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sleepythug · 2 months

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What are some movies that every aspiring cinephile should watch?

battleship potemkin (sergei eisenstein, 1926)

city lights (charlie chaplin, 1931)

M (fritz lang, 1931)

freaks (tod browning, 1932)

brief encounter (david lean, 1945)

out of the past (jacques tourneur, 1947)

the third man (carol reed, 1949)

late spring (yasijuro ozu, 1949)

kiss me deadly (robert aldrich, 1955)

a man escaped (robert bresson, 1956)

touch of evil (orson welles, 1958)

la dolce vita (federico fellini, 1960)

peeping tom (michael powell, 1960)

man who shot liberty valance (john ford, 1962)

the exterminating angel (luis buñuel, 1962)

shock corridor (samuel fuller, 1963)

kwaidan (masaki kobayashi, 1964)

dragon inn (king hu, 1967)

playtime (jacques tati, 1967)

once upon a time in the west (sergio leone, 1968)

two-lane blacktop (monte hellman, 1971)

aguirre, wrath of god (werner herzog, 1972)

touki bouki (djibril diop mambety, 1973)

the conversation (francis ford coppola, 1974)

the passenger (michelangelo antonioni, 1975)

nashville (robert altman, 1975)

the killing of a chinese bookie (john cassavetes, 1976)

mikey and nicky (elaine may, 1976)

sorcerer (william friedkin, 1977)

days of heaven (terrence malick, 1978)

blow out (brian de palma, 1981)

8 diagram pole fighter (lau kar-leung, 1984)

mishima: a life in four chapters (paul schrader, 1985)

tampopo (jūzō itami, 1985)

blue velvet (david lynch, 1986)

something wild (jonathan demme, 1986)

landscape in the mist (theo angelopoulos, 1988)

sonatine (takeshi kitano, 1993)

salaam cinema (mohsen makhmalbaf, 1995)

fallen angels (wong kar-wai, 1995)

taste of cherry (abbas kiarostami, 1997)

cure (kiyoshi kurosawa, 1997)

the thin red line (terrence malick, 1999)

beau travail (claire denis, 1999)

yi yi (edward yang, 2000)

all about lily chou chou (shunji iwai, 2001)

memories of murder (bong joon-ho, 2003)

dogville (lars von trier, 2003)

tropical malady (apichatpong weerasethakul, 2004)

silent light (carlos reygadas, 2007)

sparrow (johnnie to, 2008)

holy motors (leos carax, 2012)

phoenix (christian petzold, 2014)

personal shopper (oliver assayas, 2016)

#anonymous #long post

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unpacked9 · 10 months

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oliver assayas and mia hansen-love

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cinemacentury · 3 months

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MOVIES 2024

Master list of all the movies/miniseries I watched in 2024.

New film Rewatch Theatrical Viewing

JANUARY

Monday, January 1 1. METROPOLITAN (Whit Stillman, 1990) 2. 2084: VIDEO CLIP FOR THE TRADE UNIONS’ REFLECTION AND PLEASURE (Chris Marker, 1984) (short) 3. THERE WILL COME SOFT RAINS (Nazim Tulakhodzhayev, 1984) (short) 4. TERRORIZERS (Edward Yang, 1986)

Tuesday, January 2 5. BLOOD SIMPLE. (Joel Coen, 1984) 6. CHARADE (Jon Minnis, 1984) (short) 7. FEELINGS (Todd Solondz, 1984) (short) 8. BEVERLY HILLS COP (Martin Brest, 1984) 9. LITTLE NEMO: ADVENTURES IN SLUMBERLAND PILOT 2 (Yoshifumi Kondo, Andrew Gaskill, 1984) (short) 10. IN THE BLUE SEA, IN THE WHITE FOAM… (Robert Sahakyants, 1984) (short) 11. THE WIND (Edward Yang, 2006) (short) 12. IN OUR TIME (Tao Te-chen, Edward Yang, Ko I-cheng, Chang Yi, 1982)

Wednesday, January 3 13. FALLEN ANGELS (Wong Kar-wai, 1995) 14. THE WINTER OF 1905 (Yu Wai Cheng, 1982) 15. MAHJONG (Edward Yang, 1996)

