| cache |
[Oct. 9th, 2006|09:26 pm] |
as i've said before, i prefer to go into a movie not knowing anything. however, if i still come out with a few questions, particularly with a film that intrigues me, then i'm gonna try and find those answers. thank goodness for the internet.
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i remember reading somewhere that the end of this film was eerie. so when i got to the end of the film, i was like, what the hell is eerie about this? rather than watch it again, i figured that i probably just missed something. afterall, im watching it on a television at home, and it would be totally clearer if it was on the big screen. well, i figured correct, because it looks like the two sons are talking to each other like good ol' buddies. but that of course means there are more questions. but at least at this point, i know what the questions are. someone said that it's like antonioni, because you really have to be paying attention. i think that's right. because the dude on the internet had to blow up the picture to point it out. like, in lavventura, i wouldve never known to look for that boat if i didnt listen to the audio commentary
apparently the guy's son is also somewhere in the swim scenes- perhaps the coach? or someone who looks like him, which could be a device to psych you out. i'll have to go back and check out all these scenes.
and talk about symbolic, i never knew that france's official bird is a chicken
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man, what i want to know is where did this stalker get his video tapes? i mean, vhs doesnt record that well!
this is the fifth film i've seen from the 05 cannes fest (competition films; if you count me you and everyone we know or whatever and matchpoint, i guess that would make it seven). i remember reading all about the fest and how the press wanted this film to win it all. since i've been following it (which hasnt been very long) it seems like the film that the press usually loves never wins the palme d'or. barbarian invasions didnt win. and this year babel didnt win. i believe a lot of people also expected 2046 to win, also (at least screen daily picked it as the best film that year). anyway, i would say this, l'enfant, and tale of cinema are great films, broken flowers is good, and three burials sucked. on one hand, it's completely ridiculous to have artists compete against each other; on the other hand, it's fun, particularly for film fans-it gives you something to talk about.
this is the fourth haneke film i've seen. i like it a lot, but i probably like code inconnu more. piano teacher is okay lang (at least i thought it was interesting), but not really my kind of film. and time of the wolf i didnt really care for. looks like he's remaking one of his own films into an american feature. why? well, at least this way, if it sucks, at least it sucks on his own terms. but then again, maybe he saw weaknesses in the original, and saw this as an opportunity to make it better. but i like to think of it in the way that billy corgan does: once you finished recording a song, that's it. don't try to re-record it in the future. that would be like when styxx re-recording lady. likewise, why would you re-make your own film? but hey, at least it's haneke re-making it, instead of some hollywood poseur. |
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| Comments: |
From: (Anonymous)
2006-10-30 02:00 am (UTC)
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barry gifford mentioned that cache is similar to the lost highway with the video tape angle by an unknown stalker… i’m curious to see cache now to compare the two films.
you're right (and i guess barry giffor is too!). although, i will say that lost highway, when it changes midstream, it becomes a film that only lynch could have made! whereas cache, you dont have that kind of change. the genius and weirdness of lynch. | |
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