Movies Serious Movie Discussion

any thoughts on Jia Zhangke? i was thinking about setting aside what looks to be a rainy Monday next week to watch Still Life, A Touch of Sin, & Ash is Purest White.
Haven't seen anything by Jia yet. Those three you mentioned are the first of his I've been meaning to check out.

I haven't seen too much by the more recent wave of directors, the so-called sixth generation. A couple exceptions that I thought were really great, the bleak Blind Shaft, and the absolutely devastating Nanjing! Nanjing!, probably the most horrific war film I've seen after Come and See.
i’ve also had Hu Bo’s An Elephant Sitting Still sitting on my shelf, but i’ve been a mega pussy about the runtime. i hope to stop being such a coward & just watch it already.
I hadn't heard of this until now, but wow what a chilling story surrounds this movie.

"The first and last film of the novelist-turned-director Hu, who committed suicide soon after finishing his film on 12 October 2017 at the age of 29"

Sounds like an interesting film. And yeah holy shit I just looked at the runtime, 10 minutes shy of four hours, that's crazy. Chinese seem a bit more receptive to long runtimes compared to some, but usually we're talking martial arts epics or multi-generational family dramas, not experimental fare such as this, and not often exceeding three hours.
have you watched Long Day’s Journey Into Night yet? it might be my favorite film from the last five years. The Forbidden Room & Phantom Thread are the only other movies from the last five years i can think of that i might like more? idk, i haven’t even last watched Phantom Thread in at least a year, so Long Day’s Journey Into Night definitely has it beat out via recency bias. it honestly doesn’t even matter, now i’m just rambling when i could be simply saying: Long Day’s Journey Into Night is an amazing fucking movie.
I have not, sounds great though. Pretty funny story surrounding this one. Marketed as a date movie, had massive pre-sales, then dropped off hard when the actual movie came out, with the hashtag “can’t understand Long Day’s Journey Into Night” trending on social media LOL

Kind of similar to Phantom Thread in that sense. I could imagine people not knowing much about the movie or PTA and thinking it's a date movie, only to see it and say "wtf is this shit?"
i need to get my hands on Bi Gan’s debut, Kaili Blues
Doesn't have an English language wiki page, which unfortunately doesn't bode well for tracking down a copy. In my experience I've had more trouble finding Chinese films with good prints and English-subtitles than from any other place. Movies that I read up on and are considered all time classics, and I can't find a copy. I remember I wanted to watch this film from Taiwan called A City of Sadness (1989), not that old of a film, directed by probably the most widely known Taiwanese filmmaker, won the top fucking prize at Venice... and the only copy I could find was a VHS with no subtitles. After I started taking Chinese language classes I sought out a multitude of films, and I think about half of them proved too difficult to locate.

On the general topic of mainland cinema, one interesting thing I've noticed is that whenever a film faces censorship troubles within China, that's usually a sure sign that the movie is worth watching. If a film is so controversial as to not receive a domestic release, and earn its director a years-long ban on filmmaking then it's probably an excellent film. I haven't seen it yet, but based on this logic The Blue Kite might be the greatest mainland film of all time since Tian Zhuangzhuang was stricken with a 10 year ban(!) from filmmaking for it, which is fucking mindblowing to me. His career doesn't seem to have recovered from that, probably because he's too afraid to touch any potentially taboo subject lest he face the ire of the censors.

There was a really interesting development concerning Chinese censorship and international festivals very recently. So, Zhang Yimou is a director I've been rather critical of, because despite him making some phenomenal, completely fearless movies in the late 80's and early 90's, since then he has generally focused on more toothless mainstream fare. Worse than that he also seems to tow the party line. I can't judge him too harshly for this, he did receive a two-year filmmaking ban after To Live (1994), and since no one in China can continually run afoul of the censors and keep their livelihood, he essentially had to choose between working within the system, finding another career, or completely relocating to another country, with no guarantee he'd be able to get movies made in his new home.

All that being said, I was certain that Zhang's days making controversial films were long gone. So color me absolutely shocked to read that Zhang's newest film One Second was pulled from the Berlin film festival days before it was set to premier, the official reason given being "technical difficulties encountered during post-production." Care to take a guess at the subject matter? Spoiler: It's about a man who escapes from a farm-prison during the Cultural Revolution. Very strange that the script made it through the censors yet somehow the finished film didn't. I really hope it gets released someday in the not-too-distant future, and that Zhang doesn't face any negative career repercussions. Although, I guess he already has considering he was supposed to have a shot at winning top prize at Berlin with this film.
 
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The Seen and Unseen (2017)
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The sort of film which eludes straightforward understanding. It's about the connection between two twins - Tantri and Tantra - a girl and a boy. When one develops a life-threatening tumor, the other must come to terms with the grief caused by this separation and imminent loss.

However there is very little narrative. It is not presented in any conventional manner. Instead, there is an attempt to delve into the internal psychology, the subconscious, of a child struggling to cope with grief. As Tantra falls further into a vegetative state, Tantri begins to drift in and out of some kind of dream-world or spiritual world. She imagines the two playing together. Other scenes have Tantri wandering in fields glistening with moonlight, awake with some kind of otherworldly activity. It is all extremely fluid, drifting between the 'real' world of her parents and the 'other' world of these visions in a manner which dissolves the distinctions between them.

The films profoundly subjective psychological portrayal of Tantri is placed within a broader context of Balinese belief-systems, arts and culture. It makes use of folklore and myths, as well as traditional dance to explore it's themes. The divisions between human conscious and subconscious is mirrored in Balinese concepts of Sekala and Niskala - the seen and unseen worlds. Childhood imagination, belief in the supernatural and pyschological trauma all coalesce and intermingle. Stylistically it is all very striking and unusual. Inert but mesmerising.

In the attempt to portray a childs 'inner world' the film reminded me somewhat - conceptually at least - of The Spirit of the Beehive (1973). Other aspects reminded me more of Apichatpong Weerasethakul's films. Particularly the blurring of natural and supernatural. Much like Uncle Boonmee Who Can Recall His Past Lives (2010) I found this one pretty interesting overall, but while the themes and style are all fascinating to talk about after the fact, it didn't really hit me with any profound impression while I was actually watching. This could partly be due to watching at home, rather than in the cinema. I imagine it would be a lot more immersive in that setting. Or perhaps it is a lack of familiarity with the folklore and culture with which the film is so immersed.
 
They and a few other premium lables have been putting out a lot of Jackie's films with success in recent years so if anything a Bruce boxset seems a bit late.

Any word on the extras? with Game of Death I actually think Bruce's original footage is more important than the film, still go back to my old Hong Kong Legends DVD quite often to watch that. Would be great if more of it could be found but I suspect its probably not going to happen when how bad HK studios were for retaining footage.
 
Pirosmani (1969)
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A really innovative, darkly poetic biography of Georgian primitive artist Nikoloz Pirosmanishvili (1862–1918), better known as Pirosmani. He achieved significant posthumous acclaim, but died a poor alcoholic. Coming from a peasant family he worked various odd jobs throughout his life, while the little money he was able to make from painting (usually by selling to local bars) was typically spent on booze. Despite a few brief hints of recognition, Pirosmani would die largely unheralded even though his style would achieve significant interest in later years...

I actually wasn't aware of the artist beforehand, I just watched this on a whim because it sounded interesting, but I was really impressed by the film. Having looked more into Pirosmani after I appreciate it even more, but it's certainly not needed to get something out of it. Most things are apparent through the film itself. However, it is not a typical biopic. That is one reason I love it. It avoids the boring 'rise and fall' narratives you often get with films about artists, as well as the use of trite melodrama or mawkish sentimentality to tell the story. The film takes a rather melancholic look at Pirosmani's life/. It conveys a sense of isolation without presuming to offer any over-literal presentations of his thought. It depicts a man lost in the world, struggling to find meaning and straining for something beyond his grasp. The visual style was also very interesting. It makes use of colour in a way which is reminiscent of Pirosmani's paintings. This is followed through to the composition as well. Scenes are typically presented as tableaux with figures arranged in a manner which deliberately recall the work of the films protagonist.

