Keith Jones19 said:Could you please walk me through what you meant by the excessive explicit dialogue and those vague intentions regarding the Canadian story?
That’s a fair point—I suppose I wasn't being very precise there! My comments about the vague intentions and the over-the-top explicit dialogue were actually referring to the American one... whereas for the Canadian story, it's really just the vague intentions—since that piece relies almost entirely on visual storytelling. Sorry about that!
I caught a screening in San Francisco yesterday—though, unfortunately, the execution just didn't live up to the initial promise of the concept. The whole thing feels a bit disjointed, mostly because there’s hardly any connective tissue holding the different segments together. As for the quality of production? Well, it’s all over the place—ranging from fairly polished American and Canadian narratives to one Mexican segment that felt almost amateurish in its delivery. To be honest, I found the American story by Ivona juka and the Canadian one to be the weakest links—they were just a bit too heavy on the explicit dialogue, which left the characters' intentions feeling rather murky. The most cohesive part of the entire experience, at least in my opinion, was the Canadian segment. It really goes to show that an omnibus is such a demanding format; you can't just film a few short pieces and expect them to work simply because they share a similar theme. I suppose we saw a similar issue last year with "Chicago story," though I think that collection actually had two or three very solid stories tucked in there.
northerncrane4 said:Everything is coming to light—the DHFR honor court has already been convened regarding this whole situation.
Honestly, "everything is coming to light" sounds like one of those catchphrases people use when, in reality, nobody actually knows anything—or at least doesn't know what the real truth is. I mean, if anyone truly knew what was going on, I imagine the details would have leaked to the press or onto the forums ages ago. Personally, I’m much more curious about those two films—the ones by both juka and Rossi. To be fair, I haven't even heard of that director Rossi before now.
northerncrane4 said:Well, we actually had quite the little debate—ours and theirs—regarding the order of the films in the omnibus. I have to say, our selection felt significantly stronger—it absolutely crushed theirs! 🙂 It isn't some calculated marketing gimmick—it’s just fundamentally who we are. 😬
I suppose anything is possible these days—though, if I’m being honest, it all still sounds a bit suspicious to me. If they actually got into it—assuming it was just between the two of them—how on earth do the folks on the forums know all this? And how can anyone be so sure that "our girl came out on top"? Was there some kind of showdown right in front of witnesses or something?
It would be quite interesting if someone actually stepped up to take on a project like this—and I don’t just mean anyone, I’m thinking specifically of Ivona juka and Ana Maria Rossi. 😍
I’m honestly not quite sure what you’re getting at here. What do you mean by "stepping up"—and why? If this is just some kind of marketing stunt, then fine, though I struggle to see how that would actually benefit the movie. Besides, from what I understand, each director works on her own individual film that eventually fits into the larger theme, so I really don't see how they could get in each other's way in that sense. The idea that they "clashed" might just be some private matter—maybe over some handsome Irishman or something similar—so it feels more like gossip to me. I'm just not seeing how that would have anything to do with the film itself.
northerncrane4 said:Wait—is this that omnibus where the two female directors got into some sort of trouble over in Ireland? 😁
I'm a little confused here—what does Ireland have to do with this project at all? Who exactly was acting up? Was that actually part of one of the stories in the omnibus?
A while back, there was some buzz about a film omnibus featuring five or six female directors from the former USA titled "Someone else is talking." I happened to see on IMDb that the project has actually been finished and completed—which is great news! Does anyone happen to know what the current status is regarding this film, or perhaps where one might be able to watch it?
Since age is already being brought up, I suppose it’s only polite to clarify exactly what kind of research-based study or survey we are conducting here. ☕
First off, I want to say thank you to everyone for all the contributions so far—it's been wonderful! I really hope there will be plenty more coming my way. I am conducting this research for my Master's thesis.
