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PostSubject: Re: Cinematic Masterpieces Sun Apr 14, 2013 7:00 pm

I haven't watched the movie yet, but the subject is of highest importance to understand Globalization. The earlier earth/world conquerors like Columbus. Understanding what Globalization is, why it happened, what spirit it started with.. The merchants later replaced the warriors.

1492 is the movie.
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PostSubject: Re: Cinematic Masterpieces Thu Apr 18, 2013 8:48 pm

The man who lives more lives is in a better position than the guy who lives just one.
—Jack Nicholson, 1986


"Nicholson/Bobby’s coldness and contempt in Five Easy Pieces is not mere cynicism; it is closer to jaded wisdom and world-weariness. Bobby—the role which consolidated the Nicholson persona of the period—doesn’t budge for anyone’s feelings, including his own. He’s detached from, and contemptuous of, his own actions as much as everyone else’s; that’s what makes him so good at playing the piano and bowling and fucking, but so useless at intimacy of any kind. He lacks sweetness. It’s also this schizophrenic detachment that allows him to jump on the back of a moving flatbed truck and play a Mozart concerto. He is “deranged,” or derailed, all for a moment of bliss, of forgetful- ness. This, along with the diner scene, is the movie’s emotional highpoint, a sort of epiphany; yet like the rest of the movie, like Bobby himself, it is cold, ironic, detached. It partakes of an odd mix of passion and passivity character- istic of schizophrenia.

...Bobby is an outsider vainly attempting to blend in, to disappear into a “normal” existence. Even though he knows it’s futile, even fatal, to try, he has run out of options. Bobby despises his job, he despises his friends, he despises his mate, he despises himself. This, perversely enough, gives him a certain integrity, or at the very least volatility, that the other characters are lacking. In a sense it’s incorrect to say (as Catherine does) that Bobby doesn’t care about anyone or anything; in a sense he cares too much. What he can’t bear to see is people that he wants to care about settling for such dull and pointless lives, becoming so accustomed to the lie, the façade, that they wind up with noth- ing to live for. What makes Bobby dynamic, charismatic, and attractive to us is also what makes him volatile, desperate, unstable, and finally schizophrenic: his capacity to see beyond the surfaces and feel the deeper undercurrents of an apparently placid existence. What Bobby feels above all is rage and despair— exasperation, disgust, contempt. But there’s little doubt by his displays that Bobby feels these things more deeply than anyone else around him feels any- thing. (Bobby is the only character who really expresses any emotion beyond self-pity or mild amusement, save perhaps for his sister.) Bobby is on an ironic quest, seeking numbness, absence of feeling (hence of pain); yet the further he goes into this living death, the profounder and more tormenting his despair becomes, the greater his rage and contempt for himself and for all those who have accepted their deathlike lives as natural and inevitable. It’s a schizophrenic quest: the more Bobby tries to deaden his heart and mind to the world, the more desperately alive his need for something greater becomes." [Secret Life of Movies]




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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Cinematic Masterpieces Thu Apr 18, 2013 8:50 pm

Alexandra


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Cinematic Masterpieces Thu Apr 18, 2013 9:01 pm

Lyssa wrote:
The man who lives more lives is in a better position than the guy who lives just one.
—Jack Nicholson, 1986


"Nicholson/Bobby’s coldness and contempt in Five Easy Pieces is not mere cynicism; it is closer to jaded wisdom and world-weariness. Bobby—the role which consolidated the Nicholson persona of the period—doesn’t budge for anyone’s feelings, including his own. He’s detached from, and contemptuous of, his own actions as much as everyone else’s; that’s what makes him so good at playing the piano and bowling and fucking, but so useless at intimacy of any kind. He lacks sweetness. It’s also this schizophrenic detachment that allows him to jump on the back of a moving flatbed truck and play a Mozart concerto. He is “deranged,” or derailed, all for a moment of bliss, of forgetful- ness. This, along with the diner scene, is the movie’s emotional highpoint, a sort of epiphany; yet like the rest of the movie, like Bobby himself, it is cold, ironic, detached. It partakes of an odd mix of passion and passivity character- istic of schizophrenia.

...Bobby is an outsider vainly attempting to blend in, to disappear into a “normal” existence. Even though he knows it’s futile, even fatal, to try, he has run out of options. Bobby despises his job, he despises his friends, he despises his mate, he despises himself. This, perversely enough, gives him a certain integrity, or at the very least volatility, that the other characters are lacking. In a sense it’s incorrect to say (as Catherine does) that Bobby doesn’t care about anyone or anything; in a sense he cares too much. What he can’t bear to see is people that he wants to care about settling for such dull and pointless lives, becoming so accustomed to the lie, the façade, that they wind up with noth- ing to live for. What makes Bobby dynamic, charismatic, and attractive to us is also what makes him volatile, desperate, unstable, and finally schizophrenic: his capacity to see beyond the surfaces and feel the deeper undercurrents of an apparently placid existence. What Bobby feels above all is rage and despair— exasperation, disgust, contempt. But there’s little doubt by his displays that Bobby feels these things more deeply than anyone else around him feels any- thing. (Bobby is the only character who really expresses any emotion beyond self-pity or mild amusement, save perhaps for his sister.) Bobby is on an ironic quest, seeking numbness, absence of feeling (hence of pain); yet the further he goes into this living death, the profounder and more tormenting his despair becomes, the greater his rage and contempt for himself and for all those who have accepted their deathlike lives as natural and inevitable. It’s a schizophrenic quest: the more Bobby tries to deaden his heart and mind to the world, the more desperately alive his need for something greater becomes." [Secret Life of Movies]





The Cynic:

"The ancient world knows the cynic (better: kynic) as a lone owl and as a provocative, stubborn moralist. Diogenes in the tub is the archetype of this figure. In the picture book of social characters he has always appeared as a distance-creating mocker, as a biting and malicious individualist who acts as though he needs nobody and who is loved by nobody because nobody escapes his crude unmasking gaze uninjured. Socially he is an urban figure who maintains his cutting edge in the goings-on of the ancient metropolises. He could be characterized as the earliest example of declassed or plebeian intelligence. His "cynical" turn against the arrogance and the moral trade secrets of higher civilization presupposes the city, together with its successes and shadows. Only in the city, as its negative profile, can the figure of the cynic crystallize in its full sharpness, under the pressure of public gossip and universal love-hate. And only the city can assimilate the cynic, who ostentatiously turns his back on it, into the group of its outstanding individuals, on whom its liking for unique, urbane personalities depends."

xxxx


"Today the cynic appears as a mass figure: an average social character in the upper echelons of the elevated superstructure. It is a mass figure not only because advanced industrial civilization produces the bitter loner as a mass phenomenon. Rather, the cities themselves have become diffuse clumps whose power to create generally accepted public characters has been lost. The pressure toward individualization has lessened in the modern urban and media climate. Thus modern cynics —and there have been mass numbers of them in Germany, especially since the First World War —are no longer outsiders. But less than ever do they appear as a tangibly developed type. Modern mass cynics lose their individual sting and refrain from the risk of letting themselves be put on display. They have long since ceased to expose themselves as eccentrics to the attention and mockery of others. The person with the clear, "evil gaze" has disappeared into the crowd; anonymity now becomes the domain for cynical deviation. Modem cynics are integrated, asocial characters who, on the score of subliminal illusionlessness, are a match for any hippie. They do not see their clear, evil gaze as a personal defect or an amoral quirk that needs to be privately justified. Instinctively, they no longer understand their way of existing as something that has to do with being evil, but as participation in a collective, realistically attuned way of seeing things. It is the universally widespread way in which enlightened people see to it that they are not taken for suckers. There even seems to be something healthy in this attitude, which, after all, the will to self-preservation generally supports. It is the stance of people who realize that the times of naivete are gone."

