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#surrealist film
artfilmaesthetics · 5 months
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100 ꜰᴀᴠᴏʀɪᴛᴇ ꜰɪʟᴍꜱ
56/100 — lost highway | 1997
dir. david lynch ✦
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boku-no-anime-phase · 6 months
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🚨 MOVIE ALERT: 🚨
Satoshi Kon's Paprika and Tokyo Godfathers are both free to watch legally on YouTube right now!
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Paprika is a surrealist action film about dreams that inspired Inception. It is absolutely excellent (although I strongly recommend you check the content and rating to make sure it's something you're comfortable with; they rated this R for a reason).
Tokyo Godfathers i haven't seen yet, but it's about this group of homeless people who find an abandoned baby on Christmas Eve. It is apparently very sweet and I'm looking forward to watching it!
Kon's other films include Millennium Actress and Perfect Blue.
Millennium Actress is phenomenal as well (and is available to watch on Crunchyroll right now) - it's a very cool surreal retelling of a fictional famous actress' life, and a meditation on how love drives us. (A few more thoughts on it on a different alt here.)
Perfect Blue I haven't seen yet, but I've heard it's amazing and also horrifying; and I've heard that like with Paprika:Inception it directly inspired one or two popular live action Western movies. As far as I can see, right now you'd have to rent it to watch it.
Anyway, go forth and jump into some great anime!
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aliceoftheday · 1 month
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Alice adaptation of the day
Alice (1988)
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prim-prev · 1 year
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god i love surrealist cinéma. it's like someone sat down and said what if we make baby sensory videos but for adults. sure the imegery and the symbolism and how it all comes together to form a story is impressive but we're just sitting there watching it like a child watching cocomelon. there's a little goblin that awakens and yells OOOOOH PUZZLE and it holds me captive trying to jam what i'm seeing into a cohesive picture
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skitzomoondog · 1 year
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Rob Gonsalves, 1959
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On May 17, 1968, filming ended on Head.
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domjordanillustration · 8 months
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the holy mountain
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fashionlandscapeblog · 4 months
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L'Année dernière à Marienbad (1961) - dir. Alain Resnais
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texaschainsawmascara · 9 months
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Blood Tea and Red String (2006)
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theaskew · 21 days
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helgardhishere · 1 year
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Testament of Orpheus (1960) - Jean Cocteau
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artfilmaesthetics · 6 months
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a collection of surrealist films 🌀
✧ ‘Fantastic Planet’ (1973) dir. René Laloux
✧ ‘Mirror’ (1975) dir. Andrei Tarkovsky
✧ ‘House’ (1977) dir. Nobuhiko Obayashi
✧ ‘Belladonna of Sadness’ (1973) dir. Eiichi Yamamoto
✧ ‘Daisies’ (1966) dir. Vêra Chytilová
✧ ‘Lost Highway’ (1997) dir. David Lynch
➞ note: surrealist cinema involves shocking or absurd imagery to challenge the idea of reality, and often depicts characters in unrealistic situations or even dream-like states
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thechimerasdiary · 1 month
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reviews | absurd cinema | biopic | comic
𝐀𝐛𝐬𝐨𝐥𝐮𝐭𝐞𝐥𝐲 𝐀𝐛𝐬𝐮𝐫𝐝 𝐚𝐧𝐝 𝐂𝐨𝐦𝐢𝐜𝐚𝐥𝐥𝐲 𝐂𝐡𝐚𝐫𝐦𝐢𝐧𝐠
An artist biopic unlike anything you have ever seen
.·:*¨༺ __________________
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Judith (Anaïs Demoustier) trying to conduct an interview with Salvador Dalí (Gilles Lellouche) on the beach.
How many Dalís is one too many? You might ask yourself this while watching Quentin Dupieux’s latest work. Daaaaaalí! (2023) is, as the screaming title already suggests, a film about the Spanish artist – but not like you have ever seen before. In the opening scene, mustache-twirling and cane-bearing Dalí (Gilles Lellouche) strides down a hotel corridor. Only for Dalí (Édouard Baer) to walk its length once more. And then, who would have guessed, Dalí (Jonathan Cohen) does it all over again. In this comic prelude, the ever-body-changing character is late for an interview but never seems to arrive at his destination as the distance of the hallway stretches into infinity.
Daaaaaalí! is full of such amusing instances. Dupieux’s film depicts a young pharmacist-turned-journalist, Judith (Anaïs Demoustier), who attempts to start off her new career path by meeting one of the biggest artist names of the 20th century. What begins as a simple interview with the surrealist ends up being a headlong plunge into his whimsical world. Judith soon realizes that Dalí has his own ideas about her project. And while the interview turns into a documentary film that never gets off the ground, reality is turned upside down. Characters wake up from dreams that never end, dead dogs rain down from a cloudless sky, and gun-slinging cowboys terrorize art auctions. 
Sounds a little absurd? Well, that’s exactly the point. The film successfully manages to break out of the never-ending stream of solemn self-assertive biopics by being less concerned with an accurate portrayal of reality and more with crafting a tone that honors the ethos of the historical figure. What makes the work so cleverly charming is that Dupieux has encapsulated the bygone spirit of Surrealism in contemporary form. Daaaaaalí! is a delicious accumulation of absurdity, much like the movement itself. 
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Two of Dalí’s models posing for the artist’s painting.
In an early scene in the film, a highly-focused Dalí is seen sitting in the midst of a desolate landscape. With close precision, he is applying brush strokes to his easel. “Sir! Can we take a break?” comes a shout off-screen. The camera whips around to reveal a baffling setting. The two men acting as the painter’s models possess strangely disfigured proportions, one of them propping up his grotesquely elongated head with a wooden pitchfork. The scene pays a delightful homage to Dalí’s 1932 The Fine and Average Invisible Harp by transforming his vision into cinematic reality. And even beyond such clear referentialities, the film’s visual themes closely evoke the artist’s comically-constructed compositions. Dupieux has reached deep into Dalí’s palette, painting a Surrealist masterpiece of his own.
Daaaaaalí! certainly is a testimonial to the persistence of the bizarre. At the same time, the film works so well because it does not try to infuse the scenes with a layer of sober significance. It departs from a purely rational treatment of the narrative it creates. Instead, the events on-screen rely on ridiculousness. The audience is expected to laugh, to get lost in the endless comedic repetitions and the silly oddities of the characters. When Dalí is involved nothing makes sense, nor does it have to. Consequently, watching the film is a lot like contemplating one of the painter’s works: initially confusing, undoubtedly absurd, yet highly entertaining for eyes and mind.
With that, Dupieux's work tells more about Surrealist ideas than many previous documentaries out there could. Daaaaaalí! has manifested itself as a monument to the movement, a rollercoaster of funkiness and madness that the painter himself would have certainly appreciated.
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Judith (Anaïs Demoustier) wearing the Dalí mustache.
__________________ ༻¨*:·.
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elfbarpile · 1 year
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still from Ubu Roi (1965) dir. Jean Christophe Averty
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scenephile · 1 year
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ASA NISI MASA
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schlock-luster-video · 5 months
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On November 18, 2001, Mulholland Drive was screened at the London Film Festival.
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Here's some new Naomi Watts art!
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