#changchen

[film-book]

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Film Review: Red Cliff: Part 1 https://tinyurl.com/2agatzf8

[alex6186]

My MCM aka Movie Crush Monday Dune, this brilliantly science fiction film is base on adaptation of the 1965 novel by Frank Herbert.

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Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet's exclusive supply of the most precious resource in existence, only those who can conquer their own fear will survive.

#MCM #MovieCrushMonday #AJBMCM #Dune #DuneMovie #DunePart1 #scifiadventure #ScifiMovie #Zendaya #TimothéeChalamet #RebeccaFerguson #OscarIsaac #JasonMomoa #JoshBrolin #JavierBardem #DaveBautista #StellanSkarsgård #CharlotteRampling #ChangChen #GoldaRosheuvel #StephenMcKinleyHenderson #SharonDuncanBrewster #FrankHerbert #BabsOlusanmokun #DenisVilleneuve

[xantthec]

#happytogether #春光乍洩1997 #春光乍泄1997 #23years #wongkarwai #tonyleung #lesliecheung #changchen #jettonefilms #block2distribution #原倫子 #oldfilms #filmoftheday #hongkongfilm #photooftheday #random #liferecorder https://www.instagram.com/p/CiCFP2YvblB/?igshid=NGJjMDIxMWI=

[beachsandal720]

[12ebra21]

Assorted Requested Characters🫶

request thanks!💋

[adamwatchesmovies]

Dune (2021)

Dune is everything we were promised. It’s a film whose ambition matches its mythical scale and radiates imagination. The next installment can’t come soon enough.

In 10191, the universe is ruled by an Emperor who assigns the exploitation of planets to the many powerful ruling houses. Interstellar travel is possible through “spice” a substance found exclusively on the harsh desert planet of Arrakis. For 80 years, spice harvest has been overseen by Baron Vladimir Harkonnen (Stellan Skarsgård). Now, Duke Leto I of House Atreides (Oscar Isaac) is the new steward of Arrakis. This shift puts House Atreides, particularly Duke’s son, Paul (Timothy Chalamet) in danger.

This sci-fi epic’s a 156-minute colossus. Before the story can even begin, there’s a lot of ground to cover. Sometimes, it means inelegant exposition (such as a training sequence in which Paul is reminded of the way forcefields work) and even with it, things can be hard to grok. If you miss every crucial name and the reason for everyone’s actions fly right above your head, Dune still grabs you. You can tell this story is set in a living, breathing world whose history and people are meticulously detailed in historical records that would take a lifetime to read.

What prevents you from ever becoming completely lost is the world. The flying dragonfly-like ships move in a way that makes sense. You can see how we'd someday come up with the mining equipment on Arrakis. The houses, politics, and schemes feel like they come from our past - seems certain things never change. Your gut knows it's building towards something grand. Paul’s ominous dreams hint at a big conflict coming up. The question is whether he will become the man he needs to be in time to face it.

On any world, the stakes would be high but on Arrakis, under these circumstances, it’s on another level. The filmmaking makes Dune feel immense; on the same scale as Peter Jackson’s Lord of the Rings trilogy. You can feel Dennis Villeneuve’s passion. The art direction, cinematography, and score make this coming-of-age story the stuff of legends.

My only experience with Dune was the 1984 cinematic catastrophe by David Lynch, which might’ve helped me make sense of everything that was going on. I didn’t read the book, I only know that more sandworms and battles are coming. Maybe it will take you a bit to understand what everyone’s talking about but that’s where the running time becomes an advantage. You'll be able to catch up as we are introduced to more relatable ideas like the customs of the Fremen, how Paul feels about the responsibilities being thrust upon him, his relationship with his mentors (played by Jason Momoa and Josh Brolin), and those recurring visions. Dune is one to see on the biggest screen possible. It may teeter on biting off more than it can chew but I’d much rather see a film take chances than try nothing new. (Theatrical version on the big screen, October 23, 2021)

[redcoretimber]

Got stunned by Movie stills of DUNE and drew a replica doodle of Chang Chen.

