[Youtube=http://www.youtube.com/watch?v=fuVXe6gRICE]
Audition (1999) Takashi Miike
An introduction by the director, Takashi Miike
The previous “World Cinema Classics“
[Youtube=http://www.youtube.com/watch?v=fuVXe6gRICE]
Audition (1999) Takashi Miike
An introduction by the director, Takashi Miike
The previous “World Cinema Classics“
[Youtube=http://www.youtube.com/watch?v=N64QVG4CYHc]
Videodrome (1983) – David Cronenberg
All “World Cinema Classics“
[Youtube=http://www.youtube.com/watch?v=HRTCwBB4buc]
Flesh (2005) – Edouard Salier (NSFW)
In the words of Salier:
Flesh contrasts Americans and terrorists. America as corrupt, libidinous and excessive as religious fundamentalists present it. America, the superpower, filled with such fervour and energy that it can feed its own aggressions and contain within itself a violence inherent to the foundations of its very empire. –via Strike Back Films.
More Salier:
[Youtube=http://www.youtube.com/watch?v=TuSkaI_hAWk]
Empire (2005)
[Youtube=http://www.youtube.com/watch?v=PWmvMuxNQuM]
Toks
Most (all?) of the music by Doctor L.
[Youtube=http://www.youtube.com/watch?v=QxWz0VzAWPE]
Tony Allen / Doctor L – Never satisfied
[Youtube=http://www.youtube.com/watch?v=kStFLZ8N2B0]
Bitter Moon is a 1992 film directed by Roman Polanski based on a novel by French author Pascal Bruckner. It’s a classic story of sadism and masochism and the war of the sexes.
I’ve posted on the surrealist film Un chien andalou which Luis Buñuel calls A desperate and passionate call to murder but want to pick up on it again to share some macabre and other details.
[Youtube=http://www.youtube.com/watch?v=9mBU4KQEWcw]
A ‘seduction’ scene
In this ‘seduction’ scene we see a man going after a woman, she recoils, he finally catches up with her and gropes for her breasts, she pushes him a way, but finally gives in overcome with desire, while he is stroking her breasts her dress disappears to reveal her naked body, causing him to gaze with pleasure into the void, she pushes him away a second time.
Imagine the scene: somewhere in 1929 Luis Buñuel is on set directing Simone Mareuil and Pierre Batcheff in the clip above. He has on a phonograph a recording of Richard Wagner‘s Liebestod which he plays on the background. Little did he know that both protagonists, in a bizarre twist of fate would later commit suicide. Pierre in 1932, Simone in 1954. Not an actual Liebestod, but macabre enough.
[Youtube=http://www.youtube.com/watch?v=uNC4kF1e470&NR=1]
Full clip with music by Mogwai
There is so much to be said of this film, watch it for the ‘razor slits the eyeball scene‘ or for some of the early uses of the jarring jump cut. Enjoy.
In early 2005, Fernando Botero revealed a series of 50 paintings (Google Gallery) that graphically represent the controversial Abu Ghraib incident, expressing the rage and shock that the incident provoked in the artist. The works were initially presented in Italy, Germany and Greece. In 2006, they had their first showing in the United States. In 2007, the Abu Ghraib series was exhibited at the University of California in Berkeley. Botero has stated that he does not plan to sell the paintings, but instead intends to donate them to museums as a reminder of the events depicted within. Are these on display somewhere now?
[Youtube=http://www.youtube.com/watch?v=pGCx4qPlKas]
Can anyone identify this soundtrack excerpt?
[Youtube=http://www.youtube.com/watch?v=Zd6D8PU95qU]
Buffet Froid (1979) – Bertrand Blier
Context of clip: Depardieu has stabbed Carmet, Depardieu denies, “no I could’nt have done it, I just arrived”. Carmet does not seem to mind dying. Depardieu asks: “how does it feel”. Carmet answers: “Like a sink draining”. At the end Carmet offers Depardieu to take his knife back and says: “You’d better because your fingerprints are on them.” Depardieu thanks him. Spoiler warning: Carmet lives.
Buffet froid is a 1979 French film, written and directed by Bertrand Blier, and starring Gérard Depardieu, Carole Bouquet, Bernard Blier and Jean Carmet.The plot of this film is extremely complex and elusive, for the simple reason that we are left at odds as to the motivation of the characters to perform acts that are systematically the opposite of what is expected of them. Thus, the police inspector allows murders, commits murders himself and pretends not being occupied with his profession when off duty.
The film owes much of its ideological framework to surrealism, re-enforced by an ambience of mystery et theatricality, very similar to the work of Luis Buñuel, who was known to punctuate his work with numerous « gratuitous » murders. We are also reminded of the absurd theatre of Alfred Jarry and Eugène Ionesco.
The location of the metro station of the RER of La Défense, then ending its construction phase and not yet receiving its 170 000 daily employees as is the case today, highly contributes to the atmosphere of the opening sequence of the film: a dehumanized urban space, cold and anxiety-ridden, filmed by night, the only encounters to be expected those of marginalized human beings. All “urban” scenes were filmed in Créteil, in areas under construction at the time.
Bertrand Blier reunites a sublime trio, with his fetish actor Gérard Depardieu), a un-police officer (Bernard Blier) and an assassin strangler of women played by Jean Carmet, all at the peak of their careers.
Digression: Happy birthday Roky Erickson.
Image sourced here
Novyy Vavilon (Eng:New Babylon) (1929), is a film directed Grigori Kozintsev and Leonid Trauberg. A black and white silent film (120 minutes in its original version and 93 minutes in its 2004 restored version). The propaganda film in the expressionist tradition of the early 20th century deals with the Paris Commune of 1870 and is largely set in a fantastic department store. We follow the encounter and tragic destiny of two lovers separated by the barricades of the Paris Commune. Some interesting IMDb user comments here[2]. Footage from the film was used in Guy Debord‘s The Society of the Spectacle.
New Babylon is also a concept by Dutch philosopher-artist Constant Nieuwenhuys.