/film/

Der ewige Jude

based Guatemala

No trying to troll, what happened to /lbg/? thanks in advance

Any decent African films. I'm hoping that this thread isn't as edgy about this as the rest of the board

Der ewige Negro

Greenaway but interested in current time, because he mixes documentary filmmaking with fiction.

Ousmane Sembene

I've never once read a decent critique of Godard's clipshow montage films (the literal deadend of the medium, also meaning its peak). Instead of calling them shit, articulate and use your brain, chimpniggers

Moi, un noir

Sembene (Ceddo, Xala, Black Girl)
Chahine (Cairo Station, Saladin the Victorious, Alexandria, Why?)

films by
Ousmane Sembène
Youssef Chahine
Djibril Diop Mambéty
Haile Gerima
Abderrahmane Sissako
Souleymane Cissé
Nabwana I.G.G.
Roger Gnoan M'Bala
Idrissa Ouedraogo
Mati Diop
Lemohang Jeremiah Mosese

Doesn't seem like he is as visually proficient as Greenaway. Do you mean the dark humour and cruelty displayed in Greenaway's films?
There used to be some threads a while back but they died out. The very concept on /lbg/ on anonymous board is unnatural and stupid.

Félicité (2017)

...

my bad, didn't see you actually replied. thanks. but i want to ask a deeper question. Godard's concern with doing his montage films is to metatextually observe the past through film, and connect ideals over time that are relevant to the ongoing political situations today with Palestine and old, bourgeois European leaders, aristocrats.

Is there a reason as to why you feel montage re-edits of past films can't be considered the future of filmmaking going forward? Could you go into deeper why you feel so.

Si, dio maiale

> Do you mean the dark humour and cruelty displayed in Greenaway's films
Yes, and also obsession with perfect symmetry

Okay, thanks. I will watch Import/Export soon then.

symmetry is autism. i'll admit it can immediately stand out as it brings clarity and focus, but it's not pleasing to see. very monotonous

Not him, MY GOD avoid Import/Export if you are not into long random suburban random shots that try to be profound, I'm into Greenaway too, that helps?

has anyone watched satantango in 1080?

diane keaton there is literally me

Woah dude that's a bit racist.

Also, I was reading yesterday that during Spanish Influenza, Hollywood 1918 films where mostly shut down, small companies close and movies started to be mostly produce by the big studios which were left, increasing the duration aswell, because many flicks were just around 60 minutes and making it 30 minutes longer usually to get more money revenue.

How do you think Hollywood gonna go after this coronavirus, if it survives besides internet plataforms from the big studios and Netflix?

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I don't know i like Bela Tarr and he could be described as what you are describing. Love Greenaway too.
Not yet, only 2 or 3 scenes.

montage re-edits can be interesting (for example György Pálfi's "Final Cut, Ladies and Gentelmen"), but Godard just messes images up with seemingly random edits, and he not only used footage from films, but also paintings and other images. I don't see how is it "observing of the past". The films are all vastly different, the footage often repeats, the images don't seem to have any relevance to the political ramblings. And even if it does it is too hidden, too specific and too personal. I don't mind not understanding the film, I don't think a film needs to be understood. But I couldn't even feel the film. Godard not only didn't care about emotion, he didn't even care about the lack of emotion. The man is out of ideas, he purposefully tries to make something overly complicated to wow people, to make something that never was made before. But he doesn't understand that pure originality doesn't always equal quality. Godard of the 60s was great because he was revolutional. Post Dziga Vetrov Godard was good because he was original in an interesting way. But modern Godard is Dziga Vetrov Godard all over again. Not knowing what are you even doing and political ramblings.

another webmless thread

Based racist Godard

i think most cinemas won't survive. netflix is already probably ecstatic that they won't be forced to put this year's irishman on cinema screens

The Barcelona player? I thought he was injured.

>they won't be forced to put this year's irishman on cinema screens
Do they have any big project in post-production as Irishman or Roma level for 2020?

Blacked

This was exactly what was looking for, thank you. I understand the main issue with something like Image Book is its discordant tone and didacticism, him getting a sensation of being above the audience, detaching from giving them emotional appeal. I also know why he chose to do that is to remove appeal from from the old romantic films he plucked from and show them being placed against warfare gunshots and atrocities in silence. He attempted to show an equivalence of violence through movies and the news. The images from the fictional movies are responding and connected to the atrocities happening in real life. But still, it's all too hushed and quiet, not enough bursts of emotion. He got rid of using Romantic-era musical compositions which is what people liked about his "emotional" things. It's not that Godard is even going more modern with his montage films, his voiceover and communication is very opaque and broad. It's very challenging, but I personally commend it for being challenging. I don't think his edits are lazy at all. His montage is highly skilled, same with his colorization.

I wanted to ask though, sticking to talking about montage re-edits in general. Do you think that shooting stuff physically is somehow more important than re-edits of fictional things and past works? There always looks like a stigma with re-edited things where cinephiles value them less compared to some static dark long takes

no, shooting something isn't necessary, but in the case of The Image Book, it could've been at least something for me to hold on to
Again, "Final Cut: Ladies and Gentelmen" is a good example of creative re-editing, creating a whole movie, a simple love story, from the pieces of other movies. It's cinematic in the core, engaging, and a much better observation of filmmaking history.

Touki Bouki (haven't watched it but it was in one of those "patrician kino" charts)

Add Hazanavicius La classe américaine alongside Final Cut too

This is good rec. Sembene and Gerima being quintissential, Touki Bouki being one of the best statements on post-colonialism ever.

Not using entry as criticism but more for context. Youssef is entry Egyptian, Sissako being entry modern art director. Cisse and Ouedraogo are as just underneath the Senegalese in popularity and hype. Nabwana making films that are meant for his village to see so it has that film viewing vibe and Mati is Mati.

Don't know too much about the rest. Would add The Silences of the Palace

The Gods Must Be Crazy is pretty fun.

peak schizokino

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Terrence Malick here, AMA!

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What's this

transformers

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I remember watching alphaville and not understanding shit. It really put me off goddard. I really like film noir, be it old classic noir or new neo noir.

Are his other noir films worth watching if Alphaville put me to sleep?

Godard doesn't really make noirs, it's more of a deconstruction of a genre

Thanks for the warning. The last recent director who did deconstruction ruined a classic franchise of the sci-fi genre even further.

I don't believe you
Star Wars was always mediocre. At least Johnson didn't do the same old shit.

the ending of the 5th movie

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Haven't seen this kino yet. Based Bay always delivers though.

Which one should I watch?

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all of them.

For me, it's The World.

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Garbage state funded filmmaker.

peaked in the 90's

What the fuck, Criterion Channel didn't tell me they added Mulholland Dr.
Time for a fifth watch.

cringe

One of Rosenbaum's top 10. But why?

Makes me coom.

ehh, it was ok