yep, I noticed this especially when talking to friends who had seen the movie (and liked it) without having the read the book. It’s difficult to grasp what exactly the deal about the spice is, or the lack of technology, only from what the film shows you.

definitely!

This is a bit of silly argument. Yes, 65mm is great for vistas. But you don’t have to use it that way. The Master was also shot on 65mm, and that movie is mostly close-ups and mediums. Yet, there’s a good argument to be had about the virtues of such odd use of 65mm. (see https://cinea.be/is-it-focus-photographing-the-m…

Mildly contrarian opinion: I think this is Petzold’s best, at least of those I’ve seen (everything since Barbara). Perhaps it’s because how much I love the Beer/Rogowski pairing, perhaps it’s because of my interest in Berlin’s history, perhaps it’s the German Romanticism. But yeah...great.

No, that’s in the book as well. Maybe the details are different, but I don’t remember.

More or less. It’s about how truly alien alien life is. Humans and the planet both seem to understand that the other is some sort of intelligent life form, but have no clue how to communicate. The planet is able to physically reconstruct certain intense human memories, but it’s absolutely not clear what it is trying…

Vadim seems to specialize in American conservative/fait-based/right-wing cinema. Those movies tend to be crummy, shall we say.

It is kind of surprising: well-received in Cannes, diminished competition this year, and relatively well-liked and well-known director. Was it perhaps not widely seen by U.S. critics?

A lot of the critics who probably would have praised it if it had been a European oddball movie that got a limited run in New York and Los Angeles seemed to get angry when it got awards.

Trafic takes a while to get going, but once the endless Camping Car demo begins it’s on fire.

ha, exactly what I expected then!

Mubi usually offers a nice mix of classics, new releases, and oddities. The also have a number of different specials. One film is added every day, and remains available for one month.

there’s absolutely no reason to assume that

Ha, thanks! Yeah, this comment section is particularly bad. Gone are the days of the old A.V. Club.

Just came back from the theater. This is indeed a very strong film. Has some similarities to BURNING, although I liked the somewhat more remote style of this film much better (not much of a BURNING fan). Very well-directed, looks great, tense, and the emotional beats—when they finally arrive—hit hard.

The way I found that out was by making a black-and-white version of Raiders on my computer. The sound got cut out for some reason on one of my attempts, and I just watched it play for about ten minutes. It works equally as well.

I’m so happy Ignatiy reviewed this. Very thorough dive into this film’s intricacies, which is for now my favorite movie of 2019. I think I responded more strongly to, as the review puts it, the “suggestive power” of the film. There’s so much going on that I haven’t stopped thinking about it.

Remember in Last Jedi when fallen son Kylo Ren (Adam Driver) smashed his Vader-esque helmet to bits as a symbolic rejection of the past? It takes him all of 15 minutes to weld it back together in Skywalker

If anything, the style of many commercials nowadays has been heavily inspired by Malick’s recent(ish) esthetic, not the other way around.

That being said: not many of Scorsese’s films on this list! He’s made four acclaimed fiction feautures this decade, and only Wolf is on it. Perhaps the vote got split or something.