is nothing original, but as I enjoy it from the lists I will repeat what I did Last year, for which I'm staying with the ten literary and cinematic moments that I think will remain in my memory. I know this is a bit exhibitionist and narcissistic (is not that the essence of a blog?), but not I can approach the year just a more objective one:). We started to film.
Manoel de Oliveira
No doubt that this has been their year, as much as its centenary met a few days ago, has not been just media coverage. So it seems in Portugal has done something and, for our part, at least in Madrid have been afortunadísimos to enjoy the Film of a complete retrospective of his work , visiting teacher included. The only thing that gives a bit of grief is the low coverage, both media and institutional levels (embarrassing day of the tour de Oliveira, who was alone in the room to overflowing, when they finished the run, interview photos, and finally going to start the movie, two entire rows of politicians from the Portuguese embassy and do not know if from somewhere else got up and left), which has led to a somewhat lukewarm response from the public. Anyway, it was a joy to his followers, and a unique opportunity to see certain movies.
EDWARD YANG
Another Film cycle, and even less responsive to the public. I had previously only seen Yi Yi, which I love, but Yang showed in his seven previous films and was a major name in contemporary cinema. A pity his early death and how little is done to your film, being in a limbo somewhere between an auteur more moderate and glare Tsai Ming Liang's aesthetic and, above all, his friend Hou Hsiao Hsien, who sponsored the Taiwanese New Wave. However, it seems to me not less brilliant than personal or neither.
NEW GARREL
still shocked by his latest creation, dawn The border, this has been a year that I've also been enjoying two of the most important films of race (although Garrel's hard to choose): L'enfant secret and J'entends plus la guitare. Seldom in the latter has been more narrow, violent and necessary film-life relationship.
MAY 68
Much has been made this year's 40th anniversary of the May 68 French. And as such, has spoken of the student revolts of the Cannes festival, the Nouvelle Vague, Godard's ... The mainstream media have done everything that an icon, treating it with a superficiality that comes to frighten, but in other circuits have also been able to see what was really behind and sediment originated. On the subject there are several important films (I can not name two weaknesses as The Mother and the Whore réguliers and Les Amants), and I was able to take courses like the important DocumentaMadrid or DVD editions to discover gems like the bottom of the air is red, Chris Marker, or the spirited creations of Godard and the group D. Vertov. Unfortunately, I could not go to any other film series on the topic that was done in the Reina Sofia and also aimed too high.
DISTANT VOICES has also been the year of my discovery of Terence Davies, of which I have seen three films. Superb result The Long Day Closes and more classic The House of Mirth, but my favorite is the masterpiece that makes the whole entire decades old British social cinema of the day: Distant voices, which for years had heard that it was a film anchored aging and its joint. What a surprise to see it! Few directors have a vision or evocative as Terence Davies, who sows wrap films of metaphors and ellipses and transitions between scenes are breathtaking. His visual poems appeal to all senses, and one cast, a cut scene of his, worth more than miles of film of their peers.
COEN / PTA
To contrast with the above and give some optimism to the list, this year has surprised for good business by receiving some excellent films, with narrative forms which do not look like that are fashionable to break box office, and who have triumphed even in Oscar . I mean No Country for Old Men and There Will Be Blood, the Coen brothers and Paul Thomas Anderson. It is also true that the consensus on these films is not widespread, and I believe that the ambitious journey of Paul Thomas Anderson could have been even more successful, but give a point of hope for films that attempt to advance the standards of commercial cinema.
Liebelei
A Max Ophüls all-time classic that until recently was impossible to see. To demonstrate that the Austrian artist masterpieces also made long before its passage by the U.S.. With a little less baroque style in its latest creations, Liebelei is light, funny and corrosive irony and shows a subtlety is narration and description is the house brand of the best Ophüls. Many great directors of today are the sons bottom ...!
Paranoid Park Paranoid Park Van Sant brings us a more narrative after his death trilogy, which seems (see what awaits us in January) the author mainstream desvolvernos least we like Will Hunting or Forrester. However, Paranoid Park is a great movie, at times brilliant and unsurpassed, able to get us to Dostoevsky in his particular universe of distressed adolescents through formal treatment less minimalist than his later works, but happy to experiment in other ways.
CRUCIFIED LOVERS
Another classic no doubt that he had not seen so far, with the help of an all-pervasive in this type of list: Kenji Mizoguchi . Set in the dazzling stretch in the Japanese director's career when it seemed he would not have time to show everything I had to give the world, crucified lovers is the best example of melodrama perfect, simple but exquisite in their execution, just with the characters and with irreproachable ethics cinematic exudes a wisdom that goes beyond an artistic creation. And all this without sacrificing emotion, argument, and even tears.
INDIA SONG
Finally, the most famous film of Marguerite Duras, usually eclipsed by the fame of its sister film, Last Year at Marienbad. Perhaps the Resnais ultimately have been more influential in the future of cinema, but we must not lose sight of India song, and not neglect the subtle relationships of this strange trio of Resnais, Duras and Robbe-Grillet. In any case, the hand of Duras has some advantages over that of Resnais, and the movie comes out less pompous, perhaps even more arid, and with a load of pretentious, I think, fortunately much lower. A Hard tiing not so much interested in a particular argument, but let us live the feelings pure an evocation of somewhere between dreams, legend and reality.
Manoel de Oliveira
No doubt that this has been their year, as much as its centenary met a few days ago, has not been just media coverage. So it seems in Portugal has done something and, for our part, at least in Madrid have been afortunadísimos to enjoy the Film of a complete retrospective of his work , visiting teacher included. The only thing that gives a bit of grief is the low coverage, both media and institutional levels (embarrassing day of the tour de Oliveira, who was alone in the room to overflowing, when they finished the run, interview photos, and finally going to start the movie, two entire rows of politicians from the Portuguese embassy and do not know if from somewhere else got up and left), which has led to a somewhat lukewarm response from the public. Anyway, it was a joy to his followers, and a unique opportunity to see certain movies.
EDWARD YANG
Another Film cycle, and even less responsive to the public. I had previously only seen Yi Yi, which I love, but Yang showed in his seven previous films and was a major name in contemporary cinema. A pity his early death and how little is done to your film, being in a limbo somewhere between an auteur more moderate and glare Tsai Ming Liang's aesthetic and, above all, his friend Hou Hsiao Hsien, who sponsored the Taiwanese New Wave. However, it seems to me not less brilliant than personal or neither.
NEW GARREL
still shocked by his latest creation, dawn The border, this has been a year that I've also been enjoying two of the most important films of race (although Garrel's hard to choose): L'enfant secret and J'entends plus la guitare. Seldom in the latter has been more narrow, violent and necessary film-life relationship.
MAY 68 Much has been made this year's 40th anniversary of the May 68 French. And as such, has spoken of the student revolts of the Cannes festival, the Nouvelle Vague, Godard's ... The mainstream media have done everything that an icon, treating it with a superficiality that comes to frighten, but in other circuits have also been able to see what was really behind and sediment originated. On the subject there are several important films (I can not name two weaknesses as The Mother and the Whore réguliers and Les Amants), and I was able to take courses like the important DocumentaMadrid or DVD editions to discover gems like the bottom of the air is red, Chris Marker, or the spirited creations of Godard and the group D. Vertov. Unfortunately, I could not go to any other film series on the topic that was done in the Reina Sofia and also aimed too high.
DISTANT VOICES has also been the year of my discovery of Terence Davies, of which I have seen three films. Superb result The Long Day Closes and more classic The House of Mirth, but my favorite is the masterpiece that makes the whole entire decades old British social cinema of the day: Distant voices, which for years had heard that it was a film anchored aging and its joint. What a surprise to see it! Few directors have a vision or evocative as Terence Davies, who sows wrap films of metaphors and ellipses and transitions between scenes are breathtaking. His visual poems appeal to all senses, and one cast, a cut scene of his, worth more than miles of film of their peers.
COEN / PTA
To contrast with the above and give some optimism to the list, this year has surprised for good business by receiving some excellent films, with narrative forms which do not look like that are fashionable to break box office, and who have triumphed even in Oscar . I mean No Country for Old Men and There Will Be Blood, the Coen brothers and Paul Thomas Anderson. It is also true that the consensus on these films is not widespread, and I believe that the ambitious journey of Paul Thomas Anderson could have been even more successful, but give a point of hope for films that attempt to advance the standards of commercial cinema.
Liebelei
A Max Ophüls all-time classic that until recently was impossible to see. To demonstrate that the Austrian artist masterpieces also made long before its passage by the U.S.. With a little less baroque style in its latest creations, Liebelei is light, funny and corrosive irony and shows a subtlety is narration and description is the house brand of the best Ophüls. Many great directors of today are the sons bottom ...!
Paranoid Park Paranoid Park Van Sant brings us a more narrative after his death trilogy, which seems (see what awaits us in January) the author mainstream desvolvernos least we like Will Hunting or Forrester. However, Paranoid Park is a great movie, at times brilliant and unsurpassed, able to get us to Dostoevsky in his particular universe of distressed adolescents through formal treatment less minimalist than his later works, but happy to experiment in other ways.
CRUCIFIED LOVERS
Another classic no doubt that he had not seen so far, with the help of an all-pervasive in this type of list: Kenji Mizoguchi . Set in the dazzling stretch in the Japanese director's career when it seemed he would not have time to show everything I had to give the world, crucified lovers is the best example of melodrama perfect, simple but exquisite in their execution, just with the characters and with irreproachable ethics cinematic exudes a wisdom that goes beyond an artistic creation. And all this without sacrificing emotion, argument, and even tears.
INDIA SONG
Finally, the most famous film of Marguerite Duras, usually eclipsed by the fame of its sister film, Last Year at Marienbad. Perhaps the Resnais ultimately have been more influential in the future of cinema, but we must not lose sight of India song, and not neglect the subtle relationships of this strange trio of Resnais, Duras and Robbe-Grillet. In any case, the hand of Duras has some advantages over that of Resnais, and the movie comes out less pompous, perhaps even more arid, and with a load of pretentious, I think, fortunately much lower. A Hard tiing not so much interested in a particular argument, but let us live the feelings pure an evocation of somewhere between dreams, legend and reality.
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