#purecinema

[purecinema]

Sam Neill and Isabelle Adjani at the Cannes premiere of Possession, 1981.

[themanjeetnikhil]

MCU - 2Shot + OS #shotdesigner #filmphotography #filmmaking #dslrfilmmaking #filmcamera #lighting #cinematography #director #art #cameramovement #purecinema #cinematography #mobile #filmmaker #shortfilms #filmy #filmdirector #camerabag #cameralust #cameraassistant #lighttech (at New York, New York) https://www.instagram.com/p/ByVYD-GlUFD/?igshid=7dw23xtrxd2i

[londynjaycy]

Londyn for @vyllahome Thank you @purecinemaproductions for the opportunity #thisis5 #vylla #purecinema (at Coto de Caza, California) https://www.instagram.com/p/BtD_4uNBEBP/?utm_source=ig_tumblr_share&igshid=1psukl55wi42f

[filmista]

Name Challenge

Rules: Spell your URL using only movies you’ve enjoyed (each title only once) and tag 10 of your mutuals.

@twoheadedfilmfanatic tagged me on this. The choice was a little difficult, as multiple films came to mind for each letter, but I decided to pick some of my all-time and recent favorite films.

Freeway

In the Mood for Love

Laura

Matchstick Men

In Bruges

Scream

Thelma & Louise

American Honey

[sleepythug]

Favorite movie podcasts?

you must remember this

film comment pod (rip) 

important cinema club

cinephilliacs (rip)

purecinema pod

the last thing I saw

the movies that made me

filmstage show (occasionally if they have a good guest)

cumtown

[good-gamble]

View this post on Instagram

A post shared by Rory Gamble (@rorythehorrorstory)

When "24" would just have a quick jam sesh. #pureart #purecinema #24 (at Los Angeles, California) https://www.instagram.com/p/BnSWe8zDLlL/?utm_source=ig_tumblr_share&igshid=dimsd0nmni81

[purecinema]

Jodie Foster, 1984, LIFE Magazine.

[dyspla]

DIMIF 2018: Stan Brakhage - A Key Figure in the History of Experimental Filmmaking

DYSPLA is very proud to have exhibited American dyslexic filmmaker Stan Brakhage’s Window Water Baby Moving at the DYSPLA International Moving Image Festival this month. Regarded as one of the most important experimental filmmakers of the 20th century, for DYSPLA, Brakhage represents the very inception of the ‘Dyslexic Aesthetic’.

He was one of the first artists to push the boundaries of the visual image, and to expand our view of what film can be. He wasn’t just simply a filmmaker, but an artist with a real love for his craft; a practitioner of what he often referred to as ‘pure cinema’.

His inclusion in our festival has given an all-important additional contextual layer to the curation. Not only is he an artist from a different era, who paved the way for those after him, but the experimental artistic aesthetic of Window Water Baby Moving helped in giving our film festival an innovative art gallery feel.

Brakhage’s goal was the liberation of the eye itself, the creation of an act of seeing, previously unimagined and undefined by conventions of representation, an eye as natural and unprejudiced as that of a cat, a bee or an infant. There were few filmmakers who went so far to train audiences to see differently, and that’s why DYSPLA was so excited to have Stan Brakhage’s work included at DIMIF.

It is perhaps unsurprising that Brakhage's films are usually both silent, and lacking in traditional story-telling - thus focusing the viewer’s attention on the pure visual experience. In that, they become more analogous to visual poetry than to prose or literature. Brakhage often referred to his films as ‘visual music’ or ‘moving visual thinking’.

His films however, are not completely devoid of narrative, and DYSPLA’s choice of Window Water Baby Moving was not coincidental. The film tells a story of birth; a story of expectation, anticipation, pain, relief and joy - a story which connected immediately with our audience and exemplified part of the ‘Dyslexic Aesthetic’ which DIMIF sought to capture and showcase.

“How many colours are there in a field of grass to the crawling baby unaware of ‘green’? How many rainbows can light create for the untutored eye? Imagine a world alive with incomprehensible objects, and shimmering with an endless variety of movement and innumerable gradations of colour. Imagine a world before the ‘beginning was the word’.” - Stan Brakhage (Metaphors on Vision, 1963)

*Image Courtesy of the Estate of Stan Brakhage and Fred Camper.

*Many thanks to Lux, for their support and co-operation in providing us with the footage of Window Water Baby Moving.