xxxx


"Psychologically, present-day cynics can be understood as borderline melancholies, who can keep their symptoms of depression under control and can remain more or less able to work. Indeed, this is the essential point in modern cynicism: the ability of its bearers to work — in spite of anything that might happen, and especially, after anything that might happen. The key social positions in boards, parliaments, commissions, executive councils, publishing companies, practices, faculties, and lawyers' and editors' offices have long since become a part of this diffuse cynicism. A certain chic bitterness provides an undertone to its activity. For cynics are not dumb, and every now and then they certainly see the nothingness to which everything leads. Their psychic apparatus has become elastic enough to incorporate as a survival factor a permanent doubt about their own activities. They know what they are doing, but they do it because, in the short run, the force of circumstances and the instinct for self-preservation are speaking the same language, and they are telling them that it has to be so. Others would do it anyway, perhaps worse. Thus, the new, integrated cynicism even has the understandable feeling about itself of being a victim and of making sacrifices. Behind the capable, collaborative, hard facade, it covers up a mass of offensive unhappiness and the need to cry. In this, there is something of the mourning for a "lost innocence," of the mourning for better knowledge, against which all action and labor are directed."

xxxx


"Thus, we come to our first definition: Cynicism is enlightened false consciousness. It is that modernized, unhappy consciousness, on which enlightenment has labored both successfully and in vain. It has learned its lessons in enlighten- ment, but it has not, and probably was not able to, put them into practice. Well-off and miserable at the same time, this consciousness no longer feels affected by any critique of ideology; its falseness is already reflexively buffered.
To act against better knowledge is today the global situation in the superstructure; it knows itself to be without illusions and yet to have been dragged down by the "power of things." Thus what is regarded in logic as a paradox and in literature as a joke appears in reality as the actual state of affairs. Thus emerges a new attitude of consciousness toward "objectivity."

xxxx

"The characteristic odor of modern cynicism is of a more fundamental nature - a constitution of consciousness afflicted with enlightenment that, having learned from historical experience, refuses cheap optimism. New values? No thanks! With the passing of defiant hopes, the listlessness of egoisms pervades. In the new cynicism, a detached negativity comes through that scarcely allows itself any hope, at most a little irony and pity.
In the final analysis, it is a matter of the social and existential limits of enlightenment. The compulsion to survive and desire to assert itself have demoralized enlightened consciousness. It is afflicted with the compulsion to put up with pre-established relations that it finds dubious, to accommodate itself to them, and finally even to carry out their business.
In order to survive, one must be schooled in reality. Of course. Those who mean well call it growing up, and there is a grain of truth to that. But that is not all. Always a bit unsettled and irritable, collaborating consciousness looks around for its lost naivete, to which there is no way back, because consciousness-raising is irreversible."

xxxx

"The self- cognizant accommodation, which has sacrificed its better judgment to "compulsions," no longer sees any reason to expose itself aggressively and spectacularly. There is a nakedness that no longer has an unmasking effect and in which no "naked fact" appears on whose grounds one could position oneself with serene real-ism. There is something lamentable about the neocynical accommodation to given circumstances; it is no longer self-confidently naked. For this reason it is also methodologically quite difficult to bring this diffuse, murky cynicism to expression. It has withdrawn into a mournful detachment that internalizes its knowledge as though it were something to be ashamed of, and as a consequence, it is rendered useless for taking the offensive. The great offensive parades of cynical impudence have become a rarity; ill-humor has taken its place, and there is no energy left for sarcasm." [Sloterdijk, Critique of Cynicism]


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Cinematic Masterpieces Thu Jun 20, 2013 2:16 pm

Valhalla Rising

Quote :
For years, the fearsome figure known only as One Eye (Mads Mikkelsen - PUSHER, FLAME & CITRON, CASINO ROYALE) has defeated everyone he's encountered, but he's treated more like an animal than a warrior. The only person he has any relationship with is the young boy who brings him food and water daily. Constantly caged and shackled, One Eye has drawn the attention of a new force now sweeping the countryside and displacing the society's leaders: Christians.

http://www.rottentomatoes.com/m/valhalla_rising/
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PostSubject: Re: Cinematic Masterpieces Sun Jun 23, 2013 5:23 pm

Recidivist wrote:
Valhalla Rising

I've watched it recently, together with a friend. I liked the first third of the movie (which covers your quoted synopsis) but once they were on the boat it became quite surreal and the symbolism dominated every aspect of the movie. At that time our commentaries became more frequent. It's like when you watch an 'unintentionally funny' movie with other people and the lot start to make their own remarks and the movie is just the background for that. I'm not saying that the movie is unintentionally funny - yet probably a movie to watch alone.

