Films that I have but not seen

Nobody makes the most mundane elements into something as deeply unsettling as Antonioni .

The the mis en scene here has to be the most sophisticated I've ever seen. Just layers and layers of the image stuffed with action and creative gags, not to mention the incredible use of depth and reflective surfaces. Saw a 70mm print of this without subtitles, which didn't matter because it doesn't rely on dialogue and a lot of it is in English.

Though not quite as great as I expected, it definitely demonstrate Ray's directorial abilities. I admire the way the film imbues ordinary moments with lyrical quality. I found it occasionally melodramatic, plus the wife's treatment of the aunt really bothered me.

Somewhat uneven. The tango-like structure and extremely long dead time are pretty awesome in showing the futile inertia of the community. However whenever some douche in the film opens their mouth it becomes laughable. It's very effective in carving out large chunks of time, which is really above all what the film is about. I'm not sure what the scene near the end featuring the writers discussing the characters was for. I thought I had seen enough rain in this film to last a season, but I left the theater only see it was pouring outside (plus an ominous sound of bell towing).

what a cast!

One of the most formally and aesthetically audacious films of this decade.

filthy and boring, not to mention misogynistic

Poetic, evocative and enormously affecting, Davies's autobiographical film is one of the most formally fascinating films I've seen. The atemporal narrative is reminiscent of The Mirror and the shots of empty hallways as well as the shot-reverse-shot sequences of characters looking directly at the camera evokes Ozu. The ghostly voiceovers recalls Duras' India Song.

I lost track of what was going on halfway through the film, though the themes of migration and foreignness are evident. It's impossible to keep track of how all the characters are related to each other. There are many stunningly gorgeous moments in this film.

Since it's a remake of the 1934 film the tone, plot, and dramatic feel of this is quite unusual compared to Ozu's other late period films. Ozu takes more time to tell the same story and concentrates more on the atmosphere, which greatly benefits from Miyagawa' s beautiful work and the Nino Rota-like score, while the melodrama is more pronounced with sound.

In terms of cinematography I think this is Ozu's most beautiful B&W film. The story follows a theater troupe headed by the reoccurring character Kihachi who also appears in An Inn in Tokyo played by the same actor.

"The Old Man, the hero of this tale, was born at the end of the last century, in a country where man has always striven to tame the sea and harness the wind. Camera in hand, he has traversed the 20th century in the midst of the stormy history of our time. In the evening of his life, at age 90, having survived the various wars and struggles that he filmed, the old filmmaker sets off for China. He has embarked on a mad project: to capture the invisible image of the wind."

Awesome hybrid of documentary and fiction about Joris Ivens' travels in China were he attempts to fulfill his childhood dream. It works as an elegy to Ivens' career and impending death. It's also a throwback to the earliest days of documentary as most of the scenes are blatantly staged. I was impressed by the playful, lyrical fantasies it veers into, how they both pay homage to Ivens' work from the earliest days of Melies to his previous film in China, and how they incorporate Chinese culture and myths. I haven't even mentioned how much beautifully it frames the landscapes of the Gobi desert.

fun rape revenge flick, Zoe Lund is smoking hot in every single scene.