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Post by Fox in the Snow on Sept 12, 2022 10:25:18 GMT
One of my all-time favorite directors. There's really no one quite like him. Stunningly shot, abstract and at times absurd mediations on loneliness. After a marathon rewatch of all his narrative features, here's how they stack up 2003: Goodbye Dragon Inn 10/10 1998: The Hole 9/10 2013: Stray Dogs 9/10 2020: Days 9/10 2005: The Wayward Cloud 9/10 2009: Visage 9/10 1994: Vive L'Amour 8/10 2006: I Don't Want to Sleep Alone 8/10 2001: What Time is it There? 8/10 1997: The River 8/10 1992: Rebels of the Neon God 8/10 |
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Post by nostromo on Sept 26, 2022 11:13:30 GMT
Shamefully I've only seen Goodbye Dragon Inn which was very good. Like an arthouse version of Cinema Paradiso with added pain.
I have stray dogs and Days queued up to watch soon though.
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Post by Fox in the Snow on Sept 26, 2022 12:47:54 GMT
Shamefully I've only seen Goodbye Dragon Inn which was very good. Like an arthouse version of Cinema Paradiso with added pain. I have stray dogs and Days queued up to watch soon though. Perhaps his two most visually arresting films and along with Goodbye Dragon Inn his least narratively driven. If you're interested, Mubi is currently showing two of his shorts, unfortunately both of them work best in tandem with other films. The Skywalk is Gone narratively bridges What Time is it There? And The Wayward Cloud, while The Night acts as a nice abstract coda to Days. Confession: I (shamefully) have not seen Cinema Paradiso
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Post by nostromo on Sept 26, 2022 13:02:48 GMT
Shamefully I've only seen Goodbye Dragon Inn which was very good. Like an arthouse version of Cinema Paradiso with added pain. I have stray dogs and Days queued up to watch soon though. Perhaps his two most visually arresting films and along with Goodbye Dragon Inn his least narratively driven. If you're interested, Mubi is currently showing two of his shorts, unfortunately both of them work best in tandem with other films. The Skywalk is Gone narratively bridges What Time is it There? And The Wayward Cloud, while The Night acts as a nice abstract coda to Days. Confession: I (shamefully) have not seen Cinema Paradiso Cinema paradiso is good, if a little manipulative. I'm not on MUBI anymore as their streams kept playing up. Will try and get around to more of his. I see him firmly in the bracket of film makers that are brilliant at what they do - meditative slow cinema grounded in real life / loneliness / grief / urban change although touched with a slice of almost magical realism at times. Others:
Hou Hsiao-hsien Weerasethakul Jia Zhangke Bi Gan
Hu Bo (just the 1  ) Some Naomi Kawase
There's a film called Suzhou River that I saw fairly recently, that is brilliant at doing the same thing. There's something about Asian cinema that can be so good at this.
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Post by Fox in the Snow on Sept 26, 2022 21:44:29 GMT
Perhaps his two most visually arresting films and along with Goodbye Dragon Inn his least narratively driven. If you're interested, Mubi is currently showing two of his shorts, unfortunately both of them work best in tandem with other films. The Skywalk is Gone narratively bridges What Time is it There? And The Wayward Cloud, while The Night acts as a nice abstract coda to Days. Confession: I (shamefully) have not seen Cinema ParadisoCinema paradiso is good, if a little manipulative. I'm not on MUBI anymore as their streams kept playing up. Will try and get around to more of his. I see him firmly in the bracket of film makers that are brilliant at what they do - meditative slow cinema grounded in real life / loneliness / grief / urban change although touched with a slice of almost magical realism at times. Others: Hou Hsiao-hsien Weerasethakul Jia Zhangke Bi Gan
Hu Bo (just the 1 ) Some Naomi Kawase There's a film called Suzhou River that I saw fairly recently, that is brilliant at doing the same thing. There's something about Asian cinema that can be so good at this.
Those are very apt comparisons and I particularly enjoy the work of Hou Hsiao-hsien and Weerasethakul. Bi Gan’s Long Days Journey was pretty phenomenal, I still need to see Kaili BluesPedro Costa is someone outside Asia that works in a similar realm, though I’ve so far only seen a couple of his films Suzhou River has also been on my watchlist for a while
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