Mads M. said in an interview that he tried to be as animalistic as possible and that the boy is just accepted as a follower but there is no emotional connection. (or something along those lines)
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PostSubject: Re: Cinematic Masterpieces Thu Jun 27, 2013 6:52 pm

Probably not a masterpiece but I liked the plot twists in Cypher.

Link to the movie.
Sci-fi, who am I?, memory implantations, information control,...
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PostSubject: Re: Cinematic Masterpieces Sat Jul 06, 2013 8:58 am


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Cinematic Masterpieces Tue Aug 06, 2013 2:24 pm

While I was looking for a movie to watch I found these two - I'm usually not the silent movie type but I've watched Siegfried and found it to be quite good - (I was sick and there was nothing better on TV)

The Nibelungen - 1924,
Fritz Lang

Two parts -
Siegfried
Kriemhilds Rache
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PostSubject: Re: Cinematic Masterpieces Tue Aug 06, 2013 2:26 pm

...what I ended up watching was Blow Out - 1981

Blow Out

Synopsis -
'A movie sound recordist accidentally records the evidence that proves that a car accident was actually murder and consequently finds himself in danger.'
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PostSubject: Re: Cinematic Masterpieces Wed Aug 07, 2013 6:43 pm

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PostSubject: Re: Cinematic Masterpieces Sat Aug 24, 2013 12:51 pm

Rampage.

Quote :
A small town misanthrope builds a bulletproof Kevlar suit and goes on a merciless killing spree in this visceral thriller from director Uwe Boll (Heart of America, Postal). Bill Williamson (Brendan Fletcher) is frustrated. Well into his 20s but still aimless, the only time Bill leaves his parent's house is to hang out with his best friend Evan (Shaun Sipos). But Bill's mom (Lynda Boyd) and dad (Matt Frewer) are getting tired of supporting their freeloading son, and begin turning up the pressure on him to finally find his own place to live. When Bill's boss refuses to give him a raise, something snaps deep inside. Bill is going to send a message to society, and society isn't going to like what he has to say. By the time the gunfire starts there's no turning back, and even the innocent won't be safe as Bill embarks on a grim mission to cleanse this world one bullet at a time. ~ Jason Buchanan, Rovi
http://www.solarmovie.so/watch-rampage-2009.html
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PostSubject: Re: Cinematic Masterpieces Sat Aug 24, 2013 3:48 pm

Rambo - 2008

John Rambo (Stallone) in his 4th Rambo movie.
A very good action movie.

"In Thailand, John Rambo joins a group of mercenaries to venture into war-torn Burma, and rescue a group of Christian aid workers who were kidnapped by the ruthless local infantry unit. " - IMDB

The aid workers are portrayed as naive, unaware of the dangers in a war-torn country.
Rambo's motivation is the realization that he enjoys war, conflict.
The mercenaries are there because of the money.

Who the fuck are you!? - Scene.
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PostSubject: Re: Cinematic Masterpieces Tue Sep 03, 2013 6:07 pm

The Tree of Life

Brad Pitt
Sean Penn

"From Terrence Malick, the acclaimed director of such classic films as Badlands, Days of Heaven and The Thin Red Line, The Tree of Life is the impressionistic story of a Midwestern family in the 1950's. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt). Jack (played as an adult by Sean Penn) finds himself a lost soul in the modern world,  seeking answers to the origins and meaning of life while questioning the existence of faith. Through Malick's signature imagery, we see how both brute nature and spiritual grace shape not only our lives as individuals and families, but all life"


http://www.youtube.com/watch?v=pvQZfLavWfU

Stunning.  A masterpiece. "Unless you love, your life will flash by".
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PostSubject: Re: Cinematic Masterpieces Tue Sep 03, 2013 8:13 pm


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Cinematic Masterpieces Tue Sep 03, 2013 9:42 pm

Changeling

I found the futility of this film, disturbing and it was based on a real life event.

Eastwood's films never disappoint.

What is your take on Changeling?

and

I wonder if anyone on this forum has seen


Nil by Mouth,

I have to psyche myself up, to re-view it.  It is overwhelmingly powerful.

