Alright filmfags, show me what you've got.
<S Tier - Timeless
>Tarkovsky: Stalker, Andrei Rublev, Solaris
>Klimov: Come and See
>Bela Tarr: Turin Horse, Werckmeister Harmonies, Satantango (all very demanding)
>Bergman: Persona, Seventh Seal
>Herzog: Aguirre (I love them all but this one stands apart)
>Kubrick: 2001
<A Tier - Food for the soul
>Visconti: The Leopard, Rocco and his Brothers
>Fellini: La Dolce Vita, Amarcord
>De Sica: Bicycle Thieves, Umberto D.
>Pontecorvo: Battle of Algiers
>Cocteau: Orpheus, Blood of a Poet
>Godard: Breathless, Band of Outsiders, The Little Soldier
>Kurosawa: Yojimbo, Throne of Blood, Ran
>Mizoguchi: Sansho, Ugetsu
>Kobayashi: Seppuku, Human Condition
>Fritz Lang: Dr. Mabuse, Metropolis, M
>Bunuel: Discreet Charm, Simon of the Desert, The Exterminating Angel
>Kieslowski: Dekalog
>David Lynch: Anything, including Twin Peaks old and new.
>Ki-duk Kim: Spring, Summer…
>Gilliam: Brazil
>Kubrick (pt. 2): The Shining, Clockwork Orange, Dr. Strangelove, FMJ
<A- Tier - Entertainment
>Cronenberg: Naked Lunch, Dead Ringers
>Billy Wilder: One, Two, Three, Sunset Blvd, Witness for the Prosecution
>Becker: Le Trou, Touchez pas au Grisbi
>Melville: Army of Shadows, Le Cercle Rouge, Bob le Flambeur
>Clouzot: Diabolique, Wages of Fear (the ultimate languagefag film)
>Bresson: A Man Escaped, Pickpocket
>Renoir: The Grand Illusion, Rules of the Game
>Ferrara: Bad Lieutenant, King of NY
>Jodorowsky: The Holy Mountain, Santa Sangre
>Peckinpah: Straw Dogs, Alfredo Garcia
>Woody Allen: Annie Hall. All the other old-and-good ones too.
>Carpenter: The Thing, They Live
>Tarantino: Pulp Fiction, Reservoir Dogs
>Scorsese: Kind of Comedy, Taxi Driver. The rest can kinda fuck off.
>Hitchcock: Pretty much all of them.
Let's talk about movies, then. Don't have to be lefty films but obviously recommendations on that front are also welcome.
552 posts and 163 image replies omitted.I watched Kiyoshi Kurosawa's new movie: Cloud. It's about an unscrupulous online reseller. It was alright. Has some creepy moments and a surreal air which is a trademark of this director's films. Watching some analysis of it on youtube I had to roll my eyes at people saying that the movie is about capitalism, which I guess it sort of is, but nonetheless it came off as blunt and graceless to just say it like that.
Anyway, spoiler warning. Yoshii, the main character, makes a living buying cheap shit by bulk online and then reselling that shit at a markup. He doesn't care if what he's reselling is medical equipment that people need or counterfeit goods. As a consequence of his obsession (similar to that of a gambling addict) with his "job" he alienates and/or antagonizes many people. As his business grows he moves out of his tiny apartment into a bigger house out in the country with his girlfriend, Akiko. He also hires an assistant named Sano. A local early 20s kid who failed to make it in Tokyo and had return to his home town.
The assistant is the weirdest most surreal character in the movie. He instantly becomes very interested in Yoshii's job and wants to learn all about it. He also pledges a very strange but sincere loyalty to Yoshii, claiming that he's very grateful to him for giving him a job. When Yoshii's new house gets vandalized and the police seem unwilling to help, Sano takes it upon himself to investigate who did it and catch them, which he does. Seemingly beating the delinquent up and instilling a deep fear in him.
Eventually several people whom Yoshii has wronged team up to get revenge on him. They kidnap him and plan to livestream his torture and eventual death. Sano sets out to rescue Yoshii and goes about it ruthelessly. Coldly killing several of the kidnappers until he reaches Yoshii. Onces he frees Yoshii he hands him a gun and they set out to escape from the rest of the kidnappers. Along the way Yoshii himself kills several people. At first hesitantly but with increasing ease. In the end Akiko betrays him threatening him with a gun to give her all his money. In the scuffle Sano murders Akiko and Yoshii is heartbroke about it. Yoshii and Sano escape the scene. While driving away, in the most surreal scene of the movie, Sano tells Yoshii to only focus on making money and that he'll handle the rest. Yoshii asks "Where'll that get me?", Sano responds "It'll get you anything you want. Even things that can end the world", Yoshii says "I'm doomed" as they drive on the only indication of their movement is the moving sunset sky outside the car windows.
Oh god I typed all that shit just to say, I think Sano, who comes out of nowhere and is very unsettling in his willingness to do fucked up shit for Yoshii, represents an aspect of Yoshii's personality that gradually comes out as he slowly loses his morality. In the end he is completely morally bankrupt and ruined. So I guess the film is about how singleminded relentless proit seeking can drive one to moral ruin. But I don't think the film makes a strong overt condemnation of capitalism as a system. It doesn't show Yoshii being driven to unscrupulousness due to a desperate situation of destitution or even being driven to it by internalizing the constantly telegraphed values of our modern hyper capitalist society.
Check out Cloud. It's alright.
Reason:
>>45541>>45541What the fuck is Alex Garland doing making a movie like that in 20 fucking 25? There's enough glazing and venerating of operators that it can and will be easily taken as a positive portrayal of the military by those that want that. Nobody MAGA or military will see anything negative in it. Iraqi characters corpses or ciphers. I can hear the carefully rehearsed justifications Garland will be giving in interviews already, for the 10% of the audience that care.
>20+ years>1,000,000 dead>country full of depleted uranium dust and tumors>even vance now criticizing the euros for encouraging and participating in the war!!! >alex fucking garland is making movies about how war iz hell for brave injured operators who were caught on film and in photos slaughtering civiliansayy!!! now i know where the
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