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91 Minutes | Comedy, Drama | 2020-08-12
📥 Voir le jour 2020
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120 Minutes | Drama, Romance | 2019-06-17
📥 Portrait of a Lady on Fire 2019
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As the credits began to roll on ‘Portrait of a Lady on Fire’, I was practically incapable of moving or speaking. Every time I didn’t think the film could possibly get any better, Céline Sciamma elevated it to even greater, more incomprehensible heights, culminating in one of the most extraordinary moments in 21st-century cinema. This is a rare and precious film, breathtaking in its craft and intensely honest in its passions. This is a film that aches, that longs, that dances in ecstasy and raises its hands to the sky, angelic and ferocious and perfect. Simply put, ’Portrait of a Lady on Fire’ is a masterpiece, and one of the best films of this or any year.
- Daniel Lammin
Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-portrait-of-a-lady-on-fire-a-perfect-film-on-the-language-of-desire
The best LGBT movie ever. And that's on period luv.
Céline Sciamma, writer and director of “Portrait of a Lady on Fire,” calls her period film a “manifesto on the male gaze.” This is the most accurate, elegant description of her story of a romance between two French women in the late 1700s. This is an impeccably detailed, beautifully acted, refined drama with a strong feminist angle that’s as stirring as it is thought-provoking.
Marianne (Noémie Merlant) is commissioned to paint the wedding portrait of Héloïse (Adèle Haenel), a young woman who has just left the convent. Because Héloïse is a very reluctant bride-to-be, Marianne arrives under the guise of companionship, observing the smallest of details about the woman by day and secretly painting her by firelight at night. As the two women spend their days with one another, intimacy and attraction grow, and the portrait becomes a symbol of the intensity of their love.
The lead performances are mannered and structured in the most effective way. The strong desire between the two women is manifested in a gaze or careful examination of a wisp of hair or the way Héloïse crosses her hands. There’s a quiet intensity to the emotional and physical intimacy between these two women, making this love story’s end feel all the more heartbreaking.
This is mostly an all-female film, and the men briefly seen on screen play little importance. Rounding out the characters are Héloïse’s mother (Valeria Golino) and housekeeper Sophie (Luà na Bajrami), who both fill critical roles in the story as the film explores issues affecting women at the time, including arranged marriages, career expectations, and health concerns.
The film itself is absolutely stunning, with gorgeously romantic and lush cinematography by Claire Mathon setting a sensual tone that complements the story. The artistry is outstanding, making “Portrait of a Lady on Fire” one of the most powerful, intellectual dramas of the year.
Undoubtedly worth a watch; who knew portraits were the Tinder of the 1700s.
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91 Minutes | Drama | 1957-12-26
📥 Wild Strawberries 1957
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Bergman talks about the meaning of life and the pass of time.
Great cast, that will repeat in several of Bergman's movies and remarkable performances from Ingrid Thulin and Victor Sjöström.
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132 Minutes | Western | 1965-05-10
📥 For a Few Dollars More 1965
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I was worried about you - all alone, with so many problems to solve...
The middle part of Sergio Leone's dollars trilogy sandwich is a mighty hunk of meat and pasta. Plot has Clint Eastwood and Lee Van Cleef as bounty hunters who form a very uneasy alliance to bring down violent bandit El Indio (Gian Maria Volontè) and his gang.
As befitting Leone in this sub-genre, the pic positively oozes charisma and class. His compositions are as striking as the coolness he wrings out from his lead actors, the characterisations bristling with a calm grizzle factor that beguiles as the story jumps from violence to suspense, from humour to misery, with surprises is store as well. The screenplay adheres to some clichés of the Western formula, but never at a cost to suspense and mystery, such as with the finale that looks set to be formulaic, but joyfully brings its own identity whilst simultaneously adding extra layers to the protags and antag. The dialogue (Leone and Luciano Vincenzoni) pings with literacy, something which is a pleasant mercy in the Spaghetti Western world, while Morricone fills the key scenes with aural shards of atmospheric delight.
A great film in its own standalone right, but also a super precursor to The Good, the Bad and the Ugly. 9/10
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115 Minutes | Drama, Comedy | 2011-09-02
📥 Come As You Are 2011
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111 Minutes | Fantasy, Action, Science Fiction | 2019-11-19
📥 Coma 2019
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109 Minutes | Horror, Drama, Thriller | 1960-06-22
📥 Psycho 1960
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Psycho 1960 IMDb ~ Directed by Alfred Hitchcock With Anthony Perkins Janet Leigh Vera Miles John Gavin A Phoenix secretary embezzles forty thousand dollars from her employers client goes on the run and checks into a remote motel run by a young man under the domination of his mother
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Psycho 1998 IMDb ~ Directed by Gus Van Sant With Vince Vaughn Anne Heche Julianne Moore Viggo Mortensen A young female embezzler arrives at the Bates Motel which has terrible secrets of its own
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Required viewing.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
“We all go a little mad sometimes. Haven't you?”
A Phoenix secretary, Marion Crane (Janet Leigh), embezzles $40,000 and rashly flees town, ending up at a remote motel in Fairvale, California, where she encounters the eccentric Mama’s boy Norman Bates (Anthony Perkins). Mixed into this web is a private investigator (Martin Balsam), Marion’s sister (Vera Miles) and Marion’s secret beau (John Gavin).
Directed by Alfred Hitchcock based on Robert Bloch’s book, “Psycho” made a huge impact when it was released in 1960. It contains a plot development that was groundbreaking at the time shared by England’s “City of the Dead” (aka “Horror Hotel”), which went into production six weeks earlier than “Psycho” and was released in the UK at the same time, but not in America until 2 years later. While they’re both good, “Psycho” is way superior. It was followed by three sequels (1983, 1986 and 1990), the last being a semi-prequel, all starring Anthony Perkins as Norman with Vera Miles returning for the first one.
One thing I don’t like is that it was shot in B&W. Check out the sequels and the 1998 remake to observe the same settings in living color.
The film runs 1 hour, 49 minutes and was shot primarily at the backlot of Universal Studios, Universal City, California, with other parts in Los Angeles & Gorman, California, and Phoenix, Arizona.
GRADE: A
My most favourite film from the master of suspense.
This psychological horror is widely considered to be the first ever slasher film. Powered by great performances from Anthony Perkins & Janet Leigh, and the outstanding score by Bernard Herrmann which adds such great tension throughout the film, it is unarguably the greatest thriller ever made. Only Alfred Hitchcock could make a film so entertaining and so horrifying at the same time.
The climax continues to haunt me forever.