Ray Winstone.......................

Watch the trailer, better still if you have not seen the full movie, I will recommend it, despite all its horror.

http://www.youtube.com/watch?v=NFVRw0hBN1k


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PostSubject: Re: Cinematic Masterpieces Tue Sep 03, 2013 9:52 pm

Looks intense.

Pretty good actor.

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PostSubject: Re: Cinematic Masterpieces Tue Sep 03, 2013 11:09 pm

What you may or may not find interesting, but it blows my mind, is that these are Oldman's childhood memories put on screen.  He wrote and directed this movie and it is a semi-autobiographical drama.

He dedicated it to his late father.
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PostSubject: Re: Cinematic Masterpieces Wed Sep 04, 2013 2:38 pm

reasonvemotion wrote:
Changeling

I found the futility of this film, disturbing and it was based on a real life event.

Eastwood's films never disappoint.

What is your take on Changeling?
I consider it a well-crafted film and its why I have placed it here. I am into realism; by futility - if you mean endings, etc. - I am not concerned with happy outcomes or disappointing ones.
The nature of the violence which I do not find disturbing (I've seen worse) was gruesome, and I don't mean the serial killer, but the methodical manipulation and badgering of another's emotional sanity, one's natural instinct, a mother's sure-instinct and is only reminscent of the strategies used by the commies and the Stazi police in the east blocks, and the kind of institutionalization happening today - enforced schizophrenia. Jolie whatever kind of woman she is, as an actress, she gives a fantastic performance in this film. It was intense and gripping.

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Cinematic Masterpieces Wed Sep 04, 2013 8:56 pm

Lyssa wrote:

Quote :
I consider it a well-crafted film and its why I have placed it here. I am into realism; by futility - if you mean endings, etc. - I am not concerned with happy outcomes or disappointing ones.
No, I meant the futility of having to put one's faith in an incompetent and corrupt Police Department or the whole degraded system for that matter.  Helpless, having to trust them, hellish in its experience of your child being taken.  It was tough from those perspectives to watch, but inspiring on another level with regard to the mother's courage.

I thought Jolie was miscast in the role of mother, unconvincing for me, although, the majority would agree with you.
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PostSubject: Re: Cinematic Masterpieces Sat Sep 14, 2013 8:44 pm

Changeling is one of Eastwood's best.
Spoiler:
 

More Asian films:

Yi Yi: A One and a Two...
Peppermint Candy
Eureka
All About Lily Chou-Chou
Ritual

English:

Synecdoche, New York
The Station Agent
Happiness
Life is Sweet
Magnolia
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PostSubject: Re: Cinematic Masterpieces Tue Sep 24, 2013 7:16 pm

Can't believe I omitted this one. The Wicker Man, not the trashy American remake, but the British original.

Quote :
The Wicker Man is a 1973 British horror film directed by Robin Hardy and written by Anthony Shaffer. The film stars Edward Woodward, Christopher Lee, Diane Cilento, Ingrid Pitt, and Britt Ekland. Paul Giovanni composed the soundtrack. The film is now considered a cult classic. Inspired by the basic scenario of David Pinner's 1967 novel Ritual, the story centres on the visit of Police Sergeant Neil Howie to the isolated island of Summerisle, in search of a missing girl the locals claim never existed. Howie, a devout Christian, is appalled to find that the inhabitants of the island practise a form of Celtic paganism.
http://www.solarmovie.so/watch-the-wicker-man-1973.html
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PostSubject: Re: Cinematic Masterpieces Sun Sep 29, 2013 3:59 am


Buffalo 66

Vincent Gallo, Christina Ricci, Anjelica Huston, Ben Gazzara

A bleak, outstandingly creative film...(Gallo's) wounded, embittered performance is captivating, and so is his filmmaking.


Layla: Can I have a hug then?

Billy Brown: Oh man. Come on. Can we just shake hands.






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PostSubject: Re: Cinematic Masterpieces Fri Oct 18, 2013 1:06 pm

Blackfish.

A film in a similar vein to Grizzly Man, concerning the stupidity and lack of foresight of humans who keep wild animals around for entertainment purposes.

