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 jade_vine: 2014 
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JediMoonShyne wrote:
Grabbing now!

Care to write something on Benning for the thread? (will luv u 4 eva?)

can i write something on sadie benning as a cute companion piece

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Fri Dec 05, 2014 2:56 am
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You can write anything you want as a cute anything you want! :heart:

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Fri Dec 05, 2014 3:07 am
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Narayama bushikô (1958) Kinoshita Keisuke - 7/10 (The Ballad of Narayama)
Shôchiku, Japan, 98 min.

Well it is hard not to compare to Imamura’s film and I love that one so much that this might be less impressive, but I don’t want to discredit it because this one has a lot of its own charms. First of all anything with both Tanaka Kinuyo and Tôno Eijirô can’t be unpleasant to watch. But there’s a lot of other great stuff outside of these actors that Kinoshita does. It’s definitely a film with a firm foot in kabuki tradition and it’s beautifully accomplished.

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The Nine Ages of Nakedness (1970) George Harrison Marks - 3/10
Token Films, UK, 90 min.

Such unbelievable shit. Goofy ass 70s sex comedy schlock can be the most annoying shit in existence, smfh. It isn’t even that sexy, though admittedly they might be more hot if it weren’t for them wearing the dumbest outfits ever and the fuzzy, shit quality reminding one so effortlessly of grandpa’s dick cheese.

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The Big Doll House (1971) Jack Hill - 7.5/10
New World Pictures, USA/Philippines, 95 min.

Pretty iconic WIP stuff and a very good example of the genre. It’s Jack Hill after all. All the girls are hot and super badass. Props for lasting a whole 30 minutes before the requisite lesbo shower scene lol. This got pretty crazy too, it’s up there with some of the Japanese stuff of this era in terms of extreme cruelty.

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Le monache di Sant'Arcangelo (1973) Domenico Paolella - 8/10 (The Nuns of Saint Archangel)
Imp.Ex.Ci., Italy/France, 100 min.

I doubt anyone will like this as much as me. It's really not even a particuarly exploitative film as it's quite tame. But that said it has this feeling of desperate and tragic love running through it that marks the best of nunsploitation. All the girls were much hotter with their habits on though…

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Shao Lin san shi liu fang (1978) Liu Chia-liang - 9/10 (Eight Diagram Pole Fighter)
Shaw Brothers, Hong Kong, 115 min.

Foundational stuff for more reasons than just understanding Wu-Tang references, can’t believe I hadn’t already seen it. It’s just an archetypically perfect example, only bested by works like Eight Diagram Pole Figther. Basically perfection.

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Shûdôjô: nure nawa zange (1979) Ohara Kôyû - 8/10 (Wet and Rope)
Nikkatsu, Japan, 69 min.

Don’t you love when you download a shitload of pinku stuff and forget what all of them are except for the names and then the one you pick to watch turns out to have nuns in it? #BLESSED

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Star Virgin (1979) Howard Ziehm - 3.5/10
Treetop Productions, USA, 78 min.

Pretty dumb. At best it’s like an EXTREMELY tepid, light version of Stephen Sayadian, at worst it’s really really fucking annoying. I don’t know why I watch these either… what can I say, I need something that won’t be good enough to take up too much of my attention during final exam time.

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Going Bananas (1987) Boaz Davidson - 3.5/10
Golan-Globus Productions, USA, 95 min.

Some of these shitty family movies with Dom DeLuise from the late 80s/early 90s, especially those from the legendary Golan-Globus company, are extremely unintentionally hilarious. This is not one of them. Only noteworthy for some OHWOW moments of racism and the creepy-ass talking monkey sounding like the baby from Eraserhead.

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Paperhouse (1988) Bernard Rose - 7.5/10
Working Title Films, UK, 92 min.

Really interesting stuff. This kind of weird psychologically shattering story caught up in a childishly naive story of a tiny town dreamscape makes it seem like the UK’s equivalent of The Reflecting Skin.

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Blood Symbol (1992) Maurice Devereaux - 7.5/10
TonMor Productions, Canada, 87 min.

So um… there’s this ancient order of evil monks who have looking for a sacrificial victim for a long time. And they find some bodacious college babe who just so happens to fit the bill. They chase her down in their creepy druidly robes… covered with a BLOOD SYMBOL! This defines cheesy, somewhat incompetent horror and I love watching films like it. Not necessarily even that I love the films themselves, but the fact that there’s these little nuggets lodged in the back of the genre waiting to be found on old VHS rips is always exciting. It makes you feel like a kid in da 80s riding their bike to the video store and secretly absconding with something sp00ky, and it feels weirdly comforting (this came out in 1992 but that was after a number of years of retooling, it was obviously made in the 80s). This one actually has an awesome opening credit sequence outside of the really stupid music. The rest of this movie is definitely flawed, but I think there could have been something really great in here. There are even a number of scenes with legitimate creepiness. As it is, there’s certainly a lot to enjoy. Would be one of the best examples of the ultimate stereotpyical American 80s indie horror if it didn’t happen to be Canadian by some odds. The director’s Frenchie name should tip you off… a film like this should be made by, I dunno, “Jeff Thompson” or “Biff Huntz”… not some Quebecer.

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THE Uchôten Hoteru (2006) Mitani Kôki - 5/10 (Uchôten Hotel)
Fuji Television Network, Japan, 136 min.

Funny, if not otherwise very exceptional. It's clearly inspired by old screwball comedies not only in humor but also in style, given the elaborate setups and visual games backing verbal fun in long takes. However, it does feel too long. It could have used the one thing it didn't take from screwballs: a lean runtime.

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K.I.L.L. (1999) Thorsten Fleisch - 5/10
Blutrausch (1998) Thorsten Fleisch - 7.5/10
Silver Screen (2000) Thorsten Fleisch - 8/10
Hautnah (2001) Thorsten Fleisch - 9/10
Friendly Fire (2003) Thorsten Fleisch - 9/10
Kosmos (2004) Thorsten Fleisch - 9/10

All awesome. They would make great double features with some of Brakhage's stuff as they have a lot of similarities but more tactile and physical in their construction.

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Uchû kyôdai (2012-2014) - 7.5/10 (Space Brothers)
99 episodes

With as much time as I’ve spent on this one it’s hard not to get involved and attached to these guys and their journeys. It’s not perfect (god that cunt Lowry got old after two appearances) but that doesn’t mean I wasn’t moved.

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Wed Dec 17, 2014 5:59 am
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jade_vine wrote:
Paperhouse (1988) Bernard Rose - 7.5/10
Working Title Films, UK, 92 min.

Really interesting stuff. This kind of weird psychologically shattering story caught up in a childishly naive story of a tiny town dreamscape makes it seem like the UK’s equivalent of The Reflecting Skin.

This was fun!

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“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

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Wed Dec 17, 2014 6:40 am
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Post Re: jade_vine: 2014

need to finish space brothers


Wed Dec 17, 2014 12:32 pm
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Vibración de Granada (1935) José Val del Omar - 7/10
Spain, 20 min.

A big step down from the monumental Tríptico Elemental de España but it remains a fairly gorgeous film.

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Ride the High Country (1962) Sam Peckinpah - 9/10
Metro-Goldwyn-Meyer, USA, 94 min.

Defines the word “rugged”. Though pretty much any film with both Randolph Scott AND Warren Oates (holy fuck badass meter of the scales) is hard not to be rugged as fuck. But Peckinpah, believe it or not, is the ruggedest figure here. Holy shit.

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El castillo de la pureza (1973) Arturo Ripstein - 8/10
Estudios Churubusco Azteca S.A., Mexico, 110 min.

