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Norwegian Wood
Directed by Tran Anh Hung
2010

I am likely the slowest and worst reader ever and haven’t gotten around to reading this book so I can’t speak on how good of an adaptation it was, but even with how slow and boring it got, there were so many good atmospheric shots thanks to the cinematography from Mark Lee Ping Bin. In that sense, it’s comparable to Paul Thomas Anderson’s The Master if you’re into meandering dramas that are shot well, with accompanying drone-y Jonny Greenwood soundtracks.

Scene from Norwegian Wood (2010)

Renoir
Directed by Gilles Bourdos
2012

Before “Manic Pixie Dream Girl” became a trope for socially awkward white dudes in cinema, there was once the artist’s muse. One such muse was Catherine Hessling (born Andrée Heuschling), subject of the later works of renowned French painter Pierre-Auguste Renoir, as well as actress and future wifey of his son, and filmmaker, Jean Renoir.

Less a conventional biopic and more like Art History 101 as told by Terrence Mallick, Gilles Bourdos directs a slow and atmospheric portrait of two different artists: one on the waning end of an already prolific career, and the other who has still yet to discover his life’s passion. The constant: both father and son find their muse in Andrée, a model and aspiring actress sent over to the Renoir household by fellow Impressionist Henri Matisse.

What is particularly good though is the camerawork and cinematography of Mark Lee Ping Bin, who has previously worked with Wong Kar-Wai and Christopher Doyle on In The Mood For Love, as well as the equally atmospheric film adaptation of the Haruki Murakami novel, Norwegian Wood. There are great shots throughout in deep focus and natural lighting, and of trees blowing on the French Riviera, which are very evocative of Renoir’s paintings themselves. And like Renoir, Mark Lee is so good at capturing this beauty in a way only few can.

wandrlust:

Japanese Poster for Alien (Ridley Scott, 1979)

wandrlust:

Japanese Poster for Alien (Ridley Scott, 1979)

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From Up On Poppy Hill
Directed by Goro Miyazaki
2011

Latest from Studio Ghibli directed by the son of Hayao Miyazaki, Goro, set in 1963 Yokohama, Japan. Cute movie. The U.S. release has voice acting from Jamie Lee Curtis, Gillian Anderson, Christina Hendricks, Aubrey Plaza, and Ron Howard.

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Belly
Directed by Hype Williams
1998

I rewatched this over the weekend after thinking about Spring Breakers and then coming across this scene on YouTube where Hype Williams gives Harmony Korine a shout by having DMX’s character put on his film Gummo after they pull of a robbery. 

Although there are a few similarities, I wouldn’t necessarily call Spring Breakers, “a female-led remake of Hype Williams’ Belly as directed by Gus Van Sant” as one reviewer puts it. 

I guess you could draw comparisons with Nas’s character Sincere and Selena Gomez’s Faith–both with not-so-subtle names and are looking to find themselves, either in Florida or in Africa–but that’s likely coincidence. Or maybe this was Harmony Korine’s way of nodding back to Hype Williams for the Gummo scene. I’m sure there is a film student out there somewhere just waiting to write an essay comparing Nas to Selena Gomez and this could be your shining moment.

The neon cinematography is also coincidence considering well, ALL Hype Williams videos looked like pre-Gaspar Noe movies anyways. There is also the use of rappers-as-actors and rap music in general, but again, this is a Hype Williams directed movie with a soundtrack on Def Jam so it’s no surprise to have Nas, DMX, and Method Man (and even T-Boz, what up) as the main cast. 

There’s also the great character of Big Head Rico, sort of like a mix between James Franco’s Alien and Gucci Mane, but with pre-Stankonia Andre 3000 perm and a penchant for eating bananas. Who if only had more screen time, would be the much better villain. Actually I wish there would be a spin-off of just Big Head Rico and his crew because he was a pretty great character.

I don’t think there’s a lot to really dive in here but the two films would make for a pretty good double-feature on style/substance and the use of rap culture in cinema. Also Belly, as flawed as it is, seems like the type of movie that’s one film essay and special edition away from belonging in the Criterion Collection.

Over the weekend I thought about how much the film Spring Breakers sort of reminded me of the Hype Williams rap classic Belly down to its themes, neon cinematography, and casting rappers as actors.

I came across two reviews that compared the two films with both reviewers mentioning this exact scene in which Hype Williams gives Harmony Korine a shout out by having DMX put on Gummo after they commit a robbery.

This might also be the best moment in which art house and the rap world have ever converged and we have Hype Williams to thank for that.

[NOTE: I haven’t seen this movie since probably high school but since revisiting it now I think it deserves a lot better rating than the 4.9 it currently has on IMDB]

Spring BreakersDirected by Harmony Korine2012
Lately I have been getting nostalgic from meeting and talking to friends old and new this past month who have also moved up north from Florida. This movie sort of came at the right time for me to reflect on what it means to be a product of “The Sunshine State” as well as how its culture is depicted in television and film both past and present.
Having lived in Florida nearly my entire life, including the parts where this film was shot (Clearwater, you are still the worst), it was really good to see St. Pete and Florida in general portrayed in this manner and not like every other movie or TV show set in Miami. Look, I love Scarface, Miami Vice and Billy Corben documentaries as much as the next person, but like, there ARE other cities in Florida you could shoot a movie in. Even the D-movie gem Miami Connection had to rep Miami even though it was filmed and takes place in Orlando. And the only other movies shot near the Tampa Bay area (Edward Scissorhands, The Punisher, the zoo scene in Goodfellas) don’t even really feature the city itself*. So for the (un)fortunate souls who have once or currently do call Florida home, then you will hopefully be pleased that Harmony Korine finally “gets it”.
[*NOTE: I haven’t seen Magic Mike, but realize it takes place in Tampa and is about strippers, another lesser-known Tampa trademark]
One major trait that often gets overlooked in movies and TV shows not named COPS, is that many parts of Florida is still “The South”. The city of Brandon has the largest hanging Confederate flag in all of the U.S. and I can attest to this fact because I used to drive past it when I worked there for a year. In addition to this, the hood parts of Jacksonville, Tallahassee, Orlando, the Tampa/St. Pete area and elsewhere, are basically like a warmer version of The Trap™. Harmony Korine is a genius for casting both Gucci Mane and James Franco as a St. Pete version of RiFF RaFF because their characters personify almost exactly, those two attributes of Florida. Less on the racial tip but more just like, Florida people be crazy kind of thing.
For every beach and perfect sunset and theme park, there’s very much the seedy, trashy side of Florida which are both perfectly captured in this film (also perfectly captured by this tour name and poster and entertaining Twitter account). The same state that birthed the careers of Britney, Christina, Justin Timberlake, Ryan Gosling, and the Backstreet Boys, also gave us Gilbert Arenas, Miami/Booty Bass, Trina, Trick Daddy, and Yo Majesty. This idea of Florida as Paradise Lost or just the concept of losing your innocence in general is illustrated even further in the casting of both Vanessa Hudgens and Selena Gomez. Because like the MMC before them, even Disney Channel alums wild out on spring break. 
Visually, and what I enjoyed the most, was the way the city of St. Pete was shot through the lens of Benoît Debie (Irreversible, Enter The Void). Florida loves bright colors and neon and there’s plenty of it in this movie from its title sequence, to glowing computer screens, and gas station parking lots. The cinematography is essential in setting the eery tone that Harmony Korine plays with throughout the entire film. I once joked that I would like to direct the rap version of Streets of Fire and have it set in Atlanta or Miami in the 90s instead and after seeing this, parts of it was basically that idea come to life. Minus the sledgehammer fight scene.
This movie will give you all kinds of feels both positive and negative. Like his other work, it has Korine’s signature of artfully pushing our buttons and making statements regarding pop culture through ridiculous and comedic ways. But really I am just glad that someone has finally managed to capture a snapshot of present-day Florida in all its crazy glory. This might not mean much to a person from Los Angeles or New York City cause like, ALL THE MOVIES ARE SHOT THERE, but to me I felt a slight sense of pride in seeing the Courtney Campbell Causeway with the sun setting on Tampa Bay in its backdrop on the big screen.

Spring Breakers
Directed by Harmony Korine
2012

Lately I have been getting nostalgic from meeting and talking to friends old and new this past month who have also moved up north from Florida. This movie sort of came at the right time for me to reflect on what it means to be a product of “The Sunshine State” as well as how its culture is depicted in television and film both past and present.

Having lived in Florida nearly my entire life, including the parts where this film was shot (Clearwater, you are still the worst), it was really good to see St. Pete and Florida in general portrayed in this manner and not like every other movie or TV show set in Miami. Look, I love Scarface, Miami Vice and Billy Corben documentaries as much as the next person, but like, there ARE other cities in Florida you could shoot a movie in. Even the D-movie gem Miami Connection had to rep Miami even though it was filmed and takes place in Orlando. And the only other movies shot near the Tampa Bay area (Edward Scissorhands, The Punisher, the zoo scene in Goodfellas) don’t even really feature the city itself*. So for the (un)fortunate souls who have once or currently do call Florida home, then you will hopefully be pleased that Harmony Korine finally “gets it”.

[*NOTE: I haven’t seen Magic Mike, but realize it takes place in Tampa and is about strippers, another lesser-known Tampa trademark]

One major trait that often gets overlooked in movies and TV shows not named COPS, is that many parts of Florida is still “The South”. The city of Brandon has the largest hanging Confederate flag in all of the U.S. and I can attest to this fact because I used to drive past it when I worked there for a year. In addition to this, the hood parts of Jacksonville, Tallahassee, Orlando, the Tampa/St. Pete area and elsewhere, are basically like a warmer version of The Trap™. Harmony Korine is a genius for casting both Gucci Mane and James Franco as a St. Pete version of RiFF RaFF because their characters personify almost exactly, those two attributes of Florida. Less on the racial tip but more just like, Florida people be crazy kind of thing.

For every beach and perfect sunset and theme park, there’s very much the seedy, trashy side of Florida which are both perfectly captured in this film (also perfectly captured by this tour name and poster and entertaining Twitter account). The same state that birthed the careers of Britney, Christina, Justin Timberlake, Ryan Gosling, and the Backstreet Boys, also gave us Gilbert Arenas, Miami/Booty Bass, Trina, Trick Daddy, and Yo Majesty. This idea of Florida as Paradise Lost or just the concept of losing your innocence in general is illustrated even further in the casting of both Vanessa Hudgens and Selena Gomez. Because like the MMC before them, even Disney Channel alums wild out on spring break.

Visually, and what I enjoyed the most, was the way the city of St. Pete was shot through the lens of Benoît Debie (Irreversible, Enter The Void). Florida loves bright colors and neon and there’s plenty of it in this movie from its title sequence, to glowing computer screens, and gas station parking lots. The cinematography is essential in setting the eery tone that Harmony Korine plays with throughout the entire film. I once joked that I would like to direct the rap version of Streets of Fire and have it set in Atlanta or Miami in the 90s instead and after seeing this, parts of it was basically that idea come to life. Minus the sledgehammer fight scene.

This movie will give you all kinds of feels both positive and negative. Like his other work, it has Korine’s signature of artfully pushing our buttons and making statements regarding pop culture through ridiculous and comedic ways. But really I am just glad that someone has finally managed to capture a snapshot of present-day Florida in all its crazy glory. This might not mean much to a person from Los Angeles or New York City cause like, ALL THE MOVIES ARE SHOT THERE, but to me I felt a slight sense of pride in seeing the Courtney Campbell Causeway with the sun setting on Tampa Bay in its backdrop on the big screen.

NODirected by Pablo Larrain2012
This was a highly fictional but well told story based on the actual ad campaign run by the Chilean opposition to overthrow dictator Augusto Pinochet in 1988. 
Gael Garcia Bernal plays a chill Don Draper type who skateboards around with a rattail and pitches over the top commercials for soda companies during his day job. On the side, he is recruited by a lefty organization to come up with a campaign to encourage Chileans to vote “No” during the 1988 referendum. While still skateboarding around with a rattail. 
The film was also shot in 1:33:1 using 80’s U-Matic cameras so everything looks rather seamless when cutting to actual footage and has a pretty authentic vintage news camera vibe throughout. Which could be a little distracting but fortunately the substance outweighs the style in this case.
Highly recommended if you’re a fan of democracy and political thriller type movies or just vintage ad campaigns. This was also up for Best Foreign Film at this years Academy Awards but I guess people would rather be total downers and watch Michael Haneke films instead.

NO
Directed by Pablo Larrain
2012

This was a highly fictional but well told story based on the actual ad campaign run by the Chilean opposition to overthrow dictator Augusto Pinochet in 1988.

Gael Garcia Bernal plays a chill Don Draper type who skateboards around with a rattail and pitches over the top commercials for soda companies during his day job. On the side, he is recruited by a lefty organization to come up with a campaign to encourage Chileans to vote “No” during the 1988 referendum. While still skateboarding around with a rattail. 

The film was also shot in 1:33:1 using 80’s U-Matic cameras so everything looks rather seamless when cutting to actual footage and has a pretty authentic vintage news camera vibe throughout. Which could be a little distracting but fortunately the substance outweighs the style in this case.

Highly recommended if you’re a fan of democracy and political thriller type movies or just vintage ad campaigns. This was also up for Best Foreign Film at this years Academy Awards but I guess people would rather be total downers and watch Michael Haneke films instead.

(Source: sonyclassics.com)

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My Crasy Life
Directed by Jean-Pierre Gorin
1992

Part of Criterion’s Eclipse series Three Popular Films by Jean-Pierre Gorin, My Crasy Life is a documentary about the S.O.S. “Sons of Samoa” gang based in Long Beach, CA. 

Prior to his documentaries on Southern California, Gorin was known for collabing with fellow New Wave director Jean-Luc Godard during his radical lefty phase as part of the “Dziga Vertov Group”. Together they put out the film Tout Va Bien starring Jane Fonda, as well as the short film Letter To Jane, where both he and Godard literally just show a photo of Jane Fonda in Vietnam and they talk about it for like an hour. Fortunately, this documentary is nowhere near as pretentious and is pretty much the total opposite.

The documentary itself is a mix of candid interviews, COPS style footage, a bizarre HAL-9000 talking cop car (?) and staged events where the gang cheeses in front of the camera and tries to look like their life is a never-ending Snoop video. There’s even a scene, arguably the best scene, where they’re like 20 deep in a recording studio and then after a few bars go into an a capella of “Teenager In Love” which instantly makes them the most adorable thugs second to this photo of Tupac holding a puppy.

I loved this movie because it does what great documentaries do and that’s shed a light on a particular topic or subject that would normally go unnoticed and captures it in the most vivid of detail. In this case, it takes the subject of 90’s South Central L.A. crips but shows it in the perspective of Samoans in Long Beach. This film also might be the most hood thing Criterion has put out and for that alone, it’s great. It makes me wish that somewhere out there exists a similar artsy documentary on the Freaknik concerts but sadly I don’t think there is.

I don’t think we talk enough about the robot pimps in Sylvester Stallone’s Cobra

2 Days in New YorkDirected by Julie Delpy2012 
If you’ve ever wondered how a Woody Allen film would be like with Chris Rock as the lead this is as close as you’re gonna get. 

2 Days in New York
Directed by Julie Delpy
2012 

If you’ve ever wondered how a Woody Allen film would be like with Chris Rock as the lead this is as close as you’re gonna get. 

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This can be you right now. Go to: www.miamiconnection.org



All I want for Christmas is everything on this website.

drafthousefilms:

This can be you right now. Go to: www.miamiconnection.org

All I want for Christmas is everything on this website.

Once Upon A Time In High School
Directed by Yoo Ha
2004 

This was less a martial arts film and more like a two hour episode of The Wonder Years (complete with the cute Korean version of Winnie Cooper). It also had elements of Lindsay Anderson’s If…. with its portrayal of South Korea’s highly strict and militant education system during the 70s.

There are a few fight scenes though, including a Taxi Driver style training montage that culminates to the final rooftop battle. The end result turning into something like a mix between Bruce Lee’s real life rooftop fights when he was in China and the scene in Fist of Legend where Jet Li takes on the whole school.

This might have been my favorite movie if I had seen this in high school during my own Bruce Lee obsession phase, but I just really can’t relate to coming-of-age stuff anymore no matter how many Murakami books I try to read or Freaks and Geeks reruns I watch.

I would recommend this on a purely nostalgic level, if you’re interested in Korea during the 70s, and obviously if you’re a fan of martial arts and Bruce Lee.

Before D.A. Pennebaker gave us an insider look at Bill Clinton’s 1992 Presidential campaign with The War Room, he, along with fellow documentarians Richard Leacock and Albert Maysles, introduced the world to their “direct cinema” approach of filmmaking with Primary: a fly-on-the-wall documentary about the 1960 Wisconsin primary election between John F. Kennedy and Hubert Humphrey. 

Primary was highly groundbreaking for being the first film or news media to have such unfettered access and journalistic coverage of the operations behind a Presidential campaign.