destroyer of worlds (until november)
profile picture is by Brooke Condolora from the game "Burly Men at Sea".
Had we unapologetically postured around silent era principles instead of dropping them completely after film-noir's classic period, films like House wouldn't be as brazen to us. This really is a beautiful alternate-reality-like meshing of prior era scare tactics and modern day cinematic experiments.
Nobuhiko Obayashi was a commercial director prior to this feature-length debut, and that seems evident both in its extreme over-stylization and its absolute disregard for structure on a grand scale. Time feels fleeting and each moment is…
Mechanical, confrontational delusions from one of modern cinema's most controversial filmmakers.
It's hard to be afraid of the nightmares of a director so mortified by goofy urban legends fueled by his own neurotic shots in the dark, but I won't act like Noé's childish collection of horrors clashing with one another isn't morbidly, wickedly engaging. And Benoît Debie's work is as gorgeous as always.
The sounds of neighbors having violent sex bleeding into the night terrors of a sexless teenager still worried about the Great Replacement theory.
Truly hellish, incredibly tasteless, and a little dorky.
Tarkovsky is a bit different from other slow cinema artists that dominate other parts of the world. Like filmmakers such as Bela Tarr and Lav Diaz, Tarkovsky holds shots for long periods of time, perhaps with more camera movement than the others, yet when Tarr and Diaz move their shots, they match the mood out of necessity. Their films are slow, so their camera movements are slow as well, makes sense, and they do it spectacularly. Tarkovsky moves his camera…
Sátántangó may be this film's only rival in terms of quality, yet they are near polar opposites, with Sátántangó achieving mood through slow, sprawling, dense story-telling, and Marketa Lazarová punching with every scene of action and dialogue; as flashy and bombastic as possible.
Of course this is all a personal perspective, but if I were to visualize a potential "peak" of film perfection, Sátántangó and Marketa Lazarová are the only films that seemed to attempt that jump. Neither film is…