Despite what the country’s cinema has achieved since then, not to mention the historical significance of the aforementioned cinematic “first,” it’s largely eclipsed by the cinema of neighboring countries. Greenland certainly understands the self-serving impulses that grip most people in treacherous times. Rounding out the disc is a puff piece, titled “Humanity,” in which actors Gerard Butler and Morena Baccarin sing the film’s praises. The Blu-ray A Story from Chikamatsu is packaged with a fold-out pamphlet, … At university, I asked the essay online store to write a good essay for me about one of my favorite Japanese films, to bring this essay to the university and read to my friends. History documents only one passing encounter between 1960s civil rights leaders Martin Luther King Jr. and Malcolm X, but a play being filmed for … A STORY FROM CHIKAMATSU - Romance, Drama Like Review 예고편 Tickets In 17th century Kyoto, Osan is married to Ishun, a wealthy miserly scroll-maker. In “Mizoguchi: The Auteur Behind the Metteur en Scène,” film scholar Dudley Andrew offers a brilliantly precise examination of the filmmaker’s aesthetic, particularly the debt that A Story from Chikamatsu owes to Bunraku puppet theater. Zack, a new father himself, is an abuser, occasionally hitting his girlfriend, Nina, when they argue over their son. The new high-definition digital master of Minding the Gap ensures that image sharpness and details are fully optimized, while still remaining faithful to all the rough-edged, DIY textures of the film’s sometimes low-grade digital footage. Laughton’s shifts in posture and speech to reflect Philip’s vacillation between pitiable sap and self-assured gentleman are never less than convincing. The audio, which is a 16-bit dual-mono track, is a step down from the 24-bit track included in the now out-of-print Twilight Time Blu-ray from 2015, but the mix is still robust enough to achieve a strong separation between aural elements, even in the film’s most chaotic action scenes. Some wander around, grazing inattentively while others impulsively copulate. This set provides a bumper crop of supplements across three discs. Criterion gathers together three of Luis Buñuel’s late-period masterworks, proving that time hasn’t dimmed their ability to provoke and confound. These native attributes are intrinsic to the works of many Hungarian filmmakers, including Béla Tarr. Eliot and Robert Frost, and the novels of Philip K. Dick. Mizoguchi would manage to weave into the mostly standard plot, his trademark contemplative mise-en-scène, his ever-present critique of the roles of women in contemporary Japan, and his observations on the sociological effects of an oppressive society. But only a handful of them, namely those collected in this Criterion set, almost entirely abandon traditional storytelling, allowing their networked narratives to tumble into, even interrupt, one another with perfect impunity. Slowly, we’re informed of every betrayal and lie, of every deceit in a community that relies, ironically, upon faith. His films have often incorporated dream imagery, leavening even the most melodramatic material with outbursts of oneiric intensity. Most noticeably, the Doomsday Scenario Interface exposition dump from early in the film is completely gone, its most relevant information now layered in through Pilot Abilene’s voiceover narration. Meanwhile, the latter attitude belongs to Dylan, who seems ready to admit that the countercultural revolution didn’t amount to much beyond various statements of aesthetic. We inherit the meek,” The Suspect cleverly imagines what may come if a sheep like Philip, only briefly and when necessary, became the wolf. But if the Nazi may never know what exactly fuels Labiche’s fight to save works of art that he’s never particularly valued, The Train makes unmistakably clear to us that heroism isn’t always black and white—that sometimes it’s simply about doing what’s right even if you don’t understand why. You fuckin’ have to control the most minute, small details to make you feel normal in a world that’s not normal.”. _A Story from Chikamatsu_ (1954) was, until recently, better known by the less subtle title _The Crucified Lovers_. All Reviews; Short Film Reviews; Film Festival Coverage; MANK: David Fincher Makes His Long-Awaited Return. As Philip, Laughton pushes against his hammier instincts even as his character’s ruthlessness slowly surfaces out of sheer self-preservation once a Scotland Yard detective, Huxley (Stanley Ridges), starts to suspect that Cora’s death may not have been an accident. Now you can now experience Richard Kelly’s postmodern blend of wildly disparate tonal shifts, cultural referents, and generic trappings as it was originally intended. Though Mizoguchi was a longtime mainstay within his native Japan for the bulk of his career, it wouldn’t be till roughly the final five years of his life that he would gain his well-deserved international prominence in the early 1950s. She’s been fleeced of her modest savings by her bother, and this loss results in frustration. Thick grain is present in the 1968 footage, and the transfer doesn’t attempt to remove all of the scratches and debris that serve as further reminders of the barriers that filmmaking presents to true reality. Greenland is, for better and worse, the most subdued disaster movie that Gerard Butler has ever made. And this moment lingers over Rolling Thunder Revue, which is informed with a low-thrumming snideness that’s uncharacteristic of Scorsese’s work. Charles Barfield. The whites of the image are also robust and easy on the eyes, emphasizing the theatrical brightness of the various scrims within the frame, such as of translucent windows and doorways. Zack and Liu’s mother, who each have perpetuated, suffered, or tolerated abuse, are hauntingly unwilling to make excuses for themselves, as they respect Liu enough not to ply him with justifications. Apart from the neo-Marxist slogans evident on walls everywhere, Marx’s hometown lends its name to the Treer Corporation, whose CEO, Baron von Westphalen (Wallace Shawn), names his ill-fated MegaZeppelin after Marx’s wife, Jenny von Westphalen, to whom he’s somehow inexplicably related. After all, they live in their own world, going from one cavernous town hall to the next, enjoying drugs, sex and adulation, while America is consumed with Nixon’s resignation and the end of the war in Vietnam. But where the tortured emotions and sense of dread felt by these characters are familiar staples of noir, even the weakest films here find unique and exciting ways of tackling their hard-boiled stories, thus allowing them to stand apart from their genre brethren. Rain is constant in this location (the photography makes it almost tangible), and Tarr seems to analogize it with poverty; both are unremitting plagues. Perhaps this decision was motivated more by a modest budget and less by any artistic impulse, but the relative dearth of high-drama disaster porn throughout the film, as well as a lack of interest in geopolitics, is refreshing for how much room it makes for small-scale family drama. The archival featurette “USIDent TV: Surveilling the Southland” is an excellent blend of behind-the-scenes footage and interviews, with some great footage of several FX scenes being shot. A skateboarder himself, Liu understands that such daredevilry isn’t undertaken simply for potential fame, but so as to enjoy the intricacies of process that are required of mastery. So, it’s no surprise to learn they’re based on works from the […] Tarr’s 1994 film begins with a formidable opening shot: Within a rural, permanently saturated farming community, a single take observes a group of cattle as they exit a warehouse pen. Which makes it all the more fitting that it’s not Labiche who jumpstarts the workers’ efforts to stop the train that’s moving the stolen paintings from leaving France, but tenacious train conductor Papa Boule, who’s played with curmudgeonly brio by one of the patron saints of French cinema, Michel Simon. That Obscure Object of Desire splits its time between Seville and Paris, much as it splits its female protagonist in two. In an era of one-and-done pop-cultural ephemera, this is no doubt the very definition of a cult film. A new interview with writer Larry “Ratso” Sloman is a lighter affair, as he cheerfully recalls his adventures reporting on the Rolling Thunder Revue for Rolling Stone, while a new interview with editor David Tedeschi elaborates on the challenges of fashioning a filmic structure for the archive footage used by Scorsese, which involved quite a bit of emotional intuition. Cast: Fernando Rey, Jean-Pierre Cassel, Paul Frankeur, Delphine Seyrig, Stéphane Audran, Bulle Ogier, Michel Piccoli, Julien Bertheau, Milena Vukotic, Maria Gabriella Maione, Claude Piéplu, Muni, Pierre Maguelon, Adriana Asti, Jean-Claude Brialy, Adolfo Celi, Anne-Marie Deschott, Paul Frankeur, Pierre Lary, Michael Lonsdale, François Maistre, Hélène Perdrière, Claude Piéplu, Jean Rochefort, Bernard Verley, Monica Vitti, Carole Bouquet, Angela Molina, André Weber, Maria Asquerino, Ellen Bahl, Bernard Musson, David Rocha, August Carrière, Valérie Blanco, Pierre Pieral, Jacques Debary Director: Luis Buñuel Screenwriter: Luis Buñuel, Jean-Claude Carrière Distributor: The Criterion Collection Running Time: 308 min Rating: NR Year: 1972 - 1977 Release Date: January 5, 2021 Buy: Video. Terrorist plots, police raids, the military on maneuvers—everything conspires to work against them. They are very cool about love and relationships. Both do well by dialogue clarity, as well as highlighting the exceptional soundtrack, stacked with dreamy rock anthems, assembled by Moby. Grain levels are perhaps a tad on the light side, but they’re even throughout, and while there are very occasional signs of debris, this is by and large a clean transfer. Naturally, his long-running collaboration with Béla Tarr is covered at length, and in some ways the musician-actor’s biography doubles as a tour of Tarr’s career from an emerging artist running a film club and personal studio to internationally acclaimed auteur. A Story from Chikamatsu (1954) External Reviews. William Greaves’s 1968 meta-documentary Symbiopsychotaxiplasm pushes cinema verité to a breaking point. Arbelos’s restoration is so gorgeous that the film’s seven and a half hours slip by as smoothly as Tarr’s majestic long takes. The contrast ratio is strong, with uniformly accurate black levels