Kore Eda has another film about adult sisters struggling with their father’s relationship. In this case, the father in the film was divorced, and they discover they have a teenage sister and are forced to live with her after his death.
This film is based on a comic book and doesn’t have much conflict or tension. It’s a very enjoyable watch and a good way to introduce the director to those unfamiliar with Japanese films.
I didn’t see that one so it must not have crossed the pond. I did see the obnoxious Ferris Bueller sitcom that had Jennifer Anniston in it. RTE would show all sorts of US castoffs that only ran for a single season.
Hear hear. I never understood the love for Farris Beuller - a spoiled rich white boy blind to his insane privilege who in the one day we see: uses his girlfriend, nearly drives his friend to suicide, lies to everyone he meets, causes massive property damage with his stupidity, learns nothing and doesn’t grow as a character.
Motherfucker had an $8k (in 1984 money) Emulator II in his bedroom in his family’s mansion. Fuck that guy.
On the other hand, much better music than American Psycho.
To be fair (as @ChuckV says) he could use it so that’s possibly the one bit I can’t get behind hating. I just wish everyone had access to the instruments they would work best with.
I was going to say he probably grew up to be one of those hedge fund managers…
I love that film. It is always interesting to see people politely sceptical during the first act before things get weird.
I saw the FF movie yesterday.
It’s Fantastic, ‘natch. They really got the whole original 60’s FF aesthetic down perfectly. The characters were spot on. Hopeful, a family. A little Ben & Johnny bickering- but not much.
No spoilers - but I think you’ll like it. There’s two credit scenes. The mid one is important for story progression. The one at the end of credits is a fun nostalgic bit.
My sons and I saw it last night too. The cast, especially Vanessa Kirby was great. Plus, they finally gave Johnny Storm something to do in one of these films. Reed Richards continues the trend of the smartest man in the world not being very bright at times. Our only gripe was that the plot went from beginning to end in a perfectly straight line. An extra scene or two in the 2nd act of them singlularaly or together dealing with a subplot or dead end would have improved it.
I remember it fondly. It has a weirdly outsized influence for me, as I have always thought of Abraham Benrubi as Kube. I can’t really recall any specific details, other than Kube getting a perfect score on some standardized test, only for it to be revealed that he had spelled out “Eat Now?” (his catchphrase) using the scantron dots.
I have always liked the movie, but I can understand the criticism. Something which may help re-contextualize it is that Ferris probably isn’t the main character:
I thought I was the only one.
Peter Tscherkassky is an Austrian avant-garde filmmaker who primarily works with found footage. (Before the term “found footage” became associated with fake horror documentaries, it referred to film footage which was taken from its original context and generally used for an entirely new purpose.)
For the most part, he works without a camera, creating his films with pre-existing footage filmed by others which he manipulates in various fashions and then prints with an optical printer, often collaging half a dozen layers in a single frame. He, thus far, refuses to use digital technology to make his films.
With the exception of Shot - Countershot, these films contain a fair amount of strobing, so not for the seizure prone.
Shot - Countershot (1987)
This short constitutes an early attempt at combining two shots in one. In a manner of speaking. Here, the original 22-second film is contained within the trailer for the 2020 RECYCLED CINEMA found footage film festival.
Manufraktur (1985)
#UbuWeb Film & Video: Peter Tscherkassky - Manufraktur (1985)
Tscherkassky manipulates a car commercial causing its images and sounds to stutter, invert, distort, explode outwards and then loop back to their starting point. The title refers to Tscherkassky’s process, where he fractures images and narratives and then manufactures from the fragments a new experience for the viewer. The film may be taken as a critique of the original ad (and the society from which it sprang) and/or a distillation of it to its essence.
L’Arrivée (1997/1998)
The first film in Tscherkassky’s CinemaScope Trilogy, to be followed by Outer Space and Dream Work, L’Arrivée is an homage to the Lumière brothers’ L’arrivée d’un train en gare de La Ciotat (1896), one of the most heralded films of the 1890s. From the margin of the white but dirt-speckled screen, a strip of film edges into view, resolves into a train, is met by its double arriving from the opposite margin, a crash ensues, optical soundtracks and film perforations fly across the screen, until everything stabilizes as Catherine Deneuve disembarks to be smooched by Omar Sharif. From structural to spectacle in two minutes.
Outer Space (1999)
Largely due to its inclusion in the experimental horror DVD collection Experiments in Terror, this is undoubtedly Tscherkassky’s best known work. Footage from The Entity (Sidney J. Furie 1982), wherein a woman (Barbara Hershey) is attacked by an invisible being, is manipulated so that her attacker could be interpreted as the filmmaker, the film itself, or even the viewer. The Outer Space of the title refers to the space outside the projected portion of the film strip, seemingly a place not to be taken lightly. An outstanding (and intense) reimagining.
Dream Work (2001)
Once again drawing from The Entity, a woman (Barbara Hershey) goes to sleep and enters a dream state. In the feature film, the psychiatrists treating Barbara Hershey’s character attempted to diagnose her along Freudian lines. Here, Tscherkassky follows suit, duplicating the “central mechanism by which dreams produce meaning,” by “displacing” the footage from its original context and “condensing” it through multiple overlapping exposures. Equally as remarkable as its predecessor Outer Space, but more surreal and quite a bit calmer.
It… kind of was, but not… much weirder, more surreal than Ferris…
I never actually saw that…
Really enjoyed it, i particularly liked the moments that showed them as a close family, it felt way more grounded than other films of this ilk. The world building doesn’t make a whole lot of sense if you think about it for 5 minutes (FTL in an analogue world? OK) but it sure did look nice. It certainly hasn’t achieved universal praise though, with Emmet Asher-Perrin pointing out some fundamental problems.
That’s just how brilliant Reed is. Look what he can do with some diodes, a nine volt battery and a tea kettle!
He’s the Holden Caulfield of Gen X.
Well, besides the enjoyment of Chicago that the movie is, I always enjoyed Ferris’ movie as just pure wishful escapism. All three of the kids are super wealthy and live charmed lives, which as a kid growing up dirt poor on the south side, I didn’t have.
Recently I discovered Jacques Demy. Where has he been all my life?
First we watched The Umbrellas of Cherbourg:
And yesterday we watched Donkey Skin:
Yes, that is Catherine Deneuve singing a duet with herself while baking a cake. And yes, those are the same character. Just roll with it.
