Раздача слонов - Кинонаграды 2021 года

[JGLevitt]

Сезон 22го года прям пушка вылядит по именам!

 

Скорсезе, Инья, Шазелл, О'Расселл, Эстлунд, Аронофски, Эггерс, Пак Чхан-ук, Кэмерон, Джордж Миллер,...

 

Скорсезе тоже уехал на следующий год?

[Walter666]

Что значит уехал? У него релиз в этом году не планировался, ещё только съёмки идут.

[ORANGE'71]

В каких категориях The Green Knight может побороться за номинашки? Грим, где еще?

 

Скорсезе тоже уехал на следующий год?

Я всегда его за 22й считал.

[Julietta83]

В каких категориях The Green Knight может побороться за номинашки? Грим, где еще?

 

На данном этапе ни в каких.

[JGLevitt]

Что значит уехал? У него релиз в этом году не планировался, ещё только съёмки идут.

 

Даже так

[EMoushen]

И постпродакшн у Скорсезе обычно затяжной. Это не Скотт

[MonaLiza17]

В каких категориях The Green Knight может побороться за номинашки? Грим, где еще?

 

Я всегда его за 22й считал.

 

Еще Баумбах новый в сл.сезоне будет.

[ORANGE'71]

http://thefilmexperience.net/animation-and-documentaries/

 

Еще Баумбах новый в сл.сезоне будет.

Баумбаха как режиссера я не особо котирую, он сценарист больше.

[MonaLiza17]

http://thefilmexperience.net/animation-and-documentaries/

 

Баумбаха как режиссера я не особо котирую, он сценарист больше.

 

Причем тут критиковать? Его новый фильм в сл.году выходит. Отсюда ,он едет в тот же список ваш. Претендентов 22 года .

Явно выше Эстлундов и корейцев по шансам будет в оскар сезоне))

[ORANGE'71]

Причем тут критиковать? Его новый фильм в сл.году выходит. Отсюда ,он едет в тот же список ваш. Претендентов 22 года .

Явно выше Эстлундов и корейцев по шансам будет в оскар сезоне))

Ладно, пусть будет так)

 

Тему по Оскару никто не хочет создать? Раз уж даже ГолдДерби открыли сезон.

[empathy]

in review: FIDMarseilles 2021

 

Haruhara San’s Recorder (Kyoshi Sugita)

 

 

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The winner of FIDMarseille International Competition, as well as the recipient of its Best Actress award in that category, Haruhara San’s Recorder proves an appropriate choice for the festival’s (basically) top prize, speaking to this year’s apparent curatorial themes and adhering to a pace not dissimilar to that of jury president Lav Diaz.

The fourth feature from Japanese director Kyoshi Sugita, whose work has yet to gain traction or distribution in North America, Haruhara San’s Recorder tracks as the work of a filmmaker with a developed sensibility of their own, a mix of rigorous, mostly stationary camerawork with an unpunctuated structure, scenes flowing in and out of one another without ever pausing for exposition or context.

Haruhara San’s Recorder stands out as an intelligent reimagining of cinematic storytelling, one with a radical idea of how to move past the usual rigidity of narrative and out into something more fluid and evocative.

 

The Invisible Mountain (Ben Russell)

 

 

A continuation of the Trypps cinematic approach he’s established, but merged with material adapted from Rene Daumal’s surrealist fantasy novel Mount Analogue, Ben Russell’s latest, The Invisible Mountain, is challenging to define outside the terms set by the experimental director over the last two decades of his career. A documentary by the director’s own account, The Invisible Mountain is largely comprised of concert footage and candid discussion between cast and crew (one and the same, really) that would qualify as nonfiction, but informed and structured around the plot of Daumal’s unfinished 1959 text.

In part an inspiration for Alejandro Jodorowsky’s Holy Mountain, Mount Analogue’s story of an expedition team setting out to climb a mountain on an invisible continent doesn’t make immediate sense as the inspiration for a documentary, but Russell takes a surprising and effective approach to adaptation not dissimilar to that of Straub/Huillet, using the actual words of the source material to bring the author’s world into ours.

Shadowed by a Sonic Youth-sounding noise band whose live performances punctuate the long, durational stretches of walking footage, Russell captures this footage himself, serving as his own camera operator (he subscribes to the Rouchian idea of cin233;-trance), and so the journey of his protagonist becomes both literally and metaphorically his own.

 

Saturn and Beyond (Declan Clarke)

 

 

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[/color]

Irish filmmaker Declan Clarke, who specializes in a political cinema focused on the great socialist philosophers of Europe’s last couple centuries (Engels and Luxemburg, for instance), has (unsurprisingly) yet to find much attention in the U.S. film scene, nor at the bigger international festivals. Working in narrative and nonfiction modes, and interweaving elements of noir and espionage fiction throughout both (many of his films including an “Agent” character played by the director), Clarke’s vision is surely an intriguing one, though the sort that’s rarely celebrated outside festivals of a certain size and scope.

Perhaps that could shift for Clarke with his latest nonfiction piece, Saturn and Beyond, which had its world premiere at FIDMarseille and was ultimately awarded the Georges De Beauregard International Prize. A partially autobiographical essay film, Saturn and Beyond’s big universal themes (that also happen to literally concern the universe) and relatable existential ruminations put Clarke in proximity of his broadest audience yet, though this shouldn’t be taken as suggestive of an unchallenging experience.

Изменено 30.07.2021 01:33 пользователем empathy

[Julietta83]

 

Тему по Оскару никто не хочет создать?

В сентябре, Торонто начнётся и пожалуйста.

[Walter666]

69th San Sebastian Festival (17-25 September 2021)

 

Испанская часть

 

MAIN COMPETITION

 

“La abuela,” (Paco Plaza, Spain)

The latest shock fest from Spanish genre icon Plaza (“Valentina,” “[REC]”), starring Coco Chanel model Vera Valdez and written by Carlos Velmut, director of Golden Shell winner “Magical Girl.” Produced by Spain’s Apache Films and France’s Les Films du Worso, Atresmedia Cine and Sony Pictures International Productions. An anticipated title.

 

“The Good Boss,” (“El buen patron,” Fernando Leon de Aranoa, Spain)

Reprising issues of De Aranoa’s 2002 Golden Shell winner “Mondays in the Sun,” a movie that sealed a young Bardem’s acting reputation, “The Good Boss” stars Bardem as the owner of an industrial scales factory who has just one week to turn his company around, in order to win an award for business excellence. The Mediapro Studio produces, MK2 sells.

 

“Maixabel,” (Iciar Bollain, Spain)

Bollain’s fourth competition contender after 2003’s “Take My Eyes,” a best actor and actress winner and 2018 best screenplay laureate “Yuli.” Cannes best actress co-winner Blanca Portillo (“Volver”) plays Maixabel Lasa, widow of former Basque Country governor Juan Mari Jauregui, who agrees in 2011 to meet one of his ETA killers.

 

“Quien lo impide,” (Jonas Trueba, Spain)

A distinctive, cliche breaking vision of the millennial generation shot over five years, “Quien lo impide” shows the dreams, concerns and vision of the present and future of young Madrilenans, Rebordinos said. A sixth feature addition to Trueba’s engaging corpus, often heavily influenced by France’s Francois Truffaut and Eric Rohmer, and a follow-up to Karlovy Vary Fipresci Prize winner “The August Virgin.”

 

OUT OF COMPETITION

 

“The Daughter,” (“La Hija,” Manuel Martin Cuenca, Spain)

The latest from the versatile Martin Cuenca, reteaming after “Cannibal” with Fernando Bovaira’s Mod Producciones, Alejandro Amenabar’s near career-long producer. “An anguished thriller,” said Rebordinos, it turns on a pregnant 15-year-old taken in by a childless couple on one – almost inevitably questioned – condition.

 

“La Fortuna,” (Alejandro Amenabar, Spain, U.S.)

The big one. Raising the bar on Spanish drama series ambitions, a six-part series produced by Movistar Plus, AMC Studios in the U.S. and Spain’s Mod Producciones, spoken in Spanish and English and boasting U.S. and U.K. star actors: “The Lovely Bones’” Stanley Tucci, ”The Wire’s” Clarke Peters and “Years & Years’” T’Nia Miller. It’s also a contemporary humanistic adventure thriller, flashing back to an 1804 naval battle, but centered in modern times as Tucci plays a simpatico buccaneering treasure hunter who discovers and takes back to the U.S. the biggest shipwreck haul in history. A rookie diplomat (Alvaro Mel) is dispatched to reclaim the treasure. San Sebastian will screen all six episodes, Movistar Plus announced Friday.

 

“Las leyes de la frontera,” (Daniel Monzon, Spain)

Writing fact-inspired fiction, few writers have plumbed Spain’s Civil War and recent history with such probing perspicacity as Javier Cercas, author of novel “Soldiers of Salamis,” which won the Independent Foreign Fiction Prize in 2004. A political coming of age tale set in Spain in 1978, Cercas’ novel turns on a shy middle-class student. He befriends two delinquents, Zarco and Tere, and embarks on a series of thefts, robberies and heists, as he falls hard for Tere. Monzon’s adaptation, produced by Ikiru Films, La Terraza Films, Atresmedia Cine and Buendia Estudios and released in Spain by Warner Bros. Pictures Espana, casts the novel as a major upscale commercial play with high production values.

 

“Rosa Rosae, La Guerra Civil,” (Carlos Saura, Spain)

Set to the emotive music of Jose Antonio Labordeta, shooting photos and drawings by the now nearly 90-year-old director, a heartfelt testament to the horrors of the 1936-39 Spanish Civil War made by Saura who experienced its terrors as a child. An Opening Gala film.

[Зеленоглазка]

По поводу финального рейтинга TSPDT, которого все нет, отличный комментарий с AW:

 

Any bets on when this guy will finally post the top 50? I’m going with 2022

 

Но вообще да, это уже не интрига, а дешевая попытка удержать внимание получается.

[ORANGE'71]

В понедельник даст следующий слот.

[Зеленоглазка]

Ясно.

Нелепое затягивание интриги.

[MysteryMan]

Ясно.

Нелепое затягивание интриги.

 

Может он просто не успевает технически обработать и выложить?

[Зеленоглазка]

Может он просто не успевает технически обработать и выложить?

 

Раньше успевал, а теперь нет?

Ничего же не мешало заранее сделать полную верстку, а потом уже начинать ее по дням выкладывать.

[MysteryMan]

Раньше успевал, а теперь нет?

Ничего же не мешало заранее сделать полную верстку, а потом уже начинать ее по дням выкладывать.

 

Откуда ты знаешь, какие у него дела. Это же не работа у него.

[Зеленоглазка]

Откуда ты знаешь, какие у него дела. Это же не работа у него.

 

Я предполагаю.

Но окей, если срок и правда определен, тогда просто подожду.

[ORANGE'71]

 

[empathy]

tspdt: 1005 film favourites — всё

 

10. Seven Samurai (Akira Kurosawa)

9. Citizen Kane (Orson Welles)

8. In the Mood for Love (Wong Kar-wai)

7. Persona (Ingmar Bergman)

6. Taxi Driver (Martin Scorsese)

5. The Godfather (Francis Ford Coppola)

4. Apocalypse Now (Francis Ford Coppola)

3. Vertigo (Alfred Hitchcock)

2. Mulholland Dr. (David Lynch)

1. 2001: A Space Odyssey (Stanley Kubrick)

 

Directors with Six or More Films

15 – Martin Scorsese

12 – Alfred Hitchcock

11 – Ingmar Bergman, Akira Kurosawa

10 – Jean-Luc Godard, David Lynch, Steven Spielberg

9 – Joel Coen & Ethan Coen, John Ford, Hayao Miyazaki

8 – Robert Bresson, Stanley Kubrick, Yasujiro Ozu, Quentin Tarantino, Orson Welles

7 – Paul Thomas Anderson, Rainer Werner Fassbinder, Hou Hsiao-hsien, Abbas Kiarostami, Terrence Malick, Tsai Ming-liang

6 – Woody Allen, Wes Anderson, Michelangelo Antonioni, Luis Bunuel, John Carpenter, John Cassavetes, Charles Chaplin, Brian De Palma, Richard Linklater, Christopher Nolan, Michael Powell & Emeric Pressburger, Andrei Tarkovsky, Lars von Trier, Billy Wilder, Wong Kar-wai

 

джокера нет

 

[GlitchMob]

фу, подборка от нормисов.

[Зеленоглазка]

Я ставлю на Хичкока и Скорсезе.

 

Безумный Макс или Древо жизни

 

 

 

Но Крестный отец аж пятый - это внезапно.

[MysteryMan]

МД и Вертиго рядом, это символично =)

 

Паразиты Оранджа тока на 46, а он тут ванговал топ-10. чето ржу-)