#we stan Kurosawa

[sapphicdiakurosawa]

Dia: Do you all seriously think that I enjoy being a mother hen to you all?!

Mari:

Kanan:

Chika:

Riko:

You:

Hanamaru:

Yoshiko:

Ruby:

Dia: Okay, fine, it’s like crack to me.

[jiafeick-merriproduct]

MORE JACK HCS (with Lilac again because these two are THE sibling goals ever)

- Jack wears his choir uniform ALL THE TIME. He literally almost never takes it off. After school, when he goes to sleep at night, when he goes swimming, ON A ROLLERCOASTER. It doesn't matter.

- Jack is a Wien Margarete stan. hear me out. HEAR ME OUT.

- Jack is nice to Lilac but he goes batshxt crazy on everyone else (think Dia and Ruby Kurosawa but more unhinged). Here's a canon interaction between them:

L: "Brother, I wanna be the best choir girl in the world!"

J: "That's my widdle sis doing her best I'm so pwoud of you 😭✨✨✨"

Random choir kid: *accidentally messes up their part in a rehearsal*

L: "Brother, that one messed up!"

J: "It's alright, he just needs a little more practice and he'll be perfect!"

Random choir kid: :D

J: *whispers to random choir kid* "listen here you incompetent rubbish i swear if you mess up that part again i'll kick you out of the damn choir 😀"

L: "What did you tell him?"

J: "I told him if he practices more and does well I'll give him a solo part!"

L: "Yay!!!"

J: *whispers to random choir kid* "haha, no I won't. :)"

- Lilac calls Jack "big brother" or "brother", never his first or last name. She does this because it makes her feel like she's always by his side.

- Jack flips his pillow over to the warm side when he's trying to sleep. What a monster lmao

- Jack has a love-hate relationship with Christmas. He likes the presents and the caroling, but he hates it because people make fun of his last name EVERY YEAR. They'll say to him "We wish you a Jack Merrichristmas" and he HATES IT. 💀

- Despite wanting to become a huntress, Lilac keeps multiple stuffed animals on her bed.

↓↓↓ Here's a pic of Lilac in Gacha Club!!! (yeah ik the choir uniform aint so great in gc)

[talkingbl]

Top 6 Most Anticipated [Confirmed] BLs of 2023 (so far)!

If I can speculate...I'd add something something Semantic Error 2, something something Bump Up Business, but I'm tired of looking stupid. DMD had me placing Bed Friend as a most anticipated BL for damn near two years now and stayed coming up short. This time, I'm sticking to what I know. So, here we are--my top 6 most anticipated BLs of 2023 (thus far)! -

6) HIStory5: Love in the Future | LinusSean & JasonAnson

lbr, this is a 2023 bl trapped in a 2022 bl's body. Either way, I love a good time travel theme (gives fish out of water--my favorite trope!!) and the HIStory series usually gives us a good main couple.

5) Love Upon a Time | NetJames

Either DMD really believes in NetJames or they feel bad for cucking them in favor of ZeeNunew this past year. Either way, I am somewhat seated for this. Wild, I never expected this from NetJames or DMD more generally, but the historical portion of the story is giving everything I've been begging for from Thailand since I started watching BL. While it's not giving MileApo's period piece trailer in terms of care and attention to detail, it seems very interesting to say the least.

4) Bed Friend | NetJames

After 2 years of blue balling viewers, DMD is FINALLY giving the girls Bed Friend. I am so excited to see an office romance with actual tension between the leads and that forbidden love vibe I love so much. The story is so classic and seems entertaining from beginning-to-end. Hopefully the writing is good and the acting takes a step forward from what DMD has given so far. That said, the trailer looks promising, so fingers crossed!

3) The Next Prince (....what? It gave budget....) | ZeeNunew

Listen, I am not a zonzon or bonbon or ztormborn or whatever they call ZeeNunew stans, but I am SEATED for this. In my last list, I included Cutie Pie in my most anticipated list. Unfortunately, it didn't hit like I thought it would. But I'm willing to give them another chance as this trailer is intriguing. They're hitting budget, royalty AU, enemies (??) to lovers, direction, cinematography, etc. with this one. And the fact that the trailer was mostly silent gives me hope that maybe, just maybe, they will take the show-don't-tell subtext-led approach to acting and writing. Just hope it's not wasted on a terrible plot that goes nowhere and grating acting. S/n: Zee doing stuff w/feet again??

2) Cherry Magic (Thailand) (stfu GMMTV antis and jbl elitists, I'm tryna see sth...) | TayNew

She has no trailer and I'm already here for her.

Per MDL -

Adapted from Japan's 30-sai made Dotei Da to Mahotsukai ni Nareru rashii. Adachi Kiyoshi [Achi in the Thai version] is a regular salaryman who, at the age of 29, was still a virgin. On his 30th birthday, he suddenly finds himself acquiring a new power - the ability to read other people's minds whenever he touches them. Shocked and unnerved by this new ability, he struggles to cope. That is, until one day he accidentally touches the handsome and popular fellow office-worker, Kurosawa Yuichi [Karan in the Thai version], only to find out that [Karan] actually has secret romantic feelings for him. How will [Achi] cope with this new revelation?

Look, I tried the original Cherry Magic and while the concept was appealing, the execution wasn't for me. Ngl chefs, I was bored a bit. But I still love the concept and am interested to see if and how GMMTV and Taynew can handle this. It better give budget at the very least (probably won't lol). Perhaps we'll also see Newwie grow into a more serious BL role. But honestly, even if they turn it into a rom-com, I think this can really work. Either way, they have a lot of eyes on them and a lot of folks predicting their downfall. They must deliver.

1) Only Friends | NeoMark, ForceBook, FirstKhao, ForceNeo, to say the least

Where do I even start with this? Who in the fresh hell could have predicted GMMTV to come through with this? ALL the pairings are intriguing, MANY of the actors can ACT (or at least try to), THE PLOT is something straight out of my romance dreams!!! We love hotties being messy!!!! I am incoherent at this. How did GMMTV manage to outplay the player (ME)?

But to be serious, this is the most interesting BL plot in awhile... And it gets at a real part of the 20/30-something hookup culture that we have (and that people are afraid to show in the context of LGBTQ+ relationships). It's also breaking the mold and allowing actors to explore characters outside of their established ships. It's not adapted from anything (that I know of), which is, like, a first for a GMMTV BL. It includes pairings that are either on the rise (FirstKhao) or that no one could have ever seen coming but somehow feel just right (NeoMark, ForceNeo) (btw, NeoMark are up next in this industry ;)). Plus, it's directed by Jojo Tichakorn who directed and wrote for 3WBF (one of my favorite Thai dramas with a strong BL theme), and has his hands in Never Let Me Go and The Warp Effect (both with strong showings thus far). I trust him but it's gonna really come down to the budget, post-production, and, most importantly, the acting.

Thing is, Neo and First are going to show up and I trust Khao to give a strong effort. Force, I'm not too sure about but the trailer doesn't give me high hopes to be honest. Still, I'm willing to forgive if he can fuck Neo like he means it if the rest of the cast can pull their own weight. And for Mark, I'm willing to bet he'll improve from My School President (which he already is showing promise in). I'm mainly weary because the story looks to be told from Mew's perspective, who is played by Book. IMO Book is not the best....so I'm hoping he shows up. I just need it to really come together and Book holds the key to it in his hands. GMMTV already is a sketchy company for other reasons, don't waste my fucking time with yet another good concept gone by the wayside b/c y'all wanted face over talent.

Also NeoMark please don't be problematic. I want to love Badminton shawty and the best actor at GMMTV not named Gun ATP 😢

[adachikiyoshi]

exactly like that’s the whole point he’s a very silly individual yes but that’s why we love him… I can’t wiat until they watch the movie where He makes all the moves hm

tbh the show is very different from what they usually watch so im cutting them some slack but i think . they will change their mind. but tbh they're just very huge kurosawa stans and they are being very biased cuz 1-6 adachi has been doing nothing but giving him hell so like. i get it i guess

[ninasaysmanythings]

Please accept this poorly made drawing I put together based on a tumblr post I can no longer find.

[heretherebedork]

Kurosawa and Fujisaki: It looks great!

Rokkaku: Isn't it a bit ordinary?

Kurosawa and Fujisaki: Say the word, Adachi, and we take him out.

[dracoria-azucar]

HELLO?

[monster-gender]

YouRuby out on a date. Tried to do a simplified version of the SID art style

[capysidols-blog]

Has anybody seen my weave? I can’t seem to find it anywhere!

[komori--shoma]

【30 Questions of CP, OC & Fandom】

Credits to @mukami-kuron-mrsadisticcat

1. How long have you been in this fandom?

I've known Diabolik Lovers since June from 2015, and boy was that an extremely interesting time—

2. Who's your fictional boyfriend/husband?

Reiji "The Arsonist" Sakamaki has been my favourite Diaboys since day one and at this point I have no intention on apologizing about it. Followed by Ruki and Ritcher but we're only touching Reiji here—

3. Why do you like them?

Ok the first reason are the daddy issues—

I'M KIDDING I'M KIDDING. Honestly, I loved his design first, and fell for the rest second.

I knew since I was a kiddo that I was a SUCKER for evil dudes in purple/"Disney villain" colours, a simp for deep voices, AND a SUCKER for people in glasses. So when I heard Reiji's voice and saw him my world turned into whatever tf I am now and I have not known peace since then.

Now, let's go more in deep.

I saw Reiji, and I knew he was a gentleman. I knew he was the type that would kiss your knuckles as a "I love you" gesture. I saw him thanks to lots of translations in YouTube and Tumblr just how devoted and in love he is in the MC/Yui. I just loved how he eventually showed himself out of his shell (even if back then I also recognised some damn red flags and I felt conflicted), how bastard he can be, how smart and... Well, all that he is. It's hard for me to put into words how I feel about him as a whole, but I think this will do.

Also HE'S PETTY WHEN HE WANTS TO. I never wanted a man to be that petty until I met him. Love that he uses pans to wake everyone up.

Also HIS LAUGH PEOPLE. I LOVE Both OF HIS LAUGHS THE SEXY ONE AND THE GENUINE ONE.

4. Have you make acquaintance with anyone that ships themselves with the same character?

I don't think these people are truly shipping themselves with him but, again, they're interested so it counts. And there's only three that I'm aware they're Reiji stans so-

@the-mostdiabolik-of-lovers Ava I summon you from the darkest pit of the hell we have entered—

@ihatereiji the name itself it's a lie and you know it-

@yui--komori I'M ALMOST SURE YOU'RE IN THE SAME HELL AS I AM.

5. How do you feel about it?

“Finally a fellow simp I was about to go insane—” was my first thought when I met them so all good on that ❤️.

6. Do you feel any negativity towards them?

Nope! Not at all!

7. Do you like seeing their oc(s) interact with your man/woman?

ABSOLUTELY YES. GO ON HUN PLEASE INTERACT WITH HIM FOR ME SO I CAN TAKE TIPS— I'm kidding I'm kidding-

Still I love seeing other Oc's interact with different Reiji blogs and every portrayal I see is great!

8. Do you feel competitive against them?

No?? Just self-conscious tho-

9. Confident, or pessimistic?

A bit of both ngl— It depends honestly.

10. Would you like more to get to know about your ship, or would you rather it being lowkey?

If this comes for Shoma/The Kurosawa Family x Other Oc's, I'd love for more people to know about that once more of their stories comes to light! I'm thinking of doing routes for them but I'm not quite sure yet.

11. Do you follow any of those people (them whom ship themselves with your fictional lover)

Yes yes I do and with pride 👀

12. Are you friends with them?

Hell I sure hope I am- Love yall lots 🥺🥺

13. What do you think about the 'stans' ?

You go tigers.

14. Are you worried about plagiarism or copying of your oc(s) by others?

I live in fear everyday of what I'm doing everyday bc sometimes I'm really out of touch with other blogs that I'm afraid of doing something they did before-

15. How do you handle such a situation if it happens?

I honestly don't know.

16. Is your cp public or only between a particular circle of friends?

Well, both Shoma and the others yall already know are pretty public! I still have some others that are private, like a WIP, but I'm still willing to talk about them if yall ask.

17. Do you like a specific cp ship, whats the reason? (I dare you to tag them~!)

There ain't an specific ship in the Shoma blog, but... [ Cracks knuckles ]

For my Shoma blog.

@fruit-of-infidelity. When this first started it was just me seeing how Ryuuto is. Now I truly think I would give Ava my left arm JUST to see them together because my dumb ass... Cries of happiness every single time they interact I'm not even kidding.

@supersweetlyuniquebouquetstuff TOMOKY AND SHOMA ARE MY SETORIN I FHDGDGEGDFSFD AAAAAAAAAAAAH

For my Kurosawa Family blog.

@mino-diabolik/@daughter-of-royalty MY FAVOURITE SHIPS COMES FROM THESE TWO BLOGS AND THEY'RE PERFECT. LOVE THEM. ABSOLUTELY WONDERFUL I CAN'T WAIT FOR CONVOITISE TO SIMP FOR KAZUHA LIKE THE SLUT HE IS AAAAAAAAAAAAAAAAH

Also, AIMIC BECAME MY SETORIN I SWEAR TO GOD I WOULD DIE FOR THEM.

@bird--trappedinacage For legal and moral reasons I can't send a real August on your way Ava but every ask I get from you to August makes me really happy 🥺

18. What kind of behaviors do you suppose is pretentious to you?

I don’t know, honestly. Just like @mino-diabolik said, I suppose it's trying to embellish my writing to make descriptions somewhat prettier and more complex (???) because I don’t like repeating words.

19. What kind of comments do you dislike the most when it comes cp feedbacks of your oc(s)?

I’ve never had any.

20. Have you receive hates about your oc(s) before?

Just one and for the Kurosawa blog when I first made it public. It was about me having too much OC's and trying to show off. But since I'm a bit coo-coo, my reaction was... The complete opposite of what I expected.

21. Do you have a complete love story of your cp?

YES I HAVE DAMMIT.

Aimic is the only one "complete" and dare I say it's one of my first experiences that I genuinely have fun with since I got here. I would be lying if I say I am not grateful for meeting the Admin and their wonderful OC.

22. Do you allow joint of alternate universe with the canon version of your cp story?

I do!, even if there isn't really a "Canon" ship in here other than casual relationships with the DL boys and other people from other universes (always wanted to see how much would they fit in Twisted Wonderland tho 👀), I usually do enjoy these ships, because these clowns I have to call my children are mine to torture—. Both blogs exists to enjoy both "canon" ships and AU ships!

23. Are you okay with people shipping their oc(s) with yours?

YES YES YES. I AM SO HAPPY WHEN THAT HAPPENS. I LOVE IT. YES.

There’s nothing that brought me more to an excitement rush with me jumping up and down than to people thinking my characters are worthy of being paired up with theirs, but still, I expect someone to ask me if it's ok beforehand bc my dumb ass might get confused in the way unless you're absolutely obvious in the way.

