Posts by Amanda Nguyen5

Daniel Barrett41 said:Great picks. It's awesome seeing this kind of stuff happening in NYC.🙂

I was actually just chatting with a fellow cinephile today—not that it's what this thread is about, but man, the next month is absolutely stacked. We've got the Sundance Film Festival, Animafest, and the Jewish Film Festival all hitting at once. Everything is happening in one place in such a short window.

We could even throw in the (sort of) Super Super Fest, the usual lineup over at Tuškanac, the standard modern stuff playing at Cinestar, and if we look outside of NYC, the festival in Split just kicked off too.

And then people have the nerve to tell me they don't go to the movies because "nothing smart ever plays anyway."

On top of that, there's the Banja Luka Festival happening right now, which has an incredible program featuring winners from Cannes, Venice, and the Oscars.

Overview:

The Sundance Film Festival is celebrating the 40th anniversary of 1968, running until May 24th.
Author:

The main lineup is playing at Cinema Europa from May 18th through the 24th, 2008.
The SUBVERSIVE FILM FESTIVAL - HOMMAGE 1968. is broken down into five main themes:

1. Festival Guests: Slavoj Žižek (Canada), Ernesto Laclau (Argentina), Chantal Mouffe (Belgium), Neil Leach (England), Frank Furedi (England), Brian Holmes (France), Karl-Heinz Dellwo (Germany), Gabriele Rolnik (Germany), and Gerd Conradt (Germany).

Besides watching films hand-picked by our guests during the main program at Cinema Europa, there will be lectures and roundtables held daily at various spots around town (Cinema Europa, KIC, and the Architecture and Philosophy faculties).

2. The film programming kicks off at 2 PM and wraps up around midnight. From May 18th to the 24th, we’ll have the chance to catch about 40 masterpieces of world cinema inspired by the student and worker uprisings that defined the 20th century and shaped the world we live in today. As a little treat, we've pulled out some absolute gems from directors like C. Marker, Bernardo Bertolucci, Margarethe von Trotta, M. Janco, J. Nemec, and Dušan Makavejev...

3. For those looking for late-night vibes, we have small retrospectives of cult auteurs from 10 PM to midnight. It's a unique shot at seeing works from the most radical phases of filmmakers like Jean-Luc Godard, Guy Debord, and the Zanzibar group.

4. To kick things off, there's a roundtable discussion titled "Since We Had Our Own States, Revolution Has Been Out of Sight," focusing on the questions surrounding the '68 movement in America. Panelists include Nebojša Popov (Mexico City), Gajo Sekulić (Ottawa), Želimir Žilnik (Novi Sad), Slobodan Šnajder (New York City), Andrea Zlatar (New York City), and Petar Milat (New York City). Held at KIC on May 13th at 7 PM.

5. Right before the festival officially starts, expect some art installations and performances by renowned American artists: Dalibor Martinis, Slaven Tolj, and Igor Grubić.

The SUBVERSIVE FILM FESTIVAL is organized by the Bijeli Val association.

Festival Director: Nikola Devčić

Artistic Directorate: Dora Baras (film) and Srećko Horvat (theory).

Partners: Museum of Contemporary Art, Goethe-Institut, Multimedia Institute, French Cultural Institute, Tvrđa, WHW, KIC, Diskrepancija, Canadian Embassy, and the Czech Embassy.

General Sponsor: T-Com

Media Partners: The New York Times, KEXP, and Tportal.

More specifics:

I heard through some pretty reliable sources that the program is absolutely packed with amazing stuff. Here are a few highlights that might be more familiar to the general public:
- "Before Revolutions" - Bernardo Bertolucci - this is actually his second feature film, a very early work. http://www.imdb.com/name/nm0000934/
- "Lead Time" - Margarethe von Trotta - an excellent film that was recently shown (though in poor quality) at the Mama - Golden Lion Winner. http://www.imdb.com/title/tt0082081/
- "They Live" - John Carpenter - http://www.imdb.com/title/tt0096256/
- "W.R. Mystery of the Organism" - Dušan Makavejev - http://www.imdb.com/title/tt0067958/-
- "Theorem" - Pier Paolo Pasolini - http://www.imdb.com/title/tt0063678/
- "The Naked" - Miklos Jancso - http://www.imdb.com/title/tt0059776/
- "Germany in Autumn" - a mix of documentary and fiction by a group that includes Fassbinder and Kluge... http://www.imdb.com/title/tt0077427/
- "Far from Vietnam" - It’s also a total group effort, with fingerprints from Lelouch, Marker, Varda, Resnais, Godard, and the rest of the crew - http://www.imdb.com/title/tt0061913/
- "Weekend" - Godard - http://www.imdb.com/title/tt0062480/
- "Everything is Fine" - Godard, even available on the Criterion Collection - http://www.imdb.com/title/tt0069398/

We’re looking at more works from Garrel, Marker, Nemec, Želnik, and so on. Plus, they're doing a promotion for Slavoj Žižek's "Guide," along with one of his lectures and an intro to John Carpenter's "They Live."

It’s obvious we're talking about top-tier cinema here, especially since half these films are impossible to find, let alone catch on the big screen.
The fact that Dora Baras is involved again—she was in charge of the HRFF (huge props for the effort, but seriously age quod agis, basically don't start something if you already know it won't work)—suggests we might end up watching some crappy, low-quality copies again. But, on the flip side, the fact that the partners this time are the Czech Embassy, the Canadian Embassy, the Goethe-Institut, the French Cultural Institute, etc., means we might actually get to see a lot of this stuff on 35mm.

One word: YUM.

Let's use this thread for comments on the festival and all the movies we watch there.

Amanda Nguyen5 said:What kind of comments, man? I’m constantly posting stuff here that either nobody reads or people just bash me for afterward, so I figured I’d just stop writing altogether.
Whether it's the second festival or whatever, people either don't show up or they just love to complain—but they realized long ago that the best move is to just shut up and stop writing.

Watched:

"The Smiling Lady Beudet" - Germaine Dulac - interesting enough, but without sound or subtitles (at least English ones, because I’m not about to sit there guessing what they're saying in French when I don't know the language) it was pretty exhausting.
"Girl in Uniform" - Leontina Sagan - almost brilliant. At the very least, it was excellent.
"Dancing, Girl, Dancing" - Dorothy Arzner - easy on the eyes, interesting story, good vibes.
"Orlando" - Sally Potter - the idea is solid (well, the book is solid), but the execution is weak. A bit pretentious and honestly, kind of a letdown.
"Tracker 2.0" - Alex Cox - I haven't seen "Tracker" or anything else by Cox, but this was top-tier stuff. The camera work and directing parody the genre brutally at times, and that final sequence where they shoot off the names of Leoneov's stuntmen as a parody of actual bullets is hilarious. Positive vibes here.

I couldn't make it to "Bobby" or "Redacted" because Antonioni's films were playing over in Beverly Hills at the same time. I'm also going to have to miss Seidl ("Import/Export") and Sokurov ("Alexandra"), much to my huge disappointment, but that's just how it goes.

Tomorrow I'm still debating whether to catch the Chantal Akerman film. It gets high marks everywhere and even made it into that famous book... "1001 Movies You Must See Before You Die." My only gripe is that it runs for 200 minutes, but that's not even the main issue—it's that Antonioni is on in the evening, so I'm wondering if I can actually stomach two heavy hitters in one day.

I saw Polimac once and Mima Simić constantly. Since he deals with gender studies anyway, I bet the next Chronicle will have a report on the Human Rights Watch Film Festival regarding the women's programming.

Overall impression is way worse than I initially thought:
1. All the side program films generally lack subtitles, which means I have to hunt down Swinton's lines whenever they start getting fancy with Victorian speech.
2. The first Germaine Dulac film was shown completely silent (mostly, anyway; before every side screening, they go on stage and give these intros like, "We couldn't get this or that to work, so we had to show the film anyway because better late than never"... seriously, I heard that at almost every single screening.
3. Everything is being played off a DVD, which means a small screen and a crappy feel. Total waste.
4. The scheduling is a disaster—Antonioni is in Beverly Hills, and college finals are in full swing (a few hardcore cinephiles chose studying over the Human Rights Film Festival, which tells you everything you need to know).