A great little gem this one! Glad I stumbled across it. I have to say it seems as if there was something in the water in '60s Georgia (Parajanov being by far the most famous example), I will definitely have to dig a little further.
 
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@Rimbaud82, you know I love and respect your artsy fartsy ass, but your Bruce Lee movie apathy ends here.

https://www.criterion.com/boxsets/3205-bruce-lee-his-greatest-hits

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Even Criterion has signed off on his awesomeness :cool:
that’s a pre-order.

Pirosmani (1969)
image-w1280.jpg


A really innovative, darkly poetic biography of Georgian primitive artist Nikoloz Pirosmanishvili (1862–1918), better known as Pirosmani. He achieved significant posthumous acclaim, but died a poor alcoholic. Coming from a peasant family he worked various odd jobs throughout his life, while the little money he was able to make from painting (usually by selling to local bars) was typically spent on booze. Despite a few brief hints of recognition, Pirosmani would die largely unheralded even though his style would achieve significant interest in later years...

I actually wasn't aware of the artist beforehand, I just watched this on a whim because it sounded interesting, but I was really impressed by the film. Having looked more into Pirosmani after I appreciate it even more, but it's certainly not needed to get something out of it. Most things are apparent through the film itself. However, it is not a typical biopic. That is one reason I love it. It avoids the boring 'rise and fall' narratives you often get with films about artists, as well as the use of trite melodrama or mawkish sentimentality to tell the story. The film takes a rather melancholic look at Pirosmani's life/. It conveys a sense of isolation without presuming to offer any over-literal presentations of his thought. It depicts a man lost in the world, struggling to find meaning and straining for something beyond his grasp. The visual style was also very interesting. It makes use of colour in a way which is reminiscent of Pirosmani's paintings. This is followed through to the composition as well. Scenes are typically presented as tableaux with figures in arranged in a manner which deliberately recall the work of the films protagonist.

A great little gem this one! Glad I stumbled across it. I have to say it seems as if there was something in the water in '60s Georgia (Parajanov being by far the most famous example), I will definitely have to dig a little further.
just added to my “watch soon you lazy pedestrian fuck” list.
 
La Belle Époque (2019)
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Liked this well enough. It's reasonably charming with a clever, postmodern plot. A company offers wealthy clients the ability to travel back in time to an era of their choice through a mix of historical reconstruction and theatre. When our protagonist Victor - a jaded man, disillusioned with the modern world - is offered this opportunity he chooses to go back to 1974, to the cafe La belle époque. His relationship with his wife has entirely broken down, so he chooses to revisit the day they first met...

Bit slow to get going, but when it does there are a few good scenes with some serious French wit. I enjoyed the middle portions the best. Some of it is very likable and there are some nice tender moments, but on the whole I did find it a bit superficial, a bit cloying and overly-sentimental. So unfortunately just a bit average for me. I probably still would recommend it on the whole though, had it's moments and others may find it more touching than I did. It's one I had saw advertised in the cinema actually and had meant to go and see before this lockdown hit.
 
The Return of Martin Guerre (1982)
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In 16th century France Martin Guerre vanishes from the village of Artigat, leaving behind his parents, wife and young son. Over time any hope that Martin will eventually come back begins to fade. However, one day Martin miraculously returns having spent seven years at war. He seems different than before, bigger and stronger, kinder and more amiable. However, everyone still recognises him as Martin. He even knows things which only he could surely know. After a few years however, suspicions begin to emerge that this Martin is actually an impostor...

This is a wonderfully intriguing tale of love, mystery and identity theft which also happens to the most realistic depiction of Medieval French peasants ever put to screen. I am not even joking when I say that. It is one of the best historical recreations I have ever seen. Of course this verisimilitude wouldn't be much use if the rest of the film was no good. What is most impressive is the blend of story and setting. It is so well directed, and with some excellent performances all round. Everything else in the film feels so vivid and full of life as a result this historical authenticity. Just fantastic.

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Sorceress (1987)
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Attempts to wrestle with some interesting themes - tensions between organised and folk religion, class conflict and the patriarchal nature of medieval society. However the key word here is attempts. I didn't think the film was all that successful. It provides a reasonable depiction of the middle ages, but despite dealing with those interesting themes I felt it lacked narrative muscle. It all just felt a bit listless and a bit flat.

The film is based on the real account of Etienne de Bourbon of his hunt for heresy in 13th century France. Immediately he becomes suspicious of Elda, a "forest woman" who provides herbal remedies to suffering women. He suspects she may be involved in some kind of sorcery, but is convinced otherwise by the local priest. However, things take a turn when Etienne witnesses a strange midnight ritual and discovers the fact that the locals have been venerating an unheard of St. Guinefort, who turns out to have been a dog...

Has the makings of a very interesting story but despite being based on a real account (and with the film being written by an actual historian) it was surprisingly filled with inaccuracies and anachronisms. These really detracted from the story the film was trying to tell.. However, these only compounded the existing narrative faults. Just a bit listless as I said.
 
Malpertuis (1971)
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What a boring, convoluted mess. The idea of this film actually sounded incredibly interesting - a gothic mystery set in an old, labyrinthine mansion in which the bedridden Cassavius (played by none other than Orson Welles) has seemingly trapped the last of the Greek gods in human skins. His nephew, Jan becomes embroiled in the mystery of malptertuis and struggles to unravel it...

In reality however the film is simply a dull, vaguely surreal mess. Initially it does manage to set up something of a intriguing mystery, but this very quickly gives way to a dulling tedium. It's like the film is trying too hard to create some fascinating mystery but simply manages to tie itself in knots. Added to this is the fact that the characters are all completely one-dimensional and generally uninteresting, despite their supposedly mythological origins. For the most part it's simply a bunch of boring characters running round a house. The 'mystery' is simply not interesting enough to hold any interest.

Without spoiling anything, the film also attempts to make use of frame narratives and unreliable narrators. Seemingly an attempt to mirror the book on which it is based. I can only assume it's a lot more interesting in the book. All in all, just a completely boring experience apart from a few mildly interesting moments here and there. Would not recommend to anyone unless they are the worlds biggest Orson Welles fan. Even at that I watched the apparently superior Flemish version - the directors cut - which has Welles voice dubbed out anyway. If this is the best version, I can only imagine how bad the American one is.
 
The Eve of Ivan Kupalo (1969)
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Absolutely loved this. Just an incredibly bold, visionary experience. My initial response would be to say that it is something like Parajanov's Shadow of Forgotten Ancestors taken with a large dose of LSD. Following in the vein of Parajanov's film (on which Ilyenko acted as cinematographer) this one has the same kind of deep immersion within local Ukrainian folklore. It is an adaptation of Nikolai Gogol short story, but takes influence from broader folk culture. However, while a similar tale of love and tragedy it is a rather different film aesthetically. The visuals are extremely striking, full of wild colours, highly stylised and exaggerated sets and bold compositions. I normally hate when people say things like "this is X on acid", but here I really think it's an apt description. it is incredibly psychedelic and 'surreal', for lack of a better term.

The story itself concerns Piotr, a young farmhand who falls in love with Pidorka, the daughter of a local landowner. The girl's father won’t even consider a match with such a lowly figure as Piotr. However, the mischievous demon Bassaruv lurks around the village. He offers Piotr a deal in exchange for the gold and fortune which will allow him to win his bride. As you may expect, this faust-ian pact will have unintended consequences…

It’s an interesting story as well, embedded with traditional folktales and operating as a kind of parable on the folly of greed and so on. Of course it’s not told in anything even resembling a straightforward style, but with a bit of effort it is still possible to follow. The real strength of the film lies in its dazzling visuals. I feel this one really deserves to be far more well known along with the likes of Parajanov.
 
but it still just struck me as really over-explaining. Maybe some audience members require this I don't know, but I feel it comes across with the events depicted anyway so would have been far better left unsaid.

I staved off replying to this movie because this is clearly a subtle stab at me! Damit man, I didn't get that impression at all!<45>

Brando's character will often deliver long realms of dialogue ruminating on the nature of colonialism and of history in a really weirdly obvious way. Brando's acting is so good that it doesn't actually come across as bad as it could have done, but it still just struck me as really over-explaining.

Well, from what I remember thinking...

Brando's character is essentially very gentlemanly, detached from his passions, stately yet clinical. He sees all of this political skullduggery and revolution-playing as a game, a profession from where more personal emotions are kept out of. Even when Dolores rebels, he still acts very much as if they're in an honourable duel with one another, shaking-hands and putting the past behind them when the dirty deeds are all over. This is all very poignant characterization. After all, statesmen and politicians with blood on their hands have an unnerving tendency to not act like they have blood on their hands.

I saw these ruminations more as Brando grappling with his own world-view. He tries to maintain his detached facade and keep the human element out of it yet is slowly crackling. It's the aloof statesman being confronted with the blood and guts reality of the people on the ground -- which he has finally been forced to contemplate due to his friendly mentorship of Dolores.

With the deaths at the end -- the impression becomes that no matter the machinations, workings (and even personal friendships) of those in power vis-a-vis the exploited, injustice in itself is just such a loathsome, base and rousing force that people will react against it no matter what happens. Actually very similar to the ending of another lefty political film of the era, A Bullet for the General (which honestly pulled it off much more elegantly).

Nonetheless, still a very good film on the whole. I st

Another thing that I remember being struck by is that it has rather... amateurish or unorthodox filmmaking at places which lends it a greater deal of authenticity. It's a great example of a director making his film feel raw by the shoots he chooses.

Brando's acting is so good t

From what I've read, it's his favourite role.

Have you seen The Emigrants/The New Land too? What were your impressions of those.

Forgot to answer this too. I have but I saw them on-and-off as a kid -- and so had a kids reaction to them. So... technically yes, but in actuality, no. :cool:
 
@Bullitt68 I'm sad you never helped me sort through my thoughts on Peckinpah way back

Can anyone recommend a movie with this fella? Just saw this interview and I like this mec (French word for dude) a lot and want to see what he's been best in. I will google of course but wanted to see what folks who know MMA etc recommended.



As if by fate, our friend Rimbaud (who is a machine by the way- impressive output of movie write ups) posted about a movie with him just a few posts earlier.

I haven’t seen much of his work but he comes across as very likable and charismatic. He was in a pretty amusing light comedy with Andie Macdowell called Green Card that I remember enjoying as a kid.

I also enjoyed his work in The Man in the Iron Mask, which, I don’t remember as a particularly good film, but it was reasonably entertaining. It also had a great cast that elevated it. A movie with DiCaprio, Malkovich, Byrne, Depardieu Jeremy Irons has gotta have it’s merits.
 
I staved off replying to this movie because this is clearly a subtle stab at me! Damit man, I didn't get that impression at all!<45>

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Man you're paranoid europe! Wasn't a stab at you in the slightest.

Brando's character is essentially very gentlemanly, detached from his passions, stately yet clinical. He sees all of this political skullduggery and revolution-playing as a game, a profession from where more personal emotions are kept out of. Even when Dolores rebels, he still acts very much as if they're in an honourable duel with one another, shaking-hands and putting the past behind them when the dirty deeds are all over. This is all very poignant characterization. After all, statesmen and politicians with blood on their hands have an unnerving tendency to not act like they have blood on their hands.

I agree with all this too, and that's what I liked about Brando's performance. But this doesn't mean that we need to have reams of dialogue with Brando ruminating on the forces of history, or literally explaining the film through dialog -

"You know, it's an exemplary story. In the beginning he was nothing. A porter, a water carrier. And England makes him a revolutionary leader and when he no longer serves her, he's put aside. And when he rebels again, more or less in the name of those same ideals which England's taught him, England decides to eliminate him. Don't you think that's a small masterpiece?"

I think it definitely is a small masterpiece, but having Brando literally says this kind of stuff out loud just came off as awkward to me.

I saw these ruminations more as Brando grappling with his own world-view. He tries to maintain his detached facade and keep the human element out of it yet is slowly crackling. It's the aloof statesman being confronted with the blood and guts reality of the people on the ground -- which he has finally been forced to contemplate due to his friendly mentorship of Dolores.

I have to say I never really got this impression.

With the deaths at the end -- the impression becomes that no matter the machinations, workings (and even personal friendships) of those in power vis-a-vis the exploited, injustice in itself is just such a loathsome, base and rousing force that people will react against it no matter what happens. Actually very similar to the ending of another lefty political film of the era, A Bullet for the General (which honestly pulled it off much more elegantly).

Well of course, that's the cyclical theme of colonial repression and rebellion which Pontecorvo makes manifests in this fictional island. The last shot of Brando's character getting stabbed drives that home very well.

Another thing that I remember being struck by is that it has rather... amateurish or unorthodox filmmaking at places which lends it a greater deal of authenticity. It's a great example of a director making his film feel raw by the shoots he chooses.

Definitely, Pontecorvo is undoubtedly a real master of that kind of thing. Same as in Battle of Algiers, or in Operacion Ogro.

To be clear, I really liked Burn!.

Forgot to answer this too. I have but I saw them on-and-off as a kid -- and so had a kids reaction to them. So... technically yes, but in actuality, no. :cool:

Should get on that europe!
 
This Sporting Life (1963)
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An excellent, muscular melodrama featuring Richard Harris in his first starring role (dodgy yorkshire accent and all). Harris plays Frank Machin, an angry young coal-miner who gets signed to the local Rugby League football club after fighting the teams captain in a night-club. At a trial game the owners are impressed with Machin's raw aggression and physicality and sign him to a big contract. Despite being new to the game, he quickly rises to become a local star. Yet it will become painfully clear that success on the pitch will not lead to happiness in Machin's personal life...

It's a film in which rugby league features heavily and the sport is key to the film. Some of the very best scenes are those on the pitch. However, to say it's a film about rugby league would be misleading. Rugby league - as a sport with strong working class roots - is simply the vehicle through which the human drama unfolds. At it's core it is a story about people and about relationships. With a biting intensity the film takes a hard look at the fault lines of 1960s England. Through the story of Machin it looks at social and class divisions, as well as gender norms, and the dangers of those who attempt to escape outside these assigned roles. It's not a subtle film, but there are a lot of complexities interwoven and overlapping within the narrative.

Richard Harris as Machin is something of an anti-hero, an angry and bitter young man unable to control his violent temper. He is at turns sympathetic and repulsive. The performance is something like Brando in a Streetcar Named Desire transposed to industrial northern England. It could be a bit over-exaggerated at times (it does lean quite heavily towards melodrama on the whole anyway) but on the whole very effective. He certainly conveys a powerful sense of raw emotion. Rachel Roberts is excellent as Margaret Hammond, the emotionally damaged widower and landlady who Machin falls in love with. The fraught relationship between the two is the crux around which This Sporting Life revolves.

All in all a damn good film I have to say.
 
@Bullitt68 I'm sad you never helped me sort through my thoughts on Peckinpah way back

Can anyone recommend a movie with this fella? Just saw this interview and I like this mec (French word for dude) a lot and want to see what he's been best in. I will google of course but wanted to see what folks who know MMA etc recommended.


My recommendations:
Going Places
Vetel
Welcome to New York
 
Malpertuis (1971)
6951977

What a boring, convoluted mess. The idea of this film actually sounded incredibly interesting - a gothic mystery set in an old, labyrinthine mansion in which the bedridden Cassavius (played by none other than Orson Welles) has seemingly trapped the last of the Greek gods in human skins. His nephew, Jan becomes embroiled in the mystery of malptertuis and struggles to unravel it...

In reality however the film is simply a dull, vaguely surreal mess. Initially it does manage to set up something of a intriguing mystery, but this very quickly gives way to a dulling tedium. It's like the film is trying too hard to create some fascinating mystery but simply manages to tie itself in knots. Added to this is the fact that the characters are all completely one-dimensional and generally uninteresting, despite their supposedly mythological origins. For the most part it's simply a bunch of boring characters running round a house. The 'mystery' is simply not interesting enough to hold any interest.

Without spoiling anything, the film also attempts to make use of frame narratives and unreliable narrators. Seemingly an attempt to mirror the book on which it is based. I can only assume it's a lot more interesting in the book. All in all, just a completely boring experience apart from a few mildly interesting moments here and there. Would not recommend to anyone unless they are the worlds biggest Orson Welles fan. Even at that I watched the apparently superior Flemish version - the directors cut - which has Welles voice dubbed out anyway. If this is the best version, I can only imagine how bad the American one is.
Harry Kumel's Daughters of Darkness had elegant art house appeal when I saw it for the first time, so for a long time I had curiosity towards this too, but 2 hour running time for a supposed euro horror title was very suspicious. I owned the dvd for over 10 years years until I finally gave up on ever getting around watching it after slightly disappointing rewatch of DoD. Looks like I didn't miss much.

The Eve of Ivan Kupalo (1969)
195508.jpg

Absolutely loved this. Just an incredibly bold, visionary experience. My initial response would be to say that it is something like Parajanov's Shadow of Forgotten Ancestors taken with a large dose of LSD. Following in the vein of Parajanov's film (on which Ilyenko acted as cinematographer) this one has the same kind of deep immersion within local Ukrainian folklore. It is an adaptation of Nikolai Gogol short story, but takes influence from broader folk culture. However, while a similar tale of love and tragedy it is a rather different film aesthetically. The visuals are extremely striking, full of wild colours, highly stylised and exaggerated sets and bold compositions. I normally hate when people say things like "this is X on acid", but here I really think it's an apt description. it is incredibly psychedelic and 'surreal', for lack of a better term.

The story itself concerns Piotr, a young farmhand who falls in love with Pidorka, the daughter of a local landowner. The girl's father won’t even consider a match with such a lowly figure as Piotr. However, the mischievous demon Bassaruv lurks around the village. He offers Piotr a deal in exchange for the gold and fortune which will allow him to win his bride. As you may expect, this faust-ian pact will have unintended consequences…

It’s an interesting story as well, embedded with traditional folktales and operating as a kind of parable on the folly of greed and so on. Of course it’s not told in anything even resembling a straightforward style, but with a bit of effort it is still possible to follow. The real strength of the film lies in its dazzling visuals. I feel this one really deserves to be far more well known along with the likes of Parajanov.
100% agreed! I love similar Russian movies from the same period, but this Ukranian one is by far the most marvelous experience of Soviet era fairy tale movies.
 
Harry Kumel's Daughters of Darkness had elegant art house appeal when I saw it for the first time, so for a long time I had curiosity towards this too, but 2 hour running time for a supposed euro horror title was very suspicious. I owned the dvd for over 10 years years until I finally gave up on ever getting around watching it after slightly disappointing rewatch of DoD. Looks like I didn't miss much.

Was really not impressed at all mate.

100% agreed! I love similar Russian movies from the same period, but this Ukranian one is by far the most marvelous experience of Soviet era fairy tale movies.

Yeah looks like there is loads of interesting ones from that period. Wanna watch IIyenko's The White Bird Marked with Black at some stage too. I watched his later one A Story of the Forest: Mavka from '81 as well and liked it too.
 
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