Remake almost shot by shot, ada kemungkinan endingnya bakal ahem, "happily ever after"? ::oops::

Kalo dulu Sluizer gagal mungkin krn godaan duwit, gak tau deh dgn yg satu ini.

Eniwei remake schremake. Down with Haneke ::toeng::

yuk, yang baru belajar nonton film klasik jangan langsung dikasih neo-realist kata gw sih, hehe. takutnya terkesan boring, nothing happens, dan bleak. mending cobain hitchcock atau kurosawa dulu.

oia, ada yang udah nonton fanny and alexander sekain lizer? gimana komentarnya? i hated it.

gw dah nonton fanny and alexander.
gak terlalu mengerti film ini selain penggambaran keluarga hedonis yang meriah vs keluarga pendeta yang keras dan masokis. penonton akan melihat dengan jelas di mana kebahagian berada.
karena banyak hal yang bersifat personal, rata2 film begini mesti pake konsep interteks.
gw gak suka film yang besar di luar medianya sendiri
....
saran film klasik,
mulai dari hollywood klasik lah :D

i love fanny and alexander. nontonnya tapi gak bisa sekali duduk kalo gw. aga bosen tapi bertahan. gw suka scene tengkorak di awal2 film itu tuh. gw jarang liat bergman surreal

Remake almost shot by shot, ada kemungkinan endingnya bakal ahem, "happily ever after"? ::oops::

Kalo dulu Sluizer gagal mungkin krn godaan duwit, gak tau deh dgn yg satu ini.

Eniwei remake schremake. Down with Haneke ::toeng::
walah, happy ending?? please don't ::grrr::

Itu dia bung Inert, ini Michael Haneke lho. Filmmaker yg boleh dibilang punya sikap lah. mosok kemakan sama holiwut seh

Meski F&A may be Bergman's least daring film, it is easily the most accessible of his journeys into the existentialist concepts that permeate most of his work. Gak diragukan lagi, F&A adalah otobiografi Bergman tentang sesuatu yang sebelumnya dia hiraukan dalam karya-karya sebelumnya - yaitu masa mudanya (no, the child in Tystnaden doesn't count).

F&A is not so much about the issues he deals with in much of the rest of his ouvre, but about how those issues became important to him. Instead of using semantics to get to his point, he uses an involving story (cakupannya besar dibanding mayoritas filmnya yang lain). Oleh sebab itu, kenapa F&A kemaren2 ini adalah my favorite Bergman (it's Winter Light now), karena Bergman teteup mengkomunikasikan tema yang deket banget terhadap dirinya, dan disisi lain Bergman mengeliminasi pretensi2 yang biasa ada difilm2nya.(To me, it takes the genius of the visual cues used in Cries and Whispers and uses them to enhance an involving, surprisingly plot-driven story.)

That, the lavish set design and Sven Nykvist's cinematography is freaking beautiful.


Bang Inert, ada komen kah, i know u love F&A.

i love fanny and alexander. nontonnya tapi gak bisa sekali duduk kalo gw. aga bosen tapi bertahan. gw suka scene tengkorak di awal2 film itu tuh. gw jarang liat bergman surreal

seventh seal dah mulai kan dia, kalo yang lain kayak Persona, Cries and Whispers, Hour of the Wolf, mm apalagi ya.

yuki..kl filmnya bela tarr...
bagus-bagus gak?

yuki..kl filmnya bela tarr...
bagus-bagus gak?

gue baru liat yang werckmeister harmony aja krem. jujur aja blom nangkep. bela bilang si filmnya itu sama skali ga ada tuk simbolism2an kayak yang dituduh sama banyak film critic (komentar bela percis sama kayak si tarkovsky), tapi jujur aja lagi kalo emang bener ga ada simbolism, gue ga ngerti tu maksud datengnya paus putih segede gaban di film itu, dan scene jalan kaki terpanjang take-nya dalam sejarah gue nonton film (buset 5 menit ada kali si bela nge shot orang cuman marching on the street). Lagi nyari waktu buat nonton satantango alias tango marathon tapi susah banget, mengingat filmnya 8 jam, dan kayaknya mesti dibagi jadi 4 hari waktu nontonnya, dengan konsentrasi super penuh. sayang juga film bela terbaru, Man from London yang juga ikut serta kompetisi di Cannes kemaren, ga diputer di Jiffest.

From Chapter 3 of A Dream is a Genius, ISBN 4-16-355570. Edited by Bungeishunju. © 1999 Bungeishunju. Akira Kurosawa discusses his top 100 films with his daughter, Kazuo. Kurosawa limits his choices to one film per director, and listed chronologically.

Translated by Noriyo Hoozawa-Arkenau

1. Broken Blossoms or The Yellow Man and the Girl, (D. W. Griffith, 1919)
"Lilian Gish. She's very neat and has very good manners, dosn't she? Dorothy Gish is her sister, but she is, eh, a little sexier. Lilian is a cute, innocent girl. It was therefore really painful for me to see her in the movie and I really hated him! In The Whales of August I saw her again and, I clearly saw that she had not changed at all. I mean: yes, she has become a grandma, but I was pretty surprised how cutely she has got old!"

2. Das Kabinett des Doktor Caligari (Robert Wiene, 1919)
"It's representative of German Expressionism. But one can enjoy it still nowadays. The scenery constructions are all built in Futuristic style, in a style of art. You know, one still can learn many, many things from such a work of these old times."

3. Dr. Mabuse, der Spieler (Fritz Lang, 1922)
"I saw it when I was a child, when Mr. Musei Tokugawa was working as a narrator. As you know, my brother was also a narrator of silent movies, and he brought me with him. It was a very interesting movie. The mysterious Dr. Mabuse, the master of disguise! By the way, it was at that time when I saw La Roue by Abel Gance. I still remember very vividly how a train running crazily was portrayed in a flashback. It was a great scene."

4. The Gold Rush (Charlie Chaplin, 1925)
"Chaplin was very talented as an actor as well. Do you know, comedies are most difficult to make. It's much easier to jerk tears from the audience. He, of course, was gifted as a director as well, well-versed in music. I think he was so gifted that he himself didn't know what he should do with his own talents. Well, Beat Takeshi reminds me a little of him."

5. La Chute de la Maison Usher (Jean Epstein, 1928)
"As you know, it's a silent movie, i.e. it consists of pictures alone. But seeing it I felt as if I really heard something. That power of expression. Simply wonderful. And before I start to make a movie, every time I try to imagine how I would have made this picture if it was a silent movie."

6. Un Chien Andalou (Luis Buñuel, 1928)
"The movie starts suddenly with a scene that portrayed how an eyeball was slashed with a razor! An impacting, intense scene. And the light of a lighthouse was glaring and dazzling... In this way they were vividly symbolizing the mental condition when one was diseased with rabies. From such Surrealistic techniques I learned many things when I was making Rashomon."

7. Morocco (Josef von Sternberg, 1930)
"This picture is just 'a movie': it has been produced on a very low budget, but they have shot, for example, the scene where the shadow was flickering very cleverly, changing the camera's position constantly, moving about. Very cleverly shot. I was really impressed."

8. Der Kongress Tanzt (Erik Charell, 1931)
"It's the first movie in that the technique of playback was used. Conversations go, interesingly, in the form of operetta and scenes flow very skilfully. A masterpiece. The movie again and again makes me realize that old movies still offer us many, many things to learn."

9. Die Dreigroschenoper (G. W. Pabst, 1931)
"Die Dreigroschenoper I would have loved to make! Indeed, many people have made Die Dreigroschenoper, haven't they? But Pabst's is definitely the best, I think. A great movie."

10. Leise Fliehen Meine Lieder (Willi Forst, 1933)
"A very sweet movie. I love it! They used Schubert's music very adroitly, and skilfully portrayed in the story why he could not compose from the third movement up. A very good movie."

11. The Thin Man (W. S. van Dyke, 1934)
"He's a master of action movies. No wonder that this movie runs with that good tempo. The original is Hammett's novel, you know? The pair and the dog were so popular that a series of sequels to it was made. But this first one is the most interesting."

12. Tonari no Yae-chan (Yasujiro Shimazu, 1934)
"Mr. Shimazu was called "Daddy Shimazu (Shimazu-oyaji)". He has worked his way up from 'practice' in the true sense, he had experiences as an assistant, was very solidly skilled. John Ford and/or Wyler, too, were such directors. Their movies were clearly different - how I should say..., eh..., in them I can 'smell' motion-picture-makers of old times, of good old times when movies were tasty."

13. Tange Sazen yowa: Hyakumanryo no tsubo (Sadao Yamanaka, 1935)
"Mr. Yamanaka has been, when he has been working as an assistant, very quiet, he has been always somehow in a reverie, mumbling something to himself... But when he once became a director, he suddenly got eloquent, proved himself to be amazingly talented. It's indeed a great loss for the Japanese movie industry that he died so young! Moreover, he didn't save his films rightly. I am so sorry for it that I feel angry! What the hell did he think?!"

14. Akanishi Kakita (Mansaku Iami, 1936)
"This movie of Mr. Itami is very innovative, he did, for example, make various experiments in it. A very, very interesting movie. It was very kind of him that he often approved my movies and/or gave pieces of advice to me. I was very, very glad."

15. La Grande Illusion (Jean Renoir, 1937)
"In this movie Stroheim, who has directed "Foolish wives", played a role. Of course the movie is great, but, above all, his presense as an actor was impactful in itself. Mr. Renoir, you know, came specially to see me when I have been in Paris, and he, although HE was a master and elder than I, said to me "I am glad to see you"! I was really abashed! Moreover, when I was going to go back home, he stood and followed me all the time till my car turned the corner. I was very very touched."

16. Stella Dallas (King Vidor, 1937)
""Women are strong. A mother does do everything for children's sake" - Barbara Stanwyck wonderfully portrayed it in this movie. The last scene almost brought me to tears. Years later I saw a singer named Bette Midler playing such a role. It was also pretty good. Well played!"

17. Tsuzurikata kyoushitsu (Kajiro Yamamoto, 1938)
"Mr. Yamakaji (Mr. Kajiro Yamamoto) was a really good teacher. At that time, when we all were terribly busy, Yama-san (Mr. Yamamoto) made me do everything for him. To be honest, I was not very pleased by it. But his wife once said me; Do you know? My husband was very delighted. He said, "Mr. Kurosawa is now competent to do really everything!" Only then I realised that Mr. Yamamoto has been teaching me all things one by one, by making me do everything - to edit, write, costume and make props. THAT MADE ME WHO I AM NOW. I am truly grateful"

18. Tsuchi (Tomu Uchida, 1938)
"This director had a very interesting career - I've heard that he had been once a bum! An actor he had been as well. An eccentric. Oh, yes, he had been, if I remember rightly, once also an assistant of a director who had been in Hollywood. Of course his 'big' movies are not bad, but I personally like his earlier works more, for example Kagiri naki zenshin. But, very unfortunately, almost none of his films are in existence anymore. I wish that they thought more seriously in Japan how to save films properly."

19. Ninotchka (Ernst Lubtisch, 1939)
"A very sophisticated movie. Garbo appeared in it, but she, here, unlike her former movies indeed, played comedy very well. I was surprised. Wilder wrote the screenplay, I remember. No wonder the dialogues are so good. Lubitsch has been working since the times of silent movies; he had made movies called 'cinema operettas'. Did you know? He was a very talented man."

20. Ivan Groznyy I (Sergei M. Eisenstein, 1944), Ivan Groznyy Part II: Boyarsky zagovor (Sergei M. Eisenstein, 1946)
"An acquaintance* of mine, who sent Rashomon to the Grand Prix in Venice and to whom I feel very obliged, recommended me once to see the celebration’s scene in Ivan Grozny in colour. He said to me then that I also should make movies in colour. So, I saw it, and, indeed, I was amazed. Well, then, I used colours in Do desu ka den for the first time, and in Kagemusha I treated colours rightly. I wished that the acqaintance*, who already had died then, could have seen it. Then Mrs. William Wyler said: *He'll come (from heaven) to Cannes, Mr. Kurosawa. He'll come to see your movie!" Till then I usually avoided 'movie festivals’, but since then I attend at least Cannes film Festival."

(Note*: In the Japanese text the acquaintance's name is given. Unfortunately the English equivalent could not be found at the time of the translation)

21. My Darling Clementine (John Ford, 1946)
"Everyone associates the name of John Ford with westerns, don't they? My darling Clementine is, say, a paragon of movie: A man, for example, who's riding on horseback and whose looks in itself is a poem, emerges at the just right moment in the movie. Wonderful."

22. It's a Wonderful Life (Frank Capra, 1946)
"A movie should, I'm convinced, make the audience be happy, feel well. This movie is just such one: it's full of good will, makes us feel warm and think that it's a wonderful thing to live. Typical of Capra."

23. The Big Sleep (Howard Hawks, 1946)
"In my opinion it's the most interesting one among Chandler's. It's difficult to make 'hard-boiled' movies, usually, but he has skilfully done it. No wonder, for he was a true movie-maker who had begun his career as a popman and worked his way up from there."

24. Ladri di biciclette (Vittorio de Sica, 1948)
"A pitiful story, isn't it? Everything in this movie, its 'colours' as well, again and again makes me feel tormented. This is a true representative of Neo-Realism. A wonderful movie, which established a certain cinematic style."

25. Aoi sanmyaku (Tadashi Imai, 1949)
"One's first movie is often his or her best. So they say that Aoi sanmyaku or Izu no odoriko is Mr. Imai's best, don't they?! Indeed, this movie of him is very fresh and lively, the scene in that Kama-san (Mr. Kamatari Fujiwara) appears is also pretty good. But his Nigorie is also wonderful, I think"

26. The Third Man (Carol Reed, 1949)
"He respectably well filmed a such complicated story. Its camera works are wonderful - I've learned much about camera works from this movie. A first-class movie which one can enjoy still nowadays. His "Odd man out" is also brilliant. This director is a very skillful movie maker with a documentary style."

27. Banshun (Yasujiro Ozu, 1949)
"His characteristic camera work was imitated by many dirctors abroads as well, i.e., many people saw and see Mr. Ozu's movies, right? That's good. Indeed, one can learn pretty much from his movies. Young prospective movie makers in Japan should, I hope, see more of Ozu's work. Ah, it was really good times when Mr. Ozu, Mr. Naruse and/or Mr. Mizoguchi were all making movies!."

28. Orphee (Jean Cocteau, 1949)
"Originally Jean Cocteau was a poet, wasn't he? His movie therefore is like a poem. The Grim Reaper, e.g., apears riding on a motorcycle! A very fantastical touch. His peculiar aestics is very interesting."

29. Karumen kokyou ni kaeru (Keisuke Kinoshita, 1951)
"It's one of the first coloured movies in Japan. A very interesting movie. Karumen [Carmen] and her companions all return home, making people fuss over them. The fuss was very well portrayed. I love this movie."

30. A Streetcar Named Desire (Elia Kazan, 1951)
"I met this director in Tokyo International Film Festival and thought very frank of him. His immediate coleagues, however, said that he was rather a difficult person. But as soon as I've found both of us hated to put on a tuxedo, it was clear that we were like-minded. We really enjoyed to talk with each other. His movies are called 'social' or 'sociological', aren't they? Well, this movie is a good work that has,say, a solid core."

31. Therese Raquin (Marcel Carne, 1952)
"Carne is famous, above all, for "Les enfants du paradis", isn't he? This movie is a smaller piece, but I love it - it was shot in very cool eyes, and shows how important a solid screenplay for a movie is."

32. Saikaku ichidai onna (Kenji Mizoguchi, 1952)
"We often said in joke "Mr. Mizoguchi must have undergone terribly bitter experiences with women!". I could never portray women in THAT way! Indeed, a cold shiver ran up my spine! The movie is incredible, its art as well, and its long shots as well. From Mizo-san (= Mr. Mizoguchi) I've learned pretty much."

33. Viaggio in Italia (Roberto Rossellini, 1953)
"He's one of the most important representatives of Italian Realism. But also representatives of Nouvelle Vague, Godard and/or Truffaut, e.g., made a model of him. Did you know it? His way of pursuing bare truth was really fresh. I also was very benefited by his work."

34. Gojira (Ishiro Honda, 1954)
"Mr. Honda is really an ernest, nice fellow. Imagine, e.g., what you would do if a monster like Godzilla emerges! Normally one would forget and abandon his duty and simply flee! You won't? But the personell in this movie properly and sincerely lead people, don't they? That is typical of Mr. Honda. I love it. Well, he was my best friend. As you know, I am a pretty obstinate and demanding person. Thus, that I had never problems with him was due to HIS good personality."

35. La Strada (Federico Fellini, 1954)
"Fellini's cinematgraphic art is excellent. It's in itself 'fine art'. Nowadays no one has such a peculiar talent more... One feels in his movies, say, an existential power, which has a strong impact. Well, I met him several times, but he was so shy that he didn't talk about his movies to me."

36. Ukigumo (Mikio Naruse, 1955)
"He was a truly severe person. When he, e.g., didn't like an actor's performance, he said simply "No" and nothing more, sat silent. It was hard for the actor, of course, because he or she must think all by him-/herself and try various performances by himself. I, compared with him, am not earnest enuogh - I cannot help giving instructions to actors and cann't let them think by themselves... Thus, actors disciplined by Mr. Ozu, Mr. Naruse and/or Mr. Mizoguchi were all really competent and could by themselves play rightly even if I said nothing."

37. Pather Panchali (Satyajit Ray, 1955)
"I feld I rightly understood his work, when I saw Satyajit Ray: His eyes were like lynx's, ah, he was a majestic gentleman! In Venice Film Festival my "Kumonosu-jo" has lost to his "Pather Pancheli", hasn't it? But, I guarantee you, that was ABSOLUTELY right!."

38. Daddy Long Legs (Jean Negulesco, 1955)
"It has missed an Oscar, but I like this movie. Some people may be surprised that I like this picture, but, indeed, it was pretty well shot. I like it, maybe, also because I admire people like Fred Astaire, for I am so clumsy. But, well, to be honest, it's because, above all, I like the actress Leslie Caron."

39. The Proud Ones (Robert D. Webb, 1956)
"The theme song sung by Lionel Newman was a hit at that time. It's brilliant. Robert Ryan has a just fitting role, the camera works are wonderful as well - Lucian Ballard is trully a model camera man, I think."

40. Bakumatsu taiyo den (Yuzo Kawashima, 1958)
"This is an interesting, really enjoyable movie with a very good tempo. A rakugo* piece "Inokori Saheiji (= Saheiji, who reminded)" and another piece were arranged for this movie. Really well done. This director was very good at making commedies. It means his skill stands out from others'."

(Note: rakugo* is one of Japanese tradiotional stage arts, 'art of talk'. It is, besides No-theatre and Kabuki, one of the most important theatre arts in Japan, performed by one rakugo-talker on the stage.)

41. The Young Lions (Edward Dmytryk, 1957)
"It's a Cinema Scope. They shot dramatical battle scenes in a sharp, black-white contrast. Beautiful. This director is, I see, a hard proffesionalist, who has resolutely worked his way up."

42. Le Cousins (Claude Chabrol, 1959)
"It's a little strange picture shot from a pessimistic view. He's a pretty skilful director - his "Les liens de sang", e.g., is one of the best pictures filmized Ed McBain's novels."

43. Les Quatre Cents Coups (Francois Truffaut, 1959)
"This Truffault's movie is brilliant, don't you think so? He let children very convincingly play. I openly praised it at that time, but it was hardly premiered, before it was withdrawed. I suspect that it was due to its that inept Japanese title "Otona wa wakatte kurenai (= The adults don't understand us children)"."

44. A bout de souffle (Jean-Luc Godard, 1959)
"He's a very productive movie maker. But he shows his talent in the fact that all of his movies keep a steady, high quality. When I saw "A bout de souffle", it looked really fresh - nowadays it may look not so fresh more - for many people meanwhile have imitated its style, e.g., in American New Cinemas. But, I want to emphasize, they should do their own new experiments as well, or the cinema will not develop further more."

45. Ben-Hur (William Wyler, 1959)
""Ben-Hur"'s climax scene, it MUST be shot in a 70mm, or it would never have been that exciting. 6 sound sources recorded with 6 recorders were reproduced in it, and one feel as if one really was involved there in the movie! Brilliantly shot."

46. Ototo (Kon Ichikawa, 1960)
"Its camera work is superb. I remember, it won a prize for picture in Cannes, right? Pretty many takes were shot. Mrs. Natto (The screen play writer Natto Wada, Kon Ichikawa's wife) must have strongly supported him. His "Tokyo Orinpikku [Olynpic Games in Totkyo]" was harshly criticized by some people, but I thought it was a good picture, a typical picture of Kon-chan [Mr. Kon]."

47. Une aussi longue absense (Henri Colpi, 1960)
"He's an authority on edit. It is his first movie, I think. A crazy story - a man, who has passed in front of a café, was like the heroine's husband as two eggs. That scene was really impressive. Well, movie editors very well know that a movie exists BETWEEN the sequences. He also does."

48. Le voyage en ballon (albert Lamorisse, 1960)
"Such a picture, a specialist alone could shoot it. The last scene is especially good; the scene in that the child was following it further and further. The director put his own child to be the lead actor and let him do pretty dangerous things... "I only later realized it and thought, "Oh my God, what I have done!"", he himself said once."

49. Plein soleil (Rene Clement, 1960)
"This picture is very easy to approach, it's a typical 'movie'. One could very well begin watching movies with this one, right? One can very well see what the hero feels, can't one? Its last, which goes on with a pretty clever tempo, is brilliant as well."

50. Zazie dans le métro (Louis Malle, 1960)
"I thought it was a very sophisticated picture. Accompanied with a whistled melody, the story is portrayed in the eyes of the heroine's child - this director, indeed, uses children very adroitly, in "Au revoir, les enfants", too. His "Milou en mai" is also characteristic of him and interesting."

51. L'année derniere á Marienbad (Alain Resnais, 1960)
"He's a pioneer of Nouvelle Vague. This picture filmized a novel written by an author, eh, in my memory, named Robbe-Grillet. It caused hot discussions on itself. This movie is not very easy to approach - various oppositional notions, e.g., 'now vs. past' and/or 'reality vs. unreality', are presented in it. But its expressional methods very much stimulated my interest."

52. What Ever Happened to Baby Jane? (Robert Aldrich, 1962)
"Even when she was young, Bette Davis had a funny face. A very attractive. She was also beautiful in "Jezebel" (1938), and excellent in "All about Eve" as well. I liked them. In this movie, too, she is fantastic, isn't she? She was not really that old at all, but her performance was terrifically convincing. In "The whales of August" she was really a grandma, but she, of course, was still brilliant, wasn't she?"

53. Lawrence of Arabia (David Lean, 1962)
"It's a masterpiece of 70 mms, I think. When the camels suddanly went wild and O'Toole was injured, Lean, I've heard, wanted FIRST to know if he could still play! "How merciless!", O'Tool moaned. But, eh, I can very well see what a director feels and thinks, when he is working in full swing. But wait! Me, I am more tender."

54. Mélodie en sous-sol (Henri Verneuil, 1963)
"This director is a first-class suspense maker. It's thrilling! The use of the music is also nice, modern. And he used Delon and Gabin very cleverly - they well and clearly portrayed their characters. Its monochromic pictures were also very sharply shot. Excellent."

55. The Birds (Alfred Hitchcock, 1963)
"In Hitchcock's movies, mysteries, one sometimes finds slight inconsequences in the story. But, I think, it would be also a right opinion that movies should only be enjoyable. Well, I, I dread that many birds! Indeed, how did they shoot those scenes?!"

56. Il deserto rosso (Michelangelo Antonioni, 1964)
"Once I've ridden on an elephant with him at an Indian film festival. Journalist fussed over that 'two severe directors were together riding on an elephant', but we are NOT severe at all. Journalists watch us only when we are angry and they amuse themselves with it. "It's unfair", we talked each other. Indeed, how can one ALWAYS be angry, eh!? And now, in this movie, e.g., a scarlet room was very impressively used, and one can see clearly his talent in it."

57. Who's Afraid of Virginia Woolf? (Mike Nichols, 1966)
"Elizabeth Taylor is terrific, isn't she? This true beauty plays that hideous woman, without regard to her looks, doesn't she? To Japanese actresses, too, it may not be the most important matter that their appearance is simply beautiful. They, even big stars as well, should follow her professionalism, I hope."

58. Bonnie and Clyde (Arthur Penn, 1967)
"When I've once visited USA, he welcomed me very kindly. When he was going to make "Two on a seesaw", he asked me if I could recommend anyone, and I recommended Kamatari Fujiwara. Unfortunately, this movie was not presented in Japan, but it was a very neat, little piece. When Kama-san [Mr. Kamatari] wanted to know why I recommended him, I said mockingly "because there was no dialogue text for you!". Then we burst into laughter."

59. In the Heat of the Night (Norman Jewison, 1969)
"The original novel is also brilliant, but the movie has filmized it very skillfully, hasn't it? I love Sidney Poitier. I love his intelligent eyes. In the region where the racism is still deeply rooted, the case is being snappily cleared. The audience feel indeed satisfied."

60. The Charge of the Light Brigade (Tony Richardson, 1968)
"This movie did not especially come up. But I thought it was a very nice picture. In it even the finest details were well portrayed - e.g., in the battlefield, where people after people were dying, one heard a fly's buzz."

61. Midnight cowboy (John Schlesinger, 1969)
"He's from UK, but he nevertheless very well portrayed an atmosphere of disease in New York City, didn't he? The actors, of course, performed brilliantly, and it made me think about what it would bring to live in such a run-down metropolis. Very depressing, isn't it?"

62. M*A*S*H (Robert Altman, 1970)
"Interesting. It looks 'messy', but, I saw, the screenplay is very solid. A black-comedy nicely made. Later I've heard that the author of the original was a surgeon. No wonder that the matters were concretly, objectively and therefore interestingly portrayed. This is also a kind of anti-war-movie, isn't it?"

63. Johnny Got his Gun (Dalton Trumbo, 1971)
"There are many anti-war-movies. But it is very difficult to shoot battle scenes, for if one simply shot, as many people actually do, scenes in that soldiers are firing, they would look brave and thus the war could be glorified. In this sense, this picture is a true ant-war movie."

64. The French Connection (William Friedkin, 1971)
"I remember that it was, so to speak, a pioneer of 'car-chase-movies', and that cars were chasing cars at breakneck speed in it. Action scenes were terrific. Enjoyable it was! In any case, most of American movies at that time consisted in pretty good part of car scenes, in great detail portrayed - how one opens the door, get in and drive out of the parking lot and so on... If one cut away those car scenes the movies would shrink to about two thirds, I always say."

65. El espiritu de la colmena (Victor Erice, 1972)
"At first glance it's a sweet piece, but really it is a wonderous, very horrific story - the cruelity children have was skillfully portrayed. And the children were well performing. The lighting and camera work had a very fine touch. A nice movie."

66. Solyaris (Andrei tarkovsky, 1972)
"We were very good friends. He was like a little brother for me. We once, drunk in Dom Kino, sang together "Shichinin no samurai"'s theme music. His expression of 'water', the way in that water is depicted, is really peculiar to him. This picture indeed makes me feel myself yearning to return to the earth."

67. The Day of the Jackal (Fred Zinneman, 1973)
"The method with that the movie follows in very composed eyes how the hero is carrying out every preparation for an assassination one by one is, so to speak, without fat, I mean, brief and clear. A very thrilling touch."

68. Gruppo de famiglia in un interno (Luchino Visconti, 1974)
"Visconti is a true blue blood. Whether because he was raised in such an environment or simply because of his blue-blood birth, he had a touch that none but he can have. I met him several times, but he was a hardly approachable person. If someone, e.g., during the shooting came in, he, I've heard, shouts at him in an aristocratic posture "leave from here!". He is a very severe person, I've heard."

69. The Godfather Part II (Francis Ford Coppola, 1974)
"Among the Godfather trilogy I like "Part II" the best. The cold-hearted atmosphere, the terrible atmosphere in the family was very well depicted. It, accompanied with THAT music, really horrified my heart."

70. Sandakan hachiban shokan bokyo (Kei Kumai, 1974)
"We dined together, I remember, immediately before or after this movie. He was a very quiet, earnest person and liked to make movies that treated social issues. I therfore was surprised to see in this film that he was really competent also in portraying women. Kinuyo Tanaka was excellent. His "Umi to dokuyaku" is also brilliantly made. I am 'afraid of' such a story, but he, he could depict it! He must have a very strong personality, doesn't he?"

71. One Flew Over the Cukoo's Nest (Milos Forman, 1975)
"Ah, so many actors perform 'too' brilliantly! How painful experiences everyone has in his life - so painful that they have got mentaly that diseased... The actors portrayed it so skillfuly, I simply admired it. That nurse is also teeeerrific!"

72. O Thiassos (Theodoros Angelopoulos, 1975)
"He's a wonderful person. What he says makes one feel as if one's deepst soul is looked into by him. A true mature adult one could call him. Especially this picture was nothing less than 'mature eyes', wasn't it?"

73. Barry Lyndon (Stanley Kubrick, 1975)
"He made many masterpieces. I've heard that this picture was shot in the light of candles with highly sensitive films and special lenses. And he had got wonderful, very beautiful pictures. His experiments absolutely succeeded."

74. Daichi no komoriuta (Yasuzo Masumura, 1976)
"This movie is pretty well made. Above all, Mieko Harada was brilliant. I was convinced that the actress was going to better her skill further. It was why I used her in "Ran", and, look, her Lady Kaede earned a big reputation abroad. She brilliantly did it, I think."

75. Annie Hall (Woody Allen, 1977)
"Watching Woody Allen's pictures one clearly see that he's terrifically intellectual. Eh, I was afraid that he did not like my movies, for my movies are simple and are not such ones. But then Richard Gere told me Allen was my fan. I was very pleased!"

76. Neokonchennaya pyesa dlya mekhanicheskogo pianino (Nikita Mikhalkov ,1977)
"Nikita is a very eloquent, lively man like a white bear, but shoots really, truly delicate pictures. Watch, e.g., his "Oci ciornie" and then the director himself! One could not believe THAT man really made THAT movie. In any case, he's full of power and talent."

77. Padre Padrone (Paolo & Vittorio Taviani, 1977)
"Those two brother-directors' movie is not only a wonderful picture in itself, but also based on a very difficult original. That intellectuality is, of course, wonderful, but moreover - uh, I cannot find the word for it - one feels oneself shaken from the deepst bottom of the earth. Terrific, isn't it? Indeed, a movie earns wideness and depth in various sense if brothers cooperated in directing, right? I envy them."

78. Gloria (John Cassavetes, 1980)
"When I saw "Shadows", because it was a very nice picture, I wanted to praise it. Bur he was so shy that he was somehow embarrased and fled. His movies were not presented in Japan for long time, and I all the time concerned about him. But now, look, I was right, he showed himself to be very talented! This picture is one of my favourite Cassavetes'. Gena Rawlands' performance is also great. I was really sad to lose such a big talent. He was still so young!"

79. Haruka naru yama no yobigoe (Yoji Yamada, 1980)
"I said to Mr. Yamada himself that one cannot praise enough that he succeeded in continuing to make the Torajiro-series throughout. It would be possible only if every characters in it was perfectly established and described. Well, this picture is, so to speak, "Shane"* á la Japanese, isn't it?. Very well made."

(Note*: The theme music of "Shane" (composed by Victor Young), which is very popular in Japan, is named "Haruka naru yama no yobigoe" [Call of mountains from far away] in Japan. I cannot imagine that the movie's title has nothing to do with the theme music. Therefore Kurosawa, I think, mentioned "Shane" here.)

80. La Traviata (Franco Zeffirelli, 1982)
"It filmized an opera. Do you know how difficult it is? I was also asked once by Seiji Ozawa if I could direct an opera. 'But I am a movie director, I cannot do it', I declined. Zeffirelli, on the other hand, has been working on the stage. No wonder that art, lighting, and costuming are all brilliant. Very beautiful picture."

81. Fanny och Alexander (Ingmar Bergman, 1982)
"It's a long movie, follows a night throughout. Of course the camera and art succeeded in presenting an excellent colour. But, above all, the small episodes, which let me imagine in what environment he had been raised, are interesting. I love his "Smultronstället" and/or "Jungfrukällan" as well."

82. Fitzcarraldo (Werner Herzog, 1982)
"I am sorry that not many people have seen this movie yet. In it they go on a steamboat in the Amazon River upwards, pull the boat up on a hill and then lower it. What a hard work! The energy with that they really did it is well visible in the picture. By the way, it was before I saw the movie when I've met him. He, a very conscientious person, said that he wanted to give me a book but he unfortunately was going to depart that day. But he came to me the next day again! He said that he has canceled the air plane to find and hand me the book. "Here you are, I've found it!", he said. 'Such an earnest person well could make such a movie', I thought when I later saw his movie."

83. The King of Comedy (Martin Scorsese, 1983)
"Scorsese is, of course, a very good director and actor, but he is above all a wonderful person. He's energetically wrestling with various matters, e.g., how films, especially colour films could be kept undameged, he also looks after retired movie makers. He is, so to speak, a bundle of energy. The Japanese movie industry also would need such a person, I think."

84. Merry Christmas, Mr. Lawrence (Nagisa Oshima, 1983)
"With Mr. Oshima I discussed many issues, e.g., the issue of film directors' associations. Many people say that he is impatient or so, but he really is a very consistant, earnest person. 'I rely on you to develop Japanese movies', I said him several times when we dined together. This picture must have been a very hard work, for he's a person who cannot save work at all. The cast is also pretty interesting. A really skilled film maker he is!"

85. The Killing Fields (Roland Joffe, 1984)
"It's a story about the civil war in Cambodia. They brainwash even that little children. Can human being get so insane that they themselves don't see at all what they are doing? Isn't it horrific!? And wars justify such an insanity. Horrific. Well, the Cambodian guide was very natural, nicely performed, and brilliant."

86. Stranger than Paradise (Jim Jarmusch, 1984)
"I did not meet him yet, but I was very very pleased to see such an interesting talent. I watched his movies all on rental videos. This movie is made according to the principle 'one-scene-one-shot'. The spaces between the sequences are brilliant: They are connected with darks, and there, BETWEEN the sequences, one really feels oneself seeing a movie! I'm looking forward to seeing his future. And this movie, in which some old films are also used, tells us that it is a talent to be able to shoot a good movie even on a not very high budget."

87. Dongdong de jiaqi (Hou Hsiao-Hsien, 1984)
"He made also big pictures, e.g., "Beiqing chengshi" ("A city of sadness"). In the movie there are some points that one could not easily understand without thorough historical knowledge, but he has very sincere eyes. A wonderful movie maker. He reminds me of the times when Japanese movie industry was still seriously shooting pictures. I really love this movie. A very pleasant piece. I'm looking forwards to see his future."

88. Paris, Texas (Wim Wenders, 1984)
"When "Hachi-gatsu no kyoshikyoku" was premiered in Japan, I had a talk with him. There he forgot that it was an interview for a magazine, and asked me about practical, technical matters only, e.g., "Mr. Kurosawa, you let it rain really beautifully. How do you shoot it?" or so... To be honest, for me also such topics are more welcome, and we discussed it further. But the editors were pretty embarrassed."

89. Witness (Peter Weir, 1985)
"His "Picnic at Hanging Rock" also presents a wonderful colour and very interested me. This movie's story is described in a particular world, but the story, presenting the particular life so well that we outsiders can comprehend it, goes very tidily. Yes, it's a very tidy movie, so to speak, built on a solide foundation."

90. The Trip to Bountiful (Peter Masterson, 1985)
"Even a movie whose motif is a pretty small matter can be such a tidy picture. This movie is a very good example of that one can make a quality film without spending big money. I hope for many young people to see it."

91. Otac na sluzbennom putu (Emir Kustarica, 1985)
"I was astonished when I saw his work for the first time. He's from Yugoslavia, is still very young. He nevertheless shoots wonderful pictures all with composure. Very skilled. His pictures came up also in Cannes. "We must not be lazy, for so many great talents apear one after another from various countries.", we talked."

92. The Dead (John Huston, 1987)
"A black coach and black horses emerge. That is the shadow of death. He shot this movie being supplied with oxygen, in such a condition he made it. No wonder that the picture is somehow demonic and horrific. When he, who was cross with the tops of the film production, was going to die, he shouted "Do you have a gun?! OK, let's kill them!", and then he died, I heard."

93. Khane-ye doust kodjast (Abbas Kiarostami, 1987)
"I met him, and, as every good director is, he was a really nice person. I wondered how he could shoot such a movie, for all characters were so ordinary, natural, and convincing. I asked him. He said, he makes the people, because they are all laymen, REALLY think that they should finish the wash and/or do homework, and then he let them perform it."

94. Out of Rosenheim (Percy Adlon, 1987)
"My Children recommended that I should see this movie, for it, they said, really interesting. Indeed, I really enjoyed it!! The use of colour is brilliant, from it one can learn something. The actors are also very natural. And it somehow reminded me of "Donzoko"... In any case, I say, that is 'a movie'! It was so interesting that I saw it two times successively."

95. The Whales of August (Lindsay Anderson, 1987)
"When I won a prize in U.K., I met him as a critic. He also shoots nonfictions - he has insightful, reliable eyes, right? I did not expect that he would begin shooting films, but I was not surprised when I saw that his "If..." was a good movie. And "The Whales of August" definitely convinced me of his talent."

96. Running on Empty (Sidney Lumet, 1988)
"That scene! The scene that portrayed how the car's door suddenly opened and he*, who was going to leave the town, left the dog there is wonderful. Lumet is one of my best friends, a friendly 'uncle' who is always smiling. But his pictures on NY's detectives, in a hard-boiled touch, are horrifically serious. By the way, the NY's block is very wide, isn't it? So he runs round on rollersketes. His assistant director could not follow him, ran into a toy shop to buy rollerskates, and thus could catch up with him. The second assistant, however, could not buy anything because rollerskates were sold out. The poor man must run after him on his own legs. He cheerfully told it himself to me."

(Note*: In Japanese Text it is not given who was going to leave. But I think that it is 'the family's eldest son' as it is given in Imdb, so I added the pronoun 'he' to the sentence. (In Japanese sentences the grammatical subject is very often omitted....))

97. Tonari no Totoro (Hayao Miyazaki, 1988)
"It's an animation, but I was deeply moved. I really liked that 'cat bus', for no one else would think up such a thing! His "Majo no takkyuubin" actually made me weep. Indeed, many talents nowadays whom I would have loved to kept for movies have gone to the animation industry... We, the movie industry, must not be lazy - we must make pictures that stimulate young talents' interest in movies."

98. A-un (Yasuo Furuhata, 1989)
"We know Shinobu Hashimoto (art) really for a long time, don't we? She and Yoshiro Muraki (art) have fallen in love and used to sit closely side by side in an open set. I know them ever since... Her art is really good, isn't it? That old good time when we were all so is unforgettable. Kuniko Mukoda wrote really solide scenarios... I am so sorry about her... By the way, the Mrs. in "A-un" is a little similar to my Kiyoko, isn't she?"

99. La Belle Noiseuse (Jacques Rivette, 1991)
"I actually would have liked to make the movie. Its original is Balzac's novel. A first-rate artist can see what we cannot see. I, e.g., paint quickly and carelessly, but an artist doesn't do it. He can hardly satisfy himself because he sees far more various things. That difficult theme was very nicely filmized."

100. Hana-Bi (Takeshi Kitano, 1997)
"I am convinced of his talent since I saw "Sono otoko, kyobo ni tsuki". The first works of a talented person often seem to be a little incoherent because the author tries many experiments in them, because he is sparkling with talent. In this movie there are some pretty daring portrayals, audaciously intruding in the matters. I really enjoyed it. Every character's existence is competently depicted. Wonderful."

gue baru liat yang werckmeister harmony aja krem. jujur aja blom nangkep. bela bilang si filmnya itu sama skali ga ada tuk simbolism2an kayak yang dituduh sama banyak film critic (komentar bela percis sama kayak si tarkovsky), tapi jujur aja lagi kalo emang bener ga ada simbolism, gue ga ngerti tu maksud datengnya paus putih segede gaban di film itu, dan scene jalan kaki terpanjang take-nya dalam sejarah gue nonton film (buset 5 menit ada kali si bela nge shot orang cuman marching on the street). Lagi nyari waktu buat nonton satantango alias tango marathon tapi susah banget, mengingat filmnya 8 jam, dan kayaknya mesti dibagi jadi 4 hari waktu nontonnya, dengan konsentrasi super penuh. sayang juga film bela terbaru, Man from London yang juga ikut serta kompetisi di Cannes kemaren, ga diputer di Jiffest.

nah,wah...agak ribet jg yah filmnya....
satantango...g jg ragu2 gara2 durasinya....
aduh...terlalu panjang....

maunya sih...g nonton satantango...
ilang satu hari...nonton nih film...
mau tau aja feelnya bagaimana

yuki..kl filmnya bela tarr...
bagus-bagus gak?
Filmnya yg Man From London masuk sini gak yah.
Ada yg udah liat ?

gw taro disini aja ya drpada buat thread baru. filmnya jg msh maret taun dpn

eniwei, ada yg mau ngomentarin remake film ini? ::doh::


wong udh masterpiece kok msh diremake jg yaaaaaaaa ::bosen:: remake almost shot by shot lg ktnya. what's the point geto loh? ::bosen::

ato mgkn michael haneke pengen jd kyk george sluizer ::bentar2:ne

Haneke? eheheh jadi inget waktu "dikerjain" ama bapak ini pas nonton Cache ;)

Cache overrated

abis ntn black narcissus. ngeri gw ama settingnya.

Perasaan maren ni si LIZER abis posting tentang filmnya Todd Hayness tapi ilang.

Iya, ini kira-kira postingan kemarin, karena menyangkut kekaguman gue dengan I'm Not There-nya Todd Haynes yang banyak terinspirasi dari film-film klasik

I'm Not There contains almost as many references to movies from the late '50's through the early '70's as it does to Dylan's music.
Here is a list of the references I've caught after five (whew!) screenings:

- Woody's punning dialogue with the hobos about "composite" and "compost heap" is taken from Elia Kazan's A Face in the Crowd. When Woody says "It's lonesome roads we shall walk", he's probably referring to the protagonist of that movie (Andy Griffith's "Lonesome Rhodes") as well as Dylan's song Paths of Victory.

- In terms of composition and editing, the Heath Ledger/Charlotte Gainsbourg scenes are heavily influenced by Godard's films of the mid-'60's: the scene where they buy a motorcycle is reminiscent of Pierrot le Fou and Weekend. The overhead shots of her cooking and cleaning are reminiscent of La Chinoise and 2 or 3 Things I Know About Her. More specifically, the shot where a camera circles around the face of a statue during the Visions of Johanna sequence is identical to several shots in Le Mepris. Later, Heath's voice over narration about Gainsbourg's disappointment in his movie Grain of Sand is taken from Masculin Feminin, as are the use of title cards accompanied by the sound of gunshots and the conversation about being the center of one's world.

- In terms of style, the Richard Gere sequences are very similar to Robert Altman's McCabe and Mrs. Miller. This is particularly true of the color scheme (earth tones) and use of the zoom lens. Haynes has also cited Butch Cassidy and the Sundance Kid as an influence on this part of the film, although I've never seen it.

- One of the movie's best throwaway jokes is a nod to The Graduate. We see a montage of different characters addressing Richard Gere under different pseudonyms. The last one, a bellhop, calls him "Mr. Gladstone". This is the name Dustin Hoffman used when checking into a hotel with Ann Bancroft.

- The Beatles being chased by a screaming mob is an obvious allusion to the beginning of A Hard Day's Night. More obscure is a reference made to Petulia, another film by Richard Lester. Both movies contain shots of elderly women in neck braces and wheelchairs.

- The Cate Blanchett sequences are highly reminiscent of Fellini's 8 1/2 and La Dolce Vita. The only specific visual quotations I could find were the shot of Blanchett as a human balloon and the enormous curved chairs, both of which are from 8 1/2.

- In Riddle, Woody is dressed up as Charlie Chaplin. Woody's dialogue ("This is chicken town!") is a quote from the Dylan song "Lo and Behold" but I wonder if it isn't also supposed to be a specific reference to the scene in The Gold Rush where Chaplin's starving friend sees him as a giant chicken.

- An overhead shot of people holding umbrellas on a sidewalk is a visual quote of the opening shot of Umbrellas of Cherbourg.

- And I'm pretty sure that the shot of the family loading up their jalopy with furniture is meant to specifically recall John Ford's Grapes of Wrath.

Tambahan, shot tarantula berjalan di atas dasar putih yang mirip salah satu adegan di Persona (atau dapat dihubung-hubungkan dengan Through a Glass Darkly juga)-nya Bergman.

o iya terus gue posting

iya ni, Hayness emang sering bikin film yang inspirasinya dari film yang dia suka...Safe tu dari Cassavetes' A Woman under the Influence, Velvet Goldmine dengan cerita yang diambil dari sudut pandang jurnalis dan alur yang muter2 kayak Citizen Kane, dan obviously Far from Heaven yang inspirasi langsungnya dari All that Heaven Allows nya DOuglas Sirk.

TOP 100 MOVIES THAT I’VE SEEN IN 2007:

Tahun 2007 gue mulai berkenalan antara lain dengan Maya Deren, Kenneth Anger, Ritwik Ghatak, Theo Angelopoulos, Max Ophuls, & Miclos Jancso. Serta ngabisin film-filmnya Terrence Malick (karena dia baru buat 4 film).

Tahun kemarin juga gue mulai menikmati ‘hip’-nya nonton film-film Romania yang lagi booming serta beberapa film dari Asia Tenggara, terutama Singapore dan Malaysia, yang ternyata secara kualitas di atas Indonesia (sorry to say).

Selain itu gue makin tertarik juga dengan periode film-film Perancis tahun tigapuluhan. Bila gue ingin masuk ke ‘periode film’ selama seminggu, mungkin gue akan memilih berada di dunianya Vigo, Renoir, Claire, atau Pagnol. Oh ya, ternyata ada juga filmnya Tarantino, Bergman, dan Cassavettes yang gue suka.

Here’s my recap:

91-100:
•Amants, Les (Lous Malle, France, 1958)
•Archangel (Guy Maddin, Canada, 1990)
•Bujang Lapok (P. Ramlee, Singapore, 1957)
•Come and See/ Idi i Smotri (Elem Klimov, USSR, 1985)
•Holy Mountain (Alejandro Jodorowsky, Mexico/USA, 1973)
•Lugar Sin Limites, El (Arturo Ripstein, Mexico, 1977)
•Otro, El (Ariel Rotter, Argentina, 2007)
•Persepolis (Marjane Satrapi & Vincent Paronnaud, France, 2007)
•Wedding Banquet, The (Ang Lee, Taiwan, 1993)
•Zidane, A 21st Century Portrait (Douglas Gordon & Philippe Parreno, France/ Ireland, 2006)

81-90:
•37º2 Le Matin/ Betty Blue (Jean-Jacques Beineix, France, 1986)
•Body Heat (Lawrence Kasdan, USA, 1981)
•Bubble, The (Eytan Fox, Israel, 2006)
•Day of Wrath (Carl Theodor Dreyer, Denmark, 1943)
•Last Laugh, The (FW Murnau, Germany, 1924)
•Madame De (Max Ophuls, France/ Italy, 1953)
•Red Balloon, The (Albert Lamorisse, France, 1956)
•Sunkissed (Patrick McGuinn, Australia, 2006)
•To Each His Cinema (various directors, France, 2007)
•Toni (Jean Renoir, France, 1935)

71-80:
•Ballad of Narayama, The (Shohei Imamura, Japan, 1983)
•Flower in the Pocket (Liew Seng Tat, Malaysia, 2007)
•Gandhi, My Father (Feroz Abbas Khan, India, 2007)
•Harakiri/ Seppuku (Masaki Kobayashi, Japan, 1963)
•I’m Not There (Todd Haynes, USA, 2007)
•Krampack/ Nico and Dani (Cesc Gay, Spain, 2000)
•Lady Chatterley (Pascale Ferran, France, 2006)
•Lola Montes (Max Ophuls, France, 1955)
•Passenger, The/ Profession: Reporter (Michelangelo Antonioni, Italy, 1975)
•Viva L’Aldjerie (Nadir Mokneche, Algeria/ Belgium/ France, 2004)

61-70:
•Call Home, The (Han Yew Kwang, Singapore, 2002)
•Frontiers of Dreams and Fears (Mai Nasri, Palestine, 2001)
•It’s Winter (Rafi Pitts, Iran, 2006)
•Lemming (Dominik Moll, France, 2005)
•Lodger, The (Alfred Hitchcock, USA, 1926)
•New World, The (Terrence Malick, USA, 2005)
•Twelve and Holding (Michael Cuesta, USA, 2005)
•Wanda (Barbara Loden, USA, 1970)
•Xala (Ousmane Zembene, Senegal, 1975)
•Under the Roofs of Paris (Rene Claire, France, 1930)

51-60:
•13 Tzameti (Gela Babluani, France, 2006)
•After This Our Exile (Patrick Tam, Hongkong/ Malaysia, 2005)
•Chienne, La (Jean Renoir, France, 1931)
•Eternity and a Day (Theodoros Angelopoulos, Greece/ France/ Italy, 1998)
•Freaks (Tod Browning, USA, 1932)
•Golden Door, The/ Nuevomondo (Emanuele Crialese, Italy/ France, 2006)
•Grbavica: The Land of My Dreams (Jasmilla Zbanic, Bosnia Herzegovina/ Austria/ Germany/ Coatia, 2006)
•Little Fugitive (Ray Ashley/ Morris Engel/ Ruth Orkin, USA, 1953)
•Mole, The (Victric Thng, Singapore, 2006)
•Red and the White, The (Miklos Jancso, Hungary, 1968)

41-50:
•300 (Zack Snyder, USA, 2007)
•Bellissima (Luchino Visconti, Italy, 1951)
•Big Deal on Madonna Street (Mario Monicelli, Italy, 1960)
•California Dreamin’/ Endless (Cristian Nemescu, Romania, 2007)
•Cantata (Miklos Jancso, Hungary, 1964)
•Cesar (Marcel Pagnol, France, 1936)
•Fanny (Marc Allegret, France, 1932)
•Generation, A/ Pokolenie (Andrzej Wajda, Poland, 1954)
•Go Master, The (Tian Zhuang Zhuang, China, 2006)
•Manon of the Spring (Claude Berri, France, 1986)

31-40:
•Ariel (Aki Kaurismaki, Finland, 1988)
•Funeral Parade of Roses (Toshio Matsumoto, Japan, 1969)
•Je T’aime, Je T’aime (Alain Resnais, France, 1968)
•Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, Belgium, 1976)
•Lola (Jacques Demy, France, 1961)
•Meshes of the Afternoon (Maya Deren & Alexander Hammid, USA, 1943)
•Perfect Day, A/ Naousse (Joanna Hadjithomas & Khalil Joreige, France/ Lebanon, 2006)
•Sicko (Michael Moore, USA, 2007)
•Thirty Two Short Films About Glenn Gould (Francois Girard, Canada, 1992)
•Through a Glass Darkly (Ingmar Bergman, Sweden, 1961)

21-30:
•4 Months 3 Weeks 2 Days (Cristian Mungiu, Romania, 2007)
•Cries and Whispers (Ingmar Bergman, Sweden, 1973)
•Days of Glory/ Indegénes (Rachid Bouchareb, Algeria/ France, 2006)
•Days of Heaven (Terrence Malick, USA, 1978)
•Letter from an Unknown Woman (Max Ophuls, USA, 1948)
•Quinceanera (Wash Westmoreland & Richard Glatzer, USA, 2006)
•Reservoir Dogs (Quentin Tarantino, USA, 1992)
•Science of Sleep, The (Michel Gondry, France/ Italy, 2006)
•Shadows (John Cassavettes, USA, 1959)
•Winter Light (Ingmar Bergman, Sweden, 1962)

11-20:
•4:30 (Royston Tan, Singapore, 2005)
•Celine and Julie Go Boating (Jacques Rivétte, France, 1974)
•Gubra (Yasmin Ahmad, Malaysia, 2005)
•India Song (Marguerite Duras, France, 1975)
•Not Here to be Loved (Stephane Brizzé, France, 2005)
•Notte, La (Michelangelo Antonioni, Italy/France, 1961)
•Once (John Carney, Ireland, 2007)
•Ossessione (Luchino Visconti, Italy, 1943)
•Scarecrow, The (Edward F. Cline & Buster Keaton, USA, 1920)
•Travelling Players/ O Thiassos (Theodoros Angelopoulos, Greece, 1975)

buset zer, dah pada kelar ditontonin divxnya?

ditunggu loh nomer 1-10nya

about classic movies again... thanks buat tanggapannya :)

Emang nonton film apa waktu itu?

gw ngga refer satu film klasik secara khusus sih... tapi ambil contoh aja ini deh (film semi klasik sih...):

2001 : A Space Odyssey -> OK beberapa bagian dari film gw suka; music score legendaris waktu sekelompok manusia prasejarah menemukan kubus hitam tersebut. Trus ke-stylish-an film ini, seperti Lizer bilang juga... Trus konsep supercomputer siapa tuh namanya lupa gw yg menemani para astronot dan akhirnya 'menciptakan; personality-nya sendiri.
Namun banyak adegan di film tersebut yang, IMHO, disyut terlalu lama dan melelahkan... sampai gw mikir... "hadooh... adegan ini kok ngga maju2 sih..."
Yah mungkin ada sesuatu yg harusnya bisa dipetik maknanya dari situ yg mana gw kelewatan sih... emang secara filmnya Kubrick rata-rata penuh adegan-adegan nyeni yg musti pake dimeditasikan dulu maknanya...

Hmm... ya... rasanya itu deh penyakit gw dalam nonton film klasik... kadang ngga sabaran. Gw inget juga pas nonton Gone With The Wind ama Breakfast at Tiffany's. Sering dalam film merasa bosan ama alurnya yang ngga maju2...
Damn! I wonder apa ini karena hasil doktrinasi Hollywood modern dimana semua dalam film serba fast-paced dan bombastis disajikan seperti fast-food ke meja kita ya...?? hehehe...

Hmm... dari movie n director list yang kalian sarankan, terus terang banyak yg masih asing buat gw... cuma yg udah gw sering denger beberapa kali adalah nama2 Godard, Truffaut, Orson Welles dengan Citizen Kane-nya (yg gw cari sampe sekarang blum dapet juga). Wah... perjuangan gw masih panjang nampaknya, hehehe...

lanjuuut.... ini beberapa film klasik yg pernah gw tonton... berikut very2 short and pathetic comment on each of them... :)

beberapa film klasik dan semi klasik yg pernah gw tonton antara lain:

Kubrick's Clockwork Orange - film aneh, tapi gw suka film aneh. :)
2001 : A Space Odyssey - agak bosan
Breakfast at Tiffany's - agak bosan, pas nyanyi Moonriver memorable banget tapi... =P
Gone With the Wind - agak bosan
Rear Window - Alfred Hitchcock - hmm... agak lupa, seinget gw sih bagus n bisa menikmati :)
Elephant Man - Anthony Hopkins - bagus, bisa menikmati.
Coppola's Godfather Trilogy - bagus, bisa menikmati karena ceritanya dan karakter2nya emang menarik.
Seven Samurai - Akira Kurosawa - All around good movie :)
Dog Day Afternoon - menikmati banget!!!, pertama kali juga lihat konsep perampok bank yg manusiawi, dan karena Al Pacino adalah salah satu aktor fav gw :)
Krzysztof Kieslowski's Trilogi Rogue-Bleu-Blanc (Red-Blue-White) -> gw tahu, ini tahun 90'an... tapi serasa klasik buat gw, hehehe... Terpesona secara teknis dan makna film (tapi maknanya itupun baru setelah dengerin komentar Kieslowski di feature DVD-nya)
George Lucas' THX 1138 - bingung, kadang bosan... (baru ngeh maksudnya setelah dengerin Lucas jelasin maksudnya di feature DVD-nya)
Coppola's Apocalypse Now - bagus, cukup menikmati.
Spielberg's E.T. The Extra Terrestrial -> suka, gw suka cara bercerita Spielberg n suka alien.
Spielberg's Close Encounter of the Third Kind -> suka... susah dijelasin, tapi gw tahu kalo film ini bagus :)
G30S-PKI :) - salah satu film Indonesia paling bagus, terlepas dari kebenaran sejarah dan propaganda anti PKI-nya.

nonton film begituan memang butuh mood & konsentrasi IMHO :)
mulai dulu aja dari hollywood classics terus lanjut ke foreign classics





btw hello temans ::bye2::
makin sepi aja forumnya?

nonton film begituan memang butuh mood & konsentrasi IMHO :)
mulai dulu aja dari hollywood classics terus lanjut ke foreign classics

kalo dulu gue malah kebalik, cinta film klasik gara2 The Seventh Seal aja. Justru nonton n beli yang Hollywood klasik baru akhir2 ini.

btw hello temans ::bye2::
makin sepi aja forumnya?

om cannibal si jarang nongol juga, hehehe

Hmm... ya... rasanya itu deh penyakit gw dalam nonton film klasik... kadang ngga sabaran. Gw inget juga pas nonton Gone With The Wind ama Breakfast at Tiffany's. Sering dalam film merasa bosan ama alurnya yang ngga maju2...
Damn! I wonder apa ini karena hasil doktrinasi Hollywood modern dimana semua dalam film serba fast-paced dan bombastis disajikan seperti fast-food ke meja kita ya...?? hehehe...

Nonton film klasik memang butuh penyesuaian, stelannya musti diatur sikit yah, dan memang harus sabar. Tapi gak usah kuatir dgn pace yg "lamban" karena memang produk dr jamannya sudah begitu, tinggal kita yg kudu ngebiasain aja. Yang mungkin perlu diinget, filmmaker jaman dulu membuat film dalam arti yg sesungguhnya, semua mengandalkan kekuatan akting, skrip, dialog, musik dll. (CGI effects? Forget about it!). It's about filmmaking in the truest sense of word. Coba keep this in mind. Kalo konsep ini udah bisa kita terima gue yakin kita akan lebih nyaman deh nontonnya.

Gak ada salahnya juga sering2 nonton film2 foreign utk nambah wawasan + melatih kesabaran, krn gue liat ada kesamaan dalam fokus ke storytelling, chatty dialog & tempo yg relatif alon2 itu tadi. Persis seperti yuki, awalnya gue ngulik film2 asing duluan baru pelan2 retrace my steps balik ke film2 klasik. Ternyata hal ini banyak menolong krn melatih kita jadi terbiasa & dgn demikian bisa lebih toleran dgn berbagai jenis film dan "keunikannya" masing2.

Terakhir... ini rada susah2 gampang, tapi ada baiknya kalo kita sejenak mau menyingkirkan dulu semua prejudice, terutama saat mantengin film klasik. Nikmati aja as it is, keep an open mind, surrender yourself completely, karena dgn begitu semua sistem di tubuh kita akan lebih receptive menerima segala hal baru (maksudnya, pencerahan), as opposed to you know, sibuk komplein kenapa begini kenapa begitu sepanjang durasi film, which can be pretty taxing in itself hehe...

Good luck & have fun! ::yeah::

btw hello temans ::bye2::
makin sepi aja forumnya?

Bung cannibal, lama tak basuo {:

Info, pemutaran film di Teater Utan Kayu Jakarta bulan ini:

Selasa-Kamis, 22-24 Januari 2008, 17:00 & 19:00 WIB

Pemutaran Film ERIC ROHMER: SIX MORAL TALES



Selasa, 22 Januari 2008

17:00 The Bakery Girl of Monceau (1962) & Suzanne's Career (1963)

19:00 My Night at Maud's (1969)



Rabu, 23 Januari 2008

17:00 La Collectionneuse (1967)

19:00 Claire's Knee (1970)



Kamis, 24 Januari 2008

17:00 Love in the Afternoon (1972)

19:00 Moral Tales, Filmic Issues: Barbet Schroeder Talks with Eric Rohmer (2006)



Di antara rekan-rekannya dari angkatan Nouvelle Vague (New Wave) Prancis—François Truffaut, Jean-Luc Godard, Jacques Rivette, Claude Chabrol—nama Eric Rohmer barangkali paling sedikit dikenal. Namun, karya-karya Rohmer adalah sebuah bab tersendiri dalam sejarah sinema Prancis—bahkan sinema dunia. Dengan pendekatan yang sangat subtil dan intim terhadap karakter, film-film Rohmer menilik dunia kejiwaan tokoh-tokohnya secara mendalam dan intens. Rohmer, yang mengawali karir hidupnya sebagai sastrawan, banyak menggunakan kekuatan dialog (maupun monolog interior) untuk menguakkan karakter dan drama yang mengikutinya. Dalam Six Contes Moraux (Six Moral Tales), melalui perjumpaan antara sejumlah tokoh lelaki dan perempuan, Rohmer menyoroti jarak yang sering terbentang samar antara perkataan dan perbuatan, benturan antara norma dan hasrat, antara pengharapan dan kejadian—semacam rangkaian variasi atas tema kepelikan konflik moral. Rohmer memperhadapkan karakter-karakterny a, yang bertindak berdasarkan kode moral tertentu, dengan sejumlah situasi yang menantang segenap kepastian yang mereka peluk, serta mengusik pelbagai ilusi yang (tanpa sadar) mereka junjung. Dengan dukungan sinematografi yang kuat oleh Nestor Almendros (kecuali pada dua film pertama), Six Moral Tales adalah serangkaian "film ide" sekaligus studi karakter yang tak lekang oleh waktu. Pada sesi terakhir akan diputar sebuah rekaman perbincangan antara Eric Rohmer dan Barbet Schroeder—sutradara ternama yang juga sering menjadi produser film-film Rohmer—tentang segi-segi artistik dan filosofis Six Moral Tales.

1-10:

•And Life Goes On… (Abbas Kiarostami, Iran, 1990)

Tahun baru 2005. Saat itu Aceh dan Sumatera Utara khususnya serta Indonesia pada umumnya sedang berkabung. Perayaan pesta menyambut pergantian tahun disarankan untuk dihindari. Berbagai acara digelar untuk mengenang korban-korban Tsunami, bahkan salah satu TV swasta menyajikan program khusus ‘Indonesia Menangis’. Tentu, siapa yang tidak sedih saat bencana alam menerjang dan kita, atau orang-orang terdekat kita yang menjadi korban.

Walaupun dibuat kurang lebih 15 tahun sebelumnya, Kiarostami menjawab kesedihan dengan ‘anti-menangis’. Sebuah daerah yang tertimpa gempa di wilayah Iran, dikunjungi seorang sutradara (beserta anaknya) untuk mencari aktor cilik yang pernah membintangi salah satu filmnya. Sepanjang perjalanan, yang terlihat hanyalah para penduduk yang optimis tanpa derai air mata. Bangunan yang hancur dibangun kembali, sisa-sisa reruntuhan dibersihkan, anak-anak di tenda pengungsian antusias menantikan pertandingan piala dunia lewat parabola, bahkan seorang pemuda tetap melangsungkan pernikahannya dua hari setelah gempa. Bagaikan sebuah pesan tanpa kesan menggurui.

•Burmese Harp, The (Kon Ichikawa, Japan, 1956)

Seandainya Ichikawa mengikuti Walt Disney dan mengejar karier di bidang animasi, tentunya tidak ada The Burmese Harp (DOH!!!::homer:: ). Sekitar dua puluh menit pertama, film ini tampak menjawab fantasi gila gue untuk menonton film drama perang bercampur musikal. Karena kelihatan agak konyol, gue langsung melenyapkan fantasi tersebut. Walaupun akhirnya menjawab bahwa ‘caplok-mencaplok’ lagu atau kebudayaan sudah terjadi sejak zaman silam. Sebuah lagu dengan melodi yang sama ternyata populer di kalangan tentara Inggris serta tentara Jepang dengan lirik dan judul yang berbeda. Analog dengan lagu Night Eyes kaum gipsy yang terkenal di masyarakat Sunda dengan Panon Hideung.

Seperti kata para VJ… ANYWAY…. Kekuatan film ini terdapat pada tema anti-perang yang diusung dengan lugas. Saat mayat-mayat tentara Jepang bergeletakan di penjuru Burma (sekarang Myanmar, DOH!!! ::homer:: lagi), seorang prajurit tergerak untuk tinggal, menjadi biksu (walau awalnya hanya berniat untuk menyamar), dan bersumpah untuk tinggal dan membaktikan dirinya demi kemanusiaan, walau beresiko berpisah dengan kehidupannya yang lama termasuk keluarga dan rekan-rekan prajuritnya.

Gue nggak begitu paham dengan konsep Buddha atau sejenisnya, tetapi mengekor kesuksesan All Quiet on the Western Front karya Lewis Milestone, atau film-film bergenre serupa dengan tema anti perang, Ichikawa telah melahirkan mahakarya yang menunjukkan keindahan menjadi seorang ‘manusia’ di tengah-tengah kehidupan yang brutal dan tak kenal ampun.

•Death of Mr. Lazarescu, The (Cristi Puiu, Romania, 2005)

•Mother and Son (Aleksandr Sokurov, Russia, 1997)

Saat menonton Father & Son untuk pertama kalinya, gue merasa terpesona dengan keindahan & konsepnya yang lain daripada yang lain. Seperti menikmati lukisan bergerak. Beberapa penonton di teater tempat berlangsungnya pemutaran walk-out begitu saja. Mungkin mereka tidak mengerti. Mungkin mereka mengharapkan plot. Sayang sekali keindahan yang dapat dinikmati dengan cuma-cuma (waktu itu pemutaran gratis) dilewatkan begitu saja.

Begitupula dengan pendahulunya, Mother & Son. Seorang anak merawat ibunya yang sedang sakit. Tak banyak kata yang diucapkan. Justru penonton disuguhi kenikmatan pemandangan alam atau rumah yang terinspirasi karya-karya seni periode Russia-romantik. Ditambah bunyi hembusan angin, kicauan burung, dan dedaunan yang bergemerisik. Puisi visual. Itulah ungkapan yang paling tepat.

Gue tidak berharap penonton yang lain ikut memahami. Karena ini adalah kenikmatan pribadi antara gue dengan dunia ciptaan Sokurov.

•Persona (Ingmar Bergman, Sweden, 1966)

Ada apa dengan dekade tahun enampuluhan? Setelah kehilangan selera dengan Fanny and Alexander dan karya-karyanya dari tahun limapuluhan, gue tidak berharap lagi untuk dapat menyukai Bergman. Dan menyeruaklah Persona ke hadapan gue.

Bagi penentang ide-ide anti Tuhan dan nihilistik, Persona dapat menjadi salah satu pilihan. Apalagi bagi seseorang yang mudah dirayu dengan gambar-gambar indah tanpa CGI. Menit-menit pertama kita disuguhkan potongan-potongan gambar yang bersifat eksperimental, tanpa cerita, cepat, hingga kisah sebenarnya dimulai. Tapi tunggu, apakah potongan-potongan gambar yang mirip potongan sampah film di ruang editing yang disambung-sambung itu merupakan bagian dari cerita?

Alma, seorang perawat, menjaga Elisabeth Vogler, aktris panggung yang tiba-tiba berhenti berbicara. Interaksi terjalin di antara mereka. Adegan yang paling diingat mungkin adalah ketika Alma menceritakan pengalaman (atau fantasi?) seksualnya di hadapan Vogler. Atau saat Sven Nykvist merekam wajah Alma secara close-up saat ia ‘menceramahi’ Vogler tanpa putus, kemudian adegan diulang lagi namun kini kamera menghadap ke Vogler dengan ekspresinya yang berubah-ubah. Hingga kedua wajah mereka bersatu.

Mungkin review ini terlalu superfisial. Tetapi selalu ada sisi Bergman untuk setiap orang, tanpa harus ikut-ikutan menjadi ‘penyembah’-nya.


•Phantom Carriage, The/ Körkalen (Victor Sjöström, Sweden, 1921)

Setelah terbiasa dengan karya-karya maestro film bisu Jerman, gue berharap sesuatu yang ‘besar’ pada salah satu film favorit Ingmar Bergman ini. Daya tariknya adalah pada kelihaian Sjöström dalam menggabungkan cerita drama-fantasi ala Christmas Carol yang kuat, alur yang maju mundur (bahkan terdapat flashback di dalam flashback), spesial efek yang mencengangkan (lihat teknik pemaparan ganda yang dipakai untuk menghadirkan efek ‘hantu’), serta akting yang kuat namun tidak berlebihan seperti Emil Jennings (aktor film bisu dari Jerman). Sampai di akhir film, kita tak mampu untuk tidak memaafkan si protagonis yang awalnya adalah seorang pemabuk (diperankan oleh Sjöström sendiri).

Jadi mikir-mikir lagi, karena melihat beberapa persamaan antara Citizen Kane dengan Phantom Carriage (keduanya memakai teknik yang tidak biasa pada zamannya, memakai alur maju-mundur, serta si sutradara yang sekaligus memerankan tokoh utama dengan baik), seharusnya pujian dari Kane yang berlebihan banyak tertumpah pada Phantom yang underrated.

•Rope (Alfred Hitchcok, USA, 1948)

Seperti kedua protagonis yang berambisi memamerkan kecerdikan mereka dalam menutupi pembunuhan yang baru saja mereka lakukan, Hitchcock juga berniat pamer dengan menunjukkan kecerdikannya untuk merekam keseluruhan adegan dalam film ini dalam satu kali ambil saja. Namun karena teknologi yang belum memadai, niat itu terpaksa harus kandas.

Walaupun terbagi-bagi dalam long shot yang tentunya sangat meletihkan bagi para kru dan aktor, Rope pun sudah cukup memukau. Ketegangan naik turun saat pelan-pelan aksi itu berpotensi untuk terungkap. Tak hanya itu, akting para pemain serta detil cara penceritaan Hitchcock yang khas membuat film ini menjadi magnet untuk ditonton, dan diperhatikan, lagi, dan lagi.

•Landscape In The Mist (Theodoros Angelopoulos, Greece/ France/ Italy, 1988)
•Ulysses’ Gaze (Theodoros Angelopoulos, Greece/ France/ Italy, 1995)
•Trilogy: The Weeping Meadow (Theodoros Angelopoulos, Greece/ France/ Italy, 2004)

Sebagian penonton menyukai film karena cerita yang memberi inspirasi, atau dialog yang super keren sehingga dapat dikutip di sana-sini, sampai spesial efek yang membawa film ke suatu level tertentu. But if you haven’t seen Angelopoulos, you’ve seen nothing yet. The master of landscape. Berkat kerjasama dengan sinematografer yang setia, Yorgos Arvanitis, serta ditemani alunan musik gubahan Eleni Karaindrou, Angelopoulos berhasil mengubah alam dingin Yunani Utara/ Balkan yang jauh dari kesan eksotis ala Santorini, menjadi pemandangan yang indah dinikmati. Siapa yang dapat melupakan kumpulan massa yang diam dan menengadah saat turunnya hujan salju dengan dua anak kecil yang berlarian di antaranya (Landscape In The Mist), seorang ibu yang diturunkan dari taksi di tengah-tengah jalan yang sepi di Albania (Ulysses’ Gaze), serta sampan-sampan yang berlayar mengangkut keluarga di antara atap-atap rumah yang terendam banjir (Trilogy: The Weeping Meadow).

Sebenarnya gue juga menyukai Travelling Players, tetapi berhubung film itu diangkat dari hikayat Yunani yang tidak gue mengerti, terpaksa tidak berhasil menembus TOP 10.

THE END

Nice list Zer, love the variety choices.

List gue ni, which I'm sure I didn't watch movies as much as LIZER, so I think i'l do the 50.

Honorable Mentions mean movies I kinda enjoy, but not good enough to be considered as favorite.

The Barefoot Contessa (Joseph L. Mankiewicz)
Kala (Joko Anwar)
Once (John Carney), film yang mudah dicintai dan dinikmati mostly karena musiknya.
Hairspray the remake
Berbagi Suami (Dinata)
GIE (Riza)
Gang's All Here (Busby Berkeley)
Scum (Alan Clarke)
Scorpio Rising (Kenneth Anger)
Another Woman (Woody Allen)
Sleeping Dogs Lie (Bobcat Goldthwait)
White Balloon (Jafar Panahi)
Find Me Guilty (Lumet)
My Brilliant Career (Gillian Anderson)
Pierrot Le Fou (Godard)


Worst films seen in 2007
Coklat Stroberi
Get Married
Havoc
Wedding Crasher (David Dobkin, USA, 2004)
Wild Tigers I Have Known (Cam Archer, USA, 2006)
Nagabonar 2
Koper
Little Miss Sunshine



Top 50
1-10
Ace in the Hole aka The Big Carnival (Billy Wilder, USA, 1951)
The bitterest of the bitter cynicism from Wilder, my favorite of him too.

Edvard Munch (Peter Watkins, United Kingdom/Norway, 1976)
http://www.wsws.org/articles/2006/mar2006/mnch-j25.jpg
Edvard Munch surely is my favorite movie about painter. It has a documentary style with a unique storytelling, especially the voice over or the dialogues played behind the story which don't synchronize with the pictures appear. We are invited to the sick and creative Munch all at once, and Watkins effort to this film is as engaging as Munch's paintings. You at least know his famous painting titled The Scream.
http://www.popartuk.com/g/l/lggn0377+scream-by-edvard-munch-poster.jpg

Husbands (John Cassavetes, USA, 1970)
Walau dibuat dengan uang dari studio Hollywood, Husbands teteup punya ciri khas nya Cassavetes--karakter2 yang tidak akan mudah kita sukai karena penampilan dan tingkah lakunya, diakhiri dengan sedikit perubahan di diri mereka sebagai aksi redemption.

Husbands menceritakan tentang kehidupan 3 orang sahabat yang terdiri dari pria-pria setengah baya (one of them is played by John, and the other two by his loyal collaborators Peter Falk and Ben Gazzara) setelah kematian seorang sahabat mereka yang lain. Kesedihan mereka disembunyikan dengan pelarian mereka ke hal-hal gila yang mungkin mereka lakukan dulu semasa muda. Kita akan melihat bahwa pendapat "a man is just a boy with bigger body" terasa bener banget.


Flavour of Green Tea over Rice / Ochazuka no Aji (Yasujiro Ozu, Japan, 1952)
Meshi / Repast (Mikio Naruse, Japan, 1951)
http://www.hkmania.com/dvd/Images/ef/flavorofgreenteaoverrice_4.jpg
http://www.fdk-berlin.de/typo3temp/pics/c57ebb4de3.jpg
Gue menaruhnya side by side karena emang 2 film ini punya kemiripan. Keduanya bercerita tentang kebosanan istri terhadap suaminya, atau bahasa kerennya adalah kompleksnya hidup berumah tangga. Bosen karena rutinitas sebagai ibu rumah tangga, ga punya anak, serta ngeliat temen2nya yang masi pada blom kawin bisa berkeliaran bebas. Yang membedakan adalah, filmnya Ozu lebih subtle dalam mengungkap cerita lewat dialog karakter2nya, sedangkan karakter2 di filmnya Naruse lebih berani bicara blak-blakan kalo mengungkapkan perasaan kesel mereka.

The Apple / Sib (Samira Makhmalbaf, Iran, 1999)
Make Way for Tomorrow (Leo McCarey, USA, 1937)
http://www.readseries.com/joslaw/tomort1x-sm.jpg
Salah satu film terbaik dengan tema Plight of the Elder. Jean Renoir once famously said that Leo McCarey understood people better than anyone in Hollywood. And he was right. McCarey’s understanding of the way people behave around one another, the little shows they put on for themselves and for those they love, the stories they tell themselves, is so precise and complete that it can take your breath away. Beulah Bondi at her 40s, is very convincing playing a 70ish year old granny. A truly gem from 1930s.

Abigail's Party (Mike Leigh, United Kingdom, 1977)
http://people.bu.edu/rcarney/leigh/images/abigailb&w.jpg
Diadaptasi dari sebuah play, Abigail's Party bersetting cuman di satu lokasi saja, yaitu di ruang tamu pasangan Beverly dan Lawrence yang sedang mengadakan pesta kecil dengan mengundang tetangga2 sekitar. Alih-alih menjadi pesta yang menyenangkan, malahan menjadi ajang pamer dan mencari perhatian bagi beverly yang keliatan eneg banget sama si suaminya Lawrence yang punya dead-end job, dan badan lebih pendek dari Beverley.

Beverley (sama seperti karakter lain di film ini) ga berusaha untuk menyembunyikan perasaan aslinya, dia tau apa yang dia lakukan, dan means what she says, in other words she is completely and utterly sincere. No reality lurking in the depths, then the comedy shown up is funny and great because it doesn't rely on one's expense. A quote from the movie i love very much, 'Lawrence, I like Demis Rousos, Tony likes Demis Rousos, Ange likes Demis Rousos, and Sue would like to hear Demis Rousos, so please, do you think we could have Demis Rousos on?!


Rock Hudson's Home Movies (Mark Rappaport, USA, 1993)
http://i.imdb.com/Photos/Mptv/1020/0067-0023.jpg
The premise is many people claims they know Rock Hudson was gay from his movies. In fact
it is not widely revealed until his dead in the 80s. So, Rappaport tries to compile collages from many Rock Hudson's movies defining he is a gay obviously.

Narrated by Rappaport himself, the movie is one of the most hilarious movie these eyes ever to watch. No wonder i've read somewhere stated that Mark Rappaport is the best-kept secret in American film. More hilarious than the Coen brothers, weirder than Hal Hartley, deeper than Woody Allen, and more deadpan than Steven Wright, he is one of America's most original and unclassifiable comic geniuses.
http://i7.photobucket.com/albums/y254/notyrgurl2002/stuff/rock-hudson.jpg


Landscape in the Mist / Topio Stin Omichli (Theo Angelopoulos, Greece, 1988)
Angelopoulos surely doesn't need dialogues to unfold his stories.


11-20:
Bara no Soretsu (Toshio Matsumoto, Japan, 1969)
Battle of Algiers (Gillo Pontecorvo, Italy/Algiers, 1967)
I Fidanzati (Ermanno Olmi, Italy, 1964)
Indian Runner (Sean Penn, USA, 1991)
Soy Cuba (Mikhail Kalatozov, Cuba/Russia, 1964)
Les Bonnes Femmes (Claude Chabrol, France, 1961)
A Place in the Sun (George Stevens, USA, 1951)
Le Souffle au Coeur / Murmur of the Heart (Louis Malle, France, 1972)
Padre Padrone (Taviani Brothers, Italy, 1977)
Belissima (Luchino Visconti, Italy, 1951)

21-30:
Distant Voices, Still Lives (Terrence Davies, United Kingdom, 1988)
http://blogs.guardian.co.uk/film/distant3.jpg
Minnie & Moskowitz (John Cassavetes, USA, 1972)
Baby Doll (Elia Kazan, USA, 1956)
Catarina va a Citta / Catarina in a Big City (Paolo Virzi, Italy, )
Black Book (Paul Verhoeven, Netherland, 2006)
Written on the Wind (Douglas Sirk, USA, 1956)
Stromboli (Roberto Rossellini, Italy, 1949)
Le Notti Bianche (Luchino Visconti, Italy, 1957)
Through a Glass Darkly / Sasom i e Spegel (Ingmar Bergman, Sweden, 1961)
Leopard, The / Il Gattopardo (Luchino Visconti, Italy, 1963)

31-40:
Subarnarekha / The Golden Thread (Ritwik Ghatak, India, 1965)
A Geisha / Gion Bayashi (Kenji Mizoguchi, Japan, 1953)
Masculin Feminin (Jean-luc Godard, France, 1966)
Bobby (Emilio Estevez, USA, 2006)
The Searchers (John Ford, USA, 1956)
Seventh Victim (Mark Robson, USA, 1943)
http://www.thecolumnists.com/miller/miller80art5.jpg
The Big Sleep (Howard Hawks, USA, 1946)
Will Success Spoil Rock Hunter (Frank Tashlin, USA, 1957)
http://www.nndb.com/people/856/000031763/j-mansfield.jpg
If sarcams feels bitter in Wilder's, it's hilarious in Tashlin. Mansfield doesn't get recognized as much as Monroe, but surely she's one of the hottie of the 50s.
Earrings of Madame De... (Max Ophuls, France, 1953)
You Can't Take It With You (Frank Capra, USA, 1938)

41-50:
Flaming Creatures (Jack Smith, USA, 1963)
http://www.sensesofcinema.com/images/21/cteq/flaming.jpg
Ginger e Fred (Federico Fellini, Italy, 1985)
House is Black (Forrough Farrokhzad, Iran, 1962)
Record of a Tenement Gentlemen (Yasujiro Ozu, Japan, 1947)
Nagareru / Flowing (Mikio Naruse, Japan, 1956)
Rebel without a Cause (Nicholas Ray, USA, 1955)
Breaking The Waves (Lars von Trier, Denmark, , 1996)
Ask the Dust (Robert Towne, USA, 2006)
Killer of Sheep (Charles Burnett, USA, 1978)
The Simpsons - The Movie (David Silverman, USA, 2007)

Cahiers du cinema: 100 most beautiful films in the world

Cult French film magazine Cahiers du cinema has published the list of the 100 most beautiful films in the world. Here they are:

Citizen Kane - Orson Welles
The Night of the Hunter - Charles Laughton
The Rules of the Game (La Règle du jeu) - Jean Renoir
Sunrise: A Song of Two Humans (L’Aurore) - Friedrich Wilhelm Murnau
L’Atalante - Jean Vigo
M - Fritz Lang
Singin’ in the Rain - Stanley Donen & Gene Kelly
Vertigo - Alfred Hitchcock
Children of Paradise (Les Enfants du Paradis) - Marcel Carné
The Searchers - John Ford
Greed - Erich von Stroheim
Rio Bravo - Howard Hawkes
To Be or Not to Be - Ernst Lubitsch
Tokyo Story - Yasujiro Ozu
Contempt (Le Mépris) - Jean-Luc Godard
Tales of Ugetsu (Ugetsu monogatari) - Kenji Mizoguchi
City Lights - Charlie Chaplin
The General - Buster Keaton
Nosferatu the Vampire - Friedrich Wilhelm Murnau
The Music Room - Satyajit Ray
Freaks - Tod Browning
Johnny Guitar - Nicholas Ray
The Mother and the Whore (La Maman et la Putain) - Jean Eustache
The Great Dictator - Charlie Chaplin
The Leopard (Le Guépard) - Luchino Visconti
Hiroshima, My Love - Alain Resnais
The Box of Pandora (Loulou) - Georg Wilhelm Pabst
North by Northwest - Alfred Hitchcock
Pickpocket - Robert Bresson
Golden Helmet (Casque d’or) - Jacques Becker
The Barefoot Contessa - Joseph Mankiewitz
Moonfleet - Fritz Lang
Diamond Earrings (Madame de…) - Max Ophüls
Pleasure - Max Ophüls
The Deer Hunter - Michael Cimino
The Adventure - Michelangelo Antonioni
Battleship Potemkin - Sergei M. Eisenstein
Notorious - Alfred Hitchcock
Ivan the Terrible - Sergei M. Eisenstein
The Godfather - Francis Ford Coppola
Touch of Evil - Orson Welles
The Wind - Victor Sjöström
2001: A Space Odyssey - Stanley Kubrick
Fanny and Alexander - Ingmar Bergman
The Crowd - King Vidor
8 1/2 - Federico Fellini
La Jetée - Chris Marker
Pierrot le Fou - Jean-Luc Godard
Confessions of a Cheat (Le Roman d’un tricheur) - Sacha Guitry
Amarcord - Federico Fellini
Beauty and the Beast (La Belle et la Bête) - Jean Cocteau
Some Like It Hot - Billy Wilder
Some Came Running - Vincente Minnelli
Gertrud - Carl Theodor Dreyer
King Kong - Ernst Shoedsack & Merian J. Cooper
Laura - Otto Preminger
The Seven Samurai - Akira Kurosawa
The 400 Blows - François Truffaut
La Dolce Vita - Federico Fellini
The Dead - John Huston
Trouble in Paradise - Ernst Lubitsch
It’s a Wonderful Life - Frank Capra
Monsieur Verdoux - Charlie Chaplin
The Passion of Joan of Arc - Carl Theodor Dreyer
À bout de souffle - Jean-Luc Godard
Apocalypse Now - Francis Ford Coppola
Barry Lyndon - Stanley Kubrick
La Grande Illusion - Jean Renoir
Intolerance - David Wark Griffith
A Day in the Country (Partie de campagne) - Jean Renoir
Playtime - Jacques Tati
Rome, Open City - Roberto Rossellini
Livia (Senso) - Luchino Visconti
Modern Times - Charlie Chaplin
Van Gogh - Maurice Pialat
An Affair to Remember - Leo McCarey
Andrei Rublev - Andrei Tarkovsky
The Scarlet Empress - Joseph von Sternberg
Sansho the Bailiff - Kenji Mizoguchi
Talk to Her - Pedro Almodóvar
The Party - Blake Edwards
Tabu - Friedrich Wilhelm Murnau
The Bandwagon - Vincente Minnelli
A Star Is Born - George Cukor
Mr. Hulot’s Holiday - Jacques Tati
America, America - Elia Kazan
El - Luis Buñuel
Kiss Me Deadly - Robert Aldrich
Once Upon a Time in America - Sergio Leone
Daybreak (Le Jour se lève) - Marcel Carné
Letter from an Unknown Woman - Max Ophüls
Lola - Jacques Demy
Manhattan - Woody Allen
Mulholland Dr. - David Lynch
My Night at Maud’s (Ma nuit chez Maud) - Eric Rohmer
Night and Fog (Nuit et Brouillard) - Alain Resnais
The Gold Rush - Charlie Chaplin
Scarface - Howard Hawks
Bicycle Thieves - Vittorio de Sica
Napoléon - Abel Gance

Wah thread ini makin kemari referesinya makin berat yah ::hihi::
Makin susah keep up euy huhu...

Tapi teteuup, lanjutkan lanjutkan! ::up::

Kriteria 'Beautiful' menurut mereka apa ya? Kayaknya cuma akal-akalan jargon, yang ujung-ujungnya untuk buat TOP 100.

Mbelok dikit,

Info aja, bagi yang di rumah ada channel HBO Signature, besok mlm jam 9 ada "Inland Empire"-nya David Lynch.

Asik, akhirnya bisa nonton juga. Ajaib jg neh HBO ::bentar2:

Terimakasih info-nya.

HBO Signature lumayan kok. Gue nonton Rize-nya David LaChapelle & Last Days-nya Gus Van Sant di channel ini.

ih gue nunggu banget loh kapan TCM alias Turner Classic Movie channel merambah tv berlangganan, itulah saat gue bakal daftar deh.

Dulu di tahun 90an, sebelum invasi TV kabel dan orang masih sebebas-bebasnya masang parabola, pernah ada TCM (tapi dulu masih TNT namanya), gantian dengan Cartoon Network kalo pagi-sore.

Tapi mana minat dulu dengan film 'kuno', 'hitam putih', dan 'akting gak natural yang seperti ngebaca teks'

Inspirational thoughts from Andrei Tarkovsky on Film School, taken from his book Sculpting in Time (great read)

"What is important to the education of a filmmaker is not a matter learning a set of skills and techniques, but having a vital, passionate need to express something unique and personal. Above all, the student has to understand why he wants to become a filmmaker rather than work in some other art form and he has to ponder what he wants to say in film's unique form of expression.

"In recent years I have met more and more young people who go to film school to prepare themselves to do "what they have to do" (as they say in Russia) or "to make a living" (as they say in Europe and America). This is tragic. Learning to use the equipment and edit a movie is child's play; anyone can learn that without half-trying. But learning how to think independently, learning how to be an individual, is entirely different from learning "how to do" something. Learning how to say something unique and different is a skill that no one can force you to master. And to go down that path is to shoulder a burden that is not merely difficult, but at times impossible to bear. But there is no other way to become an artist. You have to go for broke. You must risk everything in your quest to express a personal truth. It must be all or nothing.

"The man who has stolen in order never to thieve again is forever a thief. Nobody who has once betrayed his principles can have a pure relationship with life ever again. When a filmmaker says he will try to please people - relatives, friends, teachers, or reviewers -- this time in order to get a degree or earn the money to make the film of his dreams the next time, he is lying to you, or even worse, lying to himself. Once he heads down the path of deceit he will never be capable of making a real film."

--Andrei Tarkovsky, Sculpting in Time, p. 124

Werner Herzog also on Film School

"I personally don't believe in the kind of film schools you find all over the world today. I never worked as another filmmaker's assistant and I never had any formal training. My early films come from my very deepest commitment to what I was doing, what I felt I had no choice but to do, and as such they are totally unconnected to what was going on at the film schools - and cinemas - of the time. It's my strong autodidactic streak and my faith in my own work that have kept me going for more than forty years.

"A pianist is made in childhood, a filmmaker at any age. I say this only because physically, in order to play the piano well, the body needs to be conditioned from a very early age. Real musicians have an innate feel for all music and all instruments, something that can be instilled only at an early age. Of course it's possible to learn to play the piano as an adult, but the intuitive qualities needed just won't be there. As a young filmmaker I just read in an encyclopedia the fifteen or so pages on filmmaking. Everything I needed to get myself started came from this book. It has always seemed to me that almost everything you are forced to learn at school you forget in a couple of years. But the things you set out to learn yourself in order to quench a thirst, these are things you never forget. It was a vital early lesson for me, realising that the knowledge gleaned from a book will suffice for the first week on the set, which is all the time needed to learn everything you need to know as a filmmaker. To this very day the technical knowledge I have is relatively rudimentary. But if there are things that seem too complicated, experiment; if you still can't master them, hire a technician.

"Filmmaking is a more vulnerable journey than most other creative ventures. When you are a sculptor you have only one obstacle - a lump of rock - which you chisel away on. But filmmaking involves organisation and money and technology, things like that. You might get the best shot of your life but if the lab mixes the developing solution wrongly then your shot is gone forever. You can build a ship, cast 5000 extras and plan a scene with your leading actors, and in the morning one of them has a stomach ache and can't go on set. These things happen, everything is interwoven and interlinked, and if one element doesn't function properly then the whole venture is prone to collapse. Filmmakers should be taught about how things will go wrong, about how to deal with these problems, how to handle a crew that is getting out of hand, how to handle a producing partner who won't pay up or a distributor who won't advertise properly, things like this. People who keep moaning about these kinds of problems aren't really suited for this line of business.

"And, vitally, aspiring filmmakers have to be taught that sometimes the only way of overcoming problems involves real physicality. Many great filmmakers have been astonishingly physical, athletic people. A much higher percentage than writers or musicians. Actually, for some time now I have given some thought to opening a film school. But if I did start one up you would only be allowed to fill out an application form after you have walked alone on foot, let's say from Madrid to Kiev, a distance of about five thousand kilometres. While walking, write. Write about your experiences and give me your notebooks. I would be able to tell who had really walked the distance and who had not. While you are walking you would learn much more about filmmaking and what it truly involves than you ever would sitting in a classroom. During your voyage you will learn more about what your future holds than in five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. It is the very opposite of passion."

ih gue nunggu banget loh kapan TCM alias Turner Classic Movie channel merambah tv berlangganan, itulah saat gue bakal daftar deh.
Ini bukannya ada yah di Kabelvision ?
Kalo gak salah.

Werner Herzog also on Film School

"I personally don't believe in the kind of film schools you find all over the world today. I never worked as another filmmaker's assistant and I never had any formal training. My early films come from my very deepest commitment to what I was doing, what I felt I had no choice but to do, and as such they are totally unconnected to what was going on at the film schools - and cinemas - of the time. It's my strong autodidactic streak and my faith in my own work that have kept me going for more than forty years.

"A pianist is made in childhood, a filmmaker at any age. I say this only because physically, in order to play the piano well, the body needs to be conditioned from a very early age. Real musicians have an innate feel for all music and all instruments, something that can be instilled only at an early age. Of course it's possible to learn to play the piano as an adult, but the intuitive qualities needed just won't be there. As a young filmmaker I just read in an encyclopedia the fifteen or so pages on filmmaking. Everything I needed to get myself started came from this book. It has always seemed to me that almost everything you are forced to learn at school you forget in a couple of years. But the things you set out to learn yourself in order to quench a thirst, these are things you never forget. It was a vital early lesson for me, realising that the knowledge gleaned from a book will suffice for the first week on the set, which is all the time needed to learn everything you need to know as a filmmaker. To this very day the technical knowledge I have is relatively rudimentary. But if there are things that seem too complicated, experiment; if you still can't master them, hire a technician.

"Filmmaking is a more vulnerable journey than most other creative ventures. When you are a sculptor you have only one obstacle - a lump of rock - which you chisel away on. But filmmaking involves organisation and money and technology, things like that. You might get the best shot of your life but if the lab mixes the developing solution wrongly then your shot is gone forever. You can build a ship, cast 5000 extras and plan a scene with your leading actors, and in the morning one of them has a stomach ache and can't go on set. These things happen, everything is interwoven and interlinked, and if one element doesn't function properly then the whole venture is prone to collapse. Filmmakers should be taught about how things will go wrong, about how to deal with these problems, how to handle a crew that is getting out of hand, how to handle a producing partner who won't pay up or a distributor who won't advertise properly, things like this. People who keep moaning about these kinds of problems aren't really suited for this line of business.

"And, vitally, aspiring filmmakers have to be taught that sometimes the only way of overcoming problems involves real physicality. Many great filmmakers have been astonishingly physical, athletic people. A much higher percentage than writers or musicians. Actually, for some time now I have given some thought to opening a film school. But if I did start one up you would only be allowed to fill out an application form after you have walked alone on foot, let's say from Madrid to Kiev, a distance of about five thousand kilometres. While walking, write. Write about your experiences and give me your notebooks. I would be able to tell who had really walked the distance and who had not. While you are walking you would learn much more about filmmaking and what it truly involves than you ever would sitting in a classroom. During your voyage you will learn more about what your future holds than in five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. It is the very opposite of passion."

gak perduli loe lulusan sekolah film atau cuma otodidak, coz whatever works is right :D

Jadi ingat Art School Confidential.

Tapi zaman sekarang di Perguruan tinggi/ akademi yang bertaraf Internasional memang diterapkan sistem belajar mandiri, kan? Jurusan apapun. Dosen bukan lagi satu-satunya pemberi ilmu tapi lebih ke arah fasilitator/ mentor. Mahasiswanya yang harus lebih kreatif & sudah punya dasar, bakat, serta minat yang tinggi terhadap bidang yang dipilihnya.

Begitupula sekolah film, yang cuma jadi fasilitas pengembang bakat sekaligus nambah temen untuk tuker2an inspirasi/ ide, berbagi ilmu, serta nambah koneksi orang2 di industri perfilman untuk 'jual diri'. Itu kalo otak bisnisnya jalan. Belajar teknik bukannya bisa belajar sendiri?

ee... gw dah nonton remakenya, emang bener shot by shot ya? soalnya ending jg ga hollywood kok :D

gw taro disini aja ya drpada buat thread baru. filmnya jg msh maret taun dpn

eniwei, ada yg mau ngomentarin remake film ini? ::doh::

http://i266.photobucket.com/albums/ii275/mikuki_cookies/funny-games-poster.jpg

wong udh masterpiece kok msh diremake jg yaaaaaaaa ::bosen:: remake almost shot by shot lg ktnya. what's the point geto loh? ::bosen::

ato mgkn michael haneke pengen jd kyk george sluizer ::bentar2:

Gile... resurected from the dead.

Sorry, a brainless post.

Dumbo (Ben Sharpsteen, 1941)

http://photos-e.ak.fbcdn.net/hphotos-ak-snc1/hs084.snc1/4775_1161595036766_1134524411_485444_4164333_a.jpg

8/10

To sum it up, I went into viewing Dumbo with a bit of a cynical attitude. I ended the film feeling deeply moved by the whole experience . . . and I'll admit that it made me want to go give my mom a big hug afterwards. As I said earlier, I feel horrible for having ignored this little jewel for so long. It's a brief, but very satisfying movie that works on all levels. Its definitely found its place near the top of my 10 favorite animated classics.

Semua yang ada di film ini lebih sederhana dari 3 film animasi Disney yang dirilis sebelumnya. Cerita inti dari Dumbo berkisar di seputar seekor gajah kecil yang tidak diterima oleh gajah-gajah senior dalam suatu sirkus. Terlebih lagi setelah ibu Dumbo dikerangkeng karna "outraged" setelah mencoba melindungi Dumbo dari anak-anak usil. The little Dumbo is dying to reunite with his mother. Film ini cocok ditonton oleh seluruh anggota keluarga, karna banyak pesan moral yang menggugah hati terutama untuk anak-anak. Love thy mother and family, jangan pilih2 teman (even the racial issue drawn visibly here), gapai cita2mu melewati semua rintangan, dan terakhir yakin kalo diri kamu emang spesial.

Animasi dan background dalam film ini bisa dibilang lebih mundur dalam hal detail dibanding Snow White, Pinocchio atau Fantasia. But I think that's a big part of its charm - it does have a resonance with a child's uncluttered mind and is realized without any complications.

There are many touching moments - specifically a heartbreaking scene where Dumbo goes to visit his caged mother. The emotion from these parts is so admirable, as there is no dialogue. It's just power coming from the pure animation. I found it astounding.

There's an incredibly abstract, bizarre segment called "Pink Elephants on Parade" that made my jaw drop. Banyak yang bilang segment ini dibuat oleh German's great animator Oskar Fischinger (which some of his films I adore very much) just like Fantasia. Truly one of the best movie sequence in cinema history. Walau rada merusak alur sederhana film ini, tapi siapa yang bisa nyalahin, karna it's really such an incredible piece to watch.

I love Dumbo!!
Betul, meskipun tanpa dialog dan sebatas mengolah ekspresi si anak & ibunya, adegan caged mother itu memang truly, emotionally, one of the most heart wrenching ever. Trenyuh, karena persis seperti yg dirasakan Dumbo, we too are powerless to help the kind, caring, poor mother elephant from dying... menyentuh karena disitu terjalin kaitan emosi antara kita dan si tokoh utama, in that we actually root for little Dumbo and want him to pull through and just to be happy like always... boleh jadi karena adegan diatas Dumbo bukan animasi Disney yang bisa saya tonton ulang2 seperti Jungle Book, Pinocchio atau girlie Cinderella pun... kasusnya hampir mirip sih dgn animasi Grave of the Fireflies; agak wanti2 setiap mau nonton specifically krn tone-nya yg rada somber itu... ini enggak bermaksud mendiskredikan filmnya tapi lebih ke gimana saya sebagai penonton (waktu itu masih cah cilik gemblung) dealing dengan tema2 yg saya kurang gitu familiar. In fact it makes me depressed just thinking about it. I agree however, that it IS a great piece of cinema and I'd give Dumbo the highest, elephantine recommendation: 10/10.

ah Dumbo. gw ga pernah mau ntn ulang film ini karena moodnya ga enak. Tapi dengan begitu berarti film ini sukses.

thx for Bang Inert n Bang Redsharkz for the endorsementnya buat Dumbo juga...

Eh iya ada yang udah kelarin Six Moral Tales-nya Erich Rohmer???

banyak info mantab di sini. koleksi dvdnya juga baru liat... salut deh!

Dumbo (Ben Sharpsteen, 1941)

http://photos-e.ak.fbcdn.net/hphotos-ak-snc1/hs084.snc1/4775_1161595036766_1134524411_485444_4164333_a.jpg

8/10

To sum it up, I went into viewing Dumbo with a bit of a cynical attitude. I ended the film feeling deeply moved by the whole experience . . . and I'll admit that it made me want to go give my mom a big hug afterwards. As I said earlier, I feel horrible for having ignored this little jewel for so long. It's a brief, but very satisfying movie that works on all levels. Its definitely found its place near the top of my 10 favorite animated classics.

Semua yang ada di film ini lebih sederhana dari 3 film animasi Disney yang dirilis sebelumnya. Cerita inti dari Dumbo berkisar di seputar seekor gajah kecil yang tidak diterima oleh gajah-gajah senior dalam suatu sirkus. Terlebih lagi setelah ibu Dumbo dikerangkeng karna "outraged" setelah mencoba melindungi Dumbo dari anak-anak usil. The little Dumbo is dying to reunite with his mother. Film ini cocok ditonton oleh seluruh anggota keluarga, karna banyak pesan moral yang menggugah hati terutama untuk anak-anak. Love thy mother and family, jangan pilih2 teman (even the racial issue drawn visibly here), gapai cita2mu melewati semua rintangan, dan terakhir yakin kalo diri kamu emang spesial.

Animasi dan background dalam film ini bisa dibilang lebih mundur dalam hal detail dibanding Snow White, Pinocchio atau Fantasia. But I think that's a big part of its charm - it does have a resonance with a child's uncluttered mind and is realized without any complications.

There are many touching moments - specifically a heartbreaking scene where Dumbo goes to visit his caged mother. The emotion from these parts is so admirable, as there is no dialogue. It's just power coming from the pure animation. I found it astounding.

There's an incredibly abstract, bizarre segment called "Pink Elephants on Parade" that made my jaw drop. Banyak yang bilang segment ini dibuat oleh German's great animator Oskar Fischinger (which some of his films I adore very much) just like Fantasia. Truly one of the best movie sequence in cinema history. Walau rada merusak alur sederhana film ini, tapi siapa yang bisa nyalahin, karna it's really such an incredible piece to watch.


dimana saya bisa dapet kopi-an Dumbo? tolong, soalnya desperate banget nyari nya sekarng::nangis3::

dimana saya bisa dapet kopi-an Dumbo? tolong, soalnya desperate banget nyari nya sekarng::nangis3::

setau gw vcd/dvdnya dikeluarin sama vision.
coba contact aja

dimana saya bisa dapet kopi-an Dumbo? tolong, soalnya desperate banget nyari nya sekarng::nangis3::

yah mentog2nya cari di glodok atau mg2, atau seller di forum jual beli kalo ga ada....tapi vision itu banyak kok ngerilis dvd animasi disney. Dari snow white, pinocchio, bambi, gue pernah liat...

banyak info mantab di sini. koleksi dvdnya juga baru liat... salut deh!

welcome to this "pervert" club

Maynila: Sa mga kuko ng liwanag (Lino Brocka, Philippines, 1979 (***1/2 of ****

http://www.spot.ph/rlimjap/files/2009/06/manilasakuko.jpg
http://prometheusbrown.com/blog/wp-content/uploads/2008/11/maynilasakuko_bed.jpg
http://prometheusbrown.com/blog/wp-content/uploads/2008/11/maynilasamgakuko_end.jpg

God bless Derek Malcolm of Time Out UK. Pertama denger film ini dari dia. It deserves with every bit of hype surrounds it. Bagaimana Brocka menggambarkan orang miskin dari kampung masuk kota yang begitu naif, bisa hidup hanya dengan passion of love begitu menyentuh, nyata, dan thought provoking. Julio karakter utamanya datang ke Manila dengan harapan bisa bertemu kekasihnya yang sekampung halaman. Cuma membawa uang sedikit profesi yang bisa dia kerjakan mulai dari kuli bangunan sampai jadi call boy dia jabanin. Well, karena miskin, pilihannya terbatas jadi dia tidak enjoy dengan pekerjaannya. Sukses lah Brocka dalam menampilkan keras, kejam, sadis, matrenya hidup di kota besar...It's a gem that I'd really like other people to see. Ok next it will be films of Ishmael Bernal, Brocka's Insiang, Mike de Leon and Martin Raya.

God bless Derek Malcolm of Time Out UK. Pertama denger film ini dari dia. It deserves with every bit of hype surrounds it. Bagaimana Brocka menggambarkan orang miskin dari kampung masuk kota yang begitu naif, bisa hidup hanya dengan passion of love begitu menyentuh, nyata, dan thought provoking. Julio karakter utamanya datang ke Manila dengan harapan bisa bertemu kekasihnya yang sekampung halaman. Cuma membawa uang sedikit profesi yang bisa dia kerjakan mulai dari kuli bangunan sampai jadi call boy dia jabanin. Well, karena miskin, pilihannya terbatas jadi dia tidak enjoy dengan pekerjaannya. Sukses lah Brocka dalam menampilkan keras, kejam, sadis, matrenya hidup di kota besar...It's a gem that I'd really like other people to see. Ok next it will be films of Ishmael Bernal, Brocka's Insiang, Mike de Leon and Martin Raya.

ini kayaknya masuk 1000 movies, must watch before you die.

Dumbo (Ben Sharpsteen, 1941)

http://photos-e.ak.fbcdn.net/hphotos-ak-snc1/hs084.snc1/4775_1161595036766_1134524411_485444_4164333_a.jpg

8/10

To sum it up, I went into viewing Dumbo with a bit of a cynical attitude. I ended the film feeling deeply moved by the whole experience . . . and I'll admit that it made me want to go give my mom a big hug afterwards. As I said earlier, I feel horrible for having ignored this little jewel for so long. It's a brief, but very satisfying movie that works on all levels. Its definitely found its place near the top of my 10 favorite animated classics.

Semua yang ada di film ini lebih sederhana dari 3 film animasi Disney yang dirilis sebelumnya. Cerita inti dari Dumbo berkisar di seputar seekor gajah kecil yang tidak diterima oleh gajah-gajah senior dalam suatu sirkus. Terlebih lagi setelah ibu Dumbo dikerangkeng karna "outraged" setelah mencoba melindungi Dumbo dari anak-anak usil. The little Dumbo is dying to reunite with his mother. Film ini cocok ditonton oleh seluruh anggota keluarga, karna banyak pesan moral yang menggugah hati terutama untuk anak-anak. Love thy mother and family, jangan pilih2 teman (even the racial issue drawn visibly here), gapai cita2mu melewati semua rintangan, dan terakhir yakin kalo diri kamu emang spesial.

Animasi dan background dalam film ini bisa dibilang lebih mundur dalam hal detail dibanding Snow White, Pinocchio atau Fantasia. But I think that's a big part of its charm - it does have a resonance with a child's uncluttered mind and is realized without any complications.

There are many touching moments - specifically a heartbreaking scene where Dumbo goes to visit his caged mother. The emotion from these parts is so admirable, as there is no dialogue. It's just power coming from the pure animation. I found it astounding.

There's an incredibly abstract, bizarre segment called "Pink Elephants on Parade" that made my jaw drop. Banyak yang bilang segment ini dibuat oleh German's great animator Oskar Fischinger (which some of his films I adore very much) just like Fantasia. Truly one of the best movie sequence in cinema history. Walau rada merusak alur sederhana film ini, tapi siapa yang bisa nyalahin, karna it's really such an incredible piece to watch.

DUMBO, baca review ente aja dah bikin ane merinding, jadi pengen nonton lage.....

dimana saya bisa dapet kopi-an Dumbo? tolong, soalnya desperate banget nyari nya sekarng::nangis3::

bisa donlot ngga? banyak ko kalo bisa... Ini cuma salah satunya

Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX

http://rapidshare.com/files/124038277/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part1.rar
http://rapidshare.com/files/124037980/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part2.rar
http://rapidshare.com/files/124038200/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part3.rar
http://rapidshare.com/files/124037042/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part4.rar
http://rapidshare.com/files/124038093/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part5.rar
http://rapidshare.com/files/124038343/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part6.rar
http://rapidshare.com/files/124038240/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part7.rar
http://rapidshare.com/files/124036691/Dumbo.1941.iNTERNAL.DVDRip.AC3.XviD-SLeTDiVX.part8.rar

ini kayaknya masuk 1000 movies, must watch before you die.

iya, tapi tau awalnya dari list si Malcolm.

http://farm1.static.flickr.com/38/83642531_7ec9831308.jpg?v=0

Taken from Karagarga Forum.

Compiling what seems to be the first comprehensive collection dealing with Japanese cinema. Rather than choosing one of the many "best of," "essential" or otherwise selected, I've opted for a historical approach. The idea for this collection came to me while reading The Japanese Film: Art and Industry, by Joseph L. Anderson and Donald Richie. On page 52, they write:

The film won Abe the first Kinema Jumpo "Best One" Award, a prize annually given by the magazine which still remains one of Japan's leading film publications. There is nothing quite like it in the West. Japanese critics poll to select the ten best films of the year and their choice has the greatest infulence, not onnly in critical circles but also among the public and within the industry itself. It is an award relatively untouched by commercial considerations and is, therefore, highly respected.

http://img5.allocine.fr/acmedia/medias/nmedia/18/35/92/45/18873014.jpg

It is also the oldest Japanese cinema award. In fact, it is even older than the American Academy Awards. It has been given every year from 1927 through 2009 only skipping 1944-1946, presumably because of the war. In contrast, the Blue Ribbon was first awarded in 1951 and the Japanese Academy Award only came into existence in 1978, long after what is generally considered to be the "golden age" of Japanese cinema had already passed.

In compiling this list, the source considered to be most authoritative is Anderson and Richie's book. It gives a very broad view of the cinema of Japan and, as you'll see if look up the references below, they have cogent and non-trivial comments about almost every film on this list from before 1959 (when the first edition was published) and more brief remarks about films released from 1960-1982 (when the second edition was published). The first edition is available on the Internet Archive.

The list of films itself is from Imdb's Kinema Jumpo Awards page. Where Imdb lacked the full information, I used this Japanese list.

http://upload.wikimedia.org/wikipedia/en/2/2a/Michiyo_Kogure.jpg

In examining this list, found a number of anomolies that collectively illustrate some interesting trends in Japanese film criticism. You'll see that the many of the most beloved (Seven Samurai, Rashomon) and most highly regarded (Tokyo Story, Ugetsu Monogatari) films do not appear on this list. In their place you will find a plethora of leftist (and even outright communist) "policy" or "tendency" pictures by directors like Tadashi Imai. Indeed, Kurosawa was recognized only three times (Drunken Angel, Ikiru, Red Beard) and, though their earlier films were recognized, none of the later films of either Ozu nor Mizoguchi ever received the "Best One" award. While the West was quick to recognize Kurosawa's talent (especially with Rashomon), his jidaigeki (like those of many of his compatriots) were written off as "exoticism" and "made for export" films that might please Westerners but that fail to address the "real" and "important" issues that gendaigeki at times treat. Thus, the year Rashomon came out (1950), Tadashi Imai recieved the top award for the now almost-forgotten "Until We Meet Again," a reconciliation themed youth-film about children in the last year of the war. There is a long history in Japanese film of dichotomizing "domestic" and "for export," as Anderson and Richie discuss at length so it is perhaps more surprising that Ozu's gendaigeki films like Tokyo Story, Ukigusa (1959) and Ohayo were all overlooked in favor of Imai policy films. Ozu was criticized for not dealing with "important" social issues and favoring the "less serious" realm of the family drama. Richie addresses these critics eloquently on p. 5-6 of his Ozu: His Life and Films.

By the time they published a 100 best Japanese movies of all time list in 1999, the Kinema Jumpo critics had reconsidered (there are two Imai films in the top 100 and 12 Kurosawas). At least they got the idea eventually.

http://www.altfg.com/Stars/j/japanese-summer-double-suicide.jpg

Below you will find the complete list. It is by year awarded (following Imdb notation) with links to the tracker, Imdb, Wikipedia (WP) and the page on which it is discussed in Anderson and Richie's book. For films that are not currently on the tracker, I have tried to ascertain whether the film is extant (or in the case of the newest films: whether it has been released yet) and to supply a couple more links about it. For films after 1982, I have tried to find some sort of synopsis/review in place of Anderson and Richie.

Few people have seen all of these films and most will probably opt for the "top 100" or the likes but this list offers a fascinating insight into the evolution of Japanese film and Japanese film criticism.

1927 Ashi ni sawatta onna AKA The Woman Who Touched the Legs (1926) dir. Yutaka Abe
Extant: No.

1928 Chuji tabi nikki: Goyo hen AKA A Diary of Chuji's Travels (1927) dir. Daisuke Itô
Extant - Yes.

1929 Rônin-gai - Dai-ichi-wa: Utsukushiki emono AKA The Street of Masterless Samurai (1928) dir. Masahiro Makino
Extant: Partially

1930 Kubi no za AKA Beheading Place (1929) dir. Masahiro Makino
Extant: No.

1931 Nani ga kanojo o sô saseta ka AKA What made her do it? (1930) dir. Shigeyoshi Suzuki
Extant - Yes.

1932 Madamu to nyobo AKA The Neighbor's Wife and Mine (1931) dir. Heinosuke Gosho
Extant - Yes.

1933 Otona no miru ehon - Umarete wa mita keredo AKA I was Born But... (1932) dir. Yasujiro Ozu
Extant - Yes.
Loosely remade by Ozu as Ohayo AKA Good Morning in 1959.

1934 Dekigokoro AKA Passing Fancy (1933) dir. Yasujiro Ozu
Extant - Yes.

1935 Ukikusa monogatari AKA A Story of Floating Weeds AKA Duckweed Story (1934) dir. Yasujiro Ozu
Extant - Yes.

1936 Tsuma yo bara no yo ni AKA Wife! Be Like a Rose! AKA Kimiko (1935) dir. Mikio Naruse
Extant - Yes.

1937 Gion no shimai AKA The Sisters of the Gion (1936) dir. Kenji Mizoguchi
Extant - Yes.

1938 Kagirinaki zenshin AKA Unending Advance (1937) dir. Tomu Uchida
Extant: Yes.
Based on a story published in serial form by Ozu!

1939 Gonin no Sekkohei AKA A Pay by the Wayside AKA Five Scouts(1938) dir. Tomotaka Tasaka
Extant: Yes.

1940 Tsuchi AKA Earth (1939) dir. Tomu Uchida
Extant: Yes.

1941 Kojima no haru AKA Spring on Lepers Island(1940) dir. Shirô Toyoda
Extant: Yes.
A humanist story of a female doctor at a leper colony; released amidst pressure to make films following the militarist party line.

1942 Todake no kyodai AKA The Brothers and Sisters of the Toda Family (1941) dir. Yasujiro Ozu
Extant - Yes.
Ozu's first film after being discharged from the military and his first box-office hit.

1943 Hawai Mare oki kaisen AKA The War at Sea from Hawaii to Malaya (1942) dir. Kajiro Yamamoto
Extant: Yes.
Apparently Yamamato thrived on the war time demands of cinema to be propaganda. This film cost $380,000 to make when the average was $40,000. It was released on the first anniversary of the bombing of Pearl Harbor and proceeded to make it all back and more. 8 minute clip on YouTube. Colonel Kato's Falcon Squadron, a 1944 war film also directed by Yamamato.

http://www.boston.com/ae/movies/blog/Akira_Kurosawa.jpg

Well, apparently Kinema Jumpo took a break for a few years...


1947 Osone-ke no ashita AKA Morning for the Osone Family (1946) dir. Keisuke Kinoshita
Extant - Yes.
A tale of post-war reconciliation, signalling a new era in Japanese history as well as film.

1948 Anjo-ke no Butokai AKA The Ball at the Anjo House (1947) dir. Kozaburo Yoshimura
Extant - Yes.

1949 Yoidore tenshi AKA Drunken Angel (1948) dir. Akira Kurosawa
Extant - Yes.

1950 Banshun AKA Late Spring (1949) dir. Yasujiro Ozu
Extant - Yes.

1951 Mata au hi made AKA Until We Meet Again (1950) dir. Tadashi Imai
Extant - Yes
The first winner of the Blue Ribbon Award for best film. It is part of a wave of films about children, this one set in the last year of the war. Also the name of a lost Ozu film from 1932.

1952 Bakushû AKA Early Summer (1951) dir. Yasujiro Ozu
Extant - Yes.

1953 Ikiru AKA To Live AKA Living AKA Doomed (1952) dir. Akira Kurosawa
Extant - Yes.

1954 Nigorie AKA An Inlet of Muddy Water AKA Muddy Waters (1953) dir. Tadashi Imai
Extant - Yes.
Three separate tales of women in Meiji society: an unloved wife, forced into marriage; an oppressed maid in a rich woman's house; and a cheap prostitute who searches for a better life.

1955 Nijushi no hitomi AKA Twenty Four Eyes (1954) dir. Keisuke Kinoshita
Extant - Yes.

1956 Ukigumo AKA Floating Clouds (1955) dir. Mikio Naruse
Extant - Yes.

1957 Mahiru no ankoku AKA Darkness at Noon (1956) dir. Tadashi Imai
Extant - Yes.
A rather black and white propaganda film in favor of a group of young people whose murder case was pending when the film was produced.

1958 Kome AKA The Rice People AKA Rice (1957) dir. Tadashi Imai
Extant: Yes.

1959 Narayama bushiko AKA The Ballad of Narayama (1958) dir. Keisuke Kinoshita
Extant - Yes.

1960 Kiku to Isamu AKA Kiku and Isamu (1959) dir. Tadashi Imai
Extant: Yes.
This is a tale of two mixed-blooded children at the hands of a culture intolerant of racial impurity.

http://blog.waysofseeing.org/uploaded_images/sansho-dayu-2-724892.jpg

1961 Otôto AKA Her Brother AKA Younger Brother (1960) dir. Kon Ichikawa
Extant: Yes.

1962 Furyo shonen AKA Bad Boys (1961) dir. Susumu Hani
Extant - Yes.

1963 Watashi wa nisai AKA Being Two Isn't Easy AKA I Am Two Years Old (1962) dir. Kon Ichikawa
Extant - Yes.

1964 Nippon konchuki AKA The Insect Woman (1963) dir. Shohei Imamura
Extant - Yes.

1965 Suna no onna AKA Woman in the Dunes (1964) dir. Hiroshi Teshigahara
Extant - Yes.

1966 Akahige AKA Red Beard (1965) dir. Akira Kurosawa
Extant - Yes.

1967 Shiroi Kyotou AKA The Ivory Tower AKA The Great White Tower (1966) dir. Satsuo Yamamoto
Extant - Yes.

1968 Jôi-uchi: Hairyô tsuma shimatsu AKA Samurai Rebellion AKA Rebellion (1967) dir. Masaki Kobayashi
Extant - Yes.

1969 Kamigami no Fukaki Yokubo AKA The Profound Desire of the Gods AKA Deep Desire of the Gods AKA Kuragejima - Legends from a Southern Island (1968) dir. Shohei Imamura
Extant - Yes.

1970 Shinjû: Ten no amijima AKA Double Suicide (1969) dir. Masahiro Shinoda
Extant - Yes.

1971 Kazoku AKA A Wedding AKA Where Spring Comes Late AKA Family (1970) dir. Yôji Yamada
Extant: Yes.

1972 Gishiki AKA The Ceremony (1971) dir. Nagisa Oshima
Extant - Yes.

1973 Shinobugawa AKA Long Darkness (1972) dir. Kei Kumai
Extant: Yes.

1974 Tsugaru jongarabushi AKA Jongara AKA Tsugaru Folksong (1973) dir. Kôichi Saitô
Extant: Yes.

1975 Sandakan hachibanshokan bohkyo AKA Sandakan No. 8 AKA Brothel No. 8 (1974) dir. Kei Kumai
Extant - Yes.

1976 Aru eiga-kantoku no shogai AKA Kenji Mizoguchi: The Life of a Film Director (1975) dir. Kaneto Shindô
Extant - Yes.

1977 Seishun no satsujin sha AKA The Youth Killer (1976) dir. Kazuhiko Hasegawa
Extant - Yes.

1978 Shiawase no kiiroi hankachi AKA The Yellow Handkerchief (1977) dir. Yôji Yamada
Extant - Yes.
This film swept the first Japanese Academy Awards. A remake directed by Udayan Prasad premiered at Sundance 2008.

1979 Sâdo AKA Third AKA Third Base (1978) dir. Yoichi Higashi
Extant: Yes.

1980 Fukushû suruwa wareniari AKA Vengeance is Mine (1979) dir. Shohei Imamura
Extant - Yes.

1981 Tsigoineruwaizen AKA Zigeunerweisen (1980) dir. Seijun Suzuki
Extant - Yes.

1982 Doro no kawa AKA Muddy River (1981) dir. Kôhei Oguri
Extant - Yes.

1983 Kamata koshin-kyoku AKA Fall Guy (1982) dir. Kinji Fukasaku
Extant - Yes.

1984 Kazoku gêmu AKA The Family Game (1983) dir. Yoshimitsu Morita
Extant - Yes.

1985 Ososhiki AKA The Funeral (1984) dir. Juzo Itami
Extant - Yes.

1986 Sorekara AKA And Then (1985) dir. Yoshimitsu Morita
Extant - Yes.

1987 Umi to dokuyaku AKA The Sea and Poison (1986) dir. Kei Kumai
Extant: Yes.

1988 Marusa no onna AKA A Taxing Woman (1987) dir. Juzo Itami
Extant - Yes.

1989 Tonari no Totoro AKA My Neighbor Totoro (1988) dir. Hayao Miyazaki
Extant - Yes.

1990 Kuroi ame AKA Black Rain (1989) dir. Shohei Imamura
Extant - Yes.

1991 Sakura no sono AKA The Cherry Orchard (1990) dir. Shun Nakahara
Extant: Yes.

1992 Musuko AKA My Sons (1991) dir. Yoji Yamada
Extant - Yes.

1993 Shiko funjatta AKA Sumo Do, Sumo Don't (1992) dir. Masayuki Suo
Extant - Yes.

1994 Tsuki wa dotchi ni dete iru AKA All Under the Moon AKA Where is the Moon? (1993) dir. Yoichi Sai
Extant - Yes.

1995 Zenshin shosetsuka (1994) dir. Kazuo Hara
Extant - Yes.

1996 Gogo no Yuigon-jo AKA A Last Note (1995) dir. Kaneto Shindô
Extant - Yes.

1997 Shall we dansu? AKA Shall We Dance? (1996) dir. Masayuki Suo
Extant - Yes.

1998 Unagi AKA The Eel (1997) dir. Shohei Imamura
Extant - Yes.

1999 Hana-bi AKA Fireworks (1997) dir. Takeshi Kitano
Extant - Yes.

2000 Ah haru AKA Wait and See (1998) dir. Shinji Sômai
Extant: Yes.

2001 Kao AKA Face (2000) dir. Junji Sakamoto
Extant - Yes.

2002 Go (2001) dir. Isao Yukisada
Extant - Yes.

2003 Tasogare Seibei AKA The Twilight Samurai (2002) dir. Yôji Yamada
Extant - Yes.

2004 Utsukushii natsu kirishima AKA A Boy's Summer in 1945 (2002) dir. Kazuo Kuroki
Extant: Yes.

2005 Dare mo shiranai AKA Nobody Knows (2004) dir. Hirozaku Koreed
Extant - Yes.

2006 Pacchigi! AKA Break Through! AKA We Shall Overcome Someday (2004) dir. Kazuyuki Izutsu
Extant - Yes.

2007 Hula gâru AKA Hula Girls (2006) dir. Sang-il Lee
Extant - Yes.

2008 Soredemo boku wa yattenai AKA I Just Didn't Do It (2006) dir. Masayuki Suo
Extant - Yes.

2009 Okuribito AKA Departures (2008) dir. Yojiro Takita
Extant - Yes.

http://www.electricsheepmagazine.co.uk/reviews/wp-content/uploads/2007/07/review_whenawomanascends.jpg

when a woman ascends the stairs gak ada bos?
okuribito gak memuaskan ah.
masih banyak yang mesti ditonton :D

when a woman ascends the stairs gak ada bos?
okuribito gak memuaskan ah.
masih banyak yang mesti ditonton :D

iya ora ono bos, Ukigumo aka Floating Clouds hadir cukup memuaskan hatiku kok, ternyata itu juga film favorite nya Ozu dari Naruse, walau si Naruse pribadi paling puas sama Hourou-ki aka Her Lonely Lane...

List ini bener2 ngebuka wawasan banget yah, kita baru tau permukaan aja dari Japanese Cinema, lots of directors to be digged out there. Yasujiro Shimazu, Heinosuke Gosho, Tadashi Imai, , Kiju Yoshida atau yang baru2 ini dipuji-piju Donald Richie sebagai overlooked, Shiro Toyoda, dan ternyata pernah buat film tentang Legenda Ular Putih.

iya ora ono bos, Ukigumo aka Floating Clouds hadir cukup memuaskan hatiku kok, ternyata itu juga film favorite nya Ozu dari Naruse, walau si Naruse pribadi paling puas sama Hourou-ki aka Her Lonely Lane...


boleh tuh. ana nonton naruse baru when woman..doang.


List ini bener2 ngebuka wawasan banget yah, kita baru tau permukaan aja dari Japanese Cinema, lots of directors to be digged out there. Yasujiro Shimazu, Heinosuke Gosho, Tadashi Imai, atau yang baru2 ini dipuji-piju Donald Richie sebagai overlooked, Kiju Yoshida, Shiro Toyoda yang ternyata pernah buat film tentang Legenda Ular Putih.

gw kalo baca donald richie di 100 years of japanese cinema juga suka geleng2..siapa lagi nih :D

boleh tuh. ana nonton naruse baru when woman..doang.



ati2 lo kalo udah kena Naruse, nagihnya sama atau lebih dari Ozu...Mizoguchi demen juga bos?

ati2 lo kalo udah kena Naruse, nagihnya sama atau lebih dari Ozu...Mizoguchi demen juga bos?

mizoguchi demen bos.
ugetsu sama sansho dah dapet criterionnya :D

Guys,pernah nonton film2 nya tran anh hung seperti the scent of the green papaya ama vertical ray of the sun ga? minta review nya yah.. gw br aja denger nama director yg atu ini ::unggg:: katanya bagus2 yah film nya?

gw baru nonton yang the scent of green papaya. gak istimewa lah filmnya. untuk referensi tontonan boleh dicoba.

gw baru nonton yang the scent of green papaya. gak istimewa lah filmnya. untuk referensi tontonan boleh dicoba.

huhuhu gue pikir gue doang yang berasa tu film biasa aja juga. gue dah nonton juga yang Xich Lo aka Cyclo, mmm sedikit lebih memorable dibanding green papaya. Orang bule lebih suka karena mungkin mereka berasa eksotis aja kali ya sama suasana perkampungan Vietnam, nah kita tiap hari liat pemandangan bgitu hehehe just my 2 cents.

huhuhu gue pikir gue doang yang berasa tu film biasa aja juga. gue dah nonton juga yang Xich Lo aka Cyclo, mmm sedikit lebih memorable dibanding green papaya. Orang bule lebih suka karena mungkin mereka berasa eksotis aja kali ya sama suasana perkampungan Vietnam, nah kita tiap hari liat pemandangan bgitu hehehe just my 2 cents.

kalo cyclo bajakan lokalnya, gw dapet jelek banget gambarnya. cuma gw tonton sekuens pembukanya aja. modelnya neorealis yah?

Om Yuki pernah bahas Alphaville belum di sini ya? itu karya Goddard yang masterpiece menurut gue...

Om Yuki pernah bahas Alphaville belum di sini ya? itu karya Goddard yang masterpiece menurut gue...

blum bro, kalo mau ngebahas ya bahas aja, FYI besok tanggal 2 September ada pemutaran film gratis n diskusi ttg La Nouvelle Vague di Kajian Film IKJ jam 14.30, yang diputer Godard's Bande a Part.

kalo cyclo bajakan lokalnya, gw dapet jelek banget gambarnya. cuma gw tonton sekuens pembukanya aja. modelnya neorealis yah?

ya modelnya sama lah mirip2 Green Papaya, tapi dibilang Rosenbaum malah ada scene yang bikin homage ke aliran German Expressionism...

blum bro, kalo mau ngebahas ya bahas aja, FYI besok tanggal 2 September ada pemutaran film gratis n diskusi ttg La Nouvelle Vague di Kajian Film IKJ jam 14.30, yang diputer Godard's Bande a Part.

pembicaranya sopo?
biasanya yang dibahas filmis atau ideologi?

pembicaranya sopo?
biasanya yang dibahas filmis atau ideologi?

Yosef Indra ya kalo ga salah, yang biasa ngadain screening di CCF. Mudah2an si filmis, boring juga kalo dengerin ideologi...blum pernah dateng juga si, kebetulan aja besok bisa jadi pengen coba.

^
Rencananya juga pengen dateng, tapi gempa, gak jadi deh.

