and liberal inaction. Makes it worth a watch IMO. I don't expect any movie to change the world or provide morality.
>>423never heard of it, seems interesting
thanks
>>477Welp this movie shook me out of my self imposed hermit state and back into the throes of long term depression, so… yea. It was mostly the futility of it all mirroring my own and my friends' political "achievements", where at the end of the day all the effort was spun into something completely different by dishonest actors, and the shit eaters that you thought you could convince would rather spend time on their fucking twitters or be more concerned with "likeability" and "positivity" than actual critical fucking thinking, not that they don't have the attention span of an actual fucking goldfish. That no matter whether you try it the nice way or the not so nice way, you can never really win no matter how small your ask, and the concessions you might get will be so small as to be virtually insignificant, and will be undone after you're done anyway as if the system needed to return to its usual equilibrium of complete fucking retardation. Got a friend with a platform that is enjoying seeming success in his activism? Not for long, he's about to lose all of his fucking marbles due to the attention and become a part of the shit eater ecosystem. Or the fucking media theatre that is impossible to engage with critically, because you will be subsumed into it no matter what you do, used for some cheap shots and thrown away, and if you refuse to engage they'll just make some shit up about you to force you in. Refuse to engage still? Don't worry, you're old news, we're more concerned about some celeb bullshit or feel good story now, gotta throw out some more distractions for the plebs so we can keep their attention nice and unfocused.
I was convinced for a long time anyway that consensus is just a thing libs scream when they want to defang any meaningful movement for change, that any actual change can only come by physical force against a divided majority of the disinformed, the incompetent but self interested, and the downright comically evil. Then I buried these thoughts because the implications of this are torturous helplessness given the pervasiveness of the neoliberal ideology, and this movie brought it all back up.
Is it bad that I actually wanted the world to blow up and was pissing myself laughing while it was happening?
>>478I loved how on the nose the message was.
>>486>Is it bad that I actually wanted the world to blow up and was pissing myself laughing while it was happening?Considering the movie is dark comedy, I guess it was the intent.
Just watched The Holy Mountain.
It’s a weird one, for sure, and though it was loaded up with absurd imagery, it was more coherent than people online had led me to believe. At its core it’s a heist movie, but with the creative twist of the things to be stolen are immortality and enlightenment, and the main security features to get overcome are all mind-based attacks.
The main problem with the film is that it has a backwards/idealist conception of social change. It seems to more-or-less correctly identify social ills. The Alchemist calls the wealthy industrialists, financiers, cops, and economists “thieves,” and they’re shown being generally terrible, creating war-propaganda for children, massacring protesters, calling for mass-death for the sake of the economy, making “psychedelic shotguns,” etc. However, it seems to suggest that the antidote to all this is for those sorts of people, explicitly stated to be the world’s most powerful beings, to become spiritually-enlightened. As we all know that rarely happens, and if the powerful did in fact do away with all their wealth, without systemic changes they would just be replaced by more vicious and corrupt newcomers, who would then have more influence over society. Additionally, movements like that seem to be easily coopted and recuperated.
The film had its moments though, like the fight scene at the top of the tower, the bar patrons (“I have conquered the mountain! Horizontally!”), and when going through the roster of planet-themed accomplices.
>>495I did not get the part at the end where Jodorowsky literally walks to the camera, breaks the fourth wall by breaking my screen and stands in front of me in flesh, only to aggressively read tarrot card for me.
Fortunately I had seen the movie pre-covid times and he was carrying his credit card so it wasn't hard to get him back to Chile.
>>495are there boobs in it? looks like a movie with boobs in it
update me if there are boobs in it
>>502i was joking but wow i will check it out
>>503i liked him in simpsons
>>504glad you did, that scarlett johansson scene was so fucked up
i got hyped as fuck when the red army invaded but it was still a dark comedy in the end
>>507The first time they meet the President, it showed a photo with her and Bill and Hillary Clinton on the desk. So the movie actually implies she might be a Democrat.
>simple satireExactly. You could imagine the satirical scenario happen under Trump, Biden or anybody else.
