/film/

Cahiers du cinéma did the same thing on their decade list

>TV show because LYNCH = CINEMA

*tipping intensifies*

It’s aight

Ja

What's your favorite music only scene, /film/?
youtu.be/ln8mPbH5CPA?t=72

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It's not a "show", it's not manufactured to be a "show", entertaiment. It's a TV series, but a series is a film divided into several parts.

French film snobs are among the most insidious. They're the ones who came up with that awful word "auteur"

Continuing the JNW conversation from the previous thread, are torrents the only viable way to watch Koji Wakamatsu's films? He sounds really intriguing but there is almost nothing out there with English subs, even on DVD.

what is problem with the word auteur, it's a much better term than "arthouse" because of a much more stable definiton.

Lila Kedrova was so good that dabbed on Simone Signoret performance for Caco's request after firing the french actress.

>a series is a film divided into several parts
I cringe every time I hear a director say this shit (looking at you, Refn)
TV and cinema are two completely different mediums. Their format leads to two very different ways of telling a story. A TV show cannot be considered a "very long film."

>tfw when you watch Rita Hayworth in Gilda (1946)

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>torrents
Pleb
>elcinedejapon.blogspot.com/2019/07/filmografia-koji-wakamatsu-1936-2012.html

Watched this recently. Would recommend it to anyone who likes Zvyagintsev's work.

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>Kon Ichikawa - (Lawful Good)
mainstream humanistic director
>Tadashi Imai - (Social Good)
made socially conscious chanbara and socrealist films
>Koreyoshi Kurahara - (Neutral Good)
made a few films about social issues, but usually didn't care much for that subject matter
>Shinsuke Ogawa - (Rebel Good)
made anti-authoritarian documentaries about farmers in protest
>Noriaki Tsuchimoto - (Chaotic Good)
made controversial humanistic documentaries, had conflicts with studio heads and the Police
>Yûzô Kawashima - (Lawful Moral)
made social satires and melodramas under the studio system
>Shôhei Imamura - (Social Moral)
known for idiosyncratic visions of the lower social strata
>Kaneto Shindô - (Neutral Moral)
socially conscious elements in his films are not always obvious, and in some cases are absent
>Yasuzô Masumura - (Rebel Moral)
was against the Japanese mentality and made subversive socially oriented films
>Nagisa Ôshima - (Chaotic Moral)
made movies about political and social issues; his style completely changes from film to film, hated pretty much all of Japanese cinema and several of his movies were controversial
>Masahiro Shinoda - (Lawful Neutral)
made films in a variety of styles, touched on several topics, half-interested in humanism and half in stylistic flourishes
>Katsu Kanai - (Social Neutral)
somewhat political films, though mostly personal avant-garde strangeness
>Akio Jissôji - (True Neutral)
unclassifiable weirdo who made Buddhist art films, children's fighting robot films, S&M bondage films, made-for-TV melodramas; was also a director of commercials, a writer, a calligraphy artist, theatre, television, and opera stage director, music professor and train enthusiast
>Yoshishige Yoshida - (Rebel Neutral)
very avant-garde, clashed with Shochiku studio, the films are sometimes political but mostly driven by poetic stylishness

(1/2)

Arthouse is a dumb word but not an insidious one. But "auteur theory" inflates the director's ego and distracts from the fact that film is a collaborative art form.

Who even is this? Marcel Carne?

Yes. I actually think he's one of the more consistent directors from JNW. Of the 20+ films I've seen from him, I liked nearly all of them.
He also has a weird backstory. Dude was literally a gangster and later he sent his daughters to a Palestine army camp to teach them discipline, since he felt their trip to America had made them degenerate.

The most retarded take, you can make film divided into chapters, but not shown as a separate episodes, it's still a film. Episodic nature is not something absent from film, it's one of the film techniques.

>Toshio Matsumoto - (Chaotic Neutral)
made mostly experimental non-narrative, primitively computer-animated short films, and each of his four features are completely different from each other
>Susumu Hani - (Lawful Impure)
began work outside studio system and gradually integrated into it
>Kazuo Kuroki - (Social Impure)
mostly avant-garde films that also dealt with his feelings of personal guilt from the war
>Hiroshi Teshigahara - (Neutral Impure)
made abstract and uniquely stylish movies about a variety of topics, not as interested in social issues as other directors
>Shûji Terayama - (Rebel Impure)
independent avant-garde artist who made transgressive films and plays, spoke to the angsty younger generation
>Seijun Suzuki - (Chaotic Impure)
kicked out of the studio for stylized genre films that "make no sense and no money"
>Kinji Fukasaku - (Lawful Evil)
made ultraviolent yakuza films under the studio system, received the Purple Medal of Honor from the Japanese government
>Masao Adachi - (Social Evil)
pinku director who was a terrorist group Japanese Red Army commando, arrested twice for passport violations
>Kan Mukai - (Neutral Evil)
made hundreds of obscure pinku films, cast the First Lady of Indonesia in a rapesploitation film
>Tetsuji Takechi - (Rebel Evil)
pinku director who was arrested by the government for indecency charges. Won the lawsuit and made more pornos
>Kôji Wakamatsu - (Chaotic Evil)
expelled from school for fighting, became a low-level gangster who collected payments from film crews filming on yakuza soil, got arrested and tormented by guards, proceeded to make a whole bunch of disturbing, nihilistic pinku movies. He was also banned from entering the USA for radical political affiliations from his youth and he sent his own daughters to a Palestine army camp to teach them discipline

(2/2)

last time someone said that Godard made his Dziga Vetrov Group films and those were absolute trash

youtu.be/jsi-vnFOQyY
youtu.be/SlODssIUZGY

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what's the most "fast paced" arthouse/classic cinema out there and why is it one of either The Battle of Algiers, Night of the Hunter, Wicked City, Run Lola, Run, Pusher or Psycho?