[themanjeetnikhil]

180' + 2 shot...am i right??? #shotdesigner #filmphotography #filmmaking #dslrfilmmaking #filmcamera #lighting #cinematography #director #art #cameramovement #purecinema #cinematography #mobile #filmmaker #shortfilms #filmy #filmdirector #camerabag https://www.instagram.com/p/ByFHER8l7gs/?igshid=1v014xfsrl68y

[filmtrash]

could you give me some general film blogs to follow?? thanks !!

sure!

@filmgifs

@filmaticbby

@filmografie

@cinematographysource

@purecinema

@addictofcinema

@filmcuts

@cinematic-whoree

@scenesandscreens

@colorsinfilm

@movie-gifs

@cineasc

@fyeahmovies

@cinemastuff 

@whencinemaisstill

@film-peaks

@mickey-flicks

@filmsgifs

@dreamyfilms

@cinemagifs

@facelesscinema

@gorgeousmovies

@dicaiprio

@filmien

@cinema-shots

@filmvisionary

@radfilmstills

@cinematapestry

@freakin-deakin

@filmforlife

@cinematicpaintings

@doyouevenfilm

@thefilmstage

@sinemas

@freezefilm

@freezethatscene

@oddfilmstills

@thnkfilm

@freshmoviequotes

@cine-magic

@filmsby

these are all the ones im following but if anyone else is a film blog or has one to recommend, feel free to comment!

🎥 let’s talk about film 🎥

[filmista]

In The Mood For Love (2000)

“He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.”

In the Mood for Love is now twenty years old. Although his name will always be associated with it, the film was not a major breakthrough for Wong Kar-Wai – that honour is credited to Chunking Express – but it was the film with which the Hong Kong-born filmmaker definitively crowned himself one of the late 20th century masters of his medium. Distributor Cinéart is now bringing the recent 4K restoration of this masterpiece back into the cinemas. Yes, the best film to hit theaters this year is twenty years old. 

Looking back, you can see that the film gathered a cartload of awards at various festivals (including Cannes), but those things fade quick. What really matters two decades later is the question ‘Has a more beautiful film about impossible love and feelings of loss than Wong Kar-Wai’s In the Mood for Love ever been made?’ 

The lyrical, dreamy-romantic style of the director of As Tears Go By and Days of Being Wild, reach a breathtaking formal climax here in a film that elevates the sublimation of a concept into sometimes elusive but sublime visual art.

The story essentially revolves around an adulterous affair between two inconspicuous figures (played superbly by Hong Kong cinema icons Maggie Cheung and Tony Chiu-Wai Leung) in the busy Hong Kong of the early-1960s. However, this simple fact is brilliantly fragmented into a labyrinthine narrative structure in which not only past and present intertwine, but also musings on what is and could have been are intertwined  in a sophisticated way. 

It’s a film that really invites the viewer into the act of looking and observing, noticing details, repetitions and variations; and makes it into an experience in itself. In the Mood for Love  essentially consists of the puzzle pieces of a double extramarital relationship, which the viewer has to fit together on their own. Only that exercise is only half important because what the films really wants is to try to make tangible in images is feelings of intense sadness, of pain for what can’t be, of disappointment because of missed opportunities.

This intense nostalgia takes shape in an aural way (there is a wonderful score by composer Shigeru Umebayashi whose recurring theme is unforgettable) and through a visual intoxication that carries clear echoes of the expressive power of  'film noir’ and ' neo-noir'. Through the overwhelming visual splendour, the sublime frames and the moments of pure aesthetic pleasure, In the Mood for Love offers a viewing experience for which the word 'beautiful' can only ever  be a weak euphemism.

@vastness-and-sorrow @mad-prophet-of-the-airwaves​ @purecinema​ @idasessions​ @missdubois​

[alwaysfirst]

Anupam Kher drops pics with 'Uunchai' co-stars Amitabh Bachchan, Boman Irani

Sep 13, 2022 13:52 IST Mumbai (Maharashtra) , September 13 (Always First): Actor Anupam Kher on Tuesday, dropped pictures featuring co-stars Amitabh Bachchan and Boman Irani from his upcoming movie 'Uunchai.' Taking to Instagram, the veteran actor treated fans with a series of pictures. Sharing the picture, "It always feels impossible until it is done!" #Uunchai is one such film. I feel special and lucky to be part of this magnum opus directed by God's own child #SoorajBarjatya. Proud to be working with a great team of actors and technicians! See you in theatres on 11-11-22! Jai Ho!#JoyOyMovies #PureCinema #Friendship."

In the first picture, the 'A Wednesday' actor was seen posing with Big B and the '3 Idiots' actor. He opted for a grey suit with a white shirt. Boman dressed in a light grey suit that he paired with a black shirt. While Amitabh was seen wearing a collared charcoal suit. All three donned a formal look. In the other pictures, director Sooraj Barjatya joined the team and was seen having a fun time.

Anupam also posted a picture of himself with the 'Don' actor.

As soon as the pictures were posted, the actor's fans and industry friends chimed into the comment section. Actor Anil Kapoor dropped a comment. He wrote, "Kher saab," with heart and fire emojis.

Anupam's 'Emergency' co-star Mahima Chaudhry reacted, she wrote," Wow it willl be great to see u all together. waiting for 11/11."

One of the users wrote, "All favourites in one picture."

Boman Irani also posted one of the pictures along with a caption. He wrote, "Man what a privilege!#uunchaithemovie has brought joy to many already. As far as I'm concerned you can see the joy written all over my face." On the occasion of Friendship Day, Amitabh Bachchan unveiled the first poster of his upcoming film. Directed by Sooraj Barjatya, this film is all about friendship. The film which is set to hit the theatres in November this year will see Neena Gupta, and Sarika, with Parineeti Chopra in a special appearance. The film also stars Danny Denzongpa and Nafisa Ali Sodhi. The film marks Sooraj Barjatya's return to direction after 7 years and has been extensively shot in Nepal. Going by the looks of it, it seems like the film is going to be all about the three lead actors' expedition to Everest. The movie is all set to clash with Sidharth Malhotra's upcoming action thriller film 'Yodha', which also stars Disha Patani and Rashi Khanna in the lead roles. Makers began shooting for 'Uunchai' in October 2021 in Nepal. In April 2022, Anupam Kher announced the wrap of the film on his Instagram account. (Always First) Read the full article

[01sentencereviews]

@sculptureoflimitations tagged my blog @don-hertzfeldt to list my top 10 “new to me” films of 2017:

(listed in alphabetical order)

altered states (1980, dir. ken russell)

beau travail (1999, dir. claire denis)

children of heaven (1997, dir. majid majidi)

cure (1997, dir. kiyoshi kurosawa)

funny girl (1968, dir. william wyler)

goodbye, dragon inn (2003, dir. tsai ming-liang)

inland empire (2006, dir. david lynch)

a moment of innocence (1996, dir. mohsen makhmalbaf)

southland tales (2006, dir. richard kelly)

yi yi: a one and a two (2000, dir. edward yang)

…plus ten more: 8½ (1963, dir. federico fellini) | benny’s video (1992, dir. michael haneke) | born in flames (1983, dir. lizzie borden) | burnt money (2000, dir. marcelo piñeyro) | daughters of the dust (1991, dir. julie dash) | the headless woman (2008, dir. lucrecia martel) | the long day closes (1992, dir. terence davies) | miami vice (2006, dir. michael mann) | pulse (2001, dir. kiyoshi kurosawa) | shara (2003, dir. naomi kawase)

i tag @nextwavecinema, @trash-box, @cristalconnors, @aspirationalbrand, @kristenswig, @patrickkdel, @zednanrefkcaj, @fuckyeahwomenfilmdirectors, @dongkelley, @tsaifilms, @directedbydeltoro, @purecinema, @bug-gin, and anyone else who would like to do this. 

[purecinema]

A 19-year-old Ava Gardner.

[filmista]

Film history: The Hays code 🎞 ✄

For more than thirty years, an ironclad system of regulation of cinematographic content put the professionals of the moment at the limit of their ingenuity in order to prevent their films from falling prey to censorship. 

Despite being an undoubted period of repression, this need to avoid the scissors, brought out a whole series of resources, double entendres, veiled references. In certain cases and in genres such as comedy, it gave rise to the suggestive ability of not showing or not saying openly what was obvious. The Hays code was a well-known regulation that was in effect from 1934 to 1968 and was conceived by William H. Hays, a member of the Republican Party and the first president of the Film Producers and Distributors Association of America –MPPDA–.

The cinema, like all artistic expression, did not take long to generate controversy. In the midst of the twenties, to the controversial arguments that could appear on the screen, the scandals of actors and directors outside of it were added. The tabloid press of the time was abuzz with all its explosive tribulations, riddled with murder, drugs, or death. 

The movie mecca was depicted as nothing less than a scene of depravity and immorality. Among the most notorious events, we find the alleged rape and subsequent death of the unknown aspiring actress Virginia Rappe at the hands of the comedian Roscoe Arbuckle. Also widely publicized was the divorce of the then famous Mary Pickford, from her first husband Owen Moore, while she was having an affair with Douglas Fairbanks.

With the purpose of avoiding government intervention and favoring self-regulation, the heads of the cinematographic studios decided to create in 1922 the MPPDA, later called the MPAA –with the end of World War II– or the Cinematographic Association of the United States. William H. Hays was named its president and given the mission of restoring the good image of Hollywood and, at the same time, dictating the morality of its films.

In 1929, with the help of the Catholic publisher Martin Quigley and the Jesuit priest Daniel A. Lord, the code of norms was developed and, after being revised by the study leaders, it was finally adopted by the MPPDA in 1930. At first this  was called The Production Code and was later renamed for posterity as The Hays Code. In addition to some general sobering precepts, focused on preserving the morale of the films, a huge list of vigilance guidelines was drawn up that targeted sex, especially violence or blasphemy.

In this way, the scenes of passion were reduced to the minimum expression. Manifestations such as kisses and hugs should eliminate any trace of lust and, of course, any explicit scene. In particular the kisses became so chaste that they were even timed, they could only last a few seconds. Marriage as an institution also had to be protected, a sign of the moralising nature of the norms. 

On-screen crimes had to be shown without showing all their brutality and the use of weapons was reduced to the bare minimum. The irreverent use of language, especially if it was perceived as an offense to religion, was eliminated. These are some examples of the restrictions that the code marked and that forced the filmmakers to avoid any obvious reference.

Other rules were also the most bizarre, especially the most curious have to do with the nude. In this sense, the woman, her dress or the lack of it; they were closely supervised. 

Transparencies or fabrics that excessively emphasise the shape of the female body were not allowed and the navel should not be shown under any circumstances. Men were also a cause for censure, as it was considered lewd to show the hair on the torso and it was not advisable to expose it. These observations have to do with the more inflexible nature of the censors, but even though they were exaggerated, they left a long trail of puritanism that is still felt in American cinema today.

During its first years of validity, the code was observed with some permissiveness and this favored certain productions that managed to avoid its guidelines. In the midst of the Great Depression, studios couldn't afford any more losses, so they were initially reluctant to adopt a series of measures that directly affected popular genres, such as gangster movies or comedies. However, the threats of boycott by the Catholic sector of American society and the withdrawal of funds by some influential investors, forced the studios to abide by the code in force from 1934. These years were known as the Pre- Code Hollywood.

Some of the films that somehow circumvented censorship in these years were, among others, ‘The Blue Angel‘ (‘Der blaue Engel, Josef Von Sternberg, 1930) with a sensual Marlene Dietrich. Other examples include the movie (‘Baby face’, Alfred E. Green, 1933), with Barbara Stanwych openly using her charms to advance socially; or 'The Sign of the Cross' ('The Sign of the Cross', Cecil B. DeMille, 1932), centered on the time of Emperor Nero, played by Charles Laughton, shows its excesses in an overt way.

Several of these Pre-Code films suffered the burden of censorship after 1934. An example is the film 'A Farewell to Arms' ('A Farewell to Arms', Frank Borzage, 1932), starring Gary Cooper and Helen Hayes, it was shortened later on so that only its censored version remains. Other professionals affected by the code were the Marx brothers - known for the audacity of their dialogues - or some actresses, such as Jean Harlow or Joan Blondell, especially the latter was vetoed on numerous occasions.

However, some creators found somehow even within the severe surveillance of the code, an incentive to challenge their ingenuity. On many occasions, difficulties are a stimulus for those  unwilling to yield before them. 

That is why masters such as Ernst Lubitsch or Alfred Hitchcock knew how to circumvent censorship with their inimitable talent. His fantastic dialogues or the actions behind a closed door are two of the landmarks of Lubitsch's magic.

The famous sequence of the long interrupted kiss is also particularly insurmountable - remember that kisses could only last three seconds -, in which Cary Grant and Ingrid Bergman offer us one of the most intimate scenes of Hitchcock's filmography in the marvellous 'Notorious' ('Notorious', Alfred Hitchcock, 1946).

Ultimately, the demand for more realistic plots and the evolution of American society, dictated the disappearance of the Hays code in the late 1960s. This conclusion gave way to the age classification system that is preserved to this day. In addition to observing this stage in the history of cinema as a markedly restrictive time in many respects, I believe that it should also be appreciated with admiration for the talent of so many filmmakers who made their misdirection manoeuvres unrepeatable. 

@siobhanlovesfilm​ @mad-prophet-of-the-airwaves​ @purecinema​ @vastness-and-sorrow​ @klaineharmony​ @idasessions​