eaten by nostalgia

Audio Director for @lightarcstudio / one third of @podpeoplepod

[eaten by nostalgia @MrSheetz]

IMAX is 4DX for self serious urbanites

[eaten by nostalgia @MrSheetz]

@newkingarthur

[eaten by nostalgia @MrSheetz]

@WillSloanEsq I’m surprised there hasn’t been a Uwe Boll movie on Michael and Us

[eaten by nostalgia @MrSheetz]

My woke parents and I are watching the WNBA instead of the finals. Caitlin Clark just hit a clutch 3 to win over the Washington Mystics

[eaten by nostalgia @MrSheetz]

This is why we’ll never get a “non-horror Obsession”. Giving non-elites a shot in genre filmmaking is baked into the history of the medium, from poverty row to the Corman school onwards

[Hollywood Gadfly @Filmgadfly]

Hollywood’s favorite story: the broke outsider who self-financed an $80k movie on credit cards.

The receipts: a ~$1M elite education, $330k+ in grants on her prior film, and a father - a Chinese real-estate and equity investor - credited as an executive producer.

I call it “poorface.” New piece: https://t.co/VTC1Twrpgj

[eaten by nostalgia @MrSheetz]

One thing I haven’t seen talked about much with regards to Backrooms and Obsession are how they’re both ruminating on the cowardice of inaction. Seems like an important contemporary cultural thread, especially for Zoomers

[eaten by nostalgia @MrSheetz]

She compares it to the youth desperation of Bunuel’s Los Olvidados. There we’re viewing things from a deeply empathetic lens, whereas in Clockwork it’s a cartoonishly gleeful sadism that doesn’t earn the empathy of the harsh reeducation in the second half

[eaten by nostalgia @MrSheetz]

This is similar to Pauline Karl’s take on Clockwork Orange, in that it displays violence as an alien force rather than something deeply human that lives within all of us

[DepressedBergman @DannyDrinksWine]

John Cassavetes on why he is against movies like Stanley Kubrick's "A Clockwork Orange" (1971):

"There’s a difference between being violent and having violent emotions. There’s a difference between anger and the act of shooting somebody in the face. I’ve never known anyone in my life that ever shot anyone in the face. And I’ve seen it on the screen too many times. There’s no morality there, no feeling of anything for anyone. It’s a lie to say that people are violent. There are more good people than there are bad people. To see constant terror builds a nation, builds moviegoers that can only love constant terror. We become used to it, inured to it like doctors knowing they have to be tough. They can’t think of that person with tenderness, but must be dispassionate.

There’s a lot of violence in 'Minnie and Moskowitz' (1971) but violence that I can understand. Violent feelings, but nobody ki!!s anybody or shoots anyone or knifes anybody. Without having seen 'A Clockwork Orange' (1971), I know, because I know the story. I really couldn’t go to see it, because I don’t want to see people ki!! each other. I don’t want to see any more hostility toward one another. I just don’t want to see that reflected any more. I’m tired of violence and dehumanization. I think the artist has a tremendous obligation to bring trust to people. Because the only thing we don’t have time for is ourselves. We can’t live with ourselves if we have no respect for our life and the human condition and the foibles that exist in all of us – then we have no tolerance, we’re all Nazis. We can’t survive with people being that inhuman. It’s impossible.

I look at 'A Clockwork Orange' and ask, why did Stanley make it? Did he make it for anyone in particular? Why did he choose a story like that, in this day and age? For what: to incite a revolution, to stop everything? Maybe that would be OK, if he really believed that, but I don’t believe it. I don’t know why he made it.

The more films are made about insanity, the more fashionable it will become. And, eventually, as we become more and more dehumanized, there will be no answers for anyone. You can’t get any pleasure out of being an animal. There should be a Kubrick who can make that film and show that life can be violent and harsh. But, on the other hand, where are the equalizing forces of happiness? Art films, in stressing the weakness of society, have lost their balance. The majority of people would rather be filled with illusion than disillusion. And we just have to find some way to reflect that. Not just to constantly say, ‘Oh, God, things are wrong and all, and I don’t know what to do about it.’"

('Cassavetes on Cassavetes', edited by Ray Carney, 2001)

[eaten by nostalgia @MrSheetz]

Heartbreaking: deadite blows out the one candle lighting the scene

[Evil Dead Burnt! @evildeadburnt]

new look at Evil Dead Burn

[eaten by nostalgia @MrSheetz]

@weardjupiter A no budget heist movie would go hard

[eaten by nostalgia @MrSheetz]

The elephant in the room with all of these VC crybabies is that it's not exactly "unrealized" gains if you can easily borrow against it. If you can use it to fund your lifestyle, you can use it to pay for the social contract that wealth requires

[Alexis Ohanian 🗽 @alexisohanian]

We're absolutely going to have to figure out how our society adapts to a rapidly increasing wealth gap, it'll be required to preserve our republic, but the answer is definitely not taxing unrealized gains.

[eaten by nostalgia @MrSheetz]

It's been a run for the record books

[David Hering @hering_david]

RIP Peter Watkins. One of the greatest postwar British directors. His influence is and will remain incalculable. His work is as relevant now as it was 60 years ago

[Justin Decloux @DeclouxJ]

The horror film of the year just dropped online!

Joe Meredith's HARVEST BROOD is a shot-on-video Halloween-set slasher with a true crime backbone and mutants peeking out of the corners. Turn off the lights, get a blanket, and fire up this nightmare: https://t.co/yrNEq9LiB4

[eaten by nostalgia @MrSheetz]

Rising stock: Yuzna, Kore-da, Kobayashi, Kiyoshi Kurosawa, Zhangke
Falling stock: Gondry, Gilliam, de Sica, Haneke, Clement

I'd anticipate a big(ger) fanbase for Yasuzo Masumura, Glauber Rocha, Yoshishige Yoshida, Patrick Tam, and Andrei Konchalovsky in the next few years

[kyle @Caol_MacCormaic]

uncs of film twitter: what are some movies that are canonical now but were basically unknown when we were coming up? like Come and See or Possession. inversely: what are some movies or filmmakers that seem to have fallen off? (Takashi Miike comes to mind)

[Umbrella @UmbrellaEnt]

#GIVEAWAY Here is your chance to win the 1/2500 MICHAEL HANEKE COLLECTION which comes with 16 excellent films 📹

To enter:
1. Follow us
2. Like the post
3. Retweet the post

We will draw the winner next week!

Good luck 🎹

[eaten by nostalgia @MrSheetz]

@JeffGrubb

[eaten by nostalgia @MrSheetz]

LFG! Alan Clarke is one of the under recognized GOATs of British cinema

[Dawn of The Discs @dawnofthediscs]

Coming to 4K UHD in August from 88 Films

Scum (1980) 4K UHD

Scum has been transferred by Filmfinity into a new 4K DCP from the original Camera Negative, kindly supplied by Tigon Films and commissioned by 88 Films. Extensive cleanup and grading have been performed and it now looks better than it would have done upon release back in 1979. Scum will be released on 4K UHD, Blu-ray and DVD by 88 Films on 18th August.

#Bluray #physicalmedia
#Horror #HorrorCommunity #FilmCommunity #MovieNight #Bluray #4K #4KBluray #4KUltraHD
#DVD #VHS #physicalmedia #physicalmediaforever #bluraycollector #bluraycollection #Horror #HorrorMovie #HorrorMovies #Film #Movie #Movies #Cinema #FilmTwitter