Please if any of yall ever did this on Anon it's ok I really like it when it happens 👀🥺.

24. Ever gone through a bad experience in the fandom?

Thank god I didn't. Just one single anon hate (the one from question 20) and it literally made me so happy bc it meant I'm doing a good job—

25. The ocs that you admire in this fandom are? (Tag them~)

... Oh boy here we go.

I'll put here both OC blogs and Canon blogs because I can.

@mino-diabolik/@daughter-of-royalty

@fruit-of-infidelity

@supersweetlyuniquebouquetstuff

@smonie

@nutaella-kookie

@secretarykang

@crimson-mayhem/@retelling-of-ragnarok

@gingerall

@mukami-kuron-mrsadisticcat

@the-timeless-founder

@kauzebridgerton/@kauze-bridgerton

@lured-into-wonderland

@sunny-flower-spot

@ayamexe

@strawberry--bride

@solarstellarstar

@yourlocaltea

@serenaleblanc

@korisuu

@yuriko-tsukino-rp/@yuriko-tsukino

@ask--reiji--sakamaki

@ask---shin---tsukinami

@ruki--mukami

@yui--komori

@mukami-kou-dazzlingpinkidol

@sakamakithirdson

And a lot more!

26. What is the moment that caused you to feel most disappointed or excited?

When I get notifications in both aspect. Because that's how deep into yall I'm in.

Notifs from popular OC blogs, non OC blogs, new OC blogs, (definitely the porn bots-), I always get so happy! To just know people like my content enough to like, or to go as far as to reblog said content? I ascend.

27. The scariest era that you have come across in the fandom?

The hate storms that were literally coming from nowhere (four since I got here), that account that if you reblogged the fanart of any Diaboy told you that they did something awful to Yui and that they hoped the same happened to us (usually r*pe), that one time the Simone blog got hacked/they tried to pass off as them, literally just anons telling other blog Admins to unalive themselves.

At this point I'm not surprised, just disappointed. Also I'm sure most of the time, these people are just hitting puberty, or just "woke" people from twitter.

Hell it's not even scary, just tiring.

28. The most wonderful thing you have come across in this fandom?

Literally all the people I came across with. People here were nothing but all so nice, sweet, and creative; I'm literally so glad I got to know you guys and to have an opportunity to have met some of you, even if we have only talked a little. <3

29. Say something towards those that support and admire your cp~

THANK YOU ALL.

I'm always surprised by how many people actually care about both of my OC blogs and the little things I post of them. I really hope that one of these days I can give you proper content, like you deserve. Who knows? Maybe, when my art gets better, I might give yall something important 👀...

30. You've worked hard, keep up the good work! ★★★

Thank you yall— 🥺

[gingersnapwolves]

Kouri watches Cherry Magic, episodes 3-4

Out of all my new shows, I like to go from Devil Judge to Cherry Magic for maximum tonal whiplash

The elevator doors I��m wheezing

Who is this tool?

And on opposite ends of the table no less! Truly, this is a version of hell

‘Did I give him the wrong idea?’ Boy if you weren’t asking him out on a date what was the idea???

And this must be the awkward tall/confused small. Why is he suddenly telepathic too??? You’re ruining your own premise here, Cherry Magic

Oh, he just had his birthday. He’s younger than Adachi? Surely would not have guessed.

Okay, you’re not a tool, I take it back. Seizing the first opportunity to leave a social gathering is highly relatable.

This cat like ‘please let go of me before having a nervous breakdown’

The forehead kiss was so sweet I’m crying

Not me screaming ‘SAY SOMETHING YOU FOOL’ at my screen

lmao imagine watching this one episode per week and not knowing if they were gonna kiss for seven whole days *clicks ‘next episode’*

you didn’t let them kiss! Whoever made that decision is going to the special hell

‘My mother’s visiting me soon and I’m depressed’ a show about telepathic virgin wizards has no right to be this relatable

Adachi over here like ‘we do not need to add fake dating tropes’

But! Adachi! Sweetheart! You couldn’t do anything but you still tried and that’s actually a little bit more impressive than just swooping in and doing things perfectly! Just let Kurosawa love you!

We stan an aroace icon

[anotherkindofmindpod]

PHOEBE: So in this clip, Paul mentions Ingmar Bergman's Seventh Seal, and Jean Luc Godard's One Plus One. He talks about his love of films, especially experimental films, and basically being a student of film in the mid 60s. We also know from his 1997 biography, Many Years From Now, that in the mid 60s, particularly in that ‘66 through ‘68 era, he screened a few indie films at his house in London. I know that he had a screening of Scorpio Rising by Kenneth Anger, and another of Andy Warhol’s, Empire. And in the Michael Braun book, Love Me Do from 1964, Paul mentions the Trial (Orson Welles movie), and 8 1/2. So we've a pretty good sense of Paul's movie background in 1967 going into the making of Magical Mystery Tour. He's mentioned Bergman, Godard, Fellini, Truffaut, Orson Welles, Andy Warhol and also Dick Lester and British comedy, such as Morecambe and Wise. And Nat Jackley (the comedian that John loved who got into the movie). And we know that Paul been making his own short films for a while by the time that he conceived of the Magical Mystery Tour project. So he's made short films and he knew enough basic filmmaking, like he knew how to rewind the film and expose it again. He liked making double exposures and fun stuff that was becoming more popular in the 60s; artsy little tricks.

KRISTEN: Well, you know, what I think is interesting about Paul's influences that you mentioned, like these great European art cinema directors like Bergman and Fellini...and then you've got the new wave directors, the experimental. And even the American director that you mentioned, Orson Welles isn't, like, run of the mill American director, like he's the artsy one, right?  

But what I think is really interesting is that in the 60s, that was a pretty standard mix for people who are really into film culture, like new wave and European art cinema directors. I'm surprised he doesn't throw Kurosawa in there, because that's kind of in the mix, right? Or Buñuel. But that group of directors, art cinema directors from the 1950s and then the new wave, specifically the French New Wave directors from the 50s and 60s, were so a part of film culture at the time, in the 1960s. Like all of the 20-somethings, you know, the people Paul's age, were definitely really getting into film culture at this time. 

You had cine clubs, movie clubs popping up all over the world. They were really, really important in France, but in England too, they would have been really popular. And definitely like, college campuses in the US, college-age students would get together and they would watch the latest -or not even the latest, but they would watch The Seventh Seal or they would watch, Rashomon or whatever, and then they would discuss it. And it would be, sort of this thing where, like in France, these cine clubs were supported by the government. I mean, it was a sanctioned thing. PHOEBE: They still are (in France)! KRISTEN: Right, right. And so, you know, it was really, really popular. 

And then experimental films were thrown into the mix too. And so you had these kind of pop-up theaters or movie clubs, independent theaters and college campuses. You had this real film culture in the post war era, and really coalescing in the 1960s with college age people and Paul - even though he's not a college student - he's in that kind of spot, that sweet spot, age-wise. So it absolutely makes sense that he's doing this and it's not even, like, super unique or unusual. This is something that a lot of (especially 20-something) artists and intellectuals were absolutely doing. And you know the fact that he's showing Kenneth Anger and Andy Warhol, like he's definitely showing the cutting edge sort of pop culture, experimental filmmakers, which is pretty cool. You know, he's not showing like, Stan Brakhage or Maya Deren- like, maybe he is? But he's not showing the ones that are maybe a little bit more challenging. He's showing the ones that are a little bit more accessible, which is great, though! Like those are, they're fantastic, like Kenneth Anger is amazing.

