Epitaph
17 Oct 2007 06:16
Dir. Jung Brothers. Korea, 2007. 98 min.
The performance of Epitaph in Korean cinemas in August was relatively disappointing with just 600,000 admissions but much of the blame was put on the release date. However, the film itself must have something to do with it: this mystifying, often confused first film looks much better than it ultimately is. Too many ideas and notions are squeezed in, with not enough of an effort is made to tie them up together in a coherent manner.
The stunning visuals blending with a rich, intricately-fashioned soundtrack, will thrill horror film aficionados but such films are supposed to say a bit more beyond scaring the wits out of their audience.
Festivals looking for outlandish fare, will certainly find a place for the film and in all fairness the work of the two brothers is intriguing enough to justify close observation in the future.
Epitaph throws together three hospital stories, all of them connected with guilt, fascination with the dead, and multiple personality.
The plot starts in 1979, when an respectable lecturer at the Faculty of Medicine, Jung-Nam, is sent and album of old photographs which takes him and the audience back to 1942 and a Korean hospital during the Japanese occupation.
A group of young interns are working there day and night, one of them being young Jung-nam (Jin Goo) himself, at the time still a terribly clumsy and insecure new doctor, whose incompetence is penalised by a couple of weeks in the morgue.
Terrified by the dead around him, he nevertheless is fascinated by the pure, incredible beauty of a young girl who has committed suicide and whose body has been fished out of a frozen river.
A strange, one-sided relationship is established, sucking him into a mysterious experience, partly of his own imagination, with the ghost of the departed.
At the same time, the peace of the hospital is disturbed by the blood-curling screams of a young Japanese girl, Asako, the only survivor of the car accident that killed her mother and her new step-father but left her unscathed.
Tormented by guilt and of course the ghost of her mother, she is tortured by visions she cannot control, despite all the dedicated efforts of a senior doctor, Soo-in (Lee Dong-kyu).
Finally, unlike the squeamish Jang-nam who shudders at the sight of cadavers, there is a young, fearless female doctor, In-young (Kim Bo-kyung) who takes charge of the autopsies.
Her husband, Dong-won (Kim Tae-woo), also a doctor working in the same hospital, is shocked to discover that his wife has no shadow.
This tale touches on themes such as love beyond death and schizophrenia, but will put plenty of shivers down the audience's spine.
Korean cinema has always been fond of dealing with the supernatural and the horror genre right now is experiencing a renaissance.
The Jung brothers use every special effect in the book and draw on symbols such as murderous iron butterflies, spirits of the dead covered in blood or slime or, for some reason, snails.
The sound is often blood-curling, and one can easily sympathise with Jang-nam's terror in the morgue or the Japanese girl's agony as the fatal accident keeps replaying in her mind.
But, possibly because it is a first film, there is a lot of self-indulgence in piling up more and more effects and complicating the tales beyond the necessary, to the point where the Jungs risk losing both the interest of the audience and the thread of the stories.
Splendidly shot by Youn Nam-joo and recorded by Lee Sand-wook, with Lee Ming-bok and Chae Kyung-hwa to be commended respectively for the sets and costumes, Jung's cast plays up to expectations, though their parts are ultimately less important than the way they are integrated in the general picture.
As for the music of Park Yon-nan, after exploring the available options in Bernhard Hermann's scores, he settles for a pretty transparent tribute to Shostakovich's Jazz Suite, the same piece that Kubrick used in Eyes Wide Shut.
Production companies
Film Dorothy
International sales
Studio 2.0
distribution (at home)
Executive producers
Kim Seung-bum
Producers
Jang So-jung
Screenplay
Jung Bum-sik
Jung Sik
From story by
Park Jin-suk
Park Jin-sung
Cinematography
Youn Nam-joo
Editor
Kim Jae-bum
Production design
Lee Min-bok
Music
Park Yong-nan
Main cast
Kim Tae-woo
Kim Bo-young
Lee Dong-kyu
Jin Goo
ma reagovaću čim mi padne šaka; ovo mi je već na radaru, zapaženo i zabilježeno za pojuriti, iako mi rivju kazuje otprilike ono što je, bojim se, biljeg svih, pa i najboljih trenutno dostupnih korejskih horora:
"The stunning visuals blending with a rich, intricately-fashioned soundtrack" + "a lot of self-indulgence" + "complicating the tales beyond the necessary" = i dalje prevlast eye-candyja (i ear-candyja!) za zasenjivanje prostote, dok su scenariji još uvek half-baked, nedomišljeni, i potencijala jedva taknutih a kamo li realizovanih.
još uvek se time tamo bave samo (vrlo vešte!!!) zanatlije, ali umjetnika još ni na horizontu.
kao što već rekoh na adekvatnom topiku, japanci ih još uvek šiju za bar 3 koplja.
Da li je kvalitet snimanja horora proporcionalan sposobnosti za nanošenje užasa? Uspeha imaju Amerikanci, Japanci, Italijani, Španci, ...
ne znam da li sam dobro shvatio pitanje, ali budget i production values, kao i tehnička expertiza (sgf, efx, fotografija, kostimi itsl.) sasvim sigurno nemaju mnogo veze sa 'sposobnošću izazivanja strave', jer znaš i sam da su mnogi od najjezivijih horora bili low budget i, često, tehnički neispolirani, što stravi nije mnogo smetalo, a često je i potpomagalo (naročito kad se išlo na kvazi-dokumentaristički feel, a la TCM, HILLS, HOLOCAUST etc.).
ne znam dovoljno o produkcijskoj zaleđini koreanaca, ali javlja mi se da većina toga nastajeu okviru nekih konglomerata i korporacija, gde 1 čovek (ili tim?) stvori osnovnu ideju, pa angažuju nekog/neke druge da napišu scenario, a reditelj se unajmi po potrebi... dakle, nagađam, za sada, ali mi deluje kao da to nastaje na nekoj pokretnoj traci gde niti ima mesta za mnogo autorstva, niti vremena za ozbiljnu razradu tih potki, maltene kao da filmuju 1st draft koji dobiju, i sve je podređeno gimmicku (koji je, što je najgore, najčešće i sam derivativan)...
Writer-turned-director Randall Wallace ("We Were Soldiers," "The Man in the Iron Mas") will direct "The Arcanum," a Thomas Wheeler-scripted fantasy adventure for Gold Circle says Reuters.
Adapted from Wheeler's debut novel, the 1919-set story follows Arthur Conan Doyle as he leads a secret society known as the Arcanum - whose members include magician Harry Houdini, voodoo priestess Marie Laveau and horror writer H.P. Lovecraft - against a powerful supernatural force that threatens the world.
Wheeler is doing a production polish before going out to cast. He's also working on "Captain Cook's Extraordinary Atlas," a fantasy about a girl who explores an alternate world. Wallace most recently adapted Ayn Rand's "Atlas Shrugged" for Lionsgate.
epitah nabavljen, uskoro javljam kaki je.
no, evo jednog koreanca od koga očekujem MNOGO više.
od baje koji je već isporučio ODLIČNU HOROR-HPL-DRAMU Antarctic Journal, novi film - Hansel & Gretel!
When Eun-soo gets lost in a country road, he meets a mysterious girl and is led to her fairytale ike house in the middle of the forest. There, Eun-soo is trapped with the girl and her siblings who never age. Eun-soo finally discovers a way out which is written on a fairy tale book. But the book tells a story of none other than himself!
ovo mi za sad deluje kao nešto što bi moglo da POSRAMI DEL TORA I NJEGOV LAVIRINT!
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Arthur Clarke još pod istragom za pedofiliju
Manje od nedelju dana nakon što je slavni SF pisac Arthur Clarke svečano proslavio 90. rođendan, policija Šri Lanke mu je zabranila odlazak za London jer se u toj zemlji još vodi istraga o pedofiliji i dečjoj prostituciji čiji je glavni akter – sâm slavni pisac.
Priča o pedofiliji autora Odiseje u svemiru je stara 50 godina.
Toliko dugo već živi na ostrvu, gde je dečake koji umiru od gladi lako nagovoriti da pristanu na seks sa muškarcima, a za šta dobijaju 10 dolara.
Clarke je istražiocima izjavio da su dečaci, kada dostignu doba puberteta, spremni da imaju seksualne odnose.
Insistirao je da ga deca nikada nisu zanimala, međutim, smatra da je sa dečacima u pubertetu seksualni odnos sasvim u redu.
"Mislim da najveću prašinu oko svega toga dižu njihovi histerični roditelji. Ako ta deca uživaju u seksu sa muškarcima i ako to njima samim ne smeta, kome to onda uopšte može da naškodi. Na Zapadu suviše histerično reaguju na ovakve stvari", izjavio je čuveni pisac ovim povodom za nacionalnu televiziju Šri Lanke.
Međutim, tako ne misli i Interpol koji se zainteresovao za ovaj slučaj i od policije Šri Lanke iznova zatražio kompletan dosije o Clarku, što bi moglo rezultirati novim hapšenjem i suđenjem.
Nadam se da će tog matorog perverznog perverznjaka konačno da strpaju iza rešetaka, gdje mu je i mjesto.
Doduše, moguće je da je ona njegova izjava samo plod uvrnutog smisla za humor. You never know with those paedophiles...
Quote from: "Harvester"Doduše, moguće je da je ona njegova izjava samo plod uvrnutog smisla za humor. You never know with those paedophiles...
bravo, harv!
tako govore pravi pedofili! :!:
THanks!
Quote from: "Ghoul"i dalje prevlast eye-candyja (i ear-candyja!) za zasenjivanje prostote, dok su scenariji još uvek half-baked, nedomišljeni, i potencijala jedva taknutih a kamo li realizovanih.
još uvek se time tamo bave samo (vrlo vešte!!!) zanatlije, ali umjetnika još ni na horizontu.
dakle, ja sam odavno došao u fazu da ne moram ni da pogledam film da bih znao kakav je, i ovaj EPITAF je samo još jedan dosadni dokaz toga.
PRELEP, ALI ŠUPALJ DO BOLA!
svaki kadar je da se urami i turi na zid, ali priča je toliko imbecilna da poželiš da sretneš reditelje samo da bi ih išamarao!
dakle, ovi korejci su zaista debili: ovolika doza patetika ne bi smela da bdue dozvoljena odraslim ljudima u XXI veku!
kako neko samo sme da bude toliki idiot da scenu koja je već po sebi do groteske patetično tupava još potcrtava pompezno-prenaglašeno patetičnom muzikom?
kako neko sme da bude toliko lišen samosvesti da uzima hermanov skor iz psiha, tj onu IIIKK!-IIIIKK!-IIIIIIIKKK!!!! škripu violina iz scene pod tušem da bi, MRTAV OZBILJAN, bez trunke ironije ili parodije, pojačavao svoje jeftine šokove?!
što je najgore, kostimi, scenografija, efekti maske i fotografija su TOP-NOTCH! štaviše, zbog naglašenog artsy-fartsy pristupa (i.e. fuck plot, let's make some nice images!) od ovoga bi se moglo uzeti nekih 30-40 minuta i –uz neku spooky-gloomy muziku- izmontirati izvanredan experimentalni artsy filmić koji se ne bi ni morao da pretvara da nešto priča, da o nečemu govori, da ima ikakvu poentu!
zbog toga, uprkos svemu, ne mogu da mu dam manje od
3-
**(*)
duboko ispod naslaga imbecilnosti ovde leži odličan film sa nekoliko vrlo jezivih scena!
Japan, Korea make strong showing in HAF 2008 line-up
Liz Shackleton in London
02 Jan 2008 21:30
Japan's Nakata Hideo (Ring series) and South Korea's Park Chan-wook (Old Boy) and Bong Joon-ho (The Host) are among the world-renowned Asian filmmakers who have had projects selected for the 2008 edition of the Hong Kong-Asia Film Financing Forum (HAF).
A total of 25 projects have been selected for the co-production and financing market which takes place March 17-19. Mainland Chinese filmmakers account for the greatest number of projects – six in all, from filmmakers such as Li Yang, Ning Hao and Sheng Zhimin – followed by South Korea with four projects and Japan, Taiwan and Hong Kong with three each.
This year's selection also includes a UK-Hong Kong co-production from Richard Jobson and an Iranian project to be directed by Hassan Yektapanah (Story Undone). South-East Asia is represented with projects from Thailand's Nonzee Nimibutr and Aditya Assarat (Wonderful Town), the Philippines' Brillante Mendoza and Malaysia's Chris Chan-fui Chong.
"We have some very good projects this year; particularly those from Japan and Korea," said HAF reading committee member Philip Lee.
"The projects submitted to HAF 2008 were of an extremely high standard and we had to reject a number of very high quality projects unfortunately," said Fortissimo Films co-chairman and HAF reading committee member Wouter Barendrecht.
Several projects that participated in last year's HAF have recently completed production including Kim Jee-woon's The Good, The Bad And The Weird, which is scheduled for release in South Korea in Feb 2008, while Kurosawa Kiyoshi's Tokyo Sonata (working title) wrapped in December 2007.
Clara Law's The Messenger, starring Guy Pearce and Radha Mitchell, will go into production in July 2008.
Organised by the Hong Kong International Film Festival Society, and co-organised by the Hong Kong Trade Development Council and the Motion Picture Industry Association, HAF will run concurrently with sister events the Asian Film Awards (March 17) and Filmart (March 17-20).
