>>2474 Yes, same with East Asia (Hong Kong) but also Eastern Europe (Yugoslavia) and my own country. It is a tricky thing because you feel near like an otaku or something being focused on a specific scene but it is enjoyable, you learn their some of their little details and recurring themes, changing scenes very often (as is watching a movie from x place then y then z then b then a then c...) will end up with one using a general standard, that is the best movie you watched in that run instead of the context. Some places are just pure guilty pleasure and consuming them is akin to eating fries and grape soda everyday, it's not healthy but who can stop you? at least you can see other stuff with different eyes at times. >>2475 Should be easy but not often done because directors always have a particular work or two that aren't worth it or merely not interesting compared to their other works. In my case i reserve some stuff for latter days, Kurosawa i reserved myself his colour works but 15+ of his B&W i have seen. By accident i remember seeing, i think, all of Paul Verhoeven and Jim Abrahams + Zucker Brothers works, some others i am shy two or three movies like JP Melville or Sergio Leone, KW Wong is another and now that i remember Chan-Gook Park. Usually most people will be shy a few works due to that certain thematic oddity.

>>2475 I have seen all films directed by Charles Laughton and Ester Krumbachova. I've seen all of Orson Welles' major works besides Macbeth and Chimes at Midnight. Since he has so many unfinished projects and assorted TV episodes there's still plenty for me to watch.

>>2326 Bluray looks great. I can finally watch this!

Has Trinh T. Minh-ha made anything worth watching... or is she a mediocrity elevated by the progressive stack? Reassemblage is not an essential short and it's sloppily "assembled" to boot. I see a lot of people gushing over her work as if it unlocks some profound truth. Trinh has a 3000 word wikipedia page, over three times longer than legitimately interesting directors like Ulrike Ottinger and Kidlat Tahimik.

The first part of this video outlines some of the new applications of "AI" in video production For example, LED backdrops replace greenscreen to improve natural lighting. (This of course reveals that AI itself cannot convincingly reproduce natural lighting.) Some of the other uses have an uncanny valley feel to me. https://www.youtube.com/watch?v=ixgFtjfO_7Q https://inv.riverside.rocks/watch?v=ixgFtjfO_7Q

Currently coursing a writing activity thing once a week and getting instructed on how to write specifically technical documents to present at producers/directors, not really scripts but yeah practically scripts, instructive documents on how to make short projects without going into the director's dossier/shooting list. Been lagging around here so i expect to pass that on digital, translate it and post it around here and then start the PDF dumb just for the heck of it and kick myself a bit to read about camera work. If i ever get spare money then a video camera and try my hand at shorts but because nomonies i will probably end up doing "video art" aka experimental nobudget pretentious series of cinemagraphs, so that opens a whole new area i know very little aside from music videos. I remember reading the best only acceptable kind of video art projects are the ones experimenting about new or little used techniques, in this case because of no money what should i do? what do cinematographers even do when they have absolutely no money at all other than their camera? The Man with a Movie Camera version #88? should i expect to know after reading 2 or 3 books about camera work?

>>2590 >what do cinematographers even do when they have absolutely no money at all other than their camera I'm inspired by Paul Clipson, although now I can't find the relevant quote (from an obit) ) where he summarized his approach. He said something about a preference to just go out and shoot instead of spending hours planning what to do. As a result his work had a compelling spontaneity. Granted that's not an easy thing to duplicate without developing a sense of what to shoot and how to shoot it.