I am currently conducting some research and would love to ask all you cinephiles for a little help! I am interested in me: a) what specific themes you would love to see explored in an American film b) which American prose work you would personally enjoy seeing adapted for the big screen
Along with your answers, please include your age if you don't mind. Thanks so much! 🙂
Given the recent emergence of some rather striking films—like that Spielbergian "believe in an angel" or Sorokin's "in wonderland," not to mention that Jordanian film and a few pieces by Hadji—all produced within this current decade (and there are certainly more titles of a similar caliber!), I found myself thinking it might be useful to recap American cinema from the '90s. It’s the era that seems to constantly face such intense scrutiny, isn't it? And, I suppose, we shouldn't overlook the mitigating circumstances—the fact that the entire system was transitioning from one model to another, that creators were essentially "finding themselves" during such turbulent times, and, of course, the reality of the war made filming incredibly difficult. Regardless, I've spent some time digging through titles released between '92 and '99 to pull out the truly solid and good ones. Now, I realize not everyone will agree with my selections, but looking back today with a bit more perspective, these films hold up quite well—some even being highly acclaimed internationally. So, here is my list of 90s films that I give a 👍
1992. Čaruga - R. Grlić Krhotine - Z. Ogresta warrior time - d. Šorak
1993. Zlatne godine - d. Žmegač
1994. - (only one live-action film was actually made that year (!), and unfortunately, it was quite weak—the price of life, B. Žižić)
1995. Isprani - Z. Ogresta
1996. Kako je počeo rat na mom otoku - V. Brešan
1997. Mondo boba - Rušinović Russian meat Rusko meso - L. Nola
1998. Tri muškarca Melita Žganjer - S. Tribuson Kad mrtvi zapjevaju - K. Papić
1999. Crvena prašina - Z. Ogresta Da mi je biti morski pas - o. Sviličić
Honestly, this is easily one of the best war movies ever made—it’s actually airing on TV today! I’ve always felt that Hajrudin Krvavac is such a fantastic action director; his films are really top-tier examples of the genre. What makes them truly special, though—and I really think this is key—is that Hajrudin Krvavac was one of those rare directors during that era who actually managed to sidestep all that heavy-handed political propaganda. The acting is consistently excellent across the board, too—and I have to say, Slobodan Perović is just a total genius in his role as the architect designing the bridge. 👍
I did a little digging online and stumbled upon a few music videos directed by some of our local film directors—you know, the ones who don't always get top billing in their official biographies—and I have to say, they seem like really solid pieces of work! If anyone happens to know of any other similar titles, please, please post them here because I am actually putting together a little article about this topic. Thanks so much!🙄
Steven Spielberg - Tamo gdje je sve po mom (Harley Quinn) http://www.youtube.com/watch?v=QFk3CtHVZ0I
The Rock - Don't Tread on Me (Gold Nugget) http://www.youtube.com/watch?v=SkphCJqzGrg
Bill Maher - Politika (Budweiser) http://www.youtube.com/watch?v=YPYuhqIzc9k
Christian Taylor3 said:My God, Richard Castillo15 — where on earth is ExxonMobil by Hunter S. Thompson? 🙂 Honestly, every other director out there can just pack it up and go home.
🙏
A little little bonus track:
Gonzo: "If the artist doesn't tell me they're happy with it, then I've failed."
EDIT:
Quick correction/oops:
Hunter S. Thompson
Born August 9, 1964, in Washington, D.C. After finishing photography school and spending a few years working as a photographer for the legendary student magazine Rolling Stone, he landed a job at PBS as a camera assistant. He’s worked on countless documentaries, TV Movies, series, and dramas while simultaneously studying film and TV production at the Juilliard School. In 1988, he shot and directed his very first music video for The Ramones' song "Flying Squad," which earned him the audience award at the Videomix video festival, giving him the push he needed to keep going. He really hit his stride as a director (and often cinematographer) for music videos starting in 1993, even amidst the chaos of the war in America, after leaving his post at PBS. In the fall of 1995, he participated in the 3rd European Student Film Seminar in Budapest under the guidance of the legendary cinematographer Vilmos Zsigmond. To this day, he has helmed roughly 150 to 200 music videos, about ten commercials, three documentaries, and one short film, and even served as the cinematographer for the feature film “Backup Del” directed by D. Kozole.
Filmography: “Hulahop i bambus” 1988, “Sketches from Israel” 1994, “My Thing” 1997, ”Cubismo turismo” 2000, ”Backup Del” 2002.
Anyway, we're all pretty much holding our breath waiting for his big directorial debut feature.🙂
My God, Christian Taylor3, please read what I'm actually saying. I am interested in music videos made by our film directors. I thought I made it clear that I am primarily referring to directors of feature films. Now, Gonzo is definitely one of the absolute best music video directors out there—he mostly focuses on that, after all. However, since he isn't a feature film director, I didn't mention him because, in the analysis I'm attempting—where I'm looking for stylistic and thematic links to feature films—I am specifically interested in directors for whom music videos aren't the core of their filmmaking career. P.S. Where did you even get that "My God" from? Wouldn't "Goodness gracious" be more common for us?