List of the 25 projects selected for HAF 2008:
1. 7 Dreams (Chinese mainland)
Director: NING Hao
Producer: NING Hao
Production Company: Injo Film
2. Adrift Time (Chinese mainland)
Director: CAI Shangjun
Producer: LEE Xudong
Production Company: Xiudong Hao Ye Investment & Consulting Ltd
3. The Best Draw (working title) (Taiwan)
Director: HOU Chi-jan, SHEN Ko-shang, WU Mi-sen
Producer: LEE Gang
Production Company: Khan Entertainment
4. Bloodline (United Kingdom-Hong Kong)
Director: Richard JOBSON
Producer: Luc ROEG, Jacky PANG
Production Company: Independent Film Co / Jettone Films Production
5. The Bus (Hong Kong)
Director: PANG Ho-cheung
Producers: PANG Ho-cheung, Subi Qi-yuan LIANG
Production Company: Making Film Productions Limited
6. Café Astoria (Taiwan)
Director: YEE Chin-yen
Producers: James LIU
Production Company: Joint Entertainment International
7. Dancing Mary (Japan)
Director: Sabu
Producer: KASHINO Takahito
Production Company: IMJ Entertainment
8. Detour (Hong Kong)
Director: Alexi TAN
Producer: Terence CHANG
Production Company: Lion Rock Productions
9. The Fugitive Club (Chinese mainland-Hong Kong)
Director: TANG Xiru
Producer: Daniel YU, Rosa PANG
Production Company: Beijing October Pictures Co
10. Gensenkan (Japan)
Director: NAKATA Hideo
Producer: Jennifer FUKASAWA
Production Company: Hideon Productions
11. High Society (Thailand)
Director: Aditya ASSARAT
Producer: Soros SUKHUM, Aditya ASSARAT
Production Company: Pop Pictures Co
12. Karaoke (Malaysia)
Director: Chris Chan-fui CHONG
Producer: Paul LEE, Pierre LABURTHE
Production Company: Tanjung Aru Pictures
13. Mang Liu (Chinese mainland)
Director: LI Yang
Producer: LI Yang
Production Company: Tang Splendor Films Ltd
14. Mother (working title) (South Korea)
Director: BONG Joon-ho
Producer: CHOI Jae-won, SEO Woo-sik
Production Company: Barunson Film Division
15. Red Spider Lily (Chinese mainland)
Director: Robin WENG
Producer: ZHANG Xianmin
Production Company: Wonderland Pictures
16. Romance Rental (Taiwan)
Director: KUO Chen-ti
Producers: WU Nien-Jen, Jennifer JAO
Production Company: Wu' s Production Co
17. Secret Of The Butterfly (working title) (Thailand)
Director: Nonzee NIMIBUTR
Producer: Nonzee NIMIBUTR, Apichana LEENANOND
Production Company: Cinemasia Co
18. Service (The Philippines)
Director: Brillante MENDOZA
Producer: Ferdinand LAPUZ
Production Company: Centerstage Productions Inc
19. Sharaku (working title) (South Korea)
Director: PARK Tae-Choon
Producer: KIM Seung-Bum, ISEKI Satoru, KIM Dong-gu
Production Company: Studio 2.0
20. Shuffle (Hong Kong)
Director: Carol Miu-suet LAI
Producers: CHOW Keung
Production Company: Indies Production
21. The Taxi Passenger (Iran)
Director: Hassan YEKTAPANAH
Producer: Hassan YEKTAPANAH, Nikta TAYEBAN
Production Company: Valla Film Productions
22. Tsutenkaku (working title) (Japan)
Director: OTANI Kentaro
Producers: KUBOTA Osamu, MAMEOKA Ryosuke
Production Company: IMJ Entertainment
23. Untitled Park Chan-wook Project (South Korea)
Director: PARK Chan-wook
Producer: PARK Chan-wook, AHN Soohyun
Production Company: MOHO FILM
24. White Nights (Chinese mainland-Hong Kong)
Director: SHENG Zhimin
Producer: Fruit CHAN, Chris LIU
Production Company: Nicetop Independent, Beijing Oriental Picture Film Co
25. A Woman In Paris (South Korea)
Director: IM Sang-soo
Producer: Carole SCOTTA, LEE In-ah
Production Company: Haut et Court, Greensky films
Upravo na Kosavi Zecevic gostuje u nekoj emisiji REZ, pa pomenuse i U BRDIMA, te voditelj rece da ce tvoja knjiga mozda jednog dana biti i skolski udzbenik.
a ko je voditelj? i kako dođoše u BRDA?
pošto ja ne gledam TV, evo, nisam uspeo čak ni da lociram na kom mi se kanalu nalazi Košava (ako je uopšte imam) – ali zato, šetajući kanalima, nađoh reprizu gostovanja ace rad. i dela ekipe OGNJENKE na BN-u, i to je takođe bilo jedno okrepljujuće iskustvo...
Ne znam ko je voditelj,...to je izgleda emisija koja se bavi filmom i emituje se subotom od 8 do 8 i 45.Ova vecerasnja se bavila hororom, a tvoja knjiga je pomenuta kad se govorilo o publicistici, te je voditelj pitao Zecevica da li se slaze sa tvojim stavom da je Kadijevic najznacajniji domaci horor autor.Nakon toga su pustali insert iz Leptirice.
i, jel se slaže zeka, ili je ipak glasao za markovića? ili kresoju? :idea:
i, jel se slaže zeka, ili je ipak glasao za markovića? ili kresoju? :idea:
Quote from: "Ghoul"i, jel se slaže zeka, ili je ipak glasao za markovića? ili kresoju? :idea:
Pa manje-vise da,ali se najpre zapitao postoji li domaci horor film, a onda govorio kako je Kadijevic povezao horor sa etnologijom, folklorom itd.
Charlize Theron Has Sympathy for Lady Vengeance
She also has a producer's credit and the starring role.
She'll spend the summer blending humor and superhero action with Will Smith and Jason Bateman in Hancock, but Charlize Theron already has Vengeance on her mind.
While promoting her latest film, Sleepwalking, Theron told MTV Movies that she's working on an adaptation of Park Chan-Wook's Sympathy for Lady Vengeance. Though she described the film as "in the very early stages" of development, Theron is committed to produce and star -- and she knows she's got her work cut out for her:
We're intimidated almost beyond belief. [Park Chan-Wook] made an almost perfect film. I wouldn't do it if it wasn't for him and his encouragement. He came to me and said he really wanted us to do this. He didn't want to direct it. He really wanted to see that story told in an American society. If he wasn't so encouraging, I don't think I could go through with it. It'll be a different director.
The original film, released in 2005, wrapped up the vengeance-themed trilogy the director started with 2002's Sympathy for Mr. Vengeance and continued with 2003's Oldboy:
On the heels of her release from prison, Lee Geum-ja embarks on a mission to track down the man responsible for her imprisonment, which also resulted in her being forced to give up her daughter for adoption. Hardened by years in the penitentiary and endlessly fantasizing about the right way to exact revenge, she enlists the help of former cellmates to accomplish her goal. But what she uncovers is a secret so horrifying that no revenge seems fitting.
As Theron acknowledged, successfully remaking Lady Vengeance will be difficult; Tomatometer critics gave the original a 75 percent Tomatometer rating, and RT users were even kinder, sending it all the way to 88 percent. Place your bets!
Quote from: "Dry-Na-Nord"Charlize Theron Has Sympathy for Lady Vengeance
She also has a producer's credit and the starring role.
She'll spend the summer blending humor and superhero action with Will Smith and Jason Bateman in Hancock, but Charlize Theron already has Vengeance on her mind.
While promoting her latest film, Sleepwalking, Theron told MTV Movies that she's working on an adaptation of Park Chan-Wook's Sympathy for Lady Vengeance. Though she described the film as "in the very early stages" of development, Theron is committed to produce and star -- and she knows she's got her work cut out for her:
We're intimidated almost beyond belief. [Park Chan-Wook] made an almost perfect film. I wouldn't do it if it wasn't for him and his encouragement. He came to me and said he really wanted us to do this. He didn't want to direct it. He really wanted to see that story told in an American society. If he wasn't so encouraging, I don't think I could go through with it. It'll be a different director.
The original film, released in 2005, wrapped up the vengeance-themed trilogy the director started with 2002's Sympathy for Mr. Vengeance and continued with 2003's Oldboy:
On the heels of her release from prison, Lee Geum-ja embarks on a mission to track down the man responsible for her imprisonment, which also resulted in her being forced to give up her daughter for adoption. Hardened by years in the penitentiary and endlessly fantasizing about the right way to exact revenge, she enlists the help of former cellmates to accomplish her goal. But what she uncovers is a secret so horrifying that no revenge seems fitting.
As Theron acknowledged, successfully remaking Lady Vengeance will be difficult; Tomatometer critics gave the original a 75 percent Tomatometer rating, and RT users were even kinder, sending it all the way to 88 percent. Place your bets!
Kuku.... Čak i Parkova verzija je bila najslabija u Vengeance trilogiji, a mogu misliti kakva će američka biti...
Koji je ovo japanski film koji je ušao među prvih deset?
http://www.boxofficemojo.com/movies/?id=underthesamemoon.htm
pazi ti malog fukasakua kako mi se provukao ispod radara!
ipak, kolko vidim ovo ne samo što nije horor, nego -"the gritty fable"! - nije ni nešto što bih poželeo da gledam, tako da me jedino čudi što je dospeo tako visoko na BO.
Ali zato ovaj moz' bit' interesantniji: XX (ekusu kurosu): makyô densetsu (2007)......mali Kenta,ako nastavi ovakvim tempom da rezira,mozda opravda ocekivanja Japanaca i dostojno nasledi slavnog oca.
Ja sam od Kente gledao samo BATORU ROWAIRU 2 i meni je to bilo fenomenalno. Još uvek sam u potrazi za njegovim SUKEBAN DEKA filmom...
Quote from: "crippled_avenger"Ja sam od Kente gledao samo BATORU ROWAIRU 2 i meni je to bilo fenomenalno. Još uvek sam u potrazi za njegovim SUKEBAN DEKA filmom...
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi234.photobucket.com%2Falbums%2Fee305%2Fshozohirono%2FSukebanDeka.jpg&hash=557a2fce8318a692ea75458b4026b095852adbe2)
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U organizaciji Ambasade Republike Srbije u Seulu i Filmskog centra Srbije u Seulu- Koreja, od 17. marta do 22. marta održana je revija srpskog filma.
U okviru revije prikazani su sledeći filmovi iz Srbije:
"Belle epoque", Nikole Stojanovića
"Agi i Ema", Milutina Petrovića
"Promeni me", Milana Karadžića
"Odbačen", Miše Radivojevića
"Klopka", Srdana Golubovića
"Hadersfild", Ivana Živkovića
Najebaše korejska braća ni kriva ni dužna...
Quote from: "Meho Krljic"Najebaše korejska braća ni kriva ni dužna...
ma nisu ni oni cvećke: oni imaju jednu posebno žalosnu sklonost PATETICI, tako da će neki od ovih naših filmova svakako ostaviti traga (i uticaja?) na korejce! a tako im i treba! :evil:
Quote from: "Ghoul"Quote from: "Meho Krljic"Najebaše korejska braća ni kriva ni dužna...
ma nisu ni oni cvećke: oni imaju jednu posebno žalosnu sklonost PATETICI, tako da će neki od ovih naših filmova svakako ostaviti traga (i uticaja?) na korejce! a tako im i treba! :evil:
Pomesao si ih HongKongskom bracom.... :evil:
Quote from: "Shozo Hirono"Quote from: "Ghoul"oni imaju jednu posebno žalosnu sklonost PATETICI,
Pomesao si ih HongKongskom bracom.... :evil:
ma ti si po običaju sve pomešao.
ne znam kako si mogao da pogledaš bilo koji film i najvećih koreanaca, poput kim ki duka i čanvuk parka, a da ne zapaziš tu sklonost ka PATETICI - a da i ne govorim o njihovim uskraćenijim kolegama, koje se u patetici zanose ko blesavi, kao da je bio neki moratorijum do pre 5 godina, pa sad moraju da nadoknade izgubljeno i trpaju je left & right & on top, too!
Quote from: "Ghoul"Quote from: "Shozo Hirono"Quote from: "Ghoul"oni imaju jednu posebno žalosnu sklonost PATETICI,
Pomesao si ih HongKongskom bracom.... :evil:
ma ti si po običaju sve pomešao.
ne znam kako si mogao da pogledaš bilo koji film i najvećih koreanaca, poput kim ki duka i čanvuk parka, a da ne zapaziš tu sklonost ka PATETICI - a da i ne govorim o njihovim uskraćenijim kolegama, koje se u patetici zanose ko blesavi, kao da je bio neki moratorijum do pre 5 godina, pa sad moraju da nadoknade izgubljeno i trpaju je left & right & on top, too!
The Art of Conversation :
Naravno da si ti pomesao babe i zabe,i opet po starom dobrom obicaju prebacujes loptu na drugu stranu.
Postoji patetika kod koreanaca,ali je ona uglavnom smisaona i artikulisana u pravom smeru i dozirana izvesnom kolicinom prolivanja emocija i suza.Kvalitetni primeri Siworae,Failan,Oasis ili cak A Bittersweey Life....ima naravno i promasaja !ALI ZATO
Kinezi i HK scena ne moze ni zanrovske uratke da dovrsi,a da ne ubrizga u mozak gledaoca saosecajnu emociju glavnih junaka i melodramaticni finis....dal' moram da pominjem Z.Yimoua,A.Leea,pa cak i gangsteraj tipa R.Lam ili J.To(not to mention J.Woo !!!) ima pateticne naglaske,NARAVNO,TO AUTOMATSKI NE MORA DA ZNACI LOS ILI NEKVALITETAN FILM,uglavnom je to subjektivna moc,zelja ili shvatanje samog pojedinca.
Stuart Gordon ("Re-Animator," "Fortress," "Dagon") is finally moving forward with H.P. Lovecraft's "The Thing on the Doorstep" as his next project reports Fangoria.
The story is set at Miskatonic University and deals with body-swapping and people coming back from the dead. Gordon and Dennis Paoli adapted the story for the screen.
Attached a year ago to the production, it seems things are finally getting underway with shooting scheduled to begin this Fall.
Eva Mendes is in negotiations to re-team with Nicolas Cage in Nu Image and Millennium Films reimagining of "Bad Lieutenant" says Variety.
The 1992 Abel Ferrara-directed original film starred Harvey Keitel as a corrupt cop investigating a nun's rape.
Billy Finkelstein penned the new version which Werner Herzog will direct. Shooting begins late summer.
Universal Pictures and Focus Features will co-finance and co-produce the Korean vampire movie "Thirst" says Variety.
The story follows a priest who participates in a medical experiment to find a cure for a deadly disease with traumatic repercussions.
Park Chan-wook ("Oldboy," "Sympathy for Lady Vengeance") directs the project, the first time a Korean film has received U.S. studio funding and a distribution commitment before its local release.
Song Kang-ho, Shin Ha-kyun and Kim Ok-bi also star. The film will premiere on the festival circuit mid-2009.
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ova slika je pre za topik: HORROR, SERIOUSLY!
Znam,ali Crip me izazvao ! :!:
Human Head Tofu Soup
AKA: There Is A Secret In My Soup/Ren tou dou fu shang
Based on a sadistic crime that shocked all of Hong Kong.
The police are investigating a murder after a grisly discovery is made: a skull tucked inside a plush Hello Kitty doll. They determine that it belonged to Maggie, a prostitute who ran afoul of a group of drug-addled gangsters. As the police dig deeper into the crime, they discover that Maggie's final days were indeed terrifying, and that she deserved a far better fate than she received. Exploiting true events for a drama of horror and torture, THERE'S A SECRET IN MY SOUP was given the controversial Category III rating (for extreme violence and some sexual content) by the Hong Kong authorities.
Director: Yeung Chi Gin
Writers: Yeung Chi Gin and Siu Jat Ming
Starring: Chiu Chiu Chan, Maggie Chan, Michael Wong, Angela Tong Ying-Ying, Wing Yin Cheung, Gabriel Harrison, Hugo Ng
More Information about the real event -
In March of 2001, the HK dailies reported on one of the most horrific murder cases the region had seen in quite sometime. Loan sharks an Man-lok, Leung Shing-cho, and Leung Wai-lun kidnapped Fan Mei-yee and confined her to a Tsimshatsui flat. For the next four weeks, the woman was repeatedly raped and tortured for allegedly stealing $HK4,000 (about $US500) from Chan. When she finally expired, the men dismembered her corpse, boiled the limbs and head, dumped the internal organs on a shop canopy, and stuffed the skull inside a Hello Kitty doll. The incredibly sordid details of the case (which finally wrapped up in December, with the three defendants receiving life sentences) and the inclusion of one of Asia's most popular toys among the evidence made it a natural subject for local exploitation filmmakers."
One person who's not happy with director Matt Reeves ("Cloverfield") and his upcoming remake of Swedish vampire flick "Let the Right One In" is the original helmer himself Tomas Alfredson.
In an interview with MovieZine, Alfredson says "Remakes should be made of movies that aren't very good, that gives you the chance to fix whatever has gone wrong. I'm very proud of my movie and think it's great, but the Americans might be of another opinion. The saddest thing for me would be to see that beautiful story made into something mainstream."
He goes on to say "I don't like to whine, but of course - if you'd spent years on painting a picture, you'd hate to hear buzz about a copy even before your version...Why can't you just read the subtitles."Previous Article Submit a Scoop
Quote from: "crippled_avenger"I'm very proud of my movie and think it's great, but the Americans might be of another opinion. The saddest thing for me would be to see that beautiful story made into something mainstream.
pa jeste, kao što sam već pisao i na srpskom i na engleskom, glavna čarolija ovog filma ne može da se ponovi, jer se tiče čarobnih glumaca u gl. ulogama: na prvo gledanje sam ih toliko uzeo zdravo za gotovo, toliko su prirodni i normalni da sam tek na reprizu shvatio koliko to NIJE samopodrazumevajući kvalitet, koliko je suštinski i veliki za ovaj film.
naći će ameri neku simpatičnu klinčuriju iz nekih reklama, imaju toga kolko oćeš, ali ovaj. film. ne. može. biti. unapređen. u. američkoj. verziji.
Mmmm, švecki oror s vampiri(ca)ma! Njam njam! :!: Sounds promising!
Quote from: "Harvester"Mmmm, švecki oror s vampiri(ca)ma! Njam njam! :!: Sounds promising!
ne, harv!
švecki oror s vampiricom koja ima max 13 godina!
i uz to je pre.slat.ka!!!
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Horror Movie A Day: SALO (1975)
You should know there are a thousand occasions when one does not desire a woman's anus
Ahoy, squirts! Quint here with today's installment of A Movie A Day.
[The regular A Movie A Day list has been frozen in order for me to do an all-horror line-up for October. I've pulled many horror titles from my regular "to see" stack and have ordered many more horror and thriller titles to make sure we have some good stuff. Like the regular AMAD column all the movies I'm covering are films I have never seen, but unlike the regular AMAD column I will not connect each film to the one before it. Instead I will pull a title at random every day and watch whatever the movie Gods determine for me.]
While I was breaking today's movie, SALO OR 120 DAYS OF SODOM, out of its plastic I noticed something that made me laugh out loud. You see the cover for the Criterion disc above, right? You probably have a good idea that this isn't a family friendly movie, right? A naked crying girl doesn't really scream out "Hey, kids! Want to watch a movie?" At least it doesn't to me.
On the plastic was a sticker. Usually this sticker on a Criterion release denotes the disc as a limited pressing or a director's signature edition of the title. Here the sticker simply warned that SALO had explicit content. The sticker was positioned no more than an inch away from the tuft of pubic hair you can see on the cover. That's a little bit of a "No Shit" moment and had me laughing.
I don't really know what the fuck I just watched. There is no real story here, only an increasing level of depravity.
Basically you have a small group of older men and older women in some position of power during the end of the Nazi occupation of Italy. The first 20 minutes has these elegant men and women touring the country and finding dozens of young boys and girls to bring to a secluded mansion for reasons unknown.
In this mansion it is explained clearly to these teens that they will not be leaving and have no rights. A new set of rules and laws have been written by the elders and any breaking of these rules will be punishable by extreme measures. The daily scheduled is outlined in which there's story-time in the orgy room, followed by an orgy in the orgy room, but an orgy in which no male/female sex is allowed.
In other words, there's a lot of butt-fucking in this movie. A lot. Of butt-fucking. In this movie. A lot.
Now, there is a line this movie doesn't cross. Everything is implication and we don't get CALIGULA-esque porn, thank God. It doesn't go that far.
And that's about the movie.
Storytime is held in order to turn on the elders, so they can get their rape and fuck on and the stories always act as a precursor to what the elders are going to do. We get these ladies talking about being covered in semen as 6 year olds and discovering sex, becoming child prostitutes, which leads to regular sex.
Then we get a woman who is an expert at scat and bam... we get 30 minutes of girls and boys forced to eat shit and ass-contests. Then we get stories of torture and that takes us home, ending the movie with a series of eye-gougings, tongue removal, nipple burning and cock searing.
I suppose director Pier Paolo Pasolini's point was to show us how desensitized we are and really try to push taboos while depicting violence as truly horrific, not something to enjoy. I can see that argument, but I tend to think that's only a surface justification.
Listen, I love horror films. I love great gore, like most of you reading this. I remember vividly seeing the shotgun to the face head explosion in DAWN OF THE DEAD as a kid. I remember looking forward to seeing how creatively Jason would hack up another stupid counselor. Hell, I still do. I love seeing moments in films that make me go "Oh shit!," like post-bus accident attempted resuscitation in THE ORPHANAGE.
I'm not going to apologize for enjoying onscreen violence. I recognize it's not reality and I lead a very moral life. I've never hurt an animal, I've never cheated on a girlfriend, I've never beat anybody up. I'm a pretty passive person. So what if I like gore in horror movies?
So I'm not going to attack this film for the graphic, seemingly pointless, torture. I appreciate what it did, how it made me feel, but I think the whole "it's making a comment on society" is a hollow argument to obscure that the filmmakers really just wanted to make something really fucked up, something that will genuinely disturb people.
There's nothing wrong with that. It's that exact reason I love seeing Paul Schrader's movies. Much like Schrader's work I feel dirty after watching SALO, but unlike Schrader's work SALO felt like a hollow experience.
Sure, you get really awesome fucked up dialogue, like the line I picked for the subhead, spoken by one of the elders after being refused by one of the teen boys. He is offered pleasure by one of the elder ladies and his response is what I picked. I guarantee you that line has never been uttered in another movie, probably even counting porn (but I won't cover the bet if it's found in a porn, sorry).
There are a wide array of characters in this thing, mostly the elders... presented as creepy middle-aged men and heavily made-up ladies way beyond their prime. One of the leaders looks just like chubby Gerard Butler, so if they decide to remake this... I think they have their first actor...
Another one of the elders, the President, is played by a cross-eyed, high-pitched balding man who is very, very creepy. No doubt about it, the casting is superb and perfectly off-setting. Some of the kids are creepy, too, including the Nazi-youth like guards who are drawn into the sexcapades and horrors, as well.
And when I say kids, I'm sure everybody was of age. I have no doubt they cast as young as they could to really drive home how fucked up this all is, but this certainly isn't child porn by any means.
I don't know... did the whole thing disturb me? I wouldn't say it disturbed me as much as it made me feel dirty for watching. The tortures are graphic and gory, but without any character development they just come off as exploitation. I don't care about the people being tortured, can't really tell many of them apart other than whether it's one of the boys or one of the girls I've seen over the course of the movie. It's rare that anybody besides the elders speak so I didn't feel any personal involvement outside of a standard pity for any human having to undergo a rigorous torture.
People give HOSTEL a lot of shit, but like it or not in both movies Eli Roth went out of his way to develop the characters you see tortured later. You can argue how successfully he did that all you want, but the foundation is there. You can buy into it or not, but here there is no option. Shit just happens, people are fucked, tortured without any precursing development.
Final Thoughts: It's a bit of a shock jumping from two extremely fun horror movies to one so full of depravity and void of any fun, but I don't hate the movie. I don't feel the desire to ever revisit it... ever... nor would I recommend it to just anybody. A small niche of genre fans can appreciate this movie even if they don't like it. And sometimes people just want to see shit that pushes their buttons, which this movie definitely does. Not for the faint of heart or the weak of stomach, that's for damn sure.
+http://www.aintitcool.com/talkback_display/38631#comment_2312754
čak i za standarde AICN-a taj kvint je totalni debil: pogledaj samo listu filmova koje nije gledo ili je tek ovih dana otkrio: pa taj baja nije gledo više MUST-SEE filmova čak i od harva!
osim toga, postoje 2 genija za koja su ameri konstitucionalno NESPOSOBNI da ih pojme kako valja: jedan je de sad, drugi je a. crowley.
nema tu nade.
oni će za njih uvek da budu nepojmljivi, nerazumljivi monstrumi.
zapravo, nerazumevanje za SALO je savršena ilustracija toga zašto se istim ovim i ovakvim imbecilima sviđa šlajmalan, zašto ih kupuje gomila đubreta koje mi ovde na forumu uniformno prepoznamo kao takvo.
to ti je ONE TRACK MIND.
to ti je odrastanje na koka koli i fast foodu.
to ti je odsustvo evropske kulture.
to ti je nečitanje ozbiljne književnosti.
sve to i još mnogo toga drugog = nesposobnost da se pojme ljudi i ideje koji su drastično različiti od njihovih.
a, što mene posebno zabavlja (ali i žalosti) - hronična nesposobnost da se pojme oblici ironije koji nisu transparentni (ono, kad te autor ironije muva laktom i namiguje ti i šapuće: 'samo se zezam!')
Potonji text nikad i nije trebalo da predje na ovu stranu Atlantika,niti ga je ovde ko trebao procitat. Niti se on obraca Evropi.Izgleda kao da je napisan 5 minuta posle vidjenja.Meni je svojevremeno 3 dana bilo muka.Autor bi morao da upozna PERSONU zvanu Pier Paolo Pasolini,i pogleda a ono barem Gospel...da bi mogao validno da vrednuje njegov testament. :cry:
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uuu, gravest hits!
mora da proverimo!
Dosta dobar lajnap.
http://www.pressonline.rs/page/blog/sr.html?view=post&id=39980&blogId=5#blogComments
vidi komentare... :D
Zario si im očnjake direktno u Srce, brate nečastivi.
Quote from: "crippled_avenger"vidi komentare... :D
tako ti je to kad tražiš đavola među pobornicima "pravih, proverenih vrednosti"!
(mada, onaj što je govorio o sranju koje ulazi nazad na čmar je uspeo čak i mene na trenutak da zgrane!)
:roll:
Steven Spielberg and Will Smith are in early discussions to collaborate on a remake of Chan Wook-park's highly acclaimed 2003 Korean action hit "Oldboy" reports Variety.
In the original, a man gets kidnapped and held in a shabby cell for 15 years without explanation. Suddenly, he's released and given money, a cell phone and clothes and is set on a path to discover who destroyed his life so he can take revenge.
Smith who would play the kidnapped man if all the pieces fall into place and Spielberg is looking for a writer to begin the development process. The film will likely get underway once Spielberg finishes his directorial duties on the first "Tintin" film.
DreamWorks is in the process of securing the remake rights and the new film will be distributed by Universal.
:x
:roll:
bolje vil smit nego rob šnajder!
:P
bolje spilberg nego mcg.
ali razlike su zaista minorne, if any.
Pooooooooooooooorke ??????????????!!!!!!!!!!!!!! :x :x :x :x
rorke?
hm, on bi već bio DOBAR izbor za glavnu ulogu u rimejku! :idea:
rimejkovaće shi gan?
E za SHI GAN ce vec da USHIJU GA :lol:
Sto je mnogo mnogo je...mada ako oce da plate, nemaju vise svojih ideja, neka ih bre...al to ja necu gledati i sta me briga, sta ja imam sa tim ? Samo Kim ki duk i zabole me Babin kuk. :)
Quote from: "crippled_avenger"Steven Spielberg and Will Smith are in early discussions to collaborate on a remake of Chan Wook-park's highly acclaimed 2003 Korean action hit "Oldboy" reports Variety.
In the original, a man gets kidnapped and held in a shabby cell for 15 years without explanation. Suddenly, he's released and given money, a cell phone and clothes and is set on a path to discover who destroyed his life so he can take revenge.
Smith who would play the kidnapped man if all the pieces fall into place and Spielberg is looking for a writer to begin the development process. The film will likely get underway once Spielberg finishes his directorial duties on the first "Tintin" film.
DreamWorks is in the process of securing the remake rights and the new film will be distributed by Universal.
Ne znam da li su ih Turci pretekli,ali Bollywood sigurno jeste i to jos davno !!!!!!
Staromomche Zinda !!!! :evil: :!:
http://www.imdb.com/title/tt0488906/
Bogami,sa ovakvim replikama ovaj film postaje PRAJSLESSSSS !
Balajeet Roy: Motherfucker... Sisterfucker... I'll cut your flesh into pieces... no wait... I'm sorry
[Cries]
Balajeet Roy: Please... just let me go...
------------
Balajeet Roy: I'll kill you, Rohit
Rohit Chopra: If you kill me, who will tell you your daughter's whereabouts?
Balajeet Roy: Tell me her whereabouts, Rohit
Rohit Chopra: Your daughter is being plundered in this very whorehouse.
Rohit Chopra: She is getting fucked!
Balajeet Roy: [screaming] No!
-----------------
Balajeet Roy: Don't give me such a big punishment for a little mistake in the past?
Rohit Chopra: [furious] LITTLE MISTAKE? Due to your mistake my sister had to commit suicide and you had to rot in hell for fourteen years!
