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Old
02-27-2013, 09:37 AM
  #376
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Big 50% sale at Criterion's site until 12pm EST today

Bought Jules et Jim (1962) and Roshomon (1950) at a very low price

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02-27-2013, 09:42 AM
  #377
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Yeah, I bought some Ozu (Late Spring and the Floating Weeds set), Purple Noon, and the Eric Rohmer Six Moral Tales box set.

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04-03-2013, 08:11 PM
  #378
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Trailer for Nicolas Winding Refn's Only God Forgives was finally released tonight:


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04-03-2013, 08:35 PM
  #379
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"You wanna fight?"

Haha seems like a nother good Gosling flick.

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05-26-2013, 09:07 PM
  #380
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For those in and around Toronto who might be interested, TIFF Bell Lightbox is hosting a major retrospective of Chinese, Hong Kong and Taiwanese film in their "A Century of Chinese Cinema" series. 80 films in all will be screened, starting with silent era films right through to the present. Among the movies scheduled will be Spring in a Small Town; The Winter; Fist of Fury; A Touch of Zen; A Better Tomorrow; Yellow Earth; A Brighter Summer Day; Chungking Express; Still Life; Vive L'Amour; A Chinese Ghost Story; Devils on the Doorstep; In the Mood for Love; Hero and Love Eterne. Presenters will include Jackie Chan, directors Johnny To and Chen Kaige, and Nora Miao (Bruce Lee's co-star in Fist of Fury). The series will start on June 5 and continue through August 11.

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08-27-2013, 08:47 AM
  #381
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Here's the TIFF line up in case anyone is interested to take a look:

http://tiff.net/thefestival/filmprogramming

Just noticed that Jia Zhangke's A Touch of Sin has been added, so this is the most recent update.

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08-27-2013, 10:16 AM
  #382
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Quote:
Originally Posted by Habsfan22100 View Post
Trailer for Nicolas Winding Refn's Only God Forgives was finally released tonight:

Was flipping slow, annoying, had little to no entertainment value. Visually appealing though

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08-27-2013, 10:23 AM
  #383
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Quote:
Originally Posted by kihei View Post
Just noticed that Jia Zhangke's A Touch of Sin has been added, so this is the most recent update.
You must be happy

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08-27-2013, 11:24 AM
  #384
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Was flipping slow, annoying, had little to no entertainment value. Visually appealing though
Sums up Refn's movies to me

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08-27-2013, 12:23 PM
  #385
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You must be happy
Assuming I can get the tickets for A Touch of Sin and the rest, yeah, definitely happy a few times over. Either I missed a bunch of stuff when we were brainstorming or TIFF has added quite a few goodies, including an "in conversation" session with Irrfan Khan and When Evening Falls on Bucharest or Metabolism, Corneliu Porumboiu's oddly titled follow up to Police, Adjective. Another interesting film that caught my attention is Unforgiven, South Korean Lee Sang-il's remake of Clint Eastwood's Western. As remakes so often happen the other way around, this seems only fair to me .

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08-27-2013, 12:27 PM
  #386
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Originally Posted by kihei View Post
Assuming I can get the tickets for A Touch of Sin and the rest, yeah, definitely happy a few times over. Either I missed a bunch of stuff when we were brainstorming or TIFF has added quite a few goodies, including an "in conversation" session with Irrfan Khan and When Evening Falls on Bucharest or Metabolism, Corneliu Porumboiu's oddly titled follow up to Police, Adjective. Another interesting oddity that caught my attention is Unforgiven, South Korean Lee Sang-il's remake of Clint Eastwood's Western. As remakes so often happen the other way around, this seems only fair to me .
Yeah I don't remember seeing those the first time I looked up the list. I didn't even know Porumbiou had a new movie coming out so that's exciting.

There was a South Korean western that came out a few years ago called The Good, The Bad, The Weird that I've always wanted to see, and upon hearing of the Unforgiven remake it makes me wonder what Eastwood's place is within South Korean culture. One wouldn't expect South Korea to be a hotbed for westerns yet it seems like he's got a fanbase...

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08-29-2013, 12:42 AM
  #387
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Early upper-level member sales at TIFF have been very brisk. Blue Is the Warmest Color and Lunch Box have already sold out their screenings, and The Past (Farhadi) and Like Father, Like Son (Kore-eda) have sold out most of their screenings. Going to be juggling that schedule some before Sunday morning.

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10-08-2013, 02:55 AM
  #388
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All the entries for the foreign language movie category for the Oscars have been released.

http://blogs.indiewire.com/sydneylev...academy-awards

I have not seen nor heard about a lot of the movies. But the ones that would seem to be favourites depending on what I have seen and general hype would be The Great Beauty from Italy, The Past form Iran, The Hunt from Denmark. Some here have probably seen more movies than me can have different opinions on favourites.

