Limitless Cinema in Broken English

June 29, 2008

RESULTS OF POLL 24

Filed under: Uncategorized — celinejulie @ 12:10 am

My poll 24 ended with five votes. Thank you very much for everyone who participated in it. Here is the result:

EACH OF THESE GREAT FILMS/PLAY STARS ITS OWN DIRECTOR. WHICH ONE DO YOU LIKE?

1.MAN BITES DOG (1992, Remy Belvaux + Andre Bonzel + Benoit Poelvoorde, Belgium)

It got two votes, or 40 %.

2.ACTRESSES (2007, Valeria Bruni Tedeschi, France)
+IN MY SKIN (2002, Marina de Van, France)
+JE TU IL ELLE (1974, Chantal Akerman, Belgium)
+KATZELMACHER (1969, Rainer Werner Fassbinder, West Germany)
+ME AND YOU AND EVERYONE WE KNOW (2005, Miranda July, USA)
+OBSERVATION OF THE MONUMENT (2008, Michael Shaowanasai, Thailand)
+17 MAY MY VALENTINE (2008, Sawanee Uthumma, Thai play)

Each of them got one vote, or 20 %.

9.THE ALL-ROUND REDUCED PERSONALITY – REDUPERS (1977, Helke Sander, West Germany)
+THE CRYING WOMAN (1979, Jacques Doillon, France)
+JACKY (2000, Hu Fow-pyng + Brad Ljatifi, Netherlands)
+THE LAST HOLE (1981, Herbert Achternbusch, West Germany)
+THE LINE, THE CROSS, AND THE CURVE (1994, Kate Bush, UK)
+THE NINE-DAY PREGNANCY OF A SINGLE, MIDDLE-AGED ASSOCIATE PROFESSOR (2006, Araya Rasdjarmrearnsook, Thailand)
+OUR PEOPLE (2000, Montri Toemsombat + Jacques Charrier, Thailand)
+DEEP INSIDE (PLEUG) (2002, Chumpol Thongthab, aka Tanwarin Sukhapisit, Thailand)
+SCHIZOPOLIS (1996, Steven Soderbergh, USA)
+TEMPTING HEART (1999, Sylvia Chang, Hong Kong)
+WANDA (1970, Barbara Loden, USA)
+A WANDERING BRIDE (2007, Ana Katz, Argentina)

Each of them got 0 vote.

–Berenice Reynaud wrote about WANDA here:
http://www.sensesofcinema.com/contents/02/22/wanda.html

–It may not be directly related, but this poll makes me think about other kinds of artists who create works by using their own images in a fictional way, especially Cindy Sherman. It also makes me think about the film CINDY: THE DOLL IS MINE (2005, Bertrand Bonello) and the conflicting roles of the artist who is both the creator and a part of the created work.

These artists may include:

1.Cindy Sherman

2.Katharina Sieverding
http://www.db-artmag.de/2004/7/e/3/277.php

3.Yasumasa Morimura

4.Vasan Sitthiket
http://www.bloggang.com/viewdiary.php?id=merveillesxx&month=06-2008&date=11&group=9&gblog=96

5.Chanon Charnphanao
http://duddproject.blogspot.com/

6.Nawin Rawanchaikul

Most of these artists make photographs or paintings which contain their own fictional faces. Nawin Rawanchaikul also made a sculpture of himself.

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June 28, 2008

WE’RE ALL ALONE UNDER THE BLANKET

Filed under: Uncategorized — celinejulie @ 11:20 pm

This is my comment in Bioscope webboard:
http://www.bioscopemagazine.com/smf/index.php?topic=1167.0

I just saw UNDER THE BLANKET (2008, Tossapol Boonsinsukh, A+++++). As for now, I can only say that it is unclassifiable or indescribable for me. The more I try to write about it, the more I feel I unfairly “reduce” the film or the images in the film. UNDER THE BLANKET may not arouse my feelings as strongly as his previous films, but it is still as unforgettable as his previous films. Many scenes in UNDER THE BLANKET have a quality that I like very much. They make me feel free or liberated while watching them. That is not what I feel when I watch most films. Many scenes in UNDER THE BLANKET are not enslaved by storytelling, messages, meanings, or obvious connection to the previous or the next scenes. I mean these scenes may actually tell a story, send a message, carry some meanings or symbols, and have connection to other scenes, but they are not as enslaved by these things as scenes in other films. That’s why I feel free or liberated while I watch most scenes in UNDER THE BLANKET.

