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Watched on Monday March 24, 2025.

Watched on Monday March 24, 2025.

One must confront vague ideas with clear images.

A Godard at his most daring, at his most brazen, a step away from his peak, if not already, a Godard as a poet, but an objective one, who criticizes everything he sees, even his own thinking, because, as the film indicates, "Maoism helps us think about everything objectively," or "only by seeing all angles, the shape of the subject, its points of illumination, and our own perspective can we understand the subject we are facing." Godard exposes a world situation, a social class, a cultural struggle, and different ideological perspectives, and to do so, he uses different approaches to illumination, approaches that make us question our own perspective on the matter, our participation in the ideological and cultural spheres.

The use of "pop culture" or "pop art," the constant anti-imperialist posters, the facial shots, the technical dialogues (extremely interesting), the different class or personal perspectives, Godard's signature (red, blue, white, yellow), some scenes are crazy—this whole combination makes La Chinoise not just a film, but an explosion of color, ideas, and feelings.

What I value most about this director is his ability to make so much havoc, which ends up being beautiful, his ability to break the rules and create art—perhaps that's what art is, breaking the rules... the unusual use of shots, the strange use of discourse, the scene on the train—that scene has to be one of the best I've seen, and it adds a lot to the story. It reminded me of the philosopher's scene in Vivre sa Vie, when for a moment he gives you a distant, but true, perspective after so much feeling, so many ideas, so much fury. Those lapses are necessary to see everything more clearly.

I really can't believe what I just experienced. A whole panorama has been thrown at me in such an unusual way that I can't help but be fascinated. Perhaps my best birthday present.

Ranked: Jean-Luc Godard
Ranked:Your recommendations
Ranked: '25 First Watches
Ranked: 1960's

HAPPY BIRTHDAY TO ME!!!

THANKS FOR ALL THE CONGRATS AND GREETINGS, I LOVE Y'ALL

I WANT THIS SIXTEEN TO BE SO CINEMATIC!!!

(2001 is my favorite film)

Proof that a single image worth a thousand words.
Proof that one picture can speak for a whole tragedy.
Proof that most of the society look for culture and not for art.
Proof that Godard can make a short film, an image or a filme mean a lot of things.

Is this a tragedy or a comedy? Either way it's a masterpiece.

A Woman Is a Woman is a simple story, but mostly well executed. Its interplay between drama, comedy, and parody, some well-used aesthetic devices, such as the letters, the color scheme, the constant white, red, and blue, and the silliness of the plot make for a completely engaging film.

Godard does that, turning simplicity into pure attraction, laughter into a universal song, and whimsy into something to empathize with. Anna Karina intensifies it, turning silliness, an act of love, an affair, into an explosion of colors, a smile, she turns into flowers for bees.

The love triangle works so well in this story; its dynamic becomes everyday and enjoyable, and Angela's relationship with both characters is completely functional to the plot.

I agree that it's not Godard's best work, but its roots in this film are clear; it's like an early version of his magnum opus, Pierrot Le Fou.

Ranked: Jean-Luc Godard
Ranked: 1960's

Now is the time for a digression in which to describe our heroes' feelings. Arthur keeps watching his feet, but his mind's on Odile's mouth and her romantic kisses. Odile is wondering if the boys notice her breasts moving under her sweater. Franz thinks of everything and nothing. He wonders if the world is becoming a dream or if the dream is becoming the world.

With each film directed by Godard that I watch, I increasingly feel that each one is marked by different stages, by different Godards, and this is reaffirmed here. Although it follows the style of Breathless, this film is very wild. It's like a recording that has been carried away by the wind, which is shaped with each minute, and at the same time, it improves over time. The second half of the story is truly intense, although the introduction isn't as compelling; after the dance scene, the film gets really adrenaline-pumping.

The ending is shocking, and with the story concluded, I think the handheld camera technique is very well chosen, giving that sensation I mentioned earlier: wild, messy, blurry.

Godard continues to break rules, continues to tear down typical strictures, and I can't believe anything goes wrong; it's all so... compelling.

Anna Karina's participation is essential. Without her performance, we'd have a truly boring story. I understand why she was the director's muse. She's the center of the story, the engine that activates all the mechanisms.

I don't agree that she's the most accessible aspect of this director. Perhaps his rhythmic and easygoing style isn't for everyone. Still, it's an essential film.

A minute of silence can last a long time... a whole eternity.

Ranked: '25 First Watches
Ranked: Jean-Luc Godard
Ranked: 1960's

Watched on Thursday March 20, 2025.

The more we talk, the less the words mean.

Chapters 1-3
(1. A BISTROT – NANA WANTS TO LEAVE PAUL – PINBALL
2. THE RECORD STORE – 2000 FRANCS – NANA LIVES HER LIFE
3. THE CONCIERGE – THE ION OF JOAN OF ARC – A JOURNALIST)
I find it exemplary and magnificent how Godard is able to give us a glimpse into both Nana's current life and personality in less than 20 minutes. Each chapter has at least one remarkable master detail, and the interweaving of the three is an incredible introduction. The shot of the first chapter flouts convention like nothing else; it doesn't need to show us any faces to know what's happening, the camera movement is so immersive, and the final pinball scene is iconic. The second panning shot might seem mundane, almost ordinary, yet we can sense a dawning despair in Nana. The final shot is masterful, distancing us from romantic discourse and grounding us in reality, creating a fascinating artistic divide. The third chapter takes center stage with the cuts to The ion of Joan of Arc. Nana's tears upon seeing the saintly child are so real, giving us a jolt of reality, a grounding. Nana is not a fictional character; Nana is Nana. The final conversation is as immersive as the first, albeit with a different use of camerawork.

I think we're always responsible for our actions. We're free. I raise my hand - I'm responsible. I turn my head to the right - I'm responsible. I'm unhappy - I'm responsible. I smoke a cigarette - I'm responsible. I shut my eyes - I'm responsible. I forget that I'm responsible, but I am. I told you escape is a pipe dream. After all, everything is beautiful. You only have to take an interest in things, see their beauty. It's true. After all, things are just what they are. A face is a face. Plates are plates. Men are men. And life... is life.

Chapters 4-7
(4. THE POLICE – NANA IS INTERROGATED 5. THE OUTER BOULEVARDS – THE FIRST MAN – THE HOTEL ROOM 6. YVETTE – A CAFE IN THE SUBURBS – RAOUL – MACHINE GUN FIRE)
Chapter 4 is masterful because we don't need to see the story to believe it, because we don't need any redundancy; that brevity is the necessary brevity. The same goes for chapter 5. Godard is a master of subtexts, his spontaneity is captivating. In this scene and the next, Anna Karina's performance is spectacular; she embodies the character. By Chapter 6, I'm speechless. It adopts a slow, ive pace, only to then shock us with another subtext. In less than a minute, it takes us away from the central story and places us in its context (the Algerian war). The camera movement merging with the sound of the machine gun is a totally daring technique. That's what Godard needed to take us out of romanticism again and confront us with harsh reality. Fantastic.

It's funny. Suddenly I don't know what to say. It happens to me a lot. I think first about whether they're the right words. But when the moment comes to speak, I can't say it. Why must one always talks? I think one should often just keep quiet, live in silence. The more one talks, the less the words mean.

Chapters 7-9
(7. THE LETTER – RAOUL AGAIN – THE CHAMPS-ÉLYSÉE 8. EVENINGS – MONEY – RESTROOMS – PLEASURE – HOTELS 9. A YOUNG MAN – NANA WONDERS IF HE'S HAPPY)
Nana's spiral toward marginalization, but more intense, a breathless, sordid way of life where a single moment of happiness can be invaluable. Chapter 7 once again envelops us in a very interesting conversational dynamic. Chapter 8 is brilliantly masterful. The use of close-ups and fleeting scenes is a magnificent representation of what the nightlife can be like, the world of pleasures and vanities, truly spectacular. Chapter 9 is a tension-relieving experience. Nana's dance may seem joyful, but in reality, it is profoundly sad...

Why must one always talk? Often one shouldn't talk, but live in silence.

Chapters 10-12
(10. THE SIDEWALK – A MAN – THERE IS NO JOY IN HAPPINESS 11. CHÂTELET PLACE – THE STRANGER – NANA, THE INVOLUNTARY PHILOSOPHER 12. THE YOUNG MAN AGAIN – THE OVAL PORTRAIT – RAOUL SELLS NANA)

Chapter 10 is the manifestation of a shocking but necessary crudeness. It pushes us, forces us to enter the corridors, to Peeking through the doors and wandering through that world, these scenes are spectacular.
Chapter 11 is more than a work of genius; it's so full of ideas, enigmas, and thoughts... This sporadic and spontaneous encounter is so full of meaning, yet at the same time empty, where we can either reach some conclusion or not, because that's how philosophy is.
There couldn't have been a better ending than Chapter 12, where the use of The Oval Portrait and the staging of a precocious "True Love" were also necessary, as was that tragic, heartbreaking and shocking ending.

+Shouldn't love be the only truth? -For that, love would always have to be true.

General:
Vivre Sa Vie is a film that, in its brevity, manages to be immense. A film that leaves us with much to think about, to question, to feel. The filming techniques, the editing, and the chapters seem perfect to me. Godard breaks the rules shamelessly, without losing an ounce of quality, without leaving his talent behind. The script is another brilliant point; the dialogue is very interesting.
Anna Karina's performance is spectacular; her off-camera glances capture the scene, an iconic performance.
I think it's one of Godard's best films, as he always knows how to portray realistic problems so romantically.
I thought it was a work of genius, a work of art, with an execution that borders on perfection.

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Ranked: Jean-Luc Godard
Ranked: Your Recommendations
Ranked: 1960's

I walked with a zombie. It does seem an odd thing to say.

Jacques Tourneur creates a truly immersive atmosphere, a play of light and shadow that merges with the mysterious ways of voodoo. The visuals are truly incredible, and the audio is spectacular.

The love square works very well, without needing more drama or too much romanticism, leaving the mystical and symbolic plot in focus, as it should be, creating that immersive and mysterious atmosphere I mentioned earlier.

The constant metaphors and symbolism give voodoo culture an even more enigmatic feel. Despite the racism involved, this atmosphere is very well contextualized, creating a sordid yet lustful, damp, cozy, and cold atmosphere.

Despite such a deviant, distorted, and formless theme to this day, I Walked With a Zombie is the most serious and respectable film in the subgenre.

Ranked: 1940's
Ranked: '25 First Watches

Watched on Monday March 17, 2025.

I don't know if I'm unhappy because I'm not free, or if I'm not free because I'm unhappy.

The plot is simple, the elements are cotidiane and familiar. A man, a woman, a crime, an escape. The execution is magnificent, resolved with a youthfulness, a freshness that is easily confused with nihilism. Godard is always a wave of freshness, always breaking with the original and often tedious structure of cinema, and he always does it in different ways. Here he does it in a sloppy, disastrous way, and even so, it's still good.

In A Bout De Souffle, any complexity is superfluous; its simplicity is its strength. The hedonism of the characters is the main attraction, utilizing the concept that is never superfluous, and that no one portrays better than Godard: spontaneous love, the ing of time with another person, the gentle caress, the immortal kiss. The Parisian aesthetic of the 1960s always steals the scene, and the soundtrack is spectacular. Godard is only just beginning to emerge and is already revolutionizing.
Thanks to JustAndy and Jota for recommend:)

- Do you know William Faulkner?
+ No. Who's he? Have you slept with him?

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Ranked: Your Recommendations
Ranked: Jean-Luc Godard
Ranked: '25 First Watches
Ranked: 1960's

Some years from now, when I have forgotten you and other romances like this one have recurred through sheer habit, I will you as a symbol of love's forgetfulness. This affair will remind me how horrible forgetting is.