Incredibly, the whales seem to possess almost human intelligence and a greater level of dignity and self respect than even their human trainers.

http://www.imdb.com/title/tt2545118/
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PostSubject: Re: Cinematic Masterpieces Sat Oct 19, 2013 11:03 am

Valhalla Rising

Basic Plot
A thousand years ago. One-Eye, an enigmatic, mute warrior-slave, is freed from captivity and falls in with a party of Christian Vikings who set out for the Holy Land but cross the wrong sea and reach America, where they are overwhelmed by the vast land and its potentially hostile inhabitants.




One of the great science fiction films. Set under a time of great religious strife; with the transition from Mythology to Christianity. Follows the narrative of a man who is the personification of nature it self. The absence of any emotion, past or future, simply being. In which he follows the transition of a slave/creature into a warrior and eventually a God (Odin). The Christians in search of redemption, instead enter the realm of the dead, where they are confronted by the natural order. Extremely subtly and psychedelic, at the same time beautifully shot, yet very slow. Highly symbolic; almost cult like.
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PostSubject: Re: Cinematic Masterpieces Sat Oct 19, 2013 12:11 pm

There will be blood, that was an excellent movie ( Valhalla rising ). I think Satyr would enjoy it too as a lot of what he talks about, e.g., nihilism, nature, anti-nature, etc is symbolized in it.

One-Eye (that main character) is a badass.
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PostSubject: Re: Cinematic Masterpieces Sun Oct 20, 2013 10:38 am

Rampage

Finally, a movie from Hollywood that doesn't have any liberal, egalitarian, slave moral, happy ending underpinnings. This film is brutal, barbaric, ferocious, gory, and highly anti-egalitarian. It is what Social Darwinism looks like in the extreme; a young man takes it to himself to rid the Earth of degenerates via his own form of population control with high powered assault rifles and explosives. This movie is not for those who relish in the pretense of civility and righteousness.





Watch it for free on Youtube in HD: http://www.youtube.com/watch?v=qwGFea7JuFw
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PostSubject: Re: Cinematic Masterpieces Sun Oct 27, 2013 3:04 pm

Highlander - 1986

I like that one.

"There can be only one."
Fun, action, romance a bit cheesy... 80s movie.

Link to the movie, not HD.
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PostSubject: Re: Cinematic Masterpieces Mon Oct 28, 2013 9:15 pm



Dude this is the one and only Highlander movie to rule them all. Better expressed in cartoon form. Easier to immerse into. I love the general atmosphere and ideas within the plot. The only flaw is i would of sided with the Apollonian.
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PostSubject: Re: Cinematic Masterpieces Tue Oct 29, 2013 2:28 pm

The Apollonian? His idea is to kill everybody with a virus so he can 'rule' (I wonder who) together with his babe (Well, that answers who he's gonna rule). The thing is that those immortals are infertile. So it's basically the same as ending all of humanity. Leaving behind something which won't die and always remain within the limitations of what it is. What remains is, who of those two will kill whom first or kill themselves.

Maybe Texhnolyze is something for you.


It's about order and chaos and madness. It's violent.
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PostSubject: Re: Cinematic Masterpieces Tue Oct 29, 2013 4:38 pm

I watched Highlander the other night. Good movie. Thanks for the recommendation, Anfang.
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PostSubject: Re: Cinematic Masterpieces Tue Oct 29, 2013 4:50 pm

Yeah, I get what you're saying, characters to stubborn, one dimensional, and unable to evolve. Essence is change, change is survival, stay still and die. The conception of Rome is what intrigued me. The ideal of it will always exist, if not physically, within the transcendent, in his mind. Given the nature of man it may never be achieved, but the immortal resemblance of it persists. These immortals are rather to be taken as personifications of eternal ideals.

Never heard of Texhnolyze, it looks good, I'll check it out, thanks.

I've watched a couple of anime series, to me they are much more entertaining and intelligent than most the American garbage these days. Although the only one I've seen so far that i would call brilliant is Welcome to the NHK.



Semi-autobiographical, I don't think I've seen some one illustrate post-modern nihilism and all of it's side effects better. Whatever is going on in Japan; its very interesting.
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PostSubject: Re: Cinematic Masterpieces Tue Oct 29, 2013 7:45 pm

I've watched some anime but that's all old stuff.
I've watched Death Note, that one was fun. A student finds the book of a death god (Shinigami) and when he writes down the name of a person, into said book, then that person dies. He wants to make the world a better place and get rid of the scum and writes down the names of criminals and so on... things escalate... a cat and mouse game begins, killing off all those who investigate him. He's very cunning and manipulative. It's like watching him evolve from the self-'righteous' guardian of society into an 'amoral' sinister creature with a god complex, while being under pressure of survival. It's about deceptiveness, feminine tactics and lies - trying to kill off the investigative team and not getting caught in the process. Both, the chief investigator and the student are likeable. Actually they are quite similar with their rational approach, trying to outsmart each other.

That Welcome to the NHK looks funny.
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PostSubject: Re: Cinematic Masterpieces Fri Nov 01, 2013 10:35 pm

Death Note was great. Although too ridiculous and over-exaggerated at times. It also uses the itself of the cheap cliffhanger episode endings. But most of the American shows use that kind of stuff anyways. Watching it gives you the feel of a megalomaniac, the sensation of seeing him win becomes addicting. I was genuinely excited the last episode, it would of been more satisfying if he would of won. But that wouldn't of been art, which is supposed to imitate life. Now that i think about it Japanese entertainment holds closer to the Ancient Greek. Possibly due to their Shinto Religion.

Quote :
Greek tragedy: the tragic hero of the drama, the main protagonist, struggles to make order (in the Apollonian sense) of his unjust and chaotic (Dionysian) fate, though he dies unfulfilled in the end. For the audience of such a drama, Nietzsche claimed, this tragedy allows us to sense an underlying essence, what he called the "Primordial Unity", which revives our Dionysian nature — which is almost indescribably pleasurable.
Most American stuff holds true to the same pattern of revealing a basic situation, then a problem is introduced, and an inevitable resolution. The predictability of the good guy always winning is what makes it so bland. I like the stuff where there's genuine ambiguity and the bad guy wins, even though you would of expected otherwise.

In contrast to the Japanese stuff, there's a universal problem, the protagonist has a striving against it, and meets an epic defeat.

Quote :
Death smiles at us all, all a man can do is smile back.
America is to superstitious, it clings onto any sort of death denial. Materialism, fundamentalism, mysticism, heroification, etc. Everything becomes the reverse in search of this unconscious desire. Suicide becomes taboo, because it delegitimizes the sanctity of life, revealing unconscious anxiety and doughs.

In Japan it's a more acceptable act. Sometimes to the extent of glorification. Humans are more like objects to be maneuvered, than souls to be judged. In this they are more intact with nature.



Shinto inspired anime, relates to the topic. Pretty fucking good, all things considered.



This one is almost entirely American in its essence. Although pretty fun if you have ever played an MMO. Really Americas main export is a deadly parasitic culture.
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PostSubject: Re: Cinematic Masterpieces Mon Nov 04, 2013 1:08 pm

The outcomes of Sheltering...

Black Swan.

http://www.imdb.com/title/tt0947798/?ref_=fn_al_tt_1

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PostSubject: Re: Cinematic Masterpieces Tue Nov 05, 2013 10:22 am

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PostSubject: Re: Cinematic Masterpieces Sun Nov 10, 2013 11:16 pm

Metropolis, Directed by Fritz Lang based on the work of Thea von Harbou.  



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PostSubject: Re: Cinematic Masterpieces Wed Nov 13, 2013 12:25 pm


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PostSubject: Re: Cinematic Masterpieces Wed Nov 13, 2013 12:32 pm


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PostSubject: Re: Cinematic Masterpieces Thu Nov 14, 2013 6:46 pm

Death of a Salesman, one of Arthur Miller's masterpieces.

Arthur Miller, the Jew.

Arthur Miller the playwright.

Death of a Salesman, the poignant story of the death of hope.  It is only as we get older and life has had it's way with us, that we can appreciate Miller's emotional complexity.  A wonderful writer and a wonderful film

"The Jews are peculiarly and conspicuously the world's intellectual aristocracy".   Mark Twain.

Indeed.
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