It may be totally unrelated, but I want to note that after I saw UNDER THE BLANKET on Friday, I went home to sleep and had a dream that I listened to the song WE’RE ALL ALONE and felt very sad. After I woke up, I cried a lot because of the mysterious sadness lingering from the dream. This song is not in the film, but I wonder if UNDER THE BLANKET had some mysterious effect on my subconscious or not. Is my dream unintentionally caused by some feelings I had while I was watching this film? Maybe not.

This is the video clip of Rita Coolidge singing WE’RE ALL ALONE:
http://www.youtube.com/watch?v=yGC29fn8JFU

This is the lyrics:

Outside the rain begins and it may never end
So cry no more on the shore
A dream will take us out to sea
Forever more forever more

Close your eyes and dream
And and you can be with me
‘Neath the waves through the caves of hours
Long forgotten now
We’re all alone
We’re all alone

Close the window
Calm the light
And it will be alright
No need to bother now
Let it out
Let it all begin
Learn how to pretend

Once a story’s told
It can’t help but grow old
Roses do
Lovers too
So cast your seasons to the wind
And hold me dear
Oh, hold me dear

Close the window
Calm the light
And it will be alright
No need to bother now
Let it out
Let it all begin

All’s forgotten now
We’re all alone
oh-oh, we’re all alone

 

June 26, 2008

SILLY GAME

Filed under: Uncategorized — celinejulie @ 10:35 pm

FAVORITE SONGS

1.SILLY GAMES – Lindy Layton featuring Janet Kay
http://www.youtube.com/watch?v=sSwhT5WNrXw

2.PERCEPTION (VOCAL MIX) – Cass & Slide
http://www.youtube.com/watch?v=CYG08HPWPnc

————————————–

The post below is inspired by Girish Shambu’s blog:
http://www.girishshambu.com/blog/2008/06/received-ideas-in-cinema.html

Reading Girish’s blog about critical shorthand makes me think about description of some directors. I like how Jean-Luc Godard described some directors very much. Sometimes I don’t understand what he described. Sometimes I don’t agree with what he described. But most of the times I think his descriptions are very memorable or powerful.

I would like to copy some of Godard’s descriptions from the book GODARD ON GODARD, translated and edited by Tom Milne. But instead of copying them directly, I think it would be funnier if I separate the descriptions from the names of the directors. So that my readers who have too much free time may enjoy trying to match them.

Can you match the following Godard’s descriptions with the directors he described?

GODARD’S DESCRIPTIONS

1.An alert (name) is worth two Billy Wilders. …With (name) there is no starting point, and this is precisely his originality. Only the point of arrival matters, a scene at the very limits of absurdity in the ferociously eccentric world of the PAM, PAM, POUM of our childhood.

2.He comes on stage and introduces himself: author, composer, actor, designer, producer, director, scholar, financier, gourmet, ventriloquist, poet.

3.Even as he threw all the great human values to the wolves, he became one of the new great of Hollywood; and even as he replaced Wyler and Zinnemann in the hearts of the exhibitors, he established himself as a worthy heir to Lubitsch in the hearts of cinephiles,…

4.For it is here that his power and talents lie. He seeks the bizarre at all costs, because the bizarre is a convention and behind this convention one must, also at all costs, discover a basic truth. He seeks the madness behind reality because it is for him the only way to rediscover the true face of reality behind this madness. This is why with each close-up one has the feeling that the camera wipes these faces,…

5.The great traditional cinema means (the name of the director) as opposed to Fellini or Rossellini. It is a way of selecting certain scenes rather than others.

6.He is beyond praise because he is the greatest of all. What else can one say? The only film-maker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’.

7.He is the second greatest editor in the world after Eisenstein. Editing, to them, means organizing cinematographically; in other words planning dramatically, composing musically, or in yet other words, the finest, film-making.

8.He will also shoot a scene just because at that moment a window is opening in a house away in the background, and a window opening—well, that’s funny. This is what interests him. Everything and nothing. Blades of grass, a kite, children, a little old man, anything, everything which is at once real, bizarre and charming. He has a feeling for comedy because he has a feeling for strangeness.

9.In other words, in all his films and (name of a film) in particular, he tirelessly demonstrates that in order to create cinema we must rediscover Melies, and that quite a few light years are still necessary for this.

10.It is difficult to analyse his comedy style. Pushed in one direction, it would end up as Jacques Tati. Pushed in the other, as Marx Brothers. But as he, one of the laziest of good French directors, never pushes things to their conclusion, one often finds oneself between two stools.

