Welcome! 🍿

And thanks for your suggestion, Birdman is a fantastic film! — love Iñárritu’s other films too! We like to show films we can post links to, which is sometimes difficult with newer films. That said, we’ll add it to our list and if we can find a link try and show it soon.

We announce a new film every Sunday or Monday, and every Friday we have Friday Shorts 🩳 where we show artists’ films , animation and other fun stuff!

Glad you’ve joined us! 🍿❤️🎬

❤️🙏🍿🎬

We posted a fantastic interview with John Alcott who did the cinematography. Thanks for the zaps! And welcome! 🍿

Here’s the link:

https://theasc.com/articles/flashback-barry-lyndon

We watched Barry Lyndon recently at the Nostr Film Club! One of his best for sure. Come join us if you love movies! 🍿🎬🍿

It’s time! Hope you enjoy it. And thanks for the likes, and for reposting too, very much appreciated! 🙏🍿🎬

Thanks! We love it too. 🍿

It’s not him.

WK 11 | BRAZIL

Directed by Terry Gilliam

United Kingdom, 1985

🕓 143

🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿

Hi everyone!

This week’s film is Terry Gilliam’s sci-fi dystopian masterpiece, Brazil!

Enjoy! 🍿📽🎬

Here a the link ⚡️ 🎟 ⚡️:

https://archive.org/details/7.9-8-brazil-1985

Also available on Criterion, BFI and elsewhere.

Please remember to tell us what you think, and to like, share, or zap ⚡️

#nostr #plebchain #nostrfilmclub #movies #film #sundaymovie #moviestr #filmstr #kino #kinostr

I love Terry Gilliam too! I was going to choose something else but I’ve decided on Brazil for this week’s film instead. I haven’t watched it in some time so I’m looking forward to seeing it again.

Thanks for your kind comments and support!

Thanks for the zap⚡️ too!

Much appreciated! 🍿

I think your right. Also apparently, Jan Švankmajer was a big influence on Terry Gilliam, and, I don’t know for sure, but I don’t think it’s a reach to suggest that Monty Python was an influence on filmmakers like Burton and David Lynch, and later Anderson and others. There’s a definite lineage I think. I love it too!

Norman McLaren who we looked at a few weeks back also used a lot of stop motion in his work. 🍿

Me too! Thanks for posting a link, Nela! And thanks for the zaps too. Have a great weekend!

🍿❤️🎬HAPPY FRIDAY EVERYONE! 🍿🎬📽

It’s time for Friday shorts! 🩳

This week we have a stop motion animation, Punch and Judy (1966), by Czech filmmaker and artist Jan Švankmajer.

https://invidious.fdn.fr/watch?v=ztVEc08jgBg

Enjoy! 🍿🎬❤️

Please remember to like, share, or zap ⚡️or do all three! 🍿

#nostr #plebchain #nostrfilmclub #movies #film #sundaymovie #moviestr #filmstr #kino #kinostr

This week’s film is Paris, Texas by Wim Wenders. (See previous post for link.)

🍿🍿🍿🎬🎬🍿🍿🍿🎬🎬🍿🍿🍿

#nostr #plebchain #nostrfilmclub #movies #film #sundaymovie #moviestr #filmstr #kino #kinostr

Thanks for sharing your thoughts!

I believe the foreshadowing is a nod to Thackeray’s novel, The Luck of Barry Lyndon, on which the screenplay is based. Descriptive chapter titles are a trope of 19th century literature, especially among those works which, like Barry Lyndon, were published serially.

I’m not sure what you mean about the ending. The freeze frame is the last scene in which Lyndon appears, but it is not the end of the film. The films ends with the charming and poignant epilogue:

It was in the reign of King George III that the aforementioned personages lived and quarreled; Good or bad, handsome or ugly, rich or poor they are all equal now.

🍿

WK 10 | PARIS, TEXAS

Directed by Wim Wenders

West Germany, France, 1984

🕓 146

🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿🍿

Hi everyone!

This week’s film is Paris, Texas, Wim Wenders’ poetic tale of loss and love set in the American southwest. The second film on our list to feature the inimitable Harry Dean Stanton, and this time alongside Dean Stockwell and Nastassja Kinski. The film is beautifully shot — any William Eggleston fans out there will especially appreciate the use of colour.

Enjoy! 🍿📽🎬

Here a the link ⚡️ 🎟 ⚡️:

https://archive.org/details/paris-texas-1984

Also available on Criterion, BFI and elsewhere.

Please remember to tell us what you think, and to like, share, or zap ⚡️

#nostr #plebchain #nostrfilmclub #movies #film #sundaymovie

🍿❤️🎬HAPPY FRIDAY EVERYONE! 🍿🎬📽

It’s time for Friday shorts! 🩳

This week we’re looking at three films by pioneering feminist filmmaker Barbara Hammer (1939 —2019).

Enjoy!

🍿 CONTRIBUTION TO LIGHT (1968, 3:42 min, color, silent, Super 8mm film on HD video)

https://ubu.com/film/hammer_contribution.html

🍿 DYKETACTICS (1974, 16mm film, Color/Sound, 4 min)

https://ubu.com/film/hammer_dyke.html

🍿 OPTIC NERVE (1985, 16mm film, Color/Sound by Helen Thorington, 16min)

https://ubu.com/film/hammer_optic.html

It’s also worth noting here what a great resource Ubuweb is

https://ubu.com/

If you don’t know it already take some time to check it out — you’ll find everything from experimental film and visual poetry to ethnographic sound.

And please remember to like 🤙 zap ⚡️or repost!

Thanks for your support! ❤️🍿

#nostr #plebchain #nostrfilmclub #movies

“You eat a lot of acid, Miller, back in the hippie days?” 😂

It’s a great scene. And a great movie.

I know what you mean, though, I think, the way they are paced, and there’s a rawness to them too which seems uncommon these days. Sometimes the best scenes are those where nothing really happens.

I was thinking of choosing something by Jarmusch in the next few weeks. Mystery Train or Down by Law or perhaps Night on Earth.

I also watched Slacker by Richard Linklater again earlier this week— haven’t seen it in a long time — and I think that feels loose in a similar way. I love how it follows different people, drifting from convention to conversation.

😁

The lenses were left over from a batch made for use for NASA’s Apollo moon-landing program.

The following is taken from an interview with John Alcott which I posted earlier. It’s a fascinating read if you’re interested in the technical side. 📽

INTERVIEWER: Now we come to the scenes which have caused more comment than anything else in this overall beautiful film — namely the candlelight scenes. Can you tell me about these and how they were executed?

JOHN ALCOTT : The objective was to shoot these scenes exclusively by candlelight — that is, without a boost from any artificial light whatsoever. As I mentioned earlier, Stanley Kubrick and I had been discussing this possibility for years, but had not been able to find sufficiently fast lenses to do it. Stanley finally discovered three 50mm t/0.7 Zeiss still-camera lenses which were left over from a batch made for use by NASA in their Apollo moon-landing program. We had a non-reflexed Mitchell BNC which was sent over to Ed DiGiulio to be reconstructed to accept this ultra-fast lens. He had to mill out the existing lens mounts, because the rear element of this t/0.7 lens was virtually something like 4mm from the film plane. It took quite a while, and when we got the camera back we made quite extensive tests on it.