[doomonfilm]

Review : Dune [Part One] (2021)

Let’s go ahead and put it all out on the table... I’m not a big Dune guy.  Be it the divisive David Lynch release (which itself came out after four or so failed attempts by some film history heavy hitters), the extended TV re-cut that Lynch disavows or the 2000 TV mini-series version, I never could find a connection with the property that many hold as the pinnacle of science-fiction storytelling.  Once the word got out that Denis Villeneuve was taking a crack at it, however, my disposition changed completely... despite my disconnection with Dune, I do understand why Hollywood and the like refuse to let the property go, and with Villeneuve’s breathtaking Blade Runner 2049 changing my entire outlook on Blade Runner as a whole, I found myself wrapped up in the multi-year march towards the film’s release.  After a back and forth over whether or not HBOMax would get the rights to a same-day release, everything was set to go for October 22, but with pirates doing pirate things, Dune found itself in the world earlier than expected, so lucky for me, the release date was pushed up roughly 10 hours, allowing me a Thursday viewing prior to my trek to see the film on the big screen.

More so than any other adaptation of Dune, the use of Spice as a table setter for a war of ideals permeates, as this film holds its symbiology and narrative structure in equal measure to its visuals.  Maybe I’m just dense (or much younger and less seasoned of a movie buff), but the parallels to real life counterparts like sage didn’t connect back in the day, in the sense that Spice and sage are both very culturally important to the respective indigenous cultures, while to outsiders, it is seen simply as a resource and a means to a beneficial economic end.  With Spice as the cornerstone element, Villeneuve branches off into two very powerful support structures : the opposition of the regal versus the indigenous (which has been touched upon in all visual adaptations) and the insertion of a third party into historical conflict for auxiliary benefit, specifically when set up under the guise of a diplomatic or goodwill mission.  It doesn’t take a sociologist or political scientist to see the way that 21st Century events have primed us as viewers to resonate much deeper with the narrative subtext that has been present in Dune since (I assume) it’s release as a novel in 1965, and with a director as skilled and passionate as Villeneuve at the helm, I found myself much more invested in his presentation of Dune similar to the way that his stellar Blade Runner 2049 gave me a deeper appreciation of Ridley Scott’s original entry.

Outside of these foundational themes, this version of Dune is the first time that I bought in to the mystic side of the film, which is propped up nicely as a tie-in to Paul’s parallel internal struggles : legacy versus destiny, and fate versus free will.  Again, maybe I was too young to pick up on the expositional elements previously (on top of never having read the books), but the presence of the Bene Gesserit never stood out to me as strongly as it does in this film, and positioning Paul as a young man with personal ideals fighting against two daunting sets of expectations is a wonderful tension builder to help push the more mystical, spiritual and psychological elements to the forefront.  As I never did buy into the other adaptations, I somehow completely missed out on the concept of the Voice, but its presence (and more importantly, its implications in the face of fate versus free will being proposed) create a narrative wild card that is handled quite well and with great restraint.  Perhaps it is something of an unspoken thing in the science-fiction fandom social circles, but I can’t help but think of how much the Bene Gesserit and the Voice feel like DEEP inspiration for the Jedi and the Force, respectively.

Villeneuve has a wonderful knack for beautifully and seamlessly integrating future technologies with traditional moirés and evolution-based constructs, so it makes sense that the multitude of spacecraft, communication systems and armor used in Dune would look as stunning as it does innate... the flutter-wing ships in particular blew my mind.  The use of the “used future” look (a favorite production design choice of mine for science-fiction films) is impressive as well, with most every world appearing very much lived in, including the high society House Atreides.  The cinematography of Greg Fraser is inspired, vivid and dynamic, so much so that I will be surprised if it doesn’t at least garner nominations in most every awards show... I’d be willing to go so far to say that this film will likely win some cinematography awards, including the big ones.  Hans Zimmer also finds a way to step outside of himself, as his score balances his trademark symphonic sound with a very strange onset of synthetic sounds, creating an almost “humanoid music” that is strangely but deeply expressive in a way that I cannot remember experiencing previously.  The costuming is extremely dark, with black being the dominant color on all three sides, but it still manages to have a distinction and visually eloquence form character to character that not only makes each outfit unique, but it gives you a very quick read in terms of where they stand in each particular societal hierarchy.  Be they intentional or otherwise (though I doubt Villeneuve is the type to arbitrarily do anything as a director), I caught what felt like references to Apocalypse Now and Ingmar Bergman’s Trilogy of Faith consistently and throughout multiple aspects of the story.

