CRACKASTEPPAVEGAN

2y

La Haine is tops
Then the rest

Elric

2y

thats not part of

FlyHiii

2y

My criteria is the main spoken language of the films have to be French (So no Enter The Void even tho it's Noé)

No order, and also it's not gonna be 10 lol lots of directors where i'm just unable to pick one of their films

RASIE

2y

I definitely agree that cinema is (and should officially be) considered global media. Though using the director's or performers' nationality, or even the primary language(s) spoken, to define country of origin is a really hit or miss way to go about it since it can get convoluted really quickly. Like Eisenstein spent time making films in Mexico and Italy. Bunuel made films all across Europe. Kiarostami’s final film was made in Japan with French coproduction. The Last Emperor is a film with Chinese actors, directed by an Italian, and solely produced by a British guy. Straub-Huillet are French but made lots of films in German as a conviction to their beliefs regarding language and meaning.

Offically, in the industry, country of origin just comes down to production/primary distributors. It’s why there are countless films that are “French-Spanish-American coproductions” et. al, where multiple countries across the globe are resposible for the film being made and released — and you can say a French-British film is “a French film” because of that. Femme Fatale is an example that was in my list as well: co-production between France and an Iranian producer, the former of which was responsible for most of the backing due to the film’s setting, locations, and major plot scenario taking place at Cannes Film Fest. (Also releasing theatrically across Europe months before it came to the U.S.)

But then you have films like F for Fake, which was produced and initially distributed exclusively by French backers during Welles' extended stay in Europe after nobody in America would touch, let alone fund any of his projects. Fake began as an assignment where Welles was hired by a French director to make a documentary about the charlatan de Hory, and ended up with the French filmmaker’s footage being edited into additonal sequences directed by Welles and shot by the French filmmaker. The film didn't even release in the US until 2 whole years after it first premiered in French theaters.

When it comes to categorizing films by country, I just stick with the industry’s relatively straightforward standard. It’s often messy itself with the number of international co-productions, but it’s easier than parsing the nationalities of the directors, performers, and languages, which can be wildly different, especially when watching things outside of Hollywood’s influence.

FlyHiii

2y

If you look closely you can see your contribution to my kino life somewhere at the bottom rows @elric i mainly post in kino at the moment when i do post, never got the chance to give you your props so here it is

Elric

2y

You enjoyed Joan?

Einfinet

2y

That’s a pretty strong and clear argument in favor of going by distributor! And interesting history to get caught up on w F for Fake specifically, so thank you for that. I do think there should be room to specifically spotlight movies w multinational production frameworks

FlyHiii

2y

Hell yeah its in my list for a reason, not sure which of the 100 versions i watched though it was a few months ago, makes me wanna revisit Sunrise to see if the score goes up even more

Elric

2y

You think Joan might be the gateway d*** into the true dust for you then your doubt was strong

Elric

2y

@FlyHiii ignoring it

dundis

2y

you're ignoring my melville offer

Everest

2y

The young girls of rochefort (1987)
A single girl (1995)
Tomboy (2011)
A woman is a woman (1961)
400 blows (1958)
Four adventures of reinette & mirabelle (1987)
Raw (2016)

Gonna add a bunch of movies from this thread to my watchlist

dundis

2y

reinette & mirabelle is one of the best rohmers

dundis

2y

you're ignoring my melville offer

Elric

2y

Right yeah sorry it was a little confusing I would watch it regardless of any agreement let alone 25 bucks

FlyHiii

2y

Rec Swap Thread is now a thing in Kino more reason for you to re-join @Elric

Elric

2y

· edited

Well considering your method of waiting forever to watch then not even telling me what you thought about my recs is deeply unsatisfying how about you just watch a couple films from each year as we go through the Best Films Of Each Year thread you'll have plenty of time. Vampyr up next and you gotta see it.

dundis

2y

this is pure noir, le samouraï is a different breed that is different from his other stuff. i understand why u dont f*** with that one

this adheres way more to the american style. belmondo bringing the mike hammer vibes from kiss me deadly

but if u watch le doulos ima gonna need another rec

Elric

2y

Be easier if you just went through here and found something appetizing that you haven't seen yet

g.o.a.t. https://boxd.it/D6u6

dundis

2y

damn I've seen 106 out of 153, so not bad

the ones that interest me the most are the mizoguchis (been lacking heavily there) and all that heaven allows.

as far as mizoguchi goes I've only seen streets of shame which is his last, but it gave me enough info to understand what a lot of his films deal about (like his sister being sold as a geisha and prostitution in japan in general and how that affected his filmmaking).

Everest

2y

I’ve only seen that one and a summers tale but I love his style, which ones do you think are essentials???

Elric

2y

Yeah Streets Of Shame was potent but definitely won't prepare you for how absurdly exquisite the Oharu/Ugetsu/Sansho holy trinity is do those then and I'll just carry on with Melville slowly

RASIE

2y

Perceval
A Tale of Winter
The Green Ray
Full Moon in Paris
La Collectioneuse
My Night at Maud's

dundis

2y

watching the green ray was like getting gut punched over and over. those anxiety attacks were too real marie rivière killed it