Spielberg's latest met with mildly positive reviews.
Maren Ade's 'Toni Erdmann' getting unanimous praise.
KStew booed out of the building.
Jim Jarmusch's latest 'Paterson' w/ Adam Driver is his best in years.
coverage here:
fandor.com
cannes-rurban.rhcloud.com
todaslascriticas.com.ar
screendaily.com
indiewire.com
>caring about the auto-fellatio of the entertainment industry
What a nice way to show your impotence.
>cannes
into the trash it goes
fucking plebs
refn will win the leaf
That will never be allowed. Ever.
>what is Dheepan
It's possible.
Screening today is Almodovar's Julieta, Mendonca Filho's Aquarius and Mendoza's Ma'Rosa. Excited for Aquarius.
At the micropsia poll, the highest rated films screened so far are Puiu's Sieranevada, Ade's Toni Erdmann, Jarmusch's Paterson and Laxe's Mimosas.
A safe, topical movie by a critical darling?
It wasn't exactly loved by the critics.
>It wasn't exactly loved by the critics.
avclub.com
Fucking savage.
still a far cry from only god forgives (which people have been saying this one compares to in divisiveness). and the fact that it's a horror film makes it all the more unlikely.
>critics.
lmao
Elle when
The last day
jesus man and here I thought 4 chan was mean.
>Dheepan succumbs to the idea that the suburbs of Paris are just another war zone
>Dheepan shifts gears into an artless, ambiguously reactionary action fantasy of improvised weapons and bad guys getting what’s coming to them
Why can't the AVClub write a single review without inserting some shitty liberal opinions.
hmmmmmm
Go away Sup Forums.
RRRRRRRRRRRRRRRRRRREEEEEEEEEEEEEEEEEE
>Yet his idea of emancipation is no less juvenile. It more or less boils down to having Sookee and Lady Hikeko engage in three sex scenes – or, rather, two, but one gets an extended replay with additional sexual positions and camera angles – that conform to stereotypical adolescent male fantasies of how lesbians get it on. That said, having his leads wildly scissor to the swelling tune of Hans Zimmer’s “Journey to the Line” (best known from Terrence Malick’s The Thin Red Line) is a pretty amazing touch.
This will be a masterpiece. I hope based Miller gives something to this crazy motherfucker.
Go away A.V. Club film reviewer.
Go away, boardwrecking tourist.
>“Makes the most of Spielberg’s talent for wit, whimsy and transporting spectacle.”
Grew up on the BFG and wanted a movie for years since Giant Peach was released, so this makes me feel good.
>tfw Chan-wook Park watched Carol and said 'leave LesbianKino to me.
I loved Carol thou.
>stereotypical adolescent male fantasies of how lesbians get it on
Meaning what? Cinemax music and soft focus? Is it like Blue is the Warmest Color where we come to find out that no lesbian in history has ever fingered a girl from behind while having sex? What is the true-to-life routine of lesbian sex? Do movies like Carol get it right if they fuck like an old married couple instead of jackrabbits?
scissoring mb
Seems like mostly men complain about the sex scenes and the male gaze.
Only fags would complain about something like >le male gaze. If you even recognize to this memey imbecility, might as well have revoked your title as man.
it's real
Even worse is the sucking sounds.
lmao I don't understand like half the words in your post
I think you shouldn't be in this thread then.
This review is literally half 'trigger warning: The review' and half 'muh male gaze' are all critics faggots now?
pretty disgusting
Julieta has already a lot of spanish reviews but i want to see what they say in the festival
You gotta toe the line.
I'll watch Personal Shopper.
Assayas's last 3 films are just ok, but he's still amazing in my book.
>Dolan film with a 0 review
holy shit
Any reviews for neon demon?
my life as a zuchinni hype
Oh the ironing
I'm kinda happy Personal shopper got booed. It means Assayas took risks and that's great even if the movie isn't perfect. I'm really hype now.
Demonlover's pitch. I'm hype.
ok
it's an horror film? looks more like black swan or showgirls
A few threads ago someone posted a Top 10 films of the decade so far (2010-2016) list, and I was disgusted to find most of you faggots agreed with it. I want to know what YOUR top 5 would be.
Mine, not in order:
1. The Assassin
2. Blue is the Warmest Colour
3. Under the Skin
4. Something like Jauja or Tabu just because they're aesthetically important -- I haven't seen Arabian Nights
5. Tbh Inside Llewyn Davis even though it's such a little, self-contained film, I love it.
Sup /cannes/ pls help:
Which of the following films do I desperately need to see
>L'humanite
>Neighbouring Sounds
>The Secret of the Grain
>Stray Dogs
>Tropical Malady
>Millennium Mambo
Well, what's that list? I honestly doubt it's something that would evoke disgust.
All of them. This pack will provide many rewards and experiences.
Top 3, in no particular order:
Upstream Color
The Great Beauty
Once Upon a Time in Anatolia
There's a huge power gap below these three.
1. To The Wonder
2. Blackhat
3. Mad Max Fury Road
4. The Grandmaster
5. Bridge Of Spies
6. The Assassin
7. Tinker Tailor Soldier Spy
8. The Tale of the Princess Kaguya
9. The Social Network
10. Once Upon a Time in Anatolia
Tropical Malady and Millennium Mambo are the only ones I'd recommend
apparently julieta had a good reception
Julieta had solid reactions. Hope one of the qts of the cast wins
>sorrentipleb
I'm halfway through both of those films and can't find it in me to finish them. MM is only my second HHH film after The Assassin and I'm noticing his long, lingering shots that spend 10 minutes soaking in one menial conversation are much less endearing when it's not set in visually-gorgeous Wuxia-land.
Tropical Malady is also severely underwhelming thus far. It's like a less visually/narratalogically interesting Happy Together.
fuck you
Yeah. Just read some reviews comparing it with Boarding Gate and Demonlover, but as a bad thing.
Fucking plebs I swear.
Millenium Mambo is a terrible movie rescued only by its cinematographer.
About half of the critics so far have been retarded for whatever reason
'no'
The fact that you need to add "Jauja or Tabu" (like their interchangeable) just because their "importance" makes your list far more disgusting.
Even the dude that named The Great Beauty has more self respect than you.
Awful opinion. Save it for yourself next time.
>keep seeing people in these threads praising Arabian Nights
>see the lovely colorful poster and get excited
>"could it be? an up-and-coming arthouse European filmmaker who embraces fantasy and imagination, myths and poetry, instead of perpetuating the clichés of depressing visually inept social dramas and editing-less movement-less contemplative cinema?"
>watch the trailer
>weep for the current state of "world" cinema...
yeah there was a tweet from a female critic who loved the film that said that the only people that talked to her about the male gaze was men, as if they were doing her a favor.
I don't mind the criticism of a silly sex scene if that's really how they feel, but I suspect this isn't genuine at all.
le blackhat was good meme
Well, now that you marathoned the trailer you can give a reasonable and well-informed opinion surely. Nigger
I think you just read it wrong friendo, I meant that I think they're both equal in my eyes in terms of merit -- but both are aesthetically important for different reasons. They're only interchangeable insofar as any film close to usurping another on such a list would be.
I agree that the first half of Tropical Malady is a lot like not quite as good WKW, the second half is completely different and a lot more interesting (altho there is one shot inside the house, can't remember exactly when but quite early on I think, that I remember as being absoutely perfectly framed).
Suitcase of Love and Shame
The Princess of France
Grosse Fatigue
The Great Wall
White Nights on the Pier
Engram of Returning
I for Iran
Endless, Nameless
The Creation of Meaning
Where Are You Taking Me?
when's that Jarmusch Stooges doc playing?
it's not a popular opinion, but inma cuesta was one of my favourites
A trailer is more than enough to give you an idea of the film's cinematic texture and the filmmaker's aesthetic sensibilities.
>The Princess of France.
>Not Viola.
I don't know who cut Arabian Night's trailer but a lot of them are just done by the studios/some random fucker who doesn't necessarily have any aesthetic sensibility at all. I think it is absoutely ridiculous to judge a film by its trailer especially if it hasn't been cut by the director/editor himself.
That's blatantly false
The voice-over is literally worse than Blade Runner's, which Ford intentionally fucked up.
I don't like Viola as much. I would have put They All Lie over both of them, but it is from 2009.
I doubt your honesty
I'd say
1. The Assassin
2. Inside Llewyn Davis
3. Blue is the warmest color
4. Tinker Tailor Soldier Spy
5. The Wind Rises
I don't get what people saw in Jauja. It felt very similar to Lost River: a collage of things stolen from other, far better, movies, incompetently glued together.
I'm guessing you speak mandarin??
And I actually like Blade Runner's voice-over.
All of them, but mostly Secret of the Grain and Millennium Mambo
This is a fucking awful list and you should feel ashamed
Lost River doesn't have shit on Jauja.
Jauja is about myth, in the history of Argentina, of America, and of cinema.
Lost River is a mumbling coming of age, nicely shooted though.