Thursday, January 4 16. ANTONIO GAUDI (Hiroshi Teshigahara, 1984) 17. A BRIGHTER SUMMER DAY (Edward Yang, 1991) 18. MEET ME IN ST. LOUIS (Vincente Minnelli, 1944)

Friday, January 5 19. DESERT HEARTS (Donna Deitch, 1985) 20. MANDABI (Ousmane Sembène, 1968) 21. SONGS FOR EARTH & FOLK (Cauleen Smith, 2013) (short)

Saturday, January 6 22. THE HEROIC TRIO (Johnnie To, 1993) 23. EXECUTIONERS: THE HEROIC TRIO 2 (Johnnie To, 1993)

Sunday, January 7 24. A CONFUCIAN CONFUSION (Edward Yang, 1994)

Monday, January 8 25. POLICE STORY (Jackie Chan, 1985)

Tuesday, January 9 26. POLICE STORY 2 (Jackie Chan, 1988)

Wednesday, January 10 27. AS TEARS GO BY (Wong Kar-Wai, 1988) 28. ROUNDHAY GARDEN SCENE (Louis Aimé Augustin Le Prince, 1988) (short) (rewatch)

Thursday, January 11 29. EXOTICA (Atom Egoyan, 1994)

Friday, January 12 30. SWIPED (Joseph Kahn, 2017) (short)

Saturday, January 13 31. ODD/EVEN (Ya-Ting “Itchy” Yang, 2022) (short) 32. CENTER STAGE (Stanley Kwan, 1992)

Sunday, January 14 33. THE BARE-FOOTED KID (Johnnie To, 1993)

Monday, January 15 34. THE BOOK OF CLARENCE (Jeymes Samuel, 2024)

Tuesday, January 16 35. POLICE STORY 3: SUPERCOP (Stanley Tong, 1992) 36. FOLLOWING (Christopher Nolan, 1998)

Wednesday, January 17 37. THE SEVENTH CURSE (Lam Ngai Kai, 1986)

Thursday, January 18 38. BEHIND THE YELLOW LINE (Taylor Wong, 1984)

Friday, January 19 39. CARGO (Julio Luna, 2015) (short)

Saturday, January 20 40. IRMA VEP (Oliver Assayas, 1996) 41. ROUGE (Stanley Kwan, 1991) 42. HERO (Zhang Yimou, 2002)

Sunday, January 21 43. GOLIATH (Don Bitters, 2022) (short) 44. SIGMUND (Bruno Bozzetto, 1984) (short)

Monday, January 22 45. SHANGHAI BLUES (Tsui Hark, 1984) 46. GODS FROM SPACE (Annalize Pasztor, 2018) (short) 47. ONE FROM THE HEART: REPRISE (Francis Ford Coppola, 1981; recut 2024) 48. INFERNAL AFFAIRS (Andrew Lau Wai-Keung, Alan Mak, 2002)

Tuesday, January 23 49. GREEN SNAKE (Tsui Hark, 1993) 50. FLAMIN’ HOT (Eva Longoria, 2023) 51. THE DARK KNIGHT (Christopher Nolan, 2008) (rewatch)

Wednesday, January 24 52. THE EIGHT DIAGRAM POLE FIGHTER (Lau Kar-leung, 1984)

Thursday, January 25 53. 2084 (Taz Goldstein, 2015) (short) 54. FLOREANA (Louis Morton, 2018) (short)

Friday, January 26 55. THE CREATOR (Gareth Edwards, 2023)

Saturday, January 27 56. BOAT PEOPLE (Ann Hui, 1982)

Sunday, January 28 57. OPPENHEIMER (Christopher Nolan, 2023) (rewatch) 58. THROW DOWN (Johnnie To, 2004)

Monday, January 29 59. ALL THE CROWS IN THE WORLD (Tang Yi, 2021) (short) 60. TWO WORLDS (Andy Lefton, 2015) (short)

Tuesday, January 30 61. HAPPY GHOST III (Johnnie To, 1986)

Wednesday, January 31 62. A DROWNFUL BRILLIANCE OF WINGS (Sofia Bohdanowicz, 2016) (short) 63. A HISTORY OF THE WORLD ACCORDING TO GETTY IMAGES (Richard Misek, 2022) (short) 64. THE LONG GOOD FRIDAY (John Mackenzie, 1980)

FEBRUARY

Thursday, February 1 65. THE TENDER GAME (John Hubley, 1958) (short) 66. I LOVE YOU SO MUCH (Leah Shore, 2014) (short) 67. THE PLEASURE OF LOVE IN IRAN (Agnes Varda, 1976) (short)

Friday, February 2 68. YOUR NAME. (Makato Shinkai, 2016)

Saturday, February 3 69. ARGYLLE (Matthew Vaughn, 2024)

Sunday, February 4 70. 24 HOUR PARTY PEOPLE (Michael Winterbottom, 2002) (rewatch) Monday, February 5 71. IN BETWEEN LOVES (Allan Fung Yi-Ching, 1989) Tuesday, February 6 72. MATEWAN (John Sayles, 1987) Wednesday, February 7 73. LOCAL HERO (Bill Forsyth, 1983)

Thursday, February 8 74. NOMADS (John McTiernan, 1986) Friday, February 9 75. WARSHA (Danie Bdier, 2022) (short) Saturday, February 10 76. NAI NAI & WAI PO (Sean Wang, 2023) (short) 77. THE ICEMAN COMETH (Clarence Yiu-leung Fok, 1989) Sunday, February 11 78. NIGHT AND FOG (Alain Resnais, 1956) (short) Monday, February 12 79. MRS. MINIVER (William Wyler, 1942) 80. DUNE (Denis Villeneuve, 2021) (rewatch) Tuesday, February 13 81. MOLOKA'I BOUND (Alika Maikau, 2019) (short) 82. FOREVER SLEEP (Zac Stracner, 2022) (short) Wednesday, February 14 83. THE EAGLE SHOOTING HEROES (Jeffrey Lau, 1993) 84. DON'T LOOK NOW (Nicolas Roeg, 1973) Thursday, February 15 85. PREDATOR (John McTiernan, 1987) Friday, February 16 86. PAPER MARRIAGE (Alfred Cheung, 1988) Saturday, February 17 87. HIROSHIMA MON AMOUR (Alain Resnais, 1959)

Sunday, February 18 88. THE MISFITS (John Huston, 1961) 89. A WOMAN UNDER THE INFLUENCE (John Cassavetes, 1974) Sunday, February 19 90. ALL'S WELL, ENDS WELL (Clifton Ko, 1992) Monday, February 20 91. THE WAGES OF FEAR (Henri-Georges Clouzot, 1953) 92. BEAU TRAVAIL (Claire Denis, 1999) Wednesday, February 22 93. FACE SWAP (David Gidali, Einat Tubi, 2019) 94. HOW TO PICK GIRLS UP! (Wong Jing, 1988) Friday, February 23 95. OPUS II (Walter Ruttmann, 1921) Saturday, February 24 96. SEVEN SAMURAI (Akira Kurosawa, 1954) Sunday, February 25 97. WOMEN OF THE NIGHT (Kenji Mizoguchi, 1948)

Monday, February 26 98. THE MASK (Conner O'Malley, 2023) (short)

Tuesday, February 27 99. THE THIRD MAN (Carol Reed, 1949) (rewatch)

Wednesday, February 28 100. ALIEN (Ridley Scott, 1979) (rewatch) 101. BLADE RUNNER (FINAL CUT) (Ridley Scott, 1982/2007) (rewatch) Thursday, February 29 102. DUNE: PART TWO (Denis Villeneuve, 2024) 103. THE SPIRIT OF THE BEEHIVE (Victor Erice, 1973)

MARCH

Friday, March 1 104. ONIBABA (Kaneto Shindō, 1964) 105. AUDITION (Takashi Miike, 1999) Saturday, March 2 106. AVALON (Barry Levinson, 1990)

Sunday, March 3 107. UGETSU (Kenji Mizoguchi, 1953) 108. A PAGE OF MADNESS (Teinosuke Kinugasa, 1926) 109. THRONE OF BLOOD (Akira Kurosawa, 1957)

Wednesday, March 6 110. ROSE (aka BLUE VALENTINE) (Samson Chiu, 1992) 111. KLUTE (Alan J. Pakula, 1971) 112. LONE STAR (John Sayles, 1996) Thursday, March 7 113. THE GHOST OF YOTSUYA (Nobuo Nakagawa, 1959) 114. RING (Hideo Nakata, 1998) 115. BLIND WOMAN’S CURSE (Teruo Ishii, 1970)

