1967 work from Jacques Demy, a musical, with a clear follow on from '...Cherbourg'
more straightforward song and especially dance numbers
use of long takes, slow panning crane shots; certainly doesn't cut around
not that Demy is afraid to change the angle
the dancing is pleasingly loose, not over-choreographed/ acrobatic. Pleasingly human
use of a couple of shot-reverse to break up, and most notably head-on shot-reverse, with a number of to-camera occassions that heighten the unreality and give the film its knowing air (without underming the plot)
nice use of different staging constructions, with longer takes and shots shows inventive new waves of manoevring characters around, smart framings for comedy
same use of pastel colours, occassionally dropped for contrast, and always high-key
again, use of some pretty nasty plot stuff taken outside, giving a sense of connection
and the oil adverts; really quite funny
the story is deliberately playing with the audience, complete rubbish, but looking at those kind of plots at the same time
not quite as impressive as the masterful '...Cherbourg', with a slight sense of the sheer idiocy of the plotline not quite able to overcome its self-relexivity
still, charming and beautifully executed, Demy could certainly direct
Sunday, 6 February 2011
Cleo de 5 a 7
Agnes Varda's seminal new-wave work, from 1962
great mix of the objective and the subjective
early shot, with canted angles, big close-ups, fast, pretty shocking cuts
reflects a subjectivity, a splintered one (see cubist editing, quick swipes, graphic mismatches) to reflect her view
also use of jump-cuts, as well, is this to an extent
clear that we have a splintered persona, a woman reduced to parts, trying to regain whole
contrast this with the 'objective' parts. street photography, longer shots
nice use of mirrors to extend the frames, reflect how she views others
move of Cleo from the centre to the sides of the frame
real sense of the 'accidental', almost Tati-like activation of entire frame
some charming, thoughful longer takes of the streets, with no stars except every single person
use of music not to signal to us, but to reflect a moment of reflection
very quick mood changes, ridiculous clothes, etc, typical of new wave
perhaps becomes a little one-paced in its use of mid-shots as it goes on, however
a wonderful film, questioning the femal identity, and maturation
great mix of the objective and the subjective
early shot, with canted angles, big close-ups, fast, pretty shocking cuts
reflects a subjectivity, a splintered one (see cubist editing, quick swipes, graphic mismatches) to reflect her view
also use of jump-cuts, as well, is this to an extent
clear that we have a splintered persona, a woman reduced to parts, trying to regain whole
contrast this with the 'objective' parts. street photography, longer shots
nice use of mirrors to extend the frames, reflect how she views others
move of Cleo from the centre to the sides of the frame
real sense of the 'accidental', almost Tati-like activation of entire frame
some charming, thoughful longer takes of the streets, with no stars except every single person
use of music not to signal to us, but to reflect a moment of reflection
very quick mood changes, ridiculous clothes, etc, typical of new wave
perhaps becomes a little one-paced in its use of mid-shots as it goes on, however
a wonderful film, questioning the femal identity, and maturation
Friday, 4 February 2011
101 Reykjavik
2000 film from Baltasar Kormakur (Jar City)
not the most innovative film formally, takes not really long enough to create much
generally shot-reverse stuff, with a floating camera at times
canted angles to look a bit 'zany' (not completely ineffective), ditto on close-ups
seems to change filmstock halfway through; move from theatrical pastels and lots of fill lighting (low key on faces) to faster, higher contrast, creating greater 'realist' affects
at times dawdles along like a slacker comedy, but has some excellent moments
clear psychoanalaytic interpretations, which are brought to the fore in pleasingly complex ways (though whether this is luck or judgement)
film could be too subjective, but has some moments where the lead (too attractive for a 'nerd' manages to come outside of himself, break up his own character and unsettle the audience)
these (too few) moments deliver a pretty cutting and effective view of the milleu; the lack of the paternal figure, the casual racism, the casual violence in the gender relations
politically, the film is difficult to read; could easily be regressive, wish for return to the symbolic order (conclusion), if straightforward critique, yet a darker sort of satire seems to at once emerge on this very wish
dissapointing for its lack of invention, when, despite itself nearly, it has some fine moments
not the most innovative film formally, takes not really long enough to create much
generally shot-reverse stuff, with a floating camera at times
canted angles to look a bit 'zany' (not completely ineffective), ditto on close-ups
seems to change filmstock halfway through; move from theatrical pastels and lots of fill lighting (low key on faces) to faster, higher contrast, creating greater 'realist' affects