>>507>>508>>509It’s honestly really weird how people here and a lot of leftists I’ve seen took that movie
It never says the President’s party and she could easily be from either Party based off who they show her with so it’s clear the writers were shitting on both the DNC and GOP
They show that celebs are basically useless and celebrity activism is worth nothing since it changes nothing in the end (even when the celebs genuinely have their hearts in the right place)
It shows that the news stations are designed to make the masses basically immobilized, either by scaremongering about meaningless shit, denial, or downplaying things that are clearly catastrophic with faux civility
Shows how scientists can easily be manipulated by political and business interests even if they’re trying to do the right thing and how many scientists directly work for these interests
The ultimate villains in the movie are a stand in for Musk/Bezos/Gates and the US government
It is also heavily implied that the US nuked the Chinese-Russian-Iranian attempt at stopping the comet
If anything the scientists would have been better off spreading the news to common people as far and as honestly as possible, since the only ones portrayed sympathetically outside of the leads are the common people they cut to
If anything while it isn’t explicitly socialist it does have socialist leanings imo, and in terms of cinematography I find the random clips showing all the animals and people who are about to be destroyed to be incredibly poignant and sad
This is a proper example of cinema made for the climate shifted world, since the film is almost explicitly about climate change showing all the innocents that are about to be lost is incredibly heartbreaking, very few apocalyptic films make a point to show the extent of the tragedy
>>1I've been torrenting from the library.
Mostly schlock and scifi.
Schlock/Scifi-Finished Mad Max (original&Fury Road), In the Mouth of Madness, Interstellar,Invasion of the Body Snatchers '78, and French Dispatch.
Mostly was watching them to numb out.
I have some good stuff of my to-watch list, though. Stalker by Tarkovsky, El Topo by Jodorowsky, Masculin Feminin & Le Mepris by Godard, Brazil, On the Silver Globe, Kin-dza-dza.
>>510I agree with you.
Leftists shitting on it because it doesn't have a call-to-action or a hollywood happy ending is peak irony.
>>524>La Danza de la RealidadI'll add that one to my torrents
I have seen Holy Mountain, and although I agree it was "pretentious," it was still fun to watch. The sets and costumes etc as well as meeting each of the thieves. Sel from Saturn was my favorite, it looks like the youtube clip of that scene has been removed.
>>525I wouldn't say pretentious, it's more a "on your face" commentary but it really stays humble. The rhythm is just all over the place tho, it's like three movies in one.
In the recent weeks I saw Santa Sangre which is frankly one of the best movies I ever seen and Poesia Sin Fin which made me very emotional because I could hear in it echoes of my life.
>>520Have you watched the movie? No? STFU
I support absolute and vehement sectarianism against the imperialist forces and right-wingers
Reds (1981) American epic historical drama film, co-written, produced, and directed by Warren Beatty, about the life and career of John Reed, the journalist and writer who chronicled the October Revolution in Russia in his 1919 book Ten Days That Shook the World. Beatty stars in the lead role alongside Diane Keaton as Louise Bryant and Jack Nicholson as Eugene O'Neill.
The supporting cast includes Edward Herrmann, Jerzy Kosiński, Paul Sorvino, Maureen Stapleton, Gene Hackman, Ramon Bieri, Nicolas Coster, and M. Emmet Walsh. The film also features, as "witnesses", interviews with the 98-year-old radical educator and peace activist Scott Nearing, author Dorothy Frooks, reporter and author George Seldes, civil liberties advocate Roger Baldwin, and the American writer Henry Miller, among others.
Part 1:
magnet:?xt=urn:btih:d15cd3420191efe5a1385610b9955869fa413c33&dn=Reds.1981.Part.1.1080p.BluRay.x264-LCHD&tr=http%3A%2F%2Ftracker.trackerfix.com%3A80%2Fannounce&tr=udp%3A%2F%2F9.rarbg.me%3A2830&tr=udp%3A%2F%2F9.rarbg.to%3A2950
Part 2:
magnet:?xt=urn:btih:0be969a1dae448c1495a26a4f347b716b5d24205&dn=Reds.1981.Part.2.1080p.BluRay.x264-LCHD&tr=http%3A%2F%2Ftracker.trackerfix.com%3A80%2Fannounce&tr=udp%3A%2F%2F9.rarbg.me%3A2890&tr=udp%3A%2F%2F9.rarbg.to%3A2730
>>537>Are most of his movies about Christianity and god?yes, he was a big cuck to westernoid sensibilities
massively over-rated reactionary
>>537Reading about production on wikipedia was hilarious. His initial draft had most of the movie take place on Earth, which pissed off Stanislaw immensely since his novel was entirely set on the station on the alien planet.