I think that he's just so a part of that moment, that late-60s sort of film culture, experimental film culture moment. And it’s just starting to seep into Hollywood at this time. And this sort of counterculture interest in experimental and new wave and art house filmmaking is about to completely change Hollywood and give us new Hollywood. And so, you know, he's right on track at this time, as far as youth film culture, which I think is really cool.

Full episode here

[voskhozhdeniye]

Hm @unknownbabe1

I made two lists on here 5(YIKES) years ago of my favorite films.

The first list was of “films that have had the most impact on me for one reason or another,” and the second one was of highlights that I love, but couldn’t fit on the first list.

First List:

Larisa Shepitko’s The Ascent

Jonathan Caoquette’s Tarnation

Richard Linklater’s Waking Life

Terrence Malick’s The Tree of Life

Bernardo Bertolucci’s The Dreamers

Andrei Tarkovsky’s Solaris

Louis Malle’s Au revoir les enfants

Godfrey Reggio’s Koyaanisqatsi

Steve McQueen’s 12 Years A Slave

Stanley Kubrick’s 2001 A Space Odyssey

Second List:

Lindsay Anderson’s If…

Edgar Wright’s Scott Pilgrim Vs. The World

Gordon Douglas’ Them!

Chuck Jones’ The Dot and the Line: A Romance in Lower Mathematics

Albert Lamorisse’s The Red Balloon

Stan Brakhage’s The Dante Quartet

Robin Hardy’s The Wicker Man

Wes Anderson’s Moonrise Kingdom

Nobuhiko Obayashi’s House

Current Reflections:

That first list still stands. Those are all films that made me go “oh you can do that,” or I just deeply connected with. I don’t like The Dreamers like that, but it was a major shock to the system to me almost 20 years ago. I feel like I would take 2001 off and replace it with a Bergman film. I like 2001, but it’s more an imposing spectacle than anything else. I prefer films that deal with people’s lives. I think that’s why I like Malick. He makes simply living a grand statement. I held myself to 10 for that first list, but The Dante Quartet belongs on it. In fact, instead of just choosing one Brakhage film, I’d just list his name.

I would also add to it:

Alan Clarke‘s Elephant

Hiroshi Teshigahara’s Woman in the Dunes

Mariposa Film Group’s Word Is Out - Stories of Some of Our Lives

Louis Malle’s My Dinner with André

Claude Lanzmann’s Shoah

Barry Jenkins‘ Moonlight

Céline Sciamma’s Portrait of a Lady on Fire

Alfonso Cuarón‘s Children of Men

Jan Němec’s A Report on the Party and Guests

Richard Ayoade’s The Double

Jennie Livingston‘s Paris Is Burning

Robert Wise‘s The Haunting

Mathieu Kassovitz‘s La haine

François Truffaut’s The 400 Blows

Rémy Belvaux, André Bonzel and Benoît Poelvoorde’s Man Bites Dog

Jonathan Glazer’s Under The Skin

Allan King’s Dying at Grace

Brad Bird‘s The Incredibles

Gregg Araki’s Mysterious Skin

Samuel Fuller's The Steel Helmet

Francis Ford Coppola’s Apocalypse Now

Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Jack Clayton‘s The Pumpkin Eater

Wim Wenders and Juliano Ribeiro Salgado‘s The Salt of the Earth

Jean Vigo’s Zéro de conduite

Hal Ashby’s Harold and Maude

Bob Fosse’s All That Jazz

Michelangelo Antonioni‘s Blow-Up

Ridley Scott’s Alien

Mikhail Kalatozov‘s Letter Never Sent

Danny Boyle’s 28 Days Later

Sidney Lumet’s Network

Fred M. Wilcox‘s Forbidden Planet

Evald Schorm‘s Return of the Prodigal Son

Special shout out to the Dardenne brothers, Bergman, Cassavetes, Pasolini, Kurosawa, Soderbergh, Cronenberg, Oshima, Kiarostami, Ozu, Farhadi, Godzilla films, ‘50s Sci-fi and Ray Harryhausen for existing.

[frumfrumfroo]

What are your favorite movies and TV shows outside of SW? I’m looking for new things to watch since SW was so disappointing

My tastes are pretty eclectic, so I will stick to just things that are either similar to sw or are in the reylo-esque romance wheelhouse and have happy endings:

Chuck. It is a goofy, light-hearted action-adventure show with extremely endearing characters and a very prominent central romance (seriously, heavy romance and there is a lot of payoff for it, you will be FED- it's kind of slow burn but also shockingly NOT slow burn, they are deep into it pretty much immediately). The main couple is the classic Stoic Badass gradually softened by an innocent they have to protect who is a liability in battle but full of the Power of Heart. Chuck is The Heart btw. He is of that vanishingly rare male Beauty (of B&tB) type. He's incredibly generous and open, Sarah is prickly and closed-off. It is Quality. Very much a gender-swap of your typical cliche anime couple lol. I would recommend stopping at the mid-season finale in season 4, because it's downhill from there. The beginning of season 3 is very rough, but it's definitely worth it to stay for the back half, imo. There are several great endings to choose from before things go to shit, so we don't need to talk about the finale. Probably the most tonally similar to SW thing possible without being high/space fantasy. More humour, more silly, but definitely has a spiritual kinship. Has the best THE BEST 'secret revealed' scenes I have ever seen in anything. If you're into that and were hoping for that in ep IX, you need to watch Chuck.

The Shop Around the Corner. 1940 romance/drama film. You've Got Mail is a remake of it. Jimmy Stewart being profoundly adorable, Frank Morgan (aka the Wizard of Oz), various amusing side characters, and an absolutely deathless double blind 'secretly in love with the workplace nemesis' plot that can and probably has been a great reylo AU.

Mirromask. Fantasy/coming-of-age film. Touted as a 'spiritual successor' to Labyrinth by the filmmakers (one of whom is Neil Gaiman) and let me tell you, that is extremely apt. Beautiful, magical, laden with symbolism and Mask Discourse, and has a great ship. I quote it regularly.

Speaking of which, I'm sure you've seen Labyrinth? If you haven't seen Labyrinth, drop everything and watch Labyrinth.

Legend (the Ridley Scott director's cut, not the theatrical cut). Sumptuous fairy tale, runs on proper fairy tale logic, stunning to look at and overall captivating. Tim Curry. Tim Curry as a lonely tragic lord of darkness who tries to seduce the heroine and has drippingly overwrought monologues.

Howl's Moving Castle. Fairy tale adventure/romance film. Beautifully animated, has the ending you want.

The Silence of the Lambs. Thriller/drama film. Actual masterpiece. Use it as a gateway drug to read the books and rejoice that Clannibal is canon and it is spectacular. Just SotL and Hannibal, you don't need to read the other two. Stan Clarice Starling and revel in that ending. Most triumphant 'villain'/heroine ship of all time (he is not technically a villain but for shorthand's sake).

The Adventures of Baron Munchausen. Terry Gilliam 1988 fantasy/adventure film. THE TRIUMPH OF IDEALISM OVER CYNICS I CANNOT STRESS ENOUGH HOW HEALING IT WAS TO WATCH AFTER THE TROS BULLSHIT HIT. Jonathan Pryce's spiritual villain is basically Chris Terrio and it is cathartic to see imagination and sentiment conquer him.

Sabrina. 1995 romance film. Modern fairy tale with Harrison Ford. Rejecting what you thought you wanted all your life for the thing you actually need, growing up but still believing in magic, beautiful character development across all the leads. Could be (and is irrc) a fantastic reylo AU.

