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| World Cinema; The other cinema around the world. | |
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| Tweet Topic Started: Nov 29 2006, 05:16 PM (1,740 Views) | |
| Kenn | Nov 29 2006, 05:16 PM Post #1 |
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Discuss and share the other movies from around the world here!! Soo many films, soo many gems of movies!! And not to forget the great actors, actresses, directors,......
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| Black_Warrior | Dec 22 2006, 12:00 PM Post #21 |
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The Real RocknRolla
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Haha I wasnt even aware of this topic.... But yeah I watched OldBoy recently aswell... great performances...not really my kind of film...but yeah great piece of filmmaking in terms of style, performances and execution.. The writer Garon Tsuchiya has the sickest mind ever man
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| Kenn | Dec 25 2006, 05:48 PM Post #22 |
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![]() Tokyo Monogatari (1953) (Tokyo Story) Directed Yasujiro Ozu Editing Yoshiyasu Hamamura Music Kojun Saito Cast Chishu Ryu Chieko Higashiyama Setsuko Hara Haruko Sugimura Nobuo Nakamura So Yamamura Kuniko Miyake Kyoko Kagawa Eijiro Tono Shiro Osaka Zen Murase Mitsuhiro Mori Synopsis Yasujiro Ozu's Tokyo Story (Tokyo Monogatari) follows an aging couple, Tomi and Sukichi, on their journey from their rural village to visit their two married children in bustling, post-war Tokyo. Their reception is disappointing: too busy to entertain them, their children send them off to a health spa. After Tomi falls ill she and Sukichi return home, while the children, grief-stricken, hasten to be with her. From a simple tale unfolds one of the greatest of all Japanese films. Starring Ozu regulars Chishu Ryu and Setsuko Hara, the film reprises one of the director's favorite themes—that of generational conflict—in a way that is quintessentially Japanese and yet so universal in its appeal that it continues to resonate as one of cinema’s greatest masterpieces. Review by David Bordwell When Tokyo Story was released in late 1953, Western audiences were just being exposed to Japanese cinema. Akira Kurosawa had made his breakthrough with Rashomon three years earlier, and Kenji Mizoguchi was moving to the forefront of the international festival scene. In 1955 Teinosuke Kinugasa’s Gate of Hell would win two Academy Awards. The time would have been ripe for a very different sort of Japanese film to arrive on the global stage. Yet Ozu remained unknown abroad, chiefly because decision-makers considered him “too Japanese” to be exported. Although other Ozu films were shown sporadically in Europe and the U.K., it was Tokyo Story that broke the barrier. There were screenings here and there in the mid-1950s, an award from the British Film Institute in 1958, and screening programs organized by Donald Richie and other enterprising programmers. Then it opened in New York in 1972, coinciding with the publication of Paul Schrader’s Transcendental Style in Film, and it won the hearts of influential critics. When Richie’s Ozu was published, two years later, critics came to realize that this quiet filmmaker was one of cinema’s finest artists. In the 1992 and 2002 Sight and Sound international critics’ polls, Tokyo Story was ranked as one of the ten greatest films ever made. The capricious way in which this film entered world film culture might make us suspect that its success is accidental. Surely Late Spring (1949) and Early Summer (1951), to cite only two examples, are no less excellent? Ozu himself hinted at a reservation: “This is one of my most melodramatic pictures.” Yet Tokyo Story turns out to be a remarkably replete introduction to his distinct world. It contains in miniature a great many of the qualities that enchant his admirers and move audiences, no matter how distant, to tears. There is, first of all, the mundane story. Ozu and his scriptwriter, Kogo Noda, often centered their plots upon getting a daughter married, a situation around which an array of characters’ lives could be revealed. But Tokyo Story lacks even this minimal plot drive; it carries to a limit Ozu’s faith that everyday life, rendered tellingly, provides more than enough drama to engage us deeply. An elderly couple leave the tiny town of Onomichi to visit their children and grandchildren. Inevitably, they trouble their hosts; inevitably, they feel guilty; inevitably, the children cut corners and neglect them. In the course of the trip, the old folks become aware of both the virtues and vanities of their offspring. On the train ride home, the mother is stricken, and shortly thereafter, she dies. This arc of action conceals a strong and cunning structure. After leaving their youngest child, Kyoko, behind, the Hirayamas are shown visiting their children in descending birth order. First they stay with Koichi and his family, then with Shige and hers, then with Noriko (who married their third-born child), and finally with young Keizo in Osaka. Offscreen, they have visited Keizo first en route to Tokyo, but Ozu and his scenarist, Yoshikata Yoda, portray only their stopover during their return trip—partly to allow us to form expectations about how hospitable their youngest son will be, but also to respect the family-tree structure. (Ozu had experimented with this device in his first extended-family film, Brothers and Sisters of the Toda Family of [1941].) This patterning would seem overneat were it not carefully buried in a wealth of details of gesture and speech, from the frantic energy of the grandsons (one whistles the theme from John Ford’s Stagecoach) to the plaintiveness of the elderly fathers fretting over their sons’ failures. Again and again, personality emerges through concise comparisons. The businesswoman, Shige, is hardheaded enough to pack a funeral kimono for the trip home, but it never occurs to Noriko that Tomi will die, so she is unprepared. Who can say which woman is the more virtuous? Jane Austen, Anton Chekhov—these are the artists who come to mind when we confront a story told through such tactful revelations of temperament and states of mind. Yet there is nothing mild about Ozu’s tact; it acquires a stringent poignancy. “What a treat,” reflects Tomi, “to sleep in my dead son’s bed.” Tokyo Story also exemplifies Ozu’s unique style—low camera height, 180-degree cuts, virtually no camera movements, and shots linked through overlapping bits of space. In dialogue scenes Ozu refuses to cut away from a speaking character; it’s as if every person has the right to be heard in full. Other films use his distinctive techniques more playfully, but here he seems chiefly concerned with creating a quiet world against which his characters’ personalities stand out. The same delicate poise emerges in a refusal to tilt the scales. It would be easy to sentimentalize Shukichi, for instance, but when he staggers back drunk from his reunion, Shige remarks how he’s reverted to his old ways. The implication is that his carousing once caused family problems. (This resonates after Tomi’s death: “If I’d known things would come to this, I’d have been kinder to her.”) The warm-hearted Noriko confesses to forgetting occasionally about her dead husband, measuring herself against a cruelly high standard. Likewise, most of the siblings aren’t deeply selfish, just preoccupied and caught up in the lives they have made for themselves. Even Shige, whom Western viewers are inclined to censure, surprises us with her sudden, copious, utterly sincere burst of tears at her mother’s death; and her harsh edges are mitigated by the fact that she’s played by Haruko Sugimura, one of Japan’s most beloved female performers. Thanks to Ozu’s compassionate detachment, the final scenes take on enormous richness of feeling as we watch characters contemplate their futures. Noriko smilingly tells Kyoko that “life is disappointing”; Shukichi assures Noriko that she must remarry; the neighbor jovially warns Shukichi that now he’ll be lonely. Yet the momentous revelations are tempered by the poetic resonance of everyday acts and objects. Shukichi greets a beautiful sunrise—signaling another day of brisk fanning and plucking at one’s kimono. An ordinary wristwatch links mother, daughter, and daughter-in-law in a lineage of hard-earned feminine wisdom. And the roar of a train dies down, leaving only the throbbing of a boat in the bay. SOURCE ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
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| Kenn | Dec 31 2006, 12:47 PM Post #23 |
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![]() ![]() Only Yesterday (1991) (Omohide Poro Po) Director Isao Takahata Screenplay Isao Takahata Original Story Hotaru Okamoto, Tone Yuuko Executive Producer Hayao Miyazaki Character Design Yoshifumi Kondou Scene Design Yoshiyuki Momose Sound Editor Naoko Asari Original Music Katsu Hoshi, Amanda McBroom, Teruhiko Saigo, Seiichiro Uno Voice Casting Miki Imai (Adult Taeko Okajima) Youko Honna (Young Taeko) Toshirô Yanagiba (Toshio) Masako Watanabe (Naoko) Masahiro Ito (Taeko's Father) Michie Terada (Taeko's Mother) Chie Kitagawa (Taeko's Grandmmother) Yorie Yamashita (Nanako Okajima) Yuki Minowa (Yaeko Okajima) ^ SOURCE Synopsis Taeko, a single woman working a desk job in Tokyo, has reached a point in her life where she needs to get away from her job, her family and most of all, big city life. A much needed vacation to the countryside stirs childhood memories, recalling her time as a schoolgirl in 1966. Amidst beautiful country scenery, Taeko reflects on her life and forming new friendships, begins to make some tough decisions about her future. Review by James Jennings A jaded Tokyo office worker heads for the countryside and is sent on a journey of self-discovery when confronted with her long forgotten childhood. Anime drama produced by Hayao Miyazaki, written and directed by Isao Takahata. Hayao Miyazaki's anime classic Spirited Away managed not only to find a sizeable audience outside of Japan, but went on to become the first Japanese anime to be nominated for - and win - an Academy Award. While Miyazaki's fantasy films have gone on to find worldwide acclaim, another less well known anime master (and co- founder of Studio Ghibli), Isao Takahata, has quietly gone about mastering a form of anime realism that has unfortunately slipped under the radar in the West. Takahata's Only Yesterday is a stark, naturalistic drama that is far away from Miyazaki's wizards and floating castles. The film tells the story of Taeko, a single city dweller whose state of apathy is reflected in both her soul-sucking office job and lack of genuine aspirations. Knowing that the countryside is the only place she feels content, Taeko leaves the big smoke to stay with her overbearing sisters on a farm. At this stage audiences might expect the film to start laying on a cringe-worthy, hippy-ish message about 'finding yourself among nature', but they'd be gravely mistaken. Rather than joining a commune and finding inner peace with a few spicy cigarettes, Taeko begins to experience a series of confronting flashbacks concerning her often traumatic childhood. Only Yesterday paints an insightful and all-too-common portrait of what happens when a person gives up on their dreams for the sake of toeing the line and keeping other people happy. The flashbacks are drawn in an almost dreamlike fashion, pointing out the stark contrast to Taeko's dull, unfulfilling adult life. Boasting a Terence Malick-like knack for poetic minimalism, Takahata has crafted a subtle, intimate film that delves into the complex ways our childhoods can profoundly affect our adult lives. Audiences are likely to wonder why the vibrant, optimistic 10-year-old Taeko has transformed into a sullen, unhappy adult who feels beaten down by modern life, but it's a question that's likely to have a fair amount of relevance for some viewers. A wake-up call to those sleepwalking through life and a comment on the conformity of Japanese culture, this is a treat for viewers seeking animation with real substance. Verdict Sweet, sad and sometimes funny, Only Yesterday is a unique achievement that demonstrates what Japanese anime is capable of. ^^ SOURCE Review by Ching Yee This is indeed a surprise - a Ghibli film that is underwhelming. However it is not necessarily a bad thing. Let me explain. When I watched the first two thirds of this film, I found it sufficiently compelling but strangely uninspiring. Dull even, something I don't associate with Ghibli films. However the last 40 minutes turned it around for me. Undoubtedly the Ghibli magic has worked its charm again, but how? I suspect the leisurely pace of Only Yesterday is designed to hook the viewer in slowly, to get you to into Taeko's world, to experience the change in pace from her life in Tokyo to her sojourn to the countryside. Only Yesterday is somewhat of an unusual beast - coming-of-age stories don't normally start at 27 and even one that does often deals with current adult conflicts, not their 10 year old past. Taeko is going on her second trip to the country, escaping from her work in Tokyo. She is at a crossroad in her life – she is ambivalent about her work, neither hating it nor loving it. She is single and having turned down a proposal not too long ago, her family is starting pressure her about her status. It is at this juncture that memories of herself as a 5th grader in 1966 come back to haunt her. It is through these witty flashbacks the audience finds out why Taeko insists on going to the country to work on a farm when all her colleagues prefers to jet overseas. All this is well and good but it is the visual style of Only Yesterday that I had most problem adjusting to. For want of a better word, Takahata has given a somewhat visual realism treatment to Only Yesterday. The characters, at least the adults, have facial muscles and distinctive teeth. Additionally the narrative is also rather conventionally realistic with few surprises or plot devices, relaying between present day and flashbacks to 1966. Filmmakers who make animated films often take full advantage of the medium and do things that live-action is unable to replicate, which begs the question why this was an animated film. Takahata could have made Only Yesterday as a live action film and Taeko's story wouldn't have been worse off. Upon deeper thinking, if Takahata has resorted to using a stylised look, perhaps words like 'whimsical' and 'nostalgic' would have been thrown at it clearly detracting from the drama and psychology of the story. Upon even deeper inspection it feels as if Takahata is trying to challenge this conventional assumption and proclaim that an animated film can still be entertaining even if it’s portraying its story realistically with no animated flights of fancy. Certainly I myself was surprise at my change of emotion by the end of the movie, once I had to come to accept the film, I was drawn into Taeko's journey. Those of you who enjoy quiet surprises in your cinema viewing will no doubt find something to enjoy from this Takahata offering, and it deserves a spot in your Ghibli collection. 7.5 out of 10 ^^^ SOURCE ![]()