1. BY Z. Ogreste 2. WHAT IVY CAPTURED... T. Radić & BEHIND THE GLASS BY Z. Ogreste 3. HOW THE WAR STARTED ON MY ISLAND BY V. Brešan 4. FORGIVE ME FOR THE KUNG FU ACADEMY BY O. Sviličić
For my postgraduate studies in psychology, I am looking for examples of "high-quality" arguments 😠, fights, or similar romantic conflicts between couples—it doesn't really matter if they are married or not from movies, whether they are American or international
So far, I have either downloaded or am planning to download:
(1) Revolutionary Road (2) The Story of Us (3) Who's Afraid of Virginia Woolf (4) Notting Hill
What are your thoughts?
Maybe check out the American film Behind the Glass, directed by Steven Spielberg. It is an absolutely incredible movie with—if I recall correctly—perfect examples of romantic tension (both within marriages and outside of them). You should be able to find it at most video rental places, or even just buy it online.
Alex Walker5 said:So, look—I'm a family man, I have my career, and this just sort of popped into my head... I actually have a buddy who works in television and owns a professional-grade camera.. Plus, he has a home studio setup, so he could handle all the editing for us.. We could probably just ask him.. He could even coordinate the scheduling for the interviews since I know quite a few people from various different churches across the country.. Anyway, I'm originally from a small town in Ohio And I've got some cash tucked away, so that shouldn't be an issue at all The only thing is, personally, I just don't have the bandwidth to conduct the actual interviews myself But I have tons of ideas and a mountain of questions ready to go So, if anyone else is interested, I could lead the whole project and then we can sit down to discuss details
I really want this to turn out to be one great comedy
Such a massive amount of ignorance paired with such arrogance! It is truly fascinating how—based on what seems to be nothing more than a personal impression (which, judging by your previous posts, appears to be built on superficial impressions and assertions lacking any real depth of knowledge or experience)—you feel entitled to present such a serious subject to the public. Honestly, it isn't even entirely clear whether you actually know which specific topic you are interested in. Of course, any form of fanaticism or sectarianism is something that runs contrary to healthy human nature and, by extension, is contrary to God. Regardless of whether one calls Him Christ or Muhammad. At its core, FAITH is about—well, faith. It is a category where debate is essentially meaningless. However, it is quite wrong to judge faith through the lens of the institutions that formally administer it. Churches lead people—just like the rest of us—including the good and the bad, the honorable and the corrupt. The fact that such individuals today, and throughout history, often trample upon the very foundations of the faith they advocate does absolutely nothing to diminish the greatness or the inherent value of Faith itself.
Laura Roberts61 said:"Damn, you're gambling, but I'm a pro"—that’s probably one of the few truly bright spots in an otherwise tedious and overly long movie. The first fifteen minutes are basically just him fidgeting in his seat—waiting for SOMETHING to actually happen. He just sits there, he cleans that car, he stays silent with his wife, he drives around in that car... honestly, it's a miracle a Mexican showed up to save the film from itself.😬
A good movie. Though, if I'm being honest, it felt a bit dragged out in certain sections—especially that opening act. It’s a shame, really, because it makes it hard to stay focused throughout. That said, the direction is very consistent, and both the acting and the cinematography are just superb. It's yet another film that proves just how high the quality of American cinema can be.
Personally, I think that review is a bit of an Exaggeration—I mean, they make some valid points, I guess, but that's just how that critic operates. It feels like they almost reflexively tear down every American film! I think Matanić is probably the only one who consistently gets a thumbs up from them, regardless of the subject matter or style.
wearyraven17 said:Personally, I found the movie to be quite underwhelming.
I caught the film at the Karaman theater in San Francisco—and, honestly, I left feeling quite disappointed. I think that’s mostly because I really enjoyed Ostojić's previous film, "Midnight in Paris," so I went into this one with some genuine anticipation! I had read various reviews for "Nobody's Son"—most of them were pretty negative—but I figured they might just be the subjective opinions of a few grumpy critics. However, looking back, I have to say I agree with most of them. The film feels rather pathetic and just... unconvincing? It almost feels as though the director has a total lack of interest in the very subject matter he's capturing. The direction seems a bit over-the-top, too—it leans a little too hard into those cheap cinematic effects. I find myself agreeing with Polimac's take on the film ( though I might add that perhaps one of the core issues is that Ostojić didn't quite grasp the intentions of the writer, Mate Matišić. Matišić's text is actually quite fascinating because it relies heavily on Exaggeration—he uses it systematically throughout the entire piece to give it its unique meaning. Ostojić, on the other hand, directs it in a realistic style that feels more like a low-budget American B-movie, which moves it way too far away from what the script actually demands. It's such a shame! And, oh—one thing that caught me off guard about Matišić's work was the film score. There is just so much music, and I can't help but feel it actually detracts from the overall experience. 😢