Gue pernah nonton filmnya Tranh yg Vertical Ray of the Sun, typical film2 Asia yg membombardir dengan gambar2 indah & ritme yg lambat. Gue sih waktu itu suka dengan gayanya. Yang Green Papaya emang boring (ini komen dari fansnya Tsai Ming Liang, lho)

1993 Shiko funjatta AKA Sumo Do, Sumo Don't (1992) dir. Masayuki Suo
Extant - Yes.


One of the funniest movies I've ever seen::ngakak2:: & one of the best sport themed movies.

^
Yang Green Papaya emang boring (ini komen dari fansnya Tsai Ming Liang, lho)

LOL. yes yes, komen dari fansnya Abbas Kiarostami juga deh

100 Best Mexican Movies
(by SOMOS magazine in 1994) (http://cinemexicano.mty.itesm.mx/pelicula1.html)

1. Vámonos con Pancho Villa (Let's go with Pancho Villa) (1935) by Fernando de Fuentes AVI (http://karagarga.net/details.php?id=36391) IMDb (http://www.imdb.com/title/tt0027240/)
http://cinemexicano.mty.itesm.mx/imagenes/vamonos2.jpg
During the mexican revolution, a group of valiant farmers, known as the "Leones de San Pablo" join the army of Pancho Villa. After some battles, with more defeats than victories, the original group is reduced to two: Tiburcio Maya and the young "Becerrillo". An epidemic of small-pox strikes the troop and "Becerrillo" falls sick. Villa orders Tiburcio to kill and incinerate the young man's body. Disillusioned, Tuburcio abandons the revolutions and returns to his town.

2. Los olvidados (The forgotten ones) (1950) by Luis Buñuel AVI (http://karagarga.net/details.php?id=50749) IMDb (http://www.imdb.com/title/tt0042804/)
http://cinemexicano.mty.itesm.mx/imagenes/olvidados1.jpg
The young Jaibo escapes from a correctional school and joins his friends from the neighborhood. Along with Pedro and other kid they try to rob Don Carmelo. Later, Jaibo kills in front of Pedro the young guy responsible for his emprisonment in the correctional. Starting from that incident, the destinies of Pedro and Jaibo are tragically interwind.

3. El compadre Mendoza (Godfather Mendoza) (1933) by Fernando de Fuentes AVI (http://karagarga.net/details.php?id=27079) IMDb (http://www.imdb.com/title/tt0023902/)
http://cinemexicano.mty.itesm.mx/imagenes/compadre.jpg
During the mexican revolution, the landlord Rosalio Mendoza survives by asking favors from both sides of the battle (the government and the army by Zapata). Everybody is welcomed in his country house, and he is very appreciated, specially by the general Felipe Nieto. As time goes by the situation becomes very difficult. Mendoza must take side even if that means betraying half of his friends.

4. Aventurera (Adventurer) (1949) by Alberto Gout AVI (http://karagarga.net/details.php?id=26351) IMDb (http://www.imdb.com/title/tt0041141/)
http://cinemexicano.mty.itesm.mx/imagenes/aventurera.jpg
Left alone after her mother runs off with another man and her father kills himself, Elena attempts to make a new life for herself in a new city. Believing he's a friend, Elena goes to dinner with "Pretty Boy" Lucio, but he drugs her champagne and sells her to Rosaura, who runs a brothel out of her nightclub. Elena becomes a sensation as a dancer, but all the while she nurtures plans of revenge against those who have conspired against her.

5. Una familia de tantas (One family of many) (1948) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0040341/)
http://cinemexicano.mty.itesm.mx/imagenes/una_familia.jpg
Rodrigo Catano seeks to impose in his family a Porfirian order. One day a door to door salesman, Roberto del Hierro, comes into the house to sell an American vacuum cleaner from the "Bright O'Home" company. Maru, Mr. Catano's daughter, watches Roberto while he demostrates the new machine. Roberto leaves and says he will come back to explain Mr. Catano about the vacuum cleaner. Mr. Catano is very upset because a man has been in his house without him been present. Nevertheless, with fast and inteligent talk, Roberto sells him the vacuum cleaner and, later on, a refrigerator. Maru is captivated by Roberto and they fall in love. Mr. Catano is furious when Roberto announces to him he will marry Maru.

6. Nazarín (1958) by Luis Buñuel AVI (http://karagarga.net/details.php?id=178) DVDR (http://karagarga.net/details.php?id=13590) IMDb (http://www.imdb.com/title/tt0051983/)
http://cinemexicano.mty.itesm.mx/imagenes/nazarin1.jpg
In Mexico at the beginning of the 20th century, the priest Nazarin shares his few possesions with the poor that live around. After protecting a prostitute that starts a fire in a bar, Nazarin is forced to leave the place. During his trip, his religious actions provoke conflicts that contradict his vision of christian charity.

7. Él (This Strange Passion) (1952) by Luis Buñuel AVI (http://karagarga.net/details.php?id=7666) IMDb (http://www.imdb.com/title/tt0045361/)
http://cinemexicano.mty.itesm.mx/imagenes/el.jpg
Francisco is rich, rather strict on principles, and still a bachelor. After meeting Gloria by accident, he is suddenly intent on her becoming his wife and courts her until she agrees to marry him. Francisco is a dedicated husband, but little by little his passion starts to exhibit disturbing traits. Nevertheless, Gloria meets with scepticism as she expresses her worries to their acquaintances

8. La mujer del puerto (The woman of the port) (1933) by Arcady Boytler AVI (http://karagarga.net/details.php?id=37676) IMDb (http://www.imdb.com/title/tt0025524/)
http://cinemexicano.mty.itesm.mx/imagenes/mujer1.jpg
Rosario (Palma) becomes a prostitute after losing her father and discovering her boyfriend had a liaison with another woman. In Veracruz, Rosario lives above a sordid cabaret "selling her love to the men coming from the sea." One night, sailor Alberto (Soler) rescues Rosario from the dirty hands of a drunk man. They get along and go to Rosario's room. After making love, they begin to talk and Rosario discovers they're siblings.

9. El lugar sin límites (The place without limits) (1977) by Arturo Ripstein AVI (http://karagarga.net/details.php?id=9304) IMDb (http://www.imdb.com/title/tt0076336/)
http://cinemexicano.mty.itesm.mx/imagenes/lugar.jpg
Family honor, greed, machismo, homophobia, and the dreams of whores collide in a Mexican town. Rich, elderly Don Alejo is poised to sell the town for a profit, needing only to buy a whorehouse to own all the buildings and close the deal. It's owned by a man and his daughter: Manuelita is gay, aging, afraid; he cross-dresses and entertains as a flamenco dancer; he wants to sell and leave. His daughter wants to stay. The return of Pancho complicates things: he's a hothead Alejo tries to control and he scared Manuelita the year before. Things come to a head as Pancho breaks Alejo's hold on him, then flirts and dances with Manuelita and finds himself at risk of being called a fag.

10. Ahí está el detalle (Here is the point) (1940) by Juan Bustillo Oro AVI (http://karagarga.net/details.php?id=32115) IMDb (http://www.imdb.com/title/tt0032186/)
http://cinemexicano.mty.itesm.mx/imagenes/detalle2.jpg
The boyfriend (Cantinflas) of the servant of a rich industrial man, gets into the house in order to kill a mad dog. Suddenly this man appears so the servant tells him that Cantinflas is his wife's brother (Leonardo), who had been lost for years. The rich man then remembers that his father in law's testament could only be paid when all brothers get together, so treats Cantinflas, a real bum, as a king.

11. Campeón sin corona (Champion without crown) (1945) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0037570/)
http://cinemexicano.mty.itesm.mx/imagenes/campeon.jpg
Roberto "Kid Terranova" is a young ice-cream vendor turned boxer thanks to his special abilities. His first triumphs make him the boxer of the moment and he starts to win a lot of money which he spends recklessly. His luck changes when he fights Joe Ronda from US, who makes Roberto feel inferior.

12. Enamorada (In love) (1946) by Emilio Fernández AVI (http://karagarga.net/details.php?id=37271) IMDb (http://www.imdb.com/title/tt0038510/)
http://cinemexicano.mty.itesm.mx/imagenes/enamorada4.jpg
In Mexican Revolution times, a guerrilla general (Armendáriz) and his troops take the conservative town of Cholula, near by Mexico City. As the revolutionaries mistreat the town's riches, Armendáriz falls for beautiful and wild Beatriz Peñafiel (María Félix), the daughter of one of the town's richest man.

13. Pueblerina (Small town girl) (1948) by Emilio Fernández IMDb (http://www.imdb.com/title/tt0040715/)
http://cinemexicano.mty.itesm.mx/imagenes/pueblerina1.jpg
Aurelio Rodríguez is released from jail, and tries to start a new life marrying Paloma and working his land. But the local landowners, the brothers González, interfere with his plans.

14. Canoa (Canoe) (1975) by Felipe Cazals IMDb (http://www.imdb.com/title/tt0131335/)
http://cinemexicano.mty.itesm.mx/imagenes/canoa1.jpg
A group of students arrives in a small town during a hiking expedition. Once there, the local priest accuses them of being communist agitators on the run from an army crack-down against student demonstrations in nearby Mexico City and rallies the townsfolk to lynch them. Based on true facts occurred in the town of Canoa in 1968

15. Los hermanos Del Hierro (The Brothers Del Hierro) (1961) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0054969/)
http://cinemexicano.mty.itesm.mx/imagenes/hermanos_hierro.jpg
In the north of Mexico, at early 20th century, Reynaldo del Hierro is shot down by Pascual Velasco when he was horse-riding with his sons Reynaldo and Martin. In the funeral, the widow tells her sons that they must seek revenge. After some years, Martin finally kills Pascual but this is just the beginning of a series of killings.

16. El ángel exterminador (The exterminating angel) (1962) by Luis Buñuel AVI (http://karagarga.net/details.php?id=40294) DVDR (http://karagarga.net/details.php?id=29905) IMDb (http://www.imdb.com/title/tt0056732/)
http://cinemexicano.mty.itesm.mx/imagenes/angel_ext.jpg
After a lavish dinner party, the guests find themselves mysteriously unable to leave the room... and over the next few days all the elaborate pretenses and facades that they've built up by virtue of their position in society collapse completely as they become reduced to living like animals.

17. Cadena perpetua (Life sentence) (1978) by Arturo Ripstein AVI (http://karagarga.net/details.php?id=66717) DVDR (http://karagarga.net/details.php?id=32974) IMDb (http://www.imdb.com/title/tt0077287/)
http://cinemexicano.mty.itesm.mx/imagenes/cadena.jpg
"El Tarzan" Lira is an ex-convict who decides to give up his criminal past and reform his life. However, a corrupt policeman blackmails him leaving "El Tarzan" no other option but to continue committing robberies. Adapting the genre conventions of the film noir to the Mexican context, Ripstein's film focuses on Mexican police corruption and questions the judicial system.

18. El rey del barrio (The king of the neighborhood) (1949) by Gilberto Martínez Solares AVI (http://karagarga.net/details.php?id=67185) IMDb (http://www.imdb.com/title/tt0042888/)
http://cinemexicano.mty.itesm.mx/imagenes/rey1.jpg
The charitive young train driver Tin Tan insists on protecting the young neighbor Carmelita, in spite of her refusal. Actually Tin Tan is the leader of a gang of robbers who trick millionaire ladies, disguising themselves as musicians, painters and flamenco singers. This modern Robin Hood finds himself in trouble when one of his millionaire conquests wants to marry him.

19. El esqueleto de la señora Morales (The skeleton of Mrs. Morales) (1959) by Rogelio A. González AVI (http://karagarga.net/details.php?id=28869) IMDb (http://www.imdb.com/title/tt0052784/)
http://cinemexicano.mty.itesm.mx/imagenes/esqueleto.jpg
Bizarre movie about a sexually repressed taxidermist who finds solace in his job while his frigid and deformed wife psychologically tortures him because of his devotion to stuffed animals

20. Víctimas del pecado (Victims of sin) (1950) by Emilio Fernández AVI (http://karagarga.net/details.php?id=77347) DVD (http://karagarga.net/details.php?id=76059) IMDb (http://www.imdb.com/title/tt0043115/)
http://cinemexicano.mty.itesm.mx/imagenes/victimaspecado.jpg
In México City, a Cuban dancer from "Cabaret Changó" rescues a baby from a garbage can and decides to raise him, but her pachuco pimp gets in her way.

21. Tiburoneros (Shark Hunters) (1962) by Luis Alcoriza IMDb (http://www.imdb.com/title/tt0056584/)
http://cinemexicano.mty.itesm.mx/imagenes/tiburoneros.jpg
Aurelio is a shark fisherman who works on the coast of Tabasco, Mexico. He works hard and sends money to his wife and children that live in Mexico City. He seems very happy in the coast --he even has a romance with a native girl-- although he misses his family. One day he decides to go back to Mexico City where his brother in law is waiting to invite him into a busines. Aurelio never gets to fit his new life in the city where "even the bed is soft". He decides to turne back where the life he loves is.

22. Distinto amanecer (Another dawn) (1943) by Julio Bracho AVI (http://karagarga.net/details.php?id=55835) DVD (http://karagarga.net/details.php?id=55720) IMDb (http://www.imdb.com/title/tt0035807/)
http://cinemexicano.mty.itesm.mx/imagenes/distinto_amanecer.jpg
A syndicate leader is killed by orders of the corrupt governor Vidal. Octavio, partner of the leader, searches for documents that reveal the murderer. Chasen by Vidal's men, Octavio meets Julieta, an old university friend he loved. Julieta joins him in the search while debating between her new love and her family.

23. Río Escondido (Hidden river) (1947) by Emilio Fernández IMDb (http://www.imdb.com/title/tt0039793/)
http://cinemexicano.mty.itesm.mx/imagenes/rioescondidofull.jpg
Called by the Mexican President himself, and in spite of a heart condition, young teacher Rosaura Salazar (Felix) travels to the desertic town of Rio Escondido to accomplish the mission of bringing education to the poorest people. Being there, Salazar has to fight Regino Sandoval (Lopez Moctezuma) the evil landlord of the town. He has transformed the town into his own property, impossing his will and spreading death everywhere.

24. La oveja negra (The black sheep) (1949) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0041725/)
http://cinemexicano.mty.itesm.mx/imagenes/ovejanegra.jpg
In a town up north, the Treviño family is trying to overcome the irresponsability of don Cruz, the father, who has a lot of defects compared to their son Silvano, a caring young man who is uncapable of judging his father. The character of don Cruz will finally lead him to an encounter with his son for a public job and for a woman.

25. La otra (The other woman) (1946) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0038813/)
http://cinemexicano.mty.itesm.mx/imagenes/laotra.jpg
Magdalena and María are twin sisters whom life has taken in two separate roads. While Magdalena is the widow of a millionaire, María works as manicurist. Desperation leads María to kill her sister and usurp her place, not knowing that destiny has a cruel surprise waiting for her.

26. Reed, México insurgente (Reed: insurgent Mexico) (1970) by Paul Leduc AVI (http://karagarga.net/details.php?id=56652) IMDb (http://www.imdb.com/title/tt0069168/)
http://cinemexicano.mty.itesm.mx/imagenes/reed_insurgente.jpg
In 1913, the american reporter John Reed crosses the mexican frontier and visits Urbina, a general supporting Villa in Durange. For a year and a half, Reed gains their trust and ends up joining them in their fight.

27. Nosotros los pobres (We the poor) (1947) by Ismael Rodríguez AVI (http://karagarga.net/details.php?id=37763) IMDb (http://www.imdb.com/title/tt0039668/)
http://cinemexicano.mty.itesm.mx/imagenes/pobres.jpg
Two kids take a book from a trash can. They begin to read the story of a poor neighborhood in Mexico City. Carpenter Pepe "El Toro" (Infante) lives with his daughter Chachita (Munoz) and woos pretty "Chorreada" (Pavon). Around them, a group of fellows live their lives in many ways: a pair of always-drunk women known as "La Tostada" (The Toast) and "La Guayaba" (The Guava); a beautiful woman (Jurado) who always oversleeps; a hooker with pneumonia (La Tisica) with a dark past. Tragedy comes when Pepe is falsely accused of robbery and sent to the jail.

28. Salón México (1948) by Emilio Fernández AVI (http://karagarga.net/details.php?id=17778) IMDb (http://www.imdb.com/title/tt0040755/)
http://cinemexicano.mty.itesm.mx/imagenes/salon1948.jpg
Mercedes (Marga Lopez) dances for money with the clients of Salon Mexico, a famous cabaret in Mexico City. Her younger sister Beatriz (Derbez) studies in an expensive private school, paid by Mercedes. Obviously, young Beatriz doesn't know about her sister's job. Troubles begin when Mercedes wins a danzon contest with Paco (Acosta), her pimp. Paco refuses to share the prize with Mercedes, so she steals the money when he's sleeping.

29. Doña Perfecta (1950) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0042413/)
http://cinemexicano.mty.itesm.mx/imagenes/donaperfecta.jpg
During the Reform years the arrival of Pepe Rey, a young liberal agronomist, to the town of Santa Fe provokes the hostility of the right wing neighbors. Pepe stays with his aunt Perfecta, a puritan who doesn't share the vision of his nephew. After a while, Pepe's work becomes impeded by false rumors. When love begins between Pepe and his cousin Rosario, doña Perfecta must take extreme measures.

30. Flor silvestre (Wild flower) (1943) by Emilio Fernández IMDb (http://www.imdb.com/title/tt0035890/)
http://cinemexicano.mty.itesm.mx/imagenes/florsilvestre.jpg
José Luis, son of the landowner don Francisco, marries Esperanza in secret, a beautiful and poor farmer. Upset with the wedding and his son revolutionary beliefs, don Francisco disinherits José Luis and throws him from the house. After the triumph of the revolution, José Luis has to confront the rapture of his wife and son by some false revolutionaries.

16. El ángel exterminador (The exterminating angel) (1962) by Luis Buñuel AVI (http://karagarga.net/details.php?id=40294) DVDR (http://karagarga.net/details.php?id=29905) IMDb (http://www.imdb.com/title/tt0056732/)
http://cinemexicano.mty.itesm.mx/imagenes/angel_ext.jpg
After a lavish dinner party, the guests find themselves mysteriously unable to leave the room... and over the next few days all the elaborate pretenses and facades that they've built up by virtue of their position in society collapse completely as they become reduced to living like animals.

17. Cadena perpetua (Life sentence) (1978) by Arturo Ripstein AVI (http://karagarga.net/details.php?id=66717) DVDR (http://karagarga.net/details.php?id=32974) IMDb (http://www.imdb.com/title/tt0077287/)
http://cinemexicano.mty.itesm.mx/imagenes/cadena.jpg
"El Tarzan" Lira is an ex-convict who decides to give up his criminal past and reform his life. However, a corrupt policeman blackmails him leaving "El Tarzan" no other option but to continue committing robberies. Adapting the genre conventions of the film noir to the Mexican context, Ripstein's film focuses on Mexican police corruption and questions the judicial system.

18. El rey del barrio (The king of the neighborhood) (1949) by Gilberto Martínez Solares AVI (http://karagarga.net/details.php?id=67185) IMDb (http://www.imdb.com/title/tt0042888/)
http://cinemexicano.mty.itesm.mx/imagenes/rey1.jpg
The charitive young train driver Tin Tan insists on protecting the young neighbor Carmelita, in spite of her refusal. Actually Tin Tan is the leader of a gang of robbers who trick millionaire ladies, disguising themselves as musicians, painters and flamenco singers. This modern Robin Hood finds himself in trouble when one of his millionaire conquests wants to marry him.

19. El esqueleto de la señora Morales (The skeleton of Mrs. Morales) (1959) by Rogelio A. González AVI (http://karagarga.net/details.php?id=28869) IMDb (http://www.imdb.com/title/tt0052784/)
http://cinemexicano.mty.itesm.mx/imagenes/esqueleto.jpg
Bizarre movie about a sexually repressed taxidermist who finds solace in his job while his frigid and deformed wife psychologically tortures him because of his devotion to stuffed animals

20. Víctimas del pecado (Victims of sin) (1950) by Emilio Fernández AVI (http://karagarga.net/details.php?id=77347) DVD (http://karagarga.net/details.php?id=76059) IMDb (http://www.imdb.com/title/tt0043115/)
http://cinemexicano.mty.itesm.mx/imagenes/victimaspecado.jpg
In México City, a Cuban dancer from "Cabaret Changó" rescues a baby from a garbage can and decides to raise him, but her pachuco pimp gets in her way.

21. Tiburoneros (Shark Hunters) (1962) by Luis Alcoriza IMDb (http://www.imdb.com/title/tt0056584/)
http://cinemexicano.mty.itesm.mx/imagenes/tiburoneros.jpg
Aurelio is a shark fisherman who works on the coast of Tabasco, Mexico. He works hard and sends money to his wife and children that live in Mexico City. He seems very happy in the coast --he even has a romance with a native girl-- although he misses his family. One day he decides to go back to Mexico City where his brother in law is waiting to invite him into a busines. Aurelio never gets to fit his new life in the city where "even the bed is soft". He decides to turne back where the life he loves is.

22. Distinto amanecer (Another dawn) (1943) by Julio Bracho AVI (http://karagarga.net/details.php?id=55835) DVD (http://karagarga.net/details.php?id=55720) IMDb (http://www.imdb.com/title/tt0035807/)
http://cinemexicano.mty.itesm.mx/imagenes/distinto_amanecer.jpg
A syndicate leader is killed by orders of the corrupt governor Vidal. Octavio, partner of the leader, searches for documents that reveal the murderer. Chasen by Vidal's men, Octavio meets Julieta, an old university friend he loved. Julieta joins him in the search while debating between her new love and her family.

23. Río Escondido (Hidden river) (1947) by Emilio Fernández IMDb (http://www.imdb.com/title/tt0039793/)
http://cinemexicano.mty.itesm.mx/imagenes/rioescondidofull.jpg
Called by the Mexican President himself, and in spite of a heart condition, young teacher Rosaura Salazar (Felix) travels to the desertic town of Rio Escondido to accomplish the mission of bringing education to the poorest people. Being there, Salazar has to fight Regino Sandoval (Lopez Moctezuma) the evil landlord of the town. He has transformed the town into his own property, impossing his will and spreading death everywhere.

24. La oveja negra (The black sheep) (1949) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0041725/)
http://cinemexicano.mty.itesm.mx/imagenes/ovejanegra.jpg
In a town up north, the Treviño family is trying to overcome the irresponsability of don Cruz, the father, who has a lot of defects compared to their son Silvano, a caring young man who is uncapable of judging his father. The character of don Cruz will finally lead him to an encounter with his son for a public job and for a woman.

25. La otra (The other woman) (1946) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0038813/)
http://cinemexicano.mty.itesm.mx/imagenes/laotra.jpg
Magdalena and María are twin sisters whom life has taken in two separate roads. While Magdalena is the widow of a millionaire, María works as manicurist. Desperation leads María to kill her sister and usurp her place, not knowing that destiny has a cruel surprise waiting for her.

26. Reed, México insurgente (Reed: insurgent Mexico) (1970) by Paul Leduc AVI (http://karagarga.net/details.php?id=56652) IMDb (http://www.imdb.com/title/tt0069168/)
http://cinemexicano.mty.itesm.mx/imagenes/reed_insurgente.jpg
In 1913, the american reporter John Reed crosses the mexican frontier and visits Urbina, a general supporting Villa in Durange. For a year and a half, Reed gains their trust and ends up joining them in their fight.

27. Nosotros los pobres (We the poor) (1947) by Ismael Rodríguez AVI (http://karagarga.net/details.php?id=37763) IMDb (http://www.imdb.com/title/tt0039668/)
http://cinemexicano.mty.itesm.mx/imagenes/pobres.jpg
Two kids take a book from a trash can. They begin to read the story of a poor neighborhood in Mexico City. Carpenter Pepe "El Toro" (Infante) lives with his daughter Chachita (Munoz) and woos pretty "Chorreada" (Pavon). Around them, a group of fellows live their lives in many ways: a pair of always-drunk women known as "La Tostada" (The Toast) and "La Guayaba" (The Guava); a beautiful woman (Jurado) who always oversleeps; a hooker with pneumonia (La Tisica) with a dark past. Tragedy comes when Pepe is falsely accused of robbery and sent to the jail.

28. Salón México (1948) by Emilio Fernández AVI (http://karagarga.net/details.php?id=17778) IMDb (http://www.imdb.com/title/tt0040755/)
http://cinemexicano.mty.itesm.mx/imagenes/salon1948.jpg
Mercedes (Marga Lopez) dances for money with the clients of Salon Mexico, a famous cabaret in Mexico City. Her younger sister Beatriz (Derbez) studies in an expensive private school, paid by Mercedes. Obviously, young Beatriz doesn't know about her sister's job. Troubles begin when Mercedes wins a danzon contest with Paco (Acosta), her pimp. Paco refuses to share the prize with Mercedes, so she steals the money when he's sleeping.

29. Doña Perfecta (1950) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0042413/)
http://cinemexicano.mty.itesm.mx/imagenes/donaperfecta.jpg
During the Reform years the arrival of Pepe Rey, a young liberal agronomist, to the town of Santa Fe provokes the hostility of the right wing neighbors. Pepe stays with his aunt Perfecta, a puritan who doesn't share the vision of his nephew. After a while, Pepe's work becomes impeded by false rumors. When love begins between Pepe and his cousin Rosario, doña Perfecta must take extreme measures.

30. Flor silvestre (Wild flower) (1943) by Emilio Fernández IMDb (http://www.imdb.com/title/tt0035890/)
http://cinemexicano.mty.itesm.mx/imagenes/florsilvestre.jpg
José Luis, son of the landowner don Francisco, marries Esperanza in secret, a beautiful and poor farmer. Upset with the wedding and his son revolutionary beliefs, don Francisco disinherits José Luis and throws him from the house. After the triumph of the revolution, José Luis has to confront the rapture of his wife and son by some false revolutionaries.

31. La pasión según Berenice (The passion according to Berenice) (1975) by Jaime Humberto Hermosillo AVI (http://karagarga.net/details.php?id=19405) IMDb (http://www.imdb.com/title/tt0073520/)
http://cinemexicano.mty.itesm.mx/imagenes/berenice1.jpg
Berenice (Navarro) is a woman with a mysterious past. A scar crosses her face and nightmares of fire and horses fill her lonely nights. She maybe killed her husband but nobody can be sure. In the present, Berenice lives with her godmother (Roldán) a money lender so fragile that she's always resting in her bed. The two women live in an almost perpetual seclusion, except on Sundays when they go to the church and to the movies. One day, the godmother's doctor dies and she asks Berenice to go to his velatory. There they meet Rodrigo (Armendáriz Jr.) the doctor's son, a handsome and free-spirited young man for whom Berenice falls in love.

32. La sombra del caudillo (The shadow of the general) (1960) by Julio Bracho AVI (http://karagarga.net/details.php?id=49574) IMDb (http://www.imdb.com/title/tt0054321/)
http://cinemexicano.mty.itesm.mx/imagenes/sombra_caudillo.jpg
The movie situated in post-revolutionary Mexico describes the way politics were done in those times. Ignacio Jimenez is chosen as the candidate of the Partido Radical Progresista, but he isn't so sure about it, because he knows his boss,El Caudillo has chosen another candidate. Several political moves are done between the parties, leading to a thunderous climax.

33. Calabacitas tiernas (¡Ay qué bonitas piernas!) (Tender pumpkins) (1948) by Gilberto Martínez Solares IMDb (http://www.imdb.com/title/tt0040197/)
http://cinemexicano.mty.itesm.mx/imagenes/calabacitas.jpg
Tin Tan acts as a double for a ruined buisnessman who doesn't want to face the people he owns money. In his new personality, Tin Tan gives a musical show with many beautiful women. They all fight to gain his love and to gain credit for the show, not knowing there is no fund to pay for it.

34. Dos tipos de cuidado (Two careful fellows) (1952) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0044560/)
http://cinemexicano.mty.itesm.mx/imagenes/dostipos.jpg
Two rangers are in love with two young girls from town. Pedro loves María, Jorge's sister, who is in love with Rosario, the daughter of a wealthy arab. Jorge leaves for one year and when he comes back he finds Pedro married to Rosario. Jorge then tries to ruin Pedro, not knowing the good intentions in Pedro.

35. El vampiro (The vampire) (1957) by Fernando Méndez AVI (http://karagarga.net/details.php?id=22848) IMDb (http://www.imdb.com/title/tt0051151/)
http://cinemexicano.mty.itesm.mx/imagenes/vampiro1.jpg
The young Marta arrives at Sierra Negra to visit her sick aunt. In the same train travels Enrique, a travelling agent who offers his company. They later travel in a carriage who also carries a mysterious box from Hungary. Once she arrives Marta finds her aunt is dead and so she stays, unaware of the vampires presence.

36. La barraca (The cabin) (1944) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0036627/)
http://cinemexicano.mty.itesm.mx/imagenes/barraca.jpg
In the valentian country in 1880, uncle Barret loses his cabin due to his debts with don Salvador. Barret kills him and his family suffers the consequence. The Batiste come to take possession of the cabin and fields, but the nieghbors decide to join forces against them.

37. María Candelaria (Xochimilco) (Portrait of Maria) (1943) by Emilio Fernández AVI (http://karagarga.net/details.php?id=18800) IMDb (http://www.imdb.com/title/tt0037054/)
http://cinemexicano.mty.itesm.mx/imagenes/candelaria2.jpg
A very '40s look at both racism against Indians in Mexico and social ostracism, Maria Candelaria is the story of a beautiful woman who is forced to live in solitude because of her mother's sins, while a local thug makes her life even more miserable by lording his power over her.

38. El suavecito (The softy) (1950) by Fernando Méndez IMDb (http://www.imdb.com/title/tt0211009/)
http://cinemexicano.mty.itesm.mx/imagenes/suavecito2.jpg
The casanova Roberto "the softy" leads a fair relationship with the worker Lupita, in spite of his infidelities. One night in a dance saloon he fights the Carlos the taxi driver. He then makes peaces with him and invites him to a betting place, where he is unjustly accused. At first Roberto keeps silent about the injustice, but after a while the guilt is strong.

39. La diosa arrodillada (The kneeling goddess) (1947) by Roberto Gavaldón AVI (http://karagarga.net/details.php?id=17423) IMDb (http://www.imdb.com/title/tt0039323/)
http://cinemexicano.mty.itesm.mx/imagenes/diosa.jpg
Legendary superstar María Félix, stars in this melodrama noir playing the role of Raquel, a woman who has a passionate love affair with married aristocrat Antonio. However, a sensual sculpture untitled "The Kneeling Goddess" and modeled after Raquel will lead Antonio down a memory lane he'd rather soon forget.

40. Los confines (The borders) (1987) by Mitl Valdez IMDb (http://www.imdb.com/title/tt0092778/)
http://cinemexicano.mty.itesm.mx/imagenes/confines.jpg
A combination of the magical world of Juan Rulfo, in which Juan Preciado from "Pedro Páramo" finds the incestuous brothers of "Talpa", meanwhile Juvencio Nava from "Tell them not to kill me" runs away from many men hunting him down for the death of the coronel Terrones.

41. El gallo de oro (The golden cockerel) (1964) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0058125/)
http://cinemexicano.mty.itesm.mx/imagenes/gallo_oro.jpg
The humble Dionisio is given a golden cockerel which he takes care of. One day he takes it to Palenque to fight and it wins. Lorenzo, important figure in the palenque, wants to buy the cockerel, but Dionisio refuses, except that he is now seduced by Lorenzo's woman.

42. El Topo (The Mole) (1969) by Alexandro Jodorowsky AVI (http://karagarga.net/details.php?id=27820) DVDR (http://karagarga.net/details.php?id=27532) IMDb (http://www.imdb.com/title/tt0067866/)
http://cinemexicano.mty.itesm.mx/imagenes/eltopo.jpg
This violent and allegorical Mexican western attracted a cult following in its day. It is the story of El Topo, a gunslinger who sets out for revenge against the outlaws who slew his wife. He ends up getting his revenge and saving the life of a woman who is being terrorized by bandits. She leads El Topo (which means "the Mole" in English) on a search for the region's top four gunfighters. But before they set off, Topo leaves his young son in a monastery. He and the woman hook up with another female and begin their search. During one battle, El Topo is wounded and the women leave him to die. His comatose body is found by a strange group of cave dwelling people who take him to their subterranean home. He does not wake up for many years. When he does, he is enlisted to help the clan dig an escape tunnel. Later they come to a tiny town where the residents belong to a weird religious cult and El Topo's son has become a monk. The townsfolk are terrorized by a sadistic sheriff. When the clan members come into the town, the stage is set for a blood-soaked tragedy.

43. Sensualidad (Sensuality) (1950) by Alberto Gout IMDb (http://www.imdb.com/title/tt0138090/)
http://cinemexicano.mty.itesm.mx/imagenes/sensualidad.jpg
Saloon singer Aurora is sentenced to two years in prison for a prostitution conviction. When she gets out of prison, she gets romantically involved with Alejandro Luque, the respected judge who tried her case. Aurora and her boyfriend, el Rizos, plan to blackmail the judge. But Aurora gets a change of heart as she comes to know the judge better.

44. El grito (The scream) (1968) by Leobardo López Aretche AVI (http://karagarga.net/details.php?id=58392) DVDR (http://karagarga.net/details.php?id=58266) IMDb (http://www.imdb.com/title/tt0214735/)
http://cinemexicano.mty.itesm.mx/imagenes/elgrito.jpg
A documentary of the conflicts that arose in Mexico in 1968, just before the Olympic Games, between students protesting against the corrupt government, and the police and armed forces. This documentary was made by film students, and remains one of the few graphic testimonies of all the events that led to the massacre of students in Tlatelolco.

45. Danzón (1991) by María Novaro IMDb (http://www.imdb.com/title/tt0101658/)
http://cinemexicano.mty.itesm.mx/imagenes/danzon.jpg
Julia (Rojo) is a phone operator in Mexico City who divides her time between her job, her daughter and the danzon: a cuban dance very popular in Mexico and Central America. Every wednesday Julia does the danzon with Carmelo (Rergis) in the old "Salon Colonia". They've danced for years but barely know each other. One night Carmelo disappears without a trace. Feeling lonely and sad, Julia takes a train to Veracruz, where she knows Carmelo has a brother. That sudden trip will change Julia's life forever.

46. Susana (Carne y demonio) (Susana: The devil and the flesh) (1950) by Luis Buñuel AVI (http://karagarga.net/details.php?id=224) IMDb (http://www.imdb.com/title/tt0043018/)
http://cinemexicano.mty.itesm.mx/imagenes/susana.jpg
An unstable young woman escapes from a reformatory for very, very wayward girls and deceptively finds shelter in the kind home of a frighteningly nice and decent family. Little by little, she causes unrest and discord among the members of the household, until they are virtually fighting with each other.

47. Ensayo de un crimen (The Criminal Life of Archibaldo de la Cruz) (1955) by Luis Buñuel AVI (http://karagarga.net/details.php?id=20843) DVDR (http://karagarga.net/details.php?id=20987) IMDb (http://www.imdb.com/title/tt0048037/)
http://cinemexicano.mty.itesm.mx/imagenes/ensayo.jpg
Archibaldo De la Cruz tells in the police station the story about the murder of a woman, which he insists to be the author. He's a talented potter, with refined manners but mentally unstable. One night, he says, he went to spent the night in a casino, where he met a beautiful woman. After having a fight with her lover, the woman crashes her car and De la Cruz offers to ride her home, place where he thinks he committed the murder. Archibaldo's engaged with a pretty and very catholic girl, but before that, he gets fascinated with a nice and beautiful woman, Lavinia.

48. Tlayucan (The pearl of Tlayucan) (1961) by Luis Alcoriza AVI (http://karagarga.net/details.php?id=67085) IMDb (http://www.imdb.com/title/tt0055527/)
http://cinemexicano.mty.itesm.mx/imagenes/tlayucan.jpg
Set in a small village with strong local traditions, the story revolves around the dilemma of a devoted father whose son is in desperate need of medicine. The father is much too poor to buy the medicine himself, and so he goes against all his scruples and steals a pearl from the crown of a statue in the church. Unfortunately, he is caught but cannot come up with the pearl because it is lost. Rather than see the good man punished simply because he wanted to help his seriously ill son, the rest of the villagers clamor for his release, and for the priest's forgiveness.

49. Ladrón de cadáveres (Grave robber) (1956) by Fernando Méndez IMDb (http://www.imdb.com/title/tt0049428/)
http://cinemexicano.mty.itesm.mx/imagenes/ladron_cadaveres.jpg
The wrestler Guillermo Santa and Comandante Robles, the latter disguised as 'El Vampiro', team up to capture the mad Dr Ogden (Carlos Riquelme) who is transplanting animal brains into kidnapped athletes and corpses in an attempt to prolong human life. When Santa is killed and his brain replaced with that of a gorilla, he is transformed into an ugly ape monster.

50. Frida, naturaleza viva (Frida, living nature) (1983) by Paul Leduc AVI (http://karagarga.net/details.php?id=76130) IMDb (http://www.imdb.com/title/tt0087297/)
http://cinemexicano.mty.itesm.mx/imagenes/frida.jpg
The most prominent female painter of Latin America, Frida Kahlo, is agonizing in her Coyoacán home. She evokes memories of her childhood, of the streetcar accident that caused her terrible pain and affliction, her friendship with Trotsky and painter Alfaro Siqueiros, her marriage to Diego Rivera, her miscarriage, her political commitment, her love affairs and the anticipated exhibition of her works.

51. Los tres huastecos (The three huastecos) (1948) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0040898/)
http://cinemexicano.mty.itesm.mx/imagenes/treshuastecos.jpg
This is the story of three brothers (a priest, a soldier and an outlaw) that are raised separately by their godfathers once their mother dies. They cross their paths again when the soldier and the priest move into two towns near the town the outlaw lives in. The drama will unfold once the three brothers meet each other.

52. El bulto (Excess baggage) (1991) by Gabriel Retes IMDb (http://www.imdb.com/title/tt0101519/)
http://cinemexicano.mty.itesm.mx/imagenes/bulto1.jpg
After being in a comma for 20 year, Lauro wakes up in a very different Mexico than the one he lived on. Ideas, hopes, ways-of-life and customs have changed, and Mexicans of the nineties are strangers for a man sleeping since 1971. Lauro will have to deal with the changes brought by the History, and will have to accept that the future is never as we imagined it when we were young.

53. María de mi corazón (Mary my dearest) (1979) by Jaime Humberto Hermosillo IMDb (http://www.imdb.com/title/tt0079537/)
http://cinemexicano.mty.itesm.mx/imagenes/maria_corazon.jpg
A very fantastic story about a robber and a magitian. Once they were lovers, but he left her. One fine day they reenccount and become lovers again. She takes him appart from the 'bad road' and they then work as child party's magitians. One day, while she was away in a bussines trip, her car cracks up in the middle of the highway, during a storm. She is picked up by an mental hospital's bus that takes her there. Now she cannot get out because everyone thinks she is mental sick.

54. La noche avanza (The night advances) (1951) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0265417/)
http://cinemexicano.mty.itesm.mx/imagenes/noche_avanza.jpg
The arrogant Arizmendi, champion of the basoue ball, lives intoxicated by his triumphs and mistreating the women who love him. A blackmail sets in danger Arizmendi next game. Sure that the blackmail won't proceed, he ignores it, and then has to face the vengeance of Marcial Gómez.

55. A. T. M. A toda máquina! (Full throttle) (1951) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0043253/)
http://cinemexicano.mty.itesm.mx/imagenes/atoda.jpg
A drifter lands a job as an officer in Mexico City's elite motorcycle police unit. Once there, he falls in love with a girl, who is also courted by his commanding officer. Both policemen try to avoid this from interfering with their friendship and profession.

56. Como agua para chocolate (Like water for chocolate) (1992) by Alfonso Arau AVI (http://karagarga.net/details.php?id=11021) IMDb (http://www.imdb.com/title/tt0103994/)
http://cinemexicano.mty.itesm.mx/imagenes/chocolate.jpg
In a forgotten Mexico, Tita and Pedro fall in love, but are forbidden to marry. Mama Elena sees Tita's role as her caretaker for life - no youngest daughter has ever married and her daughter will not be the first to break tradition. Tita's heart breaks when her mother instead offers to Pedro her other daughter, and he accepts. Now they live in the same house, and Mama Elena cannot forbid their love as she did their marriage.

57. México de mis recuerdos (My memories of Mexico) (1943) by Juan Bustillo Oro IMDb (http://www.imdb.com/title/tt0036190/)
http://cinemexicano.mty.itesm.mx/imagenes/mexicorecuerdos.jpg
An upper class lady, during Porfirio Diaz government, wants to marry the son of a "dead" composer but he is not attracted to her so she follows the advice of don Chucho (the composer who is supposed to be dead) He makes her appear as an entertainer and girlfriend of the presidents secretary, in order to make his son notice her.

58. Los caifanes (The outsiders) (1966) by Juan Ibáñez AVI (http://karagarga.net/details.php?id=66523) IMDb (http://www.imdb.com/title/tt0060201/)
http://cinemexicano.mty.itesm.mx/imagenes/caifanesnueva.jpg
A rich aristocratic couple abandon a dinner party to enjoy a night on the town with a urban gang, known as Los Caifanes.

59. Macario (1959) by Roberto Gavaldón AVI (http://karagarga.net/details.php?id=23548) IMDb (http://www.imdb.com/title/tt0054042/)
http://cinemexicano.mty.itesm.mx/imagenes/macario3.jpg
Poor, hungry peasant Macario longs for just one good meal on the Day of the Dead. After his wife cooks a turkey for him, he meets three apparitions, the Devil, God, and Death. Each asks him to share his turkey, but he refuses all except Death. In return, Death gives him a bottle of water which will heal any illness. Soon, Macario is more wealthy than the village doctor, which draws the attention of the feared Inquisition.

60. El apando (The heist) (1975) by Felipe Cazals AVI (http://karagarga.net/details.php?id=49722) IMDb (http://www.imdb.com/title/tt0072652/)
http://cinemexicano.mty.itesm.mx/imagenes/apando1.jpg
In Mexico City's notorious Lecumberri prison, three drug-addicted inmates get a fix from one of their mothers. Their stash is discovered by guards, and they are locked in the inhumane "apando," or punishment cell. The treatment they receive in the cell results in a fierce confrontation between guards and inmates.

61. Cabeza de Vaca (Cow head) (1990) by Nicolás Echevarría AVI (http://karagarga.net/details.php?id=30537) DVDR (http://karagarga.net/details.php?id=66365) IMDb (http://www.imdb.com/title/tt0101529/)
http://cinemexicano.mty.itesm.mx/imagenes/cabezavacacolor.jpg
An international award winning saga of old Mexico. In 1528, a Spanish expedition founders off the coast of Florida with 600 lives lost. One survivor, Alvar Nunez Cabeza de Vaca, roams across the American continent searching for his Spanish comrades. Instead, he discovers the Iguase, an ancient Indian tribe. Over the next eight years, Cabeza de Vaca learns their mystical and mysterious culture, becoming a healer and a leader. But soon this New World collides with the Old World as Spanish conquistadors seek to enslave the Indians, and Cabeza de Vaca must confront his own people and his past.

