Selected Films

As an Italian I have ever heard of this film by Pasolini, but has been banned in my country for a long time, but I have always heard the critics and other intellectuals Pasolini called ‘genius’, a’ poet ‘. I was just curious to know why all these positive comments, his film was never shown on television. Then, a few years ago, I read the 120 days of Sodom by the Marquis de Sade.

The book has been very worrying, and thank God the last part is no longer a project. Then I forgot the shock of the book left me, and decided to watch the movie for the sake of culture. I’ve seen twice.

Once alone, hid under my quilt, when the scene is unbarable (ie the scatologic parties), the second time with my sister, and I was hiding under the pillow before the scenes were shown in reality! It was the hardest film I’ve ever seen.

That look cool for young people tortured by the 4 beasts, neither side made, the film is merely raw facts Pasolini. None of the actors is a professional, Pasolini was to have famous actors for their films to people in the street, so the action is false, akward in this contrast with the character of the film.

I do not know if I ever agree with people who ask a poet Pasolini. Indeed, the metaphor is significant, the totalitarianism of the fascist regime in my country has brought so much misery and trouble, but I still think they could have chosen another metaphor, just for the sake of our stomacs!

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This documentary was recently broadcast as part of BBC 4 British silent films of the season. I rented this mainly because I missed half of the broadcast and was eager to see everything. It is an interesting look at the vast amount of material produced by the pioneer of film pioneers in this country since the birth of the medium through the late 1920s.

I use the word tempting, since it includes clips from films that have been lost or destroyed or have not yet made available to the vaults of the BFI. For example one of these clips is a science fiction film that predates anything (to my knowledge) produced in the U.S. or elsewhere.

This documentary is an ideal companion to Early Cinema, Primitives and Pioneers “, also published by the BFI, which includes some of the films in their full versions. I gave this version 4 stars because I think it could have offered more in the” extras “department (1 film only), but it is still worthwhile, even if your rent is not a total fan of the genre.

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A beautiful young woman picnicking in the country with his parents, girlfriend and grandmother. While her boyfriend and father to fish for pike, two boaters fish for her.

If this film were created today would be considered for its symbolism and Unwatch machine clownishness. Storm clouds indicate emotional distress. Grandma’s deafness operation becomes a joke.

The players act as if they were on the scene, rather than in front of a camera. However, I found it absorbing. How one incident can change the course of life and pain of having to respect the choices are respected in the open.

An unexpected movement movie.

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Jacques Rivette’s first feature film, made more than two years in the late años’50 ’s, which is superficially about the paranoia, but possibly more information on the process of acting and film-making. Like most of Rivette’s films is long, but once you know, that does not drag at all!

One writer warns exiled young conduct a secret plan to take the world - then tells you to forget that ever mentioned it, which of course can not! The film is a fascinating look at Paris at the time, and the theme of paranoia is particularly relevant now.

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Cocteau s narration of the story certainly lives up to its critical general s report on it: the style is boundless, but underneath there is not much seem to be happening. As a piece of visual storytelling and film is definitely some kind of masterpiece. The high-contrast world of decorating the castle and the Beast Beauty s s simple house shot flawlessly.

Cocteau magic is based on the history of disembodied hands that act as agents in the castle, the Beast s visible rotting of the soul, even the performance of the enchanted white horse Magnifique testify to a great deal of imagination and perfection. However, the movie does not seem to reveal anything new about the story, and the beast s condition is more a matter of special effects for the inspection of a painful embarrassment, self-hatred and inner beauty. This lack of depth of meaning that I often found myself switching off for a few moments, but adorned shallow images flickered across the screen.

The finish is also unsatisfactory, with the subplot about the rescue attempt by s Beauty Courter and his brother a little tacks and the Beast s final unmask thematically biased. But as a lesson in production design, A +.

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