The Scarlet Pimpernel. 1934 adventure film. High romance, secret identities, play-acting, people who aren't at all what they appear to be, falling in love with your own spouse, Big Heroism, guile and wit and audacity. It makes me do little kicks like a happy baby. This is one of the 3-5 films constantly tied for my favourite film of all time. There is a good quality rip free on youtube. Watch it and fall in love with Leslie Howard (this is possibly my favourite acting performance of all time).

Oh, related note. Pygmalion 1938 or My Fair Lady. (The musical is based on this film and borrows from it heavily, including its much more romantic ending compared to the original play.)

The Mummy. 1999 action/adventure/romance film. Very tonally similar to sw. A fucking great time, A+ characters.

EVER AFTER. 1998 romance film. The flawless and perfect and best ever Cinderella adaptation. This is the most satisfying film in history, maybe, the ending is so good it is amazing it exists. Also, it has Richard O'Brien being slimy. Huge selling point. Grapples with identity and stewardship, is brilliant.

Fruits Basket. drama/romance anime. I haven't watched the new version yet, but it's following the manga so I know the story. The original anime didn't do the whole plot (because they caught up with the source material) but it's wonderful and I still recommend it. The central ship is (spoiler.........) a B&tB type where we eventually discover the main love interest both feels like a figurative monster and turns into a literal monster. He has an incredible speech about his relationship with people's fear, it makes me weep. I called the endgame from the first episode and always thought it was obvious, but there is a red herring love triangle dynamic. It's really not annoying, though, because it is a red herring. (I hate love triangles)

I am Dragon. Russian monster romance film. Beautiful, simple fable with a really great heroine.

Jane Eyre. 1943 Gothic Romance film. It's Jane Eyre, byronic hero x sensible heroine love story with much atmosphere and Gothic drama. I stan this version because I am an Orson Welles fangirl and I'm also not convinced it can be improved upon. Elizabeth Taylor's film debut btw.

Hellboy. 2004 action/adventure/romance film. Defying destiny, reconciling identity, monster romance. The complete package and a great time. Tonally similar to SW and probably thematically closest to it out of this whole list. Don't watch the sequel.

Beauty and the Beast 1987 tv series. Exactly what it says on the tin. Deals with the classic B&tB themes, but in a different way. He's not cursed and will never transform into an ordinary man. The first season is very episodic and 'case of the week', but the second season gets more into character drama. It's dated, but if you give it a chance you can get past some of the cheese factor and it's really a unique experience. Its concerns are SO atypical that it feels like something fandom would make rather than a mainstream network show. It was so massively, insanely popular with women at the time that a record of Vincent (the beast) reading poetry topped the album charts. Also Ron Perlman and Linda Hamilton. Stop at season two. Point of interest: George RR Martin wrote for this show.

Stargate (the movie not the series) sci-fi fantasy about a nerdy guy who accidentally a hero.

Possession. 2009... mystery/supernatural/romance. Okay. This is a whole thing. Lee Pace and Sarah Michelle Gellar. It's based on a Korean film I've never been able to find for some reason, but being Hollywood they ruined the romanticism and nuance of the original in the theatrical cut to make a shitty punative ending. However. If you buy it on dvd and go to the alternate ending (which follows the original story) with around 20 minutes left (scene after Lee Pace's character wakes from a bad dream-go to deleted scenes and select the alternate ending), you will get a very, very interesting character study/thriller/redemption about sincerity within deception, compassion, and a major question about second chances with a positive answer. It's kind of dark and kind of astonishingly idealistic at the same time. The heroine makes a very powerful choice, twice over. It's fascinating. If you're into the conflicted and uncertain period in reylo, the part where he is most ambiguous, and you wanted more of that and much darker shades to it, you might be really into this. Also, it should be noted, there is a MASSIVE height difference and they show it off. The film is flawed (and the seams show on the Hollywood rewrite) but idk, it's fascinating. Shocking to me that they even got to shoot the original ending. It is pretty balls to the wall with its themes on forgiveness.

I would recommend getting into kdramas because there is a wealth of female-gaze tropey amazing content, but always check the ending before getting invested. My all-time fave is the 1st Shop of Coffee Prince, but it's not sw related at all lmao. It has a happy ending with all the elements you'd want, but it's not satisfying in execution, so that's it's major flaw and I find that pretty common with kdramas. One that is maybe more relevant is My Love from Another Star, which has a hero who is a little bit like Ben in personality. The heroine isn't my favourite, though. It does have a decent ending.

Oh yeah- brain fart. Kurosawa films and classic westerns were both very influential on SW. Or you can combine both and watch The Magnificent Seven.

[oldmogg]

