#federico lynch

[cooltivarte]

La obra estará en cartel los sábados de JUNIO a las 23 hs Teatro de La Candela (Jose Ellauri 308, Punta Carretas) 4 ÚNICAS FUNCIONES: 3, 10, 17 Y 24 DE JUNIO.

[waste-it-on-something-useful]

David Lynch's Eraserhead (1977) and John Waters' Pink Flamingos (1972) billed together as the midnight show at the Nuar Theatre, Los Angeles, in 1978, also playing Federico Fellini's Roma (1972) and Satyricon (1969).

Marquee photo taken from Lynch/Oz (Alexandre O. Philippe, 2022)

[poussiere-des-toiles]

Via _qirlu_

[itcanbefilmed]

The King of Ads (Jean-Marie Boursicot, 1993)

[rassilon-imprimatur]

David Lynch's Twin Peaks (season 3) /// Ingmar Bergman's Wild Strawberries and Federico Fellini's 8½

[yorgunherakles]

yazgı filmin sonunda değil bir anında gizlidir.

#zeki demirkubuz

[reitsportportal]

Irland mit Zwei Nullrunden zum Triumph im Mercedes- Benz Nationenpreis beim CHIO 2024

Denis Lynch, Shane Sweetnam, Cian O’Connor und Bertram Allen –  das  Siegerteam aus Irland Die Iren waren am Donnerstagabend in beiden Runden des Mercedes-Benz Nationenpreises das beste Team. Als einziger Mannschaft gelang es den Reitern von der grünen Insel den traditionsreichen Nationenpreis beim CHIO Aachen 2024 mit einem Ergebnis von Null-Fehler-Punkten zu absolvieren. Dabei blieben Bertram…

[sleepythug]

What are some movies that every aspiring cinephile should watch?

battleship potemkin (sergei eisenstein, 1926)

city lights (charlie chaplin, 1931)

M (fritz lang, 1931)

freaks (tod browning, 1932)

brief encounter (david lean, 1945)

out of the past (jacques tourneur, 1947)

the third man (carol reed, 1949)

late spring (yasijuro ozu, 1949)

kiss me deadly (robert aldrich, 1955)

a man escaped (robert bresson, 1956)

touch of evil (orson welles, 1958)

la dolce vita (federico fellini, 1960)

peeping tom (michael powell, 1960)

man who shot liberty valance (john ford, 1962)

the exterminating angel (luis buñuel, 1962)

shock corridor (samuel fuller, 1963)

kwaidan (masaki kobayashi, 1964)

dragon inn (king hu, 1967)

playtime (jacques tati, 1967)

once upon a time in the west (sergio leone, 1968)

two-lane blacktop (monte hellman, 1971)

aguirre, wrath of god (werner herzog, 1972)

touki bouki (djibril diop mambety, 1973)

the conversation (francis ford coppola, 1974)

the passenger (michelangelo antonioni, 1975)

nashville (robert altman, 1975)

the killing of a chinese bookie (john cassavetes, 1976)

mikey and nicky (elaine may, 1976)

sorcerer (william friedkin, 1977)

days of heaven (terrence malick, 1978)

blow out (brian de palma, 1981)

8 diagram pole fighter (lau kar-leung, 1984)

mishima: a life in four chapters (paul schrader, 1985)

tampopo (jūzō itami, 1985)

blue velvet (david lynch, 1986)

something wild (jonathan demme, 1986)

landscape in the mist (theo angelopoulos, 1988)

sonatine (takeshi kitano, 1993)

salaam cinema (mohsen makhmalbaf, 1995)

fallen angels (wong kar-wai, 1995)

taste of cherry (abbas kiarostami, 1997)

cure (kiyoshi kurosawa, 1997)

the thin red line (terrence malick, 1999)

beau travail (claire denis, 1999)

yi yi (edward yang, 2000)

all about lily chou chou (shunji iwai, 2001)

memories of murder (bong joon-ho, 2003)

dogville (lars von trier, 2003)

tropical malady (apichatpong weerasethakul, 2004)

silent light (carlos reygadas, 2007)

sparrow (johnnie to, 2008)

holy motors (leos carax, 2012)

phoenix (christian petzold, 2014)

personal shopper (oliver assayas, 2016)

[officialpenisenvy]

rules: list your five all time favorite films and have people vote on which one matches your vibe

thank you my lovely @yamat0 for the tag ❤️ i don't really have a list of favourite movies that is set in stone, but these are for sure among them if i had to choose.

tagging @endlessproliferation, @dyouknowwhatimean, @oldmanpusspuss, @cicerobussytransplant, @timetravelstudies (if you've seen five movies in the first place) and whoever else wants to do this! im sure the cinephiles will have a field day with this tag game.

[genesisfawn]

What artists inspired you to create your own monarchy of art?

I adore your sacred blog, and I miss your art posts on Instagram. 𓃲

it’s hard to pick but i will try and name a few who have had a large impact on me definitely alexander mcqueen, paz de la heurta, david lynch, jesus christ, john galliano, kier-la janisse, max schreck, hideshi hino, gaspar noe, federico fellini, anne boleyn and all of the men who tried to save me from myself of course.. <3

[symptomofloves]

happy birthday to federico fellini, david lynch, lead belly, & me :)!

[divinely-ruled]

if you had to stick to just one director’s movies forever, who’s it gonna be from this list? (a.k.a. my list of favorites) <3

stanley kubrick

orson welles

andrei tarkovsky

david lynch

akira kurosawa

alfred hitchcock

martin scorsese

jean-luc godard

roman polanski (he's a repulsive crook, but he's also brilliant)

federico fellini

ingmar bergman

françois truffaut

dario argento ⸺ 🎀

This is fucking inhumane but I’d go for Kubrick.

[angelmotifs]

4 favorite first time watches of august the cinephile grind never ends

Cries and Whispers dir. Ingmar Bergman / What's Up, Doc? dir. Peter Bogdanovich / 8 1/2 dir. Federico Fellini / Mulholland Drive dir. David Lynch

[world-cinema-research]

Fellini Satyricon (1969)

By Cris Nyne

A movie that I will never forget and would wind up influencing my taste in art and film as I grew into adulthood was Fellini Satyricon (1969). I was twenty one at the time in the year 2000 when my roommate brought home a copy and asked if I’ve ever seen it. I was immediately drawn in by the cover and the description of the film. It was suggestively maddening and hedonistic. At this point in my life, so was I. There was no way I wasn’t going to watch this film with him.

The film follows the journey of Encolpius, a young, handsome man that is lost in his quest to find himself as he searches for his young lover, Gitón. The taboo undertones of pedophilia will continue to rear it's ugly face throughout the film during a period of overtly decadent indulgence as Nero rule over ancient Rome was stretching society to it's brink of self destruction. Encolpius finds Gitón, only to lose him again to his old lover, part friend and part antagonist, Ascyltus. Ascyltus is the embodiment of an Alpha male that Encolpius is desperate to emulate, but he has become impotent. Fellini Satyricon follows Encolpius as he traverses through dream-like landscapes and obstacles in a hellish underworld to find a cure and regain his manhood.

During my formative years as a young teenager, my art hero was Salvador Dali. Upon watching Fellini Satyricon, it was as if this visual feast of a movie was directed by Dalí himself. As far as I can remember, my inclination towards the absurd and surreal was established. My parents were seventeen when they had me. My father was notoriously wild and provided no filter as to what I was exposed to at such a young age. By the time I was six years old, two of the movies that I remember the most detail of were David Lynch’s Eraserhead and Tobe Hooper and Steven Spielberg’s Poltergeist. I somewhat attribute this overexposure and visual imprint of ideas in my youth to the tastes that I have today. That, along with my appetite for psychedelics in my late teenage years as I made New York City my playground.

Original Italian film poster (1969)

The movie opened in Italy, to mixed but mostly positive reviews. At this point in time, Fellini was a well-established director, whose style was recognizable. Rotten Tomatoes lists Fellini Satyricon as having an approval rating of 76%. The total gross for its initial release was $1,138,108. The estimated budget for Fellini Satyricon was three million US dollars. This is not what one would call "financially successful." In comparison, the number one film in Italy that year, the spaghetti western “Once Upon a Time in the West”, generated $5,380,604, internationally. This film had some very well-known American actors (Charles Bronson, Henry Fonda) that would be a financial draw for the film. The cast of Fellini Satyricon were not very recognizable. Most brought onto the project were cast because of their look and how Fellini felt they represented a specific time during Nero’s Rome.

The scenes were strung together like a gaudy necklace of gemstones and beads; each one commanding attention to the smallest of details. Although Federico Fellini was a well-known director by this time, the color palette, out of synch dialogue, and ensemble of extras- some deformed, some staring straight into the camera as it pans across a well-curated alien landscape, made the film an enticing escape for unconventional film enthusiasts and artists. For some of Fellini’s fan base of his previous films, the trailers might have come across as more of a spectacle. The hard to follow plot and jarring visual images perhaps complicated the ultimate financial success of the movie. It would be three decades until the film was released on VHS and DVD overseas, where it would gain more notoriety as a film of cult status and see profitability.

Fellini Satyricon was based upon the incomplete novel by Gaius Petronius Arbiter. There were considerable gaps in the novel Satyricon, which gave Fellini the freedom to add his own fiction by filling in some of the spaces. It also comes across in the direction of the movie, as scenes seem to jump around in a fragmented way and lend itself to the feeling of surviving the earthquake that strikes towards the beginning of the film. Petronius was very close to the infamous ruler Nero and was known as his “Director of Elegance”. One could assume that parts of the novel were transcribed from real-life experiences and firsthand testimony, considering the reputation of Nero in an age of decadence and unsatiated desires. One of the earlier scenes showing the main character Encolpius and his young lover Giton, strolling past rooms of a brothel, almost seemed like it was taken out of reality, albeit distorted and dunked in LSD.

(Three days of peace and music, Woodstock, NY, aka the "Summer of Love". Three of the main characters in Fellini Satyricon were virtually unknown and cast from the hippie movement to better visually represent the atmosphere of first century Rome under Nero.)

I’m not sure if this film would be widely appreciated, or for that matter, even made in this current climate of selective morality and internet fanaticism. My taste in film and art in general has remained steady in style throughout the years. I love cerebral twists of overwhelming bewilderment. When I first saw the film 24 years ago, I was left with a disorienting cacophony of dialogue, music, and chatter. I found it as purposefully hard to follow and dark. An entangled, messy art film and that was that. I loved it. After watching it again, I still do. The only difference is, after growing more mature in age and researching the films historical relevance, this once confusing film now makes so much more sense.

[thesludgeofbabylon]

Top 100 Films

Just wanted to put this somewhere for the sake of documentation, might do this once a year to see how much the overall list changes.

Not ranked, but the list is done by release date, earliest to most recent. Includes short and feature length films (plus one TV series, and two serials, if you want to be specific):

• The Musketeers of Pig Alley (1912), dir. D.W. Griffith

• Fantômas (1913), dir. Louis Feuillade

• Les Vampires (1915), dir. Louis Feuillade

• The Doll (1919), dir. Ernst Lubitsch

• Foolish Wives (1922), dir. Erich von Stroheim

• Sherlock, Jr. (1924), dir. Buster Keaton

• Die Nibelungen: Kriemhild’s Revenge (1924), dir. Fritz Lang

• Greed (1924), dir. Erich von Stroheim

• The Last Laugh (1924), dir. F. W. Murnau

• The Gold Rush (1925), dir. Charlie Chaplin

• The General (1926), dir. Buster Keaton, Clyde Bruckman

• Sunrise: A Song of Two Humans (1927), dir. F. W. Murnau

• The Passion of Joan of Arc (1928), dir. Carl Theodor Dreyer

• The Docks of New York (1928), dir. Josef von Sternberg

• The Wedding March (1928), dir. Erich von Stroheim

• Man with a Movie Camera (1929), Dziga Vertov

• M (1931), dir. Fritz Lang

• Vampyr (1932), dir. Carl Theodor Dreyer

• I Am a Fugitive from a Chain Gang (1932), dir. Mervyn LeRoy

• Gold Diggers of 1933 (1933), dir. Mervyn LeRoy, Bubsy Berkeley

• L’Atalante (1934), dir. Jean Vigo

• The Scarlet Empress (1934), dir. Josef von Sternberg

• The Thin Man (1934), dir. W.S. Van Dyke

• The Only Son (1936), dir. Yasujirō Ozu 

• Citizen Kane (1941), dir. Orson Welles

• Now, Voyager (1942), dir. Irving Rapper

• Meshes of the Afternoon (1943), dir. Maya Deren

• Day of Wrath (1943), dir. Carl Theodor Dreyer

• At Land (1944), dir. Maya Deren

• Ivan the Terrible, Part I (1944), dir. Sergei Eisenstein

• Notorious (1946), dir. Alfred Hitchcock

• Sunset Boulevard (1950), dir. Billy Wilder

• Monsieur Hulot’s Holiday (1953), dir. Jacques Tati

• The Wages of Fear (1953), dir. Henri-Georges Clouzot

• The Big Heat (1953), dir. Fritz Lang

• The Inauguration of the Pleasure Dome (1954), dir. Kenneth Anger

• Rear Window (1954), dir. Alfred Hitchcock

• Ordet (1955), dir. Carl Theodor Dreyer

• A Man Escaped (1956), dir. Robert Bresson

• Ivan the Terrible, Part II: The Boyars’ Plot (1958), dir. Sergei Eisenstein

• La Dolce Vita (1960), dir. Federico Fellini

• L’Avventura (1960), dir. Michelangelo Antonioni

• La Notte (1961), dir. Michelangelo Antonioni

• L’Eclisse (1962), dir. Michelangelo Antonioni

• The Exterminating Angel (1962), dir. Luis Buñuel

• Mothlight (1963), dir. Stan Brakhage

• Red Desert (1964), dir. Michelangelo Antonioni

• Gertrud (1964), dir. Carl Theodor Dreyer

• The War Game (1966), dir. Peter Watkins

• Au Hasard Balthazar (1966), dir. Robert Bresson

• Daisies (1966), dir. Věra Chytilová

• Lemon (1969), dir. Hollis Frampton

• The Conformist (1970), dir. Bernardo Bertolucci 

• The Discreet Charm of the Bourgeoisie (1972), dir. Luis Buñuel

• F for Fake (1973), dir. Orson Welles

• Lancelot of the Lake (1974), dir. Robert Bresson

• A Woman Under the Influence (1974), dir. John Cassavetes

• The Texas Chain Saw Massacre (1974). dir. Tobe Hooper

• House (1977), dir. Nobuhiko Obayashi 

• Stalker (1979), dir. Andrei Tarkovsky

• Nostalgia (1983), dir. Andrei Tarkovsky

• L’Argent (1983), dir. Robert Bresson 

• Blue Velvet (1986), dir. David Lynch

• Heathers (1989), dir. Michael Lehmann

• Kiki’s Delivery Service (1989), dir. Hayao Miyazaki

• Baraka (1992), dir. Ron Fricke

• Satantango (1994), dir. Béla Tarr

• A Confucian Confusion (1994), dir. Edward Yang

• Chungking Express (1994), dir. Wong Kar-Wai

• Ed Wood (1994), dir. Tim Burton

• Whisper of the Heart (1995), dir. Yoshifumi Kondo

• Showgirls (1995), dir. Paul Verhoeven 

• Neon Genesis Evangelion: The End of Evangelion (1997), dir. Hideaki Anno, Kazuya Tsurumaki

• Gummo (1997), dir. Harmony Korine

• The Big Lebowski (1998), dir. Joel Coen, Ethan Coen 

• Outer Space (1999), dir. Peter Tscherkassky

• Beau Travail (1999), dir. Claire Denis

• Julien Donkey-Boy (1999), dir. Harmony Korine

• Yi Yi (2000), dir. Edward Yang

• Dancer in the Dark (2000), dir. Lars von Trier

• The Piano Teacher (2001), dir. Michael Haneke

• Mulholland Drive (2001), dir. David Lynch

• What Time Is It There? (2001), dir. Tsai Ming-liang

• Memories of Murder (2003), dir. Bong Joon-ho

• The Matrix Reloaded (2003), dir. Lily Wachowski, Lana Wachowski  

• The Village (2004), dir. M. Night Shyamalan

• Caché (2005), dir. Michael Haneke

• Southland Tales (2006), dir. Richard Kelly

• Inland Empire (2006), dir. David Lynch

• Zodiac (2007), dir. David Fincher

• The White Ribbon (2009), dir. Michael Haneke

• The Turin Horse (2011), dir. Béla Tarr

• Five Broken Cameras (2012), dir. Emad Burnat, Guy Davidi

• The Master (2012), dir. Paul Thomas Anderson

• Spring Breakers (2012), dir. Harmony Korine

• Song to Song (2017), dir. Terrence Malick

• Twin Peaks: The Return (2017), dir. David Lynch

• The Favourite (2018), dir. Yorgos Lanthimos

• Portrait of a Lady on Fire (2019), dir. Céline Sciamma

• We’re All Going to the World’s Fair (2021), dir. Jane Schoenbrun

(10/4/23)

[cassnderson]

Movies I’ve Watched & Thoroughly Enjoyed

- The Unbelievable Truth (1989) - Dir. Hal Hartley•

- Near Dark (1987) - Dir. Kathryn Bigelow•

- High Plains Drifter (1973) - Dir. Clint Eastwood•

- Crimes of Passion (1984) - Dir. Ken Russel

- The Devils (1971) - Dir. Ken Russel

- True Romance (1993) - Dir. Tony Scott•

- Less Than Zero (1987) - Dir. Marek Kanievska

- Phantom of The Paradise (1974) - Dir. Brian De Palma•

- But I'm a Cheerleader (1999) - Dir. Jamie Babbit

- Sleeper (1973) - Dir. Woody Allen

- Magic in the Moonlight (2014) - Dir. Woody Allen

- Josie and The Pussycats (2001) - Dir. Harry Elfont, Deborah Kaplan, & Marc Webb

- The Pink Panther Strikes Again (1976) - Dir. Blake Edwards•

- Reality Bites (1994) - Dir. Ben Stiller

- Scream (1996) - Dir. Wes Craven

- Tank Girl (1995) - Dir. Rachel Talalay•

- Sex, Lies, and Videotape (1989) - Dir. Steven Soderbergh

- The Before Trilogy (1995) (2004) (2013) - Dir. Richard Linklater

- Lady Bird (2017) - Dir. Greta Gerwig

- Jennifer's Body (2009) - Dir. Karyn Kusama

- Muriel's Wedding (1994) - Dir. P.J. Hogan•

- Blue Velvet (1986) - Dir. David Lynch

- Mulholland Drive (2001) - Dir. David Lynch

- Urban Cowboy (1980) - Dir. James Bridges

- Grey Gardens (2009) - Dir. Michael Sucsy

- Opera (1987) - Dir. Dario Argento - The Palm Beach Story (1942) - Dir. Preston Sturges•

- Weird Science (1985) - Dir. John Hughes•

- Election (1999) - Dir. Alexander Payne

- Who's Afraid of Virginia Woolf? (1966) - Dir. Mike Nichols•

- Bottle Rocket (1996) - Dir. Wes Anderson

- Raising Arizona (1987) - Dir. Coen Brothers

- O Brother, Where Art Thou? (2000) - Dir. Coen Brothers•

- The Love Witch (2016) - Dir. Anna Biller

- Dream Lover (1993) - Dir. Nicholas Kazan - One From The Heart (1982) - Dir. Francis Ford Coppola•

- Something Wild (1986) - Dir. Jonathan Demme

- Only You (1994) - Dir. Norman Jewison

- Moonstruck (1987) - Dir. Norman Jewison•

- Death Becomes Her (1992) - Dir. Robert Zemeckis

- So I Married an Axe Murderer (1993) - Dir. Thomas Schlamme•

- Romeo + Juliet (1996) - Dir. Baz Luhrmann•

- The Craft (1996) - Dir. Andrew Fleming

- Juliet of the Spirits (1965) - Dir. Federico Fellini

- Society (1989) - Dir. Brian Yuzna

- Murder by Death (1976) - Dir. Robert Moore•

- Better Off Dead… (1985) - Dir. Savage Steve Holland - Trees Lounge (1996) - Dir. Steve Buscemi

- 12 Monkeys (1995) - Dir. Terry Gilliam•

- Death Proof (2007) - Dir. Quinton Tarantino

- It's a Wonderful Life (1946) - Dir. Frank Capra•

- Chef (2014) - Dir. Jon Favreau

- Possession (1981) - Dir. Andrzej Zulawski

- Romy and Michele's High School Reunion (1997) - Dir. David Mirkin

- Amélie (2001) - Dir. Jean-Pierre Jeunet

- Night Shift (1982) - Dir. Ron Howard•

- Paris, Texas (1984) - Dir. Wim Wenders

- Joe Versus the Volcano (1990) - Dir. John Patrick Shanley•

- The Princess Bride (1987) - Dir. Rob Reiner•

- SLC Punk! (1998) - Dir. James Merendino

- Practical Magic (1998) - Dir. Griffin Dunne

- Foul Play (1978) - Dir. Colin Higgins

- The Crush (1993) - Dir. Alan Shapiro

- Ghost World (2001) - Dir. Terry Zwigoff

- Crash (1996) - Dir. David Cronenberg

- The Abominable Dr. Phibes (1971) - Dir. Robert Fuest

- Can't Buy Me Love (1987) - Dir. Steve Rash

- Cry-Baby (1990) - Dir. John Waters

- Little Miss Sunshine (2006) - Dir. Jonathan Dayton & Valerie Faris