Ingmar Basedman

Goddard has always hovered between meh and trash

he's only the GOAT if you exclusively watch american movies made after 1960. even then, i don't know if i could say he's better than david lynch or tom green

Violence at Noon (1966) by Nagisa Oshima. Frenetic editing.

Alright /film/, who are the best contemporary American directors?

So far we have
>Zahler
>Stratman
>Eggers
>Safdies
>Reichardt
>Loktev

You mean H.G. Clouzot

Yes, but an episodic film is very different from an episodic TV show, or even one with a continuous plot.
There are many difference but the most glaring is runtime. A movie can (or should) run for not much more than four hours at their longest. TV shows have no such limitations. A TV show can afford to spend its time wandering around through things that would have to be cut from a film, wether due to runtime limitations or simply because it does not drive the movie forward.

those were beyond trash, and at the end the Group split up, because no one was ever in control and no one was a lead. Auteur theory is almost right. The fact that there are many people working on a film doesn't mean that the vision is not solely of a director, or of a director and a screenwriter (I do believe that there can be "double-auteur" films, but never commie "it's actually everyone's vision" bullshit).

Adieu au langage is great but I never got to experience it in 3D, the way it was intended.

thx, I'll look it up. how does it compare with those mentioned in the post?

and do u have any non-asian suggestion?

>A movie can (or should) run for not much more than four hours at their longest
Stopped reading right there, this is shit you literally took out of your own head.

What's on your Holy Week watch list? Mine so far:

>Andrei Rublev
>Marketa Lazarova
>The Gospel According to St. Matthew

Honestly all Godard post 1960s is garbage to me but Goodbye to Language is probably the most enjoyable that I've seen of them

>thx, I'll look it up. how does it compare with those mentioned in the post?
It's fast-paced not because of plot but because of editing.
There's also The Warped Ones (1960) by Kurahara, which is very based, fast and horny

>Dragged Across Concrete
>Last Tango in Paris
>A Woman Under the Influence

most of Japanese New Wave stuff

>I took it out of my head
>therefore it's wrong
Four hours is an arbitrary length, I'll give you that. But the point stands that a TV show can afford to waste its time more than a movie can.

His Girl Friday

Have you guys already talked about the Non Family, I never scroll up

>The Seventh Seal
>Joan the Maid
>Gospel According to St. Matthew
>Il Messia
>Jesus Christ Superstar

Ask me how I know youre a woman

R A R E
A
R
E

Eisenstein has some fast paced sequences, but I wouldn't say any of his films that I've seen are entirely fast paced. Also Psycho isn't really that fast outside of a few sequences

Nail in the Boot

yes it's wrong because movies don't own anyone anything, both films and TV shows can literally waste any time they want, if a director wants that. Many movies consist fully of what one might consider a "waste of time" but because they're made with talent, this movies are still great.
You're just spewing out your very specific personal preferences.

>Many movies consist fully of what one might consider a "waste of time" but because they're made with talent, this movies are still great.
Name one

anything by Tsai Ming-liang
Most stuff by Lav Diaz
They're still good and acclaimed directors (Tsai Ming-liang is in fact my favourite director)

Grâce à Dieu (François Ozon, 2018)
>Apostle (Gareth Evans, 2018)
Blade af Satans bog (Carl Theodor Dreyer, 1921)
>Sodom und Gomorrha (Michael Curtiz, 1922)
The Cardinal (Otto Preminger, 1963)
>The Ruling Class (Peter Medak, 1972)
Dellamorte Dellamore (Michele Soavi, 1994)
>Gin-iro no kami no Agito (Keiichi Sugiyama 2006)
Leave Her to Heaven (John M. Stahl, 1945)
>Léon Morin, prêtre (Jean-Pierre Melville, 1961)
Mandala (Im Kwon-taek, 1981)
>Sophie Scholl: Die letzten Tage (Marc Rothemund, 2005)
Angeles y querubines (Rafael Corkidi, 1971)
>La Virgen de la Caridad (Ramón Peón, 1930)
Ovejas Negras (José María Carreño, 1989)
>Pierwsza milosc (Krzysztof Kieslowski, 1974)
Sredi serykh kamney (Kira Muratova, 1983)
>Uwasa no onna (Kenji Mizoguchi, 1954)

Satantango

Dreyer theatrical

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To be honest, Panique au Village

sonuvabitch

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Being very long =/= wasting time
A 90 minute movie can waste its time and a 500 minute movie can be filled to the brim with importance

Jesus Christ I only know Twin Peaks and Holy Motors am I missing out big time?