Friday, March 8 116. DARK WATER (Hideo Nakata, 2002)

Saturday, March 9 117. PERFUMED NIGHTMARE (Kidlat Tahimik, 1977) 118. HOODLUM (Bill Duke, 1997) 119. PORTRAIT OF A LADY ON FIRE (Céline Sciamma, 2019)

Monday, March 11 120. BLIND BEAST (Yasuzō Masumura, 1969) 121. KURONEKO (Kaneto Shindō, 1968) 122. SOUTHLAND TALES (Richard Kelly, 2006)

Tuesday, March 12 123. WE OWN THE NIGHT (James Gray, 2007)

Wednesday, March 13 124. YOUR TURN: JURY SERVICE IN NEW YORK STATE (Harold Gold, 2016) (short) 125. JURY SERVICE AND FAIRNESS: UNDERSTANDING THE CHALLENGE OF IMPLICIT BIAS (Jennifer Dworkin, 2021) (short) 126. MOTHRA (Ishirō Honda, 1961) 127. JIGOKU (Nobuo Nakagawa, 1960) 128. HORRORS OF MALFORMED MEN (Teruo Ishii, 1969)

Thursday, March 14 129. CHINESE BOX (Wayne Wang, 1997) 130. MOON WARRIORS (Sammo Hung, 1992)

Friday, March 15 131. BETWEEN THE LINES (Joan Micklin Silver, 1977)

Saturday, March 16 132. LAST ACTION HERO (John McTiernan, 1993)

Sunday, March 17 133. EL FANTASMA DEL CONVENTO (aka THE PHANTOM OF THE MONASTERY) (Fernando de Fuentes, 1934) 134. CARNIVAL OF SOULS (Herk Harvey, 1962)

Monday, March 18 135. REBELS OF THE NEON GOD (Tsai Ming-liang, 1992) 136. DAYS OF BEING WILD (Wong Kar-wai, 1990)

Tuesday, March 19 137. LOVE LIES BLEEDING (Rose Glass, 2024)

Wednesday, March 20 138. THE FLOWERS OF ST. FRANCIS (Roberto Rossellini, 1950) 139. WALPURGIS NIGHT (Gustaf Edgren, 1935)

Thursday, March 21 140. IN THE MOOD FOR LOVE (Wong Kar-wai, 2000)

Friday, March 22 141. 2046 (Wong Kar-wai, 2004)

Saturday, March 23 142. SHERLOCK: THE SIGN OF THREE (Colm McCarthy, 2014)

Sunday, March 24 143. HISTORY OF THE OCCULT (Cristian Ponce, 2020)

Monday, March 25 144. HOLY WEAPON (Wong Jing, 1993) 145. WEST INDIES: THE FUGITIVE SLAVES OF LIBERTY (Med Hondo, 1979)

Tuesday, March 26 146. THE LAIR OF THE WHITE WORM (Ken Russell, 1988)

Wednesday, March 27 147. DOUBLES CAUSE TROUBLES (Wong Jing, 1989)

Friday, March 29 148. LE SAMOURAÏ (Jean-Pierre Melville, 1967)

Saturday, March 30 149. HEARTBEAT 100 (Kent Cheng Jak-Si, Lo Kin, 1987) 150. DIE HARD WITH A VENGEANCE (John McTiernan, 1995)

Sunday, March 31 151. IT’S A DRINK! IT’S A BOMB (David Chung, 1985)

#movies #films

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dyingenigma · 2 years

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lol

Irma Vep Episode 3

#irma vep #hbo max irma vep #oliver assayas #series #series recommendations #hbo #hbo series #alicia vikander

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anniestvramblings · 2 years

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Part 2!

(I didn’t get to the Zoe stuff akjshkjshks sorry. Basically my thoughts are that she was treating Zoe like how Laurie treated her while she was back in Paris, in order to feel in control after having dealt with the lack of agency she has over her brand in relation to the Dreamscape deal.)

Part 1 | Part 2

So, Mira talks with Rene - who’s currently undergoing a crisis over whether he’s “fit” to remake Les Vampires. However, his deeper reasons center around the dream he had last night. Where Jade Lee, his ex-wife and the actress of his original Les Vampires offshoot (I believe referenced as “Irma Vep”), came to him, reflecting over their lives having separated from one another and how Rene feels about redoing Irma Vep without her. Obviously this is a very meta dilemma, as Rene almost feels like a stand-in for the series creator/director himself - Oliver Assayas. And this dilemma is a classic mirroring of how any creator feels remaking an old work for the modern era.

Is it worthy of its original namesake? Will it capture the singular feel and context of the original, something that can never really be replicated? Rene’s dream is thus a representation of these anxieties. That he’s afraid of sullying the original magic of Irma Vep, and thus ruining what it represented for him. Because no movie can be made free of its surroundings, and every product is thus born from them. When those surroundings change, does the product change? Should it change? Will it changing ruin what made the original product so special?

All heavy questions. Enough to send an anxious wreck like Rene spiraling. And it’s thus extremely fitting that Mira’s the one to try to console him. Because Mira’s having a somewhat similar dilemma. Only instead of trying to capture something new out of what once was, Mira’s trying to capture a new feeling altogether. And this new take on Irma Vep is what’s spurring her onward.

Take some of the parallels - throughout their conversation, Rene is continually being interrupted by the ringing of his phone.

In Part 1 we talked about one of the earlier scenes comprising of Mira arguing with her agent about Silver Surfer. Mira, taking on the Irma Vep suit and grappling with what it means to her, also dealt with a phone.

And within that scene, I believed the phone represented “reality” itself. The reality of her agent and their differing beliefs, the reality of what Irma Vep truly means to Mira from the outside looking in - and how that’s all still so vague for her. Even the music reflected the low electronic hums of a cell phone, the high tingy bells of a new text message - only for the acoustic melody of Irma Vep to eventually drown it all out. Irma Vep is Mira’s escape from reality.

But it was short lived. Like Rene, there’s no true, continuous escape from reality. She had to go back to discussing the Dreamscape deal on-call the next morning. And Rene knows that he must go to work eventually. Hell, their similar situations are practically directly connected in the fact that they’re both burdened by this Dreamscape deal - Gautier having made it clear earlier in the episode that it was the only reason he was financing Rene’s remake.

(If I can get a little film snobby...curious that “Dreamscape” is the thing preventing them from achieving their dreams 🤔🤔🤔.)

To be clear, this is what I’m getting from their dichotomy; for Mira, her desire to be authentically herself is dampened by her obligations to her brand image - Dreamscape paramount at the moment. Irma Vep is her way of escaping that, however she must also grapple with what Irma Vep means to her. For Rene, his desire to make his authentic art is dampened by his obligations to his financers - to other people - and Dreamscape also paramount at the moment. Thus the Les Vampires remake is his way of escaping that, when he’s able to consume himself fully in his art. Right now, though, he is grappling with what this remake means to him. To a severe extent. So much so that he can’t even bear himself to disappear into his art for fear of ruining his artistic integrity itself. It proves he’s much more self-conscious than Mira about his escapism, and that he believes there are great consequences should his escapism be for all the wrong reasons.

It’s enough for him to believe that he should’ve never gotten involved in any of this.

“I should have never gotten involved in this.”

Mira, though, disagrees. For one - if he’s not involved, the remake doesn’t happen. Thus Mira will no longer be able to chase after this Irma Vep persona that’s given her so much comfort. Like Rene, she disappears into her work - and has specifically disappeared into Irma Vep. To the extent that the idea it could be taken away frustrates her.

“Uh...hello.” (Chuckles.) “Uh, what about me?”

But Rene does not see the problem.

“No, you’re - you’re great. You’re...you’re always great. You, you, you are genius.”

“Don’t go overboard.”

“You are magic. You have some magic. I’ve lost it. If ever I had it.”

I think part of this is due to him not really seeing it from Mira’s perspective. As discussed here, Rene has difficulties relating specifically to people - and perhaps specifically to women. He’s more concerned with the “image” of people rather than who they are. Thus he doesn’t see how Mira could be suffering with the same problem he is. And it’s true, he’s far more anxious and self-conscious about his art than Mira is. And perhaps that’s why he thinks Mira simply has it all figured out - that she’ll always be able to find another role to absorb into, and play it with aplomb.

But of course, that’s not true. Mira has her own doubts about Irma Vep. And while it’s easier for her to escape into the role without thinking, it doesn’t mean she’s not thinking. Not to mention that Irma Vep isn’t just any other role. She can’t replace it. Something about it specifically gives her the feeling of authenticity she craves. Thus she needs it.

Mira seems to call him out for this, too. Accusing him of being so self-interested that he hasn’t even considered it from Mira’s perspective.

“Wow. You’re being self-indulgent.”

...Of course, it’s not like Mira hasn’t been self-indulgent in this way too. She did it to Laurie. She does it Regina. Later on in this episode, we’ll see that she sort of does it with Zoe, too. Maybe that’s why she acquiesces that she can help Rene with this. Or maybe it’s because of what she perceives as her experiences with “self-indulgent” people - specifically Laurie. Who she’s come to believe has manipulated her throughout their relationship while still playing the victim.

“She played you like a puppet. Clever girl, she ended up getting what she wanted.”

“And now she says I was abusive.”

Either way, she feels qualified to help him with it.

“I can help you get over that.”

Which is exactly what Rene wants - help. Of any sort.

“How?”

Though her advice is less than helpful.

“First of all - stop whining.”

...But such advice may say a lot about her. Depending on if either of my speculations are correct. That she believes herself to be self-indulgent, and thinks the best advice for herself would be to stop whining? Or that she believes Laurie was self-indulgent, and believes she needs to stop whining. Or, neither, again - they are speculative :P.

Either way, afterwards - Rene decides to open up to her about his dream. As soon as she says Jade Lee visited him, Mira immediately assumes it has something to do with her;

“Was she angry with me?”

“About...me taking over her part. About someone else playing Irma Vep.”

Throughout the production of Irma Vep, Mira has struggled with trying to match Musidora. So some of these anxieties over whether she’s “worthy” of Irma then seemingly manifest in her wondering whether Jade Lee would be angry with her taking on the role.

Rene denies this, simply stating that the movie he made with Jade was created under “unique circumstances.” Something Mira exclaims would be true of any art. But something Rene states specifically means this edition of Les Vampires will be “stained, compromised.”

This naturally upsets Mira. She needs this film.

“Doesn’t sound very encouraging.”

But Rene says she can save it. And though she isn’t sure at first, she does resolve that she “has to”.

“Well I have to. This is all we have right now.”

Rene insists that she HAS been saving the film.

“That’s what you have been doing. You are making it relevant again.”

“How am I doing that?”

“You have faith.”

Because she has faith in the project. Genuine investment in Irma Vep as a character. And a genuine passion to see it through. Perhaps he doesn’t exactly know why, the extent to which Mira sees Irma Vep as her sense of freedom in a restrictive, celebrity environment - but he does see that she has genuine dedication and resolve to her character. He attributes it to a “pure heart.”

“And, and, your heart is pure.”

But I think that may be his ignorance as to what Mira is going through shining forth. As we know, Mira can be pretty toxic - but as we also know, Rene is not good with people. He’s much better with art. So he attributes Mira’s fascination with her art as something that makes her “pure”.

He believes she does not doubt herself and her art as much as he does, therefore she is the ideal, “perfect” artist. But as committed as she is, she does have her doubts. And even her commitment itself may not be the purest thing.

Even Mira admits she doubts this.

“I don’t think my heart is pure.”

“You don’t believe in fairytales?”

(Pause.)

(sidenote: this is great material for a reaction image)

“I do.”

“It’s why I texted you. You understand. Movies are fairytales.”

“Not all of them.”

“Yeah but, only the best.”

Mira agrees with him on the basis that, she does believe in fairytales - movie roles can be a fairytale for her. Irma Vep is. This magical bit of escapism she can’t explain. That simply “came” to her in the moments she needed to let go the most. But not all of them are. Her other roles have left her feeling shallow - but this one. This one she does believe in.

Rene called her because he believes she believes in the project, and that she can be his “muse”. His source of inspiration. But in a more specific way, his reminder that there is a “magic” to this piece of art that Mira understands more than him.

It’s enough to motivate them both to go back to work, anyways.

#irma vep #tv #analysis #mira #mira harberg #alicia vikander #hbo #headcanon #zoe #jeanne balibar

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