❤❤

🎉🎉🎉

Is movie ko kese dekhe

Such a great and deeply touching film and visualization of pure Love in all forms. Thx to all involved, u did a fantastic job

Beautiful analysis, very very informative

Rosamond pike doesn’t normally say any horrible words. It’s the first time that I’ve heard Rosamand pike swear when she isn’t really the one who really swears

When she said that horrible F off in this video was that film that she was talking about an 18 film or was it about a 16 age rated film

In this video I heard her say F off

就像赵一样，影片用最单纯的形式，描绘最复杂的世界。赵做的很好，甚至好的让“复杂的商业世界”不好意思。赵，是未来的中国人，最有希望的中国人！她比“江湖的中国人”，如姜文、马未都、冯小刚要强得多；她也比仅仅“有钱的中国人”，如王思聪等人，强更多。赵有生命力，其他中国人没有。

Марта , спасибо за фильм ОНЕГИН❤❤❤

2:50 I think casting mostly non-professionals is what made these films unique. We get to step into their shoes and see how their world operates.

One of the best movie ❤

This looks amazing, and I am bookmarking it to watch later. And will avidly follow "Reclaim the Frame" on the name alone! Thank you.

Best in show 🎉🎉

Como la puedo ver

Very interesting

kzbin.info/www/bejne/ZnTZiKagg8mbbpo Full Movie

From such a beatiful and talented mother could only be born a son as Hero

Where is the quote where she talks about superheroes from a minute 5.32 from?

Fabulous interview - sound questions and succinct and rather beautiful answers.

(the text) Kelly Reichardt is an American independent filmmaker celebrated for a neo-realist meditative cinema focusing primarily on disenfranchised white characters enmeshed in some sort of crisis. Both intimate and structural, her films dwell on deceptively small stories, such as the lost dog in "Wendy and Lucy," the difficulties of sustaining old friendships in "Old Joy," the theft of a cow’s milk in "First Cow," or fragments of unrelated lives in "Certain Women." Reichardt excels at sensing the reverberations of the long disaster of settler colonialism in its social, economic, environmental, and metaphysical dimensions at the micro scale of the quotidian, the banal. The opening scene of "Meek's Cutoff" is paradigmatic of her ability to capture worlds on the brink. White settlers set on going west are crossing a river, an enterprise whose durational qualities are captured in long terms. They walk slowly and precariously against the waters, the weight of their own body and soaked clothes, of their belongings on their head or at arm’s length, and the slipperiness of the river's bed. Yet the presence of a caged canary establishes an exquisitely absurd contrast between settler attachments to signs of indulgence and mastery and their current precariousness. Ironically most of the arduous journey from that moment on will be in arid brushes[?] and salt flats in search of the very water that threatened to submerge them. Most of their processions, including the bird, either renounced or lost. Significantly, among the belongings thrown away figures a clock, a particular claim on time, coordinates, and certainty. Reichardt is most recognizable for the sense of time she curates. Often defined as “slow cinema,” that is, in the words of critic Jonathan Romney, “a certain rarified intensity in the artistic gaze that downplays event in favor of mood, evocativeness, and an intensified sense of temporality.” Slowness refers here to an approach, a softness and lingering of the cinematic gaze, and diegetic gestures, an attunement asked of the viewers rather than an absolute metric. In Reichardt's work slowness is also the melancholic mood of a neoliberal moment charged with suspended and festering aspirations, disenchanted with the linear telos of big plans and big narratives, but still mourning them. In "Night Moves," in which three environmental activists blow up a hydroelectric dam, she draws attention to the strenuous labor of making the explosion happen rather than the explosion itself which takes place off-screen. It sounds muted and almost drowned out by the breathing of the protagonists. Reichardt concerns herself with the minor frequencies of the myriad small detonations of an everyday life in crisis and their reverberations or lack thereof. “Events” generally fail to take hold but tension is everywhere simmering under the surface, though never quite erupting. Often dwelling in places in excess of narrative demands, her sensuous camera - as in, close to the senses - refuses to romanticize the environment while also displacing the agential human project to think other sites of efficacy. Her sonorous landscapes are thus not just whistling, rustling, chirping, but also full of buzzing, humming, drilling, and grinding. In the cacophony of the entangled postindustrial, agricultural, and suburban soundscapes of Oregon, Montana, and the Florida everglades, the volubility of animals, objects, machines, laboring bodies, radios gestures underscore the sparseness of words exchanged. Traditional approaches to her filmography often stresses the 12-year hiatus which separates her first feature from her later ones with s shift in tone, style, and mode of production. The post- River of Grass work is less satirical, minimalist, attached to particular recurring geographies, self-edited and produced with a small set of collaborators such as producer Todd Haynes, screenwriter Jonathan Raymond, and actress Michelle Williams. Yet, enduring predicaments traverse Reichardt’s oeuvre. Maybe more than any other, she traffics in popular signs and idioms of Americanness - the wagon, the car, the road, the gas station, the diner. That is, elements of mobility and sites of transit, while also undermining them at every turn as she delivers an autopsy of the American dream they used to scaffold. Reichardt's chronicles of U.S. failures register only in so far as she focuses on subjects whose upward mobility had come to signify the pulse of the nation, rather than populations who were never meant to be folded into its logics of conquest. There is much to be said about how indigenous and black characters figure in Reichardt’s work but I make the choice to focus on whiteness as an often unmarked category of analysis. Reichardt frames her cinema in the wake of the Bush elections and the kinds of liberal pessimisms brought by these conservative, warmongering, and neoliberal administrations. Critic Elena Gorfinkel notes the “aesthetics of austerity” which pervades her films in terms of budget and style, an economy of means in which every gesture becomes intensely charged with meaning. For the primarily white disenfranchised characters populating the films American idioms of progress remain powerful structures of identification even as the infrastructure to materialize such progress has disappeared. The films deploy a pessimism at the level of aesthetics and narrative structure which counters the cruel optimism of their protagonists, asking what might be done in a world in which the certitudes and protections of racial privilege no longer prevail. Westerns, road movies, and crime films are foundational cinematic genres in which America narrates itself. Reichardt disrupts all three. In "First Cow" and "Meek’s Cutoff" she departs from westerns in her complex portrayal of gender, reflecting on the forms of quiet, soft masculinity which were also part of the fabric of settler colonialism, and the complicity of white women and their silent witnessing or active participation. Contrary to the large and unrestricted panoramas of mainstream westerns, she selects a boxier 4 : 3 aspect ratio eschewing monumentality, as hanged laundry and tents invade the frame. These obstructed framings of the landscapes hint at the restricted, colonial cosmos which links domesticity and domestication of the land. In "River of Grass," a satire of the crime films of the 1990s, and described by Reichardt as, “a road movie without the road, a love story without the love, and a crime story without the crime,” the police appear as a fundamentally useless and parasitic institution. A cop loses his gun, only for his bored daughter to encounter it and accidentally shoot at a black man with it. Unaware that the bullet missed, she tries to skip town but never quite manages to do so as a toll gate forces her into a circuitous route and traffic stalls her exit. In "Wendy and Lucy," Wendy’s dreams of mobility are constantly deferred. Her car breaks down, she is arrested for shoplifting, and loses her dog. The arrested time of transit becomes full of weight and urgency. Throughout the movie, Wendy is framed in isolation, fading into the depressed landscape of the decaying postindustrial town, as the color palette of the clothes she hasn't been able to change in days echoes her bleak surroundings. This is not simply that Reichardt’s work puts destination in crisis. Arrival is also a pyrrhic victory, and even as the risks the characters take are rarely rewarded, the emphasis is on process rather than outcome. In "Old Joy" and "Certain Women," arrival failed to provide a sustained ferment for strained friendships or emerging connections. Jamie, who drove eight hours to see Beth, leaves as her feelings are unrequited. If Beth is a rare example of social mobility, she also exemplifies another kind of pyrrhic victory. Between two jobs and a commute, her entire life is absorbed by the instrumental time of capitalism, a time of social dislocation, fragmentation of the self, which leaves her perpetually out of sync with her surroundings. The thwarted desires for change which animates Reichardt's films question the kinds of ethical relations possible in a world disabused or disillusioned with whiteness and its organizing myths of the “good life,” a world in which manifest destiny has left the stage for some, and only uncertainty remains.

I watched Pleasure myself and this is a great essay. However, I interpreted the last scene as her becoming the male gaze embodied in mainstream adult films. She engaged with Eva the same way male stars did with her. So, not only did I take that away, I also took that even in a lesbian scene, the male gaze is always there in mainstream adult films.

When it came to weaponizing sarcasm, Molly Ivins engaged in full-on "open carry"! 🙂

Only 158 views, and no prior comments? Me, I used to read Molly Ivins columns all the time; I see her name and I click "like". There's a good C-span interview with her on The Film Archives Channel on KZbin. She's so animated and funny that she even gets the famously stiff, wooden interviewer Brian Lamb to relax and loosen up.

You can really tell how proud she is of what they - what she - created. As she should be! It is so impressive what thought, research and accuracy was put into this and makes me want to just go back and watch everything in slow motion to really take it in. This movie truly revolutionised cinema, there is a whole new bar for movies now!

This was a great interview rich in thought and creativity. Pure artistry.

More Billie Piper: ​kzbin.info/www/bejne/fafSZI2hqcZro7c

Savner filmen Love child. Den gikk på TV kanalen TV 2. Nå må kanalene bli enige om pris,sikkert flere som vil se fortsettelse av den filmen !

I disagree with the framing of this interview. As a man in my mid 30s I related very deeply with Rare Beasts. While understanding it was obviously a look into a woman’s life and mind. But men both in fiction and in life are just as stuck into a box and just as expected to never ever discuss the pain and confusion inside us. Obviously the world we live in today is different from that of our parents and we still live in that old worlds shadow. But I didn’t find this to be a woman’s story but a human story that focuses on a woman. If I had watched this interview before the film, I wouldn’t have wanted to watch the film. That would have been a shame.

Delightful interview. Lovely movie.

I have watched many interviews with Celine and she is having to explain this many times and seems to always take the opportunity to brilliantly and gracefully teach and explain her vision. She is hoping this film changes the options regarding conflict, power, equality, consent, desire and how those stories are told on film. I cant get enough of her. This film is Beautiful.

I’m saddened to hear that Alfie lost a parent coz I did as well earlier this year and just like how people are different, so too is the individual way we grieve. His surname is Irish I think, and being half Irish myself, I’d be interested to know if Alfie’s got any Irish ancestry as well? I’m really rooting for this actor on EastEnders so, as I’m sure he was already anyway, I reckon Alfie’s dad would be massively proud of him from wherever he’s gone to now. He’d probably be like, “ha ha, my boy’s on EastEnders”, well chuffed. Rooting for you coz Liam Butcher definitely needed rebooting in my opinion. Just be careful of your aunt Janine though, Bianca would’ve likely belted her by now. There’s something about the newcomers recently, it’s actually quite rare that I’ve taken to a lot of them so quickly. I had every reason to dislike Sharon’s brother Zack, for example, but after about 5 minutes, he won me round completely, the same goes for Stacey’s new wife and someone else who I can’t remember the name of. The last time I think this happened was probably with Danny Dyer and the Carter clan because I liked Mick and his family practically on sight.

I knew Kim at Essex University and I was very interested to see this excellent film about the Mafia last year in Dublin. I was in Sicily a lot between 1980 and '82, dut to involvement with the Italian peace movement. The Americans were planning to put a cruise missile base in Comiso and I went there several times and took part in a hunger strike there. There were at least 2 political murders while I was there, Pio la Torre was killed by the mafia, and also General Alberto dalla Chiesa. The latter was especially scary because I was actually in Palermo. In fact on the 3rd of September 1982 I was on my way back through Palermo after visiting Comiso. There was a man in Palermo called Umberto Santino who ran or maybe still runs an anti mafia library called “Centro Documentazione Giuseppe Impastato” which is named after Giuseppe Impastato who was a young activist murdered by the mafia. That day Umberto ran me to the airport and we stopped at an open air pizzeria which was run by Giuseppe Impastato’s brother Johnny. We were sitting outside eating pizza and two men came into the compound and had a brief chat with Johnny and then came over to our table and told us that General dalla Chiesa had just arrived at Palermo airport and on his drive into town a motorbike had pulled alongside him and machine gunned himself, his young wife and his driver to death.

Brilliant interview. 💕😎🙂

Thanks for this beautifully crafted video essay. Please do more...

madame bovary was a 19th century revolutionary porno she has tons of sex in the book and ends up killing herself as she doesn't want to be poor and wed to a small town doctor. The book is painful to even think about, a depressed woman being the centre of it all, who finds joy in being used by a duke and freedom and truth in death.

Caitlyn moran's so cool andbillie's so posh she has such a posh accent posho posho posho

ThAnX for this interview.

How to deal with IA on a deeper level: : kzbin.info/www/bejne/pofXgZ5mrKqoY8k ( George Kavassilas)

I was triggerd by the words from brilliant Sylija Seres in this great film: "Almost the gift of AI now, is that it will force us collectively to think through, at a very basic level, what it means to be human?". If you want an aswer to this basic question , and this will blow your mind, I can give you a link, to somebody who can help you in this process. because we have no idea how powerfull a real human being is. it is far beyond this reality. Greeting from the Netherlands!

Loved watching this. Thank you! x

Can we please stop talking about men and woman in groups I get sometimes we have different experiences but we need to include everybody and stop dividing us that’s something so great patty Jenkins did with Wonder Woman and just the way she spoke about it in interviews she made it feel so equal, I love cate but come on🙄

Really in awe with this lady's thought process, intellectuality & intelligence

I watched this last night and thought it was fantastic. Uncompromising, bittersweet, hilarious yet haunting, a great debut.

Sweet!

Wowww fantastic video essay! I know how much effort these take as I also make video essays myself. I just finished all of Zhao's filmography last night with Songs my Brothers Taught Me. This is a fantastic video showing off her filmography. Anyway great video, subbed :)

Beautiful essay...I cannot believe I’m the first to comment! Margarita Milne did a wonderful service to capture here Chloe Zhao’s many essences as a filmmaker. 🌟 I just finished experiencing The Rider. It’s excellent in everyway, a story told slowly, empathetically and never boring. It’s so refreshing to witness intimate character details and subtle emotion that’s so often lost in most other films. 🌟 Nomadland is a great movie although Songs My Brothers Taught Me is my favorite. It culminated to such a strong and beautiful ending! 🌹

Thank you for sharing. I find it so nurturing and important to establish a sense of connection between women in the filmmaking industry.

Thank you Celine. Your so freaking gorgeous, talented. Can’t wait till your next movie. Will Adele or Noemi ever work together again??

The Souvenir (2019) ❅ f'u"l'l M'o'V'l"e ❅ ➽ cinemashowhd.blogspot.com/tt6920356/yyFM -All Subtitle Available Ruben et Lou, ensemble à la ville comme à la scène, sillonnent <br>les Etats-Unis entre deux concerts. Un soir, Ruben est gêné par<br> des acouphènes, et un médecin lui annonce qu'il sera bientôt sourd. <br>Désemparé, et face à ses vieux démons, Ruben va devoir prendre une décision <br>qui changera sa vie à jamais.