Since it is Valentine’s Day, here is something I deeply love about the movies: the design and art of opening title sequences. A history from the early Edison reels to Gaspar Noe’s Enter The Void, the opening title sequence has come a long way in 100+ years.
Despite seeing nearly 100 films combined at TIFF 2015, Ryan from The Matinee and Kurt indulge Andrew by getting out to the multiplex to see the latest Johnny Depp performance, as James “Whitey” Bulger in Black Mass. We have a
But wait, there is more.
Ryan and Andrew have a Watch List which includes re-evaluated Spielberg, various Afflecks and a new-ish film starring Matthew Broderick. Hunker down with your favorite blankie, take out your blue contact lenses, and settle in for the show!
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
What space would be possible for avant-garde French director, Gaspar Noe to go after Enter The Void? Well, clearly, a 3D sex film that could play Cannes was the direction he took, and indeed, it played (somewhat muted in response however) at the festival in May. Love in 3D now has a teaser trailer that gives new definition to ‘fade to white.’ Need I say that this one is not for watching in casual mixed company?
The trailer is tucked under the seat.
Back in 2009, when Enter The Void quickly rose to the top of my ‘best of the year’ list (and likely in the running for ‘best of the decade’ list), I made the blithe comment that the man should just retire himself, because HOW TO DO YOU TOP THAT? Well, 5 years later, I am more than happy to see another film come out, and in fine Noe fashion, it features an eye catching, provocative poster. Body fluids and indulgence and taboo breaking are clearly on the menu here. The teaser poster for Love is not a tableau style bit of marketing, like the recent character and group posters for Lars von Trier’s Nymphomaniac, this is right in close and personal to a threesome. Right in the mouth, in fact. And is that title image saliva or semen? Things could go either way.
There was only one Stanley Kubrick, a filmmaker who combined philosophy, virtuouso filmmaking and an icy, precise look at humanity and its foibles. Zoom-ins, steadicam shots work, and operatic use of music were the tools of his auteur brand of cinema. While there are certainly a few modern films out there films are referred to as Kubrickian, it is a significantly smaller number than those described as Hitchcockian or Spielbergian. Simply put, Kubrick was hard to even imitate, let alone emulate, or push forward his particular style and type of filmmaking. But cinema evolves by younger filmmakers taking large chunks (wholesale) from filmmaking legends; like any art or science (and film seems to be a curious hybrid of both.) If Quentin Tarantino is the neo-Scorcese, Brian DePalma was the neo-Hitchcock (wither DePalma lately?), and Guy Ritchie was (up until he went all block-buster-y with the more generic Sherlock Holmes) a sort of neo-Tarantino., then here are five directors who have made a film that can easily be described as Kubrickian, enough to position them (in my mind anyway) as neo-Kubrick hopefuls.
The MOVIE CLUB EXTREME edition is now available at the Movie Club Podcast website. Episode #20 features lengthy spoiler-filled discussions of Takashi Miike’s Visitor Q and Gaspar Noe’s Irreversible. The guest contributors for this episode are Film Junk‘s Sean Dwyer and The Documentary Blog’s Jay Cheel, Where The Long Tail Ends‘ James Gillham and local Row Three writers Marina Antunes and Kurt Halfyard. Listener discretion is advised as everything from CGI penises to Breast Milk snow-angels are up for discussion.
The Movie Club is as much for the listeners as it is the contributors. Feel free to leave your thoughts in the comments section over at the Movie Club Page. (Comments are turned off on this post.) The Next Episode will be recorded in January and the films on discussion will be F for Fake and Catfish.
We have talked about it at length in these parts. Three of the regulars (Kurt & the Mamo! Matts) think it was the cinematic highlight of 2009 on the festival circuit and it is coming to a few select screens in 2010 courtesy of IFC. Do what ever you can to catch Gaspar Noe’s hallucinogen (Warning: photosensitive epileptics beware!) on as big of a screen possible. Kurt reviewed the experience at TIFF.
Apple.com has the new North American Trailer and it is tucked under the seat!
Would you like to know more…?
It kind of goes without saying that the latest teaser trailer (appropriate, considering the subject matter, to be released on Easter Weekend) for gonzo life-after-death head-trip Enter The Void (our Review) is *NSFW.* The last few promo bits, and the film itself are filled with nudity, sex and a bit of the old ultraviolence. So I will warn you anyway. Here, Noe (or at least the fellow who cut the trailer) is labeling the film a Gaspar Noe “party.” It is not exactly that, but it is one of the best films to come along in a while (no hyperbole, but it can be labeled and “experience” in the visceral sense of that word), and is landing in North America at the end of May.
And if you missed it, here are the delightfully eye-melting opening credits of the film.
The teaser is tucked under the seat.
- Georges Melies: The Most Important Filmmaker You’ve (Probably) Never Seen
“What do the following have in common: magic tricks, science fiction, ghosts, oversized insects, space aliens, vampires, the Devil, fairy tales, color, product placement, historical re-enactments, docu-drama, animation and pornography? The twofold answer is that they are all common elements in contemporary movies—and they were all first rendered in motion pictures by one remarkable man, French magician-turned-filmmaker Georges Melies.”
- Justice is Messy
Is the Roman Polanski case nearing its end? A three-sentence [court] order said, without explanation: “This court has determined that proper review in this matter requires examination of the transcript of the conditional examination of Roger Gunson.”
- Gaspar Noe talks ENTER THE VOID
“Gaspar Noe was in Hong Kong last week to screen his epic, experimental, head trip ENTER THE VOID as part of the 34th Hong Kong International Film Festival and Twitch spoke to him about the film – its origins, influences, intentions – and that ending!”
- A Decade with Takashi Miike
“Incorporating sources as diverse as these—as well as many, many others—Miike’s films suggest a common ground where all moviemaking can converse. Not since Jean-Luc Godard in the 1960s has a filmmaker’s approach to cinema been this holistic. But when Godard started making films, the distance between Antonioni and Monogram Pictures (to cite two poles of art and commerce) was not nearly as large as the gulf that today separates Bruckheimer and Costa. To bridge these two in a single film is to risk madness, but such wild combinations also carry the promise of new discoveries, perhaps a new cinema that makes old distinctions irrelevant. “
- Anime’s female role models
“If I had a small daughter, I would try to wean her away from Edward Cullen and Miley Cyrus and towards such anime series as the thrilling steampunk saga Nadia: Secret of Blue Water – inspired by Jules Verne, conceived by Miyazaki and featuring a 14-year-old lion tamer/acrobat in 1889 Paris. And I would teach her to read subtitles, so she wouldn’t have to settle for naff dubbed versions.”
- David Mamet’s 2005 Memo/Manifesto to the writers of THE UNIT
“There is no magic fairy dust which will make a boring, useless, redundant, or merely informative scene after it leaves your typewriter. *YOU* The writers, are in charge of making sure *EVERY* scene is dramatic.”
You can now take a look at RowThree’s bookmarks at any time of your choosing simply by clicking the “delicious” button in the upper right of the page. It looks remarkably similar to this:
As 2009 films go, there is a lot of love around these parts for Gaspar Noé‘s sensational masterpiece Enter The Void: Three of the dozen or so contributors to Row Three chose it as their ‘best film of 2009’ and it should bear mentioning that they were the only three that saw it! Hyperbole aside, I am well aware that this tour-de-force opening credit sequence does not play nearly to the effect of seeing this on a massive screen, but for sheer insanity (and complete lack of practicality), I offer them to you in all their garish, electronic, spastic, GLORY!
Those wondering if the film is as assaultive as the below credit sequence, well, it is and it is not (Row Three Review). The film is not as directly punishing as Noé’s previous Irreversible; rather, Enter The Void is more melodic and breezy for the most part and this sequence is the most prankster-ish element. Enjoy.
The second part of episode 139 concentrates all of our remaining energy on recapping the ’09 TIFF experience. A top 5 list of sorts as well as a complete wrap-up and overview of the Midnight Madness programming from Colin Geddes. And yeah, we’re up til 4am… for YOU!
Thanks for listening!
Click the Audio Icon below to listen in: