project: equinoX Forum

Alles leidet an "Industrie"... Wenn selbst Terry Gilliam (hoffentlich nur kurzfristig) davon befallen wurde, wie sollen sich die jungen Schnösel denn wehren?
Mit ein Grund, warum mir der neue Film so selten gefällt. Im besten Fall unterhält er, berühren tut er kaum noch.

Was habe ich mich gefreut auf diesen Film, und was war der fürchterlich.

Aber es ist ja ganz normal, dass eine Industrie möglichst jeden potentiellen Kunden ansprechen möchte. Gewinnmaximierung, im Namen der Aktionäre und Investoren. Dass nur leider in einem Bereich, der mal zum Oberbegriff "Kunst" gehörte, dabei nur noch ein Produkt am Ende rauskommt... Traurig! Ohne Geld macht man keine großen Filme in Hollywood. So ist das nun mal. Selbst der kalkulierte Tabubruch im Sinne von "Hostel" und andern harten Horrorfilmen, ein reiner Trend, der gerade Geld macht. Und wir konsumieren brav, wie man es in den Chefetagen gerne hätte.

*** Berliner Filmexperte treibt unbescholtenen Steirer in den finanziellen Ruin ***

Damit bin doch  hoffentlich nicht ich gemeint
Allerdings 439 Titel! Wurde da nicht erst vor kurzem der 400. Titel gefeiert!

Solange es solche Idealisten wie uns noch gibt, besteht Hoffnung!

Aber Hyb, warum heute gar so nachdenklich?

Zu McDonalds fällt mir aber gar nix zu ein! Finger weg!

Das war eine Metapher!!! Ich bin braver McDonalds-Verweigerer

Ja, ich bin nachdenklich heute. Man schaut sich die Mechanismen an, die unser Leben bestimmen und könnte verzweifeln.

Sei´s drum, zur Erholung gibt es ja "Monk"

Oh Goshchen, ich bin ja Metapher-resitent... Weiss nicht, wann ich meinen letzten McDonalds-Film gesehen hab...

Hybris schrieb:

Und zur technischen Entwicklung: Sicher das digitale Filmen. Das wird vielen jungen Filmemachern eine Chance geben. Aber auch da braucht es Zeit, bis sich die Spreu vom Weizen trennt. Momentan wird die neue Technik ja oft nur genutzt, bekannte Muster und Ästhetiken einfach nur zu wiederholen. Und sich dann darüber zu freuen, dass es ja ausschaut wie bei den Vorbildern...

Dachte dabei an noch etwas viel radikaleres, das sich auch kaum kontrollieren lässt. Aber eh einer fragt, mir fällt dabei nichts konkretes ein Aber irgendwas was Chaos schafft. Chaos ist immer gut Vielleicht entstehen aus dem Chaos ja auch wieder Inhalte.... daran mangelt es ja, auch den Talentierten

Hybris schrieb:

Interessant waren die Aussagen Buttgereits zum Thema unabhängiges Filmemachen in "Durch die Nacht mit..." Habe wohl erst die Hälfte gesehen.

Uh vor allem als Herr LaBruce davon erzählt, dass es keine Gegenkultur mehr gibt, war das tiefdeprimierend. Nicht das wir das nicht ständig von Yoko Ono gesagt bekommen , aber es reißt einen immer wieder runter.

Beitrag geändert von CVeidt (07.September 2006 13:10:22)

Und jetzt ruft mir mein Criterion newsletter das noch in Erinnerung:

JIGOKU
When a young college student had his sadistic friend leave a respected yakuza to die after inadvertently running him down on a lonely stretch of road, their fate is sealed in director Nobuo Nakagawa's Japanese horror classic Jigoku. Shiro's life seems to be going well; he's in love with pretty Yukiko and just received her parent's permission to take her hand in marriage. When his roommate, Tamura, runs down a drunken yakuza and refuses Shiro's plea to return to the scene of the crime and help the man, Shiro's conscience burns, and he soon admits his crime to Yukiko. As the two rush to Yukiko's father for advice, their taxi crashes and Yukiko dies in Shiro's arms. Overwhelmed by the tragedy that surrounds him, Shiro's life descends into a haze of alcohol and loose women until he receives word that his mother is gravely ill. Though he makes it to the senior citizens community in time to see her before she dies, Shiro is followed to the community by both Tamura and Yoko, a prostitute out to avenge the death of her yakuza boss. As Shiro is sent screaming into hell, his horrifying journey into darkness has only begun.

A stylish and frightening look at hell both figuratively and literally, director Nobuo Nakagawa's influential 1960 masterpiece remains effective not only because of its shocking journey into the underworld, but also for its remarkable attention to character detail. As the film opens and the viewers become acquainted with college-age protagonist Shiro and his young fiancée, Yukiko, the future is looking decidedly bright until their seemingly perfect relationship is thrown into chaos with the introduction of Shiro's evil friend, Tamura. Following the incident in which Tamura and Shiro run down a notable yakuza on a lonely stretch of road, Shiro's life quickly descends into hell-on-Earth as his morals crumble and those around him suffer and die. It's important that the viewer identify with everyman Shiro as he begins to wind down the slow road to hell, and by the time he does arrive at his final destination, it's easy to understand why he made the decisions that he did. Standing in stark contrast to the comparatively naturalistic Earth-bound scenes, Nakagawa's vision of hell is a surreal and technically masterful vision -- glowing with lakes of fire and shimmering with the flayed bodies of countless tortured souls. Nakagawa's hell is not a vision for the faint of heart or easily disturbed. It is here that Shiro's journey becomes both heartbreaking and horrifying as he makes his way through a phantasmogoric netherworld in search of his lost love and his unborn child -- all while suffering the endless torments of the damned. It's truly unsettling how Jigoku can remain so contemporary well into the new millennium, and though this isn't likely the first trip genre or fantasy fans have taken into the underworld, it's likely to be the one that remains most vivid and effective long after memories of What Dreams May Come have faded.

THE SPIRIT OF THE BEEHIVE

Widely regarded as a masterpiece of Spanish cinema, this allegorical tale is set in a remote village in the 1940s. The life in the village is calm and uneventful -- an allegory of Spanish life after General Franco's victory in the Spanish Civil War. While their father (Fernando Fernán Gómez) studies bees in his beehive and their mother (Teresa Gimpera) writes letters to a non-existent correspondent, two young girls, Ana (Ana Torrent) and Isabel (Isabel Telleria), go to see James Whale's Frankenstein at a local cinema. Though they can hardly understand the concept, both girls are deeply impressed with the moment when a little girl gives a flower to the monster. Isabel, the older sister, tells Ana that the monster actually exists as a spirit that you can't see unless you know how to approach him. Ana starts wandering around the countryside in search of the kind creature. Instead, she meets an army deserter, who is hiding in a barn. The film received critical accolades for its subtle and masterful use of cinematic language and the expressive performance of the young Ana Torrent.

Director Victor Erice's films, with his painterly images, languid pace, and patient working methods (three films in the past 30 years), are reminiscent of the lyricism of Terrence Malick. The Spirit of the Beehive is about a little girl who, in the child's dreamy desire to make sense of her world, constructs a Frankenstein monster of both benevolence and violence. Its depiction of childhood is tender, the story simple and clear. Yet what makes the film so gorgeously affecting is its summoning of a difficult to grasp intensity beneath its placid surface, where emotional extremes take on a supernatural aura and hover in the chest like a thick tremulous cloud. Realizing one's "spirit" involves a melancholy understanding of life's random potential for joy and sorrow and that the switch can be sudden, as when the Frankenstein monster switches from playing with to killing a child. This amalgam of conflicting emotions comes from humanity and yet seems to operate from without, and is a wonderful metaphor for the swirl surrounding war. (The Spanish Civil War has ended but the stink still hangs in the air like an uneasy mist.) Ana's spirit is her own, but the title refers to the universality of this essence. With her wide and brown-as-a-chestnut eyes and shyly bold demeanor, Ana Torrent is exceptional as Ana. In her search for the spirit she registers the complicated layers of a child realizing death. Erice elicits another fantastic young performance from Isabel Telleria, who plays Ana's older sister Isabel with a mischievous, vaguely menacing air. Achieving a beauty of ache-inducing intensity, cinematographer Luis Cuadrado shoots the Castilian village and countryside using astounding gradations of wheat and amber colors.

Ich werde noch verrückt, ich habe eine Hausarbeit über Balazs zu schreiben, aber stattdessen denke ich 24 stundenlang nur daran, was für DVDs und CDs ich unbedingt kaufen muss - Hiiilfe!!!!!!! Ich bin abhängig

doch ein bisserl bunt das Cover... oder? Da lob ich mir das reduzierte, deutsche Kinoplakat! Aber wie war das nochmal? Never judge a book by it´s....

@ cveidt: "the hills have eyes remake" kann man sich schon anschauen, allerdings sollte man sich halt nix Grossartiges erwarten. Ideal für verregnete Sonntag-Nachmittage, wenn man am Vortag etwas exzessiver unterwegs war... Hirn ausschalten und geht schon! 

Beitrag geändert von jogiwan (07.September 2006 13:20:43)

Das schaut schon netter aus... Ich habe bei Amazon geschaut. Da heisst es abwarten...