Who are some revered directors that you don't like? I can't get into Godard, Ozu, or Antonioni at all

Who are some revered directors that you don't like? I can't get into Godard, Ozu, or Antonioni at all

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youtu.be/LHBHdYgg9fI?t=49
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Godard is a known pleb bait tho.

I hate French New Wave, and New Wave in general.

antonioni doesn't do much for me i watched both blow up and l'avventura and thought they were just alright

I don't get Godard. His movies are a bunch of sound and fury signifying nothing to me.

>DUDE LOOK AT THESE NONSENSICAL JUMP CUTS LMAO
>DUDE LOOK AT THIS 10 MINUTE TRACKING SHOT WITH NOTHING GOING ON ARE YOUR EARS BLEEDING FROM THE CAR HORNS YET????

I will admit I've only seen a bout de souffle and Weekend, but I disliked those two so much I never felt like continuing on. His films seem to lack a real human element that Traffaut's flicks have

>DUDE
>DUDE
my god just shut the fuck up

It's cool to dislike Godard here, maybe you know that.

Antonioni is excellent, the trilogy plus Red Desert, but Blow Up's not so great.

>hating memes

ITT: Pleb & Proud

And I'm sure that there's a lot more to come as these threads makes them feel safe

People who dislike Godard are simply too stupid for arthouse. In an hour and a half he tears the foundation of cinema apart and puts the medium back together again, this time as his own original structure for politics, philosophy, phantasmagoria and social justice, but all plebs can say is, "It didn't make sad :((((((. Where's the sentimentality?"

Just don't watch his movies if you're too dumb for them, that way nobody will have to hear your moronic opinions

>Blow Up's not so great.
It's a bit of a product of its time, but it's great bruh.

I haven't seen enough movies from any one director to say I dislike them overall. I generally don't care for noir, and the two Welles I've seen (Kane and Touch of Evil) were visually interesting but the stories never really touched me

true

I liked it fine but it didnt resonate w/ me for some reason, it being a product of its time is what i like about it, the of-the-moment mod/scene/youth design and atmosphere, the Redgrave stuff. Didnt really care for or get the ostensible protagonist. For me it wasn't as affecting or compelling as his other films. I've only seen it once, and i'm sure I could enjoy it more on subsequent viewings though.

We talking about Blow-Up? What did he mean by that scene with The Yardbirds?

At first, no one in the crowd was reacting to the music, it's almost eerie. That changes when Beck gets mad and smashes the guitar, throwing pieces of it into the crowd, and everyone starts fighting over the guitar neck. No one actually gave a shit about the art until they had a means of owning it for themselves, even if it was insignificant and trite.

I might be entirely off base here but that's what I got out of it.

>People who dislike Godard are simply too stupid for arthouse. In an hour and a half he tears the foundation of cinema apart and puts the medium back together again, this time as his own original structure for politics, philosophy, phantasmagoria and social justice, but all plebs can say is, "It didn't make sad :((((((. Where's the sentimentality?"
That's exactly the empty talk that godardfags use to justify that the enfant terrible, the new hope of european cinema happened to be a hack with no depth while his contemporaries all over the world made pure kinò that still resonates with us

that's exactly my interpretation too

It's a really subtle pun on Jimmy Page's name. Pay attention to the posters and note how they relate to the thematic content of the film

I enjoy Breathless and My Life to Live more than any of Truffaut's movies.

I really doubt that because I read that Antonioni originally tried to get The Who and The Velvet Underground for that scene.

>Who are some revered directors that you don't like?

I've never had that reaction. Every "revered director" whose work I've experienced was revered for a reason.

I wasn't referring to other nouvelle vague directors
Why do people always compare Truffaut and Godard though
In 1960 (the year of a bout de souffle) you had Antonioni with L'Avventura, Hitchcock with Psycho, Fellini with La Dolce Vita, Bergman with The Virgin Spring, even fucking Ozu with Late Autumn, all of which are infinitely better than anything Godard could ever dream of making

The Apartment is pretty nifty too, though not game changing like some of those

>Why do people always compare Truffaut and Godard though
Two buddies in the same movement. Their movies are completely different though.

Haneke maybe. At the very least I feel the approbation is overblown.

yeah, of course, I love the apartment but I it has no pretension of being "serious" like those movies, which I totally respect

>That's exactly the empty talk that godardfags use to justify that the enfant terrible, the new hope of european cinema happened to be a hack with no depth while his contemporaries all over the world made pure kinò that still resonates with us
Haha, you actually think you're saying something.

Yes, 1960 was a great year. But really, a pleb like you couldn't be able to appreciate these films you are citing.
Also, it's À Bout De Souffle :)

Demy is underrated. Not revolutionary like FNW but sweet, maudlin, creative.

I still don't get Rivette but I'm sure that it will come

i know french but this is a fucking moroccan origami forum famm

Watching a lot of Otto Preminger films lately, yet, none was above average so far.

Also, the ideological differentiation between them led to cinephiles all over (specially non french) to classify Godard as "big meanie megalomaniac who makes indecipherable movies" and Truffaut as a true humanist.

It's a 50 years old meme that is still fresh.

when you are feeling shitty just watch this
youtube.com/watch?v=oRIB-q76arM
they even had gene kelly for fuccs sake
youtube.com/watch?v=YSM4E4OMCD4

Kubrick films are too emotionally empty for me

I was going to post like five godard pastas and my three ozu pastas but this is actually a pretty good thread and it really made me think.

>Who are some revered directors that you don't like?

None, I'm not a pleb

Anouk Aimee is the most beautiful woman to ever step in front of a camera. Lost count on how many times I've watched Un homme et une femme.

>having no opinions contrary to popular canon is patrish
Almost as dumb as hating everything because it's popular and acclaimed

The point is the moment when the guitar is actually outside of the club and nobody cares about it; without the context of the venue it's just a broken guitar.

agreed, seriously candy colored antidepressant kino

man, hate on a few revered directors even if you have to fake it
it's not cool to like 100% of what's acclaimed

Pretentious to the point of parody. Fuck your partisan black/white generalizations. Fuck your sterile identity politic.

I like Godard's films, but I ain't like you.

>"you have to hate something or you're not cool"
>these are serious points on Sup Forums

If you like everything that other everyone likes then you have no taste

You sure as shit ain't like me, bitchboi

you really don't want to be that guy that likes 100% of the things that are supposed to be good
you're expected to have something unique and interesting to say
that's how it be

The losing of art's meaning through the consumption (using that word very deliberately) of aesthetic values instead of their significance. A band whose qualities are based around a certain performance and not in their songs is as good as a photographer who has lost hold of what reality looks like.

that's not virginia cherrill though
youtu.be/LHBHdYgg9fI?t=49

Took multiple classes on European cinema, French New Wave, and even a seminar devoted entirely to Godard. Still can't stand his movies.

But this one scene is fucking god tier.

youtube.com/watch?v=i0i8XR9Cztc

Hitchcock
He just doesn't hold up. They way he made his actors act, the dialogue it's like watching bad television from the past.
He also probably popularized the two shittiest cliches in horror and cinema. Jump scare and multiple personalities.

That literally makes no sense. The canon is hated by the vast majority of plebs, in one extent or another.
And even if I- or anyone else- liked only the 'what everyone likes' stuff, this still would be a personal taste, only that it's shared with the rest.

What a time to be alive

I can understand- not accept- people shitting on Godard, because it demands a lot more, etc. But Hitchcock? Come on, how could someone serious not LOVE the cinema of the man? It's below pleb this ''''opinion''''

>The canon is hated by the vast majority of plebs
The canon is not known by the vast majority of plebs

one of the top 10 best directors of all time without a doubt

I'm not saying you have to hate things, but there should be something you dislike.

>watching Hitch for the dialogue and plot mechanics
You could not be doing things more wrong. I can understand saying that but you're looking at it all wrong

80's Godard ia best Godard

What even are you? Go to bed.

have you seen past psycho/the birds? he's one of the greats for sure

WITHOUT A DOUBT

Fuck off

When I view a film I judge it as a whole, if some parts are bad I'm not going to dismiss them.
When people praise Hitchcock they claim he is the master of suspense. The ''teacher'' probably but I fail to see how someone in this day would feel any suspense with Psycho.

Look at the pictures instead of plots. His ways to build emotion inside of the core of an image are indispensable to modern film.

For example, even if you consider the dialogue hammy, Rear Window is a masterclass on perspective.

>When people praise Hitchcock they claim he is the master of suspense
"suspense" is not why Hitchcock is one of the greats, just like "laughs" is not why Chaplin is one of the greats

I don't like the majority of Kubrick's films barring Strangelove.

Interestingly Hitchcock himself was the biggest promoter of that self-bestowed title. He was great at marketing himself and his movies (in the states, anyway).

Honestly, the most fascinating thing about Hitchcock to me is his fascination with women. Same reason I love Lars von Trier's movies. Their frustration with women is so palpable as they try to figure them out on-screen.

Finally saw Pierrot le Fou. I got pretty bored. My Life To Live is his only good film.

Antonioni bores me except Blow-Up

Truffaut was more effective in this regard in Jules Et Jim than any Godard film

Walking into Psycho without knowing anything about it is rare these days. A envy for people who did not see it in theaters in 1960.

youtube.com/watch?v=hplpQt424Ls
Sorry but I can't watch that it looks horrible. I understand that this is the best he could then and birds has a more ''philosophical'' theme than just a multiple personality killer but as I've said it doesn't hold up. Films like Beauty and the Beast from Cocteau have a special charm even though the effects are primitive. But this ,to me at least, looks pretty bad.
Well then why is he one of the greats?

>Sorry but I can't watch that it looks horrible
Oh, bloody hell. Piss off

>Well then why is he one of the greats?
How about you watch his movies multiple times and read about him, just like everyone else in the history of cinema did?

This. Vertigo is basically a big exploration of fixating on a woman, finally getting her, and then going mad trying to get over her.

Every relationship I've ever been in.

if you are consuming movies in the level of "lol those fx look old" you will never stop being the huge pleb you are now

You seriously defend that scene?
Even though it could belong in a bad 80's b-movie?
I guess you can't argue with fanboys, it's futile.

could be a woman or could be anything else
Vertigo is some buddhist shit

I dismissed that argument. Beauty and the Beast, Brazil etc look old but they're beautiful. This looks horrible.

You picked the wrong scene to showcase The Birds.

Should have shown the one of her walking to the schoolhouse and the number of birds slowly getting larger and larger. Now that one is creepy.

you have just proved that you are consuming movies in the level of "lol those special fx"

>You seriously defend that scene?
>Even though it could belong in a bad 80's b-movie?
>I guess you can't argue with fanboys, it's futile.

No, seriously, what the fuck could I possibly reply to a retard of these vast dimensions? Silence

Or just bash him on his shallow plots like the critics did at the time until Truffaut burned them so hard they stopped speaking alltogether

hell yeah, that Truffaut/Hitchcock book is the shit

I've talked about the wooden dialogue, acting and the shallow themes (multiple personality killer for example) before. How many fouls should you be allowed to forgive?
If you can't hold an argument don't bother replying at all.

>Bother an argument
YOU'RE A PLEB. The only thing your type deserves is scorn, laughter and bullying. I seriously hope nobody commits the mistake of trying to educate you with more than a couple of phrases.

You're the one who called the other guy a fanboy just to dismiss him. Don't bitch about other's arguments after that

Yes, Hitchcock had silly plots, and sometimes bad actors, but those elements aren't important to his movies. It's the camerawork, and editing, and the way he strings the audience along on these absurd stories to the point where the specifics of the story doesn't matter. His ability to control emotion solely through images, not the sentiment of the script or actors but just shots and edits was and maybe is unmatched

>I'm just too good to explain in even simple sentences something I support
Sure thing, but I'm talking about a film director here. If you have nothing interesting to say just don't say it all. It will also make you less mad.

Breathless is shit and even people who like Antonioni will admit he makes boring films.

No, and boring isn't a criticism.

>Cinematographically uninteresting and infinitely boring. Godard is a fucking bore. He’s made his films for the critics. One of the movies, Masculin, Féminin, was shot here in Sweden. It was mind-numbingly boring.”
-Ingmar Bergman

>“His gifts as a director are enormous. I just can’t take him very seriously as a thinker — and that’s where we seem to differ, because he does. His message is what he cares about these days, and, like most movie messages, it could be written on the head of a pin.”
-Orson Welles

>“Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung-fu film.
Werner Herzog

What did they mean by this?

Yeah he was rude, you're right I shouldn't have dropped in that level.

His editing and camerawork are well thought I agree but sometimes they can also get silly.
youtube.com/watch?v=5-HYj5cLfEI

In the beginning you have a great shot with the three actors positioning themselves in front of the window but at 1:06 the way the camera cuts with her open mouthed seems a bit too much.
This was one example.
I can't get over his weaknesses to appreciate his strong points, like most people do. End of thread rant.

Surely they didn't mean that directors should be treated like a console or brand war

>Yeah he was rude, you're right I shouldn't have dropped in that level.
Ah, get fucked, fairy. What a horrifying specimen: the pretentious pleb

Well Bergman disagrees

American New Wave is amazing though?

Nobody takes the French New Wave seriously.

I can't get into Fellini when he got too artsy (after Giulieta and Gli Spiriti), I can't get into Antonioni, can't get into Bergman either.

But I love Ozu.

>Nobody takes the French New Wave seriously.
Nonsensical false statement. I wonder why that would be posted