I’m hard-pressed to think of a cast this strong in any film of the past 20 years, and surprisingly (to me), Timothée Chalamet more than handles the weight of being the centerpiece, as he displays equal parts angst, ambition, frustration and desire with the ease of an actor twice his age and experience.  He plays extremely well opposite Rebecca Ferguson, who channels her inner Liv Ullmann at times by having a reserved nature that is clearly a barrier to a tidal wave of secrets, knowledge and emotion.  The House Atreides triad is completed by Oscar Isaac, who finds a way to balance the dominance and power of a a Duke with the compassion and understanding of a father figure.  Josh Brolin and Dave Bautista stand as counterparts to one another with their deep and intense rage, though Brolin is able to check it and focus it (to an extent), while Bautista plays as someone tethered to it and trying to reel it in.  The film does a great job of paralleling characters, as Stellan Skarsgård and Charlotte Rampling are often contrasted as different versions of shadow rulers that restrain their true powers as a controlling measure while still managing to each be wholly menacing in their own right.  Stephen McKinley Henderson brings tension as a fated figure who seemingly dances with tragedy at every turn, as if his heels on the ground position entails holding up a crumbling tower with his bare hands, and all the while, he performs with a smile that is clearly holding back a breakdown.  Other standout performances include David Dastmalchian (who has been in SEVERAL big budget properties lately), Chang Chen, Sharon Duncan-Brewster, crowd favorite Jason Momoa, Javier Bardem, Babs Olusanmoun, Benjamin Clementine and many more... a special shoutout goes to Zendaya, who didn’t get much to work with in this film, and is clearly setting herself up for a big role in the follow-up, but feels grossly underused in this iteration.

With Legendary Pictures having yet to green-light a follow-up to Dune, we will all have to wait and see if Denis Villeneuve, Zendaya and company get to tell the rest of their story.  I will say this... as mentioned, I never bought into the Dune hype, even though I could tell it clearly held a formidable place in the world of science-fiction, but now I think I am ready to read the book, as this film feels narratively dense in the way that a novel would also tell a story.  On top of the great storytelling elements, the film looks amazing, and I cannot wait for some free time to see it on the big screen.  Definitely check this one out, as it will likely turn out to be one of the biggest films of the year (if not the biggest, depending on what kind of numbers Eternals can put up). 

[possitivelypricklycactus]

They came to the human realm for a quick look around.

[nospoilerreviews]

Having passed through the hands of David Lean, Alejandro Jodorowsky and Ridley Scott no less, 2021's Dune is epic. https://is.gd/gef8JO

[cinemaleumas]

Hoy 8 pm estaré con @cinestr3s.oficial @elgatodeozymandias @joeinfinitepr @cinema.con y Xorlacs hablando de Dune. 🔴DEBATE🔴 DUNE - El regreso de la ciencia ficción ¿La mejor película del año? https://youtu.be/bCXU2sFS520 #TimothéeChalamet #Zendaya #JoshBrolin #RebeccaFerguson #OscarIsaac #JasonMomoa #JavierBardem #DaveBautista #DavidDastmalchian #ChangChen #SharonDuncanBrewster #StephenMckinleyHenderson #StellanSkarsgård #PaulAtreides #LadyJessicaAtreides #DukeLetoAtreides #DuncanIdaho #Stilgar #Chani #GurneyHalleck #BaronVladimirHarkonnen #ThufirHawat #PiterDeVries #Dune #HansZimmer #DenisVilleneuve #DavidLynch #FrankHerbert #WarnerBros #Legendary (en Queretaro) https://www.instagram.com/p/CVobeYxsawo/?utm_medium=tumblr

[psychodrive-in]

Today at https://psychodrivein.com Dune (2021) Dune is yet another visually stunning and gorgeously immersive visual experience from one of the greatest visual filmmakers working today. --- Read more of Nate's review at the link in our profile! #Dune #Dune2021 #DanisVilleneuve #TimotheeChalamet #OscarIsaac #Zendaya #StellanSkarsgard #RebeccaFerguson #DaveBautista #JasonMomoa #ChangChen #JavierBardem #JoshBrolin #SharonDuncanBrewster #FrankHerbert https://www.instagram.com/p/CVitRpAv7Cs/?utm_medium=tumblr

[thomasluvjaymes]

Kristen, a Cannes Jury member? Words cannot express how proud I am of K ♡🤗👏 #Repost @festivaldecannes (@get_repost) ・・ • . Le Jury international du 71e Festival de Cannes est dévoilé ! Découvrez les huit personnalités qui décerneront le Palmarès sous la présidence de Cate Blanchett le samedi 19 mai au cours de la cérémonie de Clôture. 🎬 . [ENG] . The international Jury of the 71st Festival de Cannes is unveiled ! Discover the 8 personalities who will award the Prize list under the presidency of Cate Blanchett on Saturday, May 19 during the Closing Ceremony. •Kristen Stewart – American Actress She has been playing roles since an early age and received widespread recognition in 2008 for The Twilight Saga film series (2008–12). Her film credit includes Snow White and the Huntsman (2012), Equals by Drake Doremus (2015), Billy Lynn's Long Halftime Walk by Ang Lee (2016), and several Festival de Cannes Selections On the Road by Walter Salles (2012), Clouds of Sils Maria (2014) and Personal Shopper (2016) both by Olivier Assayas (2014) as well as Café Society by Woody Allen. She directed her first short film Come Swim in 2017. . . . #cannes2018 #cannes71 #festivaldecannes #jury #internationaljury #cateblanchett #changchen #avaduvernay #robertguédiguian #khadjanin #léaseydoux #KristenStewart #denisvilleneuve #andreyzvyagintsev #cinema #movie #movielovers #JulietteBinoche #ChloeGraceMoretz #OlivierAssayas #CaféSociety #PersonalShopper #CloudsofSilsMaria #OntheRoad #Cosmopolis #ComeSwim

[theblindninja]

The Thin Line That Defines

[doomonfilm]

Thoughts : The Grandmaster (2012)

It’s good to know that despite all of the innovations and changes that have come with film over the years, kung-fu movies remain a staple genre.  Interestingly enough, however, the genre has adapted subtle elements from the previously mentioned innovations, and integrated these elements in ways that amplify the already immersive experience the genre presents.  New legends have stepped to the forefront as well, chief among them being Ip Man, the man responsible for training Bruce Lee.  Of the many movies made about him, my favorite (at the moment) is hands down Wong Kar-wai’s romantic take on the man, The Grandmaster. 

Ip Man (Tony Leung), a grandmaster in the Chinese martial art discipline Wing Chun, is a reflective member of the Foshan population with a reputation as a formidable opponent.  China is divided into a Southern region, where Ip Man resides, and a Northern region, where area grandmaster Gong Yutian (Wang Qingxiang), a Wudang Boxing practitioner, has decided to step down.  In the wake of this move, his disciple Ma San (Zhang Jin) is appointed as the new Northern grandmaster, and Gong Yutian suggests the Southern region appoint their own.  As the Southern grandmasters argue, however, Ma San takes an aggressive stance, which in turn sets a tone of Northern dominance.  Gong Er (Zhang Ziyi), the daughter of Gong Yutian, arrives in hopes of convincing her father to change his mind and save her family legacy, but Gong Yutian is insistent on stepping down in his own manner.  The Southern grandmasters nominate Ip Man as their representative, and he visits a number of them on an educational mission prior to facing Gong Yutian.  In the wake of the two grandmasters meeting, however, an exchange of ideals takes place rather than combat, leaving Ip Man as a true grandmaster, Ma San as a sitting tyrant, and Gong Er as a victim of ideals set by the times.  In a final effort to save her family legacy, Gong Er visits Ip Man, and in their confrontation, a connection is forged that alters the path of both of their lives forever.

