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December 2, 2022 at 3:15 am #1205174939
Black Girl and Daughters of the Dust were nice surprises. So was Wanda and a higher placement for Beau Travail.
Wong Kar Wai should be left out in this list. Yang has better films than Yi Yi and A Brighter Summer Day (it’s Taipei Story).
The 21st century picks suck too. Wtf is Portrait of a Lady on Fire doing there lol. If there is a 2010s film to choose, and one that encapsulates this era far better than any film, it should have been Hu Bo’s An Elephant Sitting Still.
ReplyNovember 30, 2022 at 5:55 pm #1205173310Ozu’s oeuvre has more inspired and interesting choices than the Noriko trilogy. Personally, I would have voted for An Autumn Afternoon, his funniest, in my opinion. Likewise with Ray and the Apu trilogy.
I’m also hoping for more representation from Godard’s filmic ruminations, particularly his late career work such as Film Socialisme, Goodbye to Language, and my favorite, Notre Musique.
I would have chosen different picks for Kiarostami, Antonioni, Mizoguchi, Bergman, and Altman. Would like to see a Barry Lyndon repeat, though!
ReplyNovember 30, 2022 at 12:31 am #1205171283Ranking the Top 10 contenders based on performance:
1. Lawrence, Causeway
2. Deadwyler, Till
3. De Armas, Blonde
4. Wei, Decision to Leave
5. Yeoh, Everything, Everywhere All at Once
6. Blanchett, Tár
7. Davis, The Woman King
8. Williams, The FabelmansYet to see
Robbie, Babylon
Ackie, I Wanna Dance with SomebodyNovember 29, 2022 at 11:34 pm #1205171274Happy Birthday to the last great American actor, Anna Faris!
ReplyNovember 1, 2022 at 7:39 am #1205138607This whole 1M week debut achievement is very arbitrary imo but it’s impressive regardless.
I do think it’ll take years before another artist opens with a milly, unless Adele recaptures her cross-generational allure and comes back immediately after the underwhelming 30.
People got to know that Swift runs her shit like a machine. She was able to transition seamlessly from pure to digital to streaming without any signs of holding back and shutting down. The key to this is beyond the combo of marketing acumen and four-chord prog music: it’s an artist so self-aware who always finds a way to be ahead of the curve.
She recalibrated the business model of subscription-based streaming to fit where she is at her career: as a prolific writer churning out bodies of work in record speed. Her whole schtick about re-recording has not only reintroduced her to the younger demographic 16 years after she was a teen, it has also embedded her in public consciousness that is pretty much dictated nowadays by the algorithm of your For You page, and at the same time, strengthened fan retention by constantly being in touch with their demands for new material/merch/music.
For a western artist to muster a gargantuan amount of pure sales a decade into her career that rivals even the most obsessive K-pop fandoms, while dominating the consumption patterns of the general public a la Drake and Bad Bunny, you pretty much get the best of both worlds.
ReplyNovember 1, 2022 at 7:05 am #1205138579My tár showing had 4 other old people in it lol so much for Blanchett being a box office draw. The movie was soooo boring. How many more scenes of Blanchett grooming little girls do we need? It’s not DDL in There Will be Blood because at least I was able to discern DDL and his character. Tar is Blanchett being pretentious and hyper masculine. It’s a movie that’s so boring and goes nowhere that pretentious arthouse stans like Wanda123 and their dupe, Resso, would groan at
Now why am I in it, lol. Though based from the responses I’ve seen, I think I might share the similar opinion with yours.
That lecture scene got me side-eyeing cause one thing about Blanchett, she will let you know she’s putting up an act every time.
November 1, 2022 at 7:01 am #1205138577Lift me Up is so stale and Rihanna sounds so hoarse. I don’t think the Boseman narrative will resonate among the voters though the song might hit an emotional chord with the general public, and thus help the payola’d soundtrack repeak once the film is seen.
Rihanna also doesn’t strike me as someone who commands respect from the film industry. Her offkey ass will also make her look like a fool when she happens to sing this ballad live at the Oscars, esp in contrast to Gaga and Sullivan (if nominated).
If BP2 has no songs left worthy of contention, this is Gaga’s to take so far.
October 22, 2022 at 5:27 pm #1205129438Tay is the most commercially successful artist among her peers, the same way Ga is the most successful musician-turned-actor, the same way Rih is the most successful entrepreneur, and the same way B is the most enduring.
Y’all deranged stans need to know that these can co-exist, lol. They all have legacies, whether artistic or commercial. Their cultural impact remain firm not only because of their respective career paths but also because of the US as a dominant mode of capitalist cultural production, especially in the context of economic imperialism.
So yes, their successes do not exist in a vacuum, and are largely amplified by their material conditions. Even moreso for white artists like Tay, Ga, and Adele.
ReplyOctober 22, 2022 at 11:14 am #1205128940Zhao Tao in Ash is Purest White comes to mind first. One of the few instances I’ve witnessed where the actor is as essential as the auteur.
It’s a role that commemorates, chronicles, and crystallizes legacy: of China’s economic evolution, of Zhangke’s observation of these rapidly changing conditions, and of Tao’s performance of these acute observations.