Every moment I live is filled with fear. Every time I see a sunset, a film, a person, I see them with fear. Every time I see my friends, I see them with fear. When I hold someone's gaze, when I exchange smiles, I exchange them with fear. It's not just any fear, it's the fear of forgetting everything, or of ing it wrongly, of letting go of an event that shapes us as a person, unconsciously burying it somewhere with no return, drowning it and crushing it, a memory that will gather dust, until it becomes dust itself.
That fear is what helps me live more intensely, to experience every moment as if it were the last, to feel the sea as if it never existed again, to smile and hug again. Yes, maybe I forgot, but I lived it.
That fear is what drives me to record my thoughts, my perspective, my point of view. That fear is what drives me to create, what transports me to a trance from which I never want to return, to dance to an endless jazz, which may be the last time I hear it. That fear is what drives us to love, intensely, to become one with each other, to make fire from friction, a fire that never turns to ash.

Time will . Only time. And time will come. A time will come, when we can no longer name what it is that unites us. The name will gradually fade from our memory. Then it will disappear entirely.

But Hiroshima, Mon Amour is much more. It is the story of a perpetual love, sealed by death itself, the story of two cities, painted with messy, miscellaneous strokes, which from my perspective is the only, the best way to tell all this.

Hiroshima, Mon Amour has the courage to be a phoenix, reinventing many stories in the wake of a tragedy. It is the green shoots after the fire. It is the search for life after death, for terrible atrocity, for sinister evil. Just as from the fear of oblivion one lives more intensely, from war comes love, from inhumanity comes attachment.

The French New Wave changed cinema in many ways, but above all in the sense of experience, so much so that Hiroshima Mon Amour is an experience I don't want to forget. However fleeting it may be, its sense of life will leave an indelible mark on me, and plunges me into the melancholy of knowing that I will never live long enough, and if I do, I won't it.

I have time. I beg you. Devour me. Deform me, make me ugly. Why not you? Why not you, in this city and on this night, so indistinguishable from any other? I beg you.

Thanks to Jota, for make me see life in a different way.

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Ranked: Your recommendations
Ranked: '25 First Watches
Ranked: 1950's

Watched on Thursday March 13, 2025.

"They love, They hate"

A totally immersive experience, with few elements, Johann Johannsson creates a truly engaging atmosphere, playing with a monotonous voice that never loses its personal tone, a fascinating brutalism that provides stunning visuals. Each frame is truly a thing of beauty, transporting you to a minimalist and spectacular environment. A score that never loses its prominence, completely captivating, is what contributes most to creating that interplanetary, celestial atmosphere.

It's a shame we can't see more of this director's work. His photography is so distinctive, his style so distinct. It would have been wonderful to see what could have been achieved with those elements.

The three elements I highlighted vibrate in a single melody, telling a unique, ancient, mythical, legendary story. The production knows how to interpret Olaf Stapledon's visionary story very well, creating a celestial, futuristic, and minimalist experience.

Ranked: '25 First Watches

Watched on Wednesday March 12, 2025.

Film is like a battleground. There's love, hate, action, violence, death... in one word: emotion.

Poem. Absurd. Savage. Sensual. Freedom. Many words and many concepts can define this film, but none can fully encom it. Pierrot le Fou is a vast collage of love, hate, war, and poetry. A constant superposition of beautiful images and visuals, beautiful music that suddenly cuts off, loose but meaningful dialogue. The film is what it wants to be, so versatile and elastic.

In two hours, Godard composes a mockery of war, an ode to love, a hymn to freedom, a call to the wild, a ion for constant sensuality. Godard invents a new cinema without borders, building an earthly paradise for those who want to break away from the norm, for those of us who are fed up with archetypes and want to immerse ourselves in hedonism and profound nihilism, for those of us who see life poetically and want to love intensely.

Godard constructs a single poem from a thousand poems, a single melody from a thousand songs, a way of life from a thousand frames. I don't know of any filmmaker who has made a disaster into relative order, a constant rambling. The film has a unique intensity and subtlety; it plays with interpretations, breaks norms in the most perfect way, enveloping us in a place we want to be.

Thanks to Jota for recommend this mess, this beautiful mess...

Ten minutes ago, I saw death everywhere. Now it's just the opposite, look at the sea, the waves, the sky. Life may be sad, but it's always beautiful!

Recommend me a film
Ranked: Your recommendations
Ranked: Jean-Luc Godard
Ranked: '25 First Watches
Ranked: 1960's

HY MI LOVES
just wanted to say that im starting high school this days,
so I'm gonna be a little bit unactive 😭
but anyways I'm gonna watch a lot of films and write reviews because I love to do it. Just that, Love y'all ❤️❤️❤️

+ Your parents say you're always lying.
- Oh, I lie now and then, I suppose. Sometimes I'd tell them the truth and they still wouldn't believe me, so I prefer to lie.

I think everyone can identify with Antoine, who in his childhood/adolescence, has not thought about leaving, starting a new life, leaving everything you already have behind, and "trying your luck." Who has not felt proud of something they did, of something they wrote, and then deeply disappointed by the reaction of others. Antoine materializes those thoughts from early age, thoughts that perhaps as we grow up we underestimate, but they are wise thoughts, perhaps the best way to escape from that cage, the routine cage of the family, school, and back to the family is to leave everything behind, if you have wings, why not use them?
However, what Antoine does not know is that we live in a world where absolute freedom does not exist, even in the false freedom of the street, there is a climate of oppression. Antoine still has many things to learn, but he has a heart and he knows how to use it. Many times adults, our parents, or poetry teachers do not understand relativities and perspectives, even intentions. Adults lose touch, they see everything in a more simplistic way, even when they know that life is not.

Truffaut builds an elegant atmosphere for a story that is not, and it is not bad. The director's technical use highlights this story. This use of technical would define the French New Wave. In this particular film he manages to portray a gloomy, cold, indifferent Paris, exactly the environment where Antoine grows up, where Antoine feels that indifference, where there is no warmth, no real love, no dreamed fatherhood, and Antoine knows it. He wants to free himself from those burdens. Truffaut places dilemmas along his path, the boy is punished severely, and he is not indifferent to these attitudes, even when small or large pranks are carried out, they are without objective evil, and it is what we see from our perspective, because Antoine is the protagonist, and we understand his way of thinking, that perspective in which we see ourselves as a spectator, Antoine's perspective, is the best achieved in the film.

In my opinion, the last 30 minutes are wasted, if it had ended with the scene where Antoine cries, it would have been a perfect film with that ending, however the ending has no substance, and in my opinion, endings are very important, and to have that sequence so touching, so sad, and to waste it, is a big mistake.

A touching and sad film, but also elegant, simple and minimalist.

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Ranked: '25 First Watches
Ranked: 1950's

You must become Caligari!

[I am totally grateful to you, my 500 followers, each one of you inspires me to continue on the path of cinema every day, expressing my feelings, my opinions and my criticisms, I love you all❤️!]

Without the existence of this film, many things that we take for granted in cinema would not exist, this film inaugurates genres, styles, sequences, shots, it is a fundamental stone for the history of cinema.

In this experience, a spectacular suspense is maintained, it sounds strange but it can be a terrifying film, accompanied by a beautiful score, which flows very well with the rhythm of the film, a delicious set, typical of German expressionism.

The Cabinet of Dr. Caligari is unforgettable, it has left its mark on the quicksands of time, and it is understandable why it had the great power that is immortality, an experience that I enjoyed very much and would repeat.

EDIT: Just investigated a little bit, and it says that the film can be a metaphor and a premonition of nazism, I'm totally blown away.

Ranked: 1920's
Ranked: '25 First Watches

For her - all seven deadly sins!

Metropolis is a monumental work, of epic dimensions, a unique experience. In the prelude I thought "this is unique, it's a religious experience" and towards the end I was able to realize that yes, it is.

One of the most remarkable points of Metropolis is that it allows many ideologies and thoughts to be expressed through this story. We can find a communist, socialist, even Nazi tone (being written by a Nazi, and being Hitler's favorite film), and the plot can be analyzed and objected to from infinite perspectives, with a conclusion that falls, as every film should, on the viewer.

Full of avant-garde, originality, a futurism that surprises by not being so wrong, an objective film, but also a great film, the sets, the construction of the metropolis, the aesthetics, everything is so... unique, so different, even the acting is surprising, it is an experience that I cannot finish processing, and I never will, there are scenes that blow your mind, my favorite in particular is the Babel scene, it is surrounded by a mysticism that fascinates me. Every resource used in this film, the strange shots, the superposition of images, the way of telling the story, are captivating, surprising.

The criticism of industrialization, the use of humans as a resource, the ultra-marked division of classes, Metropolis was avant-garde in so many things, it is avant-garde.

A unique experience.

Thanks to Jota again, to share this experience with me❤️

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Ranked: 1920's

Care for a little necrophilia?

If there is one thing that all dystopias have in common, it is that the masses accept it, the masses find it convenient to let themselves be carried away by the cozy feeling of utopia, from which one cannot easily escape, where the people who leave are the exception, where those who fall asleep and are used are the rule, this is a cornerstone of dystopia and something that Brazil knows how to represent so well.

In the novel 1984, Winston falls in love with Julia, that bond, that relationship that unites them is fundamental, it was the reason to escape from a nightmare, from the nightmare in which Winston lives, but it is not until he meets Julia that he begins to question this state of only apparent well-being, and it is that in this dystopia of control, there is no romantic love, friendship, not even the established role of a family, these things do not exist because it suits someone, it is not until he knows these roles that he can escape from the system, a dream system, a nightmare. In Brazil, Sam falls in love with Jill, or at least with a dreamlike idea of her, a surreal piece that the protagonist uses as a resource to escape from everyday oppression. Only something so primitive but also instinctive can make you escape from a beastly system, but these romantic or friendship instincts should have been ignored to implement this system. I just want to ask, are we falling into a dystopia of that kind?

Brazil exposes a world monster, a bureaucratic and tedious system, where only material reward and appearances are desired, a decadent place, trying to implement a festive atmosphere, surrounding us with dazzling lights, Santa Clauses and a saturated tropical air, like in La Dolce Vita, saturated elegance falling into decadence.

Showing us this scenario, we must think about what the process was to reach a point of no return, of pipelines and offices, and no, contrary to logic, the process is not forced, right now we are living in a system of punishments and material rewards, of objects of desire, of algorithms, of people without brains, of bureaucratic torture, a world where family is not valued as before, nor romantic love, nor friendship. A chaotic process that makes ordinary people beg for order, an order that is a dystopia, an orderly but monstrous and inhuman system, I know more than one person who would give in, that is the process. And although the film does not show it, there are slight nuances and evidence that prove it.

In a world where rebellion is the exception, sheep are the rule, do you want to be a sheep?

There are many things missing and left over in Brazil, it is not the perfect film, however it is monumental, it transcends appearances creating a terrifying machine, it goes beyond comedy and creates terror, the horror of seeing something so feared as familiar.

How far are we from a world of fake terrorists, pipelines that do not work, monolithic buildings, without babies, without love, few families, a production that only consists of the sporadic, the trend, the ephemeral and the meaningless, is it really so far away...?

Many thanks to Jota Florez, who recommend me this masterpiece and a lot more.

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Ranked: '25 First Watches
Ranked: 1980's

I'm wasting time. I won't manage anything anymore. Once I had ambitions, but maybe I'm losing everything. I forgot everything.

Fellini shows a plastic Rome, a Rome of appearances but not of essences, a metropolis of masks, wigs, false ambitions, only facades, nothing deep, nothing realistic. A panorama that simulates elegance but is decadent, a simulator of love, a simulator of faith, a simulator of personalities, a simulator of experiences, a vain but dazzling orgy.

I think that what Fellini does is the antithesis of the famous Italian neorealism, and yes, we could call it surrealism, because what he does is fascinate with appearances, but there is something deeper that goes beyond that and it is the phobia of all these people in the face of existential emptiness, people who do not achieve a loving, economic, artistic fulfillment, people whose ambitions are totally blurred and who look for the purpose in the wrong places, and it must be difficult to find that much desired purpose in a world of only appearances, without a moral or spiritual com, only guided by a materialism that no one can reach.

La Dolce Vita is all that and more, a chaos without any order, a difficult and dense film, it makes us, the viewers, search for the meaning of a life that has none, an ease that does not exist, a love that we cannot achieve except for the wildness and crudeness of an affair, a realization that is seen as a dream, and that it is.

The performances are decent, except for Mastroianni's, which is magnificent, a very well-interpreted character searching for that meaning in a meaningless life, the photography and the aesthetics are great, making a film a little more digestible, making the chaos just a little more orderly, it had the ability to not leave the essential, being a film of falsehoods.

Mis gracias totales a Jota Florez y JDGM por recomendarme esta pieza de fina escultura :)

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Ranked: Your recommendations
Ranked: '25 First Watches
Ranked: 60's

Serenity is no longer wishing you had a different past.

How many times have we not listened to our body's warnings, how many times have we ignored that sixth sense that tells us something is wrong?

If there is something that affected me in the film, it is how it represents certain things, mundane things that we often do not know how to recognize, the terrible phobia of our life suddenly changing, of not being able to suddenly go back to doing what we like, of having to recognize the loss of a person, a job, a hobby, hearing. Of having to start a new life so suddenly with something lost, trying to recover it at all costs, mediating between anger, existential crises, tears, these things that the film shows are so real, that I risk that we all go through some of these sensations.
Representing all this must be difficult for an actor, a director, for a movie, but believe me, Sound Of Metal does it, and excellently, from the incredible performance of Riz Ahmed, the striking direction of Darius Marder, the sound editing that immerses us as spectators but also as protagonists, we feel the helplessness, the pain, the anger and the rage that Ruben feels.

From an excellent concept, to a phenomenal execution.

All my love to Gustav, Doodlebarb,Joori and queenraechel who recommend me this film🥰.

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Ranked: '25 First Watches

If you see a ghost, you say "hello".

The Others really knew how to create a propitious atmosphere for truly impressive events. The constant show of light and shadow familiarizes us with Nicole Kidman's spiraling descent into madness, who offers a performance that is not only incredible but also disturbing and even terrifying. Speaking of performances, the children act wonderfully, creating a climate of uncertainty around them, especially Anne Stewart's performance, which is memorable.

The story and the plot twists feel original and fresh, I think the last plot twist is impossible to foresee. A film that is more enigmatic than terrifying, it does not fall into so many complexities and that is one of its strongest points.

Pd; Sorry for ignoring a little bit your recommendations, or my priority watchlist :(, I was needing an "horror reset"
Ranked: '25 First Watches

"When the child was a child, it was the time of these questions. Why am I me, and why not you? Why am I here, and why not there? When did time begin, and where does space end? Isn't life under the sun just a dream? Isn't what I see, hear, and smell just the mirage of a world before the world? Does evil actually exist, and are there people who are really evil? How can it be that I, who am I, wasn't before I was, and that sometime I, the one I am, no longer will be the one I am?"

Imagine you are an angel, you have a pair of wings and you fly and go wherever you want, you can know what people think and feel, sometimes you sleep in statues and monuments, sometimes you walk the streets and contemplate life, the ing of a bus, a child running, a hypnotic concert, you are not part of this life, but you have the opportunity to see it in a unique way, but you want to be part of this life, you want to feel the breeze while you run and laugh, you want to feel the comforting warmth of coffee, feel its smell, its magical taste, dance in a trance to the rhythm of the music, but you can't, it's just impossible.

Now imagine you are a human, you have all those experiences at your fingertips, but you just don't live them, you don't take advantage of them or if you do, you can't enjoy them to the fullest. I feel like we are all that human, and seeing the angel's perspective we want to be him, we want to expose ourselves to the world, sell our armor and dance, tell stories, laugh, sing, see the sunrise and cry, love, ire, contemplate that pretty girl with the captivating smile while your nerves attack you, that is feeling alive, dictating a poem, seeking comfort in the course of the day in the course of the night, loving whoever you can, giving away money, making someone feel confident, being a special person for that person. It is difficult for a film to inspire you to do all that, but believe me it does and more.

It is not perfectly done, and it is not ideal, but it is unique, I have never felt so much meaningful content in a film, I want to live, I want to live everything I lived again, and again, because I have the privilege of doing it, of smiling once again.

All of Wim Wenders' films have that special something that gives a sparkle to everything, that makes us change our worldly perspective and smile, that gives us a push of will in a world that can seem overwhelming.

An ode to life, an ode to love, to childhood, to that human sparkle that, believe it or not, still exists.

"It must finally become serious. I've often been alone, but I've never lived alone. When I was with someone I was often happy. But the same time, it all seemed a coincidence. These people were my parents. But it could have been others. Why was this brown-eyed boy my brother and not the green-eyed boy on the opposite platform? The taxi driver's daughter was my friend. But I might as well have put my arm round a horse's neck. I was with a man in love and I might as well have left him there and gone off with the stranger I met in the street. Look at me, or don't. Give me your hand, or don't. No. Don't give me the hand, and look away. I think tonight is the new moon. No night more peaceful. No bloodshed in all the city. I've never played with anyone and yet I've never opened my eyes and thought: Now it's serious. At last it's becoming serious. So I've grown older. Was I the only one who wasn't serious? Is it our times that are not serious? I was never lonely neither when I was alone, nor with others. But I would have liked to be alone at last. Loneliness means I'm finally whole. Now I can say it as tonight, I'm at last alone. I must put an end to coincidence. The new moon of decision. I don't know if there's destiny but there's a decision. Decide! We are now the times. Not only the whole town - the whole world is taking part in our decision. We two are now more than us two. We incarnate something. We're representing the people now. And the whole place is full of those who are dreaming the same dream. We are deciding everyone's game. I am ready. Now it's your turn. You hold the game in your hand. Now or never. You need me. You will need me. There's no greater story than ours, that of man and woman. It will be a story of giants... invisible... transposable... a story of new ancestors. Look. My eyes. They are the picture of necessity, of the future of everyone in the place. Last night I dreamt of a stranger... of my man. Only with him could I be alone, open up to him, wholly open, wholly for him. Welcome him wholly into me. Surround him with the labyrinth of shared happiness. I know... it's you."

My absolute love and many thanks for Jota Florez and selcen to recommend me this beautiful film.

Recommend me a film
Ranked: Your recommendations
Ranked: '25 First Watches
Ranked: 1980's

The life we enjoy is very much worth the sacrifice.

My review for this movie takes more than expected and it was a long time to think and rethink the film, which consists with such a film density, that it really leaves you many things to think, and in that time of thought I really want to see it back.
You can think that the movie is very good, you can think that the movie is very bad, in the two ways I will agree, but we cannot deny that it is an important movie, it is not vain, and at least personally, I will think about it a long time.
The Zone of Interest is a dense and subtle movie at the same time, it is full of symbolisms, full of dilemmas, and interesting resources, thinking if they are well used or developed is in personal perception, but you can not overlook, we can see the film in a subtle way too, knowing that the majority of the film takes place in the house, in a "family" field and there is only a couple of dilemmas there are a couple of dilemmas, Perception of the movie seems hypocritical to me, it cannot be seen with lightness and not notice certain no, several aspects.
As soon as we start the movie and face a long black screen, we realize that what is coming to us will be long and significant, immerses us in a claustrophobic climate, almost sinister, a climate where everything can happen, that climate pursues us and is immersive throughout the movie, a very well achieved and fundamental climate for the development of the film.
Although reading the synopsis appears a contrast, it is not completely, they do not misunderstand me are two different conditions (a "dream" house and family and next to a concentration camp), but I still consider that there are two examples of the oppression that the national-socialist system meant, an oppression that is felt through the screen and in both environments.
There is an inhumanity that is represented in three parts, logically, in the concentration field, full of horrors and atrocities, and in the fact of ignoring all that living in two steps; Today, in the tourist museums, where so many things are reified or generalized, this part is represented in a very short section but is very important for the concept; And in ourselves as spectators, giving us an offside that gives us the need to see what happens inside, a morbid and inhuman instinct.
Another element that represents the movie very well, is the dilemma of apples, where a girl infiltrates the concentration camp and leaves apples everywhere, this is seen through the screen through a very intelligent resource of inverted color, many spectators did not understand this dilemma, and is the following; In the development of the film we listen, again outside the field, how they fight within the concentration camp for the apple, the obvious interpretation is that the girl left them in a heroic act, but, and if he did it by cruelty? Is a girl really capable of doing that?
A visually beautiful movie, terrorizing context, full of contrasts, symbolisms and metaphors, intelligent and well -used resources, good concept, excellently executed.
Was a ★★★★ after finishing, an hour after is a ★★★★½

Many thanks to Doganil for recommend this film, absoultely a banger.
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Recommend me a film
Ranked: Your recommendations
Ranked: 2023
Ranked: '25 First Watches

"Priority Is Energy."

Proudly seen in 2x because of my anxiety :)

Fun and creative film, very very inmersive.
THIS is definitely worth a watch, since THIS is a very fun film.
THIS is the beginning of another paragrapf of my review of the film So Is THIS.
Here I finish THIS review.
Hope y'all enjoyed THIS.

Dear God, I accept my death gladly but do not let me suffer too long. Will I be with You tonight in Paradise?

[THANKS FOR 400 FOLLOWERS]

I don't think there is a stronger and more indisputable film as one of the best of all time.
I don't think any film has achieved such historical influence, such relevance, and has remained within the red circle for so long except The ion Of Joan Of Arc.
Its beauty, its plot, the performances, are unquestionable. Even when you think it is overrated you will certainly be influenced by the film, even when you think it is not that good, you will the sanctified expression of Maria Falconetti, her shining eyes, the tears running down her cheeks.
The ion Of Joan Of Arc is more than a film, it really is much more, it has achieved many things that no other film has achieved, it is a religious experience, even being a non-believer, agnostic or atheist, we cannot ignore the presence of Saint Joan Of Arc and think that she is a normal person, that she is not a superior being, a prophet of God, not of the Church, of God.
This distinction is extremely important, the church has used the name of God to commit atrocities and that is something that is very clear throughout the film.
Where a holy girl, a warrior, a prophet, the daughter of God, is tortured, re-victimized and shot, and this also happened with Jesus.
This is highlighted in the film since it is not the entire story of Joan of Arc, it is the story of her ion, that is why it is focused on the trial, on the betrayal of someone she trusted, on the tragic death.
And Dreyer tells all this in a unique way, some shots, scenes and frames are really shocking, more than ahead of their time, ahead of our time, he uses magnificent resources that work very well. Music is the best companion, it is sad when it should be and euphoric too, obviously I highlight Maria Falconetti's performance, perhaps the best in the history of cinema.

In short, a transcendental film, personally, a religious experience (being an atheist), essential and historical.

Ranked: '25 First Watches

All right, Popeye's here! Get your hands on your heads, get off the bar, and get on the wall!

A tribute to the great Gene Hackman, no longer an actor, but a star...Rest In Peace

The French Connection is justified as a classic due to three elements that resonate in the experience. Three elements that are both transcendental and innovative, which will have a great influence on later cinema.

1. A representation of New York different from the previous ones, a kind of post-American dream;
I was really surprised by this rather different representation, here the metropolis is shown as a melancholic but at the same time chaotic city, a city of lights but at the same time dark, a cold and sordid environment, adorned by smoke and certain smells. Graffiti, garbage, marginal beings or those removed from society. This environment works as another character for the thriller, adding a dark, chaotic atmosphere.

2. Another different representation; Police officers not idolized, a realistic and concise vision of the police world;
There are long scenes where Popeye and his colleague enter a suburban hovel, subordinating and mistreating the people who go there, giving way to racist and sexist jokes, this is a representation of the police system not seen before, before when the policeman was surely a hero and an exemplary person, the film erases this archetype in one fell swoop, giving a real vision of this world, a reality with which you can become familiar and for this the magnificent performance of Gene Hackman will help, a character who has no extra lines but is immensely familiar.

3; A new era for action scenes:
Some scenes are really unforgettable and have their various copies, the constant chases give a frenetic rhythm to the film, interspersing shots that are crazy and surprisingly ingenious, car chase, foot chase, chase on a train, resources widely used in later films.

These three characteristics resonate in a single melody, in addition to the spectacular soundtrack by Don Ellis, the stellar performance by Hackman, and a simple but objective plot, an adrenaline-filled film with a shocking ending.

2025: First Watches

Arthur Leigh Allen: I am not the Zodiac. And if I was, I certainly wouldn't tell you.

MINOR SPOILERS BELOW
It feels discontinuous to watch this film with the case already solved, knowing that the resolution of the case is different from the one proposed to us. I would like to speak objectively about the film, but it is impossible not to constantly link it and relate it to the real case, besides it is a case that I am ionate about and its resolution is incredible.

I want to start with a bit of objectivity and give my opinion on the technical details of the film;
I see it slowly transforming into a historical film, its production details a bit minor but quite memorable (Fincher's request to say the lines quickly, the hair digitally added to Gylleenhall's hands, etc.), based on a multifaceted case with many loose ends Fincher does a wonderful job, he gives us a totally immersive film, a unique and fast pace, it does not become tedious, it is one of the best cinematographic experiences I have had, Fincher makes it really exciting, the taxi scene is audiovisually beautiful. The performances add a lot to the story, the most notable being that of Jack Gyllenhaal, this man knows how to act, he offers a very realistic character, a performance that no kind of audience would miss. The script is magnificent, it makes so much information assimilable, it makes us think, it gives us unique points of view, it leaves us elaborating hypotheses and theories.
Probably the final resolution of the case would add the last touch to this film, it is an incredible resolution, if you are not aware you have to investigate,
and the fact is that if there was one point that did not make sense to me in the film it was the resolution, being based on the birthday test was very trivial, it was just an easy piece of information to mislead.
And finding out the solution to the case now everything makes sense, the end of the film implicitly, almost explicitly leaves Leigh Allen as a murderer, and it is not like that, maybe I am sounding a little hypocritical knowing the resolution, but it was all very forced, the piece of the puzzle did not fit together.

Beyond this, I find it to be a film without equal, it has a captivating rhythm, and I repeat, not at all tedious. Fincher's direction is exploited to the maximum, the camera work is impressive, everything achieves the right atmosphere for the film.
Perhaps better than Seven...?

"I... I need to know who he is. I... I need to stand there, I need to look him in the eye, and I need to know that it's him."

David Fincher; Ranked

–When I saw him, he was dead.
– He looked exactly the same when he was alive, only he was vertical.

Alfred Hitchcock: Ranked

It's a simple black comedy, but there's one thing that caught my attention, and that is, what would people do when they saw a dead body?
Each person will have a different reaction, perhaps some will agree, but the probability is low.
Hitchcock plays with those probabilities and groups certain people together, who in a certain way become accomplices, and this is totally unexpected, almost everyone feels a little guilty about "Harry's" death.
That's the most remarkable thing about the film, which is not Hitchcock's most successful work, but I'm aware of and appreciate the daring he had in doing something different from what he had been doing.
Personally, I felt that the plot and cinematography were quite weak, with average acting, perhaps there is only one memorable frame, quite average coming from Hitchcock even though he is working in a totally different genre and rhythm.
Even so, I value its fundamental idea, believing that it is not exploited to its maximum potential.

"Our faith is a living thing precisely because it walks hand-in-hand with doubt. If there was only certainty and no doubt, there would be no mystery. And therefore no need for faith. Let us pray that God will grant us a Pope who doubts. And let him grant us a Pope who sins and asks for forgiveness and who carries on."

I really enjoyed the film, being such a subtle and delicate subject like the election of a papacy, the process and the way the film is made transformed it into an action procedure, which provokes unexpected anxiety.
Both the script and the plot of the film are excellent, each of the characters is well represented without anything to polish, so much so that they form a chess game for our perspective, the movement within the plot of each one is really attractive.
The performances are stellar, impeccable, Ralph Fieness really deserves the Oscar, they feel very realistic, they deliver an excellent performance.
It is worth highlighting the potential of Edward Berger, but seriously, the direction is another impeccable point, as well as the photography, some shots and scenes are really unforgettable, the frame of the white umbrellas and the scene of the conversation between Lawrence and Tremblay, are just some of its best shots.
Another excellence that the film has is the use of symbolism and metaphors, involving themes such as the crisis of faith, gender roles, among many others.
The constant twists in the plot also offer us a very enjoyable experience, I thought it was fantastic.
2024 Ranked

This review may contain spoilers.

"No, please don't kill me, Mr. Ghostface, I wanna be in the sequel!"

Fun and entertaining. Clever and fresh. Innovative and terrifying.

Scream is surprising even several years after its release, breaking many rules of the traditional slasher, delivering a very convincing ending, offering a concise and solid plot.
It leaves no thread to pull on, which leaves me quite satisfied. I think it is a great film, both for its iconicity, as for its script, and its transcendentalism.
And damn, Tatum is so iconic.
It remains fresh and original even after remakes or bad copies, that is what surprises me the most.
A cornerstone of the genre.
My thanks to queenraechel and gustav who recommended this great film to me!

"Professor, my dreams grow darker. Does evil come from within us, or from beyond?"

There are only a few things I liked about this movie, but the most of it is not good at all, or I personally disliked it.
I disliked many scenes that are senseless, or just very random, many shots are so unnecessary too. I didn't liked the performance of Lily Rose-Deep at all, I think is a sacrilege to compare her with Isabelle Adjani, she acted so regular. I didn't liked the necrophilia moment, it was weird and pointless, I've found it like a joke.
I couldn't connect with the movie, and I laughed more than anything
But there are a few things that I liked and I want to say
A few symmetric shots, the performance of Willem Dafoe is the best from the film, he saved the last hour, and the making of Nosferatu like a real Ruman Count, it feels realistic and is correct.

High and Lows, but I couldn't connect, and nothing to compare with Nosferatu, The Vampyre.

"Do you fancy a pizza? Come on, then! Come on, let's go! What the hell. We might as well go out in style. What's the point in worrying about it all?"

A truly moving film, it brought a smile to my face and one or more tears.

It is truly nostalgic and sad, it generated feelings that I may never forget.
A beautiful and nostalgic portrayal of a post-war Italy, an Italy in crisis, not austere but lacking, a panorama of misery and heartbreaking. Behind a portrait of ruined buildings, people without hope, future or direction, the film invites us to follow a simple story but just as heartbreaking as the panorama.
This story really moved me to the point of tears, I could really understand the points of view and feelings of each character, the anger, the desperation, the loss of a slowly built dignity.
Although the most remarkable thing is the story, it has some crazy visuals, the performances really stand out, and the direction is impeccable.
Perhaps I will never forget this film, I will constantly be thinking about it… beautiful and nostalgic neorealist portrayal.

Many thanks to JDGM, who recommended me this film. Muchas gracias amigo!

What's wrong with you?.
Let me think about that. I'll tell you the next time I see you.

—Recommend me a film
—Your recommendations: Ranked

A simple, but beautiful and thoughtful film, typical of Wes Anderson.
With the usual dazzling direction, Anderson takes us on two journeys, a mind-blowing trip through India, as well as a journey through the somewhat incongruous but ultimately sympathetic relationship of three quite different brothers with different peculiarities, the story familiarizes us with each of them and with their relationship as a whole, making for a very emotional and enjoyable experience.
It is not Wes' best, but it has its touch, its brilliance, its elegance.

Thanks to joori, who has recommended this film, I can tell she has great taste.

Olga: Susie... Sarah... I once read that names which begin with the letter 'S' are the names of SNAKES! Sssss! Ssssss!
Sarah: [sticks her tongue out at Olga] Mmmmmmm!
Olga: Ssssss!

A highly immersive film, one of the films that captured my attention the most.
Visually it is crazy, the lighting and colors along with the photography make for a stimulating and very enjoyable experience. I must also mention the magnificent soundtrack by Goblin, it is one of the highest points of the film, it really flows with it. Dario Argento's direction is phenomenal, and the set is a delight.
However, there are a couple of weak points in the film that are a bit disappointing, such as the plot, which is a bit weak, some unnecessary lines, shots, and scenes, and the average acting of all the characters.

A film that must be seen and is truly a great experience.

"Forbid empathy. Empathy is weakness. Weakness is vulnerability."

Leaving aside some constant redundancies that drove me to despair (redundancies, redundancies, redundancies…) Fincher achieves a simple and minimalist film, something quite unusual for him.

The film is unnecessarily divided into chapters, my favorite of which is Beast, I really enjoyed that fight and it is the most adrenaline-filled moment. In my opinion, it is a film that is too long and detailed, not in a good way, Fassbender's monologues do not work at all, they do not add to the construction of the character, the plot ends badly but also begins badly; revenge must always have something of Greek tragedy, here I did not find it and it seems like an unjustified revenge, without sense, Fincher's impressive style is lost and it is not as enjoyable as in previous films.

Many things to improve, except that amazing soundtrack by The Smiths.

At the end of it all, what could you expect from a fan of The Smiths.

"We belong to... Death!

One of the best sequels I have ever seen, a little touch of humour, and the usual horror and philosophy of Frankenstein, "The Bride" have so little screentime, is a pity, because is a really interesting character.

Morton: How does it feel sitting behind that desk, Frank?

Frank: It's almost like holding a gun... only much more powerful.

This one feels different from any of the “Dollars” trilogy, this one is nostalgic, more human, even sad. It portrays the end of an era, and the beginning of another. It is a more complex and thoughtful film.
Although Sergio Leone always worked with analogies about capitalism, this is by far the most concise. I dare say that it is Leone’s Magnum Opus, although it is not as fun, iconic, and fast as The Good, The Bad, And The Ugly, it is better in analogies, metaphors, perspectives, tensions, socially and historically.
Here we are presented with a panorama of change, where the man of before, the “macho”, must adopt himself before the capitalist wave, seeking to be a leader, resigned to being a slave, or having the honor of being a landowner.
The three figures here are clearly represented, men can no longer be, nor are they the same as before, revenge, bandits, gunmen, are quickly becoming part of history.
However, the main character of the story is won by Jill, (my honorable mention goes to Claudia Cardinale's impeccable performance) a widowed woman, who in contrast to all the men, is the one who best knows how to adapt and come out on top of situations, this is also important in the change of era, the appearance of women as a very important figure.
There is also the symbolism of the railroad, an undeniable seal of capitalist growth throughout the United States. Followed by the always excellent direction of Leone, impressive photography, one of the best introductions I have seen to a film, Ennio Morricone displaying his skills to the maximum, a stellar cast, and a slow but sure pace.