The Eurocult Film Thread

V

version

Well-known member
I didn't know that was the fascist anthem, but it was obvious those people were fascists trying to intimidate him and he was trying to show them up by dancing.
 
V

version

Well-known member
It reminded me of Antonioni, similar feel in the way time and memory were played with. That bit at the end with the overgrown tracks as though a train hadn't been through in years was haunting in the way sound coming from the mimed game of tennis at the end of Blowup was. A sense of being unsure whether the rug's just been pulled out from under you.
 
luka

luka

Well-known member
except neither of us realised the implications of him staring at a load of grass too oblique for the likes of us
 
V

version

Well-known member
You could be hard and analytical and say the tangled grass is a metaphor for his entanglement in the same web as the town, but it saps its power spelling it out like that and cutting through the dreaminess and ambiguity.
 
woops

woops

is not like other people
the only possible value of any of these films, is in case you want to invite an arty girl
 
luka

luka

Well-known member
maybe if id sat down and thought about it but why bother when you can google the answer. i dont like things that arent obvious and explicit tho as a rule
 
woops

woops

is not like other people
it's the duo longo method. having mastered conversational basics, move straight on to art cinema
 
V

version

Well-known member
I thought about making a thread for films inspired by paintings, but I could only think of two and felt it was dead in the water. There's Magritte's influence in The Spider's Stratagem and the Alex Colville shot in Heat.

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woops

woops

is not like other people
version said:
I thought about making a thread about films inspired by paintings after watching it, but I could only think of two and thought it was dead in the water. There's Magritte's influence in The Spider's Stratagem and the Alex Colville shot in Heat.

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plus the whole of barry lyndon @sus
 
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V

version

Well-known member
" ... on the set I talked a lot with Vittorio Storaro, my director of photography, about the two visual reference points of the film: Magritte and the naïve painters. For example, we shot the night scenes, as you remember, in a coloration that is quite unusual for the cinema, that is completely in azure. That is, they are nights in which you can see everything, […]. Also in Magritte’s work there is the same type of night “eclairage.” There’s a painting by Magritte, called “The Empire of Light,” in which you can see a rectangular, almost horizontal house, with a tree, and two lighted street lamps just like in the scene at the train station when Athos the son is getting ready to leave at the end of the film."
 
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