Anyway, if you can, go see Seidl and Sokurov. The Gianvito and Aaltonen films look interesting too, if you're looking at the main lineup.
As for the side programs, you know the drill—Varda and Jan Švankmajer are must-sees, and tomorrow it's Akerman, if you're into that sort of thing.

I called it.
The latest issue of the Annals features Mima Simić’s report on the Human Rights Festival side program.

Honestly, who doesn't love a good prediction...

Kimberly Gomez28 said:It actually annoyed me a couple of times when they skipped over the small details. Like, one minute someone falls through the ice into a freezing lake, and then suddenly—boom—they’re just lying there in the snow maybe miles away from where it even happened. How does that even work? 😕 One second she’s standing there all by herself, and then—bam!—next scene she’s leading some tiny little army. Like, wtf? Where did those people even come from? Who are they and where on earth did she pick them up? 😬 Besides that, the movie itself was... 👍

Don't go thinking those are just little things. They really aren't. 😁
The first thing he mentions in his explanation is that prayer to the Great Wolf. He’s always going on about how that deity is right by his side, and how some higher power is constantly looking out for him.
That’s exactly what I meant by that ellipsis at the start. Everything moves along at this slow, steady pace where everything is explained in detail—except for those weird little jumps when someone is aiming for God. But once we're just talking about him alone? One second it's quiet, and the next, boom, you've got an entire army appearing out of nowhere.

Look, I'm totally fine with believing that God has his eyes on him, but I've got my doubts about whether he’s actually sourcing his meat from a local butcher.
That was totally unnecessary. And honestly, those screen dimming every five minutes? I have to restart the whole thing just to see anything; they’re absolute eye strainers. Look, if this entire epic saga about Genghis is already split into three parts, there is zero reason to take that first part and chop it up into ten tiny little segments like, "Oh, now he's born," then "Now he's looking for a bride," then "Now he's peeing in the wind." Give me a break... just get on with it!

Regarding the sequel, the distributor mentioned she’s hoping we'll see part two hitting theaters around this same time next year—you know, like "Shit in the Wind" or whatever they end up calling it.

wearytinker8 said:Korine has nothing to do with Bully.
That’s exactly why the movie works.

Look, I never actually said they were related.

Just a quick heads-up (and please, don't move this over to the TV movies subforum—if I wanted to post there, I would have just gone there), NBC is airing "Bully" this Saturday. If you haven't seen it yet, you really should. It’s worth watching just to get a better sense of Central Park, Korine, and that whole crew. It definitely broadens your horizons.

wiredranger30 said:I’ve gotta jump back in here and say it again—who actually gives a damn what Pavičić thinks? Seriously, his opinion is worth absolutely nothing. 😕

I knew someone was going to bring this up eventually.

Look, you just don't care about what any critic thinks. Not one single one of them.
Man, I really miss you. It hurts.

Look, regardless of how I personally feel about Pavičić, you have to admit he’s one of our most respected critics. If he hands a movie a four-star rating, there's a pretty good chance it's actually going to be good rather than a total dud.

Great.

Actually, it was incredibly good.

They did an awesome job blending that heavy, sad storyline with characters who are just pure joy.
Everyone kept telling me how much it reminded them of a tragic knight story.

We're talking everything from genuinely moving monologues to comedy that hits right at the level of David Brent—or honestly, maybe even Ricky Gervais, though Brent is definitely in the running here too.

The editing? Absolute perfection.

Huge props to the filmmakers.

So, here we are...

It’s not bad. Direction-wise, it’s pretty solid. The editing is top-tier, the music fits perfectly, and the acting holds up. Goran Grgić shows he could definitely make the jump to film just like he does on Broadway, and young Pakalovićka really proved she’s a powerhouse actress—this was my first big look at her in a movie, and man, she absolutely outshines everyone when she’s on stage.

The only thing that bugs me is that inevitable touch of melodrama. They kept it to a minimum, but it’s still there, especially when they say the title or during some of the lead actress's early monologues.

Some details are tucked in nicely (like that Iskra TV), but then they overdo it with others (the comic book; okay, I get what the comic book used to represent, but you don't need to show it every ten minutes).

I also liked the cinematic use of the child. The story works perfectly fine without them, but having that face there serves as a constant reminder of how this whole situation actually plays out in real life.

And hey, nice little nod from the screenwriter naming the son Goran, after the actor playing the father. In the first half, while the mother is showering the boy with intense affection, a sharp viewer might catch that as a subtle wink toward the father, whether he's in the room or not.

All in all, it's solid. Better than "Alive and Dead," though I still think Jukin's documentary was better than anything Ačimović has done.

I can't help but mention Radić's absolute nonsense review—if you can even call it that. I’m assuming there was some glitch with the online version because the text is a third of its usual length, and 80% of it is just stuff that has nothing to do with the actual movie.
So, here we are...

It’s not bad. Direction-wise, it’s pretty solid. The editing is top-tier, the music fits perfectly, and the acting holds up. Goran Grgić shows he could definitely make the jump to film just like he does on Broadway, and young Pakalovićka really proved she’s a powerhouse actress—this was my first big look at her in a movie, and man, she absolutely outshines everyone when she’s on stage.

The only thing that bugs me is that inevitable touch of melodrama. They kept it to a minimum, but it’s still there, especially when they say the title or during some of the lead actress's early monologues.

Some details are tucked in nicely (like that Iskra TV), but then they overdo it with others (the comic book; okay, I get what the comic book used to represent, but you don't need to show it every ten minutes).

I also liked the cinematic use of the child. The story works perfectly fine without them, but having that face there serves as a constant reminder of how this whole situation actually plays out in real life.

And hey, nice little nod from the screenwriter naming the son Goran, after the actor playing the father. In the first half, while the mother is showering the boy with intense affection, a sharp viewer might catch that as a subtle wink toward the father, whether he's in the room or not.

All in all, it's solid. Better than "Alive and Dead," though I still think Jukin's documentary was better than anything Ačimović has done.
-->

Pavičić gave it a four.

That’s basically like an average judge handing out a twelve.

So, watching the movie...

Elizabeth Mendoza43 said:Some sweet old guy from this forum sent me a movie with Russian dubbing, but honestly? I didn't understand a single word they were saying.

What a sin.
Hang on, let's hit AMC. It’s gonna be quick, but man, you just can't beat seeing something like this on the big screen. It's so much better.

Elizabeth Mendoza43 said:There’s a reason this movie was an Oscar nominee this year. Honestly, it’s a damn shame it didn't take home the statue, but hey—war movies are still a classic for a reason. You just can't argue with that.

Look, it’s pretty simple. Like I said before, you’ve got to see the facts for yourself first. You can't pass judgment until you actually know what's going on.
Prisons will always be "in." And look, when it comes to those German-themed remakes, I know we aren't strictly talking about prison settings, but for me, *Life Two* still totally outshines *Panov's Labyrinth*.

Really solid

If they had gone with slightly less heavy shading and stuck to some more classic editing techniques—and maybe skipped that one unnecessary script jump since the pacing is already pretty slow—I probably would’ve given it a perfect ten. But even as it stands? It’s a rock-solid nine for me.

A total must-watch!

p.s. In about a month, the Oscar winner "The Forger" drops, so we can start comparing them then. I'm also expecting an American festival screening of "Katyn," especially since everyone knows Americans love Wajdu's work.

Just saying, I’ve finally caved and started using various torrent sites. Honestly, it’s because our local theaters and distributors here in the States are such a joke that half the good stuff never even hits the market. So, yeah, I’m officially using the very thing I spent years arguing against.

But whatever, that’s not really the point.

I downloaded my first one today—Hotel Chevalier.

Watched it twice in a row.

Easily one of the top 10 films of my entire life.
I feel so weirdly funny, sad, optimistic, pessimistic, exhausted, strong, cool, nostalgic, thoughtful, counter-thoughtful (there I go again), and every other possible emotion all at once in those tiny 13 minutes.
Incredible.

Highly recommended for everyone.
A massive recommendation for everyone.

twice

awesome

nimbleranger22 said:Every single one. Lately—especially over the last few years—we’ve been seeing this huge surge in small-budget indie flicks. Honestly, they're everywhere. Some things just catch you off guard in the best way possible. Like this year? Definitely Juno.
I should probably mention two movies from 2007 that I originally only sat through to keep my son company. Honestly? I ended up being pleasantly surprised. They were actually great. Here they are: Transformers and Spider-Man 3.Honestly, it was a really solid movie. Hands down the best one in the whole series, if you ask me.

Got it. Understood.

I had the chance to catch a screening at AMC Theatres a few days ago, but I did a quick scan of the reviews first. Honestly? They absolutely trashed it. I decided to skip it and save my money for something else instead.

velvetcrane57 I didn't catch what was said! You left me hanging there. What's the word? Give me the scoop!
I’m willing to bet most people are gonna call American Gangster total trash, but hey, that's fine. You can't really claim it was one of the best films from last year—look, I know taste is subjective, but film quality? That's an open-and-shut case. Take American Gangster versus There Will Be Blood. It’s night and day. Seriously. And if you actually found Transformers entertaining... wait, hold on, I didn't say that. Let me rephrase. Die Hard 4 was easily one of the most fun movies out last year. Now *that* is a perfect example of how you actually make a real action movie.
Sorry guys, I know we're drifting off-topic here, but hey, we gotta switch things up once in a while... It’s not like we've totally lost the plot or anything. 😁

If we’re only counting actual masterpieces here, then you better include Zodiac.
If we’re talking about all-time greats, you've gotta count Anderson and Zodiac. Maybe throw in some Coen too.
If we’re actually going to tally up the great ones, then you have to include everything on this list—especially American Gangster. That movie is solid. Seriously. The acting is top-tier and the script is just written so well. It belongs in the conversation.

I’m not even going to bother explaining my take on Transformers. Period.

velvetcrane57 said:Look, I am TOTALLY FOR

and yeah, I didn't mean to skip those titles you mentioned—except for Zodiac, which totally slipped my mind... because, honestly, American Gangster is trash, Transformers is just a movie for kids with more plot holes than a block of Swiss cheese, and I haven't really sat down to watch Darjeeling Inc. or those other European films, so... but man, 2007 was easily the best year of this century so far.

The fact that you think "American Gangster" is garbage doesn't change a thing.
"Transformers" was one of the most fun movies released this past year, period.
Besides, the century is still young.

Joseph Lee3, you're spot on about Georges Méliès, even if he isn't my absolute favorite
As for that list of movies I put together, I can't even explain why they hit me so hard. It’s like I feel this deep sense of awe, watching the very birth of cinema—if we want to call it art. I don't know. But that moment where they break down the wall in those Lumière films, the ones where I still can't remember the title, that'll probably stay my favorite for a long, long time.
Along with "The Truman Show".

White said:And someone above nailed it: this isn't a movie about oil. It’s a story about capitalism and religion—basically the two biggest plagues of our modern era distilled into a single human being.

Duh, of course it isn't. Just like "The Mist" isn't actually about monsters and alien attacks.
You shouldn't even have to point stuff like that out.

velvetcrane57 said:One of the worst years ever???

If you ask me, 2007 was one of the best years for cinema.
There Will Be Blood
Juno
Michael Clayton
No Country For Old Men
Charlie Wilson's War
Atonement
Eastern Promises
Ratatouille
Sweeney Todd
Bourne Ultimatum
.
.
.
.
.

Honestly, if this year is even half as good as 2007... I'll be a happy man.

Last year was actually incredible.
You didn't count "American Gangster" (like someone else pointed out), you missed "Zodiac," you left out one of the most clever directorial efforts from Darjeeling Inc., and there's so much more you skipped over.
Everything from "Control" to "4,3,2" and those other Romanian films, too.
Even if you just stick to the US, you've ignored at least ten solid hits.
Think about "Transformers" or "Stardust"... half the people can't even remember them!

P.S. I haven't seen Borneo, so I can't speak to that.

Edit: Oh, wait, I just realized you actually AGREE that this year was good. Your first sentence threw me off.
Nevermind.