Once again this year another lore character of Hong Kong's film industry has passed away: Ni Kuang or sometimes written I Kuan was a shanghainese bookworm and a fanatic of fantasy/wuxia and science fiction literature, later on these feelings of utopian or impossible ideals and other assorted fantastical tastes naturally made him enroll in the communist party (police academy area) but he soon faced the dire reality of being coy while serving as a bookie in a mongolian commie security bureau outpost, in which he was often in charge of signing the written notices to send people either to the camps or to be executed. At some point he received a notice himself after poaching wood from the outskirts of a farm (owned by the family of a party leader) to warm the office at winter and soon escaped said outpost, back in his town his family refused to shelter him due to fear of being all send to the steppes and, like many cultured enough in gommie china, fled the country while in his particular case he went to Hong Kong after months of journeying in the rural areas and paying up 3 months of salary money to be shipped across the mainland to the island. Here is where things got relevant, he worked as hard labour for a while but due to his knowledge in several genres along with very disciplined workflow (consequence of being a chicom pencil pusher both to survive and entertain himself) he started penning amateur work for some newspapers and became a solicited freelancer both as a writer and as a quality control not much later, at some point writing a column for 12 newspapers at the same time, and after making friends with some literatefags in the city he was suggested to make his very own novel. Later on the novel was made and supposedly became an influential hit we don't know if they were good because hongs very rarely translate their literature and after getting a bit more fame he was invited to collaborate with the hegemonic film studio of the city-state, the Shaw Bros., where he became the almost-omnipresent staff script doctor for almost every screenplay that was considered worthy of filming. The hong industry has a particular thing, in which i know has a name in terms of industry practice but i forget about it, where an entity will oversee almost every output made and credit itself entirely even if they haven't touched the product but will also produce and cover up most expenses along with functioning as a supporting role if work gets trickier; such is the case of Ni Kuang and the Shaw Brothers film output, where he is credited at almost 400 scripts in 20 years (191 in the martial arts realm) if someone entered a basic idea or an advanced script he would supposedly come in, format it to industry standard to present it as an official screenplay, maybe fix some plot points here and there and then credit himself while other times maybe he would do the entire thing or some other times he would credit himself to make some freelancer avoid contractual problems with another studio. Most of these ranged in the wuxia/fantasy, urban crime, military drama or the studio's main source of income: Martial Arts flicks. There was a comment i read time ago which said something around the lines that "if you watched any hong kong movie from 1965 to 1985, there is a solid legitimate 33% chance it was penned at some point by Ni Kuang" and honestly it is not a hyperbole. After ditching the newspaper gig in the late 60's he went on to concentrate his efforts in the studio along with doing some "novels" chinamen call a lot of things novels, we can say chapters, comics, short stories, actual novels, etc and sometimes even if he didn't sign the script his work would be adapted by someone else as he freelanced or doc'd fiction works for other people, so if we believe the numbers there are around 500 products out there with his ideas or foreign ones with their consent as he was drinking buddies with many well-known writers of the time; if some movie's story was way too similar to a famous novel it could be maybe that he either supported said writer with the same plot points or just ripped it off with previous blessings by the man himself. To make things more absurd there's known work that was his but went uncredited to avoid contract problems, such was the case of Bruce Lee's Fist of Fury and The Big Boss, done because Bruce paid good money to disregard "the rules" which was the real reason why he got bumped off We can even argue the majority of the cliches, tropes or what have you in the martial arts genre was invented or implemented narratively by Kuang, so if someone thinks most martial arts movie play the same and have no variation at all, as if they were written by the same dude, then surprise... it probably was. In reality the guy probably didn't write, in an integral form, more than 100 works but his orders to format the napkin stories and streamline most anything with the same plot points, ideas and even basic dialogue lines makes him a core personality in Hong Kong's film lore and basically the entire martial arts/hand-to-hand combat action genre. With his death the last of the 4 major writers of the Hong industry rests in peace, in the coming days we'll see if he will receive an outwardly fanciful farewell like he did at some point being the co-protagonist of that Coffin Drinking Tale (along with recently deceased Jimmy Wang) or if he will be somewhat ignored by their media due to his staunch anti-communism position, rumored umbrella sympathizer along with being an allegedly somewhat famous PRC critic via satirical columns done both in the 60's and the late 80's, the main reason of his departure from the island in the mid-90's (along with many other chicom expats like Jet Li) which also effectively ended his script doc and big editorial career. Coincidentally i saw a movie penned by him yesterday although that's not an oddity lol, RIP nevertheless