at times dawdles along like a slacker comedy, but has some excellent moments
clear psychoanalaytic interpretations, which are brought to the fore in pleasingly complex ways (though whether this is luck or judgement)
film could be too subjective, but has some moments where the lead (too attractive for a 'nerd' manages to come outside of himself, break up his own character and unsettle the audience)
these (too few) moments deliver a pretty cutting and effective view of the milleu; the lack of the paternal figure, the casual racism, the casual violence in the gender relations
politically, the film is difficult to read; could easily be regressive, wish for return to the symbolic order (conclusion), if straightforward critique, yet a darker sort of satire seems to at once emerge on this very wish
dissapointing for its lack of invention, when, despite itself nearly, it has some fine moments
Thursday, 3 February 2011
Le Trou
1960, Jacques Becker prison breakout plan work
high key lighting, pretty traditional opening
some wider shots, but pretty fast cutting, close-ups of faces. Repition and continuity establish space of room
pretty sharp stuff, with the close-ups and some very swift movement to convey excitement
use of wideangled lenses also, for depth and for extra power on the close-ups; these stay throughout the film
high-key lighting, pretty jolly stuff. Strangely cheery film, don't get much analysis of the prison system, discussion of evil depth here
the film isn't interested in this kind of excavation, really
theme is the friendships (war/ resistance related? None of the 'criminals' are negative)
the film really takes off with the shots of the individual objects
and the long, long shots of the smashing
this, and the food-parcel scene, show firstly a great monotomy to the process
creating dead time really is a well-executed bit of creating screen duration; living it with them
further, the switch to longer takes, even for non-action, really heightens the suspense
becomes incredibly powerful, long takes of 'objectively' dead time that are really overlaid with a wider knoweldge
becomes more intense as the takes get longer; audience considers what is to happen next
long takes always make the audience expectant of something to happen (the diggers' discovery), as the duration is counterpointed with the earlier short scenes
really effective use here
also the switch into shorter takes, back to the old close-ups, classical shot-reverse, lulls us in before the gatecrashing ending
so, really effective use of duration in paritular here
a fine piece of mainstream filmmaking
high key lighting, pretty traditional opening
some wider shots, but pretty fast cutting, close-ups of faces. Repition and continuity establish space of room
pretty sharp stuff, with the close-ups and some very swift movement to convey excitement
use of wideangled lenses also, for depth and for extra power on the close-ups; these stay throughout the film
high-key lighting, pretty jolly stuff. Strangely cheery film, don't get much analysis of the prison system, discussion of evil depth here
the film isn't interested in this kind of excavation, really
theme is the friendships (war/ resistance related? None of the 'criminals' are negative)
the film really takes off with the shots of the individual objects
and the long, long shots of the smashing
this, and the food-parcel scene, show firstly a great monotomy to the process
creating dead time really is a well-executed bit of creating screen duration; living it with them
further, the switch to longer takes, even for non-action, really heightens the suspense
becomes incredibly powerful, long takes of 'objectively' dead time that are really overlaid with a wider knoweldge
becomes more intense as the takes get longer; audience considers what is to happen next
long takes always make the audience expectant of something to happen (the diggers' discovery), as the duration is counterpointed with the earlier short scenes
really effective use here
also the switch into shorter takes, back to the old close-ups, classical shot-reverse, lulls us in before the gatecrashing ending
so, really effective use of duration in paritular here
a fine piece of mainstream filmmaking
Wednesday, 2 February 2011
IMAGO: Meret Oppenheim
1980's documentary about the Swiss-German-French-Mexican surrealist
Sound and image both lyrical, bit slight disjunctions in both
sound as the doubled through a narrator, and mix of perspectives
use of sound against the image, for wry content/ humour. A few good dialectical moments
generally pretty straightforward, slow montage, a few interesting juxtapositions of banal urban mundanity with the (generally clearly and well shown) art
use of video and backlighting also give high contrast and 'holes' in the image
as far as content, really sets on to think about surrealism
lack of political content; portrays her as a bit of an ingenue, with rather all over the place psychoanalytic influences
condemns herself with her essentialist readings, becomes out of date
shows the inability for surrealism to any longer have a critical message
yet her art is fine, and is historically critical; a crucial feminist work
work seems surprisingly good, always better than the words would seem...
a great artist, and an interesting enough film, if a little pedestrian
Sound and image both lyrical, bit slight disjunctions in both
sound as the doubled through a narrator, and mix of perspectives
use of sound against the image, for wry content/ humour. A few good dialectical moments
generally pretty straightforward, slow montage, a few interesting juxtapositions of banal urban mundanity with the (generally clearly and well shown) art
use of video and backlighting also give high contrast and 'holes' in the image
as far as content, really sets on to think about surrealism
lack of political content; portrays her as a bit of an ingenue, with rather all over the place psychoanalytic influences
condemns herself with her essentialist readings, becomes out of date
shows the inability for surrealism to any longer have a critical message
yet her art is fine, and is historically critical; a crucial feminist work
work seems surprisingly good, always better than the words would seem...
a great artist, and an interesting enough film, if a little pedestrian
Crimson Gold
Jafar Panahi's 2003 picture, written by Kiarostami
opening scene with the fixed camera, T-shaped, with some offscreen space emphasised more than others
simple direction; reverse and back, long takes, with frequent master shots as well
a few head on framings that again give this film a simple atmosphere
general quite contained in the frame, but not monotomous due to break up in the motorcyle elements, with vertical space
the temporal disjunction challenges the viewer, one of the film's main themes
really all about creating something repellent, and then learning to sympathise
also a film considering class issues, and kinds of pleasures
his eating indicates his last pleasure; all is taken away
fame uses an elliptical style where the main 'reasons' are withdrawn; this is why it's more of a character portrait than a classic narrative
not the most ambitious film ever, but well made (and wonderfully well pitched writing), make it a decent film
opening scene with the fixed camera, T-shaped, with some offscreen space emphasised more than others
simple direction; reverse and back, long takes, with frequent master shots as well
a few head on framings that again give this film a simple atmosphere
general quite contained in the frame, but not monotomous due to break up in the motorcyle elements, with vertical space
the temporal disjunction challenges the viewer, one of the film's main themes
really all about creating something repellent, and then learning to sympathise
also a film considering class issues, and kinds of pleasures
his eating indicates his last pleasure; all is taken away
fame uses an elliptical style where the main 'reasons' are withdrawn; this is why it's more of a character portrait than a classic narrative
not the most ambitious film ever, but well made (and wonderfully well pitched writing), make it a decent film
Lancelot Du Lac
1974, Robert Bresson (so late-ish)
no one better at explaining Bresson's films than the man himself, but anyway
usual use of largely close-ups, audeince creates the film in the gaps of the edit
hardly any master shots; space completely constructed by eyeline matches and viewer
Bresson keeps things simple enough that this is never disorientating
use of focus on feet, and of horses, to create the appropriate reaction in the audience
as is the use of the armour; the never-ending, horrible sounds
oppressive atmosphere of constant reminders of off-screen people watchin, interrupting
creates this very open space Bresson has, without it ever being a square space
use of silence, also, release when the armour comes off
lingering, just for a second more, over certain shots of nature
all about the idiotic banging-head-against-wall of a certain kind of masculinity
one of Bresson's grimmer films
with his characteristic originality
no one better at explaining Bresson's films than the man himself, but anyway
usual use of largely close-ups, audeince creates the film in the gaps of the edit
hardly any master shots; space completely constructed by eyeline matches and viewer
Bresson keeps things simple enough that this is never disorientating
use of focus on feet, and of horses, to create the appropriate reaction in the audience
as is the use of the armour; the never-ending, horrible sounds
oppressive atmosphere of constant reminders of off-screen people watchin, interrupting
creates this very open space Bresson has, without it ever being a square space
use of silence, also, release when the armour comes off
lingering, just for a second more, over certain shots of nature
all about the idiotic banging-head-against-wall of a certain kind of masculinity
one of Bresson's grimmer films
with his characteristic originality
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