1. The Match Factory Girl, Aki Kaurismäki 1990

    (Source: lambette, via clairedenis)

     
  2. kino-obscura:

    Watchmen. Left to right: Edward Yang - Zhang Tielin - Stanley Kwan - Hou Hsiao-hsien - Chen Kaige - Ang Lee - Wong Kar-wai. Taipei Golden Horse Film Festival, 1991.

     
  3. wildhotels:

    The Great Northfield Minnesota Raid (Philip Kaufman, 1972)

     
  4. thedeathoffilm:

    LE SIGNE DU LION (Eric Rohmer) 1959

    Godard is the life of the party.

     
  5. "The fact is, there’s an enigmatic relationship between Max and myself. He has meant a tremendous amount to me. Stravinsky once said something good. I heard Blomdahl and him discussing Alban Berg’s Lulu. They were discussing a singer. Stravinsky said she was a bad Lulu, because she was so vulgar. But then Blomdahl, as I remember it, said: ‘But Lulu’s the vulgarest female alive.’ And Stravinsky said: ‘Yes, and that’s why she must be played by an actress who hasn’t a trace of vulgarity in her—but can play it.’ I suppose that’s exactly what I find in Max von Sydow. As an actor, Max is sound through and through. Robust. Technically durable. If I’d had a psychopath to present these deeply psychopathic roles, it would have been unbearable. It’s a question of acting the part of a broken man, not of being him. The sort of exhibitionism in this respect which is all the rage just now will pass over, I think. By and by people will regain their feeling for the subtle detachment which often exists between Max and my madmen.”

    Ingmar Bergman | 1968

    "Mr. Bergman was a man of great working discipline. He forced everyone to concentrate when it was important. No disturbing noise during rehearsal. A code of silence. But in between, when [the camera and lighting] was being changed and re-rigged, there were a lot of laughs and a lot of fun. He had a great sense of humor. He had a talent of making people feel that they were participating in something important and something aspiring. He created teamwork. Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring. Whatever good I have done on screen I owe to him. I have learned discipline. I have learned concentration and the joy of acting."

    Max von Sydow | 2013

    (Source: strangewood, via clairedenis)

     
  6. The Last of England — dir. Derek Jarman

    (Source: strangewood, via weerasethakul)

     
  7. filmsisaw:

    Fish Tank (2009)

    (via clairedenis)

     
  8. perfectframes:

    NAKED LUNCH / 1991 / DAVID CRONENBERG

    (via larsvontrier)

     
  9. You are often regarded as a director given to harsh themes. Do you agree?

    I was never interested in cruelty for its own sake. But sometimes you have to resort to harsh narrative methods when the overall concept of the film demands it.

    Are you referring to The Ascent?

    Yes. This film is a study of man in an extreme, inhuman situation. He is in a position where he can only draw strength from within himself to stand up to the cruel circumstances. He is guided by such lofty motives as love for humanity and for his country. He remains human in inhuman circumstances. How can you show all this “gently”? I don’t think anyone can accuse me of using violence to tickle the audience’s sensibilities. That is taboo. I have never stooped to that.

    I agree. In The Ascent no naturalistic details are in the frame in the scenes of torture, execution and physical suffering. Even so, the picture is very severe.

    That might seem to be so by the comparison with “nice”, “undisturbing” films. I have nothing against pictures that make you laugh your head off. Laughter is good for your lungs. But there must also be pictures which disturb you, make you feel furious, compassionate and tearful. That’s good for your soul.

    Larisa Shepitko on her film The Ascent.

    (Source: strangewood, via weerasethakul)

     
  10. Shock Corridor (dir.Samuel Fuller)

    (Source: samuel-l-changz, via salesonfilm)