Tag: luis bunuel

Best Things 2014, Part II: Movies

Cinema January 19, 2015

The most devastating film I watched last year was Kirill Serebrennikov’s Yuri’s Day (Russia, 2008). To my knowledge it is not available on DVD, or via usual other means, so I’m extremely grateful to the kind people who screened this right before I left Bangalore for Denver.

Here are the other films, listed alphabetically by director, I watched last year that affected me equally, or almost as much, or somewhat:

Vadim Abdrashitov. Parade of Planets. 1984.

Vadim Abdrashitov. Parade of the Planets. USSR, 1984.

Michelangelo Antonioni. Blow-Up. UK, 1966.

Have you ever thought you’d seen a movie you hadn’t actually? For years I’ve gone around thinking I’d seen Blow-Up and then a few months ago I realized I was completely mistaken. Rectified.

Gabriel Axel. Babette’s Feast. Denmark, 1987.

Mainly for the crazy food.

Luis Buñuel. Viridiana. 1961.

Luis Buñuel. Viridiana. Spain/Mexico, 1961.

My new favorite Buñuel.

Peter Brooks. Marat/Sade. 1967.

Peter Brooks. Marat/Sade. UK, 1967. Read More

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Best Things I Watched in 2013

Cinema, Dance June 24, 2014

I seem to check up on my website/blog about once a month. This month I discovered a draft post listing all the best movies I watched in 2013. I guess it’s all right to post it now, six months after the fact.

I’m fairly certain these are all movies I watched for the first time last year—nothing I re-watched, which, as it turns out, I do a lot these days.

For a brief moment I attempted to categorize these by genre but that didn’t work out. Also, it occurs to me to mention: I watch enormous quantities of television not accounted for in this list, partly because I don’t keep track, partly because the list of truly excellent television is pretty limited.

OK, some random comments may be found below, if I feel like it.

Robert Altman. The Company. USA, 2003.

Robert Altman. The Long Goodbye. USA, 1973.

Robert Altman. Thieves Like Us. USA, 1974.

Altman = my favorite American director. But I always assumed he sort of lost it during the ’80s and after. So The Company quite surprised me—and the video above is stunningly realized. It’s very much in the Altman scheme of things: the way you see and hear everything as it were. It is also unlike most recordings of dance I’ve seen, given that we experience the external conditions of the dance itself—the dispersed energy of the audience, the weather, the anxieties off stage—in this horizontal, cinematic way.

Aleksey Balabanov. Me Too. 2012.

Aleksey Balabanov. Me Too. Russia, 2012.

Balabanov’s last film, eerily prophetic. Read More