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Two movies I am pretty luke warm on, especially in relation to a favorites list. Both stand out because of the cinematography in my opinion. Surprised to see Roma. Haven’t heard much about it after the initial gushing.
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Ooh, nice! Finally one from my list. I had Roma at #22. Beautiful and powerful film, wonderfully shot. I've also seen Vampyr, and had it on my bubble but it didn't make it.
My Summary:
Seen: 4/18
My list: 1/25
My Summary:
Seen: 4/18
My list: 1/25
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I didn't vote for either of these, but they're both very good films.
A gap of 86 years!
But will there be an older or a more recent film than these somewhere on the top 100? I couldn't possibly reveal
A gap of 86 years!
But will there be an older or a more recent film than these somewhere on the top 100? I couldn't possibly reveal
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I suspected Vampyr was the hint.
Really great film with excellent use of shadows throughout.
I’ve been meaning to watch Roma for quite awhile now, and hey....what do you know? It’s on Netflix. Guess I’ll hit it up this weekend.
Surprising to see it nonetheless, as I rarely see anyone mentioning it lately.
Really great film with excellent use of shadows throughout.
I’ve been meaning to watch Roma for quite awhile now, and hey....what do you know? It’s on Netflix. Guess I’ll hit it up this weekend.
Surprising to see it nonetheless, as I rarely see anyone mentioning it lately.
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I think I'm correct in saying Roma is the second film to appear that has not previously appeared on any other lists, after The Return.
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I think "Vampyr" is the only Dreyer film I haven't seen, but I've liked them all, so I will try and see if this is on cable.
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Vampyr is Dreyer's primitive, creepy nightmare of a fright flick. The highlights are quite incredible.
Fellini's Roma is something I've never particularly cared for but I guess I've warmed to it a little. I think the trailer is very good though.
No votes.
Fellini's Roma is something I've never particularly cared for but I guess I've warmed to it a little. I think the trailer is very good though.
No votes.
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Vampyr is special. It owes some to Murnau's Nosferatu, but its impact on the horror genre is undeniable. The American and Spanish Dracula films made just one year prior really pale in comparison to Dreyer's masterwork (while still being very good films for what they are). Almost no dialogues. Just nightmarish balancing between what is real and what is a dream.
Roma is a good Dirty War film. Audiovisually excellent, but far too calculated. The scene in the hospital was tasteless, the one on the beach was far better. All the symbols are far too obvious. The film was engaging but, and I realize this sounds like profanity from an arthouse fan, it felt like the director had TOO MUCH control. Cuaron knows what kind of reaction he wants to get from the viewer at every moment, and sometimes just forces this reaction too much. I don't often feel like this about movies, but here I thought that instead of trusting that the film will move the viewer with its naturalism, poetics, Cuaron resorts to emotional blackmail (the scene in the hospital), because he is afraid that otherwise, we will not feel empathy for the protagonist. He is wrong. Even this hackneyed trait of women's empowerment, so misused in many films, does fit Roma. But yes, the infamous hospital scene did leave a bad taste in my mouth. I'm not picking on this scene for its naturalism, but for being something like Cuaron saying, "Okay, now you're supposed to cry." A lot of films move me, a lot do not, but apart from the obvious cases of Sirksisms, I rarely feel that the director is trying to manipulate my emotions so much. In the end, I liked the movie a lot, and it's possible that if I had watched it another day, I wouldn't have perceived the hospital scene that way, but as it was, it's surely engraved in my mind as a try-hard act of directorial insecurity.
Roma is a good Dirty War film. Audiovisually excellent, but far too calculated. The scene in the hospital was tasteless, the one on the beach was far better. All the symbols are far too obvious. The film was engaging but, and I realize this sounds like profanity from an arthouse fan, it felt like the director had TOO MUCH control. Cuaron knows what kind of reaction he wants to get from the viewer at every moment, and sometimes just forces this reaction too much. I don't often feel like this about movies, but here I thought that instead of trusting that the film will move the viewer with its naturalism, poetics, Cuaron resorts to emotional blackmail (the scene in the hospital), because he is afraid that otherwise, we will not feel empathy for the protagonist. He is wrong. Even this hackneyed trait of women's empowerment, so misused in many films, does fit Roma. But yes, the infamous hospital scene did leave a bad taste in my mouth. I'm not picking on this scene for its naturalism, but for being something like Cuaron saying, "Okay, now you're supposed to cry." A lot of films move me, a lot do not, but apart from the obvious cases of Sirksisms, I rarely feel that the director is trying to manipulate my emotions so much. In the end, I liked the movie a lot, and it's possible that if I had watched it another day, I wouldn't have perceived the hospital scene that way, but as it was, it's surely engraved in my mind as a try-hard act of directorial insecurity.
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Vampyr was in contention but ultimately didn't make my list. Not yet seen Roma.
Seen: 10/18 (Own: 6/18)
Faildictions ((バージョン 1.0):
82. Die Mörder sind unter uns [The Murderers Are Among Us] (1946)
81. Mauvais sang [Bad Blood] (1986)
Seen: 10/18 (Own: 6/18)
My list:
Faildictions ((バージョン 1.0):
82. Die Mörder sind unter uns [The Murderers Are Among Us] (1946)
81. Mauvais sang [Bad Blood] (1986)
Fellini's Roma is something I've never particularly cared for but I guess I've warmed to it a little. I think the trailer is very good though.
No votes.
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Yeah, I see that now but I would have sworn I saw Fellini the first time. Cuaron's Roma is beautiful and although perhaps a bit behind the times storywise is still very pertinent and has several excellent performances. Many of the long tracking shots are superlative.
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Have not heard of Roma and since Wylde remarked that it's on Netflix, I may have to attempt to remedy that; but I have seen Vampyr
Vampyr (1932)
This is my third Dreyer film. The first two have been Day of Wrath and The Passion of Joan of Arc, in that order. All of which via these Hall of Fames. And even though I do hold very serious respect for his work, they do become a hard watch due to the extreme emotional suffering his central characters go through. Making both previous films difficult, and yet, illuminating experiences.
All of which is very present in this hybrid of Silent and Sound Filmwork and I applaud Dreyer's mastery for creating tense, harrowing scenarios with but a look upon a character's face.
I learned that the dream-like effect was created with gauze over the camera lens and that alone already creates a supernatural aura for Dreyer to weave a story of trepidation and dread.
And due to the short running time, I watched this a second time a few days later, appreciating it even more.
One of a number of aspects I appreciated was the use of shadows that had their own life apart from the individuals that cast them.
With on-location filming, Dreyer escorts us into the macabre world of spirits, shadows, and the legend of the unholy. His vehicle of transportation, one of a more emotional construct than the more commonly used visceral one. Setting it apart from other supernatural films.
Movies Seen: 7 of 18 (38.88%)
4. Rome, Open City (1945) #93
6. Army of Shadows (1969) #90
19. Paprika (2006) #100
25. In This Corner of the World (2016) One Pointer
Vampyr (1932)
This is my third Dreyer film. The first two have been Day of Wrath and The Passion of Joan of Arc, in that order. All of which via these Hall of Fames. And even though I do hold very serious respect for his work, they do become a hard watch due to the extreme emotional suffering his central characters go through. Making both previous films difficult, and yet, illuminating experiences.
All of which is very present in this hybrid of Silent and Sound Filmwork and I applaud Dreyer's mastery for creating tense, harrowing scenarios with but a look upon a character's face.
I learned that the dream-like effect was created with gauze over the camera lens and that alone already creates a supernatural aura for Dreyer to weave a story of trepidation and dread.
And due to the short running time, I watched this a second time a few days later, appreciating it even more.
One of a number of aspects I appreciated was the use of shadows that had their own life apart from the individuals that cast them.
With on-location filming, Dreyer escorts us into the macabre world of spirits, shadows, and the legend of the unholy. His vehicle of transportation, one of a more emotional construct than the more commonly used visceral one. Setting it apart from other supernatural films.
Movies Seen: 7 of 18 (38.88%)
4. Rome, Open City (1945) #93
6. Army of Shadows (1969) #90
19. Paprika (2006) #100
25. In This Corner of the World (2016) One Pointer
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No votes. I've seen Vampyr once and thought it was just okay so I probably owe it another chance. Roma is another film I liked well enough when it came out, but I don't get the impression it'll hold up if I ever decide to watch it again.
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I would think that the automated TMDB system they used this time around eliminates that possibility, but you never know.
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Alfonso Cuarón's intimate remembrance Roma is the third from my list to make the countdown. I had it toward the bottom as my twenty-second choice (four points) but I like it a whole lot. Full of minute detail as well as a beautiful dreamlike tone which made it both familiar and hallucinatory for this viewer. Roma got tons of attention but still fell short of the Best Picture it should have won (it did win Best Director, Best Cinematography, and Best Foreign Language Film Oscars). I'm glad to see it made the MoFo list. Thankfully Green Book was not eligible.
HOLDEN’S BALLOT
6. Army of Shadows (#90)
19. The Conformist (#88)
22. Roma (#83)
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I would think that the automated TMDB system they used this time around eliminates that possibility, but you never know.
I put a big warning to be very careful about selections at the top, and after the first few mistakes I even made it red, but alas, such things always happen anyway.
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If you at the very least put the year with each of your choices on your ballot it reduces the chances of mistake. But put year and director if you want to be double sure. Not just for this list but for any and all.
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Oh, right. Now that you mention it, I do remember having to actually look up the TMDB page links for a few of my choices when they didn't show up in the suggestions in spite of their ostensible prestige. Still have to wait and see if it's a fallible enough system that we just end up going back to typing out lists in PMs manually, I suppose.
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