Posts by northerncrane4

Ethan Davis34 said:I agree—though I’d throw a Nobel Prize (for literature) into the mix too. That said, the film Murina picked up seven awards from seven different festivals globally, so calling this one rigged feels like a stretch.

And just how many did it miss out on?

Brenda Ramirez2 said:"I'll ask her and let you know" 🙂—standard high school junior stuff—listening to Latin and Greek alongside some fourth-year nerd

Is she actually listening to ancient audio recordings?

This is actually quite interesting—surprising, even. Both in terms of execution and deeper meaning. Honestly, I think he could benefit from seeing it a few more times. The timing with the EU works out well, too.

Pulling off a shoot like this is a feat in itself—even more so given our local production constraints—but making sure it doesn't look cheap? That’s the real achievement.

Unfortunately, I was at the theater alone (okay, fine, it was a 4:30 PM showing, but still depressing), especially since the halls were packed during the Red color premiere earlier that day.

Ashley Brown81 said:Look—these kinds of reactions actually prove the author's point. Both characters are being reduced purely to their looks and sex appeal (which explains why Julia is constantly in a bikini, and why there are unnecessary shots of her mother's chest).

True—except it's the author herself who is reducing them to those attributes in the first place.

Patrick Martin said:That little girl really stuck with me—I'm sure there are plenty of kids and families just like her scattered along the coast, all with their own struggles and dreams, living perfectly ordinary lives. It’s beautiful, honestly; more than enough material for one decent little indie film.

You only remember her because of the camel-toe, Patrick Martin—don't try to play us; we know exactly who you are.

Justin Richardson7 said:Look, you clearly don't get my point, buddy.
Just like with Nope, your move is always to show up late—specifically after I've already set the stage. If you were actually as insightful as you claim, you would have shown up and explained the core themes of Marilyn, what it all signifies, and why it matters... Instead, you hide behind film jargon and semiotics (my interpretation of your "expertise" is basically a middle schooler arguing against a PhD)—yet you can't even grasp ten of my simplest sentences. You talk about freedom? I’m telling you, there isn't a shred of it here! And that fake ending—that cheap, trashy swimming sequence—is just pure posturing: fundamentally, we haven't moved an inch.

Anyway, let's stop whining... If you actually have something substantial to contribute, speak up. Then I'll explain exactly where you're missing the mark and why your take on this movie (or anything else) falls short—and why you're incapable of actually leading a discussion.

Give me a break. Just like with Nope, you arrive with a massive delay after I've already laid everything out—without even bothering to check if anyone else has already said it. In your caveman brain, the universe starts and ends with you, so you try to act like some ultimate prophet, even though the real ones cleared the path long before you accidentally rolled down from your hill onto it.👋

Justin Richardson7 said:But if this same Julia is already raising questions—if she’s rebelling against her father, God, tradition, family, duty, or even the bare rock of her homeland—then that rebellion is pointless without a destination.

The movie's real value lies in the fact that the protagonist is just as stubborn and thick-headed as her uncle.

Justin Richardson7 said:That doesn't happen, because the film ends exactly how it started: Julia in the ocean, just drifting. After rebelling against her father and being left high and dry by some stranger on a white yacht, she ends up right back where she began—nothing has actually changed. What she takes away from all this? The film doesn't say; the ending is gritty, just aimless wandering in the sea.

It wouldn't hurt to understand cinematic language if you want to actually watch a film. At the end, she's swimming, filmed from an extreme high angle, boxed in by the frame. She isn't swimming toward freedom or the infinite—the furthest she can go is the edge of the screen.

Now, whether that was truly the director's intention is hard to say—my experience with American filmmakers is that they grasp semiotic tools about as well as you do—but you could certainly interpret it that way. From a high angle, or even through a Determinator's subjective lens... there's no escaping that interpretation.

If Dušan Matić says so, then I guess it’s gospel truth.

Carl Bennett78 said:Rounding off is simply "finishing."

It isn't about whether you put "finishing" or "rounding out" in quotes—it’s irrelevant. A real author completes and rounds off a work exactly how they would want it presented to them if they were the ideal viewer. That viewer understands the creator, shares their worldview, or at least possesses a similar sensibility—they'll recognize that intent. Everyone else just projects themselves and their own expectations onto the screen; they aren't actually interested in communicating with the author—they’re too self-absorbed, convinced their own interpretation carries as much weight as the artist's actual intention. Maybe even more.