Uh, sup Dogtooth. Seriously the amount that movie seems to have llifted from this one is pretty insane. That said the atmosphere of this one is utterly different, outside of a very similar sense of sparse dialogue interspersed with tense and drawn-out silences, often accompanied by the sounds of nature. Instead of the slick, modern ‘n’ alienated Euro-cynicism that Lanthimos revels in, this one has a rusty old feeling, like a forgotten fairy tale. A big reason is that it brings a lot of the abuse and manipulation to the forefront instead of just looking at the elliptical side effects. That said, it doesn’t mean that this film is full of violence (though it does have violence for sure). Most of the abuse is rather indirect verbal “domination” and stuff like that. The setting being different also totally removes this one as instead of the rich, futuristic mansion of Dogtooth this one takes place in a decrepit old house that just seems like the kind of place the neighborhood’s creepy old man would live. I wish I could praise this film on its own but it’s hard when it bears so much in common with Lanthimos’s film. But I will summarize it by saying that this is a marvelous, grim, weird, and deeply tragic film that no one should be without.

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Ballast (2008) Lance Hammer - 8/10
Alluvial Film Company, USA, 96 min.

Sometimes winter in the deep south (when it actually looks like this kind of muted blue drizzle, that is, and not just a summer with coats) is even more gloomy and depressing than winter in the far north. Must be the rarity of it, combined with really poor economic conditions. And this is definitely a film which revels in that. It’s a setting which I think is still pretty underused and underrated, especially in largely black areas like the ones this film concerns itself with. Not a perfect film but one with a ton great stuff going on that makes it hard for me not to really enjoy.

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Milano calibro 9 (1972) Fernando Di Leo - 9/10
Cineproduzioni Daunia 70, Italy, 88 min.

Di Leo only continues to be one of the greatest dudes. This might be even better than The Boss. I can certainly understand why it seems to be his most praised piece. It’s super sleazy and has that nihilistic swagger that all the best poliziotteschi films are drenched in, which makes the division between the most rich and luxurious flats of Milano and the poorest slums even more dramatic, yet smooth in execution. Bouchet is also clearly peen material and I knew that even before watching, but I never knew she had hips like that! Jeez.

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La mala ordina (1972) Fernando Di Leo - 8.5/10 (The Italian Connection aka Manhunt)
Cineproduzioni Daunia 70, Italy/West Germany, 92 min.

It’s hard not to realize that the two American policemen here were pretty blatantly ripped off by Tarantino for Pulp Fiction. But Travolta and Jackson can’t possibly compete with the duo of Henry Silva and an aging but still supremely badass Woody Strode (!!!). The film consists of a lot of detective works into the sketchiest pimpin game in Milan, in the process acting like the coolest motherfuckers who don’t give a fuck about anything. This eventually leads to one of the most incredible chase scenes of the whole genre.

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I padroni della città (1976) Fernando Di Leo - 7.5/10 (Rulers of the City)
Cineproduzioni Daunia 70, Italy/West Germany, 85 min.

And now Di Leo steps a bit outside of the “good guy” angle and looks at some guys who decide to score big through some devious means. So there’s definitley an added sense of desperation to this one. You’ll see no swanky apartments amongst this film’s settings. But its very existence still reks pussy. The shootout scene is quite a thing to behold.

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Light Lick Series (1999-2004) Saul Levine - 9.5/10
USA, 53 min.

Finally I must confess how I am tempted through the eye. Let the ears of your Church, the ears of my devout brothers in Christ, listen to my words, so that I may bring to an end my discussion of the body’s temptations to pleasure, which still provoke me as I sigh, longing for the shelter of that home which heaven will give me. (2 Corinthians 5:2).
The eyes delight in beautiful shapes of different sorts and bright and attractive colors. I would not have these things take possession of my soul. Let God possess it, he who made them all. He made them all
very good (Genesis 1:31), but it is he who is my Good, not they. All day and every day, while I am awake, they are there before my eyes. They allow me no respite such as I am granted in moments of silence when there is no singing and sometimes no sound at all to be heard. For light, the queen of colors, pervades all that I see, wherever I am throughout the day, and by the ever-changing pattern of its rays it entices me even when I am occupied with something else and take no special note of it. It wins so firm a hold on me that, if I am suddenly deprived of it, I long to have it back, and if I am left for long without it, I grow dispirited.
-Saint Augustine, Confessions, Book 10.34

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Tue Dec 23, 2014 9:38 am
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jade_vine wrote:
Uh, sup Dogtooth..

I know right? :D

The odd thing about the setting here is that it's an entire building, rather than just a house. The courtyard, which is normally a place of community, therefore becomes some kind of abandoned children's playground.

Very eerie!

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Tue Dec 23, 2014 7:53 pm
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love Castle of Purity!

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* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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Tue Dec 23, 2014 7:59 pm
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Love Milano calibro 9, that opening scene is virtuosic. La mala ordina felt a little rote by comparison. Worse music, worse action choreography, and underuses both Paluzzi and Strode. Still need to see Il boss though.


Wed Dec 24, 2014 12:06 am
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Suramis tsikhe (1922) Ivane Perestiani - 7.5/10 (The Suram Fortress)
Kinos Seqtsia, Soviet Union, 70 min.

A very charming early adaptation of a classic Georgian tale. Not much else to say but it’s solid. Or so.

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The Strong Man (1926) Frank Capra - 7/10
Harry Langdon Corporation, USA, 75 min.

Visual comedy in the grandest silent tradition. Harry Langdon has a wonderful clownish presence. Very sweet, very enjoyable.

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Die weiße Hölle vom Piz Palü (1929) Arnold Fanck & Georg Wilhelm Pabst - 8/10 (The White Hell of Pitz Palü)
Sokal-Film GmbH, Germany, 130 min.

The glory of the mountains. Has anyone ever got it better than the Germans did with their bergfilms? What makes this movie especially noteworthy is that it isn’t simply an adventure story, there’s a very touching and tragic story of lost love inside all those cumworthy shots of mountains. The “white hell” of the title is no exaggeration, the glory of these mountains soon becomes a deathly and wretched landscape to the intrepid explorers herein. It also just so happens to feature Leni Riefenstahl as an actress at her cutest. Some fantastic stuff, can’t wait to check out other films of this style.

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Fixed Bayonets! (1951) Samuel Fuller - 8.5/10
Twentieth Century Fox Film Corporation, USA, 92 min.

Fuller continues to be a master, pure and simple. It’s not quite as much of a radical, controversial type of picture that Fuller is famous for, but it has some really amazing stuff going on. Like any Fuller picture, there’s a fascinating sense of humanity on display, if one couched in a sense of manly bravado. But the psychological imperfection shines through of the platoon. It’s far from a war hero fantasy, and the way Sammy subtly sneaks in a sense of psychological unease into scenes, even in the calmer moments between the incredible scenes of suspense he constructs. I dunno what I’m talking about but this movie is excellent.

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Yorokobi mo kanashimi mo ikutoshitsuki (1957) Kinoshita Keisuke - 9/10 (Times of Joy and Sorrow)
Shôchiku, Japan, 162 min.

Leagues ahead of anything by Kinoshita I’ve seen. Beautiful, epic in simplicity in the way the best of Ozu is but with an added romance and nostalgic longing. That said, it is a film full of a lot of complex emotions that can’t be reduced to a few words. Kinoshita’s very picturesque setup is full of amazing images from islands all across Japan, big and small, from Hokkaido to Mishima. It’s a really uncommon but interesting film in style, telling an epic tale of ages all over geography and history but always across a very tiny and personal scale. Ok, there are certainly other Japanese films that do this but this one somehow manages to avoid specific scenes of the family for very long but still make something consistently moving and involving.

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Pasażerka (1963) Andrzej Munk - 7.5/10 (Passenger)
Zespol Filmowy “Kamera”, Poland, 62 min.

This film sadly is quite flawed due to its incomplete nature, which is a shame because I think if it was completed it could absolutely be something phenomenal. But as it is, it remains a rather fascinating film. Very bleak and simple, kind of like Jancsó but way more humble. A sad case, but we can count our blessings that at least this much got made.

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Les cauchemars naissent la nuit (1970) Jesús Franco - 8.5/10 (Nightmares Come at Night)
Prodif Ets., Liechtenstein, 85 min.

Definitely one of the better Franco films. Very nightmarish (who’d have guessed?) and pessimistic. It has all the hallmarks of a typical Franco: Beautifully causally filmed images, a perverse and invasive camera, a sleazy storyline where eroticism leads to pleasure and pain in equal turns, and of course Soledad in all her b0ner-inducing glory. Would have been nicer to see her in a larger role but I can hardly complain. My dick was just as happy as my cinephilia. Franco’s taste in asses was impeccable.

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Il coltello di ghiaccio (1972) Umberto Lenzi - 7/10 (Knife of Ice)
Mundial Film, Italy/Spain, 91 min.

While in general I think Lenzi is more cut out to be an action dude, this is a solid giallo. That said this is a really fun and twisty work which makes watching gruff Italian detectives scowling more fun than ever. There’s also a some Satanic imagery which makes it kewl.

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Winter Kills (1979) William Richert - 7.5/10
Winter Gold Productions, USA, 97 min.

A film which seems to have had one hell of a production history, and certainly has an insane cast which includes Jeff Bridges, Anthony Perkins, John Huston, Eli Wallach, Sterling Hayden, Dorothy Malone, Elizabeth Taylor, and even Toshirô Mifune! The opening titles sequence for this certainly is one of the bet I’ve seen in quite some time. Dramatic closeups of pieces on a chessboard lit against a black void background. Vilmos Zsigmond is a true pro and this is a great showcase for him. The cast and crew of this all seems so huge and intense that I imagine Richert was anxious that he wouldn’t compare. But indeed, he pulls all these colossal forces together into a film that somehow completely fits together.

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Sogni erotici di Cleopatra (1985) Rino Di Silvestro - 5.5/10 (The Erotic Dreams of Cleopatra)
Italy/France, 86 min.

Cheap, tacky historical softcore b00blez. Pretty mediocre but it’s fun watching Roman bitchez breathily talk about goddesses of lust while softcore tribbin da fuck out their concubinez. Shame the gals aren’t very hot, kinda kills it. There are some decent visuals at parts though. The best parts remind me of Conquest, although that is indeed quite generous.

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Prokletí domu Hajnů (1988) Jiří Svoboda - 8/10 (The Damned House of Hajn)
Czechoslovakia, 107 min.

There really is no shortage of Czech gothic horrors with unbelievable camerawork, is there? This is certainly up there with Herz’s filmography, and it really goes over the top (in the best of ways!) with the blue-saturated camera lens lurching all around and spinning over everything. Crazy! The film is like one extended montage reflecting a memory processing in the eye of a madman, which is cerainly thematically appropriate. Underrated, excellently off-kilter and eerie, and invigorating.

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Another Girl, Another Planet (1992) Michael Almereyda - 8/10
USA, 62 min.

Manages to be funny, weird, and suffocatingly genuine and emotionally naked all at once. Very deep and oddly touching while being fun and aesthetically strange all at once. Like Stillman or Hartley with an added dose of techno-alienation. This was very different than I expected but I have the feeling it will grow on me greatly.

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Voci nel tempo (1996) Franco Piavoli - 7/10 (Voices Through Time)
Zefiro, Italy, 86 min.

This has some similar problems to At the First Breath of Wind but overall this one is better. The biggest issue in this one is that I think the film’s mood would have developed far more efficiently if he let the images he creates take their time to grow. Most of the images here, while beautiful, are full of kids crying and stuff clanging around. Which is fine, but I didn’t think there was as much variation as there could have been.
The other problem, though, is that I think Piavoli’s editing here is just way too fast. He constructs a lot of utterly gorgeous images, but they keep cutting away from each other, so just as you begin to enjoy them they move away. I’m clearly not against faster editing but I really think this one moves too quickly for Piavoli’s personal style and robs it of its mood. The final 2/3rds of the film get better with regard to this, especially near the end which is actually very powerful, but it’s still something I think Piavoli falls into as his career progresses, unfortunately. However, this is still a very very good, probably even great, film that’s more than worth watching. I’m undervaluing it by only being negative because there was a lot here I really liked. It just really could have been incredible with a bit more.

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Il ragazzi del massacro (1969) Ferdinand Di Leo - 7.5/10 (Naked Violence)
Cineproduzioni Daunia 70, Italy, 92 min.

Damn the opening to this is just crazy. It’s a scene of a teacher in a classroom being raped and murdered by her students but it’s done as a montage with super choppy, weird editing and all the sound has been replaced by one ominous piano/synth thing. Really New Wave-ish opening which is surprisingly daring aesthetically for Di Leo. The film itself is up to his usual high standard. It’s an early film and hasn’t really lumped itself totally into Di Leo’s kickass CHASEDOWN style yet, so while it certainly focuses a bit heavier on the investigative side of things, it does it damn well. And gritty! Lots more noir influence.

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Il poliziotto à marcio (1974) Fernando Di Leo - 7.5/10 (Shoot First, Die Later)
Cinemaster S.r.l., Italy/France, 94 min.

Fuuuck the poster for this is the most badass thing I’ve ever seen. And it’s fitting because this is certainly one of the best non-Milieu Trilogy films of Di Leo’s. No fucking holds barred, this starts up with some thugs bashing muffukkas faces in with pipes. And it keeps it up. Pretty great movie.

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La città sconvolta: caccia spietata ai rapitori (1976) Fernando Di Leo - 8/10 (Kidnap Syndicate)
Cinemaster S.r.l., Italy, 97 min.

A simple plot that becomes complex. More good tuffguys and bad tuffguys going up in arms over someone being kidnapped. But this time (gasp!) IT’S A KID. Really probably his best movie outside of the Milieu trilogy. Lurved it.

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Sun Dec 28, 2014 12:26 pm
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Post Re: jade_vine: 2014

need that kinoshita and fuller in my life. stop watching italian films

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Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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Sun Dec 28, 2014 1:20 pm
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jade_vine wrote:
Voci nel tempo (1996) Franco Piavoli - 7/10 (Voices of Silence)
Zefiro, Italy, 86 min.

Agreed that this is the better film; much prefer the overall pacing and structure. Not all the shots are short though, are they? All of Piavoli's films tend to reflect life, with the length of shots decreasing as they become more youthful, so as to represent the relatively fluid nature of the lives witnessed. Then they increase in length as you get to those Autumn and Winter sequences and the days begin to shorten, the nights getting longer. I think the film is more about the voices than the silence - not only the voices of the kids clattering up and down cobbled streets or whirring round a town town square with the aid of a motorcycle, but the voice of the wind in the trees and the water as it trickles in a semi-frozen stream.

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“Bisogna essere molto forti per amare la solitudine.” - P.P. Pasolini

WCoF I II IIIL'EtàL'Eau한국88ShadowsBerlin thırd ISOLATIONVistaVision


Mon Dec 29, 2014 12:28 am
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Post Re: jade_vine: 2014

why is that even translated as silence, i always thought it was voices through time


Tue Dec 30, 2014 2:31 am
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MrCarmady wrote:
why is that even translated as silence, i always thought it was voices through time


Oh, you're right. I had logged it as Voci nel tempo and for whatever reason added that translation out of memory without verifying. I guess that shows that at least he didn't pick an inaccurate title! 3dit3d.

I in general thought the film could use some more silence. Not to say that every film in that style needs to be silent but I thought it was awkward with the more glacial images.

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Tue Dec 30, 2014 3:27 am
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