• About Me
  • John Charet’s Favorite Westerns
  • My 233 Favorite Directors of All-Time (Alphabetical Order)

cinematiccoffee

~ Fine Conversations About Cinema

cinematiccoffee

Category Archives: Documentary

My Favorite Noah Baumbach Films

25 Wednesday Mar 2020

Posted by John Charet in 1990's Cinema, 2000's Cinema, 2010-Present Cinema, American Cinema, American Filmmakers, British Cinema, Cinema, Comedy, Documentary, Drama, Film Directors, Greatest, Lists, Noah Baumbach, Romance

≈ 5 Comments

Tags

De Palma (Documentary), Frances Ha, Greenberg, Kicking and Screaming 1995, Margot at the Wedding, Marriage Story, Mistress America, Mr. Jealousy, The Meyerowitz Stories, The Squid and the Whale, While We're Young

* * * * (Out of * * * *)

1.   Marriage Story (2019)

2.   The Meyerowitz Stories (2017)

3.   The Squid and the Whale (2005)

4.   De Palma (2015)
(co-directed with Jake Paltrow)
(Documentary)

* * * 1/2 (Out of * * * *)

1.   Frances Ha (2012)

2.   While We’re Young (2014)

3.   Mistress America (2015)

4.   Greenberg (2010)

5.   Margot at the Wedding (2007)

6.   Mr. Jealousy (1997)

7.   Kicking and Screaming (1995)
(no relation to the 2005 film)

My Favorite Stuart Cooper Films

24 Tuesday Mar 2020

Posted by John Charet in 1970's Cinema, American Filmmakers, British Cinema, Canadian Cinema, Comedy, Documentary, Drama, Film Directors, Greatest, History, Lists, Short Cinema, Thriller, War

≈ 2 Comments

Tags

A Test of Violence (Documentary Short), Little Malcolm, Overlord, The Disappearance

* * * * (Out of * * * *)

1.   Overlord (1975)

2.   Little Malcolm (1974)

3.   The Disappearance (1977)

* * * * (Out of * * * *) (Short Cinema)

1.   A Test of Violence (1970)
(Documentary Short)

John Charet’s Take On: Always on Sunday (1965)

25 Monday Mar 2019

Posted by John Charet in 1960's Cinema, British Cinema, British Filmmakers, Cinema, Documentary, Ken Russell, Music, Television, Uncategorized

≈ 5 Comments

Tags

1965, Always on Sunday, Ken Russell

Upon reaching new creative heights with his previous Monitor entry The Debussy Film, director Ken Russell decided to end his career there on a quieter note with Always on Sunday, which aired one month later in June of 1965. For those interested, The Debussy Film’s original airdate was 05/18/65, while Always on Sunday’s was 06/29/65. Even so, Always on Sunday remains significant for reportedly being Russell’s first television documentary/docudrama to come off as a pure dramatization of a famous artist’s life (read here). Following broadcaster Huw Wheldon’s departure from the aforementioned programme in 1964, Russell was now free (at least for the most part) to expand upon his creativity as a filmmaker – The Debussy Film’s film-within-a-film format stands out in particular. As with Elgar, Russell tells his story in a similarly straightforward fashion, but unlike that earlier effort, Always on Sunday finds him taking a more laid-back approach to it at the same time.

Whereas Elgar and (in some ways) The Debussy Film centered on the lives of famed composers, Always on Sunday centers on the life of late 19th-century to early 20th-century French post-impressionist painter Henri Rousseau (1844-1910). Oliver Reed serves as the film’s narrator (seriously, what a mesmerizing voice), while James Lloyd handles lead acting duties as Rousseau. Annette Robertson (Gaby from The Debussy Film) also lends welcome support as (yes) pint-sized French symbolist writer Alfred Jarry (1873-1907), whose voice is dubbed here by an uncredited male actor. The scenario was concocted by Melvyn Bragg, who previously collaborated with director Ken Russell on The Debussy Film.

If I can name one thing that director Ken Russell does really well in Always on Sunday, it would lie in the sincere simplicity of his storytelling. Prior to his flamboyant later films, Russell had continuously proven himself to be a master of subtlety with his early television work at the BBC (1959-1970). This one, Elgar and Song of Summer (my personal favorite) notably demonstrates this aspect. Always on Sunday’s slow but steady pacing debatably resembles Russell’s way of appreciating the finer things in life. One memorable running gag involves Rousseau hauling around one of his paintings around the countryside back and forth in a wagon of sorts. Another involves Rousseau placing one of his paintings in a museum it the hopes of rivaling the work of some of his contemporaries. The action then cuts to some examples via their individual artwork: Camille Pissarro, Paul Cezanne, Vincent van Gogh, Georges Seurat and Henri de Toulouse-Lautrec.

