As we continue our quest to be the 26th director of this years ABC’s of Death film, we need all the help we can get. If you feel like you have the time, please check this out and like by simple hitting the like button. Thank you!
A man has the most delicious burgers you’ll ever try, but what are they made of? You’ll never know unless you watch.
This movie looks likely to be a blockbuster next year. Why? Because there are big ass awesome monsters in it and they’re recking shit.
My guess is this film is going to be a big draw in 2013. Check out the trailer below, you will not regret it.
You want to see a good adaptation of a play turned onscreen film? Go see Roman Polanski’s Carnage.
The film is entertaining for all 79 minutes, which is impressive considering the movie is just one continuous conversation. Most fascinating is how the setting remains constant throughout the film. The first line of dialogue starts in the apartment and the last line ends in the apartment. The scene never changes.
The film is essentially two couples effort to settle a dispute between their boys.
However things don’t go as planned. The couples end up bickering more than they do solving any issues, turning into children themselves in the process. As everything spirals out of control, the audience is held witness to the fact that adults can be just as childish, if not more childish than their kids sometimes.
The film is easily one of the best this year, but due to limited release it probably won’t get much love during the present award season. Polanski manages to be innovative in that he shows just how much can be done with excellent dialogue and great acting.
The film stars, John C. Rielly, Jodie Foster, Kate Winslet and Christoph Waltz in an unforgettable film.
The Arcade Fire have put their collective genius together once again, to create yet another awe inspiring-interactive music video. Their latest video from their must recent album The Suburbs, features the hit track Sprawl II: Mountains Beyond Mountains.
The track is their most impressive piece from their Grammy winning album. The video features co-front woman Regine Chassagne dancing along to the song as she always does during live performance, while walking around an unfamiliar town. Various cuts of other groups of people dancing with weird face paint is intercut with Chassagne’s joyful dancing.
This is the third music video the Arcade Fire has made interactive. Their first two were Neon Bible and We Used to Wait. Which are also very entertaining.
Sprawl II uses your computer’s web cam to capture your movements dancing, which in turn either increases or decreases the frame rate of the music video. It’s worth trying at least once.
However if your not into dancing in front of your computer. There is also a traditional non-interactive video as well. I will post the traditional one for your viewing pleasure. If you want to to try the interactive one just go here.
Lars Von Trier’s Europa is a unique take on post WWII Germany that could easily be defined as a war drama/mystery. The film is at times hard to follow and yet at the same time suspenseful and deeply emotional. It’s easy enough to understand for a film devotee, however for the typical viewer they may get held up on the complexity of the film, in the process failing to get the bigger picture of the film itself.
It’s inaccessibility to typical viewers is perhaps the main reason why this film has never had real mainstream success, despite being well made. This film is in many ways Von Trier’s experimental film. In this paper I will discuss the experimental nature of this film and how it pertains to the genre itself, in doing so I hope to shine a light on the visual expertise of this film while enlightening future viewers to watch this film with the mentality of focusing on visuals over actually plot elements. A lot can be gained from focusing on a director’s visual style in dissecting plot elements, because many visual elements are meant to illicit specific feelings from the viewer. In Europa I feel there is plethora of unique visual experiences that should be dissected.
Having never seen Europa before now, the opening moments of the film really stuck out. The film opens with a high angle shot of train tracks moving rapidly, as if to give the feeling of actually moving along the track. As the track begins to hypnotize you, a voice over begins, inviting the viewer to take a journey back to Europa. The voice asks for you to listen to his voice as he counts to ten. When he gets to ten he asks you to mentally visualize yourself in Europa. The combination of Max Von Sydow’s droning voice and the melodramatic music in the background make for an intriguing opening to the film and it works well to grab the audience’s attention. Von Trier is attempting to directly place the viewer into the circumstances of the film. He wants us to feel that we have just taken a long trip on a train in order to arrive at our destination, in some ways this first scene feels like meditation. Sydow’s airy voice beckons us to feel what he says, and in doing so our bodies are being taken over by feelings described through his words.
Von Trier is setting a picture as well as a mental state; one of the main goals of experimental film is to make the viewer feel as if they have a direct connection to the film. Another words they are not merely just watching a film but expressing their own thoughts and emotions as if they were characters within the film. Von Trier successfully captures this feeling with his opening scene. In reality this is a story revolving around Leopold Kessler’s expedition to post WWII Germany, so what we are trying to visualize is his perspective, yet we have not been introduced to this character yet, thus making this one of the more intriguing parts of Europa.
Von Trier builds on the opening scene of his film, using a slew of other interesting, and riveting visual styles. One thing that is interesting is that for a film released in 1991, Von Trier does an exceptionally good job of making the film fell much older. His choice for the film to be in Black and White helps a great deal but it’s not just the simple choice for the film to be in black and white that gives it an older feel, but rather the overall timing and pacing of the film feels very deliberate, which reflects an older style of filmmaking. Simultaneously it makes us feel more present to the story as if we were actually there. The color choice of the film is one of the more interesting aspects of the style and genre of this film. This is so because while the story takes place mostly in black and white, Von Trier uses splashes of color to highlight certain elements of the film. In doing so his intention is to illicit an emotional response from the viewer that is similar to that of the character being illuminated.
When Leo Kessler first see’s Zentropa, after his uncle successfully gets him a job as a sleeping car conductor, it is the first time we see the use of this technique. Leo is rather taken aback by the train and his face is filled with color as if you can see that he is enticed by the prospects of his future career in Germany. This also occurs at several other crucial points in the film. For instance when Leo is first introduced to his love interest Katharina Hartman on his first time aboard Zentropa. The first shot we see is a P.O.V. shot from the perspective of Leo and what we witness through his eyes are Katharina reading a book and smoking a cigarette. What’s important however is that the whole shot is in color, highlighting the importance of this moment for Leo and thus for the viewer as well.
In Katharina he has found his love interest, as well as his antagonist. Von Trier wanted to make sure it was understood that these two characters would play a crucial part in the story together. Another crucial element of the color splashing technique is the questionnaire that Colonel Harris brings to Max Hartman the owner of Zentropa. The questionnaire holds great significance due to the fact that it was created as a way to establish which Germans sympathized with the Nazi’s. This was a necessary part of the reconstruction of Germany. However in the case of Max Hartmann he was freed of his misdeeds by Colonel Harris who got him off the leash by negotiating a deal with a Jewish man who owed Colonel Harris. By having this man sign papers that suggested that Hartmann sympathized with the Jewish, he was freed of his misdeeds, yet he carried a heavy conscious as a result. At this point in the film Max Hartmann takes a bath to relieve his stress but it gets out of hand as he committees suicide. The Scene is gory and emphasized with dark red colors of blood that run from the bath. This proves to be a turning point in the film.
The film continues on and as the story progresses new revelations are brought to the table. One of the most important revelations comes when we find that Katharina is a ‘werewolf’. This is shocking to Leo but she denounces her affiliation saying that it was long ago. Leo and Katharina do get married, but as we find out later it really turns out to be an elaborate ploy to have Leo commit an act of terrorism against the Zentropa company. At this point in the film we begin to actually see a specific type of genre coming to the forefront,which is a dramatic thriller.
In the concluding half hour of the film, Katharina gets abducted by the werewolves. In order to get her back Leo must detonate a bomb when the Zentropa crosses a specific bridge. Left with the unfortunate decision of killing hundreds of passengers or save his own wife, Leo eventually decides to save the train but he is too late and the train explodes as well as the bridge, sending the train tumbling into the river below. The film culminates in the same way it started with the airy voice of Max Von Sydow’s voice counting to ten. However this time he is counting to the death of Leopold Kessler. In doing this Von Trier ties the film together by making parallels to the beginning and end of our journey. At the same time it allows for the viewer to experience the suffering of Leo’s last fleeting moments of life.
This film exemplifies the idea of experimental film well because it leaves the viewer feeling as if they were just subjected to the events of the film as well. Each moment drives the next and each character seems to have qualities that attract the viewer to their personality. In all it makes for an interesting twist on the sometimes conventional thriller drama. What makes this different is that in many films similar to this genre we see directors use a much more straight forward approach to thrilling sequences and events, unlike Europa in which the sequences play out often very unconventionally. Lars Von Trier with this film has shown that he is an Auteur with his own unique style.
This film is rather challenging to watch at times because it can be very confusing and not necessarily straight to the point, yet it is classic cinema that cannot be overlooked due to its unique style. It is a film that I would recommend for others to watch, but I think it would be difficult to watch if you didn’t go into it with an open mind. As I have mentioned several times, this film is very experimental. Experimental films very rarely get the spotlight of the mainstream and this film was no exception.Von Trier even believed he was snubbed by the Cannes film festival when it was not selected for the top film honor. Whether or not it deserves that kind of honor is not up for me to decide but after viewing this film twice now I feel that it is a classic film that should receive precise and orderly examination. Lars Von Trier’s artistic integrity cannot be challenged, due to his ability to make such a striking and enticing film.
The future of the Internet is such a curious thing. Just look how far we have come in only the past decade. The speed of the internet and it’s vast capabilities continue to flourish in ways we never imagined. The Iphone is just the latest example of what the internet has become, a literal portable device that connects you to anyone, anywhere, anytime.
I see the smart phone as the next leap frog into the new generation of computers and internet access. As strange as it may sound the Iphone 10 years from now will seem primitive. Instead of a small computer you carry around in your pocket, most people will wear a device that literal turns your world into the internet, in theory creating an augmented reality for the user that will once again change the way we live.
Imagine your at the grocery store shopping for toilet paper, but you can’t decide which will be the softest and most appropriate for your needs. Right then your augmented reality kicks in and you are instantly seeing projected images with reviews and prices for the quality so that you can compare which is best without even typing anything.
That is the basic concept right there, no longer will you spend time searching for information on the internet but rather the internet will automatically do the searching for you and all you’ll have left to do is make a choice.
This type of technology will literally change society once again as a shift from world wide marketing to personal marketing will be born. If you’ve ever seen the movie Minority Report you’ll understand the concept I am imagining. It’s a world where advertising is made specifically to match the desires and interests of the person connected to the web. We are already seeing this come to fruition in the form of social networking.
This is how I see the Internet 10 years from now, but I expect that I will be taken by surprise once again when things I never expected become popular and prevalent in the year 2020. It is an exciting prospect that I am looking forward to greatly.