----------------
Balajeet Roy: Time... time has the power to change everything... once upon a time... even I used to be a human being
------------------
Rohit Chopra: To find out why I did this to you... you have only 6 days left
Balajeet Roy: But you don't even have one day left...
Balajeet Roy: C'mon Bala... do you really think you can kill me?
------------------
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xtwak
http://www.youtube.com/watch?v=8Q-rW1FZMX8
spilberg će to voki tokijem. možda i toki vokijem :idea:
When it was announced that Steven Spielberg and Will Smith were set to remake the highly acclaimed Korean film "Oldboy", fans began to worry that the film would end up as bad as almost every American remake of an Asian thriller has proven to be in recent years (for every single "The Departed" there's five like "Shutter").
Now Will Smith tells Film School Rejects that rather than a remake of Chan Wook-park's 2003 film, the project will be an adaptation of the original manga by Garon Tsuchiya and Nobuaki Minegishi.
"We're looking at that right now. Not the film though, it's the original source material. There's the original comics of 'Oldboy' that they made the first film from. And that's what we're working from, not an adaptation of the film" says Smith.
Though similar, there's some notable differences between the graphic novel and the darker original film with its darker elements from live eating of octopii to brother-sister incest. A writer is currently being sought for the Universal Pictures project.
očekujem od meha il tako nekog stripadžije da nam kaže kolika je razlika strip-film i ima li materijala u stripu koje bi ovi mogli da uzmu a da to ne bude već superiorno urađeno kod čanvuka.
ja čak možda i imam sken toga negde na svojim strip diskovima, ali ko će sad na svu muku još i stripove da čita? :cry:
Ja sam počeo da čitam taj strip pre par godina, ali ga nisam nikad završio. Sećam se da mi je film bio superiorniji. Verovatno zato što su tamo slike u pokretu, za razliku od stripa gde su bile statične.
Quote from: "DušMan"Verovatno zato što su tamo slike u pokretu, za razliku od stripa gde su bile statične.
Drmni nešto jače, pa onda kreni da čitaš strip ponovo...
Quote from: "Ghoul"očekujem od meha il tako nekog stripadžije da nam kaže kolika je razlika strip-film i ima li materijala u stripu koje bi ovi mogli da uzmu a da to ne bude već superiorno urađeno kod čanvuka.
ja čak možda i imam sken toga negde na svojim strip diskovima, ali ko će sad na svu muku još i stripove da čita? :cry:
Mislim da sam ti ga ja narezao. Strip je daleko sporiji i detaljniji. Ko voli - dobro mu je, sve dok ne očekuje superiornu vizuelnu stilizaciju i tempo filma.
Hayao Miyazaki: 'We need to liberate our children from nationalism'Comments (...)
Trenton Truitt and Ben Child
guardian.co.uk, Tuesday November 25 2008 12.02 GMT
Article history
A still from Hayao Miyazaki's Ponyo on the Cliff (2008), another film from the Japanese director which celebrates the innocence of children
Despite being responsible for Japan's most successful film of all time, Spirited Away director Hayao Miyazaki is known as something of a recluse. But he has made a rare foray into the limelight to criticise the rise of nationalism in his home nation and to call for increased measures to improve the environment.
During a press conference in Tokyo to promote his latest film, Ponyo on the Cliff, which has already grossed $153m in Japan and picked up two awards at the Venice film festival, Miyazaki said he was disappointed by the actions of Japan's disgraced head of the airforce, general Toshio Tamogami, who was fired earlier this month after he wrote an essay defending his country's actions in the second world war.
"We need to liberate our children from nationalism," Miyazaki said. "The nationalistic view suggests the problems in the world come from its multi-ethnicity. [It] creates a possibility for the country we love to turn into something negative for the world as a whole. This is a lesson we learned from the past war and which we cannot forget."
The 67-year-old Academy award-winner also derided Japan's environmental policies - as well as those of the world in general - a theme highlighted in his films Princess Mononoke and Spirited Away, which holds the all-time box office record in Japan with a stunning 30bn Yen yield.
Miyazaki's work often touches on the innocence of children and posits the view that they offer hope for humanity's future. Ponyo on the Cliff, which centres on a young boy who befriends a goldfish that wants to be human, is the latest example. It will be widely released in Europe and north America in 2009. The director has also driven home his point outside the world of film: his company Studio Ghibli recently opened a creche in Tokyo after Miyazaki decried the lack of childcare facilities.
The film-maker spoke enthusiastically about the venture during his talk at the foreign correspondence club. "Here in Japan we have much potential future uncertainty, which applies to the workplace and also how we should raise our children," he said.
"[But] as they ran wild in the [facility's] garden we saw that they were quickly able to adapt themselves. There were many cases where they may have been threatened, but they did not cry... It was truly an astonishing thing to see. There was no longer an uncertainty about our children."
ALAN MOORE'S NEONOMICON HORNBOOK; by Alan Moore & Jacen Burrows.
Alan Moore fans, this is the big one, the first all-new Alan Moore horror series in ages is coming, and this is the first look! Neonomicon is the all-new full-color sequel to The Courtyard! He takes his re-invention of H.P. Lovecraft's mythos to new levels of madness as investigators look into what happened to legendary FBI man Aldo Sax. The path it leads them down is one of the most intense and disturbing works Moore has ever written. The series itself does not launch until Fall 2009, but this special book Features completed pages from #1, a look at some of Moore's original script, special design sketches, and an all-new interview with Jacen Burrows. Two editions are available: the standard cover by Burrows and a special Leather cover by Burrows signed by the artist, packaged with a Certificate of Authenticity, and limited to just 3,000 copies! STANDARD COVER 16 FC LEATHER COVER SIGNED
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šta, već sam postao objekt fejsbuka? :shock:
Quote from: "Ghoul"šta, već sam postao objekt fejsbuka? :shock:
Lepo sam ti ja rekao da je to neizbežno...
Berlin
STORM
((GERMANY))
By DEREK ELLEY
'Storm'
A Piffl Medien/A-Film (in Germany) release of a 23/5 Filmproduktion production, in association with Zentropa Berlin, Zentropa Entertainments, Zentropa Intl. Netherlands, IdtV Films, Film i Vast. (International sales: Trust Nordisk, Hvidovre, Denmark.) Produced by Britta Knoeller, Hans-Christian Schmid. Executive producer, Maria Koepf. Co-producers, Marie Cecilie Gade, Bettina Brokemper, Frans van Gestel, Jeroen Beker. Co-executive producers, Peter Aalbaek Jensen, Peter Garde. Directed by Hans-Christian Schmid. Screenplay, Bernd Lange, Schmid.
Hannah Maynard - Kerry Fox
Mira Arendt - Anamaria Marinca
Keith Haywood - Stephen Dillane
Jonas Dahlberg - Rolf Lassgard
Patrick Faerber - Alexander Fehling
REMEMBER TO REMOVE THE HEADLINE AT THE VERY BOTTOM.
STORM
(GERMANY)
A Piffl Medien/A-Film (in Germany) release of a 23/5 Filmproduktion production, in association with Zentropa Berlin, Zentropa Entertainments, Zentropa Intl. Netherlands, IdtV Films, Film i Vast. (International sales: Trust Nordisk, Hvidovre, Denmark.) Produced by Britta Knoeller, Hans-Christian Schmid. Executive producer, Maria Koepf. Co-producers, Marie Cecilie Gade, Bettina Brokemper, Frans van Gestel, Jeroen Beker. Co-executive producers, Peter Aalbaek Jensen, Peter Garde.
Directed by Hans-Christian Schmid. Screenplay, Bernd Lange, Schmid. Camera (color, widescreen), Bogumil Godfrejow; editor, Hansjoerg Weissbrich; music, the Notwist; art director, Christian M. Goldbeck; costume designer, Steffi Bruhn; sound (Dolby Digital), Patrick Veigel; sound designer, Hans Moller; assistant director, Scott Kirby. Reviewed at Berlin Film Festival (competing), Feb. 7, 2009. Running time: 102 MIN.
Hannah Maynard Kerry Fox
Mira Arendt Anamaria Marinca
Keith Haywood Stephen Dillane
Jonas Dahlberg Rolf Lassgard
Patrick Faerber Alexander Fehling
With: Tarik Filipovic, Kresimir Mikic, Steven Scharf, Joel Eisenblaetter, Bent Mejding, Wine Dierickx, Reinout Bussemaker, Alexis Zegerman, Arturo Venegas, Drazen Kuehn.
(English, German, Serbian dialogue)
By DEREK ELLEY
A potentially gripping legal thriller about what happens when Western Europe attempts to solve Central European problems ends up as dull entertainment in "Storm." Europudding production, shot largely in English, wastes some fine acting talent -- Kerry Fox, Stephen Dillane and, especially, Romanian actress Anamaria Marinca ("4 Months, 3 Weeks and 2 Days") -- on a script whose dialogue is by turns awkward, expository and simply unnatural, and which tries to be provocative but ends up being either back-breakingly worthy or plain silly. Expect some serious reviews in Euro territories followed by distinctly un-stormy business.More than one option(Film) Storm
David Palffy, Michael Kevis
(Film) Storm
Paul L Nolan, John Kewalzick
(Tv) Storm
It's 2005, and former Yugoslav National Army commander Goran Duric (Drazen Kuehn) is arrested while vacationing in the Canary Islands. Three years later, his trial for war crimes committed 15 years earlier in the Bosnian town of Kasmaj is due at the U.N. Intl. Criminal Tribunal in the Hague. Prosecutor Hannah Maynard (Fox) is told by her boss, Keith Haywood (Stephen Dillane), that it's a piece of cake; all she has to do is prove Duric was in charge of the ethnic cleansing.
However, when Duric's canny lawyer (Tarik Filipovic) undermines the credibility of Hannah's key witness, Alen Hajdarevic (Kresimir Mikic), Keith tells Hannah she has to take a new approach to the case. She has one week to do so, as the tribunal is already getting itchy to close the book on Bosnia.
Hannah tracks down Alen's sister, Mira (Marinca), who lives in Berlin with her husband (Steven Scharf) and young son, and pressures her to go on the witness stand. Meanwhile, she also starts to uncover hints of further dark deeds by Duric in a spa hotel in Vilina Kosa, near Kasmaj.
Despite threats and harassment by Serbian nationalists, Mira finally agrees to help Hannah, partly to exorcise her own memories. But behind-the-scenes wheeling and dealing by EU pols undercuts Mira's usefulness and threatens to make her collateral damage on a broader geopolitical level.
Not helped by the cloth-eared dialogue, which sounds directly translated from German, the rather tired-looking Fox doesn't breathe much life into her conflicted role as U.N. careerist and social conscience. Most of the rest of the cast, including Dillane as her hardass boss and Sweden's Rolf Lassgard as her EU apparatchik lover, are simply moved around the board at the scripters' convenience.
Only Marinca, so good as the pragmatic best friend in "4 Months," manages to rise above the studied dialogue. She carves a sympathetic character whose life is of little consequence to those in the comfy Netherlands, far from the tangled, emotional arena of former Yugoslavia.
Schmid, who created a real sense of claustrophobia in exorcism drama "Requiem," doesn't show the same smarts here as the movie flips back and forth between the Netherlands, Germany and Central Europe with zero accumulating tension. Widescreen, handheld lensing by Polish lenser Bogumil Godfrejow, who also shot "Requiem," is distractingly antsy, for no apparent reason other than to try to engender a sense of immediacy.
More than one option(Co) A-Film Distribution (Netherlands)
(Co) A-Film
Film - Filmography, Year, Role
(Co) A-Film
Film - Filmography, Year, Role
(Co) A-Film
Film - Filmography, Year, RoleMore than one option(Person) Maria Kopf
(Person) Maria Koepf
More than one option(Co) Dolby Laboratories Inc.
(Co) Dolby Digital
More than one option(Person) Scott Kirby
Assistant Director, Set Decorator, Actor
(Person) Scott W Kirby
(Person) Scott Kirby
Animation Director, WriterMore than one option(Film) Requiem
Edit Frajt, Zoltan Fabri
(Film) Requiem
(Film) Requiem
1998 - Francis Frappat, Alain Tanner
(Film) Requiem
2006 - Sandra Hueller, Hans-Christian SchmidCamera (color, widescreen), Bogumil Godfrejow; editor, Hansjoerg Weissbrich; music, the Notwist; art director, Christian M. Goldbeck; costume designer, Steffi Bruhn; sound (Dolby Digital), Patrick Veigel; sound designer, Hans Moller; assistant director, Scott Kirby. Reviewed at Berlin Film Festival (competing), Feb. 7, 2009. Running time: 102 MIN.
wow, ovo se mora pogedati, makar ovaj rivju vrlo jasno nagoveštavao skoro sve uobičajene boljke inozemnih pokušaja bavljenja balkanskom tragikomendijom.
naravno, drago mi je što je film, po svemu sudeći, umetnički PUKAO; sa takvom agendom i ne zaslužuje bolje.
Tarik Filipovic je jedno vreme ozbiljno figurirao za važnu ulogu u SRPSKOM FILMU, aca me je ubeđivao da je on super glumac – ne znam jer ne gledam TV – ali to je razlog više da se ovo pogleda. kao i ona rumenka - ovaj, rumunka.
btw: ja sam izgleda jedina osoba na svetu kojoj je taj šmitov REQUIEM bio vrlo promašen, dosadan i šupalj; vidim da svi ostali (i dalje) otkidaju na to.
hm.
da li je bio potreban OVAJ film da se pokaže da je Ghoul, tradicionalno, bio u pravu, i da je šmit prodavac magle?
ovo je vrsta filma kakva bi sjajno legla festu, kad bi ovaj imao ozbiljne selektore.
Malo istorije žanra, što da ne?
Blood and gutsiness
Risible dialogue, busty vampires, huge profits ... Will Hodgkinson tells the extraordinary story of the British horror studio that gave Hammer a run for its money
Will Hodgkinson
The Guardian, Friday 13 February 2009
Article history
Four stories for the price of one ... scene from The House That Dripped Blood (1970). Photograph: Ronald Grant Archive
There was a period in British culture - roughly the mid-60s to the late 70s - when making a movie on the cheap, getting it shown in cinemas and turning a profit was actually possible. Amicus studios, the brainchild of a socially inept scriptwriter called Milton Subotsky and a fast-talking hustler called Max J Rosenberg, hired everyone from Vincent Price to Joan Collins to star in hastily made horror movies with vague pretensions towards psychological depth. They even convinced Hollywood boy wonder William Friedkin to shoot an adaptation of Harold Pinter's The Birthday Party. Remarkably, Subotsky and Rosenberg achieved this without having any money whatsoever, let alone a real studio.
What Amicus did have was its own, original genre: the portmanteau horror. These involved an anthology of related segments, more often than not adapted from the short stories of Psycho author Robert Bloch. Amicus favourites included such titles as Dr Terror's House of Horrors (rail passengers get their Tarot cards read), Torture Garden (carnival sideshow reveals people's inner cruelties), Asylum (inmates are interviewed by a psychiatrist) and The House That Dripped Blood (a copper investigates four crimes in one building).
Amicus films were typically brooding and claustrophobic; they were far darker, and much less camp, than the horror films of the same period produced by the more famous Hammer studios. The scripts tended to reflect Subotsky's obsessions. I, Monster, its Dr Jekyll and Mr Hyde adaptation, is stuffed with Freudian theories because Subotsky's wife happened to be studying psychology at the time.
"Hammer was a business set-up," the late, legendary horror director Freddie Francis told this paper in 1995. "Had it dealt in garbage disposal, it would have been just as successful. Milton Subotsky from Amicus, on the other hand, was a real horror buff."
Amicus may have fashioned preposterous horror hokum out of love, but the studio came into being through hard-nosed opportunism. Rosenberg, a New Yorker, was a law graduate with a successful distribution company when he heard about the Eady plan, a British subsidy set up to funnel government money into movie production and encourage filming in the UK. Subotsky was a shy science-fiction film freak, also from New York, whose parents considered the movie industry disreputable. Nevertheless, he managed to get into the feature film business, producing Rock, Rock, Rock with Rosenberg in 1956, before he moved to England in 1960. In 1964, the pair came together again with the founding of Amicus to take advantage of the Eady plan.
The late Rosenberg called Amicus "a studio without walls". There was no capital structure, so films got made through a combination of private investment, funding from the Eady plan, and extremely low budgets. Its first proper production, 1965's Dr Terror's House of Horrors, was made for less than £100,000, yet starred horror giants Peter Cushing and Christopher Lee and was directed by Francis, already an acclaimed cinematographer. Rosenberg's technique for attracting high-profile talent was simple: he hired them on a competitive day rate, but only for a few days, so shooting schedules were brisk. The House That Dripped Blood was filmed over a couple of weeks.
"Rosenberg, who was the money man, was always in America and we never met him," says Ingrid Pitt, the Polish-born actor who starred with Dr Who's Jon Pertwee as a sexy vampire in The House That Dripped Blood. "But Milton was an angel. He was often on set and he had a way of making you feel wanted. We used to sit around and talk about medicine. He always thought he had something wrong with him."
Subotsky was also driven by a deep-rooted hatred for Hammer. In 1956, Hammer had rejected a script he wrote called Frankenstein and the Monster, only to go on and have huge success with a similarly themed film called The Curse of Frankenstein. To Rosenberg, this proved there was money in British horror movies. To Subotsky, the gauntlet had been thrown down. "Hammer seem happy to make the same film over and over again," he told an interviewer in the early 1970s. "I'm always looking for something different." But Subotsky overestimated his own abilities. He not only made a misguided attempt to improve on Robert Louis Stevenson's Jekyll and Hyde story with I, Monster; he insisted it be filmed in 3D. The film's young director, Stephen Weeks, could chop out Subotsky's monotonous dialogue about Freudian theory, but making the 3D effect work was almost impossible, because the sets had been built the wrong way round. The script called for the action to go from left to right, but the building lines went the other way.
"Milton Subotsky was a strange, nerdish character," says Weeks now. "He wanted everyone to watch home movies of his damn kid." Subotsky ran out of money halfway through the production, but rather than give up, he simply told Weeks to cut whatever scenes he had filmed into something resembling a finished movie. The film was released to terrible reviews - but, like most Amicus films, it made a profit.
Subotsky soldiered on, encouraged by Rosenberg, for whom critical lashings mattered little in the face of increasingly large financial returns. Subotsky's script for Tales from the Crypt, an anthology piece based on stories from 1950s pulp horror publishers EC Comics, was described by Variety as "laughably melodramatic". A review in Films Illustrated said: "Much of the dialogue is risible throughout, and much of the playing incapable of overcoming the vast obstacle of the script." Yet Crypt, which stars Joan Collins as an unfaithful wife who kills her husband only to be killed herself by a man dressed as Santa Claus, was one of the most successful films of 1972. It was second only to The Godfather at the US box office, and spawned a follow-up, The Vault of Horror.
One of Amicus's most notorious titles was Asylum, also made in 1972, another compendium piece based on short stories by Bloch - this time revolving around the psychological aberrations of inmates at a psychiatric hospital. Needless to say, Subotsky was incapable of leaving Bloch to his own devices, adding gratuitous scenes of limbs crawling across floors to the writer's original script. But Asylum's director, Roy Ward Baker, created a mood of sinister threat, and Subotsky assembled a starry cast: the best story features Charlotte Rampling as a schizophrenic whose murderous alter ego is played by Britt Ekland. Following a now-familiar pattern, Asylum opened to atrocious reviews and huge returns.
For reasons that remain unclear, Subotsky lost heart in Amicus in the wake of its biggest successes. In 1975, the studio released an adaptation of Edgar Rice Burroughs' lost-world adventure The Land That Time Forgot. It had proved a difficult film to shoot: its star, Doug McClure, was drinking heavily after the collapse of his marriage, while Subotsky was rumoured to be spending more time at Hamleys buying toys than running the studio. His only real involvement with the production was to turn up at a screening with his four-year-old-son, announce that the boy could tell there were men inside the dinosaur suits, and leave. Soon afterwards, Subotsky withdrew from the company and launched a lawsuit against his former partner that dragged on for the next five years - largely because the company had been set up on nothing more than a handshake.
Rosenberg kept Amicus alive for two more years. The studio's swansong was a terrible science-fiction western called Welcome to Blood City. Rosenberg cut his ties with the British film industry, set up a distribution company in California and produced films such as the Natassja Kinski-starring Cat People. Subotsky lurched from one disastrous production to another until dying of heart disease in 1991. Rosenberg kept working well into his 80s, dying in 2004 aged 90.
The Amicus story should have ended when Subotsky walked off in a huff in 1975. But the films have endured, growing in cult status as the years pass. There's something about the way they were made on a wing and a prayer that gives them charm, while the underlying themes of paranoia, neurosis and sexual repression - Subotsky's preoccupations, it seems - give some measure of depth behind the wooden dialogue and hammy acting.
In 2006, the US producer Robert Katz felt the Amicus name was worth reviving, and set up the label again. The second film from the reborn Amicus Entertaiment was the cult Stuart Gordon flick Stuck. Starring Stephen Rea and Mena Suvari, it re-established Amicus as a name to conjure with. Now the company is preparing to remake The House That Dripped Blood and Dr Terror's House of Horrors.
Amicus thrived in recession-hit 1970s Britain, when a combination of cheap production values and scary, silly fantasy suited the mood of the times. Perhaps its hour has come again.
• The season Amicus: The Studio That Dripped Blood is at the Barbican, London, from 20 February.
amicus je, što se mene tiče, dao hammeru 'run for its money' jedino po pitanju takmičenja u tome ko će da napravi dosadniji, prevaziđeniji, zastareliji, prazniji, izlizaniji 'gothic' horror.
ni jedni ni drugi mi nisu dragi, i strogo gledano, ne znam da li bih mogao na više od ukupno 10 engleskih horora nastalih između 1955. i 1975. godine da stavim svoj seal od approval, a pitanje je i od tih 10 koliko njih bi pripadalo ovim kompanijama!
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Ima i video: http://www.youtube.com/watch?v=UO_7kTYGbS8
Ghoule, još uvek se nisi oglasio povodom serije Čkaljinog sina NEKI ČUDNI LJUDI na kojoj je kao ko-scenarista radio RANKO MUNITIĆ?
Quote from: "crippled_avenger"Ghoule, još uvek se nisi oglasio povodom serije Čkaljinog sina NEKI ČUDNI LJUDI na kojoj je kao ko-scenarista radio RANKO MUNITIĆ?
poznato je da ja TV ne pratim, i da ga samo slučajno načujem i ili u magnovenju bacim neki pogled, a na taj produkt uho/oko mi se nisu zaustavili tokom bivanja u dnevnom boravku.
munetić svakako nije neko zbog koga bih narušavao svoje principe.
Universal, Imagine team on 'Strange'
Duo gear up 'Lovecraft' graphic novel
By MARC GRASER
Universal and Imagine Entertainment are gearing up for "The Strange Adventures of H.P. Lovecraft."
The studio has bought the film rights to Image Comics' graphic novel, with the project a potential directing vehicle for Ron Howard. The book bows April 8.
U sparked to "Lovecraft" because its take on classic horror fits in well with the studio's library of monster fare featuring Dracula, Frankenstein, the Mummy and the Wolf Man, the last of which is being brought back to the bigscreen later this year.
Created by Mac Carter and Jeff Blitz, book borrows elements from Lovecraft's life, such as his family's struggle with mental illness and his own bouts with writer's block, and transforms the young writer's darkest nightmares into reality when he comes across a book that puts a curse on him and lets the evils he conjures up loose on the world.
Lovecraft, who died in 1937, is considered one of the most influential horror writers of the 20th century.
Carter, a commercial director, will pen the script and serve as executive producer alongside Blitz.
Carter and Blitz both helmed commercials for Anonymous Content, working on spots for such clients as McDonald's, Yahoo, Coca-Cola and Toyota. Carter has since gone solo and has helmed more than 100 ads for clients.
Imagine's Brian Grazer and Howard are producers. David Bernardi, shingle's senior VP, and director of development, Chris Wade, will serve as co-producers.
Image Comics also publishes the popular "Spawn" books, as well as "Witchblade," "WildC.A.T.s," "The Walking Dead" and "Youngblood."
Police, Adjective
Politist, adj. (Romania)
By JAY WEISSBERGA 42 KM Film production, in association with Racova, Raza Studio, with the participation of HBO Romania. Produced by Corneliu Porumboiu. Executive producer, Marcela Ursu. Directed, written by Corneliu Porumboiu.
With: Dragos Bucur, Vlad Ivanov, Ion Stoica, Irina Saulescu, Cerasela Trandafir, Marian Ghenea, Cosmin Selesi, Serban Georgevici, George Remes, Adina Dulcu, Dan Cogalniceanu, Costi Dita, Alexandru Sabadac, Anca Diaconu, Radu Costin, Viorel Nebunu, Emanoela Tigla, Daniel Birsan, Bungeanu Mioara.
New Romanian cinema gains further impetus with Corneliu Porumboiu's cerebral non-thriller "Police, Adjective." With his 2006 Camera d'Or winner, "12:08 East of Bucharest," Porumboiu established himself as a witty writer-helmer with a superb ear for dialogue and an interest in the broader ramifications of truth. His follow-up, about a contempo cop's unwilling surveillance of a teen suspected of selling pot, takes things further, aiming a laser-sharp intellect and a deeply considered understanding of language at themes of authority and the residue of totalitarianism. Euro and bicoastal arthouse play is assured, though some auds may find the actionless passages taxing.
The deliberately paced opening -- following teen Victor (Radu Costin) as he's trailed by undercover cop Cristi (Dragos Bucur, "Boogie") through crumbling sections of the north-eastern city of Vasliu -- immediately sets up an unspoken critique of the country's post-communist stagnation. It's the inability, or refusal, to move forward, in all aspects of Romanian society, that's the real subject of the movie.
Cristi is a good cop, if a bit weary, and recently married to Anca (Irina Saulescu). His superior, Nelu (Ion Stoica), has him shadowing Victor in hopes of finding out where the teen's weed comes from, but in the course of his investigation, Cristi realizes Victor's just a kid who occasionally lights up with some friends. Though Nelu accepts Cristi's findings, he's unwilling to listen to the argument that Romanian law will soon fall in line with pan-European practices, so what's the point of ruining a kid's life for something that will soon be more or less legal?
Porumboiu uses his camera rationally, as a surveillance tool, yielding long passages in which little apparently happens. Victor's life, like that of most teens, is not exciting, and Cristi's tailing becomes a drudgery. Still, Porumboiu manages to hold the viewer's attention with tiny details, and by building sympathy for Cristi and showing the cop's growing sympathy for Victor.
An illuminating finale with police captain Anghelache (Vlad Ivanov) not only justifies all this careful pacing and deliberate buildup, but also rewards the viewer with one of those rare revelatory moments, exposing the full strength of what has preceded it. An earlier scene between Cristi and Anca plants the seed of what's to come, and how questions of language, and the parsing of definitions, can be manipulated and turned against their true purpose.
That's where "Police, Adjective" is so extraordinary: Porumboiu is one of the few helmers working today who so completely understands both the power of language and the power of visuals. He brings this intelligence to bear on the corrupting influence of a system that exerted control for generations, arguing that such systems die very hard deaths.
Perfs show the naturalness that's perhaps the sole common trait of the so-called Romanian New Wave. Ivanov, the chilling abortionist from "4 Months, 3 Weeks and 2 Days," appears only towards the end, but the studied calm and confidence in his power are thrilling and devastating to watch.
The camera calls as little attention to itself as possible, generally maintaining (like Cristi) an observational stance. However, every inch of the frame contains something meaningful, as when the fixed camera holds onto the image of Cristi and Anca separated by a wall. Version caught in Bucharest was screened digitally, before sound and color correction were completed, but was otherwise a finished version.
Camera (color), Marius Panduru; editor, Roxana Szel; music, Mirabela Dauer, Yan Raiburg; production designer, Mihaela Poenaru; costume designer, Giorgiana Bostan; sound (Dolby Digital), Alexandru Dragomir, Sebastian Zsemlye, Christian Mike Sugar; assistant director, Mihai Sofronea; casting, S.C. Exit Films 2002. Reviewed at Elvire Popesco Cinema, Bucharest, Romania, April 2, 2009. (In Cannes Film Festival -- Un Certain Regard.) Running time: 110 MIN.
Tell Tale
By JOHN ANDERSON
Directed by Michael Cuesta. Screenplay, David Callaham, inspired by Edgar Allan Poe's "The Tell-Tale Heart."
Terry Bernard - Josh Lucas
Elizabeth Clemson - Lena Headey
Phillip Van Doren - Brian Cox
Angela Bernard - Beatrice Miller
Kevin Stanovich - Jamie Harrold
Acherton - Michael Kenneth Williams
Bernard Cochius - Pablo Schreiber
Edgar Allan Poe could have used a new liver, but not in his most macabre hallucinations could he have imagined his classic "The Tell-Tale Heart" being transformed into the horror-transplant vision of "Tell Tale," a thriller that will keep its considerable viewership off balance while providing star Josh Lucas with one of the better opportunities of his career. Under the imprimatur of producers Ridley and Tony Scott, the very talented Michael Cuesta ("L.I.E.") has made his most accessible film to date, an intelligent creepfest that may have auds imagining the movie playing on and on, beneath the floorboards.
As Terry Bernard, Lucas, an actor of natural intensity, takes his usual edge off, at least initially. Terry has a beautiful doctor girlfriend, Elizabeth (Lena Headey), a menial job and a daughter (Beatrice Miller) with a crippling illness that will eventually cause the calcification of her tendons and connective tissue. But Terry has had a medical emergency, too -- a heart transplant, from which he's just recovering. He's a mild-mannered guy, so it's a bit surprising when he starts hyperventilating in the presence of certain people at the local hospital, and then manages to stab to death the same medical technician who harvested his new heart.
But there's a coronary-pulmonary-style system at work in "Tell Tale," even if viewers will sometimes wonder how it's all connected: David Callaham's script metes out details with tantalizing slowness, so certain things don't immediately add up -- like why Det. Van Doren (a beautifully rough and slouching Brian Cox) is so amenable to Terry finding and then killing the people responsible for the death of Terry's heart donor. Or who that donor was. Or why certain people are so interested in what Terry knows or may find out.
That Lucas at first plays Terry on the downbeat makes his character's transformation all the more credible. Just as Terry's body is changing -- his doctor tells him he's only the second case in history of someone whose blood type has spontaneously changed (he now matches his donor) -- so is his mind. His appetites are altered. His attitude toward Elizabeth gets coarser. And his bloodlust is amped.
Cuesta (for whom Cox starred as the predatory pedophile in "L.I.E.") is the Philippe Petit of narrative wire-walking. All the while, as the intrigue assembles around Terry, his donor and the crime ring operating within the hospital, a fairly lovely story unfolds about Terry, Elizabeth and the daughter who is bringing them together. It's rare to find quite this believable and warm a domestic subplot rolling out at the same time other characters are meeting horrific, bloody ends, but it never feels strained or forced and ramps up the viewer's emotional investment.
"Tell Tale" may be a fantastic story, but the supernatural elements of Callaham's Poe-etics are so tightly woven into the action and emotion that one forgets how unnatural it all is.
Noteworthy among the tech credits is d.p. Terry Stacey's shooting, which gives an unaccustomed elegance to Providence, R.I.
The Shadowless
Golgesizler (Turkey)
By ALISSA SIMON
Directed, written by Umit Unal, based on the novel "Golgesizler" by Hasan Ali Toptas.
With: Selcuk Yontem, Hakan Karahan, Taner Birsel, Onuryay Everentan, Yigit Kusbeygi, Tales Farzan, Arsen Gurzap, Umut Karardag, Bigkem Karavus, Ertan Saban, Fuat Onan, Serkan Senalp, Aydemir Akbas, Zeynep Kumral, Ozay Fecht.
Unfolding in a timeless village rife with supernatural beliefs, mysterious disappearances and untimely deaths, "The Shadowless," Turkish helmer Umit Unal's mesmerizing fourth feature, reps an ambitious adaptation of a multilayered novel by Hasan Ali Toptas, dubbed "the Kafka of the East." Pic's more akin to an Anatolian "Twin Peaks" or an East Euro arthouse item than it is to most current Turkish cinema. This ambiguous, gorgeously crafted item did limited biz on narrow release in February, but seems destined for fests, plus longer life in local ancillary. Its ravishing formal qualities should appeal even to auds unfamiliar with the novel.
With 22 speaking roles (plus a silent cameo by author Toptas) and a nonlinear, episodic narrative creating the atmosphere of a waking dream, the plot is difficult to synopsize. The pic's themes include the city vs. the provinces, common sense vs. superstition, the modern, centralized state vs. rural traditionalism, and the nature of creativity.
Story begins as an Istanbul barber (Taner Birsel) arrives in a remote, unnamed village. Since the previous barber, Jingle Nuri (Fuat Onan) went missing years before, the pompous mukhtar (Selcuk Yontem) encourages him to move into Nuri's shuttered shop.
Meanwhile, the mukhtar has problems when Guvercin (Bigkem Karavus), the burg's most beautiful girl, suddenly vanishes. The observant village guard (producer Hakan Karahan) suspects a gentle dreamer (Ertan Saban), whose mother (Arsen Gurzap) doesn't take kindly to his being roughed up.
Elsewhere, the Imam beds Nuri's abandoned wife (Zeynep Kumral) and the guard maintains a long-running affair with the married Hacer (Tales Farzan). The tale of Dazzling Fatma (Ozay Fecht) and Hamdi the Soldier (Yigit Kusbeygi) recounted by the village sage (Aydemir Akbas) adds to the air of sexual debauchery.
In a place where most inhabitants believe in the power of spells, perhaps the most unsettling episode involves teen Ramazan (Serkan Senalp), the unlucky pawn in a plot to demonstrate a neighbor's supernatural abilities. The eerie mood is further fostered by the moans of the mukhtar's unseen son, who's kept locked in a cellar.
Helmer Unal ("Istanbul Tales") considers his screenplay to rep one of many possible readings of the novel while remaining faithful to its spirit. His compelling adaptation compounds the sense of mystery and introduces an element of surprise by keeping a key revelation for the end. Fine ensemble cast (mostly stage thesps) seems entirely in tune with Unal's intentions.
Stylistically, the story's surreal atmosphere is balanced by the plausibility of the characters and locations. Although the time period is unspecified, realistic art direction and costumes suggest late '60s or early '70s in a working village. Gokhan Atilmis' expressionist lensing and Candan Ercetin's moody score lead a topnotch tech package.
Horsemen
By JORDAN MINTZER
'Horsemen'
A Lionsgate (in U.S.)/Metropolitan Filmexport (in France) release of a Mandate Films, Michael Bay presentation of a Platinum Dunes, Radar Pictures production. Produced by Bay, Brad Fuller, Andrew Form. Executive producers, Ted Field, Joe Drake, Nathan Kahane, Joe Rosenberg. Co-producers, Nicole Brown, Kelly Konop, Jeremiah Samuels, Michael Weber. Directed by Jonas Akerlund. Screenplay, David Callaham.
Aidan Breslin - Dennis Quaid
Kristen - Ziyi Zhang
Alex Breslin - Lou Taylor Pucci
Riding in on the four ponies currently plaguing the Hollywood horror-thriller -- overstylized torture, whiplash editing, compulsive script reversals and crude neon lighting -- "Horsemen" brings its herd home to pasture in strictly predictable fashion. Not nearly as gripping as "Seven" nor as gore-crazy as the "Saw" or "Hostel" series, musicvid vet Jonas Akerlund's sophomore effort will be remembered neither as a highlight of the waning genre, nor for Dennis Quaid's most memorable screen performance. Lionsgate quarantined the pic's U.S. release to just 75 theaters in early March, hoping, perhaps, that the apocalypse will come in ancillary.
A fairly harmless shock sequence, whereby a woodsman stumbles on a silver platter displaying a pile of torn-out teeth, sets the tone for the film's other "revelations." By the time forensic dentistry expert Aidan Breslin (Quaid) concludes that a series of corpses mutilated by artsy trapeze devices may have something to do with the famous Bible passage about the "Four Horsemen of the Apocalypse," the audience is already several steps ahead of him.
Much of the initial action, as it shifts from blood-splattered crime scene to detailed autopsy and back, plays out in territory well trod by the latest and not-too-latest works of the torture-porn/Splat Pack school. A scene in which Breslin investigates a tattoo/S&M parlor connected to the murders typifies the approach of screenwriter David Callaham ("Doom"), as the script tries to immerse us in a faux-seedy world torn from a dozen other movies.
Thankfully, Breslin's shattered home life, where he remains estranged from his two young sons (Lou Taylor Pucci, Liam James) following the death of his wife from cancer, adds something vaguely human and original to the story. Quaid is best in these domestic sequences, in which he makes the tiresome pull between work and family seem believable -- much moreso than when he's on the beat and merely going through the motions.
When the adopted daughter (Ziyi Zhang, physically fierce yet unconvincing) of an early victim turns out to be linked to the killers, the diabolical prophecy heads so quickly for home that viewers may be shocked most by the film's slapdash ending.
Despite the abundance of red-green-white gels used for the biblical motifs, Akerlund's direction remains fairly restrained, and he actually seems to want to tell the father-son story in a straightforward way. Too bad about all those fish hooks suspending people in the air as they choke on their own blood.
Like the plot, the score by Jan A.P. Kaczmarek's ("The Visitor") leads us in mostly foreseeable directions.
bravo, ghoule2!
totalno si mi pogodio ukus!
ova 3 vredi potražiti! :!:
Ghoule, čujem da Nemanja Bečanović snima svoj celovečernji prvenac. O čemu je reč?
raspitaću se da li je to projekat o kome mi je pričao prošlog leta ili nešto drugo.
Quote from: Ghoul on 29-04-2009, 20:19:23
bravo, ghoule2!
totalno si mi pogodio ukus
gde se dede ovaj ghoule2?
Quote from: crippled_avenger on 24-06-2009, 19:48:26
Ghoule, čujem da Nemanja Bečanović snima svoj celovečernji prvenac. O čemu je reč?
da, to je taj projekat o kome sam slušao još prošle godine, o neshvaćenom umetniku u vrletima CG koji završi... pa, još malo pa kao junaci JOVANE LUKINE.
u igri su francuske i slovenačke pare, ali još je to na dugom štapu i pitanje je da li će se za septembar planirano snimanje tada i desiti. ali i ako zakasni, verovatno će ga biti, pre ili kasnije.
Ne znam da li si video danas u Politikinom kulturnom dodatku, toj simpatičnoj opskurnoj publikaciji, ima tekst LDPovog astronoma Milana M. Ćirkovića u kome hajpuje uzgred i Lavkrafta?
ne pratim tu publikaciju, sem ponekad kad objave nešto moje; baciću pogled na onlajn izdanje.
znam da je ćirković veliki HPL fan, pisao mi je svojevremeno, a vala i nedavno.
Gospode... uspeo sam da ga prelistam i ne vidim taj clanak. A vel'ki sam inace fan Cirkovicev. :lol:
Venera i mrtvozornik
Izložba iz kolekcije Henrija Velkama, čoveka mračne biografije i vlasnika moćne farmaceutske korporacije, prizorima disekciranih tela izaziva hvalospeve štampe i podseća na čovekovu nekrofilnu prirodu
Zaboravite Madam Tiso! Nova legija voštanih figura okupirala je grad! – reklama je koja, od 30. jula, napadno kruži Londonom (do 18. oktobra). Ona se odnosi na složenu muzejsku izložbu Izuzetna tela, postavku ,,čudnih i čudesnih anatomskih modela", jednog dela Kolekcije Velkam koja predstavlja ,,neobičan spoj medicinskih artefakata i originalnih umetničkih dela... ideja o vezama medicine, života i umetnosti".
Pomama 19-vekovne publike za ,,anatomskim Venerama", lutkama od slonovače i voska, koje predstavljaju, najčešće, sveže, gotovo srećno nasmešene ženske kadavere, rasparane, otvorene utrobe, sa verno raspoređenim, pomičnim i manje-više preciznim replikama organa, po svemu sudeći, ponavlja se i ovog londonskog leta. Štampa i mediji, kao verni predstavnici prosekturno-forenzičnog ukusa novog čoveka, u sadističkom obožavanju morbidnih fascinacija, kao što su čudovišta u formalinu ili svakovrsni preparirani telesni ,,rezultati" časova anatomije, utrkuju se u unisonom hvalospevu Izuzetnim telima.
U londonskom Indipendentu, Ronda Kenig kaže da je prisiljena da krije oči cvili i onesvešćuje se pred prizorima ljudskog 'otpada' Kolekcije Velkam". Kustos ove izložbe, Kejt Ford, opet, veliča modele disekciranih tela kao uzor ,,Božje arhitekture": ,,Deo razloga zbog kojih je anatomska Venera načinjena ovako životnom je lepota tela, koje je i mašina. Ne treba ih vezivati za užas smrti. Treba pretpostaviti da one komuniciraju ideju božanskog tvorca".
Čitalac i sam vidi da ovakve, egzaltirane, ali i sasvim uobičajene ,,kuratorijalne" tvrdnje – izmiču svakom raciju. Ali, već jedan od pratećih programa ,,Izuzetnih tela", koji se, razumljivo, zove ,,Seks: viktorijanska misterija", upozorava na golicavi, erotski aspekt eksponata.
Privlačnost erotske ležernosti
Kejt Ford kaže: ,,Anatomska Venera je tradicionalno anatomski korektna, ali ono što privlači pažnju je njena putena životnost, i sasvim erotska privlačnost, u svojoj opuštenoj ležernosti".
Da patolog, kao morbidni, ali i dalje makar potencijalno kreativni Pigmalion, sasvim tanatofilično oseća privlačnost svih svojih ,,pacijenata", i sasvim frankenštajnovski traga za njihovom misterioznom ,,čas-je-vidiš-čas-je-ne-vidiš" životnosti, može doći u iskušenje (čak i golicavo) da eksperimentiše sa besmrtnošću, već je notorni predmet raznih umetničkih, ali i naučnih pregnuća.
Nekrofilni ukus naše civilizacije može nas, ipak, naterati da se zapitamo: možda u kulturi u kojoj je poslednji Venerin ljubavnik, njen patolog – nije sve loše. Ali, šta je dobro?
Odgovor nas upućuje na samu Kolekciju Velkam (welcome engl. = dobrodošli). Nju je, kao deo Velkam Trasta, najbogatije svetske medicinsko-istraživačke fondacije (koja godišnje na svoja istraživanja troši više i od same britanske vlade), ali i farmaceutskog koncerna GlahoSmithKlinemhtml:file:///G:NekrofilijaHenry Wellcome – Wikipedia, the free encyclopedia.mht!/wiki/GlaxoSmithKline, Englezima i svetu ostavio Henri Solomon Velkam (1853 –1936), sin siromašnog misionara Druge adventističke crkve (koja je predviđala kraj sveta 1844. godine), i masona, koji je putovao i propovedao Divljim zapadom SAD, iz platnom natkrivenih kola sa arnjevima.