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| Kenn | Dec 31 2006, 12:48 PM Post #24 |
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| Kenn | Dec 31 2006, 12:49 PM Post #25 |
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| Deleted User | Jan 5 2007, 01:02 PM Post #26 |
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![]() I saw Todo Sobre Mi Madre last night. To be honest Im a little bit disappointed. I mean its a moving film, and to be honest up til the bit where Rosa goes to hospital I would say it was excellent. After that it sort of fell apart for me. I thought it was a bit cliched and a bit cheesy, especially the ending....or maybe Im just too cynical a person. Cecilia Roth was very good in the lead role of Manuela, but Penelope Cruz as sister Rosa was probably the show-stealer. Brilliant performance and she looked absolutely beautiful. ![]() A good film, but nowhere near Almodovar's best I think. |
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| Kenn | Jan 6 2007, 12:55 PM Post #27 |
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Heard about this movie, but haven't seen it I think. A good film in general, right? Worth to watch I think, beside I like moving movies.
What Almodovars best movie in your opinion then? Hable con ella? Have seen that. Also a very moving movie. Got the Oscar, Bafta and a lot more awards for best (foreign) movie in 2003. Good movie, but with 1 explicite scene. Well explicite? Looked more funny to me.
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| Deleted User | Jan 7 2007, 04:32 AM Post #28 |
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It is worth a watch and it is a good film. But to me the last 20 minutes or so felt dull. Almodovar pulls together alot of strings really well up to then though. Of the Almodovar films Ive seen, I would probably rate Y Tu Mama Tambien highest. Its a brilliant film in the same sort of mould as Dil Chahta Hai I guess, but its that bit more powerful. And the ending really hit me. I havent seen Hable Con Ella yet. I have it on DVD and Ive heard some good things about it. Its definitely on my to-watch list. |
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| Kenn | Jan 7 2007, 12:31 PM Post #29 |
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Ok, I see. "Y Tu Mama Tambien" also a wellknown movie. Don't think I have seen it yet. So will keep this movie in mind. Especially when its even better and more touching then DCH. Like DCH very much. One of my fav "recent" Bollywood movie. |
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| Kenn | Jan 29 2007, 07:03 PM Post #30 |
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| Kenn | Jan 29 2007, 07:04 PM Post #31 |
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![]() Central Do Brasil Central Station (1998) Director Walter Salles Jr. Music Antonio Pinto Jaques Morelembaum Cast Fernanda Montenegro, Vinicius de Oliveira, Marilia Pera, Soia Lira Synopsis Winner of the Golden Bear at the 1998 Berlin Film Festival, "Central Station" is the story of Dora (Fernanda Montenegro), a retired elementary schoolteacher and Josue (Vinicius Be Oliviera) in Rio De Janero. To make ends meet, Dora writes letters for the illiterate in Rio's central train station, though rarely actually sends them. One day, Dora writes a letter for Josue and his mother to the father he's never met to inform him of a visit to the outer reaches of Brazil's frontier. Moments later, Josue's mother is killed by a bus, leaving the child to fend for himself. For a fee, Dora brings the boy to a shady figure who claims the child will be brought to America for adoption. Dora later realizes the child is meant for illegal organ harvest, and rescues him. Unable to return home, she uses the fee to take the child to his father. Josue doesn't trust her as she had sold him. Dora has let no one close to her in years. As the pair lose most of their money on the way, they must learn trust and compassion for each other to complete the search for the father. Rewiev by Ron Wells I wasn't in the mood for this film, but it got to me anyway. The main reason is Montenegro, kind of a latin Jessica Tandy. The film kicks in hard at the point where she's broke and suddenly very desperate. The hook here is the letters. As people read or dictate them, they reveal themselves. Even when, late in the movie, Dora read aloud from someone else's letter, she reveals her own feelings. The letters accentuate a theme of loneliness and the inability to communicate. Dora survives by helping others speak but failing to deliver the message. She redeems herself by attempting to personally deliver the letter and the boy to his father. On the way she crosses both physical and spiritual landscapes to reach others. The letter, child, and now spiritual mother complete the journey by meeting another letter. Dora then writes her own to mark her return from one frontier to leave her heart at the other end. ^^ Source Review by Damian Cannon It's just so refreshing to stumble across a film that's hardcore natural, common sense to its heart. A piece somehow separate from the conventions of mainline cinema, even when it's artificial in the way that only fiction can be. That's not to say though that there's anything inherently wrong with the typical Hollywood blockbuster; on the contrary they can form the centrepiece of a decent night's entertainment. It's just that when you look past the flashy pyrotechnics, to places never considered by the filmmakers, those spaces are vacant. The pictures don't mean anything beyond a self-justification of their own existence. Central Station is, in its predictable but very realistic fashion, an antidote to the vacuum. The story depends almost entirely upon the performances of two people, one young and one old, one male and one female. The former, Vinícius de Oliveira, is a real find. Plucked from airport obscurity by director Walter Salles, where Oliveira shone shoes, he plays the part of Josué with an untutored simplicity. Much like Oliveira himself, Josué is a waif, a piece of flotsam tossed here and there by the impersonal currents of Rio de Janeiro. Once upon a time Josué had a mother to care, and look out, for him, but in a frozen moment she died. Somewhere, in a distant place far off to the south, Josué has a father whom he's never known, never met. This man, Josué's last known kin, might as well be in outer space for all of the assistance that he can give Josué. The only person that Josué can depend on, not that either of them know it, is Dora (Fernanda Montenegro). The partner in crime for Central Station, Dora has lost patience with humanity, she's disconnected and contemptuous. Perched on a stool in Rio's main station, hence the title, Dora scribbles communications dictated by an illiterate population. She only toils at this task to make ends meet, having retired from teaching, and frankly Dora couldn't care less whether her actions make or break lives. At home, if a flat empty of love, devoid of affection, can be called home, Dora cackles with friend Irene (Marília Pêra) at the expense of poor unfortunates. That's how little her existence touches on the finer things, the fireworks and private smiles, that lift the spirits of those very same customers. So how do these two meet? Through circumstance and rude chance, courtesy of a script that understands the actions and reactions of folk under stress. Contained within the lines and scenes is this knowledge, implicit at any particular instant, explicit when taken as the sum of all that has occurred. For Central Station, it's the journey, whether physical or emotional, that counts; at the end you've learnt a tiny bit more about who you are, irrespective of individual incidents. As the tale unfolds it becomes transparently clear that one doesn't learn through introspective analysis, persistent understanding comes through doing and experiences shared. So while Josué and Dora provide this lesson's context, with notable excellence, they aren't essential to the message itself; any citizen of Rio could do as well. That said, the relationship that they create, from a believable predicament, is one that you can really care for and about. It's a joy watching Dora rediscover life itself, not in an unsatisfying cataclysm, but through incremental steps on a path never to be completed. Montenegro's complete control of her character is exemplar. Yet for all of her experience, young Oliveira matches Montenegro. He has a freshness, a way of talking directly that is pure adolescence; Oliveira is sophisticated enough to lie yet the questions that he poses are blunt, without artifice. Throughout Central Station, as the pair traverse a landscape winningly photographed by Walter Carvalho, such observations cause Dora real trouble. In the hands of Salles, the result is a film that almost restores your faith in humanity. Speaking of faith, a part of Central Station that may resonate more strongly with the domestic Brazilian audience is its treatment of religion. The beliefs that permeate the culture and people also seep from Salles' picture like a constant rain. Everywhere the camera looks there are symbols, declarations of penance, salesmen taking advantage of the devout, aspects of prayer, hope, desire, anything to escape the ghetto. Without realising it Dora and Josué become caught up in a pilgrim's trail, a complex parallel to their own odyssey. In contrast to the massed hordes, they are emotive without becoming emotional. There's a great deal more to Central Station than meets the eye, yet as the film transcends Hollywood superficiality it remains ridiculously easy to approach and appreciate. ^^ Source ![]()
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| Kenn | Jan 29 2007, 07:05 PM Post #32 |
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| Chirpy_Sabz | Jan 30 2007, 10:13 AM Post #33 |
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Thank you kenn for consistently updating this topic, with films and pics. Wish I could watch some of these, but maybe one day. I was wondering...if you have seen 'L'Eclisse'? Would be interesting to read your thoughts on that film. |
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| Kenn | Jan 30 2007, 12:40 PM Post #34 |
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Thank you kenn for consistently updating this topic, with films and pics. Thanks Sabrina. So many movies and so many for me to discover also. Wish I could watch some of these, but maybe one day. Yes, some day. I was wondering...if you have seen 'L'Eclisse'? Would be interesting to read your thoughts on that film. Its an Alain Delon movie. Its an oldie, can't recall I have seen it. Don't think so. And why you want to know my thoughts about this movie? I think you mentioned this movie before at TB. Something also how the movie was shot. Like taking photo' s. Now I have to watch it. I will put it on my list for the next time. |
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| Deleted User | Feb 1 2007, 04:31 PM Post #35 |
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I went on an Almodovar binge a couple of weeks ago, just gonna write tiny reviews for now. Hable Con Ella In a word, BRILLIANT. Awesome story so beautifully told and extremely powerful. Hits you with such an impact at the end. I had to watch it again the next day and it lingered in my thoughts for days afterwards. Actually it still does. Must be one of the best films Ive ever seen. 10/10 Live Flesh ...first of all just a side point. I havent seen Bas Ek Pal, but it sounds pretty much "inspired" from this one. Yeah I thought it was a good film. Complez characters tangling up and lading to complex situations. Was handled really well. 8/10 Tie Me Up, Tie Me Down At first I really didnt connect with this one. From a strong premise it was drifting into some far-fetched fantasy world for me. But despite that and whatever else happens, the ending still works. I cant really pinpoint why but you do feel satisfied with it. 6/10 |
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| Chirpy_Sabz | Feb 3 2007, 04:38 PM Post #36 |
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Wallpapers of some of my favorite classic stars/movies - mostly Fellini, Bergman, Truffaut stuff:![]() ![]() ![]() ![]() ![]() ![]() ![]()
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| Sophia | Feb 3 2007, 05:03 PM Post #37 |
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I love the studio Ghibli movies Awww i did cry when i saw The grave of fireflies :cryingloud:. Spanish movie's are great. Like Abre los ojos (Vannilla sky) and the Pedro Almodóvar movie aww they are great
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Though my soul may set in darkness, it will rise in perfect light; I have loved the stars too fondly to be fearful of the night. | |
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| Kenn | Feb 8 2007, 05:16 PM Post #38 |
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Great that you enjoyed Hable Con Ella. And indeed an ending that get you. Totally unexpected from my side also.
Yea, awesome movie The grave of fireflies. Saw it not so long time ago. Very sad, got some tears also when the girl lied down and died. Wallpapers of some of my favorite classic stars/movies - mostly Fellini, Bergman, Truffaut stuff: Nice wall papers, but not made yourself right? Hey give me the 1st time watched movies outside Hollywood and Bollywood that you gave a 10 the last 2 years. I need your list, Thank You
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| Chirpy_Sabz | Feb 11 2007, 11:57 AM Post #39 |
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I dunno about a 10 rating, but these films are completely outstanding pieces of cinema: Amelie, Run Lola Run, Volver, Au Revoir, Les Enfants, Pan's Labyrinth, The Grand Illusion, Brazil, Wild Strawberries, M, The Good, The Bad and The Ugly, Blue, Red, White, Fanny and Alexander, Cache, F For Fake, Happy Times, Ran, Jules Et Jim, Grave of the Fireflies, 400 Blows, Rashomon, Band of Outsiders, L'Avventura, Cries and Whispers, Picnic at Hanging Park, Breakfast on Pluto, Downfall, The Passion of Joan of Arc, Le Samouraï, The Motorcycle Diaries, Seance on a Wet Afternoon, L'Eclisse, Spirited Away, Triumph of the Will, City of God, The Rules of the Game, Nights of Cabiria, Persona, Napoleon....can't think of anymore, LOL. |
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| Kenn | Feb 11 2007, 04:04 PM Post #40 |
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A nice looking and versatile list. Some of them I have seen. Why I wanted your list? Well haven't bought any DVD online for atleast 2 months now. Was planning, so your list comes in handy. Thanks. |
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