Lmao post yours. I am certain that at least 3 of those will be on the best of list at the end of the decade, but by all means please trump my taste.
Just because a movie is "about" something "weighty" doesn't mean it's any good. And vice versa.
It's not "about" that. Is that.
Jauja is the most Fordian film we've had since that old fucker died 50 years ago. And the best part of it is that is not an homage at all.
1. Captain America Civil War
2. Jurassic World
3. Captain America Winter Solider
4. Skyfall
5. Guardians of The Galaxy
Of course it's not homage, it's straight up theft. And it's not like it does anything better. Alonso's only differentiation come in the form of pathetic gimmicks like the aspect ratio.
>I'm going to shoot these giant landscapes in this tiny frame! Aren't I a special fucking snowflake?!
Give me one reason to watch Jauja instead of The Searchers.
>Jauja is the most Fordian film we've had since that old fucker died 50 years ago
That seems a very questionable claim
>Give me one reason to watch Jauja instead of The Searchers
But you don't have to choose lmao
>Give me one reason to watch Jauja instead of The Searchers.
Why the fuck would I do that? You can watch both. That's the beauty of it.
And yeah, there's the academic ratio, and the plotline. But above all is the sense of myth. Westerns are about civilization, about trying to build something lasting in the middle of the wilderness. That's where Alonso and Ford differ. In The Searchers, Ethan brings back the girl, back from the darkness. In Jauja, Dinesen just gets more lost, more alone. and eventually going completely mental. That's the difference between EEUU and Argentina. Between North and South America.
And don't reduce the 4:3 part. Alonso uses beautifully. No director does that withe frame today, except for maybe Pedro Costa.
>Dinesen just gets more lost, more alone. and eventually going completely mental.
Yes, he also steals from Heart of Darkness. Am I supposed to find this interesting in some way?
I don't think it's anything impressive but it's a refreshing take on a tired genre. The minimalistic contemplative festival meme works well with genre cinema, which has gotten too corrupted and forgotten its fundamentals. It's no Dead Man, but I still prefer something like this or Meek's Cutoff over a Magnificent Seven remake by Fuqua. It's an interesting curiosity, nothing more.
Like I prefer The Assassin over bloated wuxia blockbusters with awful CGIs, even if it's not The Blade.
CANNES?
Only by watching the film, dude. I'm really reducing it to petty explanations, and the beauty of the film is that it reconfigures all this things in a visceral, poetic way.
I'll leave you a more eloquent piece:
bfi.org.uk
Also, losing your mind in the wild is not Conrad's trademark.
FLICKS
1. Shining (Kubrick, 1980)
2. 一代宗師 / 一代宗师 (Kar-Wai, 2013)
3. L'inhumaine (L'herbier, 1924)
4. [달은 해가 꾼는 꿈] 예고편 (Park, 1992)
5. بادکنک سفيد (Panahi, 1995)
MOVIES
1. The Godfather, Part III (F. Coppola, 1990)
2. Á bout de souffle (Godard, 1960)
3. And a Little Kid Shall Lead Them (Griffith, 1909)
4. Kindsköpfe (Dugan, 2010)
5. Fear & Desire (Kubrick, 1953)
FILMS
1. Höstsonaten (Bergman, 1978)
2. Hets (Sjöberg, 1944)
3. The Birth of a Nation (Griffith, 1915)
4. 十二生肖 (Chan, 2012)
5. IIIIIIIIIIIIIII1891091718191611€€€€&-@ (Sandler, 2016)
CINÉMA
1. Mogambo (Ford, 1953)
2. Lost River (Gosling, 2014)
3. ¿Quién me quiere a mí? (Sáenz de Heredia/ Buñuel, 1936)
4. Eyes Wide Shut (Kubrick, 1999)
5. Der Student von Prag (Rye/ Wegener, 1913)
KINO
1. Berlin — Die Sinfonie der Großstadt (Ruttman, 1927)
2. Pauvre Pierrot (Reynaud, 1892)
3. Mauvais Garçons (1995, Bay)
4. Avatar (Cameron, 2009)
5. 劇場版ポケットモンスター ミュウツーの逆襲 (Yuyama, 1998)
ABSOLUTE KINOGRAPHY
1. Interstellar (Nolan, 2014)
2. L'ascension du chevalier noir (Nolan, 2012)
3. 01010101 01101110 00100000 01000011 01101000 01101001 01100101 01101110 00100000 01000001 01101110 01100100 01100001 01101100 01101111 01110101 (1928, Luis Buñuel)
Needs an update with ROMPS and JOINTS