When I had first seen it, the Tokyo driving scene was something I thought was about humans and systems as the massive structures carried traffic day and night. Turns out it was included as an excuse to his and crew's Japan trip lol.
>>539I wonder had he lived to this day, what would his reaction be toward most of his works made in USSR being available for free on Youtube, and how much Tsar apologia he would have engaged with.
https://www.youtube.com/watch?v=jcpSlYMW4-AI watched Grand Theft Parsons
It was good
It's fully up on youtube for some reason, you should watch it
>>456I spent all of January watching nothing but Fellini and found
8½ (1963) kinda overrated. I've seen lots of people say "it's a film about making a film"—which is true, but it's really just a film about a filmmaker slowly overcoming artist's block. The two main sources of conflict in the film are Guido failing to hide his infidelity, and Gudio shirking his responsibilities as director to his film production team. He feels alienated by his job and personal relationships, and desperately tries to spice up his life to no avail. The exchange Guido has with Claudia (his imaginary ideal woman) hammers home why when she says: "Because he doesn't know how to love." The film ends when he finally comes to terms with the fact that he needs his wife, friends, and colleagues to accomplish anything. It's a very trite creative message on par with 'just draw' and 'touch grass'—I already got it by the time the harem sequence started. I think
La Dolce Vita (1960) and
Juliet of the Spirits (1965) were way better. The former has all the alienation and indecisiveness from Italian bourgeois life under the Marshall Plan (
also fun fact: this is the film that 'Paparazzi' as a term came from; I never knew that before), and the latter is very explicitly a film about an Italian housewife grappling with the realization that her husband is cheating on her (
but there are recurring nightmare hallucinations that increasingly haunt her throughout the film; it's great, and is probably my all time fav Fellini)
>>407Takeshi Kitano's films recall Andrei Tarkovsky's but stripped of all romanticism and longing associated with the latter's work. Kitano is meditative before and after the violence, but that meditative period of calm is redefined
by the violence. They're nihilistic in the actual sense of the word, rather than the pop culture understanding of it.
>>550I thought it was done well technically, with a fast pace that keeps you in your seat.
But politically it was just West German propaganda, no doubt about it. I also cringed when they tried to portray them talking about communist theory, they made communist theory sound like caveman shit.
>>559all of that for schlock
reminds me of the movie Angst/Fear (1983)
I recently watched Slackers. Really funny, strange film. Most of the scenes contain a leftist or conspiracy rant.
>>567Movies, maybe, but not FILM. It's simply the real act of sex replaced with by the spectacle of it. Every aspect of life in spectacular capitalism is replicated and then replaced with commoditized visual representation.
>>569and the fact that there was no real fight in the end
even though it was a movie about super powered individuals
>>572really good just saw it. Some might find the message too sentimental
just hug it out bro but I thought it was a refreshung refutation of humanism under bourgeois ideology as well as all the more obvious shit about family trauma and nihilism.
great movie, somewhere between a political melodrama and a war film, about how anarchists are petit-bourgeois lording their pompousness over those less fortunate than themselves
unironically amazing acting and production quality though
there’s a stream on youtube, and a rip here
https://rarbg.to/download.php?id=fkwuo98&h=646&f=Freedomfighters.1996.SPANISH.1080p.BluRay.x264.FLAC.2.0-HANDJOB-%5Brarbg.to%5D.torrent>>593recommended that to someone on reddit (I'm sorry) just the other day, real baader-meinhof effect shit.
Anarchists are cringe most of the time, but I still have a soft spot for the spanish ones, especially Durruti. The defense of Madrid is inspiring beyond words; campesinos and workers with looted rifles and hunting guns holding off the best-trained, best-armed, most experienced troops in the country for 3 whole years. Very Paris Commune.
https://letterboxd.com/film/good-bye-lenin/is this cringe or good?
politically speaking
I just saw cmon cmon at the cinema.
Great movie, I enjoyed it a lot.
>>596I've heard it's a good movie but it probably has shit politics.
>>596Saw it in German class. I don't particularly remember politcal aspects.
Maybe a jab at the sincerity of people engaged in orgs as the mother who was part of the Party or some youth org i don't recall, joined to
cope with her husband who left the family for the West >>600;_;
added to watchlist
>>575wow
sounds like a dope asf movie
>>574https://www.blu-ray.com/Everything-Everywhere-All-at-Once/1251088/#Releasesidk understand it says it already released on itunes
why do we still have cam rips then
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