IdleRich

IdleRich
Open Your Eyes - weird and in moments quite creepy Spanish film from the 90s. Ending a bit silly maybe but at times the descent into hallucinatory madness is actually unsettling. Also has an early role for Penelope Cruz getting her norks out if the first part of the description doesn't grab you.

Tagline - Eyes Without a Face meets The Matrix but without the cyberdog aesthetic

Oh apparently it was remade as Vanilla Sky with Tom Cruise and, er, also Penelope Cruz - I thought I'd seen that but maybe not then.
 

IdleRich

IdleRich
Eyes Without a Face meets The Matrix but without the cyberdog aesthetic

Great minds think alike

Combining Georges Franju's "les yeux sans visage" (1960) - for the strange poetry which emanates from the mask the hero (heroine in the French movie) wears, Adrian Lyne's "Jacob's ladder" and what will be LATER developed in "matrix" or "the sixth sense", Amenabar creates a disturbing,absorbing and mesmerizing movie.He succeeds in surprising the audience the way only Alfred Hitchcock could do before: the movie begins as some kind of two-bit comedy, with such futile subjects as trying and picking someone up and parties, then slowly but inexorably grips the audience's mind, and the interest won't weaken till the very end.Like in "psycho" or "Rosemary's baby" or "Jacob's ladder", nothing should be revealed.
 

shakahislop

Well-known member
saw notes from home for the first time. i love this kind of thing where absolutely nothing happens. it's really boring and your mind wanders, and then when you come out the cinema your eyes feel fresh. it's like coming home from being on holiday. but much easier.

i don't know anything about chantel ackerman or about films. i was surprised by how amateur it was. the way that there's traffic and subway noise pretty much throughout, drowning out the narrative, felt really appropriate.
 

rubberdingyrapids

Well-known member
cos i now want to be entertained (or at least have my attention held) when i go to the cinema and have less time for arthouse ponderousness, when i saw it earlier this year, i thought the 70s NY footage was amazing (and i liked how the letters/narration became inconsequential and drowned out by the city noise and i appreciated the humour in showing how repetitive parents can be) but the premise got predictable fast. seemed like a basic formal exercise. i wanted it to be half the length. but i agree with you too. the formal austerity is weirdly cleansing.
 

shakahislop

Well-known member
cos i now want to be entertained (or at least have my attention held) when i go to the cinema and have less time for arthouse ponderousness, when i saw it earlier this year, i thought the 70s NY footage was amazing (and i liked how the letters/narration became inconsequential and drowned out by the city noise and i appreciated the humour in showing how repetitive parents can be) but the premise got predictable fast. seemed like a basic formal exercise. i wanted it to be half the length. but i agree with you too. the formal austerity is weirdly cleansing.
this is the wrong thread because i wouldn't unreservedly recommend it but saw jeanne dielman, 23 quai du commerce,1080 bruxelles last night. after about two hours the guy next to me started laughing the second time there was a five minute static shot of someone doing the washing up, he left and quite a lot of other people did as well, although the cinema was basically full. i was smoking outside after and eavesdropping on the cluster of people around metrograph, everyone was saying how boring a film it was. ithey're right t is incredibly boring, and it's three and a half hours long. it is hilarious that there's a list saying that this is the best film of all time, it's like a great joke, tricking people into watching this thing. it's like the nyc one, except instead of long shots of 70s nyc, it's long shots of one person doing her chores.

on the other hand it's kind of worth it, like i did get something out of it, which sounds contradictory but its true. an exercise in endurance. obviously hollywood etc is in a sorry state and i do think cinema feels like an exhausted form, out of keeping with the times etc. but there is something that is starting to become possible, which is that there's these colour films from 50 years ago which can take you back in time. film as a kind of time machine. obviously that would have also been possible in 1995 but that is a shorter jump. spending three hours in a very (its taken to an extreme in the akerman films) naturalistic 70s brussels is stimulating i think. this thing of it being within living memory but the world being so totally different.
 

Clinamenic

Binary & Tweed
this is the wrong thread because i wouldn't unreservedly recommend it but saw jeanne dielman, 23 quai du commerce,1080 bruxelles last night. after about two hours the guy next to me started laughing the second time there was a five minute static shot of someone doing the washing up, he left and quite a lot of other people did as well, although the cinema was basically full. i was smoking outside after and eavesdropping on the cluster of people around metrograph, everyone was saying how boring a film it was. ithey're right t is incredibly boring, and it's three and a half hours long. it is hilarious that there's a list saying that this is the best film of all time, it's like a great joke, tricking people into watching this thing. it's like the nyc one, except instead of long shots of 70s nyc, it's long shots of one person doing her chores.

on the other hand it's kind of worth it, like i did get something out of it, which sounds contradictory but its true. an exercise in endurance. obviously hollywood etc is in a sorry state and i do think cinema feels like an exhausted form, out of keeping with the times etc. but there is something that is starting to become possible, which is that there's these colour films from 50 years ago which can take you back in time. film as a kind of time machine. obviously that would have also been possible in 1995 but that is a shorter jump. spending three hours in a very (its taken to an extreme in the akerman films) naturalistic 70s brussels is stimulating i think. this thing of it being within living memory but the world being so totally different.
Haven't seen this one (only seen The Meetings of Anna), but isn't the point of it that this boring, monotonous existence is indeed the character's whole world? I'm usually not one for feminist critical theory and whatnot, but on paper that does strike me as a powerful statement, namely that so many women live in such a world. Anyway, again I haven't seen it, but thats what I've heard/read.

Metrograph is awesome. I only went there one, a few years back, to see Suture.
 

shakahislop

Well-known member
Haven't seen this one (only seen The Meetings of Anna), but isn't the point of it that this boring, monotonous existence is indeed the character's whole world? I'm usually not one for feminist critical theory and whatnot, but on paper that does strike me as a powerful statement, namely that so many women live in such a world. Anyway, again I haven't seen it, but thats what I've heard/read.

Metrograph is awesome. I only went there one, a few years back, to see Suture.
yeah i think that is the point, and the film forces you to experience it a bit. it's still very boring to watch though. maybe deliberately boring.

metrograph is obviously a bit cringe, i mean its so up itself, like seriously sell popcorn instead of weird korean sweets, but it's kind of amazing that there's a cinema in the center of town which more or less only plays slightly marginal films and that people show up, it's always busy when i go (well, the three times that i've gone). one thing i notice about the US, i mean i am making a lot of assumptions, is that there are enough people with huge trust funds that something like metrograph can exist. there's no way that place can break even i would say given the size of it and how high rents are round there. in france you have places like this coz there's so much state support. in the US there's no state support but coz of how unequal a place it is the rich people are so fucking rich they can just do this stuff if they want.
 

Clinamenic

Binary & Tweed
yeah i think that is the point, and the film forces you to experience it a bit. it's still very boring to watch though. maybe deliberately boring.

metrograph is obviously a bit cringe, i mean its so up itself, like seriously sell popcorn instead of weird korean sweets, but it's kind of amazing that there's a cinema in the center of town which more or less only plays slightly marginal films and that people show up, it's always busy when i go (well, the three times that i've gone). one thing i notice about the US, i mean i am making a lot of assumptions, is that there are enough people with huge trust funds that something like metrograph can exist. there's no way that place can break even i would say given the size of it and how high rents are round there. in france you have places like this coz there's so much state support. in the US there's no state support but coz of how unequal a place it is the rich people are so fucking rich they can just do this stuff if they want.
I don't know about Metrograph, but I know FilmForum has a ton of donor support, and I'd imagine that dwarfs the actual revenue of ticket+concession sales. So yeah not state support, but philanthropic support, probably tax-deductible.

Wouldn't surprise me if Metrograph had a similar arrangement, because yeah, otherwise arthouse/revival cinema likely wouldn't survive in NYC.
 

Clinamenic

Binary & Tweed
I'm actually thinking about donating to FilmForum, and getting "Clinamenic LLC" plastered on their patron list.

Or just my name, whichever is more advisable tax-wise, perhaps.
 

Clinamenic

Binary & Tweed
I'm actually thinking about donating to FilmForum, and getting "Clinamenic LLC" plastered on their patron list.

Or just my name, whichever is more advisable tax-wise, perhaps.
I already put up some Clinamenic LLC stickers on streetlamps outside FilmForum and near that Gilda Radner park. Soon I will have my corporate propaganda distributed across all of Manhattan and some of the Bronx and Brooklyn.
 

shakahislop

Well-known member
I don't know about Metrograph, but I know FilmForum has a ton of donor support, and I'd imagine that dwarfs the actual revenue of ticket+concession sales. So yeah not state support, but philanthropic support, probably tax-deductible.

Wouldn't surprise me if Metrograph had a similar arrangement, because yeah, otherwise arthouse/revival cinema likely wouldn't survive in NYC.
i think this is why the uk can feel denuded sometimes (fuck knows what goes on in london though, maybe there's loads). the state seems to be totally absent from supporting this kind of thing except boring shit like the proms or whatever. but the philanthropic tradition is nothing like what it is in the US. everything has to run on a commercial basis, which for some things is impossible. or on a volunteer basis, there's a couple of cinemas in oxford and oxfordshire which seem like they get by on volunteering
 

DLaurent

Well-known member
Papillon. I didn't realise it's also a literary classic so on my to read list. If it wasn't for the ending I'd rate it less.
 
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