As is occasionally typical of his work, Always on Sunday sometimes feels like a semi-autobiographical account of it’s director Ken Russell. An early sequence depicting French elitists ridiculing Rousseau’s paintings foreshadowed the hostile relationship between Russell and his critics. At the same time, he sees a little bit of himself in Alfred Jarry (a reported supporter of Rousseau). One such scene comes in the form of Jarry’s irreverent play Ubu Roi – a scathing satire on the bourgeoisie. Another example occurs when one of Rousseau’s neighbors complains to Jarry that his pistol firing (he carries two of them) is endangering her children. Jarry’s response is delightfully insulting – If that should be the case madam, we’d hope you get some new ones, the bedroom’s over there. For some odd reason, I can’t help but feel that Russell would applaud his response.

Capturing all of Elgar’s simplicity and none of The Debussy Film’s originality, Always on Sunday is like a warmup to director Ken Russell’s subsequent television films. The following year in 1966, he directed an entry for Sunday Night (Don’t Shoot the Composer) and a stand alone (Isadora Duncan, the Biggest Dancer in the World). The others were episodes of Omnibus – Dante’s Inferno in 1967, Song of Summer in 1968 and Dance of the Seven Veils in 1970. Those last four titles (I have not seen Don’t Shoot the Composer) arguably rank as major works on Russell’s resume. Always on Sunday may seem minor compared to them, but as with all of Russell’s films, it is a great one regardless of ranking.

-(Star Rating)-
* * * * (Out of * * * *)

Here is a link to Part 1 of the film


Here is a link to Part 2 of the film


Here is a link to Part 3 of the film

John Charet’s Take On: The Debussy Film (1965)

23 Saturday Feb 2019

Posted by John Charet in 1960's Cinema, British Cinema, British Filmmakers, Cinema, Documentary, Ken Russell, Music, Television

≈ 8 Comments

Tags

1965, Ken Russell, The Debussy Film

According to Michael Brooke of BFI Screenonline (read here), The Debussy Film was originally intended to be director Ken Russell’s second feature film. Unfortunately, after the critical and commercial failure of his cinematic directorial debut French Dressing from a year earlier, Russell had to abandon this option. Left with no other alternative, he ended up selling it as a film for the BBC arts programme Monitor and the rest was history. Restricted to this period alone (1959-1965), The Debussy Film finishes up as the greatest of all his television films.

As with Elgar, The Debussy Film has director Ken Russell pushing the envelope on what could be allowed within the format of a television program. Unlike that earlier entry though, The Debussy Film is a completely different undertaking altogether. If Elgar played as something akin to a documentary on a beloved artist, then The Debussy Film plays out more like a film-within-a-film about one.

The Debussy Film opens with a filmmaker (Vladek Sheybal) giving directions to a child actor about his subject – He’s known hundreds of people in his life but because of quarrels and because a war was going on, there’s hardly anyone at the funeral. Furthermore, he states that France is about to collapse, and hardly anybody notices the death of a man who has now taken to signing himself “Musician of France”. His wife is there, of course, and Chouchou, his daughter, but hardly anyone else. Now, when the carriage gets there, to the end, I want you to run out into the road, look at the wreaths for the name, run back, and say to your mother, “it seems he was a musician”. Not too long afterwards, we cut to a background artwork painting of the Monitor episode’s subject with the title – The Debussy Film – and it’s subtitle – Impressions of the French Composer. Next, we get photographic stills in the background with voiceover/narration provided by it’s unseen British presenter. Here is what he says in his own words – Claude Debussy, born in poverty in 1862, died friendless in 1918. A film based on incidents in his life, his own words and his relationships – with Gabrielle Dupont, attempted suicide, Lilly Rosalie Texier, attempted suicide, Chouchou, died at the age of 13, Madame Bardac, wife of a wealthy banker, and the man who took most of these pictures, Pierre Louys, pornographer, novelist, photographer.

Beside casting himself in the role of Pierre Louys, the plot’s unnamed film director of this project casts four actors, who either go by the exact names of the characters that they are portraying – Claude Debussy (Oliver Reed) and Madame Bardac (Izabella Telezynska/Isa Taylor) – or at the very least, their nicknames – Gaby (Annette Robertson) and Lily/Lilly (Penny Service). Inevitably, throughout the production, reality (subtly or not so subtly) intertwines with fantasy, as Debussy – the actor – suddenly finds himself immersed in his subject of Debussy – the composer. This becomes clear in his relationships with Gaby, Lily/Lilly and Madame Bardac – the actresses – versus that of Gaby, Lily/Lilly and Madame Bardac – the lovers.

As to be expected from all (or at least some) of director Ken Russell’s shoestring works, The Debussy Film effortlessly overcomes every single limitation of it’s low-budget. A good portion of this arises from both Russell and his screenwriting partner Melvin Bragg’s decision to execute the scenario as a film-within-a-film. In addition, the two cleverly (If discreetly) reference Monitor’s use of voiceovers (think of Huw Wheldon’s narration in Russell’s Elgar) by using Vladek Sheybal’s filmmaker character as the occasional narrator of his very own subject.

To some extent, The Debussy Film comes off as an autobiographical/semi-autobiographical account of it’s filmmaker Ken Russell. If my argument is credible, then the plot’s nameless director could possibly serve as Russell’s fictionalized alter ego. Similar to him, Russell has always been fascinated by the lives of famous composers. Although the fictionalized character’s religious affiliation is never made clear, Russell (a converted Roman Catholic himself) is throughly fascinated with Catholicism like he is. Two notable sequences here include the filming of a woman being shot with arrows (a la Saint Sebastian) and another filmed one involving a mob of priests and nuns holding a life-size statue of both Mother Mary and Baby Jesus. Aside from statues, other examples come in the form of artwork throughout.

When it comes to individual set pieces, The Debussy Film features some of the most imaginative sequences that director Ken Russell ever conceived for television. Some of them are elegantly staged like the previously mentioned ones between Claude Debussy and his women (Gaby, Lily/Lilly and Madame Bardac); both within-and-out of the film-within-the-film. On the contrary, the climactic scene plays out like something from a German Expressionist horror film. Last, but not least, we get an inspired montage sequence set to Richard Wagner’s Ride of the Valkyries. In it, two people swing dance to Valkyries amid a mock duel between two actors. A push broom, a cane, toy dart guns and even hand-to-hand combat via (rather humorously) slapping are the weapons of choice. The action frequently cuts back-and-forth; from the aforementioned staged fight to two women playing with bumper cars at a carnival and then back again. The image of a cat quickly, albeit cartoonishly, jumping up and down – complete with sound effects – gives it an absurdist touch. With the exception of that last one, all of these scenes (as in Elgar) are accompanied by Debussy’s (the composer that is) musical compositions.

Elgar might have established Ken Russell as a fully fledged director, but The Debussy Film elevated him to that of a master filmmaker. The Debussy Film may not be my personal favorite of his television work (that honor goes to Song of Summer), but for his penultimate Monitor entry, Russell could not have delivered a better climax.

-(Star Rating)-
* * * * (Out of * * * *)

P.S. since I could not find part 1 of this film on youtube, I had to go to dailymotion.com to find it. Here is a link below to part 1

 

Here is a youtube link to part 2

 

Here is a youtube link to part 3

 

Here is a youtube link to part 4

 

Here is a youtube link to part 5

 

Here is a youtube link to part 6

John Charet’s Take On: Ken Russell at the BBC (1959-1970) – An Introduction

13 Wednesday Feb 2019

Posted by John Charet in 1960's Cinema, 1970's Cinema, Biography, British Cinema, British Filmmakers, Docufiction, Documentary, Film Directors, Ken Russell, Music, Television, Uncategorized

≈ 28 Comments

Tags

Ken Russell

Originally, I was going to post a review on another film, but I am currently suffering from a case of writer’s block on that right now. In the meantime and in an attempt to get my mojo back (so I can finish that review), I am going to post reviews on something a little more simpler, but no less complex. In this case, a series of TV bios on famous composers (among other types of giants).  

 

When anybody hears the name Ken Russell (1927-2011), the first words that come to mind are either flamboyant or controversial. A majority of the time, one could say that both terms can apply to him all at once. According to wikipedia’s entry on legendary British filmmaker Ken Russell (read here), these are at least two proper descriptions that can be applied to him. Nevertheless, let us rewind the clocks back to 1959 – 10 years prior to his 1969 breakthrough film Women in Love – a critically acclaimed adaptation of D.H. Lawrence’s equally controversial 1920 novel of the same name. From 1959 to 1970, Russell made documentaries/docudramas on celebrated composers (among other figures) for the British Broadcasting Corporation (a.k.a. the BBC – read here). He directed at least 22 of them for Monitor (1959-1965) and 3 of them for it’s official/unofficial successor Omnibus (1967-1970). In between his last for Monitor (Always on Sunday) and his first for Omnibus (Dante’s Inferno), Russell contributed one for BBC’s Sunday Night (Don’t Shoot the Composer) and another as a stand-alone TV film (Isadora Duncan, the Biggest Dancer in the World) in 1966. The following year, he would helm his second feature film (his first was the 1964 comedy French Dressing) entitled Billion Dollar Brain – a British Spy thriller for the American-based studio United Artists. Two days after Billion Dollar Brain’s American premiere (December 20, 1967 – read here), Dante’s Inferno (Russell’s first for Omnibus) premiered for UK television viewers on December 22 of that same year. Based on my calculations alone (read here), Russell directed at least 27 television bios for the BBC. Out of the 27, only 6 of them (at least to my knowledge) are available for home viewing in North America. They are in a 2008 DVD collection entitled Ken Russell at the BBC (read here). The available titles are: Elgar (1962), The Debussy Film (1965), Always on Sunday (1965), Isadora Duncan, the Biggest Dancer in the World (1966), Dante’s Inferno (1967) and Song of Summer (1968). The first three were for Monitor and the last two were for Omnibus. As I mentioned earlier, Isadora Duncan was a stand-alone TV film for the BBC. Russell’s last work for Omnibus during this period entitled Dance of the Seven Veils is not included in the box set. That last title incited a huge ton of controversy due to it’s portrayal of famed German composer Richard Strauss (1864-1949) as either a Nazi or Nazi sympathizer (read here). This angered the Strauss family so much that they withdrew the music rights for it. Apparently, the ban expires sometime this year in 2019 (read here).  Currently, the only way one can watch it is on a faded print posted on youtube.

Famed U.S. film critic Pauline Kael (1919-2001) once said of late master filmmaker Robert Altman, that he could make film fireworks out of next to nothing (read here). This sentiment can also be applied to that of director Ken Russell. Compared to Russell’s more outrageous later work (The Music Lovers, The Devils and Lisztomania to name just a few), the style of his early television films may initially come off as subdued on the surface. Deep down though, each of the available six films prove to be every bit as radical (albeit different) to those previously mentioned titles. Even with their low-budgets, Russell amazingly managed to break the rules on what was widely accepted within the documentary format. Instead of traditionally relying on still photographs and old film footage alone to tell his story, Russell would not only dramatize it through a re-enactment, but he would also (in the case of Elgar) use different actors to portray the lead character as he/she ages (read here and here). And this only marks just one of Russell’s many talents at successfully making the most out of very little.

My full review of Elgar – the first of director Ken Russell’s six films in the aforementioned 2008 DVD collection  – should be up sometime by tomorrow.

My Favorite Terry Zwigoff Films

15 Saturday Sep 2018

Posted by John Charet in 1980's Cinema, 1990's Cinema, 2000's Cinema, American Cinema, American Filmmakers, Biography, Cinema, Comedy, Crime, Documentary, Drama, Film Directors, Greatest, Lists, Music, Terry Zwigoff, Top 307

≈ 8 Comments

Tags

Art School Confidential, Bad Santa, Crumb, Ghost World, Louie Bluie

* * * * (Out of * * * *)

1.   Crumb (1994)
(Documentary)

2.   Ghost World (2001)

3.   Louie Bluie (1985)
(Documentary)

4.   Art School Confidential (2006)

5.   Bad Santa (2003)

My Favorite Agnes Varda Films

10 Monday Sep 2018

Posted by John Charet in 1950's Cinema, 1960's Cinema, 1970's Cinema, 1980's Cinema, 1990's Cinema, 2000's Cinema, 2010-Present Cinema, Agnes Varda, American Cinema, Anthology, Biography, Cinema, Comedy, Documentary, Drama, Film Directors, French Cinema, French Filmmakers, German Cinema, Greatest, Italian Cinema, Lists, Music, Romance, Short Cinema, Top 306, War

≈ 4 Comments

Tags

7p. cuis. s. de b. ...a saisir, Along the Coast, Black Panthers, Cinevardaphoto, Cleo from 5 to 7, Cleo from 5 to 7: Remembrances and Anecdotes, Daguerreotypes, Diary of a Pregnant Woman, Documenteur, Elsa la rose, Faces Places, Far from Vietnam, Happiness 1965, Jacquot de Nantes, Jane B. for Agnes V., Kung-Fu Master!, La cocotte d'azur, La Pointe Courte, Le lion volatil, Lions Love (and... Lies), Mur murs, One Hundred and One Nights, One Sings the Other Doesn't, Salut les Cubains, The Beaches of Agnes, The Gleaners and I, The Gleaners and I: Two Years Later, The Pleasure of Love in Iran, The so-called Caryatids, The World of Jacques Demy, The Young Girls Turn 25, Ulysse, Uncle Yanco, Vagabond, Women Reply, Ydessa the Bears and etc., You've Got Beautiful Stairs You Know

* * * * (Out of * * * *)

1.   Faces Places (2017)
(co-directed with JR)
(Documentary)

2.   The Gleaners and I (2000)
(Documentary)

3.   Vagabond (1985)

4.   Daguerreotypes (1976)
(Documentary)

5.   Cleo from 5 to 7 (1962)

6.   Jacquot de Nantes (1991)
(I saw it on an old VHS tape)

7.   The Beaches of Agnes (2008)
(Documentary)

8.   Happiness (1965)
(no relation to the 1998 film)

9.   Cinevardaphoto (2004)
(Documentary)

10. Far from Vietnam (1967)
(co-directed with Joris Ivens, William Klein, Claude Lelouch, Jean-Luc Godard, Chris Marker and Alain Resnais)
(Documentary Anthology)

11. Mur murs (1981)
(Documentary)

12. La Pointe Courte (1955)

13. Jane B. for Agnes V. (1988)

14. Documenteur (1981)

15. One Sings, the Other Doesn’t (1977)
(I saw it on an old VHS tape)

16. Kung-Fu Master! (1988)

17. The World of Jacques Demy (1995)
(Documentary) 

18. The Young Girls Turn 25 (1993)
(Documentary)

19. The Gleaners and I: Two Years Later (2002)
(Documentary)

20. One Hundred and One Nights (1995)
(I saw it on an old VHS tape)

21. Lions Love (and… Lies) (1969)

* * * * (Out of * * * *) (Short Cinema)

1.   Cleo from 5 to 7: Remembrances and Anecdotes (2005)

2.   La cocotte d’azur (1958)
(Documentary Short)

3.   Ydessa, the Bears and etc. (2004)
(Documentary Short)

4.   Ulysse (1983)
(Documentary Short)

5.   Salut les Cubains (1971)
(Documentary Short)

6.   Along the Coast (1958)
(Documentary Short)

7.   Black Panthers (1968)
(Documentary Short)

8.   Uncle Yanco (1967)
(Documentary Short)

9.   The So-called Caryatids (1984)
(Documentary Short)

10. Elsa la rose (1966)
(Documentary Short)

11. 7p., cuis., s. de b., …a saisir (1984)

12. Diary of a Pregnant Woman (1962)

13. Women Reply (1975)
(Documentary Short)

14. You’ve Got Beautiful Stairs, You Know (1986)

15. Le lion volatil (2003)

16. The Pleasure of Love in Iran (1976)
(Documentary Short)

My Favorite Wim Wenders Films

05 Wednesday Sep 2018

Posted by John Charet in 1970's Cinema, 1980's Cinema, 1990's Cinema, 2000's Cinema, 2010-Present Cinema, American Cinema, Austrian Cinema, Biography, Brazilian Cinema, British Cinema, Cinema, Crime, Cuban Cinema, Documentary, Drama, Fantasy, Film Directors, French Cinema, German Cinema, German Filmmakers, Greatest, Italian Cinema, Lists, Miniseries, Music, Mystery, Romance, Short Cinema, Sport, Swedish Cinema, Thriller, Top 306, Wim Wenders

≈ 4 Comments

Tags

Alice in the Cities, Beyond the Clouds, Buena Vista Social Club, Kings of the Road, Lightning Over Water, Notebook on Cities and Clothes, Paris Texas, Pina, Ten Minutes Older (Twelve Miles to Trona), The American Friend, The Blues (Soul of a Man), The Goalie's Anxiety at the Penalty Kick (a.k.a. The Goalkeeper's Fear of the Penalty), The Salt of the Earth, The Wrong Move, Wings of Desire

* * * * (Out of * * * *)

1.   Kings of the Road (1976)

2.   Paris, Texas (1984)

3.   Alice in the Cities (1974)

4.   Wings of Desire (1987)

5.   The Wrong Move (1975)

6.   The American Friend (1977)

7.   The Goalie’s Anxiety at the Penalty Kick (1972)
(a.k.a. The Goalkeeper’s Fear of the Penalty)
(I saw it on an old VHS tape)

8.   Lightning Over Water (1980)
(co-directed with Nicholas Ray)
(Documentary)

9.   Beyond the Clouds (1995)
(co-directed with Michelangelo Antonioni)

* * * * (Out of * * * *) (Short Cinema)

1.   Ten Minutes Older (2002)
(Segment: “Twelve Miles to Trona”)

* * * 1/2 (Out of * * * *)

1.   The Salt of the Earth (2014)
(Documentary)

2.   Pina (2011)
(Documentary)

3.   Buena Vista Social Club (1999)
(Documentary)

4.   The Soul of a Man (2003)
(Documentary)
(Episode of PBS’s “The Blues”)
(TV Documentary miniseries)

5.   Notebook on Cities and Clothes (1989)
(Documentary)

My Favorite Orson Welles Films

02 Sunday Sep 2018

Posted by John Charet in 1940's Cinema, 1950's Cinema, 1960's Cinema, 1970's Cinema, American Cinema, American Filmmakers, British Cinema, Cinema, Crime, Docufiction, Documentary, Drama, Film Directors, Film Noir, French Cinema, German Cinema, Greatest, History, Iranian Cinema, Italian Cinema, Lists, Mystery, Orson Welles, Short Cinema, Spanish Cinema, Swiss Cinema, Television, Thriller, Top 306, War

≈ 10 Comments

Tags

Around the World with Orson Welles (Television), Chimes at Midnight, Citizen Kane, F for Fake, Filming Othello, Macbeth 1948, Mr. Arkadin, Othello 1951, The Fountain of Youth, The Immortal Story, The Lady from Shanghai, The Magnificent Ambersons, The Stranger, The Trial, Touch of Evil

* * * * (Out of * * * *)

1.   Chimes at Midnight (1965)

2.   F for Fake (1973)

3.   Othello (1951)

4.   The Magnificent Ambersons (1942)

5.   The Other Side of the Wind (2018)

6.   The Trial (1962)

7.   The Lady from Shanghai (1947)

8.   Touch of Evil (1958)

9.   Citizen Kane (1941)

10. Mr. Arkadin (1955)

11. The Immortal Story (1968)

12. Filming Othello (1978)
(Documentary)

13. Macbeth (1948)

14. The Stranger (1946)

* * * * (Out of * * * *) (Short Cinema)

1.   The Fountain of Youth (1956)
(I watched it on youtube)
(Television)

2.   Around the World with Orson Welles (1955)
2a. Episode: “Pays Basque I (The Basque Country)”
2b. Episode: “Pays Basque II (La Pelote basque)”
2c. Episode: “Revisiting Vienna” (a.k.a. “The Third Man Returns to Vienna”)
2d. Episode: “St. -Germain-des-Pres”
2e. Episode: “Chelsea Pensioners”
2f. Episode: “Madrid Bullfight”
(Television)

Note: In case any of you readers are interested, Netflix is going to premier Orson Welles last film The Other Side of the Wind (1972-1976) in November (November 2, 2018). The film can best be described as both completed and uncompleted (read here for more info). Here is the link to the trailer in case any of you readers are interested below 🙂

My Favorite Apichatpong Weerasethakul Films

02 Sunday Sep 2018

Posted by John Charet in 2000's Cinema, 2010-Present Cinema, Apichatpong Weerasethakul, Cinema, Docufiction, Documentary, Drama, Fantasy, Film Directors, Greatest, Lists, Romance, Thai Cinema, Thai Filmmakers

≈ 2 Comments

Tags

Blissfully Yours, Cemetery of Splendour, Mysterious Object at Noon, Syndromes and a Century, Tropical Malady, Uncle Boonmee Who Can Recall His Past Lives

* * * * (Out of * * * *)

1.   Syndromes and a Century (2006)

2.   Cemetery of Splendour (2015)

3.   Tropical Malady (2004)

4.   Blissfully Yours (2002)

5.   Mysterious Object at Noon (2000)

6.   Uncle Boonmee Who Can Recall His Past Lives (2010)

← Older posts

Recent Posts

  • Moviedrome Mondays: Gothic (1986) and The Navigator: A Medieval Odyssey (1988)
  • Week Off
  • Moviedrome Mondays: Invasion of the Body Snatchers (1978) and Romance of a Horsethief (1971)
  • My Favorite William Wyler Films
  • Moviedrome Mondays: Cry-Baby (1990) and Lenny (1974)

Archives

  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • December 2017
  • October 2017
  • September 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • April 2015
  • November 2014
  • March 2014
  • October 2013
  • September 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • December 2012
  • November 2012
  • October 2012

Categories

  • 1920's Cinema
  • 1930's Cinema
  • 1940 Comedies
  • 1940's Cinema
  • 1950's Cinema
  • 1960's Cinema
  • 1970's Cinema
  • 1980's Cinema
  • 1990's Cinema
  • 2000's Cinema
  • 2010-Present Cinema
  • 2020 Cinema
  • Abbas Kiarostami
  • Abel Gance
  • Action
  • Adventure
  • African American Cinema
  • African American Filmmakers
  • Agnes Varda
  • Akira Kurosawa
  • Alain Resnais
  • Alan Clarke
  • Alan Rudolph
  • Albert Brooks
  • Alex Cox
  • Alexander Mackendrick
  • Alfonso Cuaron
  • Alfred Hitchcock
  • Alfred L. Werker
  • Algerian Cinema
  • American Actors
  • American Cinema
  • American Film Critics
  • American Filmmakers
  • Andre De Toth
  • Andre Techine
  • Andrei Tarkovsky
  • Andrzej Wajda
  • Animation
  • Anime
  • Anthology
  • Anthology Films
  • Anthony Mann
  • Apichatpong Weerasethakul
  • Arabic Cinema
  • Argentine Filmmakers
  • Armenian Cinema
  • Arthur Penn
  • Atom Egoyan
  • Australian Cinema
  • Australian Filmmakers
  • Austrian Cinema
  • Austrian Filmmakers
  • B Cinema
  • Bela Tarr
  • Belgian Cinema
  • Belgian Filmmakers
  • Ben Wheatley
  • Bernardo Bertolucci
  • Bill Forsyth
  • Billy Wilder
  • Biography
  • Black Comedies
  • Bob Fosse
  • Bong Joon-ho
  • Box Sets
  • Brad Bird
  • Brazilian Cinema
  • Brian De Palma
  • Brian Taylor
  • British Cinema
  • British Filmmakers
  • Bruno Dumont
  • Budd Boetticher
  • Buster Keaton
  • Cable/Television
  • Canadian Cinema
  • Canadian Filmmakers
  • Carl Theodor Dreyer
  • Carlos Reygadas
  • Chantal Akerman
  • Charles Burnett
  • Charlie Chaplin
  • Chicago
  • Chinese Cinema
  • Chinese Filmmakers
  • Chris Marker
  • Christopher Guest
  • Christopher Nolan
  • Christy Lemire
  • Cinema
  • Claire Denis
  • Claude Chabrol
  • Clint Eastwood
  • Comedies
  • Comedy
  • Compilation
  • Compilations
  • Concert Films
  • Crime
  • Crime Films
  • Cristian Mungiu
  • Cuban Cinema
  • Curt Oertel
  • Czech Cinema
  • Czech Filmmakers
  • D.W. Griffith
  • Damien Chazelle
  • Danish Cinema
  • Danish Filmmakers
  • Dario Argento
  • Dariush Mehjui
  • David Cronenberg
  • David Lowery
  • David Lynch
  • David O. Russell
  • Denis Villeneuve
  • Derek Jarman
  • Discussions of Cinema
  • Docufiction
  • Documentaries
  • Documentary
  • Documentary Shorts
  • Dolly Parton
  • Don Siegel
  • Douglas Sirk
  • Drama
  • Dusan Makavejev
  • Dutch Cinema
  • Dutch Filmmakers
  • Edgar G. Ulmer
  • Edgar Wright
  • Edmund Goulding
  • Elaine May
  • Elia Kazan
  • English Filmmakers
  • Epics
  • Eric Rohmer
  • Erich von Stroheim
  • Ernst Lubitsch
  • Errol Morris
  • Ethan Coen
  • Expressionism
  • F.W. Murnau
  • Family
  • Fantasy
  • Federico Fellini
  • Film Directors
  • Film Noir
  • Finnish Cinema
  • Forbidden Season
  • Francesco Rosi
  • Francis Ford Coppola
  • Francois Truffaut
  • Frank Borzage
  • Frank Capra
  • Frank Tashlin
  • Fred C. Newmeyer
  • French Cinema
  • French Filmmakers
  • Fritz Lang
  • G.W. Pabst
  • Gangster Films
  • Gaspar Noe
  • Gene Kelly
  • Gene Siskel
  • George A. Romero
  • George Abbott
  • George Miller
  • George Stevens
  • Georges Melies
  • German Cinema
  • German Filmmakers
  • Gillo Pontecorvo
  • Greatest
  • Greek Cinema
  • Greek Filmmakers
  • Guest Entries
  • Guillermo del Toro
  • Guy Maddin
  • Harold Lloyd
  • Hayao Miyazaki
  • Henri-Georges Clouzot
  • Henry Selick
  • Hirokazu Koreeda
  • History
  • Hong Kong Cinema
  • Hong Kong Filmmakers
  • Horror
  • Hou Hsiao-hsien
  • Howard Hawks
  • Hungarian Cinema
  • Hungarian Filmmakers
  • Icelandic Cinema
  • Ignatiy Vishnevetsky
  • Indian Cinema
  • Indian Filmmakers
  • Indo Canadian Filmmakers
  • Ingmar Bergman
  • Iranian Cinema
  • Iranian Filmmakers
  • Irish Cinema
  • Italian Cinema
  • Italian Filmmakers
  • Jacques Becker
  • Jacques Demy
  • Jacques Rivette
  • Jacques Tati
  • Jacques Tourneur
  • Jafar Panahi
  • James Whale
  • Jan Svankmajer
  • Jan Troell
  • Jane Campion
  • Japanese Cinema
  • Japanese Filmmakers
  • Jared Hess
  • Jean Cocteau
  • Jean Renoir
  • Jean-Luc Godard
  • Jean-Pierre Melville
  • Jerry Lewis
  • Jia Zhangke
  • Jim Jarmusch
  • Joe Dante
  • Joel and Ethan Coen
  • Joel Coen
  • John Carpenter
  • John Cassavetes
  • John Ford
  • John Frankenheimer
  • John Huston
  • John Landis
  • John M. Stahl
  • John Schlesinger
  • John Waters
  • John Woo
  • Johnny Mathis
  • Jonathan Demme
  • Jordan Vogt-Roberts
  • Josef von Sternberg
  • Joseph H. Lewis
  • Joseph L. Mankiewicz
  • Jules Dassin
  • Juzo Itami
  • Kathryn Bigelow
  • Keisuke Kinoshita
  • Kelly Clarkson
  • Kelly Reichardt
  • Ken Loach
  • Ken Russell
  • Kenji Mizoguichi
  • Kenneth Anger
  • Kim Jee-Woon
  • King Hu
  • King Vidor
  • Kon Ichikawa
  • Korean Cinema
  • Korean Filmmakers
  • Krzysztof Kieslowski
  • Larry Cohen
  • Lars von Trier
  • Leo McCarey
  • Leos Carax
  • Lina Wertmuller
  • Lists
  • Louis Feuillade
  • Louis Malle
  • Luchino Visconti
  • Luis Bunuel
  • Lynne Ramsay
  • Manoel de Oliveira
  • Marcel Carne
  • Mario Bava
  • Mark Neveldine
  • Mark Robson
  • Martin Scorsese
  • Masaki Kobayashi
  • Max Ophuls
  • Mel Gibson
  • Mexican Cinema
  • Mexican Filmmakers
  • Michael Cimino
  • Michael Powell and Emeric Pressburger
  • Michaelangelo Antonioni
  • Michel Gondry
  • Mike Leigh
  • Mikio Naruse
  • Miklos Jancso
  • Milos Forman
  • Miniseries
  • Mockumentary
  • Mohsen Makhmalbaf
  • Monte Hellman
  • Moviedrome
  • Music
  • Music Videos
  • Musical
  • Musicals
  • Mystery
  • Neo Noir
  • New Zealand Cinema
  • New Zealand Filmmakers
  • Nicholas Ray
  • Nick Park
  • Nicolas Roeg
  • Noah Baumbach
  • Norwegian Cinema
  • On the Side
  • Orson Welles
  • Otto Preminger
  • Ousmane Sembene
  • P.J. Hogan
  • Park Chan-wook
  • Paul Mazursky
  • Paul Thomas Anderson
  • Paul Verhoeven
  • Pedro Almodovar
  • Performance Film
  • Peter Bogdanovich
  • Peter Jackson
  • Peter Watkins
  • Phil Karlson
  • Philip Kaufman
  • Pier Paolo Pasolini
  • Pierre Etaix
  • Polish Cinema
  • Polish Filmmakers
  • Portuguese Cinema
  • Portuguese Filmmakers
  • Pre-1920's Cinema
  • Preston Sturges
  • Quentin Tarantino
  • Rainer Werner Fassbinder
  • Raoul Walsh
  • Religious
  • Remakes
  • Rene Clair
  • Richard Fleischer
  • Richard Lester
  • Richard Linklater
  • RIchard Roeper
  • Robert Aldrich
  • Robert Altman
  • Robert Bresson
  • Robert J. Flaherty
  • Robert Lyford
  • Robert Wise
  • Roberto Rossellini
  • Roger Ebert
  • Roman Polanski
  • Romance
  • Romanian Cinema
  • Romanian Filmmakers
  • Roy Andersson
  • Russ Meyer
  • Russian Cinema
  • Russian Filmmakers
  • Sam Peckinpah
  • Sam Raimi
  • Sam Taylor
  • Samuel Fuller
  • Samurai Films
  • Satoshi Kon
  • Satyajit Ray
  • Science Fiction
  • Scottish Cinema
  • Scottish Filmmakers
  • Senegalese Cinema
  • Senegalese Filmmakers
  • Sequels
  • Serbian Cinema
  • Serbian Filmmakers
  • Sergei Eisenstein
  • Sergio Corbucci
  • Sergio Leone
  • Sergio Sollima
  • Shohei Imamura
  • Short Cinema
  • Short Film
  • Short Films
  • Sidney Lumet
  • Silent Cinema
  • Slovak Cinema
  • South Korean Cinema
  • South Korean Filmmakers
  • Soviet Cinema
  • Soviet Filmmakers
  • Spanish Cinema
  • Spanish Filmmakers
  • Special Interest
  • Spectacle
  • Spike Jonze
  • Spike Lee
  • Sport
  • Sports
  • Sports Films
  • Stanley Donen
  • Stanley Kubrick
  • Status
  • Stephen Chow
  • Steve James
  • Steven Soderbergh
  • Steven Spielberg
  • Stuart Gordon
  • Student Cinema
  • Surrealism
  • Swedish Cinema
  • Swedish Filmmakers
  • Swiss Cinema
  • Swiss Filmmakers
  • Taiwanese Cinema
  • Taiwanese Filmmakers
  • Takashi Miike
  • Ted Post
  • Television
  • Terence Davies
  • Terrence Malick
  • Terry Gilliam
  • Terry Jones
  • Terry Zwigoff
  • Thai Cinema
  • Thai Filmmakers
  • The Film Club
  • The Quay Brothers
  • Thriller
  • Thrillers
  • Tian Zhuangzhuang
  • Tobe Hooper
  • Todd Solondz
  • Tony Richardson
  • Top 10
  • Top 100
  • Top 101
  • Top 272
  • Top 304
  • Top 305
  • Top 306
  • Top 307
  • Top 308
  • Top 309
  • Top 310
  • Top 312
  • Top 313
  • Top 314
  • Top Directors
  • Tunisian Cinema
  • TV Films
  • Uncategorized
  • Victor Sjostrom
  • Vincente Minnelli
  • Vittorio de Sica
  • Walter Hill
  • War
  • War Films
  • Werner Herzog
  • Wes Anderson
  • West German Cinema
  • Western
  • Westerns
  • William Friedkin
  • Wim Wenders
  • Wong Kar-wai
  • Woody Allen
  • Yasujiro Ozu
  • Yasuzo Masumura
  • Yugoslavian Cinema
  • Zack Snyder

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Blogroll

  • Antagony & Ecstasy
  • Brian Tallerico
  • Chicago Film Discussion Group
  • Collin Souter
  • Combustible Celluloid
  • Criterion Collection
  • Eric Melin
  • Erik Childress
  • Farran Nehme
  • Filmspotting
  • Ignatiy Vishnevetsky
  • Jonathan Rosenbaum
  • Josh Larsen
  • Laura Emerick
  • Mark Dujsik
  • Matt Pais
  • Michael Glover Smith
  • Michael Phillips
  • Michael Wilmington
  • Nick Digilio
  • Peter Sobcynski
  • Ray Pride
  • Richard Roeper
  • Roger Ebert
  • Susan Doll
  • The Criterion Collection
  • The Dissolve

Blog at WordPress.com.

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy