suspectre

mizoguchi:

sergeiparajanov:

Hey, the list kept growing as someone gave me a playlist of movies I could find on Youtube. I’ll be sure to cite their tumblr and playlist at the end.

FASSBINDER

• Lola / The Marriage of Maria Braun / WORLD ON A WIRE PT1PT2 / Veronika Voss

TSAI MING-LIANG

• Walker / The Hole/Dong / What Time is it There?

JODOROWSKY

• Santa Sangre / Holy Mountain

FRITZ LANG

• The Nibelungen Saga 4 Hours Complete / M

KIM KI-DUK

• The Isle (Seom) / 3-IRON / 

LEOS CARAX

• Tokyo! / Merde / Pola X

WOODY ALLEN

• Hannah and Her Sisters / Radio Days

WONG KAR-WAI

• Days of Being Wild / As Tears go by

OTHERS

• La Double Vie de Veronique / Shadows, Cassavetes / Shock Corridor, Fuller / The River, Renoir / The Red Shoes, Powell / Pastoral: To Die in a Country, Terayama / Shivers, Cronenberg / Harakiri, Kobayashi

Again, I’ll try to get more movies for you guys to enjoy but this and the previous list should be enough for now. Here’s the tumblr user that helped: dylzo If I tagged you I feel that you would appreciate the list more and help get it out there. 

MANI KAUL

• Duvidha / A Historical Sketch of Indian Women / Siddeshwari / The Gaze  The Cloud Door

RITWIK GHATAK

• The Cloud-Capped Star / The Golden Thread / The River Named Titash

MRINAL SEN

• Mr. Shome / The Ruins / The Case is Closed / The Confined / Calcutta 71 / Up in the Clouds / The Marginal Ones / In Search of Famine / My Land / And Quiet Rolls the Dawn / 

SATYAJIT RAY

• Charulata: the Lonely Wife / Days & Nights in the Forest / Sadgati / The Adversary / The Music Room / Company Limited / The Hero

LINO BROCKA

• Orapronobis / Manila - The Nail of Brightness / My Father My Mother

NACER KHEMIR

• The Dove’s Lost Necklace / The Wanderers of the Desert

NAOMI KAWASE

• Sharasojyu / See Heaven

DARIUSH MEHRJUI

• The Cow / Hamoun / Leila 

YOUSSEF CHAHINE

• Cairo As Told By… / The Iron Gate

OTHERS

• The Lemon Tree (Eran Riklis) / The House is Black (Forough Farrokhzad) / Jenin Jenin (Mohammed Bakri) / Daughters of the Dust (Julie Dash) / The Plea (Tengiz Abuladze) / A Song of Love (Jean Genet) / A Page of Madness (Teinosuke Kinugasa) / Xala (Ousmane Sembene) / Sambizanga (Sarah Maldoror)

deadgirlfriends:

barney hoskyns in a facebook post called STOP WORKING FOR FREE, 2013

-

“Given all the incredible suffering in the world I wonder, what is art for, really? If the collected works of Shakespeare can’t prevent genocide, then, really, what is it for? Shouldn’t we be spending the time and resources alleviating suffering and helping other people instead of going to the movies and plays and art installations? When we did Ocean’s Thirteen the casino set used $60,000 of electricity every week. How do you justify that? Do you justify that by saying, the people who could’ve had that electricity are going to watch the movie for two hours and be entertained—except they probably can’t, because they don’t have any electricity, because we used it. Then I think, what about all the resources spent on all the pieces of entertainment? What about the carbon footprint of getting me here? Then I think, why are you even thinking that way and worrying about how many miles per gallon my car gets, when we have NASCAR, and monster truck pulls on TV? So what I finally decided was, art is simply inevitable. It was on the wall of a cave in France 30,000 years ago, and it’s because we are a species that’s driven by narrative. Art is storytelling, and we need to tell stories to pass along ideas and information, and to try and make sense out of all this chaos.”

 

steven soderbergh in his “state of cinema” talk, 2013

 

-

 

“I would also argue that these acts — Bowie and My Bloody Valentine, but to an extent also Daft Punk and Boards of Canada, whose rise to eminence predates the broadband era - are Analogue System creations, whose high stature in the popular imagination stems from the ability of the old Analogue System (i.e. major labels, centralised music media, etc) to build  legends (even semi-popular legends or cult legends in the case of My Bloody Valentine,  in which particular case it also worth remembering that the music of m b v wouldn’t evenexist without the extraordinary largesse of Island Records for the better part of an entire decade, their belief in investing in music’s outer edge).   In other words, these comebacks are the reactivation of latent or dormant or stored monocultural energy…. the recapitalization of assets accrued and built up in the past  through a system that has now almost wholly crumbled away and whose replacement, the Digital System is not, I suspect, creating phenomena with equivalent mythic profile or durability….  or future reactivate-ability.”  

 

simon reynolds on his retromania blog, 2013

 

-

 

“So then there’s the expense of putting a movie out, which is a big problem. Point of entry for a mainstream, wide-release movie: $30 million. That’s where you start. Now you add another 30 for overseas. Now you’ve got to remember, the exhibitors pay half of the gross, so to make that 60 back you need to gross 120. So you don’t even know what your movie is yet, and you’re already looking at 120. That ended up being part of the reason why the Liberace movie didn’t happen at a studio. We only needed $5 million from a domestic partner, but when you add the cost of putting a movie out, now you’ve got to gross $75 million to get that 35 back, and the feeling amongst the studios was that this material was too “special” to gross $70 million. So the obstacle here isn’t just that special subject matter, but that nobody has figured out how to reduce the cost of putting a movie out. ”

 

soderbergh’s state of cinema address again

 

-

 

9. new young artists whose content is loop-based, modular, capable of being quickly understood and cheaply produced (e.g. rap, electronic dance music, n.b. this is not a value judgment)

 

nick sylvester’s list of people who profit from accelerated music hype cycles again