Reblogged from film-dot-com:
“The Scariest Movie Ever Made” is a Halloween series in which Film.com writers discuss and confront the most terrifying movie they’ve ever seen.
Describing what makes a film scary is a bit like explaining a joke — if you have to do it at all it isn’t likely to be very convincing. Fear is too personal, and thus too contingent: everybody responds to different things for different reasons. If you are afraid of clowns, you will doubtless be afraid of “It”. If dolls set you off, you’ll want to steer clear of “Child’s Play”. I know somebody so terrified of zombies that even “Shaun of the Dead” is a tough sit. There isn’t much of an argument to be had on this point. You can’t really convince somebody to find something scary, at least no more than you could convince somebody who doesn’t like mayonnaise to enjoy an egg salad sandwich. Which is to say that for all its enthusiasm in unpacking the psychological dimension of horror, criticism strikes me as rather ill-equipped to contend with fear. So in lieu of proposing an all-time scariest movie, let me change the parameters of the question slightly.
In 1971, experimental filmmaker Stan Brakhage made “The Act of Seeing With One’s Own Eyes”, a 40 minute silent documentary shot in a Pittsburgh morgue. The film is composed of nothing more than autopsy footage, captured candidly and graphically, and it has become almost a cliche to observe that, once you have seen it, its images cannot be forgotten. The bodies of men, women, and children are laid out on tables, undressed, wiped down, embalmed, and variously sliced open, cut apart, and skinned. Brittle chunks of ribcage are hacked away at, thick heads of hair are carved thinly off, and, in a moment that seems almost literally unbelievable, the skin of a man’s face is tugged down and peeled right off, the mortician’s gloved hands tearing flesh away like a bandaid. We tend to talk a lot about a sense of physicality in horror films, about a tactile presence of the body in the image. “The Act of Seeing With One’s Own Eyes” is a film of pure physicality: it is the physical divorced from the cerebral and the spiritual. It is corporeal cinema. Anatomical cinema. If “body horror” were not already a genre it would need to be invented to account for this.
Reblogged from pantyhouse:
Awesome fan created VHS cover art for upcoming documentary Jodorowsky’s Dune.
“We have to remember that the Venice Film Festival was founded by [Italian Fascist leader Benito] Mussolini, and now it is leaning back in that direction,” Iosseliani said, handing his Golden Leopard statue to nearby Locarno artistic director Carlo Chatrian so he could gesture more freely as he spoke. “Despite the good work of [Cannes president] Gilles Jacob, Cannes sold its soul to the major studios a long time ago.
“It is only Locarno that remains dedicated to art-house cinema and intellectual reflection,” he continued. “It is only Locarno that is willing to take risks to defend artistic films.”"
Reblogged from tvhangover:
Everyone always talks about the speeches/monologues Walter White makes in Breaking Bad and how they are so impactful. [spoilers below, bitch] We have the two most obvious speeches “I am the one who knocks" and "Say My Name”, but take a moment and rewatch those. (I’ll wait). Ok, now watch Jesse’s “You’re nothing to me, but customers” monologue.
Aaron Paul won an Emmy for his performance in season four, but the episode that was submitted was ‘End Times’ - it was the episode where Jesse blames Walt for poisoning Brock and points the gun at him. Walt eventually convinces him it had to have been Gus and they team up again to kill Gus. Anyway, that was a great episode, but in my opinion this was Aaron Paul’s finest moment in the series (so far) and I will always imagine this was reason why he won his Emmy.
Reblogged from natashavc:
Never forget Paco! The make-up artist who came to see Marina 21 times! When I was checking flickr everyday for the exhibit’s photos of the day, it was always special to see Paco Blancas!
I enjoyed this 40 minute documentary about the Coen brothers. It was made during the filming of O BROTHER, WHERE ART THOU, arguably the height of their powers. You can glimpse the spines of all their un-produced screenplays near the end of the doc.
Reblogged from nedhepburn: