Bêtes Noires ( particularly disliked films or filmmakers )
Fake pros or endowed geniuses? ? Perahps I'm not the only naysayer on these cult stars, or bête-noire vocations.
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Former female impersonator who entered films in 1917 as an actor, turned to directing in 1922 and made some of the most formally brilliant Japanese films of the following decades. The few of Kinugasa's early works to have reached the West betray a highly mature, sophisticated talent. His best-known silent films are _Kurutta Ippeji (1926)_, an old print of which was found by Kinugasa in his attic and re-released in the 1970s, and Crossroads (1928), the first Japanese film to be commercially released in Europe. Both have been hailed for their inventive camera work, which has been compared to that of the celebrated German expressionist films being made during the same period. (It was not until 1929 that Kinugasa himself traveled abroad and encountered European directors and their films.) In the 1950s and 60s Kinugasa made a number of period dramas noted for their sumptuous color and imaginative use of the wide screen; Gate of Hell (1953) was named best film at the 1954 Cannes Film Festival and won an Oscar for best foreign film.1926 film A Page of Madness (Kurutta ichipeiji) is celebrated as a masterpiece. If you think today’s Japanese films are weird, go back 100 years and see it. The famous avuncular father of Japanese weirdness, Kinugasasan, kinda conman trying to translate Western avant-garde into Eastern vanguard , took to Surrealism like a squid would take to playing ukelele. A Page Of Madness is nothing but notoriously weird. Oddly enough, Teinosuke Kinugasa buried a copy in his garden during WW2 and forgot about it until the 1970's. Understandingy enough.- Writer
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Probably the most ambitious and visually distinctive filmmaker to emerge from Denmark since Carl Theodor Dreyer over 60 years earlier, Lars von Trier studied film at the Danish Film School and attracted international attention with his very first feature, The Element of Crime (1984). A highly distinctive blend of film noir and German Expressionism with stylistic nods to Dreyer, Andrei Tarkovsky and Orson Welles, its combination of yellow-tinted monochrome cinematography (pierced by shafts of blue light) and doom-haunted atmosphere made it an unforgettable visual experience. His subsequent features Epidemic (1987) and Europa (1991) have been equally ambitious both thematically and visually, though his international fame is most likely to be based on The Kingdom (1994), a TV soap opera blending hospital drama, ghost story and Twin Peaks (1990)-style surrealism that was so successful in Denmark that it was released internationally as a 280-minute theatrical feature.What Trier achieved is vanguardism for the naif. Dogville, for example, is an abstract, obtuse, unsympathetic, and whimsical joke told by a dancing jester wearing cement shoes. There's a lot of weird shit going on in Lars Von Trier's films, which are sometimes corny, often weird.- Director
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Vera Chytilová was born on February 2, 1929, in Ostrava, Czechoslovakia (now Czech Republic). She studied philosophy and architecture in Brno for two years, then worked as a technical draftsman, a designer, a fashion model, a photo re-toucher, then worked as a clapper girl for Barrandov Film Studios in Prague. There she continued as a writer, actress, and assistant director.
She was denied a scholarship, or even a recommendation from Barrandov, but she took the admissions tests at FAMU and was accepted. From 1957-1962 she studied film directing under Otakar Vávra, who also taught Jirí Menzel, Milos Forman, Jan Nemec, and Ivan Passer. In 1962 she graduated as director from Film Academy (FAMU) in Prague. Her graduation film 'Strop' (Ceiling 1962) and the following film 'Pytel blech' (A Bagful of Fleas 1963) were "staged" improvisations with non-actors. In 1966 Chytilova and her husband, 'Jaroslav Kucera', made a witty surrealist comedy Daisies (1966), which was immediately banned, but then was released in 1967, and won the Grand Prix at the Bergamo Film Festival. She remained in Czechoslovakia after the events of 1968, when her colleagues Milos Forman, Jan Nemec, and Ivan Passer emigrated. Her films were often "shelved" for reasons of political censorship. For six years Chytilova was banned from making films. In 1976 she wrote a letter of complaint to President Gustav Husak, describing her artistic position. After some behind-the-scenes influence by her supporters, Chytilova was allowed to make a low-budget Hra o jablko (1977), which won a Silver Hugo at Chicago Film Festival.
Chytilova belongs among the foremost directors of the 1960's Czech New Wave, which was influenced by both the French New Wave and Italian Neo-Realism. Her films were acclaimed for visual experimentation and for bold unmasking of the moral problems of contemporary society. Her art belongs to what Sergei Eisenstein described as "intellectual cinema", that embraces the mix of "avant-garde", "cinema verite", "formalism", "feminism", or "happening" and, with a good deal of humor, it spreads beyond definitions. Chytilova's films often present a multi-layered plethora of visual associations that encourages the viewer to make active interpretations. She survived through the political turbulences in Czechoslovakia and has been a highly original and uncompromising filmmaker.It’s hard to believe that Chytilova's Daisies wasn’t produced under the influence of drugs. Made years before and half a world away from Woodstock’s Feast of Love, this proto-flower power representative captured the anarchic spirit of Sixties psychedelia; described as a feminist manifesto, a consumerist satire, and a Dadaist collage, it's certain that nobody — not even the director herself—knew what Daisies was about. Did it matter? Probably yes. Even if the film had been called, for example, ¨Shitty shitty bang bang¨- Even substituting CGI for actually disabled people, nobody in modern-day Hollywood would have the balls to remake ¨Freaks.¨ Fortunately so. The intrinsic message in ¨Freaks¨ is, life is hardly fair for everyone; some people are born with no legs. An intrinsic message is, the aesthetic politics of race, with its eugenics programs, are the monopolies of both totalitarian regimes (like Italian fascism, German Nazism) and neoliberal democracies that encourage a disciplinary pedagogy of race as an essential element for the identity designing of mankind. Mr. Browning maybe meant well, nevertheless Hell is full of good intentions, and movies are full of edifying conmen.
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Maya Deren came to the USA in 1922 as Eleanora Derenkowsky. Together with her father Solomon Derenkowsky, a psychiatrist, and her mother Maria Fidler, an artist, she fled the pogroms organized by the Bolsheviks against the Jews. She studied journalism and political science at the Syracuse University in New York, finishing her BA at the New York University (NYU) in June 1936, and then received her MA in English literature from the Smith College in 1939.
In 1943, she made her first film Meshes of the Afternoon (1943), co-starring with Alexander Hammid. Through this association, at Hammid's suggestion, she changed her name to Maya, meaning "illusion." Overall, she made six short films and several incomplete films, including Witch's Cradle (1944) starring Marcel Duchamp.
Deren is the author of two books, "An Anagram of Ideas on Art, Form, and Film" 1946 (reprinted in "The Legend of Maya Deren," vol 1, part 2) and "Divine Horsemen: The Living Gods of Haiti" (1953)--a book that was made after her first trip to Haiti in 1947 and which is still considered one of the most useful on Haitian Voudoun. Deren wrote numerous articles on film and on Haiti. Maya Deren shot over 18,000 feet of film in Haiti from 1947 to 1954 on Haitian Voudoun, parts of which can be viewed in Divine Horsemen: The Living Gods of Haiti (1993) made after her death by her then-husband Teiji Ito and his new wife Cherel Ito.
In 1947, Maya Deren became the first filmmaker to receive a Guggenheim grant for creative work in motion pictures. She wrote film theory, distributed her own films, traveled across the USA, and went to Cuba and Canada to promote her films using the lecture-demonstration format to teach film theory, and Voudoun and the interrelationship of magic, science, and religion. Deren established the Creative Film Foundation in the late 1950s to reward the achievements of independent filmmakers.Kurosawa's Dreams, Dreams That Money Can Buy, Spellbound, Vertigo and so on and so forth did captur the architecture of a dream—and successfully trapped us inside it. Weird movies like ¨Meshes of the afternoo¨, however merely discard logic and plumb the unconscious’ mutated symbols of the mind, by merely repurposing daily events , i.e. turning keys into knives and passing pedestrians into emissaries of the unknown, in an impossible geometry where windows open onto stairs and distant beaches.- Additional Crew
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The most famous Soviet film-maker since Sergei Eisenstein, Andrei Tarkovsky (the son of noted poet Arseniy Tarkovsky) studied music and Arabic in Moscow before enrolling in the Soviet film school VGIK. He shot to international attention with his first feature, Ivan's Childhood (1962), which won the top prize at the Venice Film Festival. This resulted in high expectations for his second feature Andrei Rublev (1966), which was banned by the Soviet authorities for two years. It was shown at the 1969 Cannes Film Festival at four o'clock in the morning on the last day, in order to prevent it from winning a prize - but it won one nonetheless, and was eventually distributed abroad partly to enable the authorities to save face. Solaris (1972), had an easier ride, being acclaimed by many in Europe and North America as the Soviet answer to Kubrick's '2001' (though Tarkovsky himself was never too fond of his own film nor Kubrick's), but he ran into official trouble again with Mirror (1975), a dense, personal web of autobiographical memories with a radically innovative plot structure. Stalker (1979) had to be completely reshot on a dramatically reduced budget after an accident in the laboratory destroyed the first version, and after Nostalghia (1983), shot in Italy (with official approval), Tarkovsky defected to Europe. His last film, The Sacrifice (1986) was shot in Sweden with many of Ingmar Bergman's regular collaborators, and won an almost unprecedented four prizes at the Cannes Film Festival. He died of lung cancer at the end of the year. Two years later link=Sergei Parajanov dedicated his film Ashik Kerib to Tarkovsky.Mirror is insanely difficult, although a few cinephiles find it moving as surrealistic poetry, intensely personal, about the meaning of life. Stalker is an ambiguous, despairing, existential parable containing narrative non-sequiturs wrapped inside strange visuals. In Nostalghia it’s never clear whether the events depicted actually occur or are imagined, Tarkovsky is much more interested in what is going on inside the heads of his alienated Russian poet and the Italian madman than in what is happening in the “real” world. Solaris, however, is not weird, in fact, it's brilliant and accessible— an astronaut falls in love with an avatar of his dead wife that’s been created from his memories in an intelligent planet.- Actor
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David Cronenberg, also known as the King of Venereal Horror or the Baron of Blood, was born in Toronto, Ontario, Canada, in 1943. His father, Milton Cronenberg, was a journalist and editor, and his mother, Esther (Sumberg), was a piano player. After showing an inclination for literature at an early age (he wrote and published eerie short stories, thus following his father's path) and for music (playing classical guitar until he was 12), Cronenberg graduated from the University of Toronto with a degree in Literature after switching from the science department. He reached the cult status of horror-meister with the gore-filled, modern-vampire variations of Shivers (1975) and Rabid (1977), following an experimental apprenticeship in independent film-making and in Canadian television programs.
Cronenberg gained popularity with the head-exploding, telepathy-based Scanners (1981) after the release of the much underrated, controversial, and autobiographical The Brood (1979). Cronenberg become a sort of a mass media guru with Videodrome (1983), a shocking investigation of the hazards of reality-morphing television and a prophetic critique of contemporary aesthetics. The issues of tech-induced mutation of the human body and topics of the prominent dichotomy between body and mind were back again in The Dead Zone (1983) and The Fly (1986), both bright examples of a personal film-making identity, even if both films are based on mass-entertainment materials: the first being a rendition of a Stephen King best-seller, the latter a remake of a famous American horror movie.
With Dead Ringers (1988) and Naked Lunch (1991), the Canadian director, no more a mere genre movie-maker but a fully realized auteur, got the acclaim of international critics. Such profound statements on modern humanity and ever-changing society are prominent in the provocative Crash (1996) and in the virtual reality essay of eXistenZ (1999), both of which well fared at the Cannes and Berlin Film Festivals. In the last two film projects Spider (2002) and A History of Violence (2005), Cronenberg avoids expressing his teratologic and oneiric expressionism in favor of a more psychological exploration of human contradictions and idiosyncrasies.Cronenberg has said that he made his films to find out why he was making them. You may watch them for the same reason. The Naked Lunch is really weird, a fake [re]version of a famous William Burroughs novel. The Fly is really disgusting, a film that tries to be too many things at once - funny but not campy, sad and scary, a horror story and a human tragedy. In Videodrome (really nauseating) the characters are bitter and hateful, when the screen fades to black it's a relief. Dead Ringers was more fondness for gore. Crash is a chilly meditation that doesn't transcend immediate sensationalism: when it attempts a theme, it slams into mumbo-jumbo.- Director
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Peter Greenaway trained as a painter and began working as a film editor for the Central Office of Information in 1965. Shortly afterwards he started to make his own films. He has produced a wealth of short and feature-length films, but also paintings, novels and other books. He has held several one-man shows and curated exhibitions at museums world-wide.Abominable Greenaway's boundary-pushing, breathlessly in-your-face approaches have for a very long time taken their toll on viewer patience. The Cook The Thief Etcoetera is over-rated, over-cooked and over-lookable. Eisenstein in Guanajuato is outrageous, a defiant approach to narrative that offers no insight into Eisenstein. Night Watch is a good idea ruined by pretentiouness. (If you like Rembrandt, forget it.) Drowning by Numbers is pointless, self-indulgent and terrible. Like everything else signé Greenaway.- Writer
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Chris Marker was born on 29 July 1921 in Neuilly-sur-Seine, Hauts-de-Seine, France. He was a writer and director, known for 12 Monkeys (1995), Sans Soleil (1983) and Third Side of the Coin (1960). He died on 29 July 2012 in Paris, France.Monsieur Marker's films have to be seen to be believed. If you want to be bored indefinitely, he's the auteur for you. Alain Resnais's worst picture (Les statues meurent aussi) was a collaboration with him. Sans Soleil is eve n worse;- Writer
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Jean Cocteau was one of the most multi-talented artists of the 20th century. In addition to being a director, he was a poet, novelist, painter, playwright, set designer, and actor. He began writing at 10 and was a published poet by age 16. He collaborated with the "Russian Ballet" company of Sergei Diaghilev, and was active in many art movements, but always remained a poet at heart. His films reflect this fact. Cocteau was also a homosexual, and made no attempt to hide it. His favorite actor was his close friend Jean Marais, who appeared in almost every one of his films. Cocteau made about twelve films in his career, all rich with symbolism and surreal imagery. He is now regarded as one of the most important avant-garde directors in cinema.Cocteau was a mediocre painter. But he was not a bad writer. Le Pauvre Matelot, La Voix Humaine and some poems prove it. But in cinema he perpetrated two variations on the legend of Orpheus. respectively The Blood of a Poet and The Testament of Orpheus, which are among the most boring essays of the stylistic avant-garde;- Director
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One of the 20th century's greatest masters of cinema Sergei Parajanov was born in Georgia to Armenian parents and it was always unlikely that his work would conform to the strict socialist realism that Soviet authorities preferred. After studying film and music, Parajanov became an assistant director at the Dovzhenko studios in Kiev, making his directorial debut in 1954, following that with numerous shorts and features, all of which he subsequently dismissed as "garbage". However, in 1964 he was able to make Shadows of Forgotten Ancestors (1965), a rhapsodic celebration of Ukrainian folk culture, and the world discovered a startling and idiosyncratic new talent. He followed this up with the even more innovative The Color of Pomegranates (1969) (which explored the art and poetry of his native Armenia in a series of stunningly beautiful tableaux), but by this stage the authorities had had enough, and Paradjanov spent most of the 1970s in prison on almost certainly rigged charges of "homosexuality and illegal trafficking in religious icons". However, with the coming of perestroika, he was able to make The Legend of Suram Fortress (1985), Ashik Kerib (1988) and The Confession, which survives as Parajanov: The Last Spring (1992), before succumbing to cancer in 1990.- Director
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Peter Medak is a Hungarian-born British film director. Born in Budapest, Hungary, then part of the Warsaw Bloc, Medak fled to England at the age of 18 during the bloody uprising against the Soviet regime. He began his career with associated British Picture Corporation in Borehamwood. He studied and worked his way through by being an assistant editor, assistant cameraman and eventually a 3rd, 2nd and 1st assistant director on many British films of the late 1950s and early 196Os.
Medak worked with some of the most legendary British film directors, including, among others, Sir Carol Reed, David Lean, Anthony Asquith, and Fred Zimmerman. He was signed in 1963 by Universal Studios in Hollywood where for the first six months he the chance to observe Alfred Hitchcock and many others. He began directing television in Hollywood and in London. In 1967, he signed with Paramount Studios where he finally achieved his dream and directed his first feature film called Negatives (1968), featuring Glenda Jackson in her film appearance.
He then proceeded making two highly acclaimed black comedies: The Ruling Class (1972), and A Day in the Death of Joe Egg (1972) (for which he received an Academy Award nomination). Since then he has directed many feature films on both sides of the Atlantic. In recent years, he made The Krays, which won him The Evening Standard Award for Best Director in England. Later films which he directed include: Let Him Have It, Romeo is Bleeding, The Men's Club, etc.Can wealthy snobs and privileged arseholes afford to be bonkers? Definitely yes, according to The Ruling Class , a movie that descends into a complete pretentious mess. Peter O'Toole, for one, stops thinking he is God and decides he's Jack the Ripper instead.- Producer
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Terrence Malick was born in Ottawa, Illinois. His family subsequently lived in Oklahoma and he went to school in Austin, Texas. He did his undergraduate work at Harvard, graduating summa cum laude with a degree in philosophy in 1965.
A member of the Phi Beta Kappa honor society, he attended Magdalen College, Oxford on a Rhodes scholarship, but did not finish his thesis on Martin Heidegger, allegedly because of a disagreement with his advisor. Returning to the States, he taught philosophy at M.I.T. and published a translation of Heidegger's "Vom Wesen des Grundes" as "The Essence of Reasons". Malick did not get his PhD in philosophy: Instead, he attended the American Film Institute Conservatory in its inaugural year (1969), taking a Masters of Fine Arts degree in film-making. His masters thesis was the seventeen-minute comedy short Lanton Mills (1969), which starred Warren Oates and Harry Dean Stanton. Malick himself acted in the short.
At A.F.I., Malick made a lasting association with Jack Fisk, who would establish himself as an Oscar-nominated art director and production designer and serve as art director on all of Malick's films. He also picked up Mike Medavoy as an agent, who got Malick work doctoring scripts and marketed his original ones. He wrote the screenplay for the 1972 Alan Arkin trucker movie Deadhead Miles (1972), which was many miles from Harvard let along Oxford, and for the 1972 Paul Newman-Lee Marvin contemporary oater Pocket Money (1972), another departure from fields of academia. "Deadhead Miles" was dumped by Paramount as unreleasable and "Pocket Money", despite being headlined by two Top Ten Box Office stars, flopped. It was an inauspicious start to a legendary career, but it influenced Malick to begin directing his own scripts.
His first two films were the now critically acclaimed Badlands (1973) and Days of Heaven (1978). He then took a self-imposed retirement of nearly two decades from film-making before lensing his 1998 adaptation of James Jones's The Thin Red Line (1998), which was nominated for 7 Academy Awards, including nods for Malick for directing and adapted screenplay.
Adopting a Kubrickian pace of movie-making, he directed The New World (2005) and the autobiographical The Tree of Life (2011) with gaps of only seven and six years, respectively, between release. However, he reportedly was working on ideas for "The Tree of Life" since the late 70s, including exposing footage that found its way into his finished film.
In an unprecedented burst of productivity, he shot his next four films, To the Wonder (2012), Knight of Cups (2015), an as-yet unnamed drama and the cosmic documentary Voyage of Time: Life's Journey (2016) back-to-back during and immediately after completing the long editing process of "Tree of Life". Like Stanley Kubrick, Malick usually takes well over a year to edit his films. All three are highly anticipated by cineastes the world over.Malick's monumental, pretentious effort to link an ordinary family's tragedy into all of God's Creation (= The Tree of Life) is an obscurely written and directed melodrama, in large part whispered as in 'secretly.' The thing never ends. The troubled family ends in a muddy paradise, all happily reunited. Is there a message herein? Yes: ¨Salvation requires muttered piousness over dinner as well as church on Sundays¨ The Tree is thus a filmic fraud, not to mention a waste of time, money, eventual neurones. Yes, it got nominated for the Best Picture Oscar.- Director
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A Serbian film director. Born in 1954 in Sarajevo. Graduated in film directing at the prestigious Academy of Performing Arts (FAMU) in Prague in 1978. During his studies, he was awarded several times for his short movies including Guernica (1978), which took first prize at the Student's Film Festival in Karlovy Vary. After graduation, he directed several TV movies in his hometown, Sarajevo. In collaboration with the screenwriter Abdulah Sidran in 1981, he made the successful feature debut Do You Remember Dolly Bell? (1981) which won the Silver Lion for best first feature at the Venice Film Festival. Their subsequent work, human political drama When Father Was Away on Business (1985) unanimously won top prize at the 1985 Cannes Film Festival as well as FIPRESCI prize and was nominated for the Best Foreign Language film Oscar. In 1989 he won the Best Director award at Cannes for Time of the Gypsies (1988), a film about the life of a gypsy family in Yugoslavia scripted by Gordan Mihic. His first English language movie, Arizona Dream (1993) starring Johnny Depp, Jerry Lewis and Faye Dunaway and scripted by his USA student, David Atkins was awarded the Silver Bear at the 1993 Berlin Film Festival. Underground (1995), a bitter surrealistic comedy about the Balkans, scripted by Dusan Kovacevic, won him a second Palme d'Or at the Cannes Film Festival in 1995.A noisy black comedy,¨Underground¨was about the deception of politics, heroism, immorality and the call for violence, but there was less in there than met the eye. Maybe Mr Kusturica could explain his unbearable 167-minute length by the historical breadth of his saga, but the latter hardly sustained any interest at all.- Director
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Dusan Makavejev is the premier figure in Yugoslavian film history; his films are deeply rooted in his nation's painful postwar experiences and draw on important Yugoslavian cinematic and cultural models. Makavejev's work has violated many political and sexual taboos and invited censorship in dozens of nations. In the 1950s, after studying psychology at Belgrade University, Makavejev became involved in the activities of various film societies and festivals and studied direction at the Academy for Radio, Television and Film. As early as 1953, he began making short films and documentaries and would work in various capacities at both the Zagreb and Avala studios during the late 50s and early 60s. The documentary impulse remains powerful in Makavejev's work, as does the tendency to intercut undigested segments from other films into longer works.
Makavejev enjoyed great critical success with his first three features, Man Is Not a Bird (1965), "Love Affair" (1967) and Innocence Unprotected (1968). Highly allegorical and relying on techniques derived from Brecht and influenced by Godard, these films were sardonic and anarchistic views of Eastern European state socialist milieus.
Much of Makavejev's work has been uncompromisingly experimental as well as politically outrageous. WR: Mysteries of the Organism (1971) is the best example of this combination and is the director's most influential work to date. Much of the film is composed of a documentary Makavejev researched in the late 1960s while in the US on a Ford Foundation grant and which was eventually financed by German TV. A witty, passionate, and often rambling account of pioneering psychoanalyst Wilhelm Reich and his American disciples, the material is intercut with a fictitious political-sexual allegory set in contemporary Belgrade. The film was instantly banned in Yugoslavia and made Makavejev persona non grata in his native country until the late 1980s.
Sweet Movie (1974) was made in Canadian exile, with some production resources furnished by the National Film Board of Canada. Also a disjointed, two-part narrative, it again focuses on radical techniques in sexual psychotherapy, here played out rather than verbalized. Intertwined is yet another acidic, allegorical fable of the decay of Yugoslavia's socialist legacy. Extremely violent and sexually explicit, "Sweet Movie" was dismissed (and censored) as pornography in many countries, and added to Makavejev's reputation as a "filmmaker maudit."
Montenegro (1981) has been Makavejev's greatest financial success to date. Political commentary and formal experimentation are subordinated to narrative drive in this story of a housewife (Susan Anspach) who grapples with sexual liberation and fails.
The Coca-Cola Kid (1985), Makavejev's second major international co-production, was marred by on-set squabbles between actors, and the rejection of Makavejev's intriguing plan to use a long reel of multilingual Coca-Cola commercials as a narrative structuring device. What emerged was a genuinely erotic film which takes a quirky, satiric view both of its Australian setting and the international business world.
Makavejev's long exile from his homeland ended in 1988 with the release of Manifesto (1988), a Ruritanian political farce mostly shot in Yugoslavia. Although the film marks the most disciplined, traditional storytelling of Makavejev's career, it has seen only limited bookings in the US. Also little seen was his follow-up Gorilla Bathes at Noon (1993), a political comedy based on the adventures of a Russian soldier as he wanders around Berlin.
Profession(s): director, screenwriter, professor, essayist Sometimes Credited As: Sam Rotterdam
Family wife: Bojana Marijan (married in 1964; has worked with Makavejev)
Education Academy of Theater, Radio, Film and Television Belgrade, Yugoslavia Belgrade University Belgrade, Yugoslavia psychology 1955.¨WR¨ is not pleasant at all, it's too disjointed to be enjoyable - even if you like William Reich or are interested in him. You get lost in the surrealism, with some nasty nightmarish scenes thrown in. Certainly not palatable. One particular image is disturbing: a prisoner being given electroshock treatment by Nazis. The extremely disturbing scene is thrust on the viewer suddenly.- Director
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Leos Carax made several short films and also wrote film criticism, then at the age of 24 years made a very strong first feature Boy Meets Girl (1984). The film played at the 1984 Cannes film festival and was a critical triumph. It paved the way for Carax's second feature Bad Blood (1986) (Bad Blood). That film was a giant step forward in the same direction that he was going in with his first film. Both films were visually stunning and focused on young love and also alienation. With his reputation and talent at its peak, he set out to make what seemed it seemed like would be another triumph. The Lovers on the Bridge (1991) (The Lovers on the Bridge) was the result of three long years of very difficult production; Carax spent a fortune building some of the sets and filming some mind-blowing sequences. Unfortunately, neither critics nor audiences favored what was a truly grand vision of the themes he dealt with in his first two films. Carax went into an a 8 year long exile, but finally returned with Pola X (1999). It was a departure from his other films and another critical flop.Carax's Holy Motors is kinda crazy self-indulgent game of ¨Clue¨ directed towards a particular type of viewer. It's aggressively wild, an actual puzzle that blurs the mind without ever nourishing it. No food for thought here. Ideally 'Holy Motors' intended to start from Kafkaesque absurdity in order to approach and eventually slice reality. No way.- Director
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Terry Gilliam was born near Medicine Lake, Minnesota. When he was 12 his family moved to Los Angeles where he became a fan of MAD magazine. In his early twenties he was often stopped by the police who suspected him of being a drug addict and Gilliam had to explain that he worked in advertising. In the political turmoil in the 60's, Gilliam feared he would become a terrorist and decided to leave the USA. He moved to England and landed a job on the children's television show Do Not Adjust Your Set (1967) as an animator. There he met meet his future collaborators in Monty Python: Terry Jones, Eric Idle and Michael Palin. In 2006 he renounced his American citizenship.Roger Ebert wrote about ¨Brazil¨: ¨Perhaps it is not supposed to be clear; perhaps the movie's air of confusion is part of its paranoid vision. There are individual moments that create sharp images (...), but there seems to be no sure hand at the controls.¨ As to Monty Python & the Holy Grail, it's rather a mish mash of unfunny, ridiculous pseudo-comedy that seems envisioned by some retard.- Writer
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Surrealist-turned-catholic painter Dalí worked on various movies as well. While a member of the French surrealist group, he co-wrote Un chien andalou (1929) and L'Age d'Or (1930) with Luis Buñuel. The latter may have marked the beginning of a long-lasting quarrel with the surrealists when Dalí did not agree on Buñuel's anti-clericalism. While Dalí's painting style became increasingly conventional, he worked on projects with Walt Disney and Alfred Hitchcock, for whom he wrote the dream sequence of Spellbound (1945). Plans on a movie with the Marx Brothers were dropped. The money Dalí earned in Hollywood and elsewhere, along with his racism and his fascination for Europe's fascist dictators, put an end to his relations with the (at that time mostly trotskyist) surrealists, whose leading figure André Breton since nicknamed Dalí "Avida Dollars" (anagram).Close up of an eyeball being slashed by a razor. A severed hand laying in the street. A woman being run over. A pointless murder. Armpit hair being imaginarily glued to a woman's mouth. And so on and so forth. ¨An Andalusian Dog¨was kinda home movie based on dreams by a psychotic sadist. Mind you, the film's creators, Salvador Dalí and Luis Buñuel, seem to have created this movie in the 1920s as a way to laugh at intellectuals and wannabes who just ate their crap up and declared it to be "du Grand Septième Art".- Director
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Dziga Vertov was born on 2 January 1896 in Bialystok, Grodno Governorate, Russian Empire [now Podlaskie, Poland]. He was a director and writer, known for Man with a Movie Camera (1929), Three Songs About Lenin (1934) and The Sixth Part of the World (1926). He was married to Elizaveta Svilova. He died on 12 February 1954 in Moscow, RSFSR, USSR [now Russia].A tree. A baby. Machinery. A basketball match. An old lady. Homeless people. Piles of smoke. A busy street. The merry-go-round. A cinema. Another homeless person asleep. A woman who dresses up. In a nutcase, this is ¨The man with a movie camera.