"Stay In My Memory" by Bim from Gobblynne Animation on Vimeo.
Thursday 3 September 2009
The Observer Film Quarterly's best British films of the last 25 years
How many of them have you watched so far?
01. Transpotting (1996) / directed by Danny Boyle (watched)
02. Whithnail & I (1987) / directed by Bruce Robinson
03. Secrets & Lies (1996) / directed by Mike Leigh
04. Distant Voice, Still Lives (1988) / directed by Terence Davies
05. My Beautiful Laundrette (1985) / directed by Stephen Frears
06. Nil By Mouth (1997) / directed by Gary Oldman
07. Sexy Beast (2000) / directed by Jonathan Glazer
08. Ratcather (1999) / directed by Lynne Ramsay (watched)
09. Slumdog Millionaire (2008) / directed by Danny Boyle (watched)
10. Four Weddings and a Funeral (1994) / directed by Mike Newell (watched)
11. Touching the Void (2003) / directed by Kevin Macdonald
12. Hope and Glory (1987) / directed by John Boorman
13. Control (2007) / directed by Anton Corbijn (watched)
14. Naked (1993) / directed by Mike Leigh
15. Under the Skin (1997) / directed by Carine Adler
16. Hunger (2008) / directed by Steve McQueen
17. This Is England / directed by Shane Meadows (watched)
18. Shaun of the Dead (2004) / directed by Edgar Wright
19. Dead Man's Shoes (2004) / directed by Shane Meadows (watched)
20. Red Road (2006) / directed by Andrea Arnold
21. Riff-Raff (1981) / directed by Ken Loach
22. Man On Wire (2008) / directed by James Marsh
23. My Summer of Love (2004) / directed by Pawel Pawlikowski
24. 24 Hour Party People (2002) / directed by Michael Winterbottom
25. The English Patient (1996) / directed by Anthony Minghella (watched)
資料來源: http://4bluestones.biz/mtblog/2009/09/post-1704.html#more
http://www.guardian.co.uk/film/gallery/2009/aug/30/best-british-films-25-years
Tuesday 28 July 2009
DEADLINE post-it
Randomly, I saw a brilliant animation on youtube and found that I actually knew the artist, Bun-Yao, Liu (劉邦耀). He's the same age as I, and we went to the same private art institute (畫室) when I was in high school.
By the way, he looks like Bruce Lee (李小龍), ha!
By the way, he looks like Bruce Lee (李小龍), ha!
Monday 27 July 2009
Delta
Delta, a beautifully depicted film by Hungarian director Kornél Mundruczó, about a young man who had been long away from home suddenly returned to this remote delta area and met his estranged sister who he had never met before. Not long after, the sister decided to live with the brother and helped him build a house beside the distant wetland, away from the village. As their not-to-be-told relationship developed, the hatred and disgust were also grown among the local villagers, and led to an inevitable and tragical consequence.
Although relatively thin on the story-line, it was the strong visual narrative and rich soundscape that brought the film to life.
The director used long-duration and slow-traveling shots very often through out the whole film. The film began with a slow-traveling shot of a vast wetland, almost like an Impressionism landscape painting with saturated blue water and orange dusk sky, yet it wasn't the water surface that divided the blue and orange but the sound of the engine that urged the boat moving forward and the rippled that drawn behind, also indicated the arrival of the young man. A static and long-duration shot of rows of boats with old villagers in black clothes informing a funeral reminded me very much of the master Greek filmmaker, Theodoros Angelopoulos' Trilogy: The Weeping Meadow. In the opening scene, a significant numbers of Greek refugees arriving from background seashore to the foreground riverbank in a foggy, gloomy day.
Acoustically, plentiful in soundtrack as well as natural sound recording. Cello tenderly played along with scenes of the delta area, the mysterious landscape, and switch to folk music when entering the local bar. Water splashing, hammering nails, timber cracking, frogs and owls sang in turn at night. Rich but not redundant.
It's a film that didn't have much dialogue but narrated through images, and assisted by sound, it said more, no extra verbal words needed.
Although relatively thin on the story-line, it was the strong visual narrative and rich soundscape that brought the film to life.
The director used long-duration and slow-traveling shots very often through out the whole film. The film began with a slow-traveling shot of a vast wetland, almost like an Impressionism landscape painting with saturated blue water and orange dusk sky, yet it wasn't the water surface that divided the blue and orange but the sound of the engine that urged the boat moving forward and the rippled that drawn behind, also indicated the arrival of the young man. A static and long-duration shot of rows of boats with old villagers in black clothes informing a funeral reminded me very much of the master Greek filmmaker, Theodoros Angelopoulos' Trilogy: The Weeping Meadow. In the opening scene, a significant numbers of Greek refugees arriving from background seashore to the foreground riverbank in a foggy, gloomy day.
Acoustically, plentiful in soundtrack as well as natural sound recording. Cello tenderly played along with scenes of the delta area, the mysterious landscape, and switch to folk music when entering the local bar. Water splashing, hammering nails, timber cracking, frogs and owls sang in turn at night. Rich but not redundant.
It's a film that didn't have much dialogue but narrated through images, and assisted by sound, it said more, no extra verbal words needed.
Tuesday 3 March 2009
Monday 2 March 2009
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