Ip Man has always stood for a higher standard of honor, but the way that Wong Kar-wai manages to fold complex ideas of unconditional familial love versus respect-born love from an equal brings new depths to the honor.  On top of that, Ip Man is thrown the gauntlet of duty versus passion, where his skill makes him the proper candidate, but his nature makes him hesitant to immediately answer such a brash nature of call.  Once the nomination is accepted, however, he still takes the time to prove his skill and worth through a series of rites of passage, which not only instills faith in those that nominated him, but unifies the Southern region in their cause.  Ip Man exudes the qualities of knowledge, wisdom and understanding that are hand in hand with the martial arts, while showing a dedication to both his blood family and the family he is tied to by discipline.  The way that he walks his path and chooses to navigate his battles further drives that knowledge, wisdom and understanding concept home.

Wong Kar-wai does a great job of recontextualizing Wing Chun and many other disciplines to those who may be more so film fans than fans of the kung-fu genre.  The entire film echoes Doctor Zhivago, with the narrative now focusing on a struggle for ideals, all with the backdrop of war remaining perfectly in place, as well as the iconic train imagery.  The previously mentioned war remains an invasive element, brutally interrupting our narrative in this film, as well as bringing tragedy to Ip Man that propels him forward towards Gong Er.  The humanization of Ip Man and Gong Er, both presented as formidable and lethal fighters, is often not explored deeply in kung-fu films, but with the flourish that Wong Kar-wai provides, that humanitarian display of deep emotion and passion plays front and center.  Gong Er’s journey is especially tragic, as the gender roles and moires of the time pushed her towards being a doctor, a respectable and successful title in its own right, but at the sake of duty for saving her family legacy, a sacrifice that clearly pains her deeply.

The elaborate backgrounds and environments that the characters maneuver through are breathtaking, especially the combat locations.  In terms of combat, Wong Kar-wai uses frame rate shifts and cutaways beautifully to punctuate key moments in the battles, which are quite often the slight details that only those familiar with martial arts may notice.  In turn, the camera manages to dance among the moments quite well in terms of cinematography, catching all of the intimacy and respect that is being presented in the frame.  The intimacy and respect is amplified by the numerous use of stunning close-ups, giving us subtle insight into the deep reflection that many of the characters go through.  Wong Kar-wai meshes the several distinct story styles together through very natural tonal shifts, allowing all elements to feel present in the narrative and equally focused, though distinct elements are showcased at proper times.

Tony Leung brings traditional leading man aspects to the Ip Man role, displaying a pure and tender connection with Song Hye-kyo, while providing viewers with a richly nuanced and textured connection with Zhang Ziyi, whose intensity burns through the limits of the frame.  The Southern masters provide a deep range personalities, from the humor of Zhao Benshan to the artistic passion of Chang Chen, and several shades in-between.  Wang Qingxiang represents the fading honor of a bygone era, especially in the sense that he passes along the title out of a seeming necessity, but the wisdom is handed over only when the calling to do so is fulfilled.  Zhang Jin and his brash, boorish nature make him a proper protagonist for a film that concerns itself with ideals of honor, beauty, passion and romance.

I’m not sure that I want other directors of Wong Kar-wai’s ilk doing kung-fu films, but the work of art that he created in The Grandmaster is an undeniable glowing achievement.  Catch it while it’s streaming on Netflix, or seek out a copy for your personal library, as it is well worth the time and effort.