Carl Bennett78 said:Welles and Tarantino. 4:3. 🙂

Well, now that we’ve laid all seven of them out—I have to admit, you're right.

Carl Bennett78 said:I maintain that formal education works—period. Equal. Pros and cons.

That’s a completely arbitrary claim—honestly, I have no idea what you're even basing that on.

Carl Bennett78 said:The director’s idea is just the starting point. Truly great auteur cinema remains open to interpretation—it’s "unfinished," in a sense—requiring the viewer’s own sensibility to complete the experience. That’s exactly what the filmmaker intends.

🤣🤣🤣 Great auteur films aren't "unfinished"—quotes aside—rather, the director simply refuses to spoon-feed every detail, leaving room for the audience to engage mentally using the clues provided. A great work is entirely finished. Bad auteur works are unfinished, because a mediocre director doesn't actually know what they want to say, so they leave the heavy lifting to the audience.

Carl Bennett78 said:I can't recall who said it—maybe Luis Buñuel—but he used to walk into a theater halfway through a movie and leave once the plot started getting predictable. He wasn't looking for a narrative or a lecture on the director's vision. He was looking for images that provoke an experience.

Whoever said that was speaking from the perspective of a creator hunting for inspiration, not a spectator. And even then—let's be honest—anyone holding that view likely had some serious personality flaws.

Carl Bennett78 said:Regarding education, it’s interesting that François Truffaut dropped out of school at fourteen to focus on film (his goal was watching three movies a day). Jean-Luc Godard wasn't much different; he barely scraped through high school.

Claude Chabrol, however, finished college. Same goes for Francis Ford Coppola and Martin Scorsese. So? What’s your point?

Carl Bennett78 said:As much as formal education can help, it does just as much damage to both the filmmaker and the audience.

It certainly does less damage than this "education" you promote via trivia and random quotes.

Carl Bennett78 said:If possible, how much does a general formal education actually matter when experiencing a film?

A formal general education matters just as much as it does in any other field—it provides the foundation you need to build your own knowledge. But I don't get why you’re tying your personal experience of a film—or any work, for that matter—to some potential idea intended by the author. If you view everything solely through your own lens, then honestly, it doesn't matter what you're watching.

Carl Bennett78 said:The real question is—who actually holds the upper hand here? Is it the person simply enjoying the movie, or the one who finds it trivial because they possess more knowledge and cinematic culture?

The latter. Next question. 😎

Carl Bennett78 said:We should also accept that everyone’s perspective on film is essentially equal—that we should focus on our own take rather than policing someone else's.

No, it isn't. Some people know more, others know less. Some understand more, others understand less.—simple as that.

Gary Patel said:Because—apparently—having Taylor Swift in my signature means I’ve lost all rights to have an opinion on Wes Anderson films.

I wasn't talking about having an opinion—I was talking about the discussion itself.

vivideagle7 said:What exactly is pretentious about it?

Just a heads-up—before this debate goes any further—you might want to reconsider discussing a Wes Anderson film with someone whose entire brand is "Taylor Swift lies the second she steps on stage."

Heh, finally got around to watching this. It’s great—honestly, I don't have anything smarter to add.👍👍👍

electriccanyon26 said:True, but she also views her hobbies as full-blown career paths. It all makes sense now.

Sure—but that’s what happens after decades of doing business in the US, especially since half her brain cells died off during the last fiscal year.

electriccanyon26 said:It isn't boring. The direction is solid—take that scene with J. Lee Curtis playing the tax auditor, for instance; what's the issue there? The action sequences hit the mark too. I don't quite get the massive hate. Sure, the "emotional core" of the story is a total cliché, much like in Inception, but that's what I expected. It needed that hook... (the kind of thing Netflix generations would hail as a masterpiece.) I actually enjoyed the Bagel part; it gave me some Twin Peaks vibes. For what it is, the film is very good. And fun.

First off—and this is fundamental—it’s just plain idiotic that a grown adult, someone who's been running a business for years, ends up facing a tax audit because of the exact same trivialities that make the protagonist such a control freak.

Mark White11 said:Honestly, if they’d gone with dick fingers instead of those hot dog fingers, I bet 😁northerncrane4
would've actually loved it.

That would’ve been a great touch—having her beat up cops with two dildos right before that scene—but I just wasn't feeling it.

Mark White11 said:Brazil is easily one of the best movies ever made. Seriously, the director's cut is everything.

We're in agreement here.