probably kurosawa's most expansive film - one can easily descant on the structuralist bias he's aiming for, however everything seems insufficient in comparison to the way he formally constructs each scene, not to mention the amount of semiotics in each frame. everything here looks absolutely stunning (special highlights for the sound design).
it's definitely a work on space, a tragic love story that is so inexorably associated to the architecture surrounding their characters that it's impossible to separate one from…
An essay on killing. Very good exercise on anti-mythmaking. It depicts the most famous battle of Miyamoto Musashi samurai career when he killed over 500 men in detail. It has a traditional prologue and epilogue, but the bulk of the film is one continuous 75 minute shot in which Musashi goes around butchering a nameless horde of enemies, but it is pretty much the opposite of silly showy stuff like tht big Extraction one take, as it isn't played for…
It is like a Raul Ruiz film kept alll of its dream logic, but keep a straightforward shape even as it imagines all those possibles lifes to be. Monteiro made this after a couple of mythic fables about Portugal (Veredas and Silvestre) and A Flor do Mar is close to them while pointing to his more confrontational late work. Perhaps guys like Monteiro are right and all great movies need a character who functions like a pirate.
This is one of Monteiro's finest and most important stylistic achievements. Adapted from a 15th century Portuguese fable, with echoes of the Bluebeard folktale, this narrative of a damsel who disguises herself as a knight errant is mounted in front of extremely theatrical sets that resemble ancient religious paintings. And the emotions and values on display are no less mythological. Featuring a young Maria de Medeiros!
cinema as medieval tapestry. this is what christian metz meant when he said bazin's cosmogony failed to address syntagmatic and paradigmatic flows and their interaction, although this film wouldn't exist if cinema was indeed a language: it can work as a language, but it consists in something slightly different.
monteiro turns medieval portugal into a land of pure myth, in a facile but beautifully narrated feminist fable. a tale founded in humiliation that develops itself reimagining resistance through solitude, but no…
Miguel Gomes is a troll which is probably why this is my favorite part of the trilogy. It is the section that goes serious about things that really matter to Gomes, the question about what means to be a natural storyteller at this moment in Portuguese history and the ultimate isolation he feels and those annoying Chaffinches just allow him a way to connect that the previous tales never do. My friend Helio mentioned that the king should have executed…
Unrelentingly disturbing and compelling.
Sequence one: The emergence of the sexual as projection onto and into nature (vice-versa). A somewhat more straight forward visual display compared to what comes next. Snuff-esque lighting illuminates the figure who appears to be discovering masturbatory sensations for the first time. The instability of the arboreal images show dissonance within the two projections.
Sequence two: a body floating in a liminal space. Grandrieux has managed to produce an image of liminality that contains the body.…
How is it over there?
How lonely is it?
Is it still glowing red at sunset?
Are the birds still singing on the way to the forest?
Can you receive the letter I dared not send?
Can I convey…
the confession I dared not make?
Will time pass and roses fade?
Now it's time to say goodbye
Like the wind that lingers and then goes,
just like shadows
To promises that never came,
to the love sealed till…
Kim Sun-Woo only smiled on two occasions.
1. When he was shadow-boxing in front of his reflection. His grin grew wider as his punches went faster and faster. He was admiring himself; of how fearless he was, of the pain he was capable of delivering with his bare fists. Violence pleases him.
2. When he was watching Hee-Soo perform the cello, totally enthralled by her beauty and elegance. The music pierced through every barrier he had set up, causing havoc…
This movie is so rich and mysterious and haunted!! So spooky and languid and warm!! Easily my favorite of the year so far. During the Q&A after the screening, Zhang said that he “trusts spaces more than human beings,” because “humans can only experience the passage of time through memory.” I take this to mean that the camera, a nonhuman recording device, captures “time’s passage” in a more or less objective fashion, whereas a human being’s experience is not only…
silence is guilt and shame. pasolini captures it so well, every uncomfortable smile, every unanswered question, says just as much as any eloquent statement he filmed.
i love that in a film about love we never see an act of physical intimacy until the end. hollywood-type happy ending with a wedding that becomes tragic through pasolini's voice over and the confessions of failed marriages we've heard before.