Friday, November 9, 2018

Favorite (four), part fifty-six

Just like in my other fifty-five posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Jean Rouch's Moi, un noir
Probably the biggest influence I have ever seen on Godard's Breathless.  I have long known that Godard was a big fan of Rouch but this film blew my mind.  The cadence of Belmondo's voicemover and the frenzied rhythms of Godard's feature debut seem to have been lifted almost entirely from Moi, un noir.  It's a remarkable film for its nudity, its post-sync methods and the most pop culture references I have ever seen from a work that came out before 1960. 

D'Urville Martin's Dolemite
It has an edge and grit that pushes things further than any other blaxpoitation film I have seen to date.  It is so freewheeling and unpredictable.  You never know what is going to come out of Rudy Ray Moore's mouth or where the film is headed next.

Hong Sang-soo's List
Top shelf Hong that in thirty minutes has all that makes Hong special.  His lightness of touch, his feeling for the sea, his natural, loose performances, his meandering scenes of drinking and eating, and his jovial spirit.   

Edward Yang, Yi-Chang, I-Chen Ko and Te-Chen Tao's In Our Time
An anthology film often credited with jumpstarting the birth of the Taiwan New Wave.  The first three films, in particular impressed me.  They concern themselves with similar areas of life as the Nouvelle Vague before them - youth trying to find its place, the experience of first loves and the awe for and questioning of the world around them.  There is a poetry and a feel for beauty that makes these early films particularly remarkable.

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