Explain to me why, as someone who likes actual movies, I should ever bother watching a film directed by a French "person". Why should I even concern myself with "canon" at all? Every time I've tried watching a Godard movie I just find myself wishing he had killed himself earlier, before I eventually turn it off.
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 Ape Out Shirt $21.68 |
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I still seethe at at the fact I paid money to
watch 'Alphaville'. Try Jean Pierre Mellvile.
The early ones like 'Bob Le Flambeur'.
>Try Jean Pierre Mellvile.
>The early ones like 'Bob Le Flambeur'.
Sure. I have seen some French movies. At least three, I think, but one wasn't even by a Frenchman. The other two were Irma Vep and Umbrellas of Cherboug, which was unberable and I didn't finish even though I had maybe 30 minutes left.
Alphaville indeed was a terrible movie. I can't even begin to describe how amateur it was.
Seriously? It sounds so interesting.
I thought it was hilarious.
sorry that was a test
I like French comedies, crime movies and romances, Godard and other wannabe commies suck though
If it makes you feel any better, his last moments were extremely painful and miserable.
As mean as it is, that does make me feel a little better.
>extremely painful
he was a big guy
I hope he farted his intestines out around the neck of one of his stupid french strumpets and acked her
You don't. In fact, I would even say you shouldn't. Watch Asian films instead
>Watch Asian films instead
What, like Wong Kar Wai? I enjoyed Fallen Angels when I watched it as a teenager but In The Mood for Love has to be one of the worst movies I've ever seen. And something about Korean movies just don't look good to me. Everybody was sucking Bong Joon Ho's dick for Parasite but I find it hard to believe he could've made a good movie after Snowpiercer and Okja.
No, like the various generations of Taiwanese New Wave films, 80s and 90s HK films, classic Japanese films, and contemporary Chinese films
Cool. Do you have any recommendations? I hope by classic Japanese you don't mean Kurosawa. I still plan to watch Ikiru and The Bad Sleep Well at some point but I don't think I like him. Ozu seems cool though.
I will give you a couple recs for each area I mentioned
>Taiwanese New Wave
Goodbye South, Goodbye (1996)
The River (1997)
>80s and 90s HK
A moment of romance (1990)
Made in Hong Kong (1997)
>classic Japanese
The Human Condition trilogy (1959-1961
Equinox Flower (1958)
>contemporary Chinese
Saturday Fiction (2019)
Limbo (2021)
>I hope by classic Japanese you don't mean Kurosawa
him as well. For whatever reason I'd avoided watching him for years until recently, and everything I've seen from him now has been great
also I will actually modify the range for Japan to go up to the 90s, not just classic
Labyrinth of Dreams (1997)
Pornostar (1998)
And here are some more misc. recs, some of which you might have heard of already
Suzhou River (2000)
The Mission (1999)
Wild Goose Lake (2019)
A Land Imagined (2018)
An Elephant Sitting Still (2018)
Ms Fang (2017)
Le Moulin (2015)
Haven't heard of any of these. Thank you, these all seem cool.
>Him as well. For whatever reason I'd avoided watching him for years until recently, and everything I've seen from him now has been great
I mean, my opinion may change. Still going to watch Chungking Express at some point too.
Lots of people like WKW but I've only liked Fallen Angels from him, which you've already seen
I think he's a little overrated just because he somehow became more well known to Western audiences even though there's better directors from that part of the world during that time period
Its possible. I read something similar about Kurosawa at some point, that he's more popular with American audiences than he is with Japanese because his films have "a clear Western influence". But who knows if that's true, I kind of doubt it.
The Kurosawa thing is a half-truth, at least from what I've heard
He is (or maybe was) more popular in the west because he was basically the first Japanese filmmaker the western world was exposed to, and he paved the way for the others
From his wiki:
>Meanwhile, unbeknownst to Kurosawa,Rashomonhad been entered in theVenice Film Festival, due to the efforts ofGiuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951,Rashomonwas awarded the festival's highest prize, theGolden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition.
>This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm forItalian neorealistcinema.By the end of 1952Rashomonwas released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West wereKenji Mizoguchi(The Life of Oharu,Ugetsu,Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story,An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West.Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging fromKon Ichikawa,Masaki Kobayashi,Nagisa OshimaandShohei ImamuratoJuzo Itami,Takeshi KitanoandTakashi Miike.
But his films are pretty Japanese and I wouldn't say there's any significant western influence, at least not to such an extent that it would attract audiences because of it
That's pretty interesting. Thanks for sharing. Makes me want to rewatch Millennium Actress and figure out who referenced specifically besides Kurosawa and Honda.
Yeah this could be used as a de-facto /film/ thread
Watch movies by directors who wear white hats.
This, watch Edward Yang. Greatest director of all time imo.
Is it fine to start with Yi Yi?
Yes. I hope you enjoy it. Genuinely makes me happy when people watch his movies.
Asian directors are all very highly outspoken about their love of french new wave and how much it influenced them.
Chungking Express is one of the worst movies ever made.
They literally just made it up on the spot each day coz they had no script.
You will be infuriated hearing the same pop song 17 times while watching an ugly girl pointlessly dance.
>Asian directors are all very highly outspoken about their love of french new wave and how much it influenced them.
Yes but they all improved on them greatly
>Chungking Express is one of the worst movies ever made.
This is an exaggeration but yes it is not very good
>They literally just made it up on the spot each day coz they had no script.
That's based though
You will be infuriated hearing the same pop song 17 times while watching an ugly girl pointlessly dance.
This is true
>Asian directors are all very highly outspoken about their love of french new wave and how much it influenced them.
Any specific names?
>You will be infuriated hearing the same pop song 17 times while watching an ugly girl pointlessly dance.
Oh. That sounds just as annoying as In The Mood for Love.
Jean Luc Godawful is one of those directors whose work is a complete product of its time
>implying that's a bad thing
You should ask yourself that. Godard is by no means a towering genius but his innovations are considerable and several of his movies, both the more plot-driven and the abstract ones, are quite enjoyable if you're attentive, somewhat cultured, open-minded and have a natural affinity to expanding your horizons.
What are his innovations? Vivre sa vie was gorgeous but insufferable. I couldn't make it through its (very short) runtime. And Contempt was just fricking nonsense.
>What are his innovations?
Montage, juxtaposition, naturalistic acting, deconstruction etc
Yeah, I guess it would be asking too much to describe how he innovated those things. I guess I could give him one more chance and try to watch Breathless.
Are these concepts not self-descriptive? Here's a simple exercise: watch Oliver's Hamlet and then watch LA Chinoise. It's 2 different approaches, I personally don't dismiss either of them but focus on what Godard did differently
>Are these concepts not self-descriptive?
No? Since we're talking about the way he did it specifically.
>Here's a simple exercise: watch Oliver's Hamlet and then watch LA Chinoise.
>It's 2 different approaches, I personally don't dismiss either of them but focus on what Godard did differently
Yeah, I could probably do that. Thanks.
>No?
You have to start by grokking the core concepts of moviemaking.
Why are you being silly
These are the essentials that you're missing and this gap in fundamental knowledge is making you go round in circles. After those-- again, the 101 aspects-- hopefully you'll move on to blocking and other aspects where Godard also innovated. His influence can be seen for instance in some of the angles and scenes on the very recent Beau is Afraid
I don't understand. Are you genuinely confused or are you being an ass on purpose?
If you "don't understand" and other people do, you are the problem. You must acknowledge your own impotent ignorance first so that you can start googling and getting acquainted with the basics-- that advice is valid if you were just pretending to be moronic btw
>his innovations
Tell us more, please.
Lol. Who do you consider a “genius” and why?
Kubrick because he perfected the language and his innovations became canon. Other geniuses:
Leone
Welles
Hitchwiener
You have to understand what genius means by first understanding what great narrative is what are the powers of the great visual arts.
>he perfected the language
How?
>his innovations became canon
What innovations? Are canon innovations enough to define someone as a genius?
>Leone
>Welles
>Hitchwiener
Why?
>what great narrative is
What constitutes a great narrative?
>what are the powers of the great visual arts
What are they?
Now you're asking for remedial lessons. Do your homework
No I’m not. Im literally asking your opinion based on your own posts. None of those questions are researchable.
hello /film/
>symbolism bro
Because they have made some fantastic movies. If you like actual movies, you will love them.
Watch Claude Chabrol instead
His movies are timeless and actually gripping and engaging
Start with something like Le Boucher (1970 )
if you like that then try pic related
both excellent
I hate Goddard on principle and I wish I killed him myself. Euro new wave is generally boring let's not kid ourselves it takes time to find diamond in the rough. Some talented filmmakers and a bunch of zeros, commies and other filth who became known because they were the critics themselves. That's the dirty secret of that movenet. It's like postmodern art. You think anyone could do it? You think it's all a money laundering scheme? You're on the right track.
No one really cares all that much about what you do.
Good thing its my thread I made for myself
bump
I really wish I had friends to talk about movies with. Discussing them on here is fine but I would like to get to know fellow film lovers and understand their tastes. I feel like once you've built up that context with somebody there's probably a greater potential for interesting conversation. Also, I'm lonely. Any kinos for this feel?
No, you are not "someone who likes actual movies", you're just another pretentious and edgy moron looking for personality fillers. You fit in perfectly on /film/ with these credentials.
>you're just another pretentious and edgy moron looking for personality fillers.
?
>I'm too dumb to understand and appreciate grown-up films therefore everyone else is just pretending to enjoy them for internet pseud cred
I got the complaint about OP coming off as a pleb poseur but not an attack against classic & arthouse
pretty sure he's calling classic & arthouse and those who watch it edgy and pretentious and insincere
because he is a moron
I think with the context of OP shitting on French film it could go both ways
Makes no sense someone to be against classic & arthouse if he's going mad against an anti-canon guy.
Regardless, is kg down for anyone else? Cinemaphile is acting funny too.
kg?
Karagarga, the big tracker for classic & arthouse cinema, has a shitload of content but pretty hard to get on. iirc, many people on /lbg/ were on it back then, but on /film/ almost no one.
damn I wish I could get on there