In my recurrent watch on chinaman cinema today i've come, once again, to be disgruntled at the recurrent problem of their industry from the 70's through the 90's: a) They often have very compelling concepts but almost never have the time, skill and/or clear idea on how to do it, still usually it is a concert of omissions rather than poor craftsmanship, but way above this my main beef is b) The contemporary and even early viewers in the west, who have paved the first reviews and overall reputation of many works, are stupid fucking niggers and not even exaggerating, U.S. east coast's hydrant-busting pickpocketing ghetto rats who got low-budget tickets into china-owned cinemas and badmouthed anything they didn't understand, in reason because the concepts were quite abstract but also because whatever that isn't some top action is deemed wrong. At this point i've written, but not posted, 2 or 3 very long-winded posts (much more than this one, think 12,000 characters kinda like) about certain movies i've found flawed but absurdly original, often due to the idiosyncrasy their were made in, but appalling to me they are often deemed as some of the worst movies in the region despite not being unwatchable at all nor that much confusing, but its unintended audience in the west due to being misled by greedy or plain ignorant promoters were throw to the seats to watch stuff they expected to be way different... is this enough to burn on the stake projects that can hardly be compared to any other work and that serve its purpose in entertaining its actual intended original audience? This led me to think what if a Kaurismaki comedy was shown to a modern romance-comedy audience? would they crucify it or put it in another sub-group altogether? if a Takashi Miike movie was shown to a melodrama-oriented audience used to british period pieces? would they excommunicate it or merely call it a specialty item for another scene? i've seen similar situations in those intended audiences and the response is usually the understanding of other fields and the products for them (rom-comfags usually just try to forget something they didn't like happened); so then when a Power Rangers-tier action movie suddenly explores the afterlife, the religious, the magick aspect of life and the trivial/surreal/ironic view on them... why is it then that scares the hoodlums more than a torch does to a troop of baboons? why is two flying swordsmen throwing dense plasma out of their hands plausible but an extremely religious man having his soul wander around seeing the lives of others (and even interfering in them) makes a monkey hyperventilate? especially when it is even told in very entry-level comedy absurdism? Some genres and scenes have works that are not easily classifiable in their own context and sometimes not even in outside ones despite sometimes being based on old canon works, it would seem very silly to attach Savitrian tags on them but why the hell not, some movies seem to be "against time" in terms of them using unorthodox and almost vain methods to display almost-opposite mischievously deep timeless concepts, such case for 2 particular movies i've seen "complex hand-to-hand combat and Sesame-level comedy skits to show interdimensional life forms and human efforts in transcendence" based on literature and tales from centuries ago. Such bizarrity has happened and has also somewhat worked in terms of entertainment but my disdain towards niggers, kung fu-centric pavement apes to be precise, remains for having vanished such works (otherwise far from perfect and who their originality plainly saves them from the "mediocre" tag) into the realm of "unquestionable crap that no one should buy a DVD from" rather than "this is particularly niche even for its original audience, proceed if fan of the genre". Had some works been released as japanese no one would've batted an eye for their content, how many works in other parts of the world are lingering in almost complete obscurity because the supposed gatekeepers deemed them "sacrilegious"? how much damage and dark energy did the hongs do to have much of their industry be gatekept in the west by a feetfag guido rip-off artist and a pack of feral howling primates in some New York slum who do nothing but smoke meth and stab cabbage-filled trashcan bins? and who call themselves "martial art enthusiasts" sometimes to boot it all off to the same absurdity levels of spirits shapeshifting into girls to torment the military or angels going to hell to play mahjong. /rant

>>34 >>2621 While I can't write something on this scale talking about nth dimension stuff I can recommend Nobody. That was a good film, compared to most of the other ones of the past couple years.

I find odd how extremely crucial or enduringly influential craftsmen die and get ignored by tons of media, perpetuating the myth you need a PR ace under your pay to have your name do the rounds often on mainstream (or any) media. Just Jaeckin was an artist specialized on sculpture and photography, with formal education in architecture with an interior design focus, who at some point and somehow in his early 30's had the chance to direct a decently-budgeted feature film, Emmanuelle, in 1974. His early life was, according to official sources, a dude who left suddenly his parents to explore northern lands, live like a bohemian, photograph some stuff, return and for some reason join the military, travel some more, study college thanks to army bonds and with the money gotten by doing artsy stuff do a movie heavily focused on the erotic/banging sculptural chicks in cool, photogenic sets. If you had to wonder what place was this lad from, you would quickly think such a human specimen would be french because only them can be this picturesque in both the good and the really bad way... and you would be right. The influence Emmanuelle had in cinema cannot be underestimated easily as in a mere softcore flick, despite not being that good it had a tremendous influence by practically founding the genre of late-night softcore film, plenty of trademarks started here with his influence from portrait photography (diffuse lighting, backlit subjects, sepia, heavy posing) performed great by pretty good cinematographer Robert Fraisse, this influence extended in actions showcased after classic frenchfag shenanigans (banging in second-floor old town room with open windows, wine, eating seafood before banging, sucking ice cubes before slurping people, wine, kissing everything except face, exotic music in background, drinking wine from breasts, foot antics, infidelity, being a degenerate under the influence of stinking wine). Despite not getting that much money from the immense success Emmanuelle had (including 32 sequels and/or related works using the character or something very similar to it) he went on to direct other stuff, he was offered the helms of the series but recommended a friend and carried with other stuff. Why did he do this i don't know for sure but it certainly needed a good amount of balls because he damn well knew the success, anyways he did a couple of more softcore stuff, which did not fare well, and that wasn't the exception in terms of theatrical with the 1981's release of a Lady Chatterley's Lover version, which