Never Coming to a Theater Near You - Arthouse Cinema 2019

really excited to see this now!

Brilliant. It was the GFT I saw it at on Friday.

Just saw Mark Kermode's rave review and I'd pretty much agree. Great to see it getting high profile praise. I was going to say more above, but couldn't get the words together.

I'm going tomorrow, they always seem to stick the interesting stuff on screen 3 tho

I used to dislike GFT3 because of the smaller screen size, but I've come to appreciate it. It feels a lot darker in there when the lights go down, so it's more intimate and easy to get properly lost in the film, and I wonder if the sound and screen/projection quality are maybe better than the older screens, though I don't know if I'm just imagining that? Should try to get one of the Doors Open Day tours and find out.

Bait isn’t coming to dundee for a couple of weeks - looking forward to it. Also, does anyone know if Leto is any good?

(Just because I can catch it at the same time, not because it’s subject to this thread)

Leto is quite okay, but I'd watch Bait instead. I haven't seen Bait though, missed it at Berlin, and have been kicking myself about it ever since.

Leto is on mubi atm

Bait was, indeed, very good and unique. Because of the length of the reels of film (around 28 seconds per reel fwiw) it means that every shot has to serve a purpose or be "chosen" in a way that's particular to this kind of form. I don't think they always succeed but it's fascinating to watch as craft. It's like a silent film that isn't silent, in one way, but in another way it's more like each shot is the frame of a comic book than a moving picture in any other film of the last 80-90 years. It's interesting to think about with regard to something like La Jetee too although it would take me a while to tease that idea out.

I have some issues with the ending. *SPOILERS* (sort of) but was that really required? It didn't seem convincing but rather than seeming melodramatic it just seemed unnecessary. How high are the stakes that you need to do that because the film was already unique and compelling enough that he didn't have to go there. I'd have been happy enough for Martin just to get his boat. There's no need for a death because it's a movie trope that the film did not require.

Still, what an achievement. The things that human artists get up to, eh? I mean they had one camera and every 28 seconds of shooting they'd, presumably, have to take the camera into a completely sealed (from light) space to load the next reel and get the finished one into a can, or whatever. Is this correct? In some of the shots the image looked Solarised too, which two points (krakow) you'd have more knowledge of than me.

I have to say also that this screening in cinema 2 was quite busy, which was great!

Screen 3 in the gft is my favourite even though it replaced Cafe Cosmo that I designed the refurb for about 12 years ago when it was dark and had those lights that looked like Zoetropes.

the leather seats make a racket in 3

they don't now, they are nice and soft.

I recommend the Serbian The Load, set in and around Kosovo and Belgrade in 1999. A film about genocide that avoids directly putting it on camera.

I enjoyed Bait - the light in it was beautiful.

yo can you guys tell me what movies to see at this fest my friend won a pass to https://viff.org/Online/default.asp

dardennes & parasite obv

the lighthouse! also looking forward to seeing Little Joe

I could never look forward to something with Ben Whishaw in it.

lol, I do really want to see it

a friend of mine referred to him as Ben "action-man-eyes" Whishaw and when you notice it there's no way back

don't know anything about "action man eyes" but it sounds kind of hot

thx. def going to parasite

From the first few pages of listings, these caught my eye of films I've seen...

- 'The Realm' is decent, if you fancy a political thriller with some interesting aspects. It won a whole bunch of Goya awards in Spain at the start of the year.

- 'Yuli' is excellent, if more crowd pleaser than arthouse. Directed by Icíar Bollaín with a fantastic screenplay by her partner Paul Laverty that weaves the dance into the biography brilliantly. Some of the Cuban actors are especially fantastic.

- 'Bait', as we've spoken about above a fair bit.

I was also reading about 'The Painted Bird' recently and it looks absolutely incredible, but will be a tough watch.

I recommend the Costa, and I hear great things about Anne at 13,000 Feet

Scandinavian films: Queen of Hearts is, like, the biggest sorta arthouse succes in Denmark in the last few years, and it's pretty damn great. Trine Dyrholm should absolutely be a household name all over the world, she's so good. I'd really want someone to watch Checkered Ninja and say what they think, it's the biggest blockbuster in the country since before television was invented, but it's also so entwined with the guy who made it, Anders Matthesen, who is a comedian popular on a level where I don't really think neither anyone in the US or the UK fits, and I'm not really sure if it's actually any good. Also, Koko-di Koko-da is legitimately terrifying, almost Haneke-like, with lovable Danish legend Peter Belli in the role as a straight up sociopathic tormentor. Not for the faint of heart. I'd suspect the same is true for JP Välkeapää's new Dogs Don't Wear Pants as well, his They Have Escaped was fucked up. I'm also excited to see Hlynur Palmasons A White White Day in a couple weeks, so I'd check that out as well. Johan Skoog's Ridge won the CPH:DOX award this year, and is a great hybrid/essay film about seasonal workers in Skåne.

Elsewhere, Mr Jones is a fine biopic, Pain and Glory is good for what it is. The new Angela Schanelec, I Was at Home, But... is a must for fans of the Berlin schoo. Synonyms, which won the Golden Bear, is good, and Nadav Lapid should be better known. Years of Construction by Heinz Emigholz is perfect if you just want an avant-doc about architecture.

Saw and liked Mati Diop's Atlantics, which is an absorbing first feature -- plot and vibewise, pitched about halfway between the sensibilities of Val lewton and Jordan Peele. It looks great, shot by Alain Guiraudie veteran Claire Mathon.

I'm not sure the supernatural mechanics make inner "sense" but I guess they don't have to.

I liked it too. I *loved* Fatima Al Quadiri's score.

I believe it hits Netflix later this year.

I would've favored a more hardhitting climactic scene in the cemetery.

I think it's out this week. It had a single showing here last week to celebrate. And yeah, it's good. Loved the lo-budget aesthetic of some of it, but it was also incredibly beautiful.

It's running in a few US theaters now, and apparently hits Netflix this Friday.