Category: movies

Why Has the Internet Been So Disappointing for Discussing Individual Movies, Books, Etc.?

When I’m asked about things I like to do, reading was one of the things that I’d mention. In reality, that’s not really accurate, especially if we mean deriving pleasure simply from the act of reading. That’s not me (unfortunately). What would be more accurate is to say I like learning; and I like talking about what I learn and read. This also applies to movies as well (although watching movies is enjoyable and more effortless than reading). Generally speaking, talking about books and movies might be more enjoyable to me than experiencing either. Because of this, the internet has been a place that has, until recently, held a lot of promise for me. When I read a book or watch a film, especially more obscure ones, I assumed that the internet would be the solution to this, especially now with millions (billions) of people online. Given those numbers, finding others who have read or seen the same books and movies I have shouldn’t be hard, right? Now, not all of these people have an interest in discussion. Still, I thought the ones that would be would constitute a big enough number to have a discussion. I’ve now concluded this is not the case (but I would love to be wrong about this!). To be clear, I’m not really referring to the currently most popular books and films. I think you can find conversations on those, but if I want to find a conversation, right now, on Francis Ford Coppola’s One From the Heart, forget about it. Why is that? Off the top of my head, here’s my short explanation: Continue reading “Why Has the Internet Been So Disappointing for Discussing Individual Movies, Books, Etc.?”

Romantic Comedies

We have a romantic comedies post in the old site.  I’ll meld the content with this when I get a chance.

I recently re-did my 10 favorite romantic comedies list.  Eight of the films remain from the list ten years (or so) ago, but the order has changed.  I’ve moved Notting Hill to the top of the list and dropped Moonstruck down from number 1.

I’m thinking of revisiting the films on this list and some of the also-rans.  It seems to me that there are worse ways to spend a few months watching movies than to immerse myself in a particular genre I love.

Continue reading “Romantic Comedies”

Certified Copy (2010)

Certified Copy (2010)

Dir. Abbas Kiarostami

Starring: Juliette Binoche, William Shimell, etc.

75/100

I’d recommend this to Penny, Grace and Kevin. I’d probably recommend this to Chris, Mitchell and Tony as well. I’m not sure if the last three would really like this, but I’m pretty sure they would find this interesting. Jill has a decent chance of being interested in this. No to Don. Larri has a very slim chance of liking this. Not sure about Marc.

**

The film begins with a writer (Shimell) talking about his recent book about art forgery. His book deals with the differences between the originals and copies–namely, why and if the originals are superior. Later he meets one an art collector (Binoche). They go for a drive, and thus begins a long conversation about art, which reminded me of films like My Dinner with Andre, Mindwalk or even Before Sunrise/Before Sunset films–especially when the conversation turns towards husbands and wives.

Having said all this, the film isn’t as straightforward as I’m making it sound. There is an element of mystery, and I don’t really want to say much more. I will say that there is a kind of mystical poetry in the film–the layers of ideas and the way ideas are expressed and overlap in different ways.

There is a lot to process in the film, and, unfortunately, I haven’t finished processing the film, so I don’t really have too much more to say.

***

While I don’t have much to say, I want to leave some questions, as well as do my best to respond to them. The first, and probabably most obvious question, is whether the James Miller, the writer, is the woman’s (Binoche; called Elle in the credits) real husband. I understand that critics have debated this point (which reminds me of Last Year at Marienbad–there are similarities with that film), and I’m not sure it’s really crucial. I tend to think that he’s not the husband, but sort of becomes the husband while remaining himself at the same time. (This is the poetic mysticism that I referred to earlier.) Being both isn’t possible, but there’s a sense that that could be the case.

This raises another question: how does their relationship/situation relate to the earlier question about original art versus copies of them? One person I knew interpreted the second half of the film to be a sort of test case for the question of the first part. Is the Miller–a copy of the husband–just as valid as the real husband? I’m not sure I agree with this reading, but it is interesting, and there might be something to this. (I still haven’t worked this out.)

I really should see this again and spend time thinking about it.