| name (year) |
director |
one thing noted |
month of viewing |
place of viewing
|
| Crazy Rich Asians (2018) |
Jon M. Chu |
cried through this comedy (oh the shots of New York skyline) |
08.18 |
kino
|
| Kanazawa Shutter Girl (2018) |
Terauchi Kotaro |
"typology" |
09.18 |
lv (subscribed to cineville for the Camera Japan Festival)
|
| Mori, the Artist’s Habitat (2018) |
Okita Shuichi |
the audience chuckled, why... |
09.18 |
lv
|
| Bodysong (2004) |
Simon Pummell |
witnessed(?) a dozen births at 10 o'clock in the morning |
10.18 |
class
|
| The Propaganda Game (2015) |
Álvaro Longoria |
the shooting conditions were transparent |
10.18 |
netflix
|
| Side by Side (2012) |
Christopher Kenneally |
history of technology |
10.18 |
class
|
| Leaning into the Wind (2018) |
Thomas Riedelsheimer |
the audience laughed whenever there was a contemplative silence (esp. when Goldsworthy climbed through the branches). was silence unbearable for them? |
10.18 |
lv
|
| Fantastic Beasts: The Crimes of Grindelwald (2018) |
David Yates |
lost in the plot, highly stylized, tears over two scenes (Dumbledore & Leta, the fight between Grindelwald and the good people) |
11.18 |
cinerama
|
| The Children Act (2018) |
Richard Eyre |
tears over the scene when Our Lady cried about the boy, the only instance of her vulnerability and the re-uniting moment of her marriage |
11.18 |
lv
|
| The Wife (2017) |
Björn Lunge |
classic dramaturgy, interwoven conflict(s), compact dialogue |
11.18 |
cinerama
|
| Widows (2018) |
Steve McQueen |
audio as a layer on top of the situation (conversation in the car + shots of car from the outside + transition of one place to another in one shot, radio telling one secondary story over another secondary story), dramatic cuts |
11.18 |
kino
|
| Touch Me Not (2018) |
Adina Pintilie |
the aesthetics does not match the content, too stylized and too removed, the silence, hesitation and alternative practices make you think, but not feel; not feeling very well during + after |
12.18 |
lv
|
| Shoplifters MANBIKI KAZOKU (2018) |
Hirokazu Kore-eda |
subtlety |
12.18 |
kino
|
| Woman at War (2018) |
Benedikt Erlingsson |
(NL subtitles) surrealist musicians |
1.19 |
kino
|
| The Favourite (2018) |
Yorgos Lanthimos |
the grotesque Victorians (someone fell asleep in the theater and snored) |
1.19 |
kino
|
| Cold War (2018) |
Pawel Pawlikowski |
beautiful imageries and moving music, hollow with story |
1.19 |
kino
|
| Roma (2018) |
Alfonso Cuarón |
(NL subtitles) I wish I saw it with EN subtitles... fine repetition depicting the domestic, the noise of DF is perfectly captured and contrasted |
1.19 |
kino
|
| Fantastic Beasts and Where to Find them (2016) |
David Yates |
... |
1.19 |
netflix
|
| Julie and Julia (2009) |
Nora Ephron |
when blog was still the new thing... The image of LIC and a young couple in NY... 9/11. Whose favorite movie was this? |
1.19 |
netflix
|
| Dogville (2003) |
Lars von Trier |
High discussions on morality at the end = irritating. The theater form is interesting, but at times feel gimmicky. The explicit portrayal of rape raises so much anger... |
1.19 |
kino
|
| S'en Fout la Mort (1990) |
Claire Denis |
There's an overall story line, but little is explicit (like the relationship between Toni and Jocelyn, or Toni and the other guy, or the relationship between Dah and Jocelyn). Puzzling but bearable perhaps because of the specific and choreographed shots of the rooster shots. |
1.19 |
Neverland
|
| Capernaüm (2018) |
Nadine Labaki |
Is it a guilt trip? |
2.19 |
kino
|
| Green Book (2018) |
Peter Farrelly |
Long build-up, genuine moments |
3.19 |
kino
|
| AGNÈS VARDA TRIBUTE: VISAGES, VILLAGES (2017) |
JR & Agnes Varda |
what was her relationship with Jean-Luc Godard? Much is left unsaid (brilliantly unplanned?) |
4.19 |
kino
|
| Yomeddine (2018) |
Abu Bakr Shawky |
"I am a human, too." I should watch Elephant Man... Scene of the legless man marching towards Beshay and Obama |
4.19 |
LV
|