that are most impressive in the nighttime exterior shots. Robert Siodmak’s The Suspect doesn’t exactly pull at the misogynistic fabric of noir in its opening act, amplifying Cora’s (Rosalind Ivan) callous treatment of her shopkeeper husband, Philip (Charles Laughton), to the extreme. Mizoguchi lingers on apprentices, salesmen, managers, and various couriers and servants as they bustle through Ishun’s house, fashioning lively and overflowing multi-planed images that are characteristic of his late-period filmography. Sátántangó is structured in a repetitive chronology that apes the rhythmic tally of the tango. These “new high-definition digital restorations of all three films” look excellent overall, with bright, densely saturated colors and well-maintained grain levels. The second title, The Crucified Lovers , alludes to the more serious nature of the tale, societal expectations and laws, and the consequences that can befall those who break them or push the boundaries of what is deemed acceptable within their culture. Get the latest showtimes for A Story From Chikamatsu and bypass the lines by buying movie tickets online. Kino Lorber has outfitted John Frankenheimer’s thriller with a beautiful transfer and a notable new commentary that pays equal attention to the film’s historical and aesthetic qualities. Criterion’s release of Minding the Gap comes outfitted with an array of intimate extras that attest to the rich, emotional core of Bing Liu’s breakthrough documentary. A feeling that in the past at least there was some form or structure and that our present state of madness could be healed somehow by ghosts.”. Above all else, “The Four Winds” is merely a really good story, ... DangerHouse Productions closes second season with classic tragedy by Chikamatsu Monzaemon. Greaves himself even plays an exaggerated character, using sexist and domineering remarks to dial up the chauvinistic, egoistic nature of a director. An intelligent, handsome, and tortured alcoholic, Zack appears to be the ladies’ man of the group, his violent energies exuding an erotic pull that’s traditional of bad boys. This action is stark, unusual, and darkly satiric, for in these opening minutes the farmers’ livestock is able to freely move around—to simply leave. Ric Roman Waughn provides intros to three scenes that were deleted from Greenland, at least one—a considerably more hopeful ending than the one we got—for the better. You can also view A Story From Chikamatsu showtimes, trailers, and user reviews. A mixture of outtakes of the first film and newly recorded material with members of the original cast, Take 2 1⁄2 naturally expands the already dizzying levels of metatextual awareness of Greaves’s concept. All the film’s subjects are from broken families and were beaten as children by their fathers or father figures, and each of the film’s three central men wear this anger in a differing manner. These actions are all captured with bold, static patience by Gábor Medvigy’s camera, and are demonstrative of the ennui of the film’s deprived community. The disc is rounded out with several trailers, a five-minute Trailers from Hell video featuring Brian Trenchard-Smith, which serves as an intro to the film, and a booklet with an astute essay by film historian Julie Kirgo. Soon a complicated web of backroom dealings, misunderstandings, and cover-ups force Mohei and Osan on the run from the authorities, where they find both comfort and crisis in the most unlikely of places. Cast: Glenn Ford, Janis Carter, Barry Sullivan, Edmond O’Brien, Joanne Dru, Otto Kruger, Barry Kelley, Dorothy Patrick, Broderick Crawford, Betty Buehler, Richard Kiley, Otto Hulett, Matt Crowley, Neville Brand, Ernest Borgnine, Rita Hayworth, Glenn Ford, Alexander Scourby, Valerie Bettis, Torin Thatcher, Ginger Rogers, Edward G. Robinson, Brian Keith, Vince Edwards, Phillip Pine, Herschel Bernardi, Caprice Toriel Director: Richard Wallace, Joseph M. Newman, Robert Parrish, Vincent Sherman, Phil Karlson, Irving Lerner Screenwriter: Ben Maddow, Richard English, Francis Swann, William Bowers, Oscar Saul, James Gunn, Ben Simcoe Distributor: Powerhouse Films Running Time: 547 min Rating: NR Year: 1947 - 1958 Release Date: February 15, 2021 Buy: Video. Or, as Zack puts it: “In reality, I think it’s a control thing. While the reason behind John and his family being separated early on is contrived, it allows for the film to gawk in horror at and wring tension from the sight of people reverting to their most base instincts in times of crisis. You also have the option to opt-out of these cookies. This is made as unmistakably plain as possible when Greaves must obtain the permission of passersby to appear on camera and shows shooting permits to amused cops. The influence of Symbiopsychotaxiplasm is evident in Soderbergh’s process-oriented works, Brian De Palma’s more narratively oriented deployment of its extratextual techniques, and the outwardly spiraling autocritique of Abbas Kiarostami’s Koker trilogy.

Hera Arms Linear Compensator Canada, Nasa Gmat Tutorial, Plastic M1 Helmet, Robert Zussman Death, Cali Vinyl Pro Classic, Gibson Es-335 Studio For Sale, Ac3 Tyranny Of King Washington Canon, Max Holloway Wife Instagram, Brown Derby Keg Prices,