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10-08-2013, 10:58 AM
  #389
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Originally Posted by Jevo View Post
All the entries for the foreign language movie category for the Oscars have been released.

http://blogs.indiewire.com/sydneylev...academy-awards

I have not seen nor heard about a lot of the movies. But the ones that would seem to be favourites depending on what I have seen and general hype would be The Great Beauty from Italy, The Past form Iran, The Hunt from Denmark. Some here have probably seen more movies than me can have different opinions on favourites.
Poor France. Last year Austria snatches Amour from under its nose and this year Blue Is the Warmest Color is declared ineligible on a stupid technicality. It was released in France on October 8, after the artificial cut-off date of October 1 that the Academy had arbitrarily chosen. So France picked the pretty but average Renoir instead, which funnily enough was okayed by the Academy despite the fact that it played at film festivals in 2012.

I've seen eleven of the candidates so far, and the ones that I think have good chances of making the next round (when the field is reduced to nine films) include:

Good Chance
The Great Beauty (Italy)
Omar (Palestine)
Wadjda (Saudi Arabia)
The Hunt (Denmark) (all of which are in my top ten for the year at the moment)
The Past (Iran) (close to top ten level)
The Broken Circle Breakdown (Belgium)

Some Chance
Gloria (Chile)--good movie, top twenty for the year
Renoir (France)--mainly because of French clout as opposed to merit
The Grandmasters (Hong Kong)--but only if it has been re-cut as the version I saw was a mess

Very Slim Chance
Neighboring Sounds (Brazil)--a thriller's structure minus the thrills likely won't appeal to many voters

No Chance
Back to 1942 (China)--seems more a political choice, rather than an artistic one

Hong Kong still gets a nominee. I wonder if Mumbai should ask for one, too. It makes sense in my book.


Last edited by kihei: 11-10-2013 at 01:48 AM.
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10-08-2013, 11:32 AM
  #390
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I'm kind of surprised The Hunt is still eligible, that premiered at Cannes last year.

I don't have any rooting interests yet, except for The Hunt which I liked a lot.

I've heard good things about The Missing Picture (Cambodia), Borgman (Netherlands), Omar (Palestine), Child's Pose (Romania) and Wadjda (Saudi Arabia).

Paradjanov (Ukraine) looks interesting to me based on the subject matter alone but I doubt it'll go far.

I wanted to see The Broken Circle Breakdown (Belgium) at Fantasia this year (where it won top prize, I believe) but couldn't make it. In Bloom (Georgia) was on my Festival Nouveau Cinema shortlist but got squeezed out, maybe I'll regret that eventually...it looked interesting.

The Great Beauty (Italy) and Heli (Mexico) I'll be seeing in a week or so.

Gabrielle (Canada) didn't look at all interesting when it was here in release...guess I'll have to see it if it makes the short list though.

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10-08-2013, 01:38 PM
  #391
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Renoir and The Hunt both toured the festival scene last year, but neither got their theatrical release until this year. Which is really what matters, or the US theatrical release matters.

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12-02-2013, 03:03 AM
  #392
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Why is Hollywood still so male-dominated? Those numbers are ridiculous, and apparently not improving.

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12-02-2013, 09:48 AM
  #393
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^^^^^^
Old boys club??? And even some of those figures seem high to me. For instance, one out of 11 movies is directed by a woman? I'd bet for working directors that figure is even lower. These stats may explain a lot of things, like why there are so few good roles for most actresses after they turn 40 and why Hollywood romantic comedies are for the most part abysmal.

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12-02-2013, 10:47 AM
  #394
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^^^^^^
Old boys club??? And even some of those figures seem high to me. For instance, one out of 11 movies is directed by a woman? I'd bet for working directors that figure is even lower. These stats may explain a lot of things, like why there are so few good roles for most actresses after they turn 40 and why Hollywood romantic comedies are for the most part abysmal.
Was my initial conclusion as well. Men mostly like to hire other men, sadly not something that is exclusive to Hollywood.

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12-02-2013, 12:33 PM
  #395
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I'd be curious to read about the % of women vs. men enrolled in filmmaking schools or courses in the last 10 or 20 years...I'm sure there's still more men, but I can't imagine they dominate the numbers as handily as they do in that chart. So the question for me is, where do those women end up if not in the numbers below? And if it's largely in independent/non-Hollywood blockbuster films, is it by choice?

Thinking purely in terms of movies that make a lot of money (and as such feature heavily in IMDB's Top 250 list), could a small part of the discrepancy be attributed to the fact that women as movie-goers enjoy movies targeted predominantly towards males (action movies, comic book adaptations, most comedies in the Ferrell/Apatow/Sandler/etc vein) a lot more than men enjoy movies targeted predominantly towards females (romantic comedies, love stories, dramas)? I realize this is a gross oversimplification, but just tossing some discussion points around...

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12-02-2013, 01:49 PM
  #396
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Purely anecdotal but I don't think I've met very many women that were really into movies

I had a buddy who took cinema in university and there might have been one or two females in the entire program for that year

Of course there are plenty of women who enjoy movies but there's a gap (a considerable one even) between "enjoying" and "I want to make movies"

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12-02-2013, 02:40 PM
  #397
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Purely anecdotal but I don't think I've met very many women that were really into movies

I had a buddy who took cinema in university and there might have been one or two females in the entire program for that year

Of course there are plenty of women who enjoy movies but there's a gap (a considerable one even) between "enjoying" and "I want to make movies"
Yeah that may be true. I don't know, I can only judge from online film communities that I've been a part of, but there seems to be a healthy amount of females in those circles. But as you said, there's a difference between being a fan of movies and wanting to make them. Which makes me wonder if it's a catch-22 deal, where women don't want to make movies because women historically don't make movies.

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12-02-2013, 03:36 PM
  #398
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Yeah that may be true. I don't know, I can only judge from online film communities that I've been a part of, but there seems to be a healthy amount of females in those circles. But as you said, there's a difference between being a fan of movies and wanting to make them. Which makes me wonder if it's a catch-22 deal, where women don't want to make movies because women historically don't make movies.
There might be some truth to this. There is still a big segmentation between men and women in certain industries. For example, I am studying civil engineering, out of around 80 students in the class, only 15 or so are women. And I think there is still a subconscious stigma in society around engineering, that typically, women aren't engineers, so women don't think about engineering as a possible career path, causing less women to become engineers. Same think could be happening with filmmaking.

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12-02-2013, 03:43 PM
  #399
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Purely anecdotal but I don't think I've met very many women that were really into movies

I had a buddy who took cinema in university and there might have been one or two females in the entire program for that year

Of course there are plenty of women who enjoy movies but there's a gap (a considerable one even) between "enjoying" and "I want to make movies"
I wonder if that's partly the symptom and not the disease though. Maybe if there were more women working in Hollywood and creating good movies from a female perspective, more women would connect with films in a serious way and become really into movies.

And while what you said may be true to some extent, I have known some women who were very knowledgeable about movies, maybe there's just less of them than men.


Quote:
Originally Posted by hototogisu View Post
I'd be curious to read about the % of women vs. men enrolled in filmmaking schools or courses in the last 10 or 20 years...I'm sure there's still more men, but I can't imagine they dominate the numbers as handily as they do in that chart. So the question for me is, where do those women end up if not in the numbers below? And if it's largely in independent/non-Hollywood blockbuster films, is it by choice?

Thinking purely in terms of movies that make a lot of money (and as such feature heavily in IMDB's Top 250 list), could a small part of the discrepancy be attributed to the fact that women as movie-goers enjoy movies targeted predominantly towards males (action movies, comic book adaptations, most comedies in the Ferrell/Apatow/Sandler/etc vein) a lot more than men enjoy movies targeted predominantly towards females (romantic comedies, love stories, dramas)? I realize this is a gross oversimplification, but just tossing some discussion points around...
I think the idea that women enjoy male-oriented movies more than men enjoy female-oriented movies is definitely true, but may be the result of our society's male-oriented views of gender, like how its more acceptable for a girl to be a "tomboy" than a boy to act "girly". It's as though male is the default gender.

More specific to film, I think that many mainstream movies targeted towards females really pander and aren't that good, probably due to the lack of females actually working in Hollywood, which reinforces the idea that men's movies are naturally better. And because of the shortage of good female-oriented (and especially female-produced) films, by necessity women have to learn to enjoy male-oriented, male-produced films.

It should be possible to make good romantic comedies and dramas that reach popularity among men as well, but because there's so many other movies targeted at them, men can choose to ignore those genres even when they are good. And many women keep watching those romantic comedies regardless of the quality, simply because they're the only types of movies made with their interests in mind, so Hollywood has no need to improve the quality or employ more women.

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12-02-2013, 04:00 PM
  #400
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One more thing is from an article I once read about female directors. It said that they have to prove themselves a lot more before they're entrusted with a big budget, and are much less likely to get a second chance after a movie flops, compared to men.

There's also the issue, which can apply to other minorities within a workplace, that failure by a female director can be viewed as reflecting upon female directors as a whole, since female directors are rare and thus seen as "risky". Whereas obviously after a male director's movie flops, nobody would ever take that as proof why they should no longer give male directors a chance. The gender of the director would not be considered as a potential explanation for the movie's failure.

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