¨ Everything is incredibly annoying. This film did not invent the jump cut, the 'montage of attractions,' or the Gestalt-like editing practice. Its 65 minutes seem like 6.5 hours of pure boredom. A waste of time, therefore. A bad example of what has since been labeled 'precursor,' even 'inventive historical classicism.' It's just a succession of random shots, taken by a leisurely director who, in his free time, vaguely edited it. It tried to capture the feel and rhythms of a modern city (Moscow) as well as the joy of living and working in the Worker's Paradise. Stylistically and modernly speaking, the closest comparison would be, for example, with Koyannisqqatsi or Arne Sucksdorf's Rhythms of a City. But Vertov suffers by comparison with any other documentary filmmaker. He is far from being a "must" for filmmakers or film buffs. A revolutionary film? Absolutely not. It did not represent any advance. Berlin: the Symphony of the City, dated 1927, or Joris Ivens' Rain, dated 1929, would best qualify for such epithet, and yet that would be an exaggeration. A documentary? There is a great difference between documentary and propaganda. A documentary generally shows life as it is, while propaganda shows what a filmmaker wants to show in order to make a point and convince others of some idea (usually political or economical). Vertov is frank propaganda. His concept of artistic social responsibility was derived from Stalinist notions and later incorporated into Nazi concepts. His goal was to glorify the Soviet regime. In 1929 Stalin consolidated his power in Russia and was about to embark on what was one of the most brutal and bloody regimes in history. Vertov perhaps did not know then whereto the regime would lead, but he did continue to make films that praised Stalin (Kolybelnaya, for example). Let no artist be condemned just for working for the state. I like Eisenstein, for example. If you must rent and watch The Man With a Movie Camera, do it with a solid perspective, regardless of... taste.- Writer
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Son of the famous Impressionist painter Pierre Auguste, he had a happy childhood. Pierre Renoir was his brother, and Claude Renoir was his nephew. After the end of World War I, where he won the Croix de Guerre, he moved from scriptwriting to filmmaking. He married Catherine Hessling, for whom he began to make movies; he wanted to make a star of her. They separated in 1930, although he remained married to her until 1943. His next partner was Marguerite Renoir, whom he never married, although she took his name. He left France in 1941 during the German invasion of France during World War II and became a naturalized US citizen.Renoir is one of the greatest filmmakers. But, believe me, I hated watching Boudu, Elena et les hommes, Nana, Sur un air de Charleston, Madame Bovary, The Diary of a Chambermaid, La fille de l'eau, Le caporal épinglé, La Marseillaise, Toni, Le testament du Docteur Cordelier, Les bas-fonds, The River... From time to time Renoir was artistically inspired and ruled out pseudo-genius prompt improvisations inconsistent with the nature of cinema. Thanks to talent, creativity and depth, we then had Rules of the Games, Grand Illusion, Partie de Campagne, La Chienne, La Bête Humaine and so on and so forth- Writer
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Jean-Paul Sartre likens Jean Genet to a saint for a very particular reason, a reason that is apparent in the title of the biography, but which does not translate in the English title--"Saint Genet: Actor and Martyr"--because meaning and referentiality are lost. The French title is "Saint Genet: Comédien et Martyr"; the phrase "Saint Genet" evokes the memory of St. Genestus (known in France as Genest or Genêt), the third-century Roman actor and martyr and the patron saint of actors. Also, the word "comédien" (meaning "actor", not necessarily "comic") is used in everyday language to designate a person who shams or "puts on an act". Thus, the title itself gives one more of an impression of the author in question than it would seem on the surface. Incidentally, Genet was saved from further imprisonment by the intervention of Jean Cocteau, the famous writer, filmmaker and artist who, on the basis of Genet's first poem, declared him a literary genius. Genet, while in prison, would steal paper from the prison workshop, on which he would then write his poems and stories. He was also a playwright. There is a second biography of him know written by the famous gay novelist, Edmund White. Genet was himself gay, which helps to explain why many of his works were so controversial in the US--and none of which were controversial in Europe for that reason.- Director
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Chantal Akerman was born on 6 June 1950 in Brussels, Belgium. She was a director and writer, known for The Meetings of Anna (1978), Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975) and I, You, He, She (1974). She was married to Sonia Wieder-Atherton. She died on 5 October 2015 in Paris, France.Ms Akerman ignores talent, ability, coherence and/or plot. Her 'essays' are pieces of tedious, self-indulgent trash, which is not quite uncommon amongst pretentious arthouse charlatans. Elle met en scène des bêtises et du non-sens. Souless nonsense, truly dreadful. She is not even an adept of fashionable surrealism, or minimalist trends.- Writer
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Born on November 6, 1947 in Shanghai, China, Edward Yang has become one of the most talented international filmmakers of his generation. Along with Hou Hsiao-Hsien and Tsai Ming-Liang, Yang ranks among the leading artists of the Taiwanese New Wave, and one of the world's most brilliant auteurs. Growing up in Taipei, Taiwan, he was very interested in Japanese Manga/Comic Books, which led to the writing of his own screenplays. After studying engineering in Taiwan, he enrolled in the Electrical Engineering program at The University of Florida, receiving his Masters degree in 1974 while doing work with The Center for Informatics Research. Yang did not pursue a PhD and instead attended USC Film School briefly, but dropped out after feeling disenchanted by the program's commerce-and-business focus and his own misgivings of pursuing a Film Career. Upon working in Seattle with microcomputers and Defense software, an encounter with a piece by Werner Herzog (Aguirre, Wrath of God) gave him inspiration to observe classics in world cinema and reignited his interest in Film. He eventually wrote the script and served as a production aide on the Hong Kong TV movie, The Winter of 1905 (1981). Although he returned to Taiwan to direct a number of television shows, his break came in 1982 with the direction and writing of the film short, Desires (1982), in the seminal Taiwanese New Wave collaboration In Our Time(1982). While Hou Hsiao-Hsien's movies dealt primarily with history or Taiwan's countryside, Yang created films analyzing and revealing the many themes of city and urban life. His first major piece was That Day On The Beach (1983), a modernist narrative reflecting on couples and family. He followed with the urban films Taipei Story (1984), a reflection on urban-Taiwan through a couple - where he cast fellow auteur Hou Hsiao Hsien as the lead - and The Terrorizer (1986), a complex multi-narrative tale. In Yang's brilliant A Brighter Summer Day (1991), a sprawling examination of teen gangs, societal clashes, the influence of American pop-culture and youth, his first authentic masterpiece was crafted. He has followed with the satires A Confucian Confusion (1995), and Mahjong (1996), films that looked at the struggle between the modern and the traditional, the relationship between business and art, and how capitalistic greed may corrupt, influence, or effect art. It is, however, his most recent film, Yi Yi (2000), that is considered his magnum opus, an epic story about the Jian family seen through their different perspectives. The three-hour masterwork begins with a wedding, ends with a funeral, and examines all areas of human life in a variety of interesting, artistic ways. He has also collaborated with fellow auteur, novelist, and screenwriter Nien-Jen Wu on the piece, casting him as one of the leads, NJ. Yang's filmmaking style looks at the uncertain future of modernizing Taiwan in an enlightening manner, and his vision is one of the most original operating in world cinema today.Wang is the moviemaker I mean & hate about being incredibly annoying. I love long operas & long films that plenty of people call boring (Greed, Napoleon Vu par Gance,) but...- Writer
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Bernardo Bertolucci, the Italian director whose films were known for their colorful visual style, was born in Parma, Italy. He attended Rome University and became famous as a poet. He served as assistant director for Pier Paolo Pasolini in the film Accattone (1961) and directed The Grim Reaper (1962). His second film, Before the Revolution (1964), which was released in 1971, received an Academy Award nomination for best screenplay. Bertolucci also received an Academy Award nomination as best director for Last Tango in Paris (1972), and the best director and best screenplay for the film The Last Emperor (1987), which walked away with nine Academy Awards.Il Signor B is especially remembered for four films. Two of them, political. The Conformist and Novecento. One, Last tango in Paris, historically conspicuous, but overlong, dull, uneven, and convoluted, in which Marlon Brando gave a hammy performance. As to The Last Emperor, it was an elegant travelogue brochure that indeed piqued our curiosity, although ultimately a let-down.- Writer
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Born in precisely the kind of small-town American setting so familiar from his films, David Lynch spent his childhood being shunted from one state to another as his research scientist father kept getting relocated. He attended various art schools, married Peggy Lynch and then fathered future director Jennifer Lynch shortly after he turned 21. That experience, plus attending art school in a particularly violent and run-down area of Philadelphia, inspired Eraserhead (1977), a film that he began in the early 1970s (after a couple of shorts) and which he would work on obsessively for five years. The final film was initially judged to be almost unreleasable weird, but thanks to the efforts of distributor Ben Barenholtz, it secured a cult following and enabled Lynch to make his first mainstream film (in an unlikely alliance with Mel Brooks), though The Elephant Man (1980) was shot through with his unique sensibility. Its enormous critical and commercial success led to Dune (1984), a hugely expensive commercial disaster, but Lynch redeemed himself with the now classic Blue Velvet (1986), his most personal and original work since his debut. He subsequently won the top prize at the Cannes Film Festival with the dark, violent road movie Wild at Heart (1990), and achieved a huge cult following with his surreal TV series Twin Peaks (1990), which he adapted for the big screen, though his comedy series On the Air (1992) was less successful. He also draws comic strips and has devised multimedia stage events with regular composer Angelo Badalamenti. He had a much-publicized affair with Isabella Rossellini in the late 1980s.Mulholland was a long-winded anecdote characterized by extensive irrelevant incidents closed by an anticlimax. Eraserhead was kinda sickening bad-taste exercise made under the auspices of the AFI. Good tech values do not compensate for little substance or subtlety in a murky, pretentious shocker. But David means to join art history as the Minimalist and Conceptual Filmmaker par excellence. In his dozens of shorts he has aimed to strip film to its barest and (supposedly) unessential elements. He thus challenged traditional Seventh Art, reducing forms to unessential elements and using trash imagery in order to 'probe' the anti-essence of the cinema, or maybe vice-versa (the essence of the anti-cinema)