The way this works is that you post a review of the best film you watched this week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules.
1. Check to see if your favourite film of last week has been posted already.
2. Please post your favourite film of last week.
3. NO TV SHOWS!
4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. Mission: Impossible - Fallout) without using the spoiler tag.
5. Comments that only contain the title of the film will be removed!
Here are some great comments from last week's thread:
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A few weeks ago I made a comment on Before Sunrise, and this week the best film I saw this week was Before Sunset. I waited a while to watch the sequel just to add to the effect of the film, and I honestly love the way Linklater writes these two characters. It's just so natural and whilst I admire the way someone like Sorkin writes his characters, for me the naturalistic approach just makes the characters so much more relateable and that is key in making me believe in their dynamic. I also love how Linklater outdoes himself here in terms of the long takes and simplicity of the narrative. It really adds to the real time flow of the movie and the constant tracking as they walk from location to location indicates a ticking passage of time before sunset. The real time style of the film also draws focus to the mundane moments of human interaction such as walking to a coffee shop or going for a boat ride. Usually in movies these scenes wouldn't be here and we'd cut straight from one location to the next unless something was relevant to the plot, but in a movie like this it's those mundane moments that are crucial for the characters and the story as a whole. Overall it's a movie I don't think i'd have much interest in rewatching, but I appreciate these films for what they are. There's something so special about these films because of how normal everything is. They're literally films about people walking and talking and yet somehow it's executed in such a way that you just can't help but smile watching how this relationship develops.
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The Hole (1998) Dir. Tsai Ming-Liang. Days of past futures. My first Tsai Ming-Liang movie and he’s definitely piqued my interest. Okay, this film takes place at the turn of the (previous) upcoming millennium, where a mysterious virus that’s carried by cockroaches forces a quarantine. A few residents in an apartment complex decide to stay… and that’s about it for the plot, because it unfolds very slowly, and very weirdly from that point on. A hole is accidentally opened up in the floor/ceiling between the apartments of a man and woman. It initially causes some tension between the two, but it also becomes somewhat symbolic of their pangs of shared urban loneliness. The entire film in fact, is seething with it. It’s very Kar-Wai-esque in that manner, but instead of the vibrant, neon-Christopher-Doyle-infused cinematography that’s so emblematic of his films, this is captured mostly with long, lingering, languorous (and alliterative!) shots. Oh, and every so often, a random musical number breaks out--almost entirely from the woman’s perspective. Those parts feel very Lynchian, where the sheer surreal nature of them feels so bizarrely out of place, but yet can also turn strangely poignant once you understand how they’re revealing some aspect of a character's inner reality. It’s an extremely weird and quirky romance of sorts that develops here, because it’s expressed mostly through the decaying, peeling, and leaking surroundings, as well as the surreal dream-like symbols like the musical interludes and the developing hole. For all its abstractness, the ending does feel perfectly bridged; a breaking through of metaphor and reality that also feels emotionally appropriate. The journey to get there is going to be considered a tedious slog by some, but hauntingly bizarre and beautiful by others—as it was by me, as I simultaneously watched this with a combination of both absolute fascination and bewilderment.
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35 Shots of Rum (Dir. Claire Denis) Rail Switching. I’ve put this film off for a long time, and I’m not even really sure why. I guess, I imagined it would represent the most boring aspects of art-house, mumblecore films but as I watched this, I found myself immediately drawn in to its slow, deliberate cadence. This is the first Claire Denis film I’ve seen, and I’m already a big fan of hers now. The story, which is entirely a character study, involves a father and daughter (Lionel and Josephine), who live a close but sheltered life. At their apartment complex is several other people who they’ve formed gradual relationships with, including Noe, a man whose attraction for Josephine—and vice-versa—is clearly palpable. They don’t seem to take these feelings any further though, because of Josephine’s close relationship and familial devotion to Lionel, who comes off as pretty lonely figure--seldom speaking, and mostly content in his lingering solitude. An air of inevitable change is coming their way. It’s expressed in a very affectionate and subtle manner, which also applies to the entire film. A fellow co-worker of Lionel—a driver at the rail station—has recently retired and feels aimless and lost without his job. Lionel recognizes this and takes pause to look at the current situation he and his daughter is at. There’s an absolutely beautiful moment, something that can only seem to occur in cinema, where a group of them, including Noe, are forced to take shelter at a bar after their car breaks down. Rain-soaked, and with their emotional barriers lowered a bit, a few of them begin to dance. This scene seems to emerge out of nowhere. Wordlessly... magically... an entire perception shift and unraveling of long-simmering emotions occurs through multiple characters during this sequence. This probably doesn’t sound like anything absolutely special, and yet when it happens, it becomes one of those inexplicable moments of movie magic; where the untold depths of the human heart is expressed solely through its visuals, and is done with such delicate beauty, that we can easily understand and feel these character's intense emotions without any spoken exposition at all. It’s like one of those select spontaneous moments of pure cinematic joy that can erupt out of nowhere in Wong Kar-Wai’s films. Several other things happen to these characters, which all but confirms that their present way of living is going to change forever. Through all this, these characters move and communicate with their own quiet pace, speaking only when seemingly necessary. This film takes its time to set up these character’s lives and the shared world they inhabit and navigate through, and as a result, it’s often very hard to predict where it’s going. At the end of the film, the combined journey these characters went through outwardly seems rather ordinary. Like Lionel, Claire Denis is also a train conductor of sorts; treading well-worn paths, and treating this film with such tender and gentle care, that it still feels new and perhaps most importantly of all: authentic.
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Submitted August 20, 2018 at 12:00AM by GetFreeCash https://ift.tt/2OO804R
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