11.I will simply say that, thanks to Henri Langlois, we now know—to choose at random – that ceilings do not date from CITIZEN KANE but from Griffith (of course) and Gance; cinema-verite not from Rouch but (the name of the director);

12.The most subtle film theoretician in France. He hates paradoxes, but creates them. He hates false arguments, but offers them. He hates the cinema, but loves it. He doesn’t like good films, but makes them.

13.His originality lies in having made characters out of his actors – who are actors in the simplest sense of term, moreover, being filmed in action, while he contents himself with filming this action after having, as far as possible, organized it logically in the manner of Rossellini.

14.…proves that he need not abandon the cinema provided he films characters who exist instead of ideas which exist only in the bottom drawers of old scriptwriters who believe that the cinema is the seventh art.

15.Subtlety of mise en scene is here carried to its highest degree. He is probably the only director in the world who dares to make a systematic use of 180 degree shots and reaction shots. But what in another director would be striving for effect, with him is simply a natural movement arising out of the importance he accords to the décor and the position the actors occupy within it.

16.There are several good ways of making French films. Italian style, like Renoir. Viennese, like Ophuls. New Yorker, like Melville. But only (his name) was and is French as France, French as Fontenelle’s rose and Bonnot’s gang.

17.There are several ways of making films. Like Jean Renoir and Robert Bresson, who make music. Like Sergei Eisenstein, who paints. Like (the name of the director), who wrote sound novels in silent days. Like Alain Resnais, who sculpts. And like Socrates, Rossellini I mean, who creates philosophy.

18.There was theatre (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). Henceforth there is cinema. And the cinema is (his name).

19.This is why his cinema of non-communication isn’t mine. Rossellini told me that I almost fell into the (his name) error, but just escaped.

20.Thus deprived of consciousness, his camera loses, despite its honesty, the two fundamental qualities of a camera: intelligence and sensitivity.

THE NAMES OF THE DIRECTORS

A.MICHELANGELO ANTONIONI

B.JACQUES BECKER

C.NORBERT CARBONNAUX

D.CHARLIE CHAPLIN

E.JEAN COCTEAU

F.JOHN FORD

G.GEORGES FRANJU

H.STANLEY KUBRICK

I.RICHARD LEACOCK

J.ROGER LEENHARDT

K.KENJI MIZOGUCHI

L.NICHOLAS RAY

M.ALAIN RESNAIS

N.JEAN ROUCH

O.ERICH VON STROHEIM

P.FRANK TASHLIN

Q.JACQUES TATI

R.LUCHINO VISCONTI

S.ORSON WELLES

T.BILLY WILDER

If you can’t answer them, just buy the book GODARD ON GODARD. Hahaha.

 

A POSTER OF “HASAN”

Filed under: Uncategorized — celinejulie @ 9:18 pm

This is a poster of HASAN (2008, Attapon Pamakho, A+++++), one of my most favorite films of this year. I copied the poster from
http://www.xq28.org/zaa/viewtopic.php?f=5&t=79&st=0&sk=t&sd=a&start=250

 

DAISUKE HOSOKAWA, A JAPANESE SWIMMER

Filed under: Uncategorized — celinejulie @ 8:59 pm

This is my comment in Screenout Webboard:
http://www.xq28.org/zaa/viewtopic.php?f=5&t=79&st=0&sk=t&sd=a&start=250

Daisuke Hosokawa, a Japanese swimmer

 

June 25, 2008

FAV. QUOTE FROM “WHO ARE YOU, POLLY MAGOO?”

Filed under: Uncategorized — celinejulie @ 11:30 pm

This is my comment in Bioscope webboard:
http://www.bioscopemagazine.com/smf/index.php?topic=71.1290

This is one of my most favorite dialogues from WHO ARE YOU, POLLY MAGOO?:

Gregoire Pecque (Jean Rochefort): And now who’d you sleep with, President Johnson or Fidel Castro?

Polly Magoo (Dorothy McGowan):Uh…Castro

GP: Castro or Von Braun?

PM: Castro

GP: Castro or Georges Brassens?

PM: Georges Brassens

GP: Brassens or Lawrence of Arabia?

PM: Brassens

GP: Brassens or Picasso?

PM: Picasso

GP: Picasso or Cassius Clay?

PM: Cassius Clay

GP: Cassius Clay or Marcello Mastroianni?

PM: Mastroianni

GP: Mastroianni or Cassius Clay?

PM: Cassius Clay

GP: Cassius Clay or Fidel Castro?

PM: Fidel Castro

—————————-

Wernher Von Braun
http://en.wikipedia.org/wiki/Wernher_von_Braun

Georges Brassens
http://en.wikipedia.org/wiki/Georges_Brassens

THE “FAMILY” IS THE SMALLEST CELL OF FASCIST STRUCTURES

Filed under: Uncategorized — celinejulie @ 11:04 pm

I just read an interview with Christian Petzold in the website of Cineaste Magazine. This is a quote from the website:
http://www.cineaste.com/articles/an-interview-with-christian-petzold.htm

“My generation was taught by all these leftist teachers whose consciousness was shaped by the events of 1968. At that time the family was seen to be the smallest cell of the state, of fascist structures, that is, as the biggest piece of shit imaginable. It was the site where discipline and training was implemented. In this context Deleuze’s essay on control societies impressed me immensely when I began making films in the mid-90s, just before Deleuze’s death. Deleuze argues that the extrafamiliar institutions that cropped up everywhere, those hedonistic communities, the patchwork families, the communes, and the shared apartment-living situations, which were established in direct opposition to the traditional father-mother-child neurosis—that these new forms, which were and are perceived as libratory, actually embody the modern control society, that is, are modern forms of oppression that suddenly exert their force upon people.”

I knew about Cineaste’s website from Girish’s blog:
http://www.girishshambu.com/blog/2008/06/links.html

What Petzold said reminds me of some of my most favorite films last year – CRY IN SILENCE (2006, J. G. Biggs) and MON FILS A MOI (2006, Martial Fougeron) – which deal with tyrannical parents. If I can choose a father, I would choose the father of Juno in JUNO (2007, Jason Reitman, A+). He is a flawed human being, but I think he would cause the least problem in my life. Apart from Juno’s father, I also like the father in THE SUM OF US (1994, Kevin Dowling + Geoff Burton, A-/B+) very much.

CUTE ACTOR: RICH CERAULO

Filed under: Uncategorized — celinejulie @ 10:32 pm

This is my comment in Screenout Webboard:
http://www.xq28.org/zaa/viewtopic.php?f=5&t=79&st=0&sk=t&sd=a&start=250

CUTE ACTOR: RICH CERAULO

He has a supporting role in DEATH SENTENCE (2007, James Wan, B-). I like that this film talks about gang’s random killing, which seems to be a serious social problem, but I can’t enjoy this film. I think it is not very exciting or suspenseful, except for the first 20 minutes. I think I would like this film more if it tried to be a little bit more realistic as EYE FOR AN EYE (1996, John Schlesinger, B+/B) or tried to be as stylish as THE PUNISHER (2004, Jonathan Hensleigh, A) or as THE PUNISHER (1989, Mark Goldblatt, A).

Rich Ceraulo’s website:
http://www.richceraulo.com

 

FAV SONG — FEVER CALLED LOVE — RISING HIGH COLLECTIVE

Filed under: Uncategorized — celinejulie @ 9:44 pm

FAVORITE SONG:

FEVER CALLED LOVE (HARDFLOOR REMIX) – Rising High Collective
http://www.youtube.com/watch?v=T8cTyAn7lTQ

The singer of this song is Plavka. I think she used to sing for Jam & Spoon.

—————————————–

I think there will be an animation shown at ArtGorillas ArtGallery on Sunday 29, around 16.00 hrs. The animation is called JOE THE SEA-CRET AGENT: NEW YORK SUMMERLAND, directed by Suttichart Sarapaiwanich.

Information in Thai about the event at ArtGorillas:
http://songsin.exteen.com/20080520/4b

Suttichart’s blog:
http://yerrman.exteen.com/

———————————————

This is my comment in Hell on Frisco Bay’s blog:
http://hellonfriscobay.blogspot.com/2008/06/jewish-film-festival-lineup-announced.html

Judging from the names of the directors alone, I highly recommend these three films:

1.A HEBREW LESSON (2006, David Ofek, Israel, 123 min)

2.LOVE COMES LATELY (2007, Jan Schuette, Germany)

3.I ONLY WANTED TO LIVE (2006, Mimmo Calopresti, Italy, 78 min)

I haven’t seen any films by Calopresti, but I have heard that he’s good. David Ofek co-directed THE BARBECUE PEOPLE (2003), which is very touching and has a very interesting storytelling structure. Jan Schuette directed THE FAREWELL – BERTOLT BRECHT’S LAST SUMMER (2000), which is great.

IMAGES FROM A NEW FILM BY TOSSAPOL BOONSINSUKH

Filed under: Uncategorized — celinejulie @ 9:06 pm

These are images from a new short film by Tossapol Boonsinsukh. I copied the images from:
http://www.bioscopemagazine.com/smf/index.php?topic=1198.0

 

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