CINEMANIA:

Man With a Movie Camera (1928, Russia, Vertov)

Ben Begins:

You just know this film rocks! It's so cool. But let me get this out of the way to begin with. I was definitely influenced by the soundtrack, which I really dug. A few months ago, the boys and I watched Metropolis and halfway through I finally turned off the sound; so inappropriate and bothersome did I find it. This time, I felt the music managed both to support the visuals, providing some suggestion of continuity and punctuation, and be independently interesting in its own right. I guess I'm not the only person to feel this way.

Ordet (1955, Denmark, Carl-Theodore Dreyer) 

Also: check out our review of Carlos Reygadas's Silent Light for more discussion of Ordet.

Dan Gets the Ball Rolling:

Ordet ("The Word") is, of course, a masterpiece, and all the praise it has received over the years is well-deserved.

Straw Dogs (USA, 1971, Sam Peckinpah)

Ben Begins:

I revisited Straw Dogs. I had wanted to see it ever since I was a kid and saw the controversy it generated on a TV talk show addressing violence in contemporary cinima. (The other film under discussion was Clockwork Orange). Finally got to Straw Dogs about ten years ago. I wasn't too impressed by it then and tried to steer Jacob away from it this time around. I was wrong. Very powerful and genuinely disturbing.

Stroszek (Germany, 1977, Werner Herzog)

Ben Begins:

So the film is just getting underway and immediately I'm wondering if it's a documentary or what because I noticed from the credits that the guy is playing himself and Errol Morris is mentioned and besides, the whole thing is sorta verite...

Come and See (Russia, 1985, Elim Klimov)

Ben begins:

I did take your advice. Jacob and I watched Come and See Saturday night while Max was at a slumber party. I believe he could have handled it. I say this not to be a dickwad about you recommending that he not view the film. My purpose is to indicate that I did not find the film THAT powerful.

I'm not sure why. It may turn out that it takes a while to sink in.

The Killing (1956, USA, Stanley Kubrick)

Ben sed:

So this is the reason we went to Pic-a-Flic in the first place. Jacob was curious to see this early Kubrick. Have you seen it? In case not, allow me to label it a Noir from 1956, which is interesting in itself because that genre was by then just about done. In retrospect, this can be seen in The Killing which adheres to Noir conventions only in part.

Silent Light (Mexico/France/Netherlands/Germany, 2008, C. Reygadas)

Ben sed:

I suppose this is the sort of film fans of Terrence Malick believe he makes when, in fact, he completely fails to do so. This is, of course, a swipe at Malick but it is also a back-handed compliment to Silent Light. It's a beautiful film. Not merely pretty eye-candy, like Malick makes. It's exquisite as a narrative and packed with delicate imagery.

The Son’s Room (Italy, 2001, Nanni Moretti)

Ben Begins:

I referenced Woody Allen in my review of Climates but such a reference is much more appropriate for The Son's Room given its even more urbane handling of domestic psychological pain. By the way, just for the record, it is my opinion that Climates is a better film than TSR because of the former's artistic committment to cinematic imagery impressed upon us with elegant compositions, framing and long shots.

Climates (Turkey, 2007, Nuri Bilge Ceylan)

Ben sed:

This is the first time I am certain that I am reviewing a film you have not seen, so I will be circumspect in order to prevent spoilage. Mind you, the thing is in no way plot-driven and there's really no story to spoil anyway. What is more - what is less, actually - I will be brief as well. For Climates itself does not have a lot of language in it and it feels right to me not to talk too much about it.

I've got a piece on Before Sunrise and Before Sunset published by the folks at The House Next Door.