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The Conformist 1970
The Conformist — I mean, every frame is a painting. From the shadows inside industrial government buildings or where the light drifts into a room to the dutch angles of characters walking on sidewalks or past the daring structure of the Eiffel Tower, it’s all unreal and mesmerizing to the eye. The cinematography of The Conformist rivals The Revenant and The Tree of Life—these shots are minimalistic but meaningful in every way. It has the dark contrast of The Godfather and the rainy driving scenes of Le Samouraï but with a social and political narrative. Need to watch more Bertolucci. 4.5/5.
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Rififi 1955
There wasn’t much Rififi could do wrong. It has everything I like: striking black-and-white cinematography, morally corrupt criminals pulling off an impossible heist, all set to a gritty French rhythm. How the crime methodically unfolds is unlike any heist I’ve ever seen in a movie—instead of the chaos seen in films like Dog Day Afternoon, Fargo, or Good Time, the silence of Rififi’s most intense sequence speaks volumes, making every movement precise but suspenseful. 4.5/5.
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2001: A Space Odyssey 1968
After watching 2001: A Space Odyssey, all I can say is… the film was an extraordinary meditation of existence through time and space. Whatever that means.
Renata Adler beautifully describes the film as “somewhere between hypnotic and immensely boring.”
The monolith is the symbol that gives society the tools and knowledge to make it to the next stage of our evolution or development. After my third watch, the extreme close-up of the eyes drifting through dimensions gives me a new perspective on life: life is precious and each moment is gracious. You blink once and you’re lying on your death bed.
5/5.
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Once Upon a Time... in Hollywood 2019
“It official, old buddy. I’m a has-been.”
Once Upon a Time in Hollywood — there’s not a Tarantino film that makes me feel the way this film makes me feel. There’s something so special about it—it’s an indescribable magic. It could be the nostalgic 70s needle drops, the undeniable chemistry between Leo DiCaprio and Brad Pitt, the poetry of Margot Robbie’s performance, the subtle hints to other Tarantino films, or the many driving scenes that let us sit in the passenger…
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