Category Archives: film

World cinema classics #16

[Youtube=http://www.youtube.com/watch?v=XdFjxhDOKNQ]

sex, lies, and videotape (1989) Steven Soderbergh

sex, lies, and videotape (the title is always given in lower case letters) is the film that brought director Steven Soderbergh to prominence. It tells the story of an impotentvoyeur” who films women discussing their sexuality, and his impact on the relationship of a troubled married couple.

This clip features the unforgettable quote: “being happy is not that great … I mean … the last time I was really happy … I got so fat … I must have put on 25 pounds”

In 2006, sex, lies, and videotape was added to the United States National Film Registry as being deemed “culturally, historically, or aesthetically significant.”

Previous “World Cinema Classics

Violence is fine, sex is not

[Youtube=http://www.youtube.com/watch?v=dDqxuGlxbWc]

Explanations on the different ratings

[Youtube=http://www.youtube.com/watch?v=UTL3XMDwY0c]

More on the private investigation bit on the MPAA members

This Film Is Not Yet Rated (2006)

The MPAA gave the original cut of the film an NC-17 rating for “some graphic sexual content”: scenes that illustrated the content a film could include to garner an NC-17 rating. Kirby Dick appealed, and descriptions of the ratings deliberations and appeal were included in the documentary. The new version of the film is not rated.

NC-17 is a film rating of the United States film industry used to denote films “No One 17 And Under Admitted” (18 and older ONLY). These films contain excessive graphic violence, sex, aberrational behavior, drug abuse, strong language, or any other elements which, when present, most parents would consider too strong and therefore off-limits for viewing by their children and teens. NC-17 does not necessarily mean obscene or pornographic in the oft-accepted or legal meaning of those words. The Board does not and cannot mark films with those words. These terms are legally ambiguous, and their interpretation varies from case to case.

(A little) more on film censorship and banned films and more on Censorship in the United States.

EXPRMNTL

XPRMNTL 4, Knokke

EXPRMNTL 4, poster by Pierre Alechinsky

EXPRMNTL, also known as the Knokke Experimental Film Festival and Festival du Film Expérimental de Knokke-le-Zoute was the largest Belgian festival dedicated to experimental cinema. The festival succeeded the Brussels Experimental Film Festival (1947 and 1958) and was held under the EXPRMNTL moniker in 1963 (EXPRMNTL 3), 1967 (EXPRMNTL 4) and 1974 (EXPRMNTL 5). It was conceived and curated by Jacques Ledoux and the Cinémathèque royale de Belgique in Knokke-le-Zoute. It was organized five times between 1949 and 1974.

There is no equivalent of its kind today, except perhaps for the programmers at Cinema Nova, and the people at MuHKA cinema and other film museums in Belgium. Another worthwhile film festival is the Brussels International Festival of Fantasy Film.

The tropes of the Polish film poster

Danton poster made  in 1991 by Wiesław Wałkuski, for a 1983 film by Andrzej Wajda

It seems that my current interest in the work of Polish-French artist Roland Topor brings me again to the work of the Polish film poster makers. Their work is fantastic, figuratively and literally. Why is it that graphic design is at such a qualitative height in Poland. And why is it that their work is so unbelievably strange?

The tropes of the Polish film poster school are the fantastique, grotesque, weird, uncanny: pierced and punctured bodies, cut-out figures, dismembered limbs, independent body parts, eerie physicality and visceral transparency.

As to the why, the site owner of Polish film posters has an explanation:

A lot of patronizing drivel had been written about the ‘Polish School’ of poster design being a ‘product’ of a ‘resistance to Communism’ or some such (and by extension, of an overwhelming desire to breathe free under the learned guidance of a Bushmonkey-on-a-cheney). That view, espoused by Western writers who don’t know any better, and Polish ones (who should know better) has been omnipresent lately. No matter that the idea of art as an expression of political circumstance is par excellence a classic communist one.

In fact, quite the opposite seems to be true : free from commercial stranglehold, these artists produced brilliant works over an extended period of time. A lot of talented people found themselves in the right place at the right time. Like any artistic movement (or ‘school’), it had its own dynamics, peaks and valleys. Indeed, some of the most accomplished works were political (pro-socialist). And now the fact that Polish film poster is dead (and had been so since 1989 when the film distribution was privatized) is further evidence of that.–http://www.cinemaposter.com/index.html

As an encore I give you one more poster with the theme of independent body parts:

poster by Lech Majewski 1977 for Le Mouton enrage (1974)
sourced here.

About 500 more movie posters of the same site here.

I’ve reported on the paratextual qualities of the film poster here.

World cinema classics #14

[Youtube=http://www.youtube.com/watch?v=-8n1kDrwneg]

Blood Simple (1985) Joel and Ethan Coen

Today is Ethan Coen’s fiftieth birthday.

Look out for the scene where the detective opens the window; the woman slams it on top of his wrist and drives a knife through his hand into the windowsill. The original soundtrack is by Carter Burwell, who has done the soundtracks to all of the Coens’ films.

Previous “World Cinema Classics

What will become of us?

Garbo in The Joyless Street

A scene from The Joyless Street (or The Street of Sorrows), a 1925 silent film directed by Georg Wilhelm Pabst and starring Greta Garbo before she came to Hollywood. Scored to Shostakovich‘s Violin Concerto no. 1 in A minor. Shostakovich scored many ‘silent’ films but I’m not sure he originally scored this Youtube clip. The very young Dmitri Shostakovich helped to make ends meet by playing the piano in movie houses and later went on to compose film scores for many silent films, including his debut The New Babylon.

Like many of Pabst’s contemporary films, The Joyless Street concerns the plight of women in German society.