SUBLIME CINEMA #422 - AFTER HOURS
Maybe Scorsese’s greatest homage to New York; there is no gangsterdom here, instead it captures something about the profound randomness and strangeness of the city that never sleeps, and the insomnia driven weirdness of a night that never seems to end.
29 notes · View notes
SUBLIME CINEMA #421 - BEAU TRAVAIL
This is one of the most beautifully shot ‘war’ films; when there is no war, except the war between men and themselves. It’s been described as everything from balletic to homoerotic, fittingly using professional circus performer and Carax regular Denis Lavant.
4 notes · View notes
SUBLIME CINEMA #420 - WE LIVE IN PUBLIC
The title might hint at some kind of on the nose commentary about the internet, surveillance, and the current 24 hour news cycle, and though the themes are all there, this masterpiece documentary is anything but on the nose. It’s one of my favorite docs, though it ends up more of a character study about a severely twisted and / or prescient genius, and about a very particular period in time, (around the turn of the millennium), as the internet was gearing up and Josh Harris’s grasp and embrace/revolt of what it was doing to us. Instead of cashing in, he turned his investment into a long form art project, and lost everything, and everybody close to him in the process.
5 notes · View notes
SUBLIME CINEMA #419 - LE TROU
‘The Hole’, an underrated French noir and escape picture; director Jacques Brecker died suddenly after the film was completed. He was lesser known than many of his compatriots, but just as admired - Renoir was a champion after starting as his assistant, and Truffaut lauded his movies as elegant challenges to vulgarity.
14 notes · View notes
SUBLIME CINEMA #418 - THE ROYAL TENENBAUMS
Wes Anderson can drive me crazy; his style is now completely a part of us, comforting in its familiarity and tweeness, and he never ventures far outside of what he does. But there’s something to cherish about knowing what to expect. He has gradually spent his energy and resources refining his own vision with larger budgets the occasional journey out into stop motion, but he’s always, and will always be himself. Which I love. This one’s still my favorite. I feel old calling this a classic movie, but by now what else is it?
230 notes · View notes
SUBLIME CINEMA #417 - A SCREAMING MAN
Mahamat-Saleh Haroun is a great Chadian filmmaker, who won the Jury Prize at Cannes for his gem ‘Un homme qui crie’, about a father and son set against one of the many civil wars fought in that country. I had been exposed to very little of Chad’s cultural output before exploring his films, so I found it enlightening as well as really well done and moving.
17 notes · View notes
SUBLIME CINEMA #416 - THE LODGER: A STORY OF LONDON FOG
Hitchcock’s groundbreaking early silent film foreshadows much about his later work, right down to the staircase which he would later incorporate into Psycho. He was a pure visual director from the very beginning; inspired by a stint in Berlin, he lifted an expressionist aesthetic for his films. You can get the sense here that his later techniques were aided by his start in silent film - it helped to develop the need to tell a story within the camera.
89 notes · View notes
Hey man, I really adore you're "Sublime Cinema" format and wanted to pop in to say that I'll be checking your blog out for some recommendations that I can watch myself :) -Toby
Thank you, glad you enjoy it!
2 notes · View notes
SUBLIME CINEMA #415 - LES HAUTES SOLITUDES
Jean Seberg and Nico in this strange, discordant (and silent) black and white film by Philippe Garrel; the world in stark, chiaroscuro close up. More of an implied film film than a film itself, born out of outtakes from a film that never existed in the first place.
233 notes · View notes
SUBLIME CINEMA #414 - SARABAND
I half heartedly kinda liked the remake of Scenes from a Marriage, based on one of Bergman’s best films. It is not exactly something I would have thought to remake but alas, I guess yet again somebody thought a great original work needed an update. This sequel to Bergman’s original is better, brimming with wisdom and age and gentle acceptance of mortality and understanding between two timeless characters (and actors) who have spent their lives getting to know each other as we got to know them on screen. It is Bergman’s last film, and it is exquisite.
6 notes · View notes
SUBLIME CINEMA #413 - THE CONSTANT GARDENER
A bleak and evocative vision of Africa as seen through two westerners who ultimately are unable to penetrate its labyrinth. I love the cinematography here by Uruguayan great Cesar Charlone and suggestive direction by City of God director Fernando Meirelles.
110 notes · View notes
SUBLIME CINEMA #412 - MAY
If there was ever an actress I wish I would see more of, it would be Angela Bettis. Her performance in this movie is gold, but I can’t comment much on her beyond this, because her resume seems seems to be filled with so many hyper indie and under the radar pics that I’ve not seen any of them, except for her bit part in Girl, Interrupted.
I love this movie. It’s the kind of horror film that’s actually smart and witty and brilliantly put together, though it doesn’t go for shocks and scares which I guess made it stand apart and harder to categorize. She carries the thing entirely. A kind of female incel darkly comedic slasher movie I guess it could be called (see), but it’s also strangely tender and genuinely funny.
13 notes · View notes
SUBLIME CINEMA #411 - THE TALE OF PRINCESS KAGUYA
The most expensive Japanese film of all time is also one of the most stunning, an animated treasure on par with Studio Ghibli co-founder Takahata’s greatest films. It’s a thing of endless beauty.
2K notes · View notes
SUBLIME CINEMA #410 - CAT PEOPLE
Scorsese was terrified of remaking Cape Fear because the original was so good, as was Paul Schrader who took a shot at Cat People in the 80′s despite the original pretty much being a horror classic (and template for many modern horror films to come, including its revolutionary jump scare edit technique). Cat People could be considered a kind of feminine, stalking Dracula, a fable dredged out of Eastern Europe folklore with Simone Simon is as deliciously evil as her cryptic name suggests.
8 notes · View notes
SUBLIME CINEMA #409 - TREE OF LIFE
Malick’s long-awaited return to form, and the start of a weirdly prolific, (some would say uneven), third act of a winding career. The kind of film that film lovers loved and many others dismissed as long winded, pretentious, though it is impossible to ignore the accomplishment; the ambition and scale of it, the sumptuous imagery, which is all so rare these days, like a long stream of consciousness and dream that had been gestating in Malick’s mind for years on end.
145 notes · View notes
SUBLIME CINEMA #408 - THE WIRE
Okay, so the Wire is not a film, but it’s not really like anything else either. Comparing this to any other series is pointless, it stands alone as something completely removed from film or TV or theater or documentary; it is art at the highest level that aspires to something greater than art. You feel the creators here are going beyond commenting and portraying, and instead are exposing something fundamental about America that needed to be exposed, and fighting against a reluctant acknowledgement that change might be futile.
Shot on textural 35mm, and grim as a reaper, with writing and acting that was more deserving of a Pulitzer than a couple of unwon Emmy nominations, it showed us a part of America that many Americans either don’t know about, or choose not to know anything about.
I wanted to post this in memory of Michael K Williams, whose role of Omar now resonates more than ever; his character was mythical in the show and he is forever immortalized here.
42 notes · View notes
SUBLIME CINEMA #407 - THE COMPANY OF WOLVES
Neil Jordan’s disturbing Red Riding Hood fantasy, this movie preceded Interview with the Vampire by more than a decade, but many of the same gothic touches are here. Anton Furst was behind the production design, which is beautiful, and it was the film that compelled Tim Burton to hire him for Batman. Furst tragically killed himself soon after winning an Oscar for that film, but his work remains notable for his artistry - he was a technician on Alien, and production designer for Kubrick on Full Metal Jacket.
64 notes · View notes