Anon Babble

Plan to watch something by Béla Tarr, where should I start?

Badlands had a lot of great foot shoots, I like the dance one

Question of the Day

I could link one of the many foot shots from The Garden Party but this came to mind first.

he's only really got 4 films worth watching, so just go Damnation -> Satantango -> Werckmeister Harmonies -> The Turin Horse

kill yourselves, hagfags. no one wants to see that shit

Thanks. Should I break up Satantango into 2 or 3 viewings or it's important to watch it all at once?

Can't wait to cause so much pain and suffering on here when the Knicks lose. Gonna get banned so many times but I don't care.

I got news for you

try to watch it all at once if possible

Lmao underrated post

Badlands is a really magical movie. It’s rare you can get a pastoral film in America that actually is good and not pretentious

Satantango is long so watch it at 2x speed. Loop the pussy washing scene three times, watch the 30 minute scene of the old fat drunk guy taking a piss at 4x speed. skip the dance scene in the middle. Once you get to the end where the drunk guy goes to the church and then boards up his house you can skip too.

Qotd

Vera in Never Forever

this nigga knows

Thank you I couldn’t find that image lol

QOTD

Billy Bob Thornton getting shot in the foot in Dead Man

Griffith is GOD

Griffithfag? Is that you? Are you finally back? How’s Brucie?

K I N O
I
N
O

No

Bummer

Why are old horror movies so kino?

old films in general were just kino, especially German Expressionism and Soviet Montage

Malick is nostalgic for the old America and it shows. No one managed to capture the beauty of a peaceful rural life like he did

I wish he would go back to making these types of movies instead of the Lubuezki wankery slop he loves today. I don’t know what happened after To the Wonder but the guy just doubled down on being shallow and vapid masquerading his films as spiritual works. Even his foot fetish shit is much more blatant in the later works. Really disappointing late period career this guy had.

I was also lucky to see this on 35mm back in the day. The current Blu-ray doesn’t do it justice. I’d love to see Days of Heaven on film

Are there movies similar to Malick-kino? The Assassination of Jesse James is the closest one to his style, albeit still different

Shadows of Forgotten Ancestors

no one wants to see that shit

False.

Staring at postcards while singing church hymns should be sufficient

I have no idea but I fucking love The Assassination of Jesse James. Best movie Pitt's ever been in.

Oh my GOD!!!!!!!!!!

rushmore, grand budapest and the french dispatch are the only good ones. the rest are slop

None of them are good

literally just a cardboard box

Criterion has completely given up at this point

Fucking Mothman broke into my home again...

the ones i just mentioned are you bitter contrarian

Rushmore is fun.

First two yes, last one yes, but only for Seydoux's titties. I'd add that Life Aquatic and Royal Tenebaums both have their moments.

youtube.com/watch?v=Ykxcdp6-2kE

I want a Sean Baker Nosferatu next.

Seydoux's titties

Based. One of the rare pairs which were only made more kino by post-pregnancy sag.

Didn't some producer say she had very womanly legs for a child or something? I don't see it, they just look like regular child legs to me.

This is some serious bad packaging holy shit

Report from the 78th Cannes Film Festival (2) / Romane Bohringer, "Dites-lui que je l'aime"

Tsukidate Nanako

This year was a year in which directorial works by actors stood out, starting with Afsia Elji's "La Petite Dernière" in the official competition section. In the Un Certain Regard section, three English-speaking actors' feature-length debuts were shown: Kristen Stewart's "The Chronology of Water," Scarlett Johansson's "Eleanor the Great," and Harris Dickinson's "Urchin," while in the Cannes Premiere section was Alex Lutz's "Connemara." What these works have in common is that they are based on a strong desire to create, and stand behind the camera. However, Romane Bohringer's "Dites-lui que je l'aime," shown in the Special Screening section, is different in style from these works. Bohringer not only stands in front of the camera as a director and actor, but her desire to make films also comes from her own stories. After gaining attention as a young actress in Cyril Collard's A Wild Night (1992), Bohringer has continued her acting career by co-writing and directing L'Amour flou (2018) with her former partner, actor Philippe Lebot. The film is based on the real life of a couple who continue to live together under the same roof with their children after their breakup, and is a comedy starring both actors, as well as their real children, family, and friends. In her latest solo directorial work, she attempts to adapt the autobiographical story Dites-lui que je l'aime, which politician Clementine Autun dedicated to her mother Dominique Raffin, a film actress who died young. The project was initially conceived as a complete work of fiction, but the production process forced Bohringer to confront her own past. Like Autun, she also had a mother who died young, and she was overwhelmed by the similarities between her story and Autun's, who became a mother without having any standards of motherhood, so she began to try to connect her own experiences with Autun's.

Whoa you have it already?

Céline Salette, Julie Depardieu or Elsa Zylberstein were originally planned to play the role of Autun, but in the end it was decided to play the role herself, and through her dialogue it was decided to make the film into a documentary format in which Bohringer's own memories come pouring in. The process leading up to this point is also incorporated into the work, as he digs up memories of his mother that he had buried long ago, and begins a journey to search for the unknown figure of his mother like a jigsaw puzzle. This also means bravely confronting the dark and painful memories of his mother that have been awakened. Bohringer's mother, Marguerite, left home when Bohringer was nine months old, and she was raised by her father, the actor Richard Bohringer. Then, when she was 14 years old, she suddenly passed away.

The silent time for his mother comes to life as if driven by the voice of Autun reading his own book. The fictional parts that are frequently inserted to complement Autun's childhood and memories of Dominique Raffin are far from re-enactments. The actress who plays Raffin does not resemble Dominique Raffin at all. Rather, her memory of Bohringer's mother intertwines with his, and she seems to function as a common portrait of the mother for both of them. With the help of his biological son, Bohringer unravels the diary, letters, and writings left by his mother, and opens the autobiography "Quinze Rounds" written by his father, which he had been avoiding. Bohringer meets the woman who raised his mother, who was born in an orphanage, his half-twin brothers, and his family, relives his mother's life, and discovers his own childhood mother.

The life of his young mother also intertwines with the history of film in the 1980s. His mother had a strong desire to enter the world of film while working as a model. In one of the films in which he played a minor role, Juliette Berto and Jean-Henri Rogé's "Neige" (1981), Bohringer's gaze is moved as he stares at his young mother on the screen. She was also close friends with Solveig Domartin[*2], and Wim Wenders is known for dedicating the 400th issue of Cahiers du Cinema, in which he was editor-in-chief, to her, who had just passed away in October 1987. The close voices of Autun and Bohringer, who recite the texts about their respective mothers, overlap, and the story of memory comes to an end.

Dites-lui que je l'aime is by no means an aesthetically innovative work. However, a work shot with such a strong personal impulse is none other than the feature-length debut that is most needed today. No other work was born with such a strong sense of necessity, surpassing any other work by young directors or that deals with an autobiographical theme that I saw at Cannes this year.

Who here actually cares about Cannes or any other film festival?

[*1] From the 1970s to the 1980s, she appeared in films by Claude Miller, Jacques Doillon, Catherine Breillat, Christian Pascal, Marco Ferreri, Rudolph Thome, and Claude Sautet, but died at the young age of 33 from a heart attack. The title of this film, Dites-lui que je l'aime, is also a homage to the title of a Claude Miller film in which she starred.

[*2] She was the partner of director Wim Wenders at the time. She edited Tokyo-ga (1985), made her debut as an actress in Desire of Desire (1987), and co-wrote the screenplay with Wenders for The End of the Dream (1991).

I haven't cared since Intermezzo.

Well?

It's fun to discuss them for a while, but not on Anon Babble. It gets old fast.

I only care for Nanako.

I just like looking through their lineups to see if any films interest me. I don't care about the reception or who wins what

QOD

Call the trashman