62. Juego de mentiras (Game of lies) (1967) by Archibaldo Burns IMDb (http://www.imdb.com/title/tt0213752/)
http://cinemexicano.mty.itesm.mx/imagenes/juego_mentiras.jpg
The return of Luisa to the house where she works as a maid to Marta is the detonator of a long confession, in which truth and lies are inseparable.

63. Rosauro Castro (1950) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0042908/)
http://cinemexicano.mty.itesm.mx/imagenes/rosaurocastro.jpg
The death of Cardoza, candidate to municipal presidency of a town, and enemy of the landowner Rosauro Castro, starts an investigation by García Mata. Once there he finds the whole town is afraid of Castro and that only vengeance can set them free.

64. Esquina bajan...! (Getting down next corner) (1948) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0040327/)
http://cinemexicano.mty.itesm.mx/imagenes/esquina.jpg
Gregorio del Prado, trouble maker and bus driver, is suspended for changing his route to impress a girl. With his explosive character, Gregorio gets himself in trouble but is helped by his friends from the syndicate.

65. Doña Herlinda y su hijo (Doña Herlinda and her son) (1984) by Jaime Humberto Hermosillo AVI (http://karagarga.net/details.php?id=37175) IMDb (http://www.imdb.com/title/tt0089048/)
http://cinemexicano.mty.itesm.mx/imagenes/dona_herlinda.jpg
Rodolfo is a young bachelor doctor who has a love affair with a younger music student, Ramon. When Rodolfo's mother begins to urge his son to get married, he quickly asks modern and open-mind Olga to become his wife. Ramon is heart-broken, but Dona Herlinda has the final solution to make everybody happy: She asks Ramon to live with her, near by Rodolfo and Olga. Everybody together forever.

66. Torero (Bullfighter) (1956) by Carlos Velo IMDb (http://www.imdb.com/title/tt0051099/)
http://cinemexicano.mty.itesm.mx/imagenes/torero.jpg
The life of the famed Mexican bullfighter Luis Procuna, from his boyhood through his training and the triumphs that followed as Procuna rose to the peak of his profession.

67. Santa (1931) by Antonio Moreno AVI (http://karagarga.net/details.php?id=36688) IMDb (http://www.imdb.com/title/tt0022339/)
http://cinemexicano.mty.itesm.mx/imagenes/santa1.jpg
Santa is a beautiful and very humble young girl living in Chimalistac, a small and quiet spot south of the 1930's Mexico City. After Santa is cheated by arrogant soldier Marcelino, she's rejected by her family and friends and expelled of Chimalistac. Santa finds shelter in a whorehouse and becomes a cinic and bitter woman, mistreated by bullfighter "Jarameno" and silently loved by blind pianist Hipolito.

68. Gángsters contra charros (Gangsters vs charros) (1947) by Juan Orol IMDb (http://www.imdb.com/title/tt0249559/)
http://cinemexicano.mty.itesm.mx/imagenes/gangsters.jpg
The gangster Johnny Carmenta has to fight Pancho Domínguez, the charro of the suburb, who has imposed his law in the city. The dancer Rosa switches between the gangster and the charro, making the matter worse.

69. La mujer de Benjamín (Benjamin's woman) (1991) by Carlos Carrera IMDb (http://www.imdb.com/title/tt0102478/)
http://cinemexicano.mty.itesm.mx/imagenes/benjamin1.jpg
Old bachelor Benjamin still lives with his sister Micaela in the boredom of a small town. His only entertainment is getting together with a bunch of old men and spare time playing like children. Benjamin falls inlove with beautiful and young Natividad. First, he writes love letters for her. Then, when this strategy fails, Benjamin and the old men plan to abduct her and wait for her falling inlove.

70. En la palma de tu mano (In the palm of your hand) (1950) by Roberto Gavaldón AVI (http://karagarga.net/details.php?id=55955)IMDb (http://www.imdb.com/title/tt0042434/)
http://cinemexicano.mty.itesm.mx/imagenes/palmamano2.jpg
Jaime Karin is an astrologer, fortune teller and a scam artist, who uses his wife who works in an elegant beauty salon, to find out information on future wealthy clients, through her he learns that a millionaire Vittorio Romano died shortly after learning of his wife's infidelity. Karin befriends the woman and learns that she and her lover murdered her husband, now the woman claims to love the astrologer and wants him to help her get rid of her lover.

71. Matinée (1976) by Jaime Humberto Hermosillo IMDb (http://www.imdb.com/title/tt0076374/)
http://cinemexicano.mty.itesm.mx/imagenes/matinee1.jpg
Two young schoolboys in a Mexican town cut class to go to a matinee. They are caught, grounded and almost expelled by from their school. Later, they accompany a truck driver to Mexico City, one boy as a stowaway. Their truck is soon hi-jacked by a team of highway pirates, and the boys are well on their way to an adventure greater than anything they missed at the matinee.

72. Amor a la vuelta de la esquina (Love around the corner) (1985) by Alberto Cortés IMDb (http://www.imdb.com/title/tt0088712/)
http://cinemexicano.mty.itesm.mx/imagenes/amor_esquina.jpg
After escaping of prison, María breaks a leg but is rescued by Julián, a smuggler. The young woman stays in a guest house, but when Julián leaves her alone for a few days she decides to go. After walking the streets she decides to prostitute herself. Happy with her life something makes her search Julián again.

73. Doña Diabla (The devil is a woman) (1949) by Tito Davison IMDb (http://www.imdb.com/title/tt0040300/)
http://cinemexicano.mty.itesm.mx/imagenes/diabla.jpg
Story of woman who, embittered by a disastrous marriage, takes revenge on men by exploiting them to build up wealth and power.

74. Mecánica nacional (National mechanics) (1971) by Luis Alcoriza AVI (http://karagarga.net/details.php?id=49675) IMDb (http://www.imdb.com/title/tt0134817/)
http://cinemexicano.mty.itesm.mx/imagenes/mecanica.jpg
Love, food, sex and death mix together in an explosive cocktail when a mechanic takes his family (old granny Sara García included) to attend a car race. The innocent picnic becomes a feast, but then the old granny dies.

75. Doña Bárbara (1943) by Fernando de Fuentes AVI (http://karagarga.net/details.php?id=24964) IMDb (http://www.imdb.com/title/tt0035825/)
http://cinemexicano.mty.itesm.mx/imagenes/donabarbara.jpg
Felix is cast as the title character, a rich landowner who has accumulated her fortune through the kindness of strangers-handsome, amorous strangers to whom she has sold her affections. Renouncing true love in favor of material gains, Dona Barbara ultimate falls desperately in love with neighboring rancher Santos Luardos. Her euphoria evaporates when she learns that Santos is interested only in her young daughter Marisela.

61. Cabeza de Vaca (Cow head) (1990) by Nicolás Echevarría AVI (http://karagarga.net/details.php?id=30537) DVDR (http://karagarga.net/details.php?id=66365) IMDb (http://www.imdb.com/title/tt0101529/)
http://cinemexicano.mty.itesm.mx/imagenes/cabezavacacolor.jpg
An international award winning saga of old Mexico. In 1528, a Spanish expedition founders off the coast of Florida with 600 lives lost. One survivor, Alvar Nunez Cabeza de Vaca, roams across the American continent searching for his Spanish comrades. Instead, he discovers the Iguase, an ancient Indian tribe. Over the next eight years, Cabeza de Vaca learns their mystical and mysterious culture, becoming a healer and a leader. But soon this New World collides with the Old World as Spanish conquistadors seek to enslave the Indians, and Cabeza de Vaca must confront his own people and his past.

62. Juego de mentiras (Game of lies) (1967) by Archibaldo Burns IMDb (http://www.imdb.com/title/tt0213752/)
http://cinemexicano.mty.itesm.mx/imagenes/juego_mentiras.jpg
The return of Luisa to the house where she works as a maid to Marta is the detonator of a long confession, in which truth and lies are inseparable.

63. Rosauro Castro (1950) by Roberto Gavaldón IMDb (http://www.imdb.com/title/tt0042908/)
http://cinemexicano.mty.itesm.mx/imagenes/rosaurocastro.jpg
The death of Cardoza, candidate to municipal presidency of a town, and enemy of the landowner Rosauro Castro, starts an investigation by García Mata. Once there he finds the whole town is afraid of Castro and that only vengeance can set them free.

64. Esquina bajan...! (Getting down next corner) (1948) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0040327/)
http://cinemexicano.mty.itesm.mx/imagenes/esquina.jpg
Gregorio del Prado, trouble maker and bus driver, is suspended for changing his route to impress a girl. With his explosive character, Gregorio gets himself in trouble but is helped by his friends from the syndicate.

65. Doña Herlinda y su hijo (Doña Herlinda and her son) (1984) by Jaime Humberto Hermosillo AVI (http://karagarga.net/details.php?id=37175) IMDb (http://www.imdb.com/title/tt0089048/)
http://cinemexicano.mty.itesm.mx/imagenes/dona_herlinda.jpg
Rodolfo is a young bachelor doctor who has a love affair with a younger music student, Ramon. When Rodolfo's mother begins to urge his son to get married, he quickly asks modern and open-mind Olga to become his wife. Ramon is heart-broken, but Dona Herlinda has the final solution to make everybody happy: She asks Ramon to live with her, near by Rodolfo and Olga. Everybody together forever.

66. Torero (Bullfighter) (1956) by Carlos Velo IMDb (http://www.imdb.com/title/tt0051099/)
http://cinemexicano.mty.itesm.mx/imagenes/torero.jpg
The life of the famed Mexican bullfighter Luis Procuna, from his boyhood through his training and the triumphs that followed as Procuna rose to the peak of his profession.

67. Santa (1931) by Antonio Moreno AVI (http://karagarga.net/details.php?id=36688) IMDb (http://www.imdb.com/title/tt0022339/)
http://cinemexicano.mty.itesm.mx/imagenes/santa1.jpg
Santa is a beautiful and very humble young girl living in Chimalistac, a small and quiet spot south of the 1930's Mexico City. After Santa is cheated by arrogant soldier Marcelino, she's rejected by her family and friends and expelled of Chimalistac. Santa finds shelter in a whorehouse and becomes a cinic and bitter woman, mistreated by bullfighter "Jarameno" and silently loved by blind pianist Hipolito.

68. Gángsters contra charros (Gangsters vs charros) (1947) by Juan Orol IMDb (http://www.imdb.com/title/tt0249559/)
http://cinemexicano.mty.itesm.mx/imagenes/gangsters.jpg
The gangster Johnny Carmenta has to fight Pancho Domínguez, the charro of the suburb, who has imposed his law in the city. The dancer Rosa switches between the gangster and the charro, making the matter worse.

69. La mujer de Benjamín (Benjamin's woman) (1991) by Carlos Carrera IMDb (http://www.imdb.com/title/tt0102478/)
http://cinemexicano.mty.itesm.mx/imagenes/benjamin1.jpg
Old bachelor Benjamin still lives with his sister Micaela in the boredom of a small town. His only entertainment is getting together with a bunch of old men and spare time playing like children. Benjamin falls inlove with beautiful and young Natividad. First, he writes love letters for her. Then, when this strategy fails, Benjamin and the old men plan to abduct her and wait for her falling inlove.

70. En la palma de tu mano (In the palm of your hand) (1950) by Roberto Gavaldón AVI (http://karagarga.net/details.php?id=55955)IMDb (http://www.imdb.com/title/tt0042434/)
http://cinemexicano.mty.itesm.mx/imagenes/palmamano2.jpg
Jaime Karin is an astrologer, fortune teller and a scam artist, who uses his wife who works in an elegant beauty salon, to find out information on future wealthy clients, through her he learns that a millionaire Vittorio Romano died shortly after learning of his wife's infidelity. Karin befriends the woman and learns that she and her lover murdered her husband, now the woman claims to love the astrologer and wants him to help her get rid of her lover.

71. Matinée (1976) by Jaime Humberto Hermosillo IMDb (http://www.imdb.com/title/tt0076374/)
http://cinemexicano.mty.itesm.mx/imagenes/matinee1.jpg
Two young schoolboys in a Mexican town cut class to go to a matinee. They are caught, grounded and almost expelled by from their school. Later, they accompany a truck driver to Mexico City, one boy as a stowaway. Their truck is soon hi-jacked by a team of highway pirates, and the boys are well on their way to an adventure greater than anything they missed at the matinee.

72. Amor a la vuelta de la esquina (Love around the corner) (1985) by Alberto Cortés IMDb (http://www.imdb.com/title/tt0088712/)
http://cinemexicano.mty.itesm.mx/imagenes/amor_esquina.jpg
After escaping of prison, María breaks a leg but is rescued by Julián, a smuggler. The young woman stays in a guest house, but when Julián leaves her alone for a few days she decides to go. After walking the streets she decides to prostitute herself. Happy with her life something makes her search Julián again.

73. Doña Diabla (The devil is a woman) (1949) by Tito Davison IMDb (http://www.imdb.com/title/tt0040300/)
http://cinemexicano.mty.itesm.mx/imagenes/diabla.jpg
Story of woman who, embittered by a disastrous marriage, takes revenge on men by exploiting them to build up wealth and power.

74. Mecánica nacional (National mechanics) (1971) by Luis Alcoriza AVI (http://karagarga.net/details.php?id=49675) IMDb (http://www.imdb.com/title/tt0134817/)
http://cinemexicano.mty.itesm.mx/imagenes/mecanica.jpg
Love, food, sex and death mix together in an explosive cocktail when a mechanic takes his family (old granny Sara García included) to attend a car race. The innocent picnic becomes a feast, but then the old granny dies.

75. Doña Bárbara (1943) by Fernando de Fuentes AVI (http://karagarga.net/details.php?id=24964) IMDb (http://www.imdb.com/title/tt0035825/)
http://cinemexicano.mty.itesm.mx/imagenes/donabarbara.jpg
Felix is cast as the title character, a rich landowner who has accumulated her fortune through the kindness of strangers-handsome, amorous strangers to whom she has sold her affections. Renouncing true love in favor of material gains, Dona Barbara ultimate falls desperately in love with neighboring rancher Santos Luardos. Her euphoria evaporates when she learns that Santos is interested only in her young daughter Marisela.

76. Los motivos de Luz (The motives of Luz) (1985) by Felipe Cazals IMDb (http://www.imdb.com/title/tt0089624/)
http://cinemexicano.mty.itesm.mx/imagenes/luz1.jpg
Luz is in jail, accused of murdering her own children. Her husband and her mother-in-law say she killed them in cold blood. Dr. Rebollar tries to help the woman, but she refuses to remember anything. Luz thinks of jail as the purgatory: it's only one step to reach the Heaven.

77. Cronos (Chronos) (1992) by Guillermo del Toro AVI (http://karagarga.net/details.php?id=2747) IMDb (http://www.imdb.com/title/tt0104029/)
http://cinemexicano.mty.itesm.mx/imagenes/cronos.jpg
An aging antique dealer, Jesus Gris, happens upon an elegant mechanized scarab. When opened, it painfully stabs whomever is holding it, but the wound brings youthful vigor and a vampire's need for blood. The device is relentlessly pursued by a dying tycoon, Dieter de la Guardia, whose nephew Angel, reluctant to see his uncle live a moment longer, must still do the old man's bidding. Meanwhile, Gris's desires endanger his own granddaughter, Aurora.

78. Ángel de fuego (Angel of fire) (1991) by Dana Rotberg AVI (http://karagarga.net/details.php?id=32169) IMDb (http://www.imdb.com/title/tt0105915/)
http://cinemexicano.mty.itesm.mx/imagenes/angeldefuegocolor.jpg
Fire-breathing trapeze artist Alma is pregnant, courtesy of her late father, she takes her act to the streets of Mexico City, then joins a travelling religious puppet show run by a mother and son. But when the boy starts to have unchaste thoughts, the mother decides Alma needs a little penance for her sins (even if they largely consist of "being a girl"). Maybe circus life wasn't so bad after all.

79. Luponini: El terror de Chicago (Luponini: the terror of Chicago) (1935) by José Bohr IMDb (http://www.imdb.com/title/tt0026661/)
http://cinemexicano.mty.itesm.mx/imagenes/luponini1.jpg
Luponini, a young bank teller, is in love with the bank president's daughter, but the president will not allow him to see his daughter. Luponini believes things would be different if he were rich. He makes many mistakes at work because he is so distracted with thoughts of the daughter. Things get worse when he steals a car, marries a former co-worker and loses his job. Eventually he becomes a thief.

80. La perla (The pearl) (1945) by Emilio Fernández AVI (http://karagarga.net/details.php?id=31034) IMDb (http://www.imdb.com/title/tt0037981/)
http://cinemexicano.mty.itesm.mx/imagenes/perla.jpg
Quino is a Mexican diver that discovers a pearl at the bottom of the sea. He and his wife Juana, and their son have just taken possession of a pearl that is worth thousands. Everyday people try to get in on the cash, even Pearl Dealers try to rip them off. When Quino is attacked one day, he kills his attackers in self defence. His brother suggests their only hope is to leave the village. But on their journey to give their son an education they never had, someone may just do anything to prevent it.

81. Nocaut (Knock out) (1983) by José Luis García Agraz IMDb (http://www.imdb.com/title/tt0086019/)
http://cinemexicano.mty.itesm.mx/imagenes/nocaut.jpg
It opens with a murder and in flashbacks tells the story of how the assassin, Rodrigo Saracho was caught in circumstances slightly beyond his control and left with no way out except to descend further and further down the moral scale. The man remembers how he began as an aspiring boxer in Mexico City, innocent of the seamier side of the ring, and how crime bosses slowly involve him first in a few "minor" transgressions, such as throwing a fight, and then in ever-more-serious criminal activity.

82. Santa (1943) by Norman Foster and Alfredo Gómez de la Vega IMDb (http://www.imdb.com/title/tt0202564/)
http://cinemexicano.mty.itesm.mx/imagenes/santa1943.jpg
A remake of the early talkie. Santa is cheated by arrogant soldier Marcelino, she's rejected by her family and friends and expelled of Chimalistac. Santa finds shelter in a whorehouse and becomes a cinic and bitter woman, mistreated by bullfighter "Jarameno" and silently loved by blind pianist Hipolito.

83. Los tres García (The three Garcia) (1946) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0039047/)
http://cinemexicano.mty.itesm.mx/imagenes/tresgarcia.jpg
Ruled by a tough grandma , the Garcías are three charro cousins who fall in love with young American-born Lupita and fight for her love until grandma quiets them.

84. Águila o sol (Head or tails) (1937) by Arcady Boytler IMDb (http://www.imdb.com/title/tt0029821/)
http://cinemexicano.mty.itesm.mx/imagenes/aguila.jpg
Abandoned at birth in a nun asylum, Polito Sol, Adriana and Carmelo Aguila are raised together. Don Hipolito, father of Polito, becomes rich and decides to search his abandoned boy. The destiny of the four characters interwine in comic situations.

85. El baisano Jalil (Jalil the lebanese) (1942) by Joaquín Pardavé IMDb (http://www.imdb.com/title/tt0179664/)
http://cinemexicano.mty.itesm.mx/imagenes/baisano.jpg
Aristocrats without money, the Veradaba have to loan money from the lebanese Jalil, whose son Selim suffers the neglects of Marta, the wasteful daughter of the Veradaba. When invited to the house of the Verdaba, the family of Jalil are made fun of, but justice will be done.

86. Janitzio (1934) by Carlos Navarro IMDb (http://www.imdb.com/title/tt0026543/)
http://cinemexicano.mty.itesm.mx/imagenes/janitzio1.jpg
Zirahuen, a fisherman from Michoacan, fights against the speculators who invade his working area. The situation gets worse when Zirahuen is imprisoned by orders of Manuel, who desires the wife of the fisherman.

87. Sólo con tu pareja (Love in the time of hysteria) (1991) by Alfonso Cuarón AVI (http://karagarga.net/details.php?id=19374) IMDb (http://www.imdb.com/title/tt0102958/)
http://cinemexicano.mty.itesm.mx/imagenes/parejacolor.jpg
Young yuppie and womanizer Tomas is caught in a trap when falsely diagnosed with AIDS by Silvia, a nurse who finds herself cheated by the young Casanova. Looking for a quick death (putting his head into a microwave oven) Tomas falls in love with Clarisa, a beautiful stewardess who also wants to suicide because her lover is having an affair with a blonde stewardess from Continental Airlines.

88. Viento negro (Black wind) (1964) by Servando González IMDb (http://www.imdb.com/title/tt0236843/)
http://cinemexicano.mty.itesm.mx/imagenes/viento_negro.jpg
During the construction of a railroad track in the desert of Sonora, a group of workers leaded by Manuel Iglesias suffers the consecuence of isolation and a burning wind. The arrival of some young engineers, including the son of Manuel, make the tensions higher.

89. Allá en el Rancho Grande (Over at the Big Ranch) (1936) by Fernando de Fuentes AVI (http://karagarga.net/details.php?id=51502) IMDb (http://www.imdb.com/title/tt0027277/)
http://cinemexicano.mty.itesm.mx/imagenes/alla1.jpg
The owner and the general manager of a ranch (Rancho Grande), two good friends, fall in love with the same girl at the same time. The owner tries to 'buy' the girl without knowing she is in love with the manager.

90. Historia de un gran amor (Story of a great love) (1942) by Julio Bracho IMDb (http://www.imdb.com/title/tt0162372/)
http://cinemexicano.mty.itesm.mx/imagenes/historia.jpg
The story of an impossible love between Manuel Venegas, a poor young man, and the beautiful Soledad, daughter of the man who took Manuel's fortune. Looking for a new fortune, Manuel leaves Soledad alone and sad. When he returns he finds her married to Antonio, but both lovers are decided to unite again.

91. Escuela de vagabundos (School for tramps) (1954) de Rogelio A. González IMDb (http://www.imdb.com/title/tt0046961/)
http://cinemexicano.mty.itesm.mx/imagenes/escuela.jpg
The tramp Luis Alberto arrives at Valverde's mansion in need for a phone but ends up being hired as the driver for doña Emilia, who has the mania of protecting tramps. Soon he falls in love with her daughter, who considers him a brute.

92. La malquerida (The disliked one) (1949) by Emilio Fernández AVI (http://karagarga.net/details.php?id=72601) IMDb (http://www.imdb.com/title/tt0041624/)
http://cinemexicano.mty.itesm.mx/imagenes/malquerida.jpg
Raimunda's daughter Acacia hates her stepfather Esteban, and in order to escape her suffocating home life she's accepted a marriage proposal from a man she doesn't even love. But Esteban has become obsessed with Acacia, and in order to ensure that she doesn't leave he's plotting to murder the girl's unsuspecting fiancé. As Esteban's true nature emerges, mother and daughter must band together to support one another and make sure that their family bond remains strong even in the darkest of times.

93. Las abandonadas (The abandoned) (1944) by Emilio Fernández IMDb (http://www.imdb.com/title/tt0036577/)
http://cinemexicano.mty.itesm.mx/imagenes/abandonadas2.jpg
A young woman, abandoned by her womanizing fiancé, is forced to provide for the upbringing of her son and combat the difficulties of being an unmarried mother during the strife of early 20-century Mexico.

94. Dos monjes (Two monks) (1934) by Juan Bustillo Oro AVI (http://karagarga.net/details.php?id=72580) IMDb (http://www.imdb.com/title/tt0025062/)
http://cinemexicano.mty.itesm.mx/imagenes/dosmonjes.jpg
In a monastery in the 19th century, two monks get in a fight. Once called to confess, each one tells a different version of the same story, in which the only common element is a woman with whom both were in love.

95. La ilusión viaja en tranvía (Illusion travels by streetcar) (1953) by Luis Buñuel AVI (http://karagarga.net/details.php?id=6498) DVDR (http://karagarga.net/details.php?id=14307) IMDb (http://www.imdb.com/title/tt0045907/)
http://cinemexicano.mty.itesm.mx/imagenes/ilusion_tranvia.jpg
Confronted with the unfortunate news that their favorite Streetcar, no. 133, is going to be decommissioned, two Municipal Transit workers get drunk and decide to "take 'er for one last spin," as it were. Unfortunately, the "one last spin" ends up being an all-night and all-day scramble to stay out of trouble, as they are confronted with situation after sometimes bizarre situation that prevents them from returning the "borrowed" Streetcar!

96. La Cucaracha (The soldiers of Pancho Villa) (1958) by Ismael Rodríguez IMDb (http://www.imdb.com/title/tt0051504/)
http://cinemexicano.mty.itesm.mx/imagenes/cucarachanew.jpg
Two women who love the same man and who are both equally dedicated to fighting in the revolution.

97. Espaldas mojadas (Wet backs) (1953) by Alejandro Galindo IMDb (http://www.imdb.com/title/tt0045738/)
http://cinemexicano.mty.itesm.mx/imagenes/espaldas.jpg
Mexican worker Rafael Amándola runs from the police and cross the Mexican-American border, helped by Frank Mendoza, a partner of an American called Mr. Sterling, who gives work to illegal migrants. Once in the United States, Rafael does not adapt to his new life.

98. El automóvil gris (The grey automobile) (1919) by Enrique Rosas, Joaquín Coss y Juan Canals de Homs IMDb (http://www.imdb.com/title/tt0009894/)
http://cinemexicano.mty.itesm.mx/imagenes/autogris.jpg
A gang terrorizes Mexico City's high society on 1915. Murder, kidnaping and robbery are their trademarks. One police inspector (Cabrera) follows the gang crimes and eventually send them to the jail.

99. Una carta de amor (A letter of love) (1943) by Miguel Zacarías IMDb (http://www.imdb.com/title/tt0235262/)
http://cinemexicano.mty.itesm.mx/imagenes/unacartadeamor.jpg

100. Naufragio (1977) by Jaime Humberto Hermosillo
http://cinemexicano.mty.itesm.mx/imagenes/naufragio.jpg

cuma pernah nonton bunuel, jodorowsky, cuaron sama del toro.
like water for chocolate masuk juga yah, adaptasi dari novel kan nih.

cuma pernah nonton bunuel, jodorowsky, cuaron sama del toro.
like water for chocolate masuk juga yah, adaptasi dari novel kan nih.

ngeliat dari listnya, itu yang nguasain list orangnya itu2 aja ya. Like Water for Chocolate lum nonton. Mmm i think im gonna watch Maria Candelaria soon.

Being a movie-goer is like living your own life. There are times when the love for movie was born, grow up, and maturing your taste, so this is my position now. And this is the first decade from the upcoming and continuing list. Enjoy the Silence!

Decades Under the Influence, Movies I like from the 2000s

This decade has the most Honorable Mentions from my list. 2000s is when I grew up and started my love and passion with films in general, understandably I watched more movies in this decade than other. Many entries have relations with music. Nonetheless, it's a shame, I haven't watched anything made by Kiarostami in this decade, but the decade hasn't ended yet, so I think there is a hope. Asia rules this decade!

Honorable Mentions:
Spring, Summer, Fall, Winter, and Spring (Kim Ki-Duk, South Korea, 2003)
Tiresia (Bertrand Bonello, France, 2003)
Zodiac (David Fincher, USA, 2006)
Birth (Jonathan Glazer, USA, 2004)
Eternal Sunshine of the Spotless Mind (Michel Gondry, USA, 2004)
City of God / Cidade de Deus (Fernando Meirelles, Brazil, 2002)
Company, The (Robert Altman, USA, 2000)
Mysterious Skin (Gregg Araki, USA, 2005)
Lives of Others, The (Florian Henckel-Donnersmarck, Germany, 2006)
The Piano Teacher (Michael Haneke, Austria, 2001)
The Day I Became a Woman (Marziyeh Meshkini, Iran, 2000)
Goodbye, Dragon Inn (Tsai Ming-liang, Taiwan, 2003)

La Vie Nouvelle (Philippe Grandrieux, France, 2002)
http://img30.imageshack.us/img30/5918/img4grndrxlvnvlle02.jpg
When movie is not only about dialogue, then the images should strong enough to make us feel the emotion. Grandrieux surely a great talent that might make many other great movies in the future. It's powerful, raw, and beautiful. It does have some nice techno tunes too.

Opera Jawa (Garin Nugroho, Indonesia, 2006)
The Saddest Music in the World (Guy Maddin, Canada, 2004)
Tarnation (Jonathan Caouette, USA, 2004)
Angels in America (Mike Nichols, USA, 2003)
Tropical Malady / Sud Pralad (Apichatpong Weerasethakul, Thailand, 2004)
A Ma Soeur / Fat Girl (Catherine Breillat, France, 2001)
Junebug (Phil Morrison, USA, 2005)



50. Honey (David Ball, USA, 2004)
http://transmutative.files.wordpress.com/2009/02/honey-poster.jpg?w=231&h=300
A movie I found on Archive.org, free. It has Cassavetian touch, and that defined greatness. It's emotionally disturbing story about the relationship between a guy and a girl, and the exs. How truthful David Ball made the scenes until I got trembled in the scene where the boyriend forgot the girl's birthday. Made with passion and understanding, this might end in my top 10 if I got the time to re-watch. Highly recommended.

49. Me and You and Everyone We Know (Miranda July, USA, 2005)
48. Ghost World (Terry Zwigoff, USA, 2001)
47. Lost in Translations (Sofia Coppola, USA, 2003)
46. Mulholland Drive (David Lynch, USA, 2001)
45. It's All Gone Pete Tong (Michael Dowse, United Kingdom, 2005)
44. Nobody Knows (Hirokazu Kore-eda, Japan, 2004)

43. Station Agent (Thomas McCarthy, USA, 2003)
http://christybharath.files.wordpress.com/2009/05/stationagent-1.jpg
My favorite movie where a dwarf is in the leading role. A gem!

42. Bad Education / La Mala Educacion (Pedro Almodovar, Spain, 2004)
41. Funny Ha-ha (Andrew Bujalski, USA, 2005)
40. Saraband (Ingmar Bergman, Sweden, 2003)
39. Requiem for a Dream (Darren Aronofsky, USA, 2000)
38. Child, The / L'Enfant (Jean-luc & Pierre Dardenne, Belgium, 2005)

37. La Captive (Chantal Akerman, France/Belgium, 2000)
http://www.kava.fi/foto/captive.jpg

36. Hedwig and the Angry Inch (John Cameron Mitchell, USA, 2001)
35. Happy-Go-Lucky (Mike Leigh, United Kingdom, 2008)

34. I'm Going Home (Manoel de Oliveira, France, 2002)
http://www.thelmagazine.com/imager/put_this_on_your_netflix_queue_im_going_home/b/original/1155486/e4d9/ImGoingHome_Oliveira.jpg
With Michel Piccoli, the star of French Cinema back in the 60s and 70s, de Oliveira at his 90s still able producing such great movie. A simple , thoughtful, funny, and touching story about an old guy, takes care his grandchildren.

33. Un Franco, Catorce Pesetas (Carlos Iglesias, Spain, 2005)
http://cinefagos.lacoctelera.net/myfiles/cinefagos/un%20franco%20catorce%20pesetas.jpg
Iglesias is a well-known TV actor in Spain, and this is his directorial debut. A shame that he hasn't made more movie. A cross-cultural story with infusing some sense of dignity and nationality.


32. History of Violence, A (David Cronenberg, USA, 2005)

31. Dayereh / The Circle (Jafar Panahi, Iran, 2000)
http://media-2.web.britannica.com/eb-media/58/93458-004-428E8361.jpg
Structured like Luis Bunuel's The Phantom of Liberty (or Rick Linklater's Slacker), it told about a group of women who just got out from the prison, facing prejudice from society, especially men.

30. Amores Perros / Love's a Bitch (Alejandro Gonzalez Inarritu, Mexico, 2000)

29. Away From Her (Sarah Polley, Canada, 2006)
http://glennkenny.premiere.com/photos/uncategorized/2007/10/25/awayfromher.jpg
I always love a movie with story about the plight of the elderly. Such a mature direction and understanding Polley is, descripting a love story between an old woman with Alzheimer and her husband.

28. High Fidelity (John Cusack, USA, 2000)
27. Nine Queens / Nuevas Reinas (Fabian Bielensky, Argentina, 2000)

26. Uzak / Distant (Nuri Bilge Ceylan, Turki, 2002)
This is what will happen if someone take comedy very serious. It doesn't mock our intelligence, subtly made, and uproaring hilarious. The best and funniest scene is when Mahmud played Tarkovsky's Stalker on DVD, just to make Yusuf got sleepy, so Mahmud could play a porn.

25. Nurse Betty (Neil LaBute, USA, 2000)
24. Russian Ark / Russkij Kovcheg (Alexander Sokurov, Russia, 2002)
23. Yi Yi / A One and a Two (Edward Yang, Taiwan, 2000)
22. 4 Months 3 Weeks, and 2 Days (Cristian Mungiu, Romania, 2007)
21. Nine Lives (Rodrigo Garcia, USA, 2005)
20. The Gleaners and I / Les Glaneurs et la Glaneuse (Agnes Varda, France, 2000)
19. Almost Famous (Cameron Crowe, USA, 2000)
18. What Time Is It There? (Tsai Ming-liang, Taiwan, 2001)

17. Climates / Iklimler (Nuri Bilge Ceylan, Turkey, 2006)
http://lilokpelikula.files.wordpress.com/2008/07/iklimler.jpg

16. Death of Mr Lazarescu (Cristi Puiu, Romania, 2005)
15. Y Tu Mama Tambien (Alfonso Cuaron, Mexico, 2000)
14. C.R.A.Z.Y (Jean-Marc Vallee, Canada, 2005)

13. Moolaade (Ousmane Sembene, Senegal/Burkina Faso, 2004)
http://whitelodge.no/blog/wp-content/uploads/2008/10/moolaade-1.jpg
A heartbreaking story about the struggle of women against genital circumsision.

12. Trilogy: the Weeping Meadow / Trilogia: To Livadi Pou Dakryzei (Theo Angelopoulos, Greece, 2004)
11. 24 Hour Party People (Michael Winterbottom, United Kingdom, 2001)

10. The World / Shijie (Jia Zhang-Ke, China, 2005)
http://www.jonathanrosenbaum.com/wp-content/uploads/2008/10/world_photo.jpg

9. Black Book / Zwartboek (Paul Verhoeven, Netherland, 2006)
8. I Am a Sex Addict (Caveh Zahedi, USA, 2005)
7. Syndromes and a Century / Sang Sattawat (Apichatpong Weerasethakul, Thailand, 2006)

6. Three Times (Hou Hsiao-hsien, Taiwan, 2005)
http://blocs.mesvilaweb.cat/media/VWIMGeGNiVC.jpg
Three times, three couples, three emotions. The first story is enough to make a room for this movie on this spot.

5. In the Mood for Love / Fa Yeung Nin Wa (Wong Kar-Wai, Hong Kong, 2000)
4. Still Life / Sanxia Haoren (Jia Zhang-ke, China, 2006)
3. Dancer in the Dark (Lars von Trier, Denmark/France, 2000)

2. 2046 (Wong Kar-wai, Hong Kong, 2004)
http://twi-ny.com/20462.jpg

1. Platform / Zhantai (Jia Zhang-ke, China/Hong Kong/Japan/France, 2000)
http://img5.allocine.fr/acmedia/rsz/434/x/x/x/medias/nmedia/18/64/64/92/18794822.jpg
For me, Jia is the most important director of this decade, he can tell much what is happening in his country, or in general in developing country.

Yuk, I lost for words to comment on your absolutely mouth-watering best of the decade list. I could only dream to compile a list as versatile and adventurous as yours here.

I can't say with confidence what is my favorite film of the decade is, but one of the films that comes to mind is Andrei Zvyiagintsev's The Return.

Yuk, I lost for words to comment on your absolutely mouth-watering best of the decade list. I could only dream to compile a list as versatile and adventurous as yours here.

I can't say with confidence what is my favorite film of the decade is, but one of the films that comes to mind is Andrei Zvyiagintsev's The Return.

thx for the comment, nah yang itu gue malah blom liat....tell us more your other faves

I’ve been trying for a couple of hours to compile a Top Ten or Top 20 list of my own, but unsuccessful. I think It's still too premature :D
So right now I could only mention some films from your list that would also be in my consideration for favorite of the aughts:

Birth (Jonathan Glazer, USA, 2004)
Eternal Sunshine of the Spotless Mind (Michel Gondry, USA, 2004)
The Day I Became a Woman (Marziyeh Meshkini, Iran, 2000)
Goodbye, Dragon Inn (Tsai Ming-liang, Taiwan, 2003)
Junebug (Phil Morrison, USA, 2005)
Ghost World (Terry Zwigoff, USA, 2001)
Mulholland Drive (David Lynch, USA, 2001)
Nobody Knows (Hirokazu Kore-eda, Japan, 2004)
Child, The / L'Enfant (Jean-luc & Pierre Dardenne, Belgium, 2005)
Dayereh / The Circle (Jafar Panahi, Iran, 2000)
Uzak / Distant (Nuri Bilge Ceylan, Turki, 2002)
Russian Ark / Russkij Kovcheg (Alexander Sokurov, Russia, 2002)
The Gleaners and I / Les Glaneurs et la Glaneuse (Agnes Varda, France, 2000)
Climates / Iklimler (Nuri Bilge Ceylan, Turkey, 2006)
Death of Mr Lazarescu (Cristi Puiu, Romania, 2005)
Trilogy: the Weeping Meadow / Trilogia: To Livadi Pou Dakryzei (Theo Angelopoulos, Greece, 2004)
Syndromes and a Century / Sang Sattawat (Apichatpong Weerasethakul, Thailand, 2006)
In the Mood for Love / Fa Yeung Nin Wa (Wong Kar-Wai, Hong Kong, 2000)

Thanks for the recomnmendation.
Regarding influence, it's different for each filmmaker so I can't generalized, whether it's Bressonian or Malickian or Tarkovskian.
Example: I worship Eric Rohmer's films and yet I don't like Hong Sang-so's Rohmerian Women on the Beach.

Kalo The Return, jelas Tarkovskian sekali :D

I’ve been trying for a couple of hours to compile a Top Ten or Top 20 list of my own, but unsuccessful. I think It's still too premature :D
So right now I could only mention some films from your list that would also be in my consideration for favorite of the aughts:

Birth (Jonathan Glazer, USA, 2004)

I love it because it's Part mystery, and part magic, and of course with some surreal touch where many scenes reminisce us back to Bunuel's shocking film Un Chien Andalou.


Thanks for the recomnmendation.
Regarding influence, it's different for each filmmaker so I can't generalized, whether it's Bressonian or Malickian or Tarkovskian.

tapi dari mana ya Apichatpong dapet inspirasi...


Example: I worship Eric Rohmer's films and yet I don't like Hong Sang-so's Rohmerian Women on the Beach.

WHAT, gue pikir gue doang yang ga suka sama film ini, LOL. Pace-wise, sebenernya ga boring si, tapi apa ya, cara Hong nulis dialognya mungkin sounds shoddy to me. And where the hell that Rohmerian label on the movie (or maybe Jean Eustache)? that's invidious.

Kalo The Return, jelas Tarkovskian sekali :D

mmmm, i'm intrigued

I also think it's too soon to compile a top 10, top 20, yadda yadda yadda ..., of 2000's, I haven't even seen many releases from 2008 or 2009. I've tried my best to compile my top 51 of 2000's, in alphabetical order

(Thanks for sharing guys)

http://multikult.transindex.ro/images/__leo/cikkek/cikkek_16985.jpg
12:08 East of Bucharest/ A Fost sau N-A Fost? (Corneliu Porumboiu, Romania, 2006)

4 Months 3 Weeks 2 Days (Cristian Mungiu, Romania, 2007)
4:30 (Royston Tan, Singapore, 2006)
Amelie (Jean Pierre-Jeunet, France/Germany, 2001)
Amores Perros (Alejandro Gonzales Inaritu, Mexico, 2000)
The Band’s Visit (Eran Kolirin, Israel/ France/ USA, 2007)

http://hcl.harvard.edu/hfa/images/films/2008novdec/denis_beau_travail.jpg
Beau Travail (Claire Denis, France, 2000)

Before Sunset (Richard Linklater, USA, 2004)
Billy Elliott (Stephen Daldry, UK, 2000)
Bloody Sunday (Paul Greengrass, UK/Ireland, 2002)
Blue Gate Crossing (Yee Chih-Yen, Taiwan/France, 2002)
Bowling for Columbine (Michael Moore, USA, 2002)

http://www.allournoise.com/wp-content/uploads/2008/07/maddin_brand_upon_the_brain.jpg
Brand Upon the Brain! (Guy Maddin, Canada/ USA, 2004)

Capturing The Friedmans (Andrew Jarecki, USA, 2002)
Caramel (Nadine Labaki, France/ Lebanon, 2007)
City of God (Fernando Meirelles, Brazil/France, 2002)
Control (Anton Corbijn, UK/USA/Australia/Japan, 2007)

http://www.channel4.com/film/media/images/Channel4/film/D/daratt_xl_04--film-B.jpg
Daratt/ Dry Season (Mahamat-Salah Haroun, Chad/ France/ Belgium / Austria, 2006)

Days of Glory/ Indigenes (Rachid Bouchareb, France/ Algeria, 2006)
Death of Mr. Lazarescu, The (Cristi Puiu, Romania, 2006)
Distant (Nuri Bilge Ceylan, Turkey, 2002)

http://www.filmmakermagazine.com/archives/online_features/images/silence1.jpg
Divine Intervention (Elia Suleiman, France/Morocco/Germany/Palestine, 2001)

Diving Bell and the Butterfly, The (Julian Schnabel, France/ USA, 2007)
Eksperiment, Das (Olivier Hierschbiegel, Germany, 2001)
Eternal Sunshine of The Spotless Mind (Michel Gondry, USA, 2004)

http://www.artificial-eye.com/database/dvd/ART432DVD/images/01.jpg
Etre et Avoir (Nichola Phillibert, France, 2002)

Father and Son (Alexander Sakurov, Russia/Germany/Italy/Netherlands, 2003)
Goodbye, Dragon Inn! (Tsai Ming Liang, Taiwan , 2004)
Gubra (Yasmin Ahmad, Malaysia, 2006)
In The Mood for Love (Wong Kar Wai, HongKong/ France, 2000)
In This World (Michael Winterbottom, UK, 2002)

http://filmmakermagazine.com/sundance2009_responses/uploaded_images/JohnnyMadDog_filmstill1WEB-779241.jpg
Johnny Mad Dog (Jean Stephane Sauvaire, France, 2008)

Kitchen Stories (Bent Hamer, Norway/Sweden, 2003)
Maria Full of Grace (Joshua Marston, USA/Colombia/Ecuador, 2004)
Meet the Parents (Jay Roach, USA, 2000)
Motorcycle Diaries, The (Walter Salles, Argentina/USA/UK/Germany/Mexico/Chile/Peru/France, 2004)
No Man’s Land (Danis Tanovic, Bosnia Herzegovina/Slovenia/Italy/France/UK/Belgium, 2001)
Once (John Carney, Ireland, 2006)
Paradise Now (Hany Abu Assad, Germany/ France/ Netherlands/ Palestine/ Israel, 2005)
Piano Teacher, The (Michael Haneke, France/ Austria, 2001)
Quinceanera (Wash Westmoreland & Richard Glatzer, USA, 2006)

http://www.filmdailies.com/images/voz1.jpg
Return, The (Andrei Zvayagintsev, Russia, 2003)

Russian Ark (Alexandr Sakurov, Russia, 2002)
Sepet (Yasmin Ahmad, Malaysia, 2004)
Sex and Lucia (Julio Medem, Spain, 2001)

http://deneroff.com/blog/wp-content/uploads/2009/03/sita-sings-the-blues.jpg
Sita Sings the Blues (Nina Paley, USA, 2008)

Spider (David Cronenberg, Canada/ UK, 2002)
Sweet Sixteen (Ken Loach, UK, 2002)
Triplettes of Belleville, The (Sylvain Chomet, France/Belgium/Canada/UK , 2002)
Trilogy: The Weeping Meadow (Theo Angelopoulos, Greece/ France/ Italy/ Germany, 2004)
Whisky (Juan Pablo Rebella & Pablo Stoll, Uruguay/Argentina/Germany/Spain, 2004)
XXY (Lucia Puenzo, Argentina/ Uruguay, 2007)

I love it because it's Part mystery, and part magic, and of course with some surreal touch where many scenes reminisce us back to Bunuel's shocking film Un Chien Andalou.
One thing that strikes me most about Birth is its Kubrickian tracking shots that recall Eyes Wide Shut inside its high opulent houses and environments.

Yes, it’s mysterious.

To paraphrase another remark from Rosenbaum’s Dead Man book (which I’m reading now and it’s excellent so far – articulate in analysis with highly readable prose, helped by candid interviews with Jim Jarmusch himself):
“One thing that makes Birth a haunted film is a sense of this enormity crawling around its edges, informing every moment and every gesture, without ever quite taking center stage.”

I especially love the female supporting performances by Anne Heche, Cara Seymour and Lauren Bacall, which are to me better than Kidman’s stiff acting.


tapi dari mana ya Apichatpong dapet inspirasi...
Dr kacamata masih terbatasnya referensi film saya, bisakah dikatakan Joe salah satu filmmaker plg orisinil utk decade ini?
Of course originality is not the be-all-end-all of art. There’s more to art – whatever that means – than just originality.


WHAT, gue pikir gue doang yang ga suka sama film ini, LOL. Pace-wise, sebenernya ga boring si, tapi apa ya, cara Hong nulis dialognya mungkin sounds shoddy to me. And where the hell that Rohmerian label on the movie (or maybe Jean Eustache)? that's invidious.
I read somewhere but forgot who wrote/ said it.

Mungkin dr judulnya yg berasosiasi dgn Pauline at the Beach? Dr pondasi itulah mungkin kritikus mengonstruksi Hong sbg Rohmerian. Or maybe it’s already established before that?

Can’t tell because that’s the only Hong’s I’ve seen.

I guess if you see a film inspired by your favorite film or filmmaker that you don’t like, the dislike is doubled due to blasphemy of a sacred object. I guess that’s why I hate Arronofsky so much who’s miserably channeling Malick in The Fountain.


mmmm, i'm intrigued
Well, I don’t want to give the false impression and high hopes that ultimately will disappoint you.
Rather, like Maborosi in the 90’s, I feel that The Return is a film that especially made only for me and me alone. I even saw both only once due to afraid of being ruined the magical experience of watching it the first time.
Maybe that’s why I have a hard time discussing my very favorite films like The Return, explaining why I loved it, because the watching of it was an intensely personal experience. In short, the film put me in conversation with a part of my soul I rarely talked to. I think that's partly why some of my favorite films are so divisive to others - there's either something in it that speaks to you on a very personal, almost primal level, or there isn't.

Anyway here’s an interesting poll to contrast with your list (and Lizer). Both of your taste are indeed quite highbrow :D

Source: http://www.cinemathequeontario.ca/newsrelease_detail.aspx?Id=678

TIFF Cinematheque's Best Of The Decade Poll Presents The Classics Of Today

1. Syndromes and a Century (Apichatpong Weerasethakul, Thailand) - 53 votes
2. Platform (Jia Zhang-ke, Hong Kong, China/China/Japan/France) - 49 votes
3. Still Life (Jia Zhang-ke, China) - 48 votes
4. Beau travail (Claire Denis, France) - 46 votes
5. In the Mood for Love (Wong Kar-wai, Hong Kong, China) - 43 votes
6. Tropical Malady (Apichatpong Weerasethakul, France/Thailand/Germany/Italy) - 38 votes
7. The Death of Mr. Lazarescu (Cristi Puiu, Romania) - 35 votes
Werckmeister Harmonies (Béla Tarr, Hungary) - 35 votes
8. Éloge de l'amour (Jean-Luc Godard, Switzerland/ France) - 34 votes
9. 4 Months, 3 Weeks, 2 Days (Cristian Mungiu, Romania) - 33 votes
10. Silent Light (Carlos Reygadas, Mexico/France/Netherlands) - 32 votes
11. Russian Ark (Alexander Sokurov, Russia/Germany) - 31 votes
12. The New World (Terrence Malick, USA) - 30 votes
13. Blissfully Yours (Apichatpong Weerasethakul, France/Thailand) - 29 votes
14. Le Fils (Jean-Pierre Dardenne, Luc Dardenne, Belgium/France) - 27 votes
15. Colossal Youth (Pedro Costa, Portugal/France/Switzerland) - 25 votes
16. Les Glaneurs et la glaneuse (Agnès Varda, France) - 24 votes
In Vanda's Room (Pedro Costa, Portugal/Germany/Italy/Switzerland) - 24 votes
Songs from the Second Floor (Roy Andersson, Sweden/Denmark/Norway) - 24 votes
17. Caché (Michael Haneke, France/Austria/Germany/Italy) - 23 votes
A History of Violence (David Cronenberg, USA) - 23 votes
Mulholland Drive (David Lynch, France/USA) - 23 votes
Three Times (Hou Hsiao-hsien, Taiwan) - 23 votes
18. Rois et reine (Arnaud Desplechin, France) - 21 votes
19. Elephant (Gus Van Sant, USA) - 20 votes
20. Talk to Her (Pedro Almodóvar, Spain) - 19 votes
21. The Wind Will Carry Us (Abbas Kiarostami, Iran/France)- 18 votes
YI YI (A One and a Two) (Edward Yang, Taiwan/Japan) - 18 votes
22. Pan's Labyrinth (Guillermo del Toro, Spain) - 17 votes
23. L'Enfant (Jean-Pierre Dardenne, Luc Dardenne, Belgium/France) - 16 votes
The Heart of the World (Guy Maddin, Canada) - 16 votes
I Don't Want to Sleep Alone (Tsai Ming-liang, Taiwan/France/Austria) - 16 votes
Star Spangled to Death (Ken Jacobs, USA) - 16 votes
24. The World (Jia Zhang-ke, China/Japan/France) - 14 votes
25. Café Lumière (Hou Hsiao-hsien, Japan) - 13 votes
The Headless Woman (Lucrecia Martel, Argentina/Spain/France/Italy) - 13 votes
L'Intrus (Claire Denis, France) - 13 votes
Millennium Mambo (Hou Hsiao-hsien, Taiwan/France) - 13 votes
My Winnipeg (Guy Maddin, Canada) - 13 votes
Saraband (Ingmar Bergman, Sweden) - 13 votes
Spirited Away (Hiyao Miyazaki, Japan) - 13 votes
I'm Not There (Todd Haynes, USA) - 13 votes
26. Gerry (Gus Van Sant, USA) - 12 votes
27. Distant (Nuri Bilge Ceylan, Turkey) - 11 votes
Dogville (Lars von Trier, Denmark/Sweden/UK/France/Germany) - 11 votes
The Royal Tenenbaums (Wes Anderson, USA) - 11 votes
28. Alexandra (Alexander Sokurov, Russia/France) - 9 votes
demonlover (Olivier Assayas, France) - 9 votes
29. Atanarjuat, The Fast Runner (Zacharias Kunuk, Canada) - 8 votes
Goodbye, Dragon Inn (Tsai Ming-liang, Taiwan) - 8 votes
30. Longing (Valeska Grisebach, Germany) - 7 votes
Secret Sunshine (Lee Chang-dong, South Korea) - 7 votes
Vai e Vem (João César Monteiro, Portugal) - 7 votes
Far From Heaven (Todd Haynes, USA/France) - 7 votes

http://hcl.harvard.edu/hfa/images/films/2008novdec/denis_beau_travail.jpg
Beau Travail (Claire Denis, France, 2000)

I love this a lot too, but it's on my 90s list.


http://www.artificial-eye.com/database/dvd/ART432DVD/images/01.jpg
Etre et Avoir (Nichola Phillibert, France, 2002)

I heard many wonderful things about his Animals, and More Animals


Meet the Parents (Jay Roach, USA, 2000)

What do you think about the sequel?


http://deneroff.com/blog/wp-content/uploads/2009/03/sita-sings-the-blues.jpg
Sita Sings the Blues (Nina Paley, USA, 2008)

ouw IIRC i watched it too at Q Film Festival last year, a joyous experience

Spider (David Cronenberg, Canada/ UK, 2002)

Happy to see it made to your list, it's criminally underrated. I forgot to include it on my list. Good call.

One thing that strikes me most about Birth is its Kubrickian tracking shots that recall Eyes Wide Shut inside its high opulent houses and environments.

Yes, it’s mysterious.

To paraphrase another remark from Rosenbaum’s Dead Man book (which I’m reading now and it’s excellent so far – articulate in analysis with highly readable prose, helped by candid interviews with Jim Jarmusch himself):
“One thing that makes Birth a haunted film is a sense of this enormity crawling around its edges, informing every moment and every gesture, without ever quite taking center stage.”

I especially love the female supporting performances by Anne Heche, Cara Seymour and Lauren Bacall, which are to me better than Kidman’s stiff acting.

yes, and the fact that it was written also by Jean-Claude Carriere made this as his less humorous attempt, LOL. Thx for reference from Dead Man.



I read somewhere but forgot who wrote/ said it.

Mungkin dr judulnya yg berasosiasi dgn Pauline at the Beach? Dr pondasi itulah mungkin kritikus mengonstruksi Hong sbg Rohmerian. Or maybe it’s already established before that?

Can’t tell because that’s the only Hong’s I’ve seen.

Mmm, I've seen Pauline, but barely remember everything about it.



I guess if you see a film inspired by your favorite film or filmmaker that you don’t like, the dislike is doubled due to blasphemy of a sacred object. I guess that’s why I hate Arronofsky so much who’s miserably channeling Malick in The Fountain.

Well put



In short, the film put me in conversation with a part of my soul I rarely talked to. I think that's partly why some of my favorite films are so divisive to others - there's either something in it that speaks to you on a very personal, almost primal level, or there isn't.

Mmm, that's more interesting.



Anyway here’s an interesting poll to contrast with your list (and Lizer). Both of your taste are indeed quite highbrow :D

Source: http://www.cinemathequeontario.ca/newsrelease_detail.aspx?Id=678

TIFF Cinematheque's Best Of The Decade Poll Presents The Classics Of Today

1. Syndromes and a Century (Apichatpong Weerasethakul, Thailand) - 53 votes
2. Platform (Jia Zhang-ke, Hong Kong, China/China/Japan/France) - 49 votes
3. Still Life (Jia Zhang-ke, China) - 48 votes
4. Beau travail (Claire Denis, France) - 46 votes
5. In the Mood for Love (Wong Kar-wai, Hong Kong, China) - 43 votes
6. Tropical Malady (Apichatpong Weerasethakul, France/Thailand/Germany/Italy) - 38 votes
7. The Death of Mr. Lazarescu (Cristi Puiu, Romania) - 35 votes
Werckmeister Harmonies (Béla Tarr, Hungary) - 35 votes
8. Éloge de l'amour (Jean-Luc Godard, Switzerland/ France) - 34 votes
9. 4 Months, 3 Weeks, 2 Days (Cristian Mungiu, Romania) - 33 votes
10. Silent Light (Carlos Reygadas, Mexico/France/Netherlands) - 32 votes
11. Russian Ark (Alexander Sokurov, Russia/Germany) - 31 votes
12. The New World (Terrence Malick, USA) - 30 votes
13. Blissfully Yours (Apichatpong Weerasethakul, France/Thailand) - 29 votes
14. Le Fils (Jean-Pierre Dardenne, Luc Dardenne, Belgium/France) - 27 votes
15. Colossal Youth (Pedro Costa, Portugal/France/Switzerland) - 25 votes
16. Les Glaneurs et la glaneuse (Agnès Varda, France) - 24 votes
In Vanda's Room (Pedro Costa, Portugal/Germany/Italy/Switzerland) - 24 votes
Songs from the Second Floor (Roy Andersson, Sweden/Denmark/Norway) - 24 votes
17. Caché (Michael Haneke, France/Austria/Germany/Italy) - 23 votes
A History of Violence (David Cronenberg, USA) - 23 votes
Mulholland Drive (David Lynch, France/USA) - 23 votes
Three Times (Hou Hsiao-hsien, Taiwan) - 23 votes
18. Rois et reine (Arnaud Desplechin, France) - 21 votes
19. Elephant (Gus Van Sant, USA) - 20 votes
20. Talk to Her (Pedro Almodóvar, Spain) - 19 votes
21. The Wind Will Carry Us (Abbas Kiarostami, Iran/France)- 18 votes
YI YI (A One and a Two) (Edward Yang, Taiwan/Japan) - 18 votes
22. Pan's Labyrinth (Guillermo del Toro, Spain) - 17 votes
23. L'Enfant (Jean-Pierre Dardenne, Luc Dardenne, Belgium/France) - 16 votes
The Heart of the World (Guy Maddin, Canada) - 16 votes
I Don't Want to Sleep Alone (Tsai Ming-liang, Taiwan/France/Austria) - 16 votes
Star Spangled to Death (Ken Jacobs, USA) - 16 votes
24. The World (Jia Zhang-ke, China/Japan/France) - 14 votes
25. Café Lumière (Hou Hsiao-hsien, Japan) - 13 votes
The Headless Woman (Lucrecia Martel, Argentina/Spain/France/Italy) - 13 votes
L'Intrus (Claire Denis, France) - 13 votes
Millennium Mambo (Hou Hsiao-hsien, Taiwan/France) - 13 votes
My Winnipeg (Guy Maddin, Canada) - 13 votes
Saraband (Ingmar Bergman, Sweden) - 13 votes
Spirited Away (Hiyao Miyazaki, Japan) - 13 votes
I'm Not There (Todd Haynes, USA) - 13 votes
26. Gerry (Gus Van Sant, USA) - 12 votes
27. Distant (Nuri Bilge Ceylan, Turkey) - 11 votes
Dogville (Lars von Trier, Denmark/Sweden/UK/France/Germany) - 11 votes
The Royal Tenenbaums (Wes Anderson, USA) - 11 votes
28. Alexandra (Alexander Sokurov, Russia/France) - 9 votes
demonlover (Olivier Assayas, France) - 9 votes
29. Atanarjuat, The Fast Runner (Zacharias Kunuk, Canada) - 8 votes
Goodbye, Dragon Inn (Tsai Ming-liang, Taiwan) - 8 votes
30. Longing (Valeska Grisebach, Germany) - 7 votes
Secret Sunshine (Lee Chang-dong, South Korea) - 7 votes
Vai e Vem (João César Monteiro, Portugal) - 7 votes
Far From Heaven (Todd Haynes, USA/France) - 7 votes

A confusing entry would be Kiarostami's The Wind Will Carry Us, which many considered as a 1999 release, but it's much more depressing to see it only in number 21.

An interesting discussion already happened http://www.girishshambu.com/blog/2009/11/best-of-decade.html

yes, and the fact that it was written also by Jean-Claude Carriere made this as his less humorous attempt, LOL. Thx for reference from Dead Man.[\quote]
I don't know, but I feel really spoiled you know, even if I don't have too much time on my hands right now to utilize it. There are some interesting film-related books here that are on my reading list. Some of them are BFI modern classics/ film classics series. Beside Dead Man, I've read some of my favorite from the 90's. Heat by Nick James (Sight & Sound editor), Unforgiven by Edward Buscombe and The Big Lebowski. I've also ordered The Thin Red Line by Michel Chion and Once Upon A Time in America by Adrian Martin, but maybe it will take some time due to lack of availability.

I think the concept of these series are interesting, explore a film that is worth something in relation to the filmmaker's body of work and the milieu in which the filmmaker made it.

Maybe any other recommendation which film should I read next?




[quote]Mmm, I've seen Pauline, but barely remember everything about it.
It's not that I don't want to talk about it, but I just don't feel like writing about Hong Sang-soo, apart from one negativitty to the next... :D



A confusing entry would be Kiarostami's The Wind Will Carry Us, which many considered as a 1999 release, but it's much more depressing to see it only in number 21.
So I take it it's your favorite film of the 90's then?

I'm intrigued by his new film, Shirin, which from the little info I've gathered is about to me one of the essence of cinema itself (and one of the things I'm looking for in cinema), how to capture the expression of human face (especially female, because I'm a guy :D).

One thing that disappointed me is the supposed prestige of Dubai film festival, which I found lacking if one see from the films. Yes, this festival is about discovery and place for exposure of the region's emerging filmmakers. But I wish that they would give more prominent space for films like Shirin - "art film" from the acknowledged master. In economy and culture, Iranians have more visible presence here in Dubai (in fact, I work for a company owned by an Iranian, even though run by Indian Malwari - but nothing glamorous really, I'm even struggling to fulfill my worldly passion, the cinema that is) , so why don't its film festival too?

In that case, MEIFF in Abu Dhabi - which I couldn't attend - was more fascinating from a distant observer. Even Abbas Kiarostami himself was elected jury president this year...

I think the concept of these series are interesting, explore a film that is worth something in relation to the filmmaker's body of work and the milieu in which the filmmaker made it.

Maybe any other recommendation which film should I read next?

I haven't read any of those from the series, but some that I'd like to read such as Gilda, City of Sadness, L'Atalante, Boudu Saved from the Drowning, Pepe le Moko, Shadows and yessss Dead Man.



So I take it it's your favorite film of the 90's then?

at least it has a save spot in the big three, heheheh



I'm intrigued by his new film, Shirin, which from the little info I've gathered is about to me one of the essence of cinema itself (and one of the things I'm looking for in cinema), how to capture the expression of human face (especially female, because I'm a guy :D).

what about downloading it???at least that's what i'm doing rite now



One thing that disappointed me is the supposed prestige of Dubai film festival, which I found lacking if one see from the films. Yes, this festival is about discovery and place for exposure of the region's emerging filmmakers. But I wish that they would give more prominent space for films like Shirin - "art film" from the acknowledged master. In economy and culture, Iranians have more visible presence here in Dubai (in fact, I work for a company owned by an Iranian, even though run by Indian Malwari - but nothing glamorous really, I'm even struggling to fulfill my worldly passion, the cinema that is) , so why don't its film festival too?

well, inside his country he's considered as only making films for foreign market, but outside they thought his films are too Iranian. And surprisingly, my friends who only know Iran from Madjidi's film, thought Iran is a very poor country, which is like thinking there are only rich people in America .



In that case, MEIFF in Abu Dhabi - which I couldn't attend - was more fascinating from a distant observer. Even Abbas Kiarostami himself was elected jury president this year...

Ironic.

I haven't read any of those from the series, but some that I'd like to read such as Gilda, City of Sadness, L'Atalante, Boudu Saved from the Drowning, Pepe le Moko, Shadows and yessss Dead Man.From browsing most of the large bookstores I think all the films that you mention aren't available here physically. What I've found from the series were most
ly contemporary and anglo-centric films. But there's M by Anton Kaes. Also some well-known classics like Vertigo, Taxi Driver, Night of the Hunter, etc.
I'd also like to read City of Sadness and L'Atalante.



what about downloading it???at least that's what i'm doing rite now
I guess that'd be the simplest solution. But the ideal and romantic in me crave for something more.




well, inside his country he's considered as only making films for foreign market, but outside they thought his films are too Iranian. And surprisingly, my friends who only know Iran from Madjidi's film, thought Iran is a very poor country, which is like thinking there are only rich people in America.
I suppose there are a lot of misconceptions about these things that have been stigmatized it's difficult to shake off



ironic.
Yes, it is, isn't?
Despite more traditional and conservative compare to the modern Dubai, Abu Dhabi is more classy and sophisticated in its taste not only in the arts, but also in the field of city infrastructures.
Anyway there's a tough competition for the best film festival in the region now that Doha also has its own film fest which is affiliated with Robert De Niro's Tribeca Film Fest of New York.

Anyway there's a tough competition for the best film festival in the region now that Doha also has its own film fest which is affiliated with Robert De Niro's Tribeca Film Fest of New York.

I've watched the report on a particular Qatar based news channel (guess what::hihi::), and I thought it's exciting to see emerging new directors from the gulf area in the short film competition section. I hope they lived up to the expectations & catching up with household names from their neighbours in Levant area, such as Elia Suleiman from Palestine or Joanna Hadjithomas & Khalil Jorige from Lebanon. How advantageous it is to live closer to Europe & in more open minded societies.

About Shirin, I've read it somewere that it is an extension of Kiarostami's short entry in To Each His Cinema, a collection of shorts from various filmmakers as a tribute to Cannes FF. I've seen it (I mean the short) & I thought it will be much nicer if Kiarostami kept it that way, I don't know if I can stand watching faces & expressions for one and a half hour::arg!::. I'd say he should make an art installation/ video art instead.

PS: Is this thread becomes exclusive now that we're all typing in a foreign language?

What do you think about the sequel?


Not as good as this one. The sequel is trying too hard to be funny. The comedy in the first installment just flows naturally.

Despite more traditional and conservative compare to the modern Dubai, Abu Dhabi is more classy and sophisticated in its taste not only in the arts, but also in the field of city infrastructures.
Anyway there's a tough competition for the best film festival in the region now that Doha also has its own film fest which is affiliated with Robert De Niro's Tribeca Film Fest of New York.

ok, bole tau film2 yang bakal diputer di Doha apa aja??kali2 dvdnya muncul ntar

About Shirin, I've read it somewere that it is an extension of Kiarostami's short entry in To Each His Cinema, a collection of shorts from various filmmakers as a tribute to Cannes FF. I've seen it (I mean the short) & I thought it will be much nicer if Kiarostami kept it that way, I don't know if I can stand watching faces & expressions for one and a half hour::arg!::. I'd say he should make an art installation/ video art instead.

kayaknya si emang dia pengen lebih bebas bikin film lagi, karna pernah bilang dia udah bosen n ngerasa cukup buat enlist film2nya di festival2 film.

Jadi inget sama interview sama Rivette ketika dia ditanyain ttng Taste of CHerry

"His work is always very beautiful but the pleasure of discovery is now over. I wish that he would get out of his own universe for a while. I'd like to see something a little more surprising from him, which would really be welcome...God, what a meddler I am!"

PS: Is this thread becomes exclusive now that we're all typing in a foreign language?

yuk balik ke bahasa betawi, hehehe

Decades Under the Influence - Movies I Like from the 1990s

Kalau di dekade 2000-an banyak pililhan yang berhubungan dengan musik, maka 1990-an pilihan gue banyak yang mayoritas cross-reference sama puisi, atau bentuk seni yang lain semisal literatur atau lukisan (sayang Mother and Son-nya Sokurov tereliminasi di saat-saat akhir).

HMs:
Fearless (Peter Weir, USA, 1993)

Goodfellas (Martin Scorsese, USA, 1990)

Groundhog Day (Harold Ramis, USA, 1993)

Kikujiro (Takeshi Kitano, Japan, 1999)

Magnolia (Paul Thomas Anderson, USA, 1999)

Moment of Innocence, A (Mohsen Makhmalbaf, Iran, 1995)

Sweet Hereafter, The (Atom Egoyan, Canada, 1997)

Velvet Goldmine (Todd Hayness, USA, 1998)

Being John Malkovich (Spike Jonze, USA, 1999)

Eyes Wide Shut (Stanley Kubrick, USA/United Kingdom, 1999)

Bad Boy Bubby (Rolf de Heer, Australia, 1993)

Small Soldiers (Joe Dante, USA, 1998)

Lovers at the Arctic Circle (Julio Medem, Spain, 1999)

Zir-e Derakhtan-e Zeytun / Through The Olive Trees (Abbas Kiarostami, Iran, 1995)

Alone. Love Wastes Andy Hardy (Martin Arnold, Austria, 1998)
http://i191.photobucket.com/albums/z43/sevenarts/cinema/filmsilove/andyhardy10.jpg
Arnold menunjukkan kepada kita, bahwa kreativitas itu bisa datang dari mana saja. Bahkan dari scene sederhana dari film dengan cerita klise Judy Garland dan Mickey Rooney berjudul Babes on Broadway (1941). Arnold memanipulasi image dan suara dengan gerakan yang direpetisi, fast forward, slow backward, bahkan memutarbalik gambar. Brilliantly put in the note coming along with the DVD “Arnold’s films, characterized by a semiotic economy of parapraxes [and yes, this word is defined via Freud in a footnote, just as “hauntology” is previously defined via Derrida in a footnote] (symptomatic slips, twitches, spasms, stutters, lapses, and automatic behaviors), constitute a cinema by seizure, a cinema of seizure, a cinema as seizure, a cinema seizure, a cineseizure that short-circuits the conventional language and logics of cinema.”

La Ceremonie (Claude Chabrol, France, 1995)

Passage a l'acte (Martin Arnold, Austria, 1993)

Xiao Wu / Pickpocket (Jia Zhang-ke, China, 1997)

Days of Being Wild (Wong Kar-wai, Hong Kong, 1990)

Rouge / Red (Krzystof Kieslowski, France, 1994)



50. Ruby In Paradise (Victor Nunez, USA, 1993)
http://www.jimandellen.org/ellen/93rubyinparadisediarykeeping.jpg
My favorite Ashley Judd, malahan di major role pertama dia menjadi peran utama yang juga meroketkan nama dan bakatnya sehingga dilirik oleh Hollywood. A beautiful small feminist picture, tentang pilihan-pilihan yang dapat diambil seorang gadis, walau itu akan terdengar buruk atau binal, dan dituangkan dalam diary-nya yang mengalun bak syair puisi yang indah.

49. Beau Travail / Good Work (Claire Denis, France/Djibouti, 1999)
http://dansemacabre.art.officelive.com/images/Beau%20travail.jpg
Maybe there are no other films that spurt out the word "Testosterone" than this film. Denise mixing her sense of poetic, music, and the daily live of French Legion in Djibouti into a beautiful rythmical editing. The scene where Denis Lavant dances ecstatically in the end of the movie justify a great comparison in his previous role in an interesting movie by Leos Carax, titled Les Amants du Pont-Neuf.

48. Trainspotting (Danny Boyle, United Kingdom, 1996)

47. Secrets and Lies (Mike Leigh, United Kingdom, 1996)

46. Crash (David Cronenberg, USA, 1996)

45. Idioterne / The Idiots (Lars von Trier, Denmark, 1998)

44. Nouvelle Vague (Jean-luc Godard, Switzerland/France, 1990)
http://theseventhart.files.wordpress.com/2008/12/nouvelle-vague.jpg
Dibuka dengan kata “But I wanted this to be a narrative. I still do. Nothing from outside to distract memory.” hint at part of what Godard is aiming for with this film. Greed, romance, passion, self-destructive, perselisihan antar-strata sosial-ekonomi, dibungkus manis oleh Godard dimana menurut gue film dia yang paling menarik semenjak May 1968. Sinematografi indah dan terkadang nyeleneh oleh William Lubtchansky (later he would be in Rivette's La Belle Noiseuse) ikut andil menciptakan suasana enigmatic yang kental terasa dalam film ini, diiringi quotation-quotation dan cross-reference typical Godard dari film-film klasik dan literatur macam karangan William Faulkner sampai Balzac. Godard is totally predictably unpredictable.


43. Hoop Dreams (Steve James, USA, 1994)

42. Todo Sobre Mi Madre / All About My Mother (Pedro Almodovar, Spain, 1999)

41. La Belle Noiseuse (Jacques Rivette, France, 1991)

40. Festen / Celebration, The (Thomas Vinterberg, Denmark, 1998)

39. From The Journals of Jean Seberg (Mark Rappaport, USA, 1996)

38. He Liu / River, The (Tsai Ming-liang, Taiwan, 1997)

37. Zendegi Va Digar Hich / And Life Goes On…(Abbas Kiarostami, Iran, 1992)

36. Hachigatsu no kyoshikyoku / Rhapsody in August (Akira Kurosawa, Japan, 1991)
http://i20.photobucket.com/albums/b240/mvanilli/next/RhapsodyinAugust7.jpg
Harus disejajarkan dengan karya-karya terkenal Kurosawa lainnya semacam Seven Samurai, dan Rashomon, walau perasaan humanism-nya lebih dekat ke Ikiru.

35. Salaam Cinema (Mohsen Makhmalbaf, Iran, 1995)

34. La Naissance de l'amour / The Birth of Love (Philippe Garrel, France/Switzerland, 1993)
http://images.allocine.fr/r_760_x/medias/nmedia/18/60/05/96/18830815.jpg
Less experimental than his 70's features with Zanzibar, but greater in creating great stories.


33. Les Voleurs / Thieves (Andre Techine, France, 1995)

32. Naked (Mike Leigh, United Kingdom, 1994)

31. Exotica (Atom Egoyan, Canada, 1995)

30. Raining Stones (Ken Loach, Ireland, 1993)

29. Love and Death on Long Island (Richard Kwietniowski, United Kingdom/Canada, 1997)
http://oldschoolreviews.com/images/movies/love_death.jpg
Kalau suka dengan film-film yang akan banyak menimbulkan pertanyaan, perdebatan, dan cara pandang semacam Mulholland Drive, this is definitely worth checking. Diinspirasi dari novel pendek karangan Gilbert Adair (kritikus film terkenal asal Inggris), Kwietniowski (mungkin lebih dikenal di sini karena filmnya owning Mahowny) menceritakan tentang perjalanan panjang seorang sastrawan beken nan intelek asal Inggris bernama Giles De'Ath ke Amerika, untuk bertemu dan mengungkapkan perasaan terpendamnya kepada seorang bintang film kacangan bernama Ronnie Bostock(ibaratnya film2 yang dia bintangin sekelas American Pie the sequels) yang dibintangi oleh si tampan yang terkenal di dekade 90-an, Jason Priestley. The film feels like a circle, dimana endingnya bisa menjadi awal film dan sebaliknya namun tetap menciptakan banyak misteri. It also does eloquently and affectingly explore Giles's situation. ''Ronnie, there's nothing more solitary than an artist's life,'' he finally explains. ''One yearns for solace without quite knowing where to look for it.'' Indeed.


28. Crumb (Terry Zwigoff, USA, 1994)

27. Dead Man (Jim Jarmusch, USA, 1995)

26. Rosetta (Jean-luc & Pierre Dardenne, Belgium, 1999)

25. Al-Massir / Destiny (Youssef Chahine, Egypt/France, 1997)


24. 2 X 50 Years of French Cinema (Jean-luc Godard & Anne Marie Mieville, France/United Kingdom, 1995)
http://www.smh.com.au/ffximage/2007/11/29/jean_luc_godard_narrowweb__300x422,0.jpg
Tugas yang sama untuk merayakan selebrasi kelahiran sinema juga diberikan kepada Nagisa Oshima, namun disaat Oshima hanya sebatas menampilkan potongan-potongan pendek dari klip film Jepang mulai zaman film bisu yang dia anggap penting (dan betapa narsisnya dia ketika membicarakan film-filmnya lebih lama daripada membicarakan perjalanan sejarah perkembangan sinema di Jepang), Godard melangkah lebih jauh lagi dengan mempertanyakan apa sebenarnya makna "to celebrate the French Cinema". Sometimes hilarious, and mostly thoughtful, he observes the recent condition about common French people appreciaton of Classic French Cinema, and it turns out that nowadays people in French are more interested in films by Tarantino, Oliver Stone, or De Palma because there are more bloods. Ironically, ketika komedi dalam sinema "invented" oleh Max Linder dan diperkaya oleh Jacques Tati di Perancis, sekarang sebatas komedi Hollywood-lah yang mereka tonton.


23. Sink or Swim (Su Friedrich, USA, 1990)
http://www.fredcamper.com/PF/Friedrich/14.jpg
A movie about becoming a lesbian . told with subtlety, recalling Su Friedrich's personal experiences throughout her childhood until she was already an adult woman. The best movie about lesbian, where nudity doesn't feel pornographic. It feels experimental because Su resist a normal storytelling, which she shows merely silent scenes without dialogues, but accmpanied with voice-over narration.


22. Night on Earth (Jim Jarmusch, USA, 1991)

21. Bila Jednom Jedna Zemlja / Underground (Emir Kusturica, Yugoslavia, 1994)

20. Tian Mi Mi / Comrades, Almost a Love Story (Peter Chan, Hong Kong, 1997)
http://itpworld.files.wordpress.com/2008/09/comrades-almost-a-love-story-maggie-cheung-et-leon-lai8_d6798f5cd058faa0093811e7b4784611.jpg
Kebanyakan film romantis mencoba memperlihatkan adegan sepasang kekasih yang ditakdirkan untuk bersama, tidak dapat hidup terpisah satu sama lainnya dan usaha-usaha yang dilakukan mereka untuk membuat hubungan mereka menjadi semakin dekat. Disini Maggie Cheung dan bintang pop Leon Lai malahan berusaha untuk menjauh, dan mereka sadar kalau mereka bisa hidup tanpa satu sama lainnya, hanya keadaan dan kesempatan yang membuat mereka selalu bertemu kembali. Well executed, dan scene-scene romantisnya tidak terlihat "tacky or shoddy or cliche".


19. Gummo (Harmony Korine, USA, 1997)

18. Safe (Todd Hayness, USA, 1995)

17. Yuen-Ling Yuk / The Actress (Stanley Kwan, Hong Kong, 1992)

16. Buffalo '66 (Vincent Gallo, USA, 1998)

15. That's Entertainment III (Bud Friegen & Michael Sheridan, USA, 1994)

14. Un Coeur en Hiver (Claude Sautet, France, 1991)

13. What Happened Was (Tom Noonan, USA, 1993)
http://www.videodetective.net/photos/143/00602936_.jpg
Mungkin banyak orang mengenal Tom Noonan dari peran-peran kecil dan mediokernya dalam film-film Blockbuster Hollywood seperti Batman. Tetapi terasa tidak adil kalau kita tidak mencermati bahwa dia juga mempunyai bakat untuk menyutradarai (it happened before to John Cassavetes, and a trivial fact Noonan acted in Cassavetes' Gloria (1980) and it's John who encouraged him to make his own movie). Sebuah film sederhana dimana castnya hanya sepasang pria dan wanita yang sekantor dan ingin mencoba berkencan di apartemen si wanita. Yang membuat film ini menarik adalah bagaimana Noonan sukses menggambarkan kekikukan, kearoganan di masing-masing karakter, usaha mereka untuk tampil superior, lalu pada akhirnya menjadi diri mereka sendiri walau kebenaran itu dapat terasa pahit, tetapi menciptakan suatu perasaan saling mengerti. Simple Story, big emotion.

12. Defending Your Life (Albert Brooks, USA, 1991)

11. Histoire(s) du Cinema (Jean-luc Godard, France, 1998)

10. Inquietude / Anxiety (Manoel de Oliveira, Portugal/France, 1998)

9. Sib / Apple, The (Samira Makhmalbaf, Iran, 1999)

8. Satantango (Bela Tarr, Hungary, 1994)

7. Rock Hudson's Home Movies (Mark Rappaport, USA, 1992)
http://www.videodetective.com/photos/749/031477_19.jpg
Usaha kreatif dari Rappaport untuk me-reka ulang akan perjalanan karir salah satu bintang Hollywood paling beken di era 1950-an dan 1960-an Rock Hudson. Hudson was a belated self-proclaimed gay actor, very late actually, almost near his death time. Dokumenter ini dibuat untuk melihat kembali scene-per-scene dari film-film Hudson yang terkenal macam All that Heavon Allows dan Written on the Wind (Douglas Sirk), Man's Favorite Sport (Howard Hawks), dan banyak lagi, dimana dengan editingnya yang unik, Rappaport mencoba membuat kita percaya sekaligus bodoh karena tidak sadarnya kita dengan obvious-nya status gay Hudson dalam scene-scene tersebut.


6. Indian Runner (Sean Penn, USA, 1991)

5. Tam-e Gilas / Taste of Cherry (Abbas Kiarostami, Iran, 1997)

4. Life is Sweet (Mike Leigh, United Kingdom, 1991)

3. Hsimeng Rensheng / The Puppet Master (Hou Hsiao-hsien, Taiwan, 1993)

2. Baad Mara Khahad Bord / The Wind Will Carry Us (Abbas Kiarostami, Iran, 1999)
http://zine.rukukineruku.com/wp-content/uploads/2008/07/thewindwillcarryus_still.jpg
Sebuah komedi unik dimana lebih banyak karakter yang tidak muncul di kamera daripada yang on-screen. Dan yang membuat komedinya semakin menarik karena karakter-karakter tersebut tidak berusaha keras untuk terlihat atau terdengar lucu.

1. Guling jie Shaonian sha ren Shinjian / A Brighter Summer Day (Edward Yang, Taiwan, 1991)
http://itpworld.files.wordpress.com/2009/07/edward_yang_a_brighter_summer_day_col_2.jpg
Mungkin ini satu2nya film dengan durasi lebih dari 2 jam yang bisa bikin gue tonton ulang langsung banck-to-back (that means 8 straight hours). Saat pertama nonton, gue pusing ngapalin nama yang susah pelafalannya dan muka orang Taiwan yang kelihatan mirip satu sama lainnya. Edward Yang punya cara "peculiar and intelligence" dalam hal menyajikan narasinya, dimana gayanya bisa dibilang jarang ditemui dalam karya sutradara-sutradara lain (nama Jia Zhang-ke sempat terlintas sih, terutama Platform). Saat nonton kedua kalinya, tiba-tiba struktur narasinya terlihat terang dan jelas, ibarat benang kusut yang kalo kita urai pelan-pelan bisa terangkai dengan baik kembali. Sampai hari ini, inilah perbedaan terbesar yang pernah gue alami antara "first and second viewings of a film." Second viewing secara radikal mentransform dan membuat filmnya terasa lebih kaya nuansa, ilustrasi tepatnya bisa dibilang mirip dengan klaim yang pernah dikatakan Vladimir Nabokov "that you cannot read a great novel, you can only re-read it."
http://img477.imageshack.us/img477/7725/brighterbj6.jpg
Ceritanya sendiri sebenarnya berjalan cepat, bahkan dibilang terlalu cepat untuk diikuti. Satu event berganti event lainnya tanpa bridging yang jelas, nama karakter terdengar aneh (siapa yang ga pusing kalo contoh nama-nama karakternya seperti Ming, Zhang Jen, Cat, Airplane, atau Honey) seringnya nama karakter disebut-sebut tapi karakternya off-screen.
http://hcl.harvard.edu/hfa/images/films/2008septoct/yang_brighter_summer_day.jpg
Yang mengorganisir mahakarya berdurasi 4 jam ini disekitar kehidupan Xiao Si'r (dibintangi oleh Chang Chen yang sekarang dikenal dalam film-filmnya Wong Kar-wai atau Hou Hsiao-hsien), seorang remaja nanggung dari keluarga pas-pasan. Dengan latar belakang Taiwan di tahun 60-an ketika orang-orang dewasa pusing memikiSementara itu generasi mudanya heboh pengen ikut keren terpengaruh sama budaya Barat dan lagu Elvis Prestley adalah salah satu belahan jiwa mereka (faktanya translasi judul filmnya dalam bahasa Inggris diambil dari lirik lagu Elvis yang berjudul Are You Lonesome Tonight) serta berpikir kalau tergabung dengan geng anak jalanan yang nakal, maka mereka akan dianggap lebih penting dalam pergaulan.
http://matchcuts.files.wordpress.com/2008/10/brighter-a-500.jpg
Intrik-intrik dalam kehidupan Xiao Si'r diwarnai dengan kehadiran Ming si gadis cantik kembang desa setempat, yang ternyata juga menjalin hubungan atau tepatnya suka memberi harapan kepada pemuda-pemuda lain (recalling a somewhat similar theme from Nicholas Ray's A Rebel without a Cause, also Theodor Dreiser's book An American Tragedy which was made into film called A Place in the Sun by George Stevens with Liz Taylor and Monty Clift at their most gorgeous physical beauty). Pembunuhan nilainya halal jikalau satu geng menginjak-injak martabat atau harga diri anggota dari geng lainnya, dan anak-anak menjadi di luar kontrol dari orang-tua mereka.
http://www.ifc.com/blogs/thedaily/brightersummercannes.jpg
As in most of Yang’s films, objects matter. Ada beberapa props yang secara signifikan mempengaruhi narasi film yang sudah padat ini. Radio kuno keluarga Xiao Si'r, samurai, pisau kecil milik Cat, dan jam tangan milik ibu Xiao Si'r. "They’re not sentimentalised or charged with easy symbolism: they’re as functional within the plot as the characters they accompany," and following their functions – and the same applies for secondary characters - provides different, revealing perspectives on this incredibly rich film.

I've watched the report on a particular Qatar based news channel (guess what::hihi::), and I thought it's exciting to see emerging new directors from the gulf area in the short film competition section. I hope they lived up to the expectations & catching up with household names from their neighbours in Levant area, such as Elia Suleiman from Palestine or Joanna Hadjithomas & Khalil Jorige from Lebanon. How advantageous it is to live closer to Europe & in more open minded societies.

About Shirin, I've read it somewere that it is an extension of Kiarostami's short entry in To Each His Cinema, a collection of shorts from various filmmakers as a tribute to Cannes FF. I've seen it (I mean the short) & I thought it will be much nicer if Kiarostami kept it that way, I don't know if I can stand watching faces & expressions for one and a half hour::arg!::. I'd say he should make an art installation/ video art instead.

PS: Is this thread becomes exclusive now that we're all typing in a foreign language?
I detest exclusivity! :D

I hope I don't give the wrong impression, krn bhs Inggris saya juga pas-pasan. Mungkin dr kebiasaan kalo pengen nulis sesuatu, dr pikiran keluarnya lbh enak dlm bhs Inggris aja gitu, I don't know why...

Waktu premier Shirin di Venice kan embah Manoel de Oliviera sampe standing ovation setelah menontonnya tuh ;D

ok, bole tau film2 yang bakal diputer di Doha apa aja??kali2 dvdnya muncul ntar

Silakan dieksplorasi sendiri deh biar puas...

http://www.dohatribecafilm.com/

http://www.meiff.com/

Yuk, ngeliat list 90's mu spt membaca best list kurator sinematek plg prestisius di dunia :D

Salut dgn seleramu, walaupun mungkin ngga sama persis dgnku...;D

Btw, udah ada yg pernah baca My Last Sigh-nya Bunuel? Sabtu kemaren ngeliat dan nyaris beli kalo saja ada cash lebih dan tdk teringat dgn komentar Rosenbaum ttg buku yg diterjemahkan Abigail Israel ini yg katanya ada kesalahan fatal yg merubah makna teks aslinya gitu.

Tapi bisa beli Luis Bunuel The Complete Films terbitan Taschen yg masih blm dibuka...
http://i23.photobucket.com/albums/b386/maborosi/DSC00362.jpg

Waktu premier Shirin di Venice kan embah Manoel de Oliviera sampe standing ovation setelah menontonnya tuh ;D

mmm gue salut banget sama sedikit iri yah sama De Oliveira...udah umur 101 tahun masi bisa bikin film tiap tahun, udah gitu masi bisa nikmatin film. EMang sih dulu pas muda dia berbakat di banyak olahraga, maybe this is why i should stop smokin'



Silakan dieksplorasi sendiri deh biar puas...

http://www.dohatribecafilm.com/

http://www.meiff.com/

makasih banyakkkk



Yuk, ngeliat list 90's mu spt membaca best list kurator sinematek plg prestisius di dunia :D

Salut dgn seleramu, walaupun mungkin ngga sama persis dgnku...;D

but really i enjoy those all as entertainment. I don't even try to search "deeper" or symbolic meaning while watching films.


Btw, udah ada yg pernah baca My Last Sigh-nya Bunuel? Sabtu kemaren ngeliat dan nyaris beli kalo saja ada cash lebih dan tdk teringat dgn komentar Rosenbaum ttg buku yg diterjemahkan Abigail Israel ini yg katanya ada kesalahan fatal yg merubah makna teks aslinya gitu.

Me, me, gue demen banget sama buku itu.....beli aja Mith, menarik dan lucu, mmm kalo bisa abis baca bkunya, terus ntn documentary Bunuel yang ada di disc Discreet CHarm of Bourgeoisie-nya Criterion, judulnya A Proposito di Bunuel. Pas dah.....Oh iya Rosenbaum pasti baca versi Perancisnya yah....care to point us to his comments?pretty please with cherry on top


Tapi bisa beli Luis Bunuel The Complete Films terbitan Taschen yg masih blm dibuka...
http://i23.photobucket.com/albums/b386/maborosi/DSC00362.jpg

whew canggih, tapi bukunya Taschen, terlalu mahal kalo disini....isinya juga banyakan gambar...kalo bukunya Bunuel gimana?banyak gambar sedikit insightful comments atau sebaliknya?

Yang bikin Bunuel menarik tu, banyak film dokumenter yang bisa dibuat ttng hidup nya dia, tapiii jarang yang bisa ngasih commentary track di filmnya dia (no, the commentary track on Belle de Jour DVD is not worth your time)...Mungkin karna siapa juga yang butuh commentary track di film komedi, lol

mmm gue salut banget sama sedikit iri yah sama De Oliveira...udah umur 101 tahun masi bisa bikin film tiap tahun, udah gitu masi bisa nikmatin film. EMang sih dulu pas muda dia berbakat di banyak olahraga, maybe this is why i should stop smokin'

Mungkin masa hidupnya penuh dgn kebahagiaan yg tdk ternilai dgn uang semata? Doing things he loves the most...

As for smoking, I guess if Luis Bunuel once said, "Thank God I'm an atheist," then I can proudly say, "Thank God I'm not a smoker." :D


but really i enjoy those all as entertainment. I don't even try to search "deeper" or symbolic meaning while watching films.

No doubt about it. Two things I love from my favorite films, whether it's lowbrow or highbrow or whatever in between:
Emotion and illumination.


Me, me, gue demen banget sama buku itu.....beli aja Mith, menarik dan lucu, mmm kalo bisa abis baca bkunya, terus ntn documentary Bunuel yang ada di disc Discreet CHarm of Bourgeoisie-nya Criterion, judulnya A Proposito di Bunuel. Pas dah.....Oh iya Rosenbaum pasti baca versi Perancisnya yah....care to point us to his comments?pretty please with cherry on top

My memory played trick on me...
Here's the accurate quote, from one of our beloved film blogs to hang out with (even only as a passive reader):

http://www.girishshambu.com/blog/2008/11/cinema-biographies.html
Jonathan Rosenbaum said...
...

There's one very lamentable thing about Bunuel's MY LAST SIGH (which really should be called MY LAST GASP): the English translation is substantially cut from the French original. I'm not even exaggerating when I say that there are passages which have been cut on almost every page, although this trimming isn't acknowledged anywhere in the book. A serious crime!

November 20, 2008 5:39 PM

Before I commit to purchase it, I'll try to investigate further first. Thanks, as always, for the heartily enthusiastic recommendation.



whew canggih, tapi bukunya Taschen, terlalu mahal kalo disini....isinya juga banyakan gambar...kalo bukunya Bunuel gimana?banyak gambar sedikit insightful comments atau sebaliknya?

Yang bikin Bunuel menarik tu, banyak film dokumenter yang bisa dibuat ttng hidup nya dia, tapiii jarang yang bisa ngasih commentary track di filmnya dia (no, the commentary track on Belle de Jour DVD is not worth your time)...Mungkin karna siapa juga yang butuh commentary track di film komedi, lol
Maybe that's because, like so many great filmmakers, Bunuel "contains multitude." it's hard to pin them down to simple label or explanation.

Kalo di sini harganya beda-beda sih, tergantung filmmaker dan content-nya mungkin. Yg termasuk "murah" buku Antonioni dan Kubrick, tapi sekilas juga kayanya kurang menarik buatku. Sementara yg plg mahal John Ford, belum terbeli. Buku Michael Mann termasuk kategori mahal, salah satunya krn ukurannya yg coffee-table book.

Sori Yuk, kaya buku Mizoguchi, masih blm dibuka plastiknya. I want to spend quality time with these books, but at the moment it's a little bit difficult to have without distractions.

Saya tdk saja tertarik dgn teks yg mencerahkan dr buku ttg film. Dan yg kusuka dr buku terbitan Taschen ini adl kumpulan film stills-nya, walaupun kebanyakan sekedar publicity photos doang. Ada aspek lain yg bisa dinikmati dan diapresiasi dr buku-buku spt ini. Biasanya juga ada bibliografi artikel, buku, etc. oleh atau ttg si filmmaker yg lengkap.

Kalo utk buku Mann, krn yg nulisnya adl FX Feeney, an admirer of Mann whose writings in general I respect enough and once gave the key on how to appreciate Mann. Feeney is also the defender of Heaven's Gate.

Utk yg Truffaut, mungkin krn suka aja kali ya...

Edisi lainnya yg bisa ditemukan di sini: Roman Polanski, Jean Renoir, Paul Verhoeven...

....
Robin Wood has died...
His all time top ten which was dictated on his deathbed two days before his death
http://www.jonathanrosenbaum.com/?p=17784

Robin Wood’s Final Top Ten

Thom Loree, one of Robin Wood’s dearest friends, has sent me the following, and kindly given me permission to reproduce it here. This list was dictated to Robin’s friend John Anderson two days before he died. Rio Bravo was clearly in the number one slot; the others weren’t ranked, and are given in the order in which he dictated them. –J.R.

Rio Bravo
Either I Can’t Sleep or I Don’t Want to Sleep Alone (Robin wasn’t articulating well, but probably the former)
Sansho Dayo
Tokyo Story
Ruggles of Red Gap or Make Way for Tomorrow
Code inconnu
The Reckless Moment or Letter from an Unknown Woman
Angel Face (something of a surprise, this)
The Seven Samurai
Le Crime de Monsieur Lange or La Règle du jeu

Wood termasuk kritikus film yg ingin saya telusuri lbh dalam tulisan-tulisannya. Sejauh ini masih apa yg bisa ditemukan dr internet.

Baru tau ternyata Bordwell-Thompson mau ngeluarin edisi baru Film Art: An Introduction ninth edition dgn cover dr film Collateral
http://www.davidbordwell.net/blog/wp-content/uploads/cover-9ed-5001.jpg

Kayanya hrs mulai nabung nih...;d

Baru tau ternyata Bordwell-Thompson mau ngeluarin edisi baru Film Art: An Introduction ninth edition dgn cover dr film Collateral
http://www.davidbordwell.net/blog/wp-content/uploads/cover-9ed-5001.jpg

Kayanya hrs mulai nabung nih...;d

ouwww, beda jauh ga ya sama edisi dulu....yang dulu si masi ada, n cukup informatif kalo dari sisi technical atau basic knowledge.

My memory played trick on me...
Here's the accurate quote, from one of our beloved film blogs to hang out with (even only as a passive reader):

http://www.girishshambu.com/blog/2008/11/cinema-biographies.html
Jonathan Rosenbaum said...
...

There's one very lamentable thing about Bunuel's MY LAST SIGH (which really should be called MY LAST GASP): the English translation is substantially cut from the French original. I'm not even exaggerating when I say that there are passages which have been cut on almost every page, although this trimming isn't acknowledged anywhere in the book. A serious crime!

wahhhhh, walau udah kepotong2 masi menarik...damn you english translator



Kalo di sini harganya beda-beda sih, tergantung filmmaker dan content-nya mungkin. Yg termasuk "murah" buku Antonioni dan Kubrick, tapi sekilas juga kayanya kurang menarik buatku. Sementara yg plg mahal John Ford, belum terbeli. Buku Michael Mann termasuk kategori mahal, salah satunya krn ukurannya yg coffee-table book.

ouwww wajar si mengingat jumlah film yang disutradarain Ford



Robin Wood has died...
His all time top ten which was dictated on his deathbed two days before his death
http://www.jonathanrosenbaum.com/?p=17784

Robin Wood’s Final Top Ten

Thom Loree, one of Robin Wood’s dearest friends, has sent me the following, and kindly given me permission to reproduce it here. This list was dictated to Robin’s friend John Anderson two days before he died. Rio Bravo was clearly in the number one slot; the others weren’t ranked, and are given in the order in which he dictated them. –J.R.

Rio Bravo
Either I Can’t Sleep or I Don’t Want to Sleep Alone (Robin wasn’t articulating well, but probably the former)
Sansho Dayo
Tokyo Story
Ruggles of Red Gap or Make Way for Tomorrow
Code inconnu
The Reckless Moment or Letter from an Unknown Woman
Angel Face (something of a surprise, this)
The Seven Samurai
Le Crime de Monsieur Lange or La Règle du jeu

Wood termasuk kritikus film yg ingin saya telusuri lbh dalam tulisan-tulisannya. Sejauh ini masih apa yg bisa ditemukan dr internet.

iya sedih juga sama berita ini. Gue demen sama si Wood karna punya gaya tulisan yang cukup distinct juga dari penulis laen, kayak Raymond Durgnat juga lah. Mmm pengen si baca defense-nya Wood terhadap Piano Teacher, dulunya sempet muncul versi onlinenya tapi dah diapus kayanya.

Dari listnya, dia keliatan conservative and romantic yah semacem Sarris (their share love for Ophuls), great list, seneng liat ada yang masukin filmnya Leo McCarey, and the criminally overlooked Preminger (i think Angel Face is better than his ANatomy of Murder or Laura).

Yuk, akhirnya saya memutuskan utk beli My Last Sigh, kalo sempet hari ini juga... soalnya suka ada yg udah beli duluan, kaya minggu kemaren mau beli BFI Spirited Away ternyata udah dicaplok sama orang ;D

Covernya My Last Sigh yg ini
http://ecx.images-amazon.com/images/I/51T1D9KAMGL._SL500_AA240_.jpg

Mau nanya juga sekalian kelupaan terus....
Kalo toko buku-roko buku di jakarta (mungkin Kinokuniya dan Aksara?) gimana koleksi film books-nya, bagus-bagus ngga dan berapa rata-rata kisaran harganya sekarang? Suka liat-liat ngga, mungkin bisa ngasih contoh buku apa aja yg tersedia di sana? Siapa tau ada yg menarik...

Kalo di sini payahnya mau ngorder film books atau magazines agak susah (Borders, Jashanmal, dan Kinokuniya juga ada). Setelah 2 minggu nunggu orderan BFI Thin Red Line dan Once Upon a Time in America saya dibilang "not available." Tapi ada satu lagi sih toko buku Magrudy yg kayanya bisa order online yg mau dicoba.

Mau ngorder Film Comment edisi Jan/ Feb 2010 aja ngga bisa, padahal film mags kaya Sight and Sound, Cineaste, Moviemaker, Filmmaker dan Artforum tersedia tiap bulannya di sini.

Pengen baca tulisan Kent Jones ttg Inglourious Basterds dan Public Enemies :D

Yuk, akhirnya saya memutuskan utk beli My Last Sigh, kalo sempet hari ini juga... soalnya suka ada yg udah beli duluan, kaya minggu kemaren mau beli BFI Spirited Away ternyata udah dicaplok sama orang ;D

Covernya My Last Sigh yg ini
http://ecx.images-amazon.com/images/I/51T1D9KAMGL._SL500_AA240_.jpg

have a very fun read on your holidays...


Mau nanya juga sekalian kelupaan terus....
Kalo toko buku-roko buku di jakarta (mungkin Kinokuniya dan Aksara?) gimana koleksi film books-nya, bagus-bagus ngga dan berapa rata-rata kisaran harganya sekarang? Suka liat-liat ngga, mungkin bisa ngasih contoh buku apa aja yg tersedia di sana? Siapa tau ada yg menarik...

mmm standar aja yah, paling kalo di aksara tu banyakan buku film yang modelnya list gitu, kayak 1001 Movies you SHould Watch before You Die, atau Little Black Book-Defining Moments in FIlm History (this i highly recommend), kalo di kinokuniya paling banter buku2 Taschen tapi itu juga terbatas....Yang lumayan si di QB tapi ga tau kalo skrng...taon 2007 lalu kan QB belakang Sarinah ditutup jadi diskon 70 %, gue sempet ambil yang My Last Sigh, sama buku ttng Godard by Colin McCabe, slaen itu standar aja....Harga yahhh kalo dibanding sama ngimpor sendiri, lebih murah dikit kalo beli di toko buku,



Mau ngorder Film Comment edisi Jan/ Feb 2010 aja ngga bisa, padahal film mags kaya Sight and Sound, Cineaste, Moviemaker, Filmmaker dan Artforum tersedia tiap bulannya di sini.

Pengen baca tulisan Kent Jones ttg Inglourious Basterds dan Public Enemies :D

whewwww seru seru, disini kayaknya ga ada majalah film model bgitu...Mmm film comment mudah2an ada tulisannya Olaf Moller juga d, one of my fave writer yang bilang Opera Jawa "Honest to God masterpiece -- a mad invention"

yeah and Kent Jones, salah satu yang tulisannya bagus ttng John Cassavetes.

oh iya kalo males Facebook, Follow me at The Auteurs yahhh, model2 facebook dan Twitter, tapi khusus movie-goer, seruuuu

http://www.theauteurs.com/users/93249/wall

Decades Under the Influence - Movies I Like from the 1980s

Film-film yang dirilis di dekade ini bisa dibilang yang paling aneh dibanding dekade lainnya. Strange, weird, outrageous, quirky, bizarre, queer and let alone the word kinky. Well, dekade 70-an juga banyak memproduksi film-film aneh tapi umumnya untuk mengejar spesifikasi art-house, tapi 80an, aneh untuk menjadi komersil. Bahkan John Cassavetes membuat filmnya yang paling aneh Love Streams sampai-sampai masuk dalam list Top 50 Cult Film versi Entertainment Weekly. So here it is, my favorite from the 80s, and it includes a Prince movie,... weirdooo! Watch out I'm gonna use the word strange very often below.

HMs:
The Cook, the Thief, his Wife, and her Lover (Peter Greenaway, United Kingdom, 1989)
Ordinary People (Robert Redford, USA, 1980)
The Color Purple (Steven Spielberg, USA, 1988)
Mauvais Sang / Bad Blood (Leos Carax, France, 1986)
Naked Gun : From the Files of Police Squad (David Zucker, USA, 1988)
Taipei Story (Edward Yang, Taiwan, 1985)
Pee-Wee's Big Adventure (Tim Burton, USA, 1985)
Dongdong de Jiaqi / A Summer at Grandpa's (Hou Hsiao-hsien, Taiwan, 1984)
My Life as a Dog / Mitt Liv Som Hund (Lasse Halstrom, Sweden, 1987)
Bird (Clint Eastwood, USA, 1988)
Pixote (Hector Babenco, Brazil, 1981)
Dead Ringers (David Cronenberg, USA, 1988)
Atlantic City (Louis Malle, USA, 1980)
Bad Timing (Nicholas Roeg, United Kingdom, 1980)
House of Games (David Mamet, USA, 1987)
Thin Blue Line. The (Errol Morris, USA, 1988)
Route One USA (Robert Kramer, USA, 1989)
Purple Rain (Albert Magnoli, USA, 1984)
Broadway Danny Rose (Woody Allen, USA, 1985)
Hairspray (John Waters, USA, 1988)
Gloria (John Cassavetes, USA, 1980)

50. Shoah (Claude Lanzmann, France, 1985)
http://www.forward.com/workspace/assets/images/articles/train-040809.jpg
Sorry this should be higherrrr, at least in the top 20, I forgot it just now, so I put it here because i'm too lazy to re-arrange it again. Well, Shoah is the film that the Jew now should watch (including Mr. Spielberg), how painfully it is to endure that such depressing history, and not repeating it to the Palestinian. Lanzmann is brave enough (and this is why it should be in my top 20) to question the Polish about how they feel and think about the Jew, is it better with or without them.

49. Yol (Yilmaz Guney, Turkey, 1982)

48. Do the Right Thing (Spike Lee, USA, 1989)

47. Aroosiyeh Khooban / Marriage Of The Blessed (Mohsen Makhmalbaf, Iran, 1989)
http://www.makhmalbaf.com/img/main/momovmobpi011m.gif
The last thing I expect from Makhmalbaf is a strange movie with canted framing a la Orson Welles, and here he did a great one. His most fluid camera movement, and most shocking theme where it's about a schizophrenic post-war guy a la Lyne's Jacob's Ladder, who marries a quite wealthy girl, and how will they overcome the guy's problems.

46. Dao Ma Zei / The Horse Thief (Tian Zhuangzhuang, China, 1986)

45. The King of Comedy (Martin Scorsese, USA, 1983)

44. Distant Voices, Still Lives (Terrence Davies, United Kingdom, 1988)

43. Zamri, umri, voskresni! / Freeze-Die-Come To Life! (Vitaly Kanevsky, USSR, 1989)
http://visualrian.com/storage/PreviewWM/0106/34/010634.jpg
Seperti The Asthenic Syndrome, film ini merupakan satir mengenai kehidupan depresi di lingkungan komunis dimana kehidupan sangat sulit dan anak kecil kehilangan masa bahagianya. It preludes Kiarostami's Taste of Cherry about the suicide theme, and the "it's only a movie" ending.

42. Kagemusha (Akira Kurosawa, Japan, 1980)

41. The Times of Harvey Milk (Rob Epstein, USA, 1984)

40. Les Amants du Pont Neuf / Lovers on the Bridge (Leos Carax, France, 1986)

39. Otac na Sluzbennom Putu / When Father Was Away on Business (Emir Kusturica, Yugoslavia, 1985)

38. Paris, Texas (Wim Wenders, USA, 1984)

37. Amadeus (Milos Forman, USA, 1984)

36. Rita, Sue, and Bob Too (Alan Clarke, United Kingdom, 1986)

35. Yeelen (Souleymane Cisse, Mali/Burkina Faso, 1987)

34. Tampopo (Juzo Itami, Japan, 1986)

33. Asthenicheskij Sindrom / The Asthenic Syndrome (Kira Muratova, USSR, 1989)
http://archive.sensesofcinema.com/images/directors/03/28/asthenic.jpg
Quoting Rosenbaum. "A great movie about the contemporary world, but far from an easy one, because it breaks so many rules about what films are supposed to be like. Directed in 1989 by the venerable (and venerably transgressive) Kira Muratova, who was then in her mid-50s, it has been rightly called the only "masterpiece of glasnost"; it's also the only Russian film made during perestroika that was banned by the Russian government--mainly, one gathers, for obscenity (though it wound up being shown anyway after the government sold the rights to a film club in Moscow). Beginning as a powerful black-and-white narrative about a middle-aged woman doctor (Olga Antonova) who's in an exploding, aggressive rage about the death of her husband, the film eventually turns into an even more unorthodox tale in color about a schoolteacher (cowriter Sergei Popov) who periodically falls asleep regardless of what's happening around him. (The title alludes to a form of weakness or disability that presumably encompasses both the doctor's aggressiveness and the schoolteacher's passivity.) Though this tragicomic epic has plenty to say about postcommunist Russia, it's also one of the few recent masterpieces that deal more generally with the demons loose in today's world. This may drive you nuts--as it was undoubtedly meant to--but you certainly won't forget it."

32. Withnail and I (Bruce Robinson, United Kingdom, 1987)

31. Fitzcarraldo (Werner Herzog, Germany, 1982)

30. Ishtar (Elaine May, USA, 1987)

29. High Hopes (Mike Leigh, United Kingdom, 1988)

28. This is Spinal Tap (Rob Reiner, USA, 1984)

27. Der Himmel Uber Berlin / Wings of Desire (Wim Wenders, Germany, 1988)

26. A Nos Amours / To All of My Lovers (Maurice Pialat, France, 1983)

25. Himala (Ishmael Bernal, Philippines, 1982)
http://supreme.ph/wp-content/uploads/2008/12/himala2-300x224.jpg
Gambaran menarik dari efek buruknya pemujaan berlebihan terhadap suatu simbol agama yang di film ini diceritakan melalui kehidupan seorang gadis muda yang berubah karena dia diyakini menerima wahyu dari Bunda Maria sehingga dapat mendatangkan keberuntungan dan menyembuhkan berbagai penyakit. One of the best movie about faith.

24. Mélo (Alain Resnais, France, 1986)

23. Mephisto (Istvan Tzabo, Hungary/Germany, 1981)

22. Mix-up ou Meli Melo (Francoise Romand, Canada, 1986)
http://www.jonathanrosenbaum.com/wp-content/uploads/2009/09/mix-up-3.jpg
Dokumenter unik mengenai dua keluarga yang baru saja mengetahui fakta bahwa dulunya anak perempuan mereka tertukar ketika masih bayi. This is what Herzog means when he was dissing out about the cinema verite style on documentary film.

21. L'Argent (Robert Bresson, France, 1983)

20. Lian Lian Fengchen / Dust in the Wind (Hou Hsiao-hsien, Taiwan, 1986)

19. Vagabond / Sans Toit Ni Loi (Agnez Varda, France, 1985)

18. Superstar: The Karen Carpenter Story (Todd Haynes, USA, 1987)
http://www.cas.buffalo.edu/classes/dms/cgkoebel/bc/images/Haynes/kmom.jpg
Film inilah yang meroketkan nama Haynes didunia perfilman. Biopic yang aneh dari Karen Carpenter, vokalis band yang terkenal di era 60-an dan 70-an The Carpenters yang ditemukan meninggal di rumah keluarganya karena anorexic disorder. Haynes menggunakan boneka-boneka semacam Barbie sebagai karakter2nya, yang uniknya menciptakan suasana misterius namun eerie dalam menggambarkan kehidupan Karen yang depresi karena merasa harus selalu tampil kurus di depan para penggemarnya.


17. Tough Guys Don't Dance (Norman Mailer, USA, 1987)
http://www.cannon.org.uk/toughguys/Tough%20Guys%20Don%27t%20Dance%20(1987)%20%5BFrance%20photos%202%5D.jpg
A mind-fuck, hard-boiled mystery film like Blue Velvet, only it is better. Bersetting di sebuah kota kecil juga dan diawali dengan scene yang aneh. A loser named Tim Madden (Ryan O’Neal), setelah semalam memakai obat terlarang, kedapatan bangun di rumah mantan istrinya dengan tato baru di lengannya dan menemukan jaket penuh darah berisi kepala mantan istrinya tersebut di dalam mobilnya. Hal itu menciptakan dilema buat Tim karena dia tidak ingat apakah benar dia yang memotong kepala mantan istrinya itu. Seiring berjalan kebingungan yang terjadi pada dirinya, Tim menemukan satu kepala lagi yang ternyata adalah kepala dari wanita yang dia ajak berhubungan seks semalam. Tim makin tidak yakin kalau dirinya bersalah namun dia juga tidak mempunyai alibi kuat untuk dirinya. For the remainder of the movie, he plays the part of private investigator (for himself) to discover what actually happened.

Pertama kali menonton, gue dibuat puyeng karena film ini dibuat berdasar sudut pandang cerita flashback Tim kepada ayahnya, dimana alur terasa berantakan, characters coming in and out briefly, tetapi anehnya saat menonton kedua, everything began to resonate together. It deserves its own cult status, especially with dialogues such as:

"Certain dames ought to wear a T-shirt that says 'Hang around, I'll make a cocksucker out of you.'"

"He must have the longest cock in Christendom,"

"My pussy hair was bright gold in high school, until I went out and scorched it with the football team."

"What makes surgeons happy? To cut people up and get paid for it! That's happiness!"

"Mr. Regency and I make out five times a night. That's why I call him Mr. Five."

"Your knife. Is in. My dog."

"Life gives a man two balls. Use 'em. It's a rare day I don't bang two women. As a matter of fact, I don't sleep too well unless I get that second hump in. Both sides of my nature are obliged to express themselves."


Or this exchange:

"I made you come 16 times in a night."

"Not one of them was good."

"That's because you've got no wommmmmmb!"


16. Mashgh-e Shab / Homework (Abbas Kiarostami, Iran, 1988)
http://www.opendemocracy.net/content/articles/815/images/a.homework.jpg
Mungkin hanya Kiarostami yang dapat membuat suatu tema sederhana menjadi sebuah film yang menarik dan menyentuh. Ketika Where's the Friend's House hanyalah tentang perjalanan panjang dan melelahkan seorang anak kecil untuk mengembalikan buku PR temannya yang tak sengaja terbawa, maka Homework adalah suatu dokumenter tentang penting mana antara mengerjakan PR dengan menonton film kartun. Pertanyaan sederhana itu berkembang menjadi apakah di usia Sekolah Dasar tersebut mereka sudah mempunyai pemahaman mengenai konsep hukuman dan pujian atau reward. The ending is one of the best and satisfying ending in whole movie-going experience.

15. Idi I Smotri / Come and See (Elem Klimov, Soviet Union, 1985)

14. Stranger Than Paradise (Jim Jarmusch, USA, 1984)

13. Made in Britain (Alan Clarke, United Kingdom, 1982)
http://i42.tinypic.com/2jakdfo.jpg
If you like being questioned endlessly while watching movies, when new ones keep coming up as you go through a scene encounter by encounter and beat by beat, you need to go to Alan Clarke's. It's about how might you act if you were in your early twenties and had nothing to look forward to in the way of financial improvement of your situation, or What is it like to be a skinhead, a punk, a drifter.

12. Ran (Akira Kurosawa, Japan, 1985)

11. Landscape in the Mist / Topio Stin Omichli (Theo Angelopoulos, Greece, 1988)

10. Manuel on the Island of Wonders (Raoul Ruiz, France/Portugal, 1985)

9. Beiqing Chenshi / City of Sadness (Hou Hsiao-hsien, Taiwan, 1989)

8. Offret / The Sacrifice (Andrei Tarkovsky, USSR, 1986)

7. Meantime (Mike Leigh, United Kingdom, 1984)
http://modculture.typepad.com/photos/uncategorized/2007/05/30/meantime.jpg
Yang gue paling kagumi dari Mike Leigh adalah dia bisa membuat film dengan cerita sederhana namun thoughtful secara straightforward storytelling and no flashback. The film is a triumph of not spelling things out, not pinning them down, not clarifying its meanings. Every character has their own perspective, which equally right, but limited also. Tiap karakter punya caranya sendiri, berdasar personalitynya dan siapa dia sebenarnya, pengalaman hidup yang telah dijalaninya, serta apa yang mereka bawa ke suatu particular moment, bukan kata dan pemikiran yang disuapin oleh sutradara.Tidak ada karakter yang terlalu sederhana atau innocent dalam film-film Leigh. Heroism is imperfect. Kebaikan terasa ada janggalnya. Niat baik diekspresikan dengan cara yang misleading atau troubling. Meminjam frase dari Lenny Bruce "truth is not what should be, but what is".

6. Mon Oncle d'Amerique (Alain Resnais, France, 1985)

5. Where's the Friend's House? / Khane-ye doust Kodjast? (Abbas Kiarostami, USA, 1987)

4. Decalogue, The (Krzystof Kieslowski, Poland, 1988)

3. Fanny and Alexander (Ingmar Bergman, Sweden, 1983)

2. Close-Up / Nema-Yeh Nazdik (Abbas Kiarostami, Iran, 1989)

1. Love Streams (John Cassavetes, USA, 1984)
http://img2.timeinc.net/ew/dynamic/imgs/080826/Cult-Movies/Love-Streams_l.jpg
The weirdest movie from Cassavetes is also his swan song (we shouldn't count the Big Trouble), with loneliness and alienation as its central themes, and including transvestites and a bunch of animals. The flamboyant brother, Robert, never falls in love, while the "mad" sister Sarah is sure Love is still streaming in her life even she's just been divorced. Even at his weirdest, as usually, Cassavetes gives us art, which means not only giving us new thoughts and ideas but also power. As Robert waving goodbye to Sarah at the end of the movie, cinema lost one of its greatest talent too soon.

error ni gue

have a very fun read on your holidays...



mmm standar aja yah, paling kalo di aksara tu banyakan buku film yang modelnya list gitu, kayak 1001 Movies you SHould Watch before You Die, atau Little Black Book-Defining Moments in FIlm History (this i highly recommend), kalo di kinokuniya paling banter buku2 Taschen tapi itu juga terbatas....Yang lumayan si di QB tapi ga tau kalo skrng...taon 2007 lalu kan QB belakang Sarinah ditutup jadi diskon 70 %, gue sempet ambil yang My Last Sigh, sama buku ttng Godard by Colin McCabe, slaen itu standar aja....Harga yahhh kalo dibanding sama ngimpor sendiri, lebih murah dikit kalo beli di toko buku,
Interesting.
Kayanya film books memang masih jadi anak tiri utk sebagian besar toko buku, bahkan utk yg terkemuka sekalipun. Kecuali kalo langsung ngorder ke pusatnya...

Itu buku "Godard: A Portrait of the Artist at 70," kan? Waktu itu ada juga di Kino sini, tp terakhir ngeliat udah ngga ada! Bagus ngga tuh buku? Komprehensif dan mendetil?

Apa tulisannya terlalu academic? Males baca buku yg ditulis spt itu (apalagi ditambah jargon-jargon yg berkesan canggih padahal unreadable) ;D

Makanya bagusnya Bordwell sekarang dia sdh meninggalkan gaya menulis spt itu... Damn you Bordwell, why don't you lower your books price? ;D

Yuk, spt biasa, exotic list from the 80's. I think I haven't seen most of those films (hiding in shame..;D). Tp kok bisa ada Spielberg dan Eastwood, What gives?
That's a jarring discrepancy! :D

Eh, setelah melihat lbh saksama list 80's mu, mungkin "haven't seen most..." terlalu ekstrim, lbh pasnya "haven't seen some ;D

Yg bikin silau ada beberapa film yg sgt "obscure" yg br kudengar yg membuat list-mu berkesan unreachable secara keseluruhan. But on a second thought it's pretty much still a "classic" list, which of course I meant as a compliment ::up::

Maybe I could make these lists of decade's favorites only in my deathbed :D
Too many films, so little time...

Interesting.
Kayanya film books memang masih jadi anak tiri utk sebagian besar toko buku, bahkan utk yg terkemuka sekalipun. Kecuali kalo langsung ngorder ke pusatnya...

bener banget.....

Itu buku "Godard: A Portrait of the Artist at 70," kan? Waktu itu ada juga di Kino sini, tp terakhir ngeliat udah ngga ada! Bagus ngga tuh buku? Komprehensif dan mendetil?

detil tapi lebih ke biografi sama latar belakang sejarah nya Godard yah sama proses produksi filmnya, bukan ngebahas film-nya secara kritis. Kalo mau yang ttng kritisi film-filmnya si paling buku-nya Jim Monaco, hehehehe tapi yang ini blom gue sempet baca.


Apa tulisannya terlalu academic? Males baca buku yg ditulis spt itu (apalagi ditambah jargon-jargon yg berkesan canggih padahal unreadable) ;D

gak si, karna tu tadi lebih ke biografi...kalo gitu baca bukunya Rosenbaum yang ttng Kiarostami deh, enak banget bahasanya. Atau buku2nya Ray Carney ttng Mike Leigh, Carl Dreyer dan Frank Capra.

Makanya bagusnya Bordwell sekarang dia sdh meninggalkan gaya menulis spt itu... Damn you Bordwell, why don't you lower your books price? ;D

baca2 blog nya aja hueheuehue kayak gue ni.

Tp kok bisa ada Spielberg dan Eastwood, What gives?
That's a jarring discrepancy! :D

but Bird is GREAT, karna scara pribadi gue demen biopic musician si, hehehe palagi kalo yang jazzy2 macem si Charlie Parker gini. Eh iya I enjoy Eastwood's movies, kayak Gran Torino, Million Dollar Baby,sama Mystic River.

Kalo Color Purple, karna faktor kulit hitam kali ya, daridulu gue demen ni sama struggle2nya Black People, dari jaman film2nya King Vidor di taon 30-an. Dan Oprah bingung d, knapa ga akting lebih banyak lagi ya daripada cuman mejeng2 doang di tiap Golden GLobe sama Oscar.

Eh, setelah melihat lbh saksama list 80's mu, mungkin "haven't seen most..." terlalu ekstrim, lbh pasnya "haven't seen some ;D

Rate it Puh-lissss


Yg bikin silau ada beberapa film yg sgt "obscure" yg br kudengar yg membuat list-mu berkesan unreachable secara keseluruhan. But on a second thought it's pretty much still a "classic" list, which of course I meant as a compliment ::up::

obscure?such as?

Maybe I could make these lists of decade's favorites only in my deathbed :D
Too many films, so little time...

top 10 maybe?

Favorite Quotes on Art, especially on film:

- Ray Carney: "So what if a movie is popular? The Big Mac is the most popular food in America. Norman Rockwell is the most popular painter. Does that mean the English Department should dump Shakespeare and replace him with Stephen King?"

- Luis Bunuel: "Thank God, I'm atheist!"

- Jim Jarmusch: "I know Robert Altman and I know he likes to watch his old films over and show them to people, and I wish I could be like that because he really loves them, he's proud of them, they're like his children. And my films are like my children, but I send them off to military school."

- Jacques Rivette (on Haneke's Funny Games): "What a disgrace, just a complete piece of shit! I liked his first film, The Seventh Continent (1989), very much, and then each one after that I liked less and less. This one is vile, not in the same way as John Woo, but those two really deserve each other - they should get married. And I never want to meet their children! It's worse than Kubrick with A Clockwork Orange (1971), a film that I hate just as much, not for cinematic reasons but for moral ones. I remember when it came out, Jacques Demy was so shocked that it made him cry. Kubrick is a machine, a mutant, a Martian. He has no human feeling whatsoever. But it's great when the machine films other machines, as in 2001"

- Woody Allen: "If my film make one more person feel miserable, I feel i've done my job."

- Kenji Mizoguchi (about his scar tissue on his back because got stabbed by a geisha): "You'll never make a good movie about women, if you don't have this kind of scar."

- Kenji Mizoguchi (on Ozu): "Of course I like his movies. Because I think that what he does is much more difficult and mysterious than what I do."

- Ingmar Bergman (On Godard): "In this profession, I always admire people who are going on, who have a sort of idea and, however crazy it is, are putting it through; they are putting people and things together, and they make something. I always admire this. But I can't see his pictures. I sit for perhaps twenty-five or thirty or fifty minutes and then I have to leave, because his pictures make me so nervous. I have the feeling the whole time that he wants to tell me things, but I don't understand what it is, and sometimes I have the feeling that he's bluffing, double-crossing me. "

- Ingmar Bergman (on Tarkovsky): "When film is not a document, it is dream. That is why Tarkovsky is the greatest of them all. He moves with such naturalness in the room of dreams. He doesn't explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure—The Serpent's Egg, The Touch, Face to Face and so on."

- Ingmar Bergman (on Welles): "For me, Welles is a phoney. He is greatly overrated. He is shallow, not interesting."

- Charlie Chaplin: "Life is comedy when it is in long shot, but a tragedy in close-up."

- Jean-luc Godard: When the New York Film Critics' Circle wanted to honour him in 1995, he refused and noted that one of his reason is "because he is unable to influence or to prevent Steven Spielberg from reconstructing Auschwitz."

- John Cassavetes: "Films today show only a dream world and have lost touch with the way people really are...In this country, people die at 21. They die emotionally at 21, maybe younger....My responsibility is to help people get past 21."

- John Cassavetes: "Why make the Godfather? It's an entertainment? Terrific. I consider myself an artist, and whether I'm a good artist or a bad one is beside the point. I address myself to the art of film, and making a best-selling book into a best-selling movie is in no way art to me."

- John Cassavetes: "You have to fight knowing, because once you know something, it's hard to be open and creative; it's a form of passivity--something to guard against."

- John Cassavetes: "I've never seen an exploding helicopter. I've never seen anybody go and blow somebody's head off. So why should I make films about them?But I've seen people destroy themselves in the smallest way, I've seen people withdraw, I've seen people hide behind political ideas, behind dope, behind the sexual revolution, fascism, hipocrisy, and I've myself done all these things. So I can understand them...What we are saying is so gentle. It's gentleness. We have problems, terrible problems, but pur problems are human problem."

John Cassavetes (to young directors): "Say what you are. Not what you would like to be. Just say what you are and what you are is good enough."

Robert Bresson: "The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use the impatiences!"

Yasujiro Ozu: "I don't think the film has a grammar. I don't think film has but one form. If a good film results, then that film has created its own grammar."

Alfred Hitchcock: "In North by Northwest during the scene on Mount Rushmore I wanted Cary Grant to hide in Lincoln's nostril and have a fit of sneezing. The Parks Comission of the Department of Interior was rather upset at thins thought. I argued until one of their number asked me how I would like it if they had Lincoln play the scene in Cary Grant's nose. I saw their point at once."

Jean-luc Godard: "Every film should have a beginning, a middle, and an end; but not necessarily in that order."

Jean-luc Godard: "We were all critics before beginning to make films, and I loved all kinds of cinema. It was the cinema that made us--or me, at least--want to make films. I knew nothing of life except through the cinema."

John Boorman: "what I call "new brutalism" in cinema is a form of naivete, because it's made by people who think don't really have a grasp of cinema's history. it's the MTV kind of editing, where the main idea is that the more disorienting it is, the more exciting. You look at something like Armageddon and you see all the things that would have been forbidden in classical cinema, like crossing the line, camera jumping from side to side. It's a way to artificiality generate excitement, but it doesn't really have any basis to it. And I find it kind of sad, because it's like an old man trying to dress like a teebager."

D.H. Lawrence: "Trust the tale, not the teller."

Rene Clair: "I don't work with the actors, I pay them."

Robert Bresson: "I have always been the same. I don't create ellipsis; it is there from the beginning. One day I said, "Cinema is the art of showing nothing." I want to express things with a minimum of means, showing nothing that is not absolutely essential."

Robert Bresson: "Because the ear is profound, whereas the eye is frivolous, too easily satisfied. The ear is active, imaginative, whereas the eye is passive. When you hear a noise at night, instantly you imagine its cause. The sound of a train whistle conjures up the whole station. The eye can perceive only what is presented to it."

Robert Bresson: "I am also using nudity in Four Nights of a Dreamer. I am not at all against nudity so long as the body is beautiful; only when the body is ugly is its nudity obscene. It is like kissing. I can't bear to see people kissing on the screen. Can you?"

Robert Bresson: "I never use the same person twice, because the second time he would try deliberately to give me what he thought I wanted. I don't even permit the husband of a nonactress to see rushes because he would evaluate her performance and then she would try to improve it. Anyway, mechanics are essential. Our gestures, nine times out of ten, are automatic. The ways you are crossing your legs and holding your head are not voluntary gestures."

Robert Bresson: "In any case, I never want to explain anything. The trouble with most films is that they explain everything."

Abbas Kiarostami: "For me the camera is exactly like a pen. It can be used by the common person, or it can be used by Baudelaire to create a great poem. We have an Iranian saying that if you want to become a good writer, you just keep writing and writing and writing. So in response to the question of how to develop a good aesthetic vision, I can say that you have to keep seeing and seeing and seeing."

E.M. Cioran: ""Without the possibility of suicide, I would have killed myself long ago."

Billy Wilder: "The Austrian is very smart, they claim Mozart is an Austrian, but convinced us that Hitler is a German."

Luis Bunuel: "I hope I will die alive,"

Sidney Lumet: "The studios just go by what makes money. If they thought they could make money from a musical about the happy life under Joe Stalin, they'd do it."

Orson Welles (on Leo McCarey's Make Way for Tomorrow): "I even like that old shit, Victor Moore, he was wonderful in it."

Clement Greenberg: “All profoundly original art looks ugly at first.”

Marshall McLuhan: “When first proposed, new systems of knowledge don’t look like revolutions or breakthroughs—but like chaos”

Emily Dickinson: “Tell the truth, but tell it slant.”

Carl Dreyer: "Life’s greatest dramas are usually played quietly."

Oscar Wilde: "It’s only superficial people who do not judge by surfaces."

Picasso" "Don’t imitate anyone, even yourself."

Frank Capra: "The greatest movies have yet to be made."

Alfred Hitchcock: "The length of a film should be directly related to the endurance of the human bladder."

‘If you’re worrying about how to finance and distribute your movies than you shouldn’t bother making movies.’ I asked him what he meant and he said, ‘You make movies because you need to make movies. Everything else is unimportant. If you wait to get the money to make a movie then you shouldn’t make the movie. If you need distribution in place before you have the courage to make a movie then it’s not a movie worth making. There are many other ways to make money than making movies. If you need to make money, please find some other way to do it. You make movies to lose your money. That is the purpose of making a movie—to put your life into something—not get something out of it.’"John Cassavetes

bener banget.....
but Bird is GREAT, karna scara pribadi gue demen biopic musician si, hehehe palagi kalo yang jazzy2 macem si Charlie Parker gini. Eh iya I enjoy Eastwood's movies, kayak Gran Torino, Million Dollar Baby,sama Mystic River.

Kalo Color Purple, karna faktor kulit hitam kali ya, daridulu gue demen ni sama struggle2nya Black People, dari jaman film2nya King Vidor di taon 30-an. Dan Oprah bingung d, knapa ga akting lebih banyak lagi ya daripada cuman mejeng2 doang di tiap Golden GLobe sama Oscar.
Soal Eastwood, ucapan Rivette yg akan sy kutip di bawah menjelaskan kesukaanku pd film-filmnya dia...

Kalo Spielberg, buatku dia plg comfortable kl bikin film dgn bungkus genre science fiction spt Close Encounters dan A.I. (dua film Spielberg favoritku), kalo sejarah atau historical fiction rasanya ada yg ngga pas aja gitu.


Rate it Puh-lissss
Sekarang sdh ngga lg suka menilai-nilai film secara kuantitatif - ngasih-ngasih rating dan semacamnya, kecuali kalo bikin awards tahunan (itu jg kalo ada waktu), sbg gantinya sy kasih list film yg pengen kutonton dr list-mu.

Dao Ma Zei / The Horse Thief (Tian Zhuangzhuang, China, 1986)
Distant Voices, Still Lives (Terrence Davies, United Kingdom, 1988)
Otac na Sluzbennom Putu / When Father Was Away on Business (Emir Kusturica, Yugoslavia, 1985)
Yeelen (Souleymane Cisse, Mali/Burkina Faso, 1987)
Asthenicheskij Sindrom / The Asthenic Syndrome (Kira Muratova, USSR, 1989)
Idi I Smotri / Come and See (Elem Klimov, Soviet Union, 1985)
Mashgh-e Shab / Homework (Abbas Kiarostami, Iran, 1988) - Msh blm komplit dgn filmografinya Kiarostami

obscure?such as?
Route One USA (Robert Kramer, USA, 1989)
Yol (Yilmaz Guney, Turkey, 1982) - Sy hrs lbh banyak nonton film-film Turki.
Zamri, umri, voskresni! / Freeze-Die-Come To Life! (Vitaly Kanevsky, USSR, 1989) - Ditto, film-film Rusia jg beyond the usual suspects
Himala (Ishmael Bernal, Philippines, 1982)
Mix-up ou Meli Melo (Francoise Romand, Canada, 1986)

top 10 maybe?
How about this?

In no particular order, favorite of the 80's; first top 10, then the next 11-15

The Green Ray/Summer (Eric Rohmer)
Once Upon a Time in America (Sergio Leone)
L'Argent (Robert Bresson)
Aliens (James Cameron)
Blade Runner (Ridley Scott)
The Sacrifice (Andrei Tarkovsky)
Vagabond (Agnes Varda)
Passion (Jean-Luc Godard)
Where Is the Friend's House? (Abbas Kiarostami)
A Time to Live and a Time to Die/ Dust in the Wind/ A City of Sadness (Hou Hsiao-hsien)

How Aliens and Blade Runner could be in the list? I guess those are two of my favorite Hollywood blockbusters ever

Boyfriends and Girlfriends (Eric Rohmer)
Wings of Desire (Wim Wenders)
Grave of The Fireflies (Isao Takahata)
The Last Temptation of Christ (Martin Scorsese)
Tess (Roman Polanski)

For me the time to make up my mind about my favorites is… never. I'm an eternal student of cinema; always learning, always changing.


Favorite Quotes on Art, especially on film:
Perkenankan utk nambah favoritku, yg teringat sekarang (yg jg mungkin pernah sy kutip di KG sebelumnya)

Andre Bazin: "Cinema substitutes our gaze for a world corresponds to our desires."

Francois Truffaut: "Taste is a result of a thousand distastes."

Yasuijiro Ozu: "Cinema is drama, not accident."

John Ford: "It's no use talking to me about art; I make movies to pay the rent."

Jim Jarmusch: "Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: 'It’s not where you take things from—it’s where you take them to.'”

Jean-luc Godard: "it's not where you take things from; it's where you take them to."

Alain Resnais: "I make movies, I don't interpret them. It's all open to personal interpretation, and my interpretation is no more relevant than any viewer's."

Jacques Rivette: "In the same way, I've defended Clint Eastwood since he started directing. I like all his films, even the jokey "family" films with that ridiculous monkey, the ones that everyone are trying to forget - they're part of his oeuvre, too. In France, we forgive almost everything, but with Altman, who takes risks each time he makes a film, we forgive nothing. Whereas for Pollack, Frankenheimer, Schatzberg...risk doesn't even exist for them. The films of Eastwood or Altman belong to them and no one else: you have to like them."

PAblo Picasso: "Why choose if I can have both?"


EDIT:
Eh, Tess rilisnya thn 1979 ya, ngga masuk itungan 80's...

How about this?

In no particular order, favorite of the 80's; first top 10, then the next 11-15

The Green Ray/Summer (Eric Rohmer)
Once Upon a Time in America (Sergio Leone)
L'Argent (Robert Bresson)
Aliens (James Cameron)
Blade Runner (Ridley Scott)
The Sacrifice (Andrei Tarkovsky)
Vagabond (Agnes Varda)
Passion (Jean-Luc Godard)
Where Is the Friend's House? (Abbas Kiarostami)
A Time to Live and a Time to Die/ Dust in the Wind/ A City of Sadness (Hou Hsiao-hsien)

How Aliens and Blade Runner could be in the list? I guess those are two of my favorite Hollywood blockbusters ever

Boyfriends and Girlfriends (Eric Rohmer)
Wings of Desire (Wim Wenders)
Grave of The Fireflies (Isao Takahata)
The Last Temptation of Christ (Martin Scorsese)
Tess (Roman Polanski)

For me the time to make up my mind about my favorites is… never. I'm an eternal student of cinema; always learning, always changing.

mmm, we share love for Hou...Yes, and my list would be changing too in the future. Ahhhh Amie de Mon Ami...Eh iya Blade Runner bagus ya, hehehe soalnya gue ga terlalu suka, jadi pilih-pilih banget...since u mentioned it then i'll give it a shot.




Jacques Rivette: "In the same way, I've defended Clint Eastwood since he started directing. I like all his films, even the jokey "family" films with that ridiculous monkey, the ones that everyone are trying to forget - they're part of his oeuvre, too. In France, we forgive almost everything, but with Altman, who takes risks each time he makes a film, we forgive nothing. Whereas for Pollack, Frankenheimer, Schatzberg...risk doesn't even exist for them. The films of Eastwood or Altman belong to them and no one else: you have to like them."

mmm jadi Godard aja ya yang sebel sama film2nya Altman.

Tapi Rivette spot-on banget komentar nya ttng Mankiewicz, more a writer than a director, kebalikan sama Preminger. Tapi dia juga bilang James Cameron sama aja sama si Hou Hsiao-hsien, sama sama nyebelin heuehueheu, what a complex thought.

Decades Under the Influence - Movies I Like from the 1970s

HMs:
A New Leaf (Elaine May, USA, 1971)
The Long Goodbye (Robert Altman, USA, 1973)
The Private Life of Sherlock Holmes (Billy Wilder, USA, 1970)
Two Solutions for One Problem (Abbas Kiarostami, Iran, 1975)
Tin Drum, The / Die Blechtrommel (Volker Schlondorff, Germany, 1979)
La Rupture (Claude Chabrol, France, 1970)
El Topo (Alejandro Jodorowsky, Mexico, 1970)
Insiang (Lino Brocka, Philippines, 1976)
Marilyn Times Five (Bruce Conner, USA, 1973)
Picnic at Hanging Rock (Peter Weir, Australia, 1975)
Land of Silence and Darkness (Werner Herzog, Germany, 1971)
Deus Foix (Jackie Raynal, France, 1971)
Annie Hall (Woody Allen, USA, 1977)
Grease (Randall Kleiser, USA, 1978)
3 Women (Robert Altman, USA, 1977)

50. Aranyer Din Ratri / Days and Night in the Forest (Satyajit Ray, India, 1970)

49. Red Psalm / Meg Ker A Nep (Miklos Jancso, Hungary, 1971)
http://www.rees.emory.edu/redpsalm3.jpg
I admit, I didn't quite enjoy my first Janco, The Red and the White, but this is a truly unique movie. The story is driven by songs about the harshness and the beauty living in a communist country. And the songs are enjoyable. A leftist musical if I might say.


48. Harold and Maude (Hal Ashby, USA, 1971)
http://iamjustgoingtosayshit.files.wordpress.com/2009/07/harold-and-maude-2.jpghttp://consequenceofsound.net/wp-content/uploads/2009/07/thekiss.jpg
Salah satu kisah cinta paling unik yang pernah hadir di media film yaitu antara seorang nenek dan remaja laki-laki yang gemar melakukan aksi nyentrik dengan membuat dirinya terlihat mati didepan keluarganya.

47. Minnie & Moskowitz (John Cassavetes, USA, 1972)

46. Le Cercle Rouge / Red Circle (Jean-Pierre Melville, France, 1970)

45. Nosferatu : Phantom der Nacht (Werner Herzog, Germany, 1979)
http://christybharath.files.wordpress.com/2009/06/nosferatu.jpg
Sebuah horror yang tidak menitikberatkan pada "gory quality" tapi ke atmosfer yang diciptakannya melalui sinematografi, musik, dan feeling. Diangkat untuk kesekian kalinya semenjak versi Murnau yang legendaris itu di tahun 1922, Herzog membuat kita bersimpati pada protagonisnya yang kali ini adalah seorang Vampir.


44. Avanti! (Billy Wilder, USA, 1972)

43. Network (Sidney Lumet, USA, 1976)

42. Pink Flamingos (John Waters, USA, 1972)

41. Viskningar och Rop / Cries and Whispers (Ingmar Bergman, Sweden, 1972)

40. Maynila Sa Kuko Ng Liwanag / Manila: In the Claws of Neon (Lino Brocka, Philippines, 1975)

39. O Thiasos / The Traveling Players (Theo Angelopoulos, Greece, 1975)

38. Barry Lyndon (Stanley Kubrick, USA, 1974)

37. Being There (Hal Ashby, USA, 1979)

36. Killer of Sheep (Charles Burnett, USA, 1978)

35. Ali Fear Eats the Soul / Angst Essen Seele Auf (Rainer Werner Fassbinder, Germany, 1974)

34. Je, Tu, Il, Elle / I, You, He, She (Chantal Akerman, Belgium, 1974)

33. Last Chants for a Slow Dance (Jon Jost, USA, 1977)

32. Koko a Talking Gorilla (Barbet Schroeder, USA, 1978)

31. Claire's Knee / Le Genou de Claire (Eric Rohmer, France, 1971)

30. Amarcord (Federico Fellini, Italy, 1974)

29. Phantom of Liberty (Luis Bunuel, France, 1974)

28. Gelegenheitsarbeit einer Sklavin / Occasional Work of a Female Slave (Alexander Kluge, West Germany, 1973)
http://image.allmusic.com/00/adg/cov200/dru700/u728/u72897yq14n.jpg
A gem from the New German Cinema movement. Suddenly, a shot of vagina doesn't feel kinky. A story about a mother's plight to keep on living in a male and money-dominated world, shot in semi-documentary style.

27. Wanda (Barbara Loden, USA, 1972)

26. Murmur of the Heart / Le Souffle au Coeur (Louis Malle, France, 1971)

25. Marriage of Maria Braun, The / Die Ehe der Maria Braun (Rainer Werner Fassbinder, Germany, 1979)

24. Celine and Julie Go Boating (Jacques Rivette, France, 1974)

23. Jeanne Dielman 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, Belgium, 1975)

22. Pasqualino Settebellezza / Seven Beauties (Lina Wertmuller, Italy, 1976)

21. F For Fake (Orson Welles, France/USA, 1972)

20. Swept Away (Lina Wertmuller, Italy, 1974)

19. Fox and His Friend (Rainer Werner Fassbinder, Germany, 1975)

18. Cesar et Rosalie (Claude Sautet, France, 1972)
http://filmsdefrance.com/Cesar_et_Rosalie_01.jpg
A simple triangle love story but it's rather a profound ones. Romy Schneider, in her early career in France, gave a subtle but engaging performance, about a woman torn between men and her personal freedom, her personal independence. Her feelings are changeable but her life heads to be straightforward. Standing between her present lover who is a charmer but emotionally unstable played convincingly by the legendary Yves Montand (arguably one of the best performance in French Cinema history) and the other one played by Sami Frey, her ex-lover who just came back from USA and trying to win her back. Sautet is definitely the name we should remember amongst many great talents coming from France.

17. Life of Brian (Terry Jones, United Kingdom, 1979)

16. Trash (Paul Morrissey, USA, 1970)
http://www.brightlightsfilm.com/24/24_images/trash.jpghttp://library.duke.edu/lilly/film-video/images/trash.jpg
One of the most hilarious movie ever to grace on silver screen. Another Warhol/Morrissey collaboration, starred by their usual actors from The Factory. Sebuah pasangan suami-istri terhimpit masalah keuangan karena yang lelaki pengguna narkoba kelas berat dan istrinya berprofesi sebagai pelacur. Mereka merencanakan untuk mendapatkan tunjangan sosial dengan berpura-pura istrinya dalam kondisi hamil dan mereka tidak mampu secara ekonomi.

15. That Obscure Object of Desire / Cet Obscur Objet du Desir (Luis Bunuel, France, 1977)

14. Solyaris (Andrei Tarkovsky, Soviet Union, 1972)

13. Opening Night (John Cassavetes, USA, 1977)

12. Scenes from a Marriage / Scener ur ett aktenskap (Ingmar Bergman, Sweden, 1973)

11. Aguirre, the Wrath of God / Aguirre, Der Zorn Gottes (Werner Herzog, Germany, 1972)

10. The Heartbreak Kid (Elaine May, USA, 1972)
http://www.internationalfilmguide.com/foto/2009/10/hiHeartbreakKid.jpg
Elaine May membuat posisi kita sebagai penonton sama sulitnya dengan posisi Kelly (Cybil Sheperd) dan ayahnya untuk percaya dan menerima cinta dari Lenny (Charles Grodin). Elaine May surely knows how to take comedy as a serious thing. Dia tidak menciptakan karakter yang mudah untuk kita jatuh simpati atau menemukan kesamaan diri kita pada karakter-karakternya. Lenny mungkin terlihat menyebalkan, naif, jahat, basi, atau bodoh, tapi dia tahu yang dia mau dan tidak mengharap belas kasihan dari penonton. Kata-kata yang keluar dari mulutnya lucu tapi bisa jadi terdengar tidak berperasaan, namun tidak pernah terdengar ironic. May secara sukses membuat gue "live and experience in her comedy, and made me fighting tooth and nail with Kelly and her father to love Lenny." One of the greatest American comedy which is like a punch in the stomach, but never mocks our intelligence, or even make us feeling superior on the movie. PS: Gue blom nonton remake-nya Ben Stiller, tapi gue biasanya menghindari sgala macem remake

9. Killing of a Chinese Bookie (John Cassavetes, USA, 1976)

8. Mirror / Zerkalo (Andrei Tarkovsky, Soviet Union, 1974)

7. Discreet Charm of the Bourgeoisie, The (Luis Bunuel, France, 1972)

6. Edvard Munch (Peter Watkins, United Kingdom/Norwegia, 1976)

5. Mikey & Nicky (Elaine May, USA, 1975)
http://auteurs_production.s3.amazonaws.com/stills/23666/mikey_and_nicky_1976.png
For my money, this is the best gangster movie. It doesn't need special effects, narrative tricks, or revelations to make things dramatic. The characters don’t have to have deep, dark secrets in order to hold our interest. A rare breed of a doppelgänger movie that knows a lot about life and requires you to know a lot about life to understand it. A movie that isn't a pack of stylistic in-jokes, surprise revelations and editing shock tactics. It surely feels like John Cassavetes shadows are all over the film, but we may feel too that it's Elaine May's comedic sense that sharpening the rough edges.

4. Abigail's Party (Mike Leigh, United Kingdom, 1977)

3. A Woman Under the Influence (John Cassavetes, USA, 1974)

2. Husbands (John Cassavetes, USA, 1970)

1. Stalker (Andrei Tarkovsky, Soviet Union, 1979)
http://dryden.eastmanhouse.org/media/stalker.jpg
Ketika fungsi utama imajinasi menurut Coleridge adalah bagaimana cara kita menggunakan perasaan atau sense, film Tarkovsky adalah salah satu yang paling tepat untuk menjabarkannya. Stalker, The Sacrifice, dan Solyaris mengubah cara kita melihat dan mendengarkan sesuatu. Hujan di Solyaris, lolongan anjing atau tiap tetes air yang terdengar di Stalker mengubah pemahaman kita dengan intensifying and slowing our perceptions down. Bahkan ada yang mengatakan "Tarkovsky gets us hearing dog frequencies".

Decades Under the Influence - Movies I Like from the 1960s

Tokyo Orimpikku (Kon Ichikawa, Japan, 1965)
Autumn Afternoon / Sanma No Aji (Yasujiro Ozu, Japan, 1962)
Gate of Flesh (Seijun Suzuki, Japan, 1964)
Paris Nous Appartient / Paris Belongs to Us (Jacques Rivette, France, 1960)
Accatone / The Scrounger (Pier Paolo Pasolini, Italy, 1961)
Le Mepris / Contempt (Jean-luc Godard, France, 1963)
Hanyo / The Housemaid (Kim Ki-Young, South Korea, 1960)
The Producers (Mel Brooks, USA, 1968)
Umbrellas of Cherbourg / Les Parapluies de Cherbourg (Jacques Demy, France, 1964)
L'Eclisse (Michelangelo Antonioni, Italy, 1962)
Brigitte et Brigitte (Luc Moullet, France, 1966)
The Party (Blake Edwards, USA, 1968)
Through a Glass Darkly / Sasom i en Spegel (Ingmar Bergman, Sweden, 1961)

50. Nutty Professor, The (Jerry Lewis, USA, 1964)
49. Actor's Revenge, An / Yukinojo Henge (Kon Ichikawa, Japan, 1963)

48. Child is Waiting, A (John Cassavetes, USA,1963)
http://i68.photobucket.com/albums/i38/richardjgibson/CassavettesonthesetwithJudyGarland.jpg
Judy Garland might be more famous for Wizard of Oz or other MGM musicals, but Cassavetes succeeded to provoke and exploit her fragile and vulnerable side. When you think a movie about a paraphlegic could be disgraceful and manipulative, Cassavetes here shows us a different angle, and we can laugh at them without repentance.

47. Woman in the Dunes / Suna no Onna (Hiroshi Teshigahara, Japan, 1964)
46. Teorema (Pier Paolo Pasolini, Italy, 1968)
45. Shop on Main Street, The / Obchod Na Korze (Jan Kadar & Elmer Klos, Czechoslovakia, 1965)
44. Whatever Happened Baby Jane? (Robert Aldrich, USA, 1962)
43. Boy / Shonen (Nagisa Oshima,Japan, 1969)
42. Portrait of Jason (Shirley Clarke, USA, 1967)
41. Masculine Feminine (Jean-luc Godard, France, 1966)
40. Subarnarekha / The Golden Line (Ritwik Ghatak, India, 1965)
39. Inferno of First Love / Hatsukoi: Jigoku-hen (Susumu Hani, Japan, 1969)
38. Funeral Parade of Roses / Bara no Soretsu (Toshio Matsumoto, Japan, 1969)
37. My Night's at Maud / Ma Nuit Chez Maud (Eric Rohmer, France, 1969)

36. Disorderly Orderly, The (Frank Tashlin, USA, 1964)
http://auteurs_production.s3.amazonaws.com/stills/22878/the_disorderly_orderly_1964.jpg
Jerry Lewis menggila sebagai seorang perawat di sebuah rumah sakit jiwa. A masterpiece of comic and slapstick comedy. A comedy and tragedy are all the same, made me one of Jerry Lewis fan for this very reason.

35. Yojimbo (Akira Kurosawa, Japan, 1961)
34. Persona (Ingmar Bergman, Sweden, 1966)
33. Andy Warhol's Flesh (Paul Morrissey, USA, 1968)
32. Les Bonnes Femmes (Claude Chabrol, France, 1961)
31. My Fair Lady (George Cukor, USA, 1964)

30. Point Blank (John Boorman, USA, 1967)
http://4.bp.blogspot.com/_Cvo4jwbe8wE/R8sXZH6efHI/AAAAAAAAAcw/DUBD6Woto80/s400/pointblank11.jpg
One of the masterpiece of te so-called arty thriller. Lee Marvin sebagai orang yang telah dikhianati sahabatnya sendiri dalam pembagian uang hasil kejahatan, mencoba untuk mendapatkan hak-nya dengan menteror orang-orang yang dia rasa bertanggung-jawab. Dengan sinematografi indah dalam format Cinemascope, dan editing a la Alain Resnais dan alur cerita dan narasi yang dipengaruhi oleh gerakan French New Wave. I'm pretty sure after watching this movie, it made Jim Jarmusch keeping his hair color and hair style that way.

29. Battle of Algiers (Gillo Pontecorvo, Algeria/Italy, 1967)
28. Splendor in the Grass (Elia Kazan, USA, 1961)
27. Belle de Jour (Luis Bunuel, France, 1967)
26. L'avventura (Michelangelo Antonioni, Italy, 1960)
25. Playtime (Jacques Tati, France, 1967)

24. Una Vita Difficile / A Difficult Life (Dino Risi, Italy, 1961)
http://www.iicbelgrado.esteri.it/IIC_SanFrancisco/webform/..%5C..%5CIICManager%5CUpload%5CIMG%5C%5CSanFrancisco%5Cuna%20vita%20difficile.jpg
A touching, heartbreaking, and sometimes hilarious story about how hard to keep on living. Untuk yang demen sama Life is Beautiful-nya Roberto Benigni, film ini merupakan keharusan. And it got the wonderful beautiful seper sexy Lea Massari.

23. La Dolce Vita (Federico Fellini, Italy, 1960)
22. Mouchette (Robert Bresson, France, 1967)
21. Cleo from 5 to 7 / Cleo de 5 a 7 (Agnes Varda, France, 1962)
20. Leopard, The / Il Gattopardo (Luchino Visconti, Italy, 1963)
19. Hustler, The (Robert Rossen,USA, 1961)
18. Midareru / Yearning (Mikio Naruse, Japan, 1964)
17. Last Year at Marienbad (Alain Resnais, France, 1961)
16. Viridiana (Luis Bunuel, Spain, 1961)

15. I Fidanzati (Ermanno Olmi, Italy, 1964)
http://i191.photobucket.com/albums/z43/sevenarts/cinema/filmsilove/fidanzati2.jpg
My Favorite Olmi and his most touching. With a unique storytelling which mostly told between exchange of letters read by a voice-over between a couple.

14. Andrei Rublev (Andrei Tarkovsky, Soviet Union, 1966)
13. Au Hasard Balthazar (Robert Bresson, France, 1966)
12. My Life to Live / Vivre Sa Vie (Jean-luc Godard, France, 1962)
11. Black Girl / La Noire De… (Ousmane Sembene, Senegal, 1966)
10. Meghe Dhaka Tara / Cloud-Capped Stars (Ritwik Ghatak, India, 1960)

9. Exterminating Angel / El Angel Extreminador (Luis Bunuel, Mexico, 1962)
http://www.ica.org.uk/thumbnail.php?max=408&id=5362

A precursor to his other masterpiece Discreet Charm of Bourgeoisie , Bunuel proves he can make a delightful comedy and a biting social commentary at the same time.

8. Red Angel / Akai Tenshi (Yasuzo Masumura, Japan, 1966)
http://www.skyarts.co.uk/images/gallery/Red-Angel-3_medium.JPG
An anti-war film whih takes different approach to the war itself. Masumura depicts the nitty-gritty and scary reality in army hospitals during Sino-Japan war.

Ayako Wakao is a revelation as Nurse Sakura Nishi, a young woman in possession of enormous humanity, who ministers to the war wounded in the most intimate of ways and falls deeply in love with Dr. Okabe (Shinsuke Ashida), a disconnected surgeon whose only escape from his blood-soaked work is a nightly armful of morphine.

In one of the most heart-wrenching sequences, Nurse Nishi takes pity on Pvt. Orihara who has lost both of his arms. After pleading with the young nurse to relieve him of his sexual frustration, she takes him to a hotel where he expresses his passion but the evening proves too much for him to handle.

The movie is very brutal - it will be hard to get from your mind the images of piles of amputated limbs and the despair of soldiers who know they are on a virtual suicide mission in a war they don't understand.

I can not praise this shattering achievement highly enough. It is a masterpiece of humanity.

This is my first Masumura, and it blew my mind. It was like discovering John Cassavetes or Kenji Mizoguchi for the first time, and it proved yet again that there are more important and interesting movies out there in the netherworld than we imagine.

7. I Am Cuba / Soy Cuba (Mikhail Kalatozov, Cuba, 1964)
6. Apartment, The (Billy Wilder, USA, 1960)

5. Gertrud (Carl Theodor Dreyer, USA, 1964)
http://auteurs_production.s3.amazonaws.com/stills/10439/gertrud_w.jpg
Film yang menceritakan tentang seorang wanita bernama Gertrud yang memutuskan untuk meninggalkan suaminya karena sudah merasa dicuekkin oleh suaminya yang terlalu fokus pada pekerjaannya, dan mencari cinta dari lelaki yang lebih muda namun ternyata laki-laki tersebut tidak tulus dan menganggap kisah cinta mereka hanya permainan belaka. It's fun to watch Dreyer directing the movie about love while sex has been the selling point in recent movies nowadays. Disertai dialog2 cerdas yet heartbreaking hasil observasinya selama puluhan tahun (dari 60 tahun karirnya di dunia film, Dreyer hanya menghasilkan 14 buah film saja). Jejak langkahnya kini diikuti Lars Von Trier yang mengaku terang2an bahwa Ordet adalah inspirasinya dalam membuat Breaking the Waves, Gertrud pun menjadi inspirasinya dalam membuat The Idiots, dan Passion of Joan of Arc yang merupakan inspirasi dari Dancer in the Dark.

4. Faces (John Cassavetes, USA, 1968)
3. Winter Light / Nattvardsgasterna (Ingmar Bergman, Sweden, 1963)
2. 8 1/2 (Federico Fellini, Italy, 1963)

1. Ice (Robert Kramer, USA, 1969)
http://www.arthurmag.com/magpie/wp-content/uploads/2009/07/kramer_ice.jpg
Harta Karun tak ternilai dari scene indie Amerika, dan sebuah film dengan tema berani dan profound. Kramer menyoroti aktivitas sekelompok orang yang dapat dinilai sebagai teroris yang merencanakan untuk mengacau Amerika dengan pemboman, atau menyandera pejabat. Barisan sakit hati ini terdiri dari warga kulit putih berhaluan kiri, beberapa orang keturunan Hispanik Meksiko, dan dari warga kulit hitam yang merasa Pemerintah Amerika dengan bantuan media telah melancarkan propaganda kalau warganya telah hidup dalam kebebasan dan membuat "imperialisme" mereka terhadap Meksiko sebagai suatu hal yang sah. Gue katakan berani karena Kramer membuat kita untuk mengerti jalan pikiran organisasi tersebut, dan disisi lain juga menggambarkan bahwa orang-orang dalam organisasi tersebut masih memikirkan hal-hal duniawi dan manusiawi seperti impian mereka, masa depan, serta keluarga, serta perdebatan batin mereka tentang keikutsertaan mereka dalam gerakan yang dianggap "negatif" secara umum. A truly remarkable effort contrasting what Steven Spielberg did with the dumb version of Holocaust in Schindler's List.

RIP Eric Rohmer

http://news.bbc.co.uk/2/hi/8452993.stm

may his soul be blessed forever for leaving us with such many wonderful movies

RIP Eric Rohmer

http://news.bbc.co.uk/2/hi/8452993.stm

may his soul be blessed forever for leaving us with such many wonderful movies

RIP Eric Rohmer :( sedih bnr baca nya....

RIP Eric Rohmer :( sedih bnr baca nya....

kehilangan besar ni buat nouvelle vague, skrg tinggal godard, rivette sama varda

Pertama kali membaca berita kematian Eric Rohmer, sy langsung termenung diam beberapa saat, dan setelah itu merasakan ada sesuatu yg hilang.

Mungkin cuma itulah respon yg bisa kukatakan.

Spt Ozu, Malick, Kore-eda dan Tarkovsky, karya Rohmer sdh menjadi bagian tdk terpisahkan dr diriku.

Sbg tribut untuknya, akhirnya sy mengorder bukunya yg sdh lama pengen kubaca, The Taste for Beauty.

Thank you Eric Rohmer, and rest in peace.

Selain yg sdh disebut Yuki, jangan lupakan juga Claude Chabrol :D

Selain yg sdh disebut Yuki, jangan lupakan juga Claude Chabrol :D

yeah lupa sama yang satu itu, malah masih bikin film yah hehehe thx mith

Decades Under the Influence - Movies I Like from the 1950s

My favorite decade, and it's saddened me to leave out so many enjoyable movies. Many great films about media, religion, and from the musical genre.

HMs:
Horse's Mouth, The (Ronald Neame, United Kingdom, 1959)
Purple Noon / Plein Soleil (Rene Clement, France, 1959)
Diary of a Country Priest / Journal d'un Curé de Campagne (Robert Bresson, France, 1950)
Eyes Without Face / Les Yeux Sans Visage (Georges Franju, France, 1959)
Night and Fog / Nuit et Brouillard (Alain Resnais, France, 1955)
Sawdust and Tinsel (Ingmar Bergman, Sweden, 1955)
Gentlemen Prefer Blondes (Howard Hawks, USA, 1954)
Written in the Wind (Douglas Sirk, USA, 1956)
Party Girl (Nicholas Ray, USA, 1958)
Baby Doll (Elia Kazan, USA, 1956)
A Face in the Crowd (Elia Kazan, USA, 1957)
Rebel Without a Cause (Nicholas Ray, USA, 1955)
Guys and Dolls (Joseph L. Mankiewicz, USA, 1956)

The Narrow Margin (Richard Fleischer, USA, 1952)
http://i191.photobucket.com/albums/z43/sevenarts/cinema/narrowmargin2.jpg
Ini mungkin yang harus dilakukan banyak orang ketika hanya diberi waktu 13 hari untuk mengambil gambar dan budget yang ketat. Fleischer sukses membuat sebuah thriller yang kental dengan gaya film-noir dengan menciptakan rasa terror di suatu ruang yang sempit yaitu gerbong kereta. Seorang polisi yang ditugaskan mengawal istri gembong mafia yang ikut serta dalam program perlindungan saksi untuk bersaksi melawan suaminya sendiri, mulai menemui halangan dengan kehadiran anggota-anggota mafia. Simple story with sometimes unpredictable good twist.

Will Success Spoil Rock Hunter? (Frank Tashlin, USA, 1957)
http://i.cdn.turner.com/trutv/trutv.com/graphics/photos/notorious_murders/celebrity/candy_barr/Will-Success-Spoil-cover200.jpg
With cartoonish character and garish costumes and set-design, this Frank Tashlin comedy about Madison Avenue, the media, and Jayne Mansfield, starring Tony Randall, is arguably one the most devastating satire about 50s America to be found anywhere. Sebuah gambaran miris tentang arti kesuksesan, sekaligus banyak melanggar norma-norma narasi penceritaan standar a la Hollywood.

Dr Seuss' The 5,000 Fingers of Dr. T (Roy Rowland, USA, 1953)
http://photos-h.ak.fbcdn.net/hphotos-ak-snc3/hs223.snc3/21042_1293487093985_1134524411_923535_2409925_n.jpg
An off-beat musical written by Dr. Seuss with a story which mostly happens inside the head of a boy who is bored with his piano lesson and his dream about having a replacement father. With lavish, bizarre and gigantic set-design recalling Cabinet of Dr. Caligari, and colorful environment and costumes, it deserves becoming a treasured cult object.

Kuchizuke / Kisses (Yasuzo Masumura, Japan, 1957)
http://2.bp.blogspot.com/_2IZWCIMy3Qo/ScZLx-ieylI/AAAAAAAAKII/XshN0SPqJeU/s200/KUCHIZUKE.jpg
Masumura simple and complex love story at the same time, but terrific is his first attempt that defines his later status as the maker of crazy cinema. This also turned Nagisa Oshima into a Masumura freak.

Earrings of Madame De…(Max Ophuls, France, 1952)
Bad Day at Black Rock (John Sturges, USA, 1955)
Diabolique / The Devils (Henri-Georges Clouzot, France, 1955)
Seventh Seal, The / Det Sjunde Inseglet (Ingmar Bergman, Sweden, 1956)
Rashomon (Akira Kurosawa, Japan, 1950)

Anna (Alberto Lattuada, Italy, 1951)
http://img.youtube.com/vi/j-HNZLg6ntI/0.jpg
From the moment I saw a sequence of this movie from Tornatore's Cinema Paradiso, I knew I would love the movie. Well, the story is quite simple, about a night club singer who turns into a nun because her heart was broken by her ex-lover. But it is the timeless beauty and electrifying performance of Sylvana Mangano doing the musical number and dancing shyly sweeping the night club floor is the charm of the movie.

The Court Jester (Norman Panama, USA, 1955)
http://www.iansmith.co.uk/image/blog/March2007/CourtJester_5.jpg
Master comic genius Danny Kaye in a weird period-costume comedy with the appearance of dwarves, super-hilarious gags, great musical numbers, and Angela Lansbury. As usual Kaye sang with his own voice of songs written by his own talented wife Sylvia Fine.

Floating Weeds / Ukigusa (Yasujiro Ozu, Japan, 1959)
Higan Bana / Equinox Flower (Yasujiro Ozu, Japan, 1958)
M. Hulot's Holidays / Les Vacances de Monsieur Hulot (Jacques Tati, France, 1953)
Pickpocket (Robert Bresson, France, 1959)
Ashes and Diamonds / Popiol i Diament (Andrzej Wajda, Poland, 1958)

Bhowani Junction (George Cukor, USA, 1956)
http://farm4.static.flickr.com/3582/3832362113_851a65f5aa.jpg
A heartbreaking tale about the life of a Chee-chee or an anglo-Indian or a half-bred woman played gracefully by Ava Gardner. A woman with three love stories, from a chee-chee, an Indian, and a British officer, to finding her proud of being an Indian woman, or simply a human being.

50. Kiss Me Kate (George Sidney, USA, 1953)
http://www.dvdbeaver.com/film/DVDCompare2/kissmekate/1.44.28_V2.jpg
A glorious and joyous musical from one of the best director of the genre. A film within a play, a love story within a love a story, and you can see Bob Fosse's dancing and choreography before he made it into a director.

49. Track of the Cat (William A. Wellman, USA, 1954)

48. An Affair to Remember (Leo McCarey, USA, 1957)

47. East of Eden (Elia Kazan, USA, 1954)
http://billsmovieemporium.files.wordpress.com/2009/03/eden.jpg
James Dean's magnificent role as a rebellious boy who keeps trying to be a good person and keeps discovering that his world especially his own family won't allow it. Besides Rebel without a Cause, it also brings Dean status as a legendary.

46. Bangiku aka Late Chrysanthemums (Mikio Naruse, Japan, 1954)

45. Breathless / A Bout de Souffle (Jean-luc Godard, France, 1959)

44. Rififi / Du Rififi Chez Les Hommes (Jules Dassin, France, 1955)

43. Strangers on a Train (Alfred Hitchcock, USA, 1951)

42. The Naked Spur (Anthony Mann, USA, 1953)

41. Umberto D. (Vittorio De Sica, Italy, 1952)

40. My Son John (Leo McCarey, USA, 1952)
http://archive.sensesofcinema.com/images/09/51/my-son-john-2.jpg
I think I'm not against melodrama as long it treats its subject seriously. McCarey shows the paranoia in the life of ordinary American family in the era which Communism flourished, and the "witch-hunt" of the McCarthy administration era. A mother is fretful enough to suspect that her son is a communist then asks him to swear on her Bible. With the heartbreaking ending this is surely one of McCarey's best.

39. Good Morning / Ohayo (Yasujiro Ozu, Japan, 1959)

38. The 400 Blows / Les Quatre Cent Coups (Francois Truffaut, France, 1959)

37. Senso / Livia (Luchino Visconti, Italy,1954)

36. Mon Oncle (Jacques Tati, France, 1958)

35. Nazarin (Luis Bunuel, Mexico, 1959)

34. Gion Bayashi / Gion Festival Music (Kenji Mizoguchi, Japan, 1953)

33. Hiroshima, Mon Amour (Alain Resnais, France, 1959)

32. Wild Strawberries / Smultronstallet (Ingmar Bergman, Sweden, 1957)

31. Wages of Fear / Le Salaire de la Peur (Henri-Georges Clouzot,France, 1953)

30. Some Like it Hot (Billy Wilder, USA, 1959)

29. Aparajito (Satyajit Ray, India,1956)

28. Pyaasa (Guru Dutt, India, 1957)

27. Sweet Smell of Success (Alexander Mackendrick, USA, 1957)

26. Singin’ in the Rain (Gene Kelly & Stanley Donnen, USA, 1952)

25. Stars in My Crown (Jacques Tourneur, USA, 1950)
http://cdn2.ioffer.com/img/item/370/253/16/Stars_in_My_Crown_(1950).jpg
An inspiring religious movie, tentang kehidupan seorang pastor di sebuah kota kecil yang harus menghadapi permasalahan duniawi seperti rasisme dan wabah penyakit. Gue mengakui bukan fans berat dari film horror B-movie yang disutradarai Tourneur bersama produser legendaris Val Lewton di dekade 40-an, tapi seperti juga Tourneur, this is my favorite film of him.

24. Flavour of Green Tea over Rice / Ochazuke no Aji (Yasujiro Ozu, Japan, 1952)

23. Jalsaghar / Music Room (Satyajit Ray, India, 1958)

22. Ugetsu Monogatari / Tales of Ugetsu (Kenji Mizoguchi, Japan, 1953)

21. Europa '51 (Roberto Rossellini, Italy, 1952)

20. Johnny Guitar (Nicholas Ray, USA, 1954)

19. Man Escaped, A (Robert Bresson, France, 1956)

18. The Bad and the Beautiful (Vincente Minnelli, USA, 1952)
http://graphics8.nytimes.com/images/2009/04/26/books/stevens-600.jpg
Tiga cerita berbeda dari seorang aktris terkenal, penulis kelas Pulitzer, dan sutradara papan atas Hollywood mengenai padangan mereka terhadap seorang produser yang secara tidak sengaja dan dengan cara jahat malahan melambungkan karir ketiga orang tersebut. One of the best movie about the nitty-gritty life of competing inside the cruel Hollywood tradition. And with Lana Turner, you could never do wrong.

17. A Place in the Sun (George Stevens, USA, 1951)
http://watchfl.files.wordpress.com/2008/11/place2.jpg
Sebuah penceritaan kembali dari novel terkenal Dreiser yang berjudul An American Tragedy dengan Elizabeth Taylor dan Montgomerry Clift dalam penampilan fisik terbaik mereka. Clift berperan sebagai pemuda miskin yang ingin naik status sosialnya dengan menikahi gadis kaya yang diperankan oleh Taylor dengan cara yang kejam.

16. Bellissima (Luchino Visconti, Italy, 1951)

15. Meshi / Repast (Mikio Naruse, Japan, 1951)

14. The Phenix City Story (Phil Karlson, USA, 1955)
http://i650.photobucket.com/albums/uu227/koanzen888/Album01/PhenixCityPoster1.jpg
Mungkin layak disebut sebagai film-noir terbaik yang belum pernah kamu dengar sebelumnya. Film ini bercerita tentang kehidupan korup dan jahanam di sebuah kota kecil di negara bagian Alabama dimana roda perekonomiannya digerakkan oleh perjudian yang disokong oleh suatu kelompok mafia. Penyutradaraan Karlson yang terasa kasar untuk standar Hollywood menambah nuansa kejamnya kehidupan di kota itu.

13. In a Lonely Place (Nicholas Ray, USA, 1950)

12. 12 Angry Men (Sidney Lumet, USA, 1957)

11. Nights of Cabiria (Federico Fellini, Italy, 1957)

10. Sunset Boulevard (Billy Wilder, USA, 1950)

9. Viaggio in Italia / Voyage to Italy (Roberto Rossellini, Italy, 1953)
http://4.bp.blogspot.com/_fH35d54jWqg/SrpVQ-DYmpI/AAAAAAAAAcI/NP02KTCEBSQ/s400/ViaggioInItalia.jpg
Kolaborasi terakhir Rossellini dengan Ingrid Bergman yang menurut gue adalah "puncak keemasan" bagi karir mereka berdua. Sebuah kisah cinta yang tergolong aneh dimana rekonsiliasi cinta dari sepasang suami-istri terjadi karena melihat bentuk-bentuk kematian dalam perjalanan mereka ke Italia.

8. Shadows (John Cassavetes, USA, 1959)

7. Los Olvidados (Luis Bunuel, Mexico, 1950)

6. Floating Clouds / Ukigumo (Mikio Naruse, Japan, 1955)

5. Ace in the Hole aka the Big Carnival (Billy Wilder, Japan, 1951)

4. Sansho the Bailiff / Sansho Dayu (Kenji Mizoguchi, Japan, 1954)

3. Tokyo Story / Tokyo Monogatari (Yasujiro Ozu, Japan,1953)

2. Life of Oharu / Saikaku Ichidai Onna (Kenji Mizoguchi, Japan, 1951)
http://www.jonathanrosenbaum.com/wp-content/uploads/2009/08/lifeofoharu3.jpg
Perjalanan hidup dari seorang wanita yang juga seorang ibu, dimana seumur hidupnya menjadi pijakan para lelaki untuk mencapai kesuksesan mereka. Sebuah tragedi tentang wanita dari Mizoguchi yang melambungkan namanya sehingga Godard menjulukinya "simply one of the greatest director ever alive."

1. Ordet (Carl Theodor Dreyer, Denmark, 1955)
http://www.dvdbeaver.com/film/DVDReviews20/a%20carl%20dreyer%20ordet%20dvd%20review/a%20carl%20dreyer%20ordet%20dvd%20review%20PDVD_017.jpg
The best movie about faith, where humans are depicted at their debased condition regarding their beliefs, and how they await miracle or god's bless but still questioning His existence. With Dreyer's quirky camera movement and sometimes pan with super-adagio pace, then every step, moan, preach, pray, and word sucks us into Dreyer's atmospher gracefully.