1861 Georges Méliès 1875 D.W. Griffith 1879 Victor Sjöström 1880 Tod Browning 1881 Cecil B. DeMille 1884 Robert Flaherty 1885 Allan Dwan / Sacha Guitry / G.W. Pabst / Erich von Stroheim 1886 Michael Curtiz / Henry King / John Cromwell 1887 Raoul Walsh 1888 F.W. Murnau 1889 Charles Chaplin / Jean Cocteau / Carl Theodor Dreyer / Victor Fleming / Abel Gance / James Whale 1890 Clarence Brown / Fritz Lang 1892 Ernst Lubitsch 1893 William Dieterle 1894 Frank Borzage / John Ford / Jean Renoir / King Vidor / Josef von Sternberg 1895 Buster Keaton 1896 Julien Duvivier / Howard Hawks / Leo McCarey / Dziga Vertov / William Wellman 1897 Frank Capra / Douglas Sirk 1898 René Clair / Sergei Eisenstein / Henry Hathaway / Mitchell Leisen / Kenji Mizoguchi / Preston Sturges 1899 George Cukor / Alfred Hitchcock 1900 Luis Buñuel / Mervyn LeRoy / Robert Siodmak 1901 Robert Bresson / Vittorio De Sica 1902 Emeric Pressburger / Max Ophüls / William Wyler 1903 Vincente Minnelli / Yasujiro Ozu 1904 Delmer Daves / Terence Fisher / George Stevens / Jacques Tourneur / Edgar G. Ulmer 1905 Mikio Naruse / Michael Powell / Otto Preminger / Jean Vigo 1906 Jacques Becker / Marcel Carné / John Huston / Anthony Mann / Carol Reed / Roberto Rossellini / Luchino Visconti / Billy Wilder 1907 Henri-Georges Clouzot / Joseph H. Lewis / Jacques Tati / Fred Zinnemann 1908 Tex Avery / Edward Dmytryk / Phil Karlson / David Lean / Manoel de Oliveira 1909 Elia Kazan / Joseph Losey / Joseph L. Mankiewicz 1910 John Sturges / Akira Kurosawa 1911 Jules Dassin / Nicholas Ray 1912 Michelangelo Antonioni / Samuel Fuller / Gene Kelly / Alexander Mackendrick / Don Siegel 1913 André de Toth / Mark Robson / Frank Tashlin 1914 Mario Bava / William Castle / Robert Wise 1915 Orson Welles 1916 Budd Boetticher / Richard Fleischer / George Sidney 1917 Maya Deren / Jean-Pierre Melville 1918 Robert Aldrich / Ingmar Bergman 1920 Federico Fellini / Eric Rohmer 1921 Luis García Berlanga / Miklós Jancsó / Chris Marker / Satyajit Ray 1922 Blake Edwards / Jonas Mekas / Pier Paolo Pasolini / Arthur Penn / Alain Resnais 1923 Ousmane Sembene / Seijun Suzuki 1924 Stanley Donen / Sidney Lumet 1925 Robert Altman / Claude Lanzmann / Sam Peckinpah / Maurice Pialat 1926 Roger Corman / Shohei Imamura / Jerry Lewis / Andrzej Wajda 1927 Kenneth Anger / Ken Russell 1928 Stanley Kubrick / Jacques Rivette / Nicolas Roeg / Agnès Varda / Andy Warhol 1929 Hal Ashby / John Cassavetes / Alejandro Jodorowsky / Sergio Leone 1930 Claude Chabrol / Clint Eastwood / John Frankenheimer / Kinji Fukasaku / Jean-Luc Godard / Frederick Wiseman 1931 Jacques Demy / Mike Nichols / Ermanno Olmi 1932 Milos Forman / Monte Hellman / Louis Malle / Nagisa Oshima / Carlos Saura / Andrei Tarkovsky / François Truffaut 1933 John Boorman / Stan Brakhage / Roman Polanski / Bob Rafelson / Jean-Marie Straub 1934 Sydney Pollack 1935 Woody Allen / Theo Angelopoulos 1936 Hollis Frampton / Danièle Huillet / Ken Loach 1937 Ridley Scott 1938 Paul Verhoeven 1939 Peter Bogdanovich / Francis Ford Coppola / William Friedkin / Glauber Rocha 1940 Dario Argento / Brian De Palma / Victor Erice / Terry Gilliam / Abbas Kiarostami / George A. Romero 1941 Bernardo Bertolucci / Stephen Frears / Patricio Guzmán / Krzysztof Kieslowski / Hayao Miyazaki / Raúl Ruiz / Bertrand Tavernier 1942 Peter Greenaway / Michael Haneke / Werner Herzog / Walter Hill / Martin Scorsese 1943 Roy Andersson / David Cronenberg / Mike Leigh / Terrence Malick / Michael Mann / Alan Rudolph 1944 Charles Burnett / Jonathan Demme / George Lucas / Peter Weir 1945 Terence Davies / Rainer Werner Fassbinder / George Miller / Wim Wenders 1946 Joe Dante / Claire Denis / David Lynch / Paul Schrader / Oliver Stone / John Woo 1947 Hou Hsiao-hsien / Takeshi Kitano / Rob Reiner / Steven Spielberg / Edward Yang 1948 John Carpenter / Philippe Garrel / Errol Morris 1949 Pedro Almodóvar 1950 Chantal Akerman / John Landis / John Sayles 1951 Kathryn Bigelow / Jean-Pierre Dardenne / Abel Ferrara / Aleksandr Sokurov / Robert Zemeckis / Zhang Yimou 1952 Jacques Audiard / Gus Van Sant 1953 Jim Jarmusch 1954 James Cameron / Jane Campion / Joel Coen / Luc Dardenne / Ang Lee / Michael Moore 1955 Olivier Assayas / Béla Tarr / Johnnie To 1956 Danny Boyle / Guy Maddin / Lars von Trier / Wong Kar-wai 1957 Ethan Coen / Aki Kaurismäki / Spike Lee / Mohsen Makhmalbaf / Tsai Ming-liang 1958 Tim Burton 1959 Nuri Bilge Ceylan / Pedro Costa / Sam Raimi 1960 Leos Carax / Atom Egoyan / Hong Sang-soo / Richard Linklater / Takashi Miike / Jafar Panahi 1961 Alfonso Cuarón / Todd Haynes / Peter Jackson / Alexander Payne / Abderrahmane Sissako / Michael Winterbottom 1962 David Fincher / Hirokazu Koreeda / Kenneth Lonergan 1963 Michel Gondry / Alejandro González Iñárritu / Park Chan-wook / Steven Soderbergh / Quentin Tarantino 1964 Guillermo del Toro / Kelly Reichardt / Andrey Zvyagintsev 1965 Jonathan Glazer 1966 Lucrecia Martel 1967 Denis Villeneuve 1969 Wes Anderson / Darren Aronofsky / Noah Baumbach / Bong Joon-ho / James Gray / Spike Jonze / Steve McQueen / Lynne Ramsay 1970 Paul Thomas Anderson / Jia Zhangke / Christopher Nolan / Apichatpong Weerasethakul 1971 Sofia Coppola / Carlos Reygadas Directors listed by key production country (Country of birth, if it differs, is listed in brackets) Argentina Lucrecia Martel Australia Jane Campion (New Zealand) / George Miller Austria Michael Haneke (Germany) Belgium Chantal Akerman / Jean-Pierre Dardenne & Luc Dardenne Brazil Glauber Rocha Canada David Cronenberg / Atom Egoyan (Egypt) / Guy Maddin / Denis Villeneuve China Jia Zhangke / Zhang Yimou Denmark Carl Theodor Dreyer / Lars von Trier Finland Aki Kaurismäki France Olivier Assayas / Jacques Audiard / Jacques Becker / Robert Bresson / Leos Carax / Marcel Carné / Claude Chabrol / René Clair / Henri-Georges Clouzot / Jean Cocteau / Jacques Demy / Claire Denis / Julien Duvivier / Abel Gance / Philippe Garrel / Jean-Luc Godard / Sacha Guitry (Russia) / Patricio Guzmán (Chile) / Claude Lanzmann / Louis Malle / Chris Marker / Georges Méliès / Jean-Pierre Melville / Max Ophüls (Germany) / Maurice Pialat / Roman Polanski / Jean Renoir / Alain Resnais / Jacques Rivette / Eric Rohmer / Raúl Ruiz (Chile) / Jean-Marie Straub & Danièle Huillet / Jacques Tati / Bertrand Tavernier / François Truffaut / Agnès Varda (Belgium) / Jean Vigo Germany / West Germany Rainer Werner Fassbinder / Werner Herzog / F.W. Murnau / G.W. Pabst (Austria-Hungary) / Wim Wenders Greece Theo Angelopoulos Hong Kong Wong Kar-wai (China) / Johnnie To / John Woo (China) Hungary Miklós Jancsó / Béla Tarr India Satyajit Ray Iran Abbas Kiarostami / Mohsen Makhmalbaf / Jafar Panahi Italy Michelangelo Antonioni / Dario Argento / Mario Bava / Bernardo Bertolucci / Vittorio De Sica / Federico Fellini / Sergio Leone / Ermanno Olmi / Pier Paolo Pasolini / Roberto Rossellini / Luchino Visconti Japan Kinji Fukasaku / Shohei Imamura / Takeshi Kitano / Hirokazu Koreeda / Akira Kurosawa / Takashi Miike / Hayao Miyazaki / Kenji Mizoguchi / Mikio Naruse / Nagisa Oshima / Yasujiro Ozu / Seijun Suzuki Mauritania Abderrahmane Sissako Mexico Luis Buñuel (Spain) / Alejandro Jodorowsky (Chile) / Carlos Reygadas New Zealand Peter Jackson Poland Krzysztof Kieslowski / Andrzej Wajda Portugal Pedro Costa / Manoel de Oliveira Russia / USSR Sergei Eisenstein (Latvia) / Aleksandr Sokurov / Andrei Tarkovsky / Dziga Vertov (Poland) / Andrey Zvyagintsev Senegal Ousmane Sembene South Korea Bong Joon-ho / Hong Sang-soo / Park Chan-wook Spain Pedro Almodóvar / Victor Erice / Luis García Berlanga / Carlos Saura Sweden Roy Andersson / Ingmar Bergman / Victor Sjöström Taiwan Hou Hsiao-hsien (China) / Tsai Ming-liang (Malaysia) / Edward Yang (China) Thailand Apichatpong Weerasethakul Turkey Nuri Bilge Ceylan UK John Boorman / Danny Boyle / Terence Davies / Terence Fisher / Stephen Frears / Jonathan Glazer / Peter Greenaway / David Lean / Mike Leigh / Ken Loach / Joseph Losey (USA) / Alexander Mackendrick (USA) / Steve McQueen / Michael Powell / Michael Powell (UK) & Emeric Pressburger (Hungary) / Lynne Ramsay / Carol Reed / Nicolas Roeg / Ken Russell / Michael Winterbottom USA (A-B) Robert Aldrich / Woody Allen / Robert Altman / Paul Thomas Anderson / Wes Anderson / Kenneth Anger / Darren Aronofsky / Hal Ashby / Tex Avery / Noah Baumbach / Kathryn Bigelow / Budd Boetticher / Peter Bogdanovich / Frank Borzage / Stan Brakhage / Clarence Brown / Tod Browning / Charles Burnett / Tim Burton USA (C-D) James Cameron (Canada) / Frank Capra (Italy) / John Carpenter / John Cassavetes / William Castle / Charles Chaplin (UK) / Joel Coen & Ethan Coen / Francis Ford Coppola / Sofia Coppola / Roger Corman / John Cromwell / Alfonso Cuarón (Mexico) / George Cukor / Michael Curtiz (Hungary) / Joe Dante / Jules Dassin / Delmer Daves / Brian De Palma / André de Toth (Hungary) / Guillermo del Toro (Mexico) / Cecil B. DeMille / Jonathan Demme / Maya Deren (Ukraine) / William Dieterle (Germany) / Edward Dmytryk (Canada) / Stanley Donen / Stanley Donen & Gene Kelly / Allan Dwan (Canada) USA (E-G) Clint Eastwood / Blake Edwards / Abel Ferrara / David Fincher / Robert Flaherty / Richard Fleischer / Victor Fleming / John Ford / Milos Forman (Czechoslovakia) / Hollis Frampton / John Frankenheimer / William Friedkin / Samuel Fuller / Terry Gilliam / Michel Gondry (France) / Alejandro González Iñárritu (Mexico) / D.W. Griffith / James Gray USA (H-L) Henry Hathaway / Howard Hawks / Todd Haynes / Monte Hellman / Walter Hill / Alfred Hitchcock (UK) / John Huston / Jim Jarmusch / Spike Jonze / Phil Karlson / Elia Kazan (Turkey) / Buster Keaton / Henry King / Stanley Kubrick / John Landis / Fritz Lang (Austria) / Ang Lee (Taiwan) / Spike Lee / Mitchell Leisen / Mervyn LeRoy / Jerry Lewis / Joseph H. Lewis / Richard Linklater / Kenneth Lonergan / Ernst Lubitsch (Germany) / George Lucas / Sidney Lumet / David Lynch USA (M-R) Terrence Malick / Joseph L. Mankiewicz / Anthony Mann / Michael Mann / Leo McCarey / Jonas Mekas (Lithuania) / Vincente Minnelli / Michael Moore / Errol Morris / Mike Nichols (Germany) / Christopher Nolan (UK) / Alexander Payne / Sam Peckinpah / Arthur Penn / Sydney Pollack / Otto Preminger (Austria-Hungary) / Sam Raimi / Bob Rafelson / Nicholas Ray / Kelly Reichardt / Rob Reiner / Mark Robson (Canada) / George A. Romero / Alan Rudolph USA (S-U) John Sayles / Paul Schrader / Martin Scorsese / Ridley Scott (UK) / George Sidney / Don Siegel / Robert Siodmak (Germany) / Douglas Sirk (Germany) / Steven Soderbergh / Steven Spielberg / George Stevens / Oliver Stone / John Sturges / Preston Sturges / Quentin Tarantino / Frank Tashlin / Jacques Tourneur (France) / Edgar G. Ulmer (Austria-Hungary) USA (V-Z) Gus Van Sant / Paul Verhoeven (Netherlands) / King Vidor / Josef von Sternberg (Austria) / Erich von Stroheim (Austria) / Raoul Walsh / Andy Warhol / Peter Weir (Australia) / Orson Welles / William Wellman / James Whale (UK) / Billy Wilder (Austria-Hungary) / Robert Wise / Frederick Wiseman / William Wyler (Germany) / Robert Zemeckis / Fred Zinnemann (Austria-HungaryJonas Mekas)

[foxingpeculiar]

Since I don’t plan on putting on another one in the next two hours, I apparently watched exactly 200 movies for the first time in 2019. We’ll see if we can beat that. They are, if anyone cares:

Searching (2018, Aneesh Chhaganty)

Black Mirror: Bandersnatch (2018, David Slade)

Upgrade (2018, Leigh Whannell)

Pather Panchali (1955, Satyajit Ray)

Aparajito (1956, Satyajit Ray)

The Vampire Lovers (1970, Roy Ward Baker)

Bad Lieutenant: Port of Call New Orleans (2009, Werner Herzog)

*Can You Ever Forgive Me? (2018, Marielle Heller)

Cape Fear (1991, Martin Scorsese)

Wild Strawberries (1957, Ingmar Bergman)

The Seven Year Itch (1955, Billy Wilder)

A Star is Born (2018, Bradley Cooper)

You Were Never Really Here (2017, Lynne Ramsay)

Vampire’s Kiss (1988, Robert Bierman)

Gangs of Wasseypur—Part 1 (2012, Anurag Kashyap)

*Destroyer (2018, Karyn Kusama)

Gangs of Wasseypur—Part 2 (2012, Anurag Kashyap)

Under the Silver Lake (2018, David Robert Mitchell)

Night Moves (1975, Arthur Penn)

*Spider-Man: Into the Spider-Verse (2018, Bob Persichetti/Peter A Ramsey/Rodney Rothman)

The Thin Red Line (1998, Terrence Malick)

*Shogun Assassin (1980, Robert Houston/Kenji Misumi)

Secret Window (2004, David Koepp)

Gemini (2017, Aaron Katz)

Velvet Buzzsaw (2019, Dan Gilroy)

A Field in England (2013, Ben Wheatley)

Fyre: The Greatest Party That Never Happened (2019, Chris Smith)

Daisies (1966, Věra Chytilová)

The Devils (1971, Ken Russell)

Beyond the Black Rainbow (2010, Panos Cosmatos)

Bohemian Rhapsody (2018, Bryan Singer)

Bye Bye Birdie (1963, George Sidney)

Body Heat (1981, Lawrence Kasdan)

Being There (1979, Hal Ashby)

Logan’s Run (1976, Michael Anderson)

Escape From Tomorrow (2013, Randy Moore)

The Double (2014, Richard Ayoade)

Days of Heaven (1978, Terrence Malick)

The Blackcoat’s Daughter (2015, Oz Perkins)

Submarine (2010, Richard Ayoade)

*The Wandering Earth (2019, Frant Gwo)

Abducted in Plain Sight (2017, Skye Borgman)

The Thomas Crown Affair (1968, Norman Jewison)

Certain Women (2016, Kelly Reichardt)

Green Book (2018, Peter Farrelly)

Cold War (2018, Pawel Pawlikowski)

*The Boxer’s Omen (1983, Kuei Chih-Hung)

Vox Lux (2018, Brady Corbett)

A Most Violent Year (2014, JC Chandor)

Leaving Neverland (2019, Dan Reed)

Barbarella: Queen of the Galaxy (1968, Roger Vadim)

The Clovehitch Killer (2018, Duncan Skiles)

The Wicker Man (1973, Robin Hardy)

Jubilee (1978, Derek Jarman)

Blithe Spirit (1945, David Lean)

Burning (2018, Lee Chang-Dong)

Starchaser: The Legend of Orin (1985, Steven Hahn)

First Man (2018, Damien Chazelle)

*Us (2019, Jordan Peele)

Re-Animator (1985, Stuart Gordon)

The Dirt (2019, Jeff Tremaine)

Brokeback Mountain (2005, Ang Lee)

All That Heaven Allows (1955, Douglas Sirk)

The Blues Brothers (1980, John Landis)

Unfaithfully Yours (1948, Preston Sturges)

Hustle & Flow (2005, Craig Brewer)

Yojimbo (1961, Akira Kurosawa)

The Detective (1968, Gordon Douglas)

Support the Girls (2018, Andrew Bujalski)

The Age of Innocence (1993, Martin Scorsese)

Boys Don’t Cry (1999, Kimberly Peirce)

Eyes of Laura Mars (1978, Irvin Kershner)

*Long Day’s Journey Into Night (2019, Bi Gan)

Pet Sematary (1989, Mary Lambert)

*Avengers: Endgame (2019, Anthony & Joe Russo)

Fear (1996, James Foley)

Shivers (1976, David Cronenberg)

The Brood (1979, David Cronenberg)

Drowning by Numbers (1988, Peter Greenaway)

Like Someone in Love (2012, Abbas Kiarostami)

Society (1989, Brian Yuzna)

The Perfection (2019, Richard Shepard)

Lords of Chaos (2018, Jonas Åkerlund)

Perfect Blue (1997, Satoshi Kon)

Happy Death Day 2 U (2019, Christopher Landon)

The Dunwich Horror (1970, Daniel Haller)

Three Days of the Condor (1975, Sydney Pollack)

The Parallax View (1974, Alan J Pakula)

Klute (1971, Alan J Pakula)

The Day of the Jackal (1973, Fred Zinneman)

Play Misty for Me (1971, Clint Eastwood)

The Craft (1996, Andrew Fleming)

Charade (1963, Stanley Donen)

Her Smell (2019, Alex Ross Perry)

Gattaca (1997, Andrew Niccol)

Hackers (1995, Iain Softley)

The Paperboy (2012, Lee Daniels)

They Live (1988, John Carpenter)

*Midsommar (2019, Ari Aster)

A Murder of Crows (1999, Rowdy Herrington)

The Predator (2018, Shane Black)

*Once Upon a Time… in Hollywood (2019, Quentin Tarantino)

Bullitt (1968, Peter Yates)

Basic Instinct (1992, Paul Verhoeven)

The Da Vinci Code (2006, Ron Howard)

The Trip (1967, Roger Corman)

X: The Man with the X-Ray Eyes (1963, Roger Corman)

The Falcon and the Snowman (1985, John Schlesinger)

Inside Daisy Clover (1965, Robert Mulligan)

The Falls (1980, Peter Greenaway)

Cannibal Holocaust (1980, Ruggero Deodato)

Pokémon Detective Pikachu (2019, Rob Letterman)

War & Peace (1967, Sergei Bondarchuk)

A Zed and Two Noughts (1985, Peter Greenaway)

The Man with the Golden Arm (1955, Otto Preminger)

Maniac (1934, Dwain Esper)

Possession (1981, Andrzej Żuławski)

High Life (2018, Claire Denis)

Catch Me If You Can (2002, Steven Spielberg)

The Souvenir (2019, Joanna Hogg)

Gow the Killer (1931, Edward A Sailsbury)

Jurassic World: Fallen Kingdom (2018, JA Bayona)

Suicide Squad (2016, David Ayer)

Jaws of the Jungle (1936, Eddie Granemann)

*IT, Chapter Two (2019, Andy Muschietti)

Rocketman (2019, Dexter Fletcher)

Booksmart (2019, Olivia Wilde)

A Futile and Stupid Gesture (2018, David Wain)

Goodbye Lover (1998, Roland Joffé)

24 Hour Party People (2002, Michael Winterbottom)

Wild Women of Wongo (1958, James L Wolcott)

Body of Evidence (1993, Uli Edel)

Capricorn One (1978, Peter Hyams)

Identification of a Woman (1982, Michelangelo Antonioni)

Marihuana (1936, Dwain Esper)

*Ad Astra (2019, James Gray)

The Violent Years (1956, William Morgan)

Salvatore Giuliano (1962. Francesco Rosi)

Metropolis (2001, Rintaro)

Mom and Dad (1945, William Beaudine)

The Eye of Vichy (1993, Claude Chabrol)

Harper (1966, Jack Smight)

The House That Dripped Blood (1971, Peter Duffell)

The Fearless Vampire Killers (1967, Roman Polanski)

Plan 9 From Outer Space (1959, Edward D Wood Jr)

*Joker (2019, Todd Phillips)

Attack of the Crab Monsters (1956, Roger Corman)

Fracture (2007, Gregory Hoblit)

The Bedroom Window (1987, Curtis Hanson)

The Celluloid Closet (1995, Rob Epstein & Jeffrey Friedman)

Echoes in the Darkness (1987, Glenn Jordan)

No Way Out (1987, Roger Donaldson)

Pumpkinhead (1988, Stan Winston)

Corman’s World: Exploits of a Hollywood Rebel (2011, Alex Stapleton)

McLuhan’s Wake (2002, Kevin McMahon)

Taking Lives (2004, DJ Caruso)

Spine Tingler!: The William Castle Story (2009, Jeffrey Schwarz)

House on Haunted Hill (1959, William Castle)

The Tingler (1959, William Castle)

The Virgin Spring (1960, Ingmar Bergman)

Last House on the Left (1972, Wes Craven)

*Judy (2019, Rupert Goold)

Judgment at Nuremberg (1961, Stanley Kramer)

Cam (2018, Daniel Goldhaber)

Dolemite is My Name (2019, Craig Brewer)

Dolemite (1975, D’Urville Martin)

*The Lighthouse (2019, Robert Eggers)

The Defilers (1965, David F Friedman)

A Nightmare on Elm Street 2: Freddy’s Revenge (1985, Jack Sholder)

Paranormal Activity 2 (2010, Tod Williams)

Paranormal Activity 3 (2011, Henry Joost & Ariel Schulman)

Kill List (2011, Ben Wheatley)

Krull (1983, Peter Yates)

Ginger Snaps (2000, John Fawcett)

Blood Feast (1963, Herschell Gordon Lewis)

Primal Fear (1996, Gregory Hoblit)

The World of Apu (1959, Satyajit Ray)

Man of Steel (2013, Zack Snyder)

Superman: The Movie (1978, Richard Donner)

Coffy (1973, Jack Hill)

In the Shadow of the Moon (2019, Jim Mickle)

The Irishman (2019, Martin Scorsese)

Marriage Story (2019, Noah Baumbach)

Echo in the Canyon (2019, Andrew Slater)

Shock Corridor (1963, Samuel Fuller)

The Road to Wellville (1994, Alan Parker)

The Last Temptation of Christ (1988, Martin Scorsese)

*Knives Out (2019, Rian Johnson)

Howl (2010, Rob Epstien & Jeffrey Friedman)

Hustlers (2019, Lorene Scafaria)

Late Night (2019, Nisha Ganatra)

Reefer Madness (2005, Andy Fickman)

Soapdish (1991, Michael Hoffman)

Happy Together (1997, Wong Kar-Wai)

The Cloud-Capped Star (1960, Ritwik Ghatak)

Jodorowsky’s Dune (2013, Frank Pavich)

Thief (1981, Michael Mann)

Detour (1945, Edgar G Ulmer)

The Bank Dick (1940, Edward F Cline)

Blinded by the Light (2019, Gurinder Chadha)