Tao’s Zhao Qiao is also richly intertextual, bearing shades of playfulness (Mountains May Depart) and romantic devotion (The World.) As a pillar of resilience amidst a changing China, she is fashioned after one of her most memorable characters in Still Life—with a sensibility that recalls her paleness in color (how they both wear faded yellows in polo shirts) and emotion (how they carry faces of yearning as they seek their lovers in a nondescript land ravaged by urban redevelopment). They even have the same central prop—a water bottle—which they both utilize in different ways (one uses it to stop a door with motion sensors; the other clings to it as she surveys the land, looking for her husband).
Some very interesting roles for women that also deserve mentions:
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1. An Nai in When Night Falls
2. Nora Aunor in Bona
3. Nobuko Otowa in Onibaba
4. Claudine Gabay in Baxter, Vera Baxter
5. Delphine Seyrig in Muriel
6. Arielle Holmes in Heaven Knows What
7. Analía Couceyros in Los Rubios
8. Seo Woo in Paju
9. Émilie Dequenne in Rosetta
10. Shu Qi in The AssassinOctober 22, 2022 at 8:28 am #1205128724Y’all are smoking if you think folklore/evermore or whatever shit she did with her Metacritic-magnet, phony records are better than Midnights.
Granted this new album is emblematic of some of her laziest lazy songwriting strategies: two-note melodies, overreliance on rudimentary imagery, her penchant for condensing multisyllabic words/phrases that ruins the neatness of melodic lines, and her obsession with loose rhyme schemes.
But then, her true talent does not really lie in her songwriting, but rather in her capacity for self-awareness and how she employs that in narrative-building and self-mythology from a musical to marketing standpoint.
Midnights is exactly like that in a way that it returns and rejects perceptions/positions of Swift as a cultural product. It combines the phoniness of her folkmore storytelling with her diaristic self—which brings forth a very conversational, interrogative, and introspective album. It’s also a work filled with Delicates (which is one of her best songs), flirts with more sonicscapes (fuck Antonoff still), embraces Swift’s shallowness without the satirical and theatrical backdrop of Reputation, and addresses the imaging of Swift as the romantic (“Labyrinth”), the revenger (“Vigilante Shit”), and the recollector (“Would’ve, Could’ve, Should’ve”).
The fact that it’s divisive (sans the predictable and dick-riding reception from “music critics”) is on-brand for her, lol. Dare I say, Midnights is her best since the scathing Speak Now.
ReplyOctober 13, 2022 at 1:55 am #1205117708Post-2000s Kidman: Never found her remotely interesting since Birth. Which is fair, cause the balance of emotional acuity and opacity she brings to that film is simply one of the century’s finest; thus, making any other work pale in comparison. But no, she’s just bad for years now, even in her acclaimed turns like Big Little Lies or The Ricardos.
Stewart and Pattinson: Definitely good actors. But the attempt to mythologize them as “teen franchise actors turn underrated arthouse darlings with outstanding indie cred” pathetic. Like they’re good, leave it at that.
It boys/girls of the month: Hollywood just doesn’t do it anymore, lol. Name me one great performance from Chalamet, Pugh, Holland, Zendaya. BuT EuPHorIa aNd LaDy MAcbEth aNd CmbYn. No. Ronan gets a pass cause she has Brooklyn, Little Women, and Hanna under her belt.
Brando, Streep, Day-Lewis: I just don’t see it. Definitely actors who care about their crafts, but I’m not as enthralled by their work as most are. Though I have seen great output from them like Tango (bar the abuse ofc), A Cry in the Dark, and Phantom Thread. Also, Elia Kazan and Brando is probably one of the worst auteur-actor collaborations in history.
ReplyOctober 8, 2022 at 8:51 am #1205111337Sink is giving Woodley in The Descendants but with a far inferior performance and less industry accolades.
Speaking of Woodley, she was better than the entire lineup of 2011 SA nominees and it’s not even close.
Also, yes for Dolly and Nina. The latter has been giving consistently great output with her Petzold projects and it wouldn’t hurt to reward her for Tar.
October 6, 2022 at 10:16 am #1205108765Most of these sprung to mind immediately but I can’t really pick a conclusive top 10 of all time because the list changes every now and then (and adjusts so much with more films I watch).
Sachiko Hidari, The Insect Woman
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Charo Santos, Itim
Monica Vitti, Red Desert
Mbissine Thérèse Diop, Black Girl
Bruce Lee, The Big Boss
Uttam Kumar, Nayak
Mariko Okada, Woman of the Lake
Zouzou, Love in the Afternoon
Klaus Kinski, Fitzcarraldo
Chishū Ryū, There was a FatherOctober 6, 2022 at 9:15 am #1205108706Leo is better. I haven’t truly liked a Bale performance ever I fear… maybe besides Knight of Cups (but still outshined by Blanchett and Portman lol).
Speaking of outshined, he was also pretty decent in Laurel Canyon but again McDormand was far better in extracting that feeling of malaise truncated by desire the film desperately chases to achieve.
ReplyOctober 6, 2022 at 8:57 am #1205108689I believe the trifecta rewards prolific performances in a single year if they are on the cusp of awards contention, with one performance being a main vehicle.
Huppert was able to snag BA wins for Things to Come despite Elle being her main vehicle, same as with Cotillard with 2D1N/The Immigrant; Williams with Manchester/Certain Women; Chastain for pretty much all contending films she had in 2011 lol.
Yeoh will probs win for EEAAO and EEAAO alone. I do believe she would have a stronger showing at the regionals as opposed to the trifecta, but she can probs pull of at least one.
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