Friday, July 19, 2019

THE SCHOOL OF TARKOVSKY PART 22: MOVING IMAGERY



Solaris / Moonlight

The Mirror / Moonlight
Andrei Rublev / The Element Of Crime

The Mirror / Mandy

Andrei Rublev / The Revenant

Andrei Rublev / The Revenant

The Mirror / The Matrix

Solaris /
Knight Of Cups

Andrei Rublev / The Life Aquatic...

Solaris /
First Reformed

The Sacrifice / The Untamed

Stalker / Taurus

Stalker /4

The Mirror / Vox Lux

Solaris / Vox Lux

Andrei Rublev / We Need to Talk About Kevin

The Mirror / Star Wars


Friday, July 12, 2019

THE SCHOOL OF CHANTAL AKERMAN PART 8: APICHATPONG WEERASETHAKUL

I know - there are lots of movies that have unedited long takes of hallways and trees and people looking out of a window aimlessly. I know. But there's something about the (unintentional/coincidental) symmetry between the films of Chantal Akerman & Apichatpong Weerasethakul that just sticks out to me more than anyone else (perhaps this has to do with how much I've watched their movies and the subconscious impression they may have left on my brain). 
The agoraphobia, the lack of dialogue, minimal to no music, and just overall ambiance in their respective works are very similar to me (see below).

Below are some examples that I feel best represent the visual similarities between the two filmmakers. I realize using moving imagery instead of stills is almost redundant in this case as there isn't a lot of "action" or movement in the films of either director, but I used videos & gifs to show how long each scene goes without an edit (it's easy to capture moments between two films within one to two second clips but it's another case when the scenes are 5 to 6 times longer).

Let me know what you think...

Hotel Monterey /
Syndromes And A Century

Les Rendezvous D'Anna /
Syndromes And A Century

Les Rendezvous D'Anna /
Cemetery Of Splendour

Jeanne Dielman.../
Syndromes And A Century

Jeanne Dielman... /
Syndromes And A Century

Je Tu Il Elle
Syndromes And A Century

Les Rendezvous D'Anna /
Syndromes And A Century

Les Rendezvous D'Anna / Uncle Boonmee

La Bas /
Syndromes And A Century

La Bas /
Blissfully Yours


Wednesday, July 3, 2019

ZEBRAS IN AMERICA EPISODE 98: ELANA LEVIN & A SPECIAL FRIEND OF THE SHOW


On this latest episode the Zebras sit down with Podcaster/writer/renaissance woman Elana Levin about comics, gender, movies and more. She also brought along a special guest and fan/friend of the show.

Make sure to check Elana out on GraphicPolicy.com

Enjoy...

Monday, July 1, 2019

THE SCHOOL OF PERSONA PART FIVE

More visual (and thematic) similarities between Bergman's Persona (possibly one of the most influential art films) and the films of Schrader, Refn, Kubrick and the other other regular culprits.

Enjoy...

Persona / Mishima

Persona / Lost Highway

Persona / Wild Side

Persona / Oldboy

Persona / Branded To Kill

Persona /
2001: A Space Odyssey

Persona / Scanners

Persona / Chameleon Street

Persona / Water Lilies

Persona / 
1984

Persona / 
Too Old To Die Young

Persona / 
Zama

Paris, Texas / Persona

Persona /
Bladerunner 2049

Friday, June 28, 2019

ZEBRAS IN AMERICA EPISODE 97



Scott & I are back to talk about the latest from Carlos Reygadas & Rick Alverson.

Enjoy...

WRONG REEL EPISODE 467: A TRIBUTE TO SEYMOUR CASSEL



Not only is Seymour Cassel an icon of American independent film (and a damn fine character actor), but he's also kind of reason Rob Cotto & I became friends. On the latest episode of Wrong Reel, Rob & I join James to pay tribute to the late great Seymour Cassel. Click the image above or click here to go to the episode.

Enjoy... 

Monday, June 24, 2019

THE MOUNTAIN



A lot of early reviews compared The Mountain to The Master. I guess that makes sense on a very surface level. While I prefer something like The Mountain over The Master, both movies are loose adaptations about real people (and their controversial work) who take aimless younger protegees under their wing. They're also a look at the darker side of Americana.

There’s even a few visual similarities...

The Master / The Mountain

The biggest difference between The Master & The Mountain is that Paul Thomas Anderson made a film that he wanted people to enjoy somewhat. Not completely but somewhat. The Mountain is a cold, sparse, sometimes prickly, uncomfortable & intentionally aimless film. And I loved every bit of it. Really. I feel like the average filmmaker would hate their movie being described as such (especially right out of the gate in the opening lines of a review), but something tells me that’s part of what Rick Alverson was going for. I genuinely don’t think he cares if someone “enjoyed” one of his movies. Sorry to sound so pretentious but that’s just how I see it. That’s not to say you can’t enjoy elements about his latest movie. The framing of certain scenes, the score and overall visual style are all things that could be enjoyed & appreciated. Even the randomness & unpredictability of co-Star Denis Lavant’s performance are sure to make some folks chuckle. But from a subject matter standpoint - not many people are going to enjoy a movie that’s partially about the lobotomy. Take me for example. While this is one of my favorite movies of the year so far, this isn’t something I’d want to watch again the next day. I certainly want to watch it again but I’m not in a rush.

The Mountain isn’t exactly something you just stumble upon either. I think most folks will have an idea of what they re getting in to. Sure it stars Jeff Goldblum (the biggest/most recognizable “star” Alverson has worked with so far) which could bring about a few random strays, but Rick Alverson’s work does have to be sought out intentionally. No one just randomly watches New Jerusalem or The Builder. I mentioned those two films instead of his more popular/recognizable movies (The Comedy & Entertainment) because The Mountain has the same soul as Alverson’s first two features in my opinion. Minimal dialogue, extreme loneliness and a less colorful palette. The Mountain still shares some similarities with Alverson’s last two movies (everything he does has lonely characters in an existential crisis on the verge some kind of a breakdown). But no one talks about The Builder or New Jerusalem. And I get it. Those aren’t the easiest movies to see/stream in comparisons to Alverson's recent work, but it’s also not the most difficult task either. Now that Rick Alverson is on feature film #5 (with an additional handful of music videos and experimental films), perhaps it’s a good time to check out his early filmography because you can see the seeds of his latest feature in the DNA of his earlier/lesser known works.


The Mountain is an exclusive movie with a specific audience in mind for a few reasons. The first being its tone & ambiance that I described at the start of this review. This is a truly cold & uncomfortable film. The other reason this is an exclusive film for a specific audience is how it shows/"handles" mental illness. It's bound to frustrate a few folks or bring about debate at the very least. I absolutely hate how much mental illness is slowly becoming a funny meme or a YouTube video. If you’re on social media as much as I am then you know how often people post about their breakdowns, suicide attempts & depression like it’s a cute joke. I didn’t get that vibe from The Mountain at all. Mental fragility isn’t a gif. There isn’t much joy in Alverson’s work so I appreciate that he’s the one to convey this. It still wouldn’t surprise me if film twitter turned a gif from this movie in to a joke about mental illness down the road (I don’t think it can be argued that there is a quirky tone throughout the course of the film).

While The Mountain falls in line with every movie Alverson has done, this is still his first time tackling real subject matter. I guess one could make a case that Entertainment is semi-autobiographical but Walter Freeman (the character Jeff Goldblum loosely portrays) is an historical figure. In the film, Dr Wallace Fiennes (Goldblum) hires a recently bereaved Zamboni driver; “Andy” (Tye Sheridan) to travel with him as a photographer for his lobotomy procedures (we learn early on that Fiennes has a history with Andy’s family).

I’m really not going to argue that all the stuff I like about this movie could be seen as something negative. It's an acquired taste. If someone were to say they didn’t like this movie I’m not going to go “WAIT, WHAT?!?!”
So while this certainly doesn’t have the same type of energy & dark humor as The Comedy Or Entertainment (and it should be approached with caution), this is one of my personal favorite films of the year so far. Hopefully most of you reading this are familiar with my blog/taste and know what you’re getting in to.

Friday, June 21, 2019

THE SCHOOL OF MAYA DEREN PART EIGHT: DAVID LYNCH CONTINUED...

I may have actually squeezed everything out of the bottom of the barrel with this one. It's undeniable that Maya Deren's work rubbed off on David Lynch but there are still a few less obvious examples that have yet to be highlighted. Until now...

Enjoy...

also check out parts:

ONE
TWO

At Land / Twin Peaks

Witches Cradle / Inland Empire

Meshes Of The Afternoon / Inland Empire

Meshes Of The Afternoon / Inland Empire

At Land / Inland Empire

Meshes Of The Afternoon / Inland Empire

Meshes of The Afternoon / Inland Empire

Ritual In Transfigured Time / Dune

At Land / Twin Peaks: Fire Walk With Me

Witches Cradle / Twin Peaks: Fire Walk With Me

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