Nevidljivo mastilo
Iako strogog religioznog vaspitanja, Henri rano pokazuje interes za medicinu, ali pre svega njen marketing. Prvi patent koji je objavio i ponudio za prodaju, 1869, bio je nevidljivo mastilo. U oglasu ga je, šaljivo(?), preporučivao za tajnu korespondenciju ,,Ku Kluxu". Već 1880, Velkam osniva svoju farmaceutsku kompaniju, koja se ističe svojim medikamentima u obliku tableta (za razliku od dotadašnjih praškova i tekućina), patentiranih kao ,,tabloid". Do današnjeg dana, njegova kompanija ne poznaje drugi put osim vrtoglavog uspona. Ali sam Velkam, potpuno u duhu svog prvog patenta, uspeva da ostane nevidljiv. Čak i biografije koje je pripremala njegova sopstvena korporacija, do današnjeg dana nisu zadovoljile duh Henrija Velkama.
Ono što je ipak ,,procurelo", iz jedne od prokrijumčarenih, zabranjenih verzija, ocrtava mračne, nimalo dobrodošle konture. Jedini debelo podvučen pasaž u njegovoj Bibliji bio je: ,,I za te novce uzmi što zaželi duša tvoja, goveda, ovaca, vina ili drugog jakog pića, ili što god zaželi duša tvoja" (Ponovljeni zakon, 26/14). Omiljena maksima mu je: ,,Ne govori nikome o svojim planovima, dok ih ne ostvariš." Iako je završio Koledž farmacije u Filadelfiji, Velkam je rano shvatio da je od samog leka mnogo bitnije njegovo pakovanje. Naoružan takvim marketinškim principom i poduprt masonskim vezama, napravio je farmakološku imperiju, koja je oduvek kontrolisala lekove najmasovnije upotrebe, pre svega za najmnogoljudnije, najprljavije i najbolesnije kontinente. Interesi koje je predstavljao tako dobro, i čije je ostvarenje organizovao tako dobro, da i danas funkcionišu besprekorno (kroz smernice koje je, veoma dalekovido, ostavio u testamentu), ukazuju da je, kao pravi, okoreli hrišćanski fundamentalista, tvrdo verovao da će njegov posao uspešno opstati do Sudnjeg dana. Velkam je, pošto je shvatio da mu je jedino dete deformisano – čudovište, novorođenče nemilosrdno, zauvek uklonio iz svoje blizine, ali je zato obožavao da krvnički tuče svoju ženu. I kada ga je napustila, manje joj je prebacivao što ,,ide iz ruke u ruku", nego što živi sa Somersetom Momom, jer je poznati pisac bio prononsirani homoseksualac! Na notorno čuvena arheološka iskopavanja u Džebel Moji potrošio je čitavo bogatstvo: potpuno ga je opljačkao, ali je razočaran starošću artefakata (1000 do 400 p.n.e.), sve pobacao u podrume, gde su trunuli zaboravljeni deceniju posle njegove smrti. Naime, Velkam, koji je obožavao samo zaista stare stvari, ,,romantično" je verovao kako je pronašao praistorijsko pleme belih ljudi. Neke satisfakcije je, ipak, izvukao iz Džebel Moje: uživao je u masovnim šibanjima radnika i farmaceutskim eksperimentima na živim ljudima... Razmere ,,podviga" Velkama, i njegovih korporacija otkrivaće se verovatno decenijama. Ali, ne treba zaboraviti da Henrijeva fascinacija smrću počinje, bez njegove volje, u njegovoj osmoj godini, kada je prisustvovao pokolju hiljada belih doseljenika u naselju Garden Siti – tu je mali Velkam pokazao zavidnu hrabrost, hrabreći dugu decu i praveći municiju kojom su se napadnuti branili od naleta (doduše s razlogom) besnih Dakota Sijuksa.
Ali i kada posetilac danas uđe u zgradu Kolekcije Velkam, kako bi posetio tekuću izložbu Izuzetna tela, ne treba da zaboravi kako je Henri lično terao molere da njene zidove kreče 26 puta zaredom, pre no što ih je za taj posao i platio.
Borislav Stanojević
http://www.politika.rs/rubrike/Kulturni-dodatak/Venera-i-mrtvozornik.lt.html (http://www.politika.rs/rubrike/Kulturni-dodatak/Venera-i-mrtvozornik.lt.html)
nije baš morao da moralizatorstvo vezano za tog 'kontroverznog biznismena' proširuje i na njegovu izložbu, i ineterese koje takve stvari mogu da pobude.
ipak, tipično.
U najnovijem broju PZ na dve stranice tekst o filmu Fitzcarraldo. Autor napisa izvesna Mirjana Ognjanovic.
Quote from: Alexdelarge on 14-11-2009, 17:04:58
U najnovijem broju PZ na dve stranice tekst o filmu Fitzcarraldo. Autor napisa izvesna Mirjana Ognjanovic.
KOja je bre ta Mirjana
Ognjanović? Često u PZ piše o film-related temama.... Počinjem da sumnjam, eto pre je pisala i o Ravenu, Pou (filmu, kormanovom)...
to je moja anima.
moj ženski ego.
moja ghouletta.
Quote from: Ghoul on 14-11-2009, 19:09:11
to je moja anima.
moj ženski ego.
moja ghouletta.
Ete! Tčno sam znao!
Grotesque
Gurotesuku (Japan)
By DEREK ELLEY
A Jolly Roger release of a Tornado Film production. Produced by Kazue Udagawa, Kyosuke Ueno. Executive producers, Yoichi Kobayashi, Takafumi Ohashi. Directed, written by Koji Shiraishi.
With: Tsugumi Nagasawa, Hiroaki Kawatsura, Shigeo Osako.
Released with some cuts but no special hoo-ha in Japan in January (and in May on DVD), "Grotesque" is a very Japanese slice of gorno (torture porn) that's hardly going to hook fans of more plot-driven Yank equivalents like the "Saw" and "Hostel" movies. After a creepy start and an interesting twist midway through, the pic pretty much throws its entrails in the air during the final act. But since being banned by U.K. censors this August, "Grotesque" has become a must-see item for genre geeks internationally.
As in his earlier chillers, "The Slit-Mouthed Woman" (aka "Carved") and "Curse," minor cult helmer Koji Shiraishi shows he's several levels above just a low-budget hack. Film is technically pro at most levels and performances are largely OK.
As a whole, the pic recalls Japan's legendary "Guinea Pig" gornoseries of the '80s, with some added irony. Squirm quotient is about average, and much less than those of such '80s Hong Kong Category III shockers as "Men Behind the Sun"; gore is also mild compared with recent Asian splatterfests like the Thai "Meat Grinder" and Indonesian "Macabre."
A strain of Stygian humor is evident from the outset as an unnamed middle-aged man in a van (Shigeo Osako, looking like a young Takeshi Kitano) knocks out a young couple in an underpass, accompanied by honky-tonk music. During the main titles, he then has to pull over to whack one of them again (off camera) for causing a noise in back.
The two virginal young'uns, Aki Miyashita (Tsugumi Nagasawa) and Kazuo Koijima (Hiroaki Kawatsura), awaken to find themselves bound and gagged in a shadowy basement lined with plastic sheets. After turning on some soothing classical music, the man calmly says both will die unless they manage to, uh, stimulate him via their struggles to live.
With the care of a trained doctor, and one-way dialogue with his victims, the man then sets to work with implements ranging from a hammer and nails to a good oldfashioned chainsaw. Most of the early tension stems from what he's going to do next, and when.
There's almost zero plot compared with Western torture pics; instead, "Grotesque" riffs on the idea (thrown up in the couple's opening exchange) of whether either of the two victims would die for the other. Script springs a surprise with a switch to a bright, pristine location and a reversal of roles, before a final act that's more like old-style Hong Kong fantastic cinema than Japanese gorno.The sheer ridiculousness of this section blows any built-up tension and generates chuckles more than anything else.
Osako, who has most of the dialogue, dominates the pic with a cool, shifty performance. Onetime adult-film actress Nagasawa, who has bits in "Tokyo Gore Police" and "Zombie Hunter Rika," spends most of the time screaming semi-naked, but steps up to the plate with a final speech that appears to send up the whole genre.
Special effects run the gamut from good to cheesy. Handheld, largely closeup lensing substitutes intensity for emotional hooks.
Camera (color, widescreen, DV), Yohei Fukuda; editor, Tsuyoshi Sone; music, Kazuo Sato; art director, Norifumi Ataka; special makeup effects, Pieru Suda. Reviewed on DVD, Berlin, Nov. 13, 2009. Running time: 73 MIN.
reagovo sam ja na ovo još pre nekolko meseci, čim je izašo divx:
http://ljudska_splacina.com/2009/09/grotesque-2009.html (http://ljudska_splacina.com/2009/09/grotesque-2009.html)
http://www.b92.net/info/vesti/index.php?yyyy=2009&mm=12&dd=31&nav_category=12&nav_id=401361 (http://www.b92.net/info/vesti/index.php?yyyy=2009&mm=12&dd=31&nav_category=12&nav_id=401361)
četvrtak 31. decembar 2009.
B92 Info Vesti Društvo
Niš dobija najveći krst na Balkanu
31. decembar 2009. | 01:07 | Izvor: B92
Niš -- Najveći krst na Balkanu biće izgrađen u Nišu do 2013. kad se obeležava 1.700 godina od Milanskog edikta. Za izgradnju krsta biće potrebno oko million i po evra.
Krst će, prema najavama, biti visok 80 metara. Milanskim ediktom rimski car Konstantin priznao je hrišcćanstvo kao državnu religiju. Krst će biti postavljen na brdu na brdu Vinik, odakle će se videti sa svih strana Niša, rodnog grada prvog hrišćanskog cara.
Ovu inicijativu je pokrenuo Nišlija Dragan Milošević.
"Ovo je jedan prijekat koji iziskuje učešće šire društvene zajednice. Na sastanku su bili privredici koji su da žele da pomognu u realizaciji ovog posla, mada neće učestvovati samo privrednici, već svi ljudi dobre volje koji žele da Niš i i Srbija imaju ovakvo obeležje", rekao je Milošević.
Ideju o izgradnji krsta među prvima su prihvatili vladika niški Irinej i gradonačelnik Niša Miloš Simonović.
"Želja nam je da se u susret proslave godišnjice Milanskog edikta, podigne taj krst i da se Niš na taj način obeleži kao grad cara Konstantina. Najveće svetinje kojima se dičimo podizane su u teškim vremenima, a i ovaj krst se podiže u vremenu koje nije naklonjeno našim prilikama", rekao je vladika niški Irinej.
"Incijativa dolazi od privrednika i to govori da će većinu finansija obezbediti uparavo privrednici iz Niša i ovog regiona. To je nešto što je veoma značajno za čitavu Srbiju a ne samo za grad Niš. Priveligija je biti direktni učesnik proslave 2013. godine", rekao je gradonačelnik Niša Miloš Simonović.
Za izgradnju krsta biće potrebno oko million i po evra.
Građani NIša imaju različita mišljenja o izgradnji najvećeg krsta na Balkanu:
"Ideja je dobra, samo sad zavisi od sredstava, kako ih obezbediti", "Može da se napravi, ali bolje da se napravi nešto za proizvodnju", "Zašto ne bismo odvojili u taj fond, svako koliko može i da se to završi, kako smo Avalski toranj podigli tako možemo i taj krst. Ja bih bila presrećna zbog toga", kažu neki od građana.
Krst će biti u visini tridesetospratne zgrade kakva ne postoji u Nišu.
Trenutno se najveći krst na Balkanu nalazi na brdu iznad Skoplja i visok je 68 metara.
Quote from: cutter on 31-12-2009, 13:59:25Krst će biti u visini tridesetospratne zgrade kakva ne postoji u Nišu.
bolje da su napravili tu zgradu umesto ovih glupavih kurčenja ko ima veći - krst.
ovo je direktan atak na sve one koji su indiferentni prema simbolu patnje i stradanja tog nekog apokrifnog jevreja od pre 2000 godina...
Jebi ga, sad Gule nećeš nigde u Nišu moći da se slikaš a da ti ne viri krst iza ledja.
Neupućeni gledalac bi pomislio da su ovo progurali DSS i Radikali, al kolko znam lokal u Nišu vodi koalicija Demokrata,Socijalista i Gejovaca.
Quote from: EKSTREMISTA on 31-12-2009, 14:55:43lokal u Nišu vodi koalicija Demokrata,Socijalista i Gejovaca.
veće posrbice od srbina.
a slikaću se u niškoj banji.
tu valjda ta bogohulnost neće da se vidi!
you wish: odatle imaš čist teren i sjajan pogled ka viniku. :evil:
sreća te svet još uvek ima 4 glavne strane, a ovi planiraju (za sada!) samo JEDAN krst, pa će ipak moći da se odabere i još poneka nekrštena strana...
Svako jutro ces ustajati i otvoriti prozor :?
The Ghoul arrives in Los Angeles and quickly learns that there's more to Hollywood than glitz and glamour—there are also demons invading Griffith Park and a cop named Klimpt, who is convinced an aging starlet is a blood-sucking freak of her own creation. It's the Ghoul versus Demons in this knockdown, drag-out melee of monstrous behemoths!
http://www.comicbookresources.com/?page=preview&id=4209&disp=table (http://www.comicbookresources.com/?page=preview&id=4209&disp=table)
Ghoul! Ghoul! Ghoul! Ghoul! Ghoul!
Introducing Ghoul[1] (http://www.youtube.com/watch?v=XThLkwe6sXo#normal)
:|
nije neslušljivo.
Cak bih se usudio dodati nesto vise - slusljivije je od 60% novokomponovanih svari...nekako vuce na onaj death/thrash zvuk kasnih osamdesetih/ranih devedesetih koji je izgleda zauvek izgubljen...
čestitam novog paju! da ga Bog poživi i najveći krst za vakta vozdigne.
Pazi i njemu je osamdeset godina, videćemo kolko će da potraje. Samo da nam pomogne da prebrodimo ovu krizu...
Sveti duh ne bi poturio njegovu kovertu da nije dovoljno krepak.
U to se i ja uzdam. Duh sigurno ima informacije koje su nama nedostupne.
Postoji li neko proročanstvo u vezi sa poslednjim patrijarhom, kad već znamo da je ovaj švapski papa poslednji?
Sad će da krenu pare u nišku regiju da možete da dočekate papu kako dolikuje.
Quote from: Meho Krljic on 22-01-2010, 16:12:47
Pazi i njemu je osamdeset godina, videćemo kolko će da potraje. Samo da nam pomogne da prebrodimo ovu krizu...
do 2012. će valjda da izdrži.
posle toga i ne treba.
Director Ti West ("House of the Devil") is set to helm "The Inkeepers" for Dark Sky Films and Glass Eye Pix says Variety.
This spooky tale will revolve around two hotel employees trying to keep their haunted establishment afloat. Larry Fessenden wrote the original screenplay.
Shooting kicks off in Connecticut later this spring.
Quote from: crippled_avenger on 02-02-2010, 22:01:15Larry Fessenden wrote
Nooooooooooooooooooooooooooooooooooooooooooo!
ne verujem da će lari the smarač uspeti da ovo ugnjavi kao što to obično čini - istina, za The House of the Devil je bio 'samo' producent...
šta je ovo? jesi ga overio?
http://www.imdb.com/title/tt0204635/ (http://www.imdb.com/title/tt0204635/)
nema s titlom pa nisam žurio.
Penelope Cruz could be serving as the lead in "Antichrist" and "Dogville" director Lars von Trier's next project, the psychological disaster thriller "Melancholia" reports The Playlist.
The $5 million project will apparently utilise some sci-fi elements and visual effects, but mostly it'll be a bleak and dark exploration of the "psychology view of a disaster".
Shooting will take place in Sweden and Germany later this year with a Cannes 2011 premiere likely. Peter Aalbaek Jensen will produce.
Oh, joy! Najprecjenjeniji režiser 20. i 21. vijeka udružuje se sa jednom od najprecjenjenijih i najnepodnošljivijih glumica! Pa to mora da bude fantastičan film.
Quote from: Harvester on 09-02-2010, 22:02:13Najprecjenjeniji režiser 20. i 21. vijeka
Ispravka: najveći prevarant u istoriji sedme umjetnosti.
More i tako.
Quote from: Harvester on 09-02-2010, 22:02:13
Oh, joy! Najprecjenjeniji režiser 20. i 21. vijeka udružuje se sa jednom od najprecjenjenijih i najnepodnošljivijih glumica! Pa to mora da bude fantastičan film.
A ti si zaključio da je on najprecjenjeniji režiser na osnovu toga što si pogledao otprilike 5 sekundi jednog njegovog filma. :?
Ne, pogledao sam dvije i po minute Idiota i skoro pet minuta Plesa u tami.
Penelope Cruz i Lars von Trier.Zaljubljen sam!(naravno u Trier-a,a ni P. nije za baciti)
Feg!
ja već svršavam.
baš me veseli što je napustio one jebene negledljive pozorišne smaračine i vratio se filmovima - pa još sf-hororičnim!
to je bre njegov teren, oduvek bio - još od ELEMENTA ZLOČINA, filma koji onaj blentavi harv nije ni gledo a savršen mu je, pored ostalog, čak i za blog...
Oscar-nominated Austrian director Michael Haneke has abandoned his planned film about "humiliation and the physical deterioration of the aged" after seeing a Canadian project on a similar subject.
The project was tentatively called Ces Deux and Jean-Louis Trintignant and Isabelle Huppert were set to star. It was due to shoot in France this summer.
Haneke is now pressing ahead with a different screenplay although few details are known about the project. Les Films Du Losange, which will sell the new film, said the project is "about the internet" and will shoot around the world, in locations ranging from Japan to the US.
The untitled project is currently being scripted and the screenplay should be delivered by September.
Woooohooooo! Saće Haneke lepo da nam prikaže pošast tog demonskog INTERNETA!!! Can't wait!!!11
Mogo si ovo da staviš i u most anticipated :-)
Popboks:
Večeras će u Akademskom filmskom centru Doma kulture Studentski grad biti održan program pod nazivom Horor u animiranom filmu.
U okviru programa će biti prikazan izbor najstrasnijih filmova sa prethodnih izdanja Balkanime, evropskog festivala animiranog filma i nekoliko domaćih horora.
Uvodnu reč će dati profesor Nikola Majdak.
Program počinje u 20h, a ulaz je slobodan.
Kad si pričao sa Deodatom jel pominjao Šijana i da li zna da je prvobitno Šijan trebalo da snima BARBARIANSe?
nije ga pominjao, iako je šiki bio tu, na grosmanu.
čak ni šijan mi se nije time hvalio, tj. nisam ni imao pojma o toj glasini do sada.
btw: sjajan je omaž koji mu je uputio martin skorseze, pošto u SHITTER ISLANDU doktor 'nestale pacijentkinje' se zove DR. ŠIJAN!
svaki put kad je bio pomenut u filmu (bar 5-6 puta), sala se orila od smeha!
Nije to glasina, to je oficijelna informacija. O tome se znalo kod nas oduvek ali sam ja to posle uspeo da verifikujem i na nekim stranim sajtovima koje su pravili Ameri i Englezi upravo da ne bi bilo tih varijanti da je priča plod hvalisanja i slično. To je bilo objavljeno i kod nas u knjizi STRANCI U RAJU.
korejski splatter
THE RED SHOES
http://templeofghoul.blogspot.com/2010/03/red-shoes-2005.html (http://templeofghoul.blogspot.com/2010/03/red-shoes-2005.html)
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2F4.bp.blogspot.com%2F-34hvpB4hBbk%2FTqnovDtNCWI%2FAAAAAAAALZw%2Fh6gIJuA5nE8%2Fs320%2FSECTOR%2B7%2B%25252814%252529.jpg&hash=417536ae60535f5b9958655cb91e483064402cca)
http://ljudska_splacina.com/2011/10/sector-7-2011.html (http://ljudska_splacina.com/2011/10/sector-7-2011.html)
Snimljen film "48 sati sahrana"
Na pitanje kako za 48 sati organizovati sahranu, odgovor je dala grupa kragujevačkih studenata i diplomaca okupljenih u udruženju "Vido" koja je potpuno amaterski i bez budžeta snimila igrani film "48 sati sahrana".
Film, koji je parodija na rialiti programe, do sada je nekoliko puta prikazan u Kragujevcu, a tokom februara ovo ostvarenje stići će i u druge gradove Srbije.
Masovna pojava rialiti programa i njihov uticaj na mlade i društvo uopšte bila je osnovna ideja koja je pokrenula priču, kaže Miloš Radojković, apsolvent menadžmenta, koji potpisuje scenario filma "48 sati sahrana".
Bez budžeta, ali sa dosta entuzijazma, film je snimljen i montiran za samo tri meseca. Montažer je Aleksandar Glišović, po struci programer, koji je amatersko iskustvo sa kamerom i montažom uložio je u ovaj projekat.
Glumačka ekipa broji 10 članova. Među onima koji su se prvi put okušali pred kamerom je i Brankica Pavićević, diplomirana politikološkinja.
Nenad Glišović, član redakcije kragujevačkog Studentskog kulturnog centra, gde je "Sahrana" doživela svoju premijeru, smatra da su autori postigli cilj, a to je parodija, i dodaje da je film već postao kultni među kragujevačkom omladinom.
Velika premijera, kažu autori, biće održana krajem januara u Kragujevcu, simbolično, na 40 dana od prvog prikazivanja, nakon čega će projekcije biti organizovane i po drugim gradovima Srbije.
http://www.b92.net/kultura/vesti.php?nav_category=268&yyyy=2012&mm=01&dd=11&nav_id=572930 (http://www.b92.net/kultura/vesti.php?nav_category=268&yyyy=2012&mm=01&dd=11&nav_id=572930)
kolko vidim u komentarima, nastala je pogibija oko toga ko se prvi dosetio tog naslova i fore oko toga: te bora čorba, te neka niška TV...
ja sam to ovde provalio još 2007. i to baš na ovom topiku: http://www.znaksagite.com/diskusije/index.php?topic=4657.0 (http://www.znaksagite.com/diskusije/index.php?topic=4657.0)
enivej, reagovaću drugačije: pošto poznajem čoveka iz kragujevca koji je to promovisao, reagovaću traženjem dvd-a s filmom, pa ako nešto valja, prikazaću ga na mestu rezervisanom za to.
Haha, a moj ortak, inače omladinac iz Kragujevca to izvalio još 2006. i cimao se da kao snimamo xrofl
Andrzej Zulawski Returns With Metaphysical Noir DARK MATTER
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fi46.tinypic.com%2F24mx5ky.jpg&hash=63753839f96f382d14d5f32a91d82637e9f08c54)
For those familiar with Zulawski's porous scifi devolution On the Silver Globe, you're in for a big treat. Seemingly blending the currently popular genres with a page from Jodorowsky, Zulwaski is working on a scifi/metaphysical/noir which is currently in the financing/development stage, and we've got the first synopsis and promo art for you below.
Corti, an important entrepreneur from Lyon, dies in his bed, with his loved ones around him. His only son, Antony, came back to see his father for the last time. For this occasion, he meets again with his forever friend, Raoul, son of one of the closest employees of Corti. Though they've been separated for years because of their studies abroad - corporate finance for Antony and nuclear physics for Raoul - those two have kept the same affection and complicity.
While Antony takes in hand the business of his father and tries to win the confidence of his top executives and financial partners, a mysterious notebook left behind by Corti will increasingly puzzle him... Who was really his father? What was he doing in Africa 30 yeas ago with those same men who faithfully remained around him until today? Why did he lead his company into the industrial adventure of Geneva's Large Hadron Collider? What is this''dark matter' in which he seems to have drowned himself? ...
Day after day, Antony feels that his own life is on the edge. He would love to understand. But soon, money is lacking and Corti's industrial empire must absolutely find cash or die... The only solution imagined by Antony becoming more and more confused is to go back to the roots of gangsterism and organize a burglary.
A fantastic burglary in the great tradition of films noirs...
But a metaphysical burglary...
Quote from: Джон Рейнольдс on 22-01-2010, 17:21:24
Postoji li neko proročanstvo u vezi sa poslednjim patrijarhom, kad već znamo da je ovaj švapski papa poslednji?
znamo li? :?
dokle se stiglo sa dark matterom?
Quote from: Alexdelarge on 13-03-2013, 09:12:19
dokle se stiglo sa dark matterom?
nidokle.
još se traže pare, a žuljavski ne postaje nimalo mlađi vremenom... :(
zasad se našao na ovoj listi 10 najočekivanijih za 2014-tu, ali kako kažu - "it seems Zulawski still requires financing".
http://www.ioncinema.com/annual-top-films-lists/lynne-ramsay-andrzej-zulawski-yorgos-lanthimos-top-100-most-anticipated-films-of-2014 (http://www.ioncinema.com/annual-top-films-lists/lynne-ramsay-andrzej-zulawski-yorgos-lanthimos-top-100-most-anticipated-films-of-2014)
LOVECRAFT COUNTRY by Matt Ruff
(https://www.znaksagite.com/diskusije/proxy.php?request=http%3A%2F%2Fwww.sfsignal.com%2Fwp-content%2Fuploads%2F2015%2F03%2FLovecraftCountry-large.jpg&hash=c16b7e5e12b8808fe9909dc0d4a8d2726c9ac5f2)
The critically acclaimed cult novelist makes visceral the terrors of life in Jim Crow America and its lingering effects in this brilliant and wondrous work of the imagination that melds historical fiction, pulp noir, and Lovecraftian horror and fantasy
Chicago, 1954. When his father Montrose goes missing, twenty-two year old Army veteran Atticus Turner embarks on a road trip to New England to find him, accompanied by his Uncle George—publisher of
The Safe Negro Travel Guide—and his childhood friend Letitia. On their journey to the manor of Mr. Braithwhite—heir to the estate that owned Atticus's great grandmother—they encounter both mundane terrors of white America and malevolent spirits that seem straight out of the weird tales George devours.
At the manor, Atticus discovers his father in chains, held prisoner by a secret cabal named the Order of the Ancient Dawn—led by Samuel Braithwhite and his son Caleb—which has gathered to orchestrate a ritual that shockingly centers on Atticus. And his one hope of salvation may be the seed of his—and the whole Turner clan's—destruction.
A chimerical blend of magic, power, hope, and freedom that stretches across time, touching diverse members of one black family, Lovecraft Country is a devastating kaleidoscopic portrait of racism—the terrifying specter that continues to haunt us today.
Quote from: Ghoul on 13-03-2013, 09:32:31
Quote from: Alexdelarge on 13-03-2013, 09:12:19
dokle se stiglo sa dark matterom?
nidokle.
još se traže pare, a žuljavski ne postaje nimalo mlađi vremenom... :(
zasad se našao na ovoj listi 10 najočekivanijih za 2014-tu, ali kako kažu - "it seems Zulawski still requires financing".
http://www.ioncinema.com/annual-top-films-lists/lynne-ramsay-andrzej-zulawski-yorgos-lanthimos-top-100-most-anticipated-films-of-2014 (http://www.ioncinema.com/annual-top-films-lists/lynne-ramsay-andrzej-zulawski-yorgos-lanthimos-top-100-most-anticipated-films-of-2014)
LOŠE VESTI:
možemo da se oprostimo ne samo od ovog filma, koji nikad nećemo videti, nego i od njegovog nesuđenog reditelja.
naime, zulavski je u poslednjem stadijumu raka i pitanje je dana ili nedelje kada će napustiti ovu dolinu suza.
juče je njegov sin napisao na fejsbuku:
"Friends! I need to write this; Andrzej Zulawski is in the final stages of cancer, is in the hospital in ICU, the disease leaves no doubt... It's very hard to write these words but it's important, especially now that his last film starts to 'live' its own life... Think about it."
Katastrofa... Nije izgledao tako lose u poslednjih nekoliko pojavljivanja povodom filma Cosmos.
11 Dec 2015
! No longer available (http://www.youtube.com/watch?v=gItAgs21rLQ#)
umro je noćas, možda baš dok sam postovao ovu vest.
nek počiva u miru.
grehota. :(
Quote from: Alexdelarge on 17-02-2016, 14:53:48
grehota. :(
Nista... cekamo Cosmos.
Covjek je napisao gomilu knjiga - ima i jako zanimljiva kolekciija razgovora sa njim... valjda ce se nesto od toga pojaviti i na nekom od jezika sto znamo.
http://lubimyczytac.pl/autor/39768/andrzej-zulawski (http://lubimyczytac.pl/autor/39768/andrzej-zulawski)