>Killing of a Sacred Deer
Is this perhaps the greatest kino of the year?
>Killing of a Sacred Deer
Is this perhaps the greatest kino of the year?
tfw youll never have kino hair
No
>120 Batmans Per Minute
now that sounds like a kino
did it leak?
lol gay, totally gay, couldn't be gayer if you tried
>French movie about gays protesting against big pharma and AIDS
10/10 comedy
>homosexuals
Pass.
SECOND BEST MOVIE AFTER GOODTIME
THOUGHT IT WAS GONNA BE SOME SECRET GAY KEVIN SPACEY RELATIONSHIP AT THE BEGINNING
SICK OVERHEAD TRACKING SHOTS
The definition of pretentious wank.
Two thumbs down.
Why is it pretentious?
>this piece of hot garbage will probably win an Oscar
Gayshit needs to stop already. It's a fad that passed in the 90s.
What if it's actually a good movie though?
Also you're an absolute pleb if you give a single fuck about the oscars
we have the same opinions
>>what if it's a good movie though
>watches the trailer
>reads the premise
This won't be a good movie. Guaranteed. And I can express disdain when a shitty movie wins a prestigious award. Nothing you can do about it but weep in your /film/ discord or your letterboxd threads
i didnt like good time. i thought it looked nice and its filmed real cool and all, u get to see touches of a young scorcese and mann in there, but the characteres are so fucking stupid. i understand its fiction and nobody could be taht stupid irl but this was supposed to be realistic
They were short sighted poverty stricken lowlives from broken homes and one character was literally a retard.
It's actually a fantastic fucking movie you insufferable pleb
ALMOND GET UR SHIT TAILORED FFS
AT LEAST BY THE RIGHT NECK DRESS SHIRT
>For those who don’t remember the AIDS crisis, Robin Campillo’s imperfect BPM comes close to being the definitive AIDS epic. It’s a feat of vivid and inspired recollection. Set in the early 1990s, it recreates the fervor of those men and women who, following the example set in the United States by the group AIDS Coalition To Unleash Power, formed a European equivalent, ACT-UP Paris. They put their passions into being unruly activists, defending the rights of people with AIDS by demanding public recognition of the crisis, insisting on government responsibility and greater medical industry involvement.
>But Campillo’s film does more than argue trendy political “resistance.” It is also a romance about the activist past. While following the protestors’ agenda (based partly on Campillo’s own experiences), the movie becomes increasingly personal. Like the classic innovations of D.W. Griffith’s Intolerance and Altman’s Nashville, its accordion-like narrative expands and contracts—from group meetings (about tactical demonstrations and developing medical treatments from Protease inhibitors to DDC and AZT ) and protests into intimate scenes and then back into public spectacle).
>Campillo and cinematographer Jeanne Lapoirie (Wild Reeds) attempt pacing scenes to the urgent, sensuality of disco rhythms, as per the title (also the normal human heart rate). There’s are poetic transitions like the stunning symbolic transformation of the Seine to mark the era’s lifeblood. This multi-character story is the most ambitious, modern-day queer epic since Patrice Chereau’s Those Who Love Me Can Take the Train (1999). Campillo brings back the tragic, emotional past so that it teaches about that age with contemporary immediacy.
>The advances made in gay social life since the AIDS crisis began are evident in Campillo’s unique recall. His multicultural, male and female cast, seem startlingly youthful. Endangered angels, their innocence and optimism make the plague’s disaster all the more devastating—it looks like it could be happening today. This urgency points to Campillo’s particular filmmaking gift. As in the 2015 Eastern Boys, he observes modern social crisis in which the political is also personal.
>If there is a key scene in BPM, it’s between Sean (Nahuel Perez Biscayart), a queeny fireplug and tall, quiet Nathan (Arnaud Valois). The instant attraction of these opposites leads to some fumbling about condoms, then they reveal themselves. Campillo elegantly edits their first physical exploration into Sean’s memory of his initiation—and infection—at age 16. This sustained intimacy dramatizes that AIDS era maxim “When you sleep with one person you also sleep with everyone they’ve slept with.”
>BPM recognizes a new kind of camaraderie among people sharing the same catastrophe as they struggle towards enlightenment and self-sufficiency. In the ACT-UP meetings, different perspectives and ideas clash. These are contrasted to disco scenes depicting a desperate need for release. The young faces are strikingly individual: zealous Sophie (Adele Hanael), brainy Thibault (Antoine Reinartz), and gentle history student Jeremie (Ariel Borenstein) look like Millennials which seems to hasten their dilemma. History becomes our story.
>Previous AIDS movies were so caught up in their own serious commitment that they feel like period pieces. Ryan Murphy’s The Normal Heart lacked the skill to rise above Larry Kramer’s anger and Mike Nichols’ Angels in America had such “prestige movie” airs it exposed the worst, smart-ass aspects of Tony Kushner’s overinflated writing; it made his search for visionary-spiritual significance feel abstract. But Campillo’s emphasis on lengthy observation and emotional interplay is convincingly naturalistic. The world falls away as Nathan and Sean comment on a gathering of disparate comrades and Nathan confesses a failure of nerve about his first lover. A secular wake surprisingly uncovers the inherent humanism of social allegiance. Campillo intercuts news footage of ACT-UP church disruptions but omits the biased sermonizing that made the 2012 doc How to Survive a Plague insensitive.
>BPM never makes the mistake of alienating a particular character or segment of the audience. (“You can’t split responsibility,” Sean warns against careless hook-ups). Campillo’s even-handedness (including a swipe at the intellectualized homophobia of philosopher Jean Baudrillard) is worthy of an epic about mankind forced to face mortality without fairness or warning. When Thibault tells Sean “We don’t like each other but we’re friends,” it prepares for the film’s most shattering, moving sequence.
>Although Campillo’s memory of the epidemic borrows from American social activism, it consistently avoids political bias and sentimentality as American filmmakers seem unable to do. Even when its disco sequences drift into aimless respite, BPM is French cinematic rationalism at its most effective. A film that encourages queers to have enemies would be counterproductive. BPM transcends modern queer politics.
Looking forward to this. The Lobster was great, Colin Farrell too.
I'll watch it for Raffey
Saw this last weekend. It's great, I think I enjoyed it more than the lobster. It's less funny, but the odd, stilted writing and acting are still there, and feel very similar to the way people were presented in the lobster. In that respect, it didn't feel different enough, but the style still does work. It was just a minor gripe, by the end.
>dat pic
>The Descendants won awards
curious how time puts some things in its place
Because it has intentionally bad and stilted dialogue. It worked in The Lobster because that was a comedy but refusing to adapt your style to match the genre of the film you are making in service of nothing is obnoxious and pretentious.
It also make it impossible to invest in the story or characters.
Also the film has no substance, no point. It takes half of it's run time for you to find out what's happening, and then it happens, and then it ends. Go home.
>nobody could be taht stupid irl
>It's less funny,
false, colin farrell confessing to his son about jacking off his dad is the funniest thing you'll see in a theater all year
YFW THE KID FINALLY BREAKING HIS REBELLIOUS STREAK AND CUTTING HIS HAIR, SAYING HE WANTS TO BE A CARDIOLOGIST LIKE HIS DAD WHEN HE GROWS UP TO TRY GAINING HIS SYMPATHY
PRETTY ROUGH
FUCKIN YORGOS
Oh look a Gay Nigger Jester. Fuck this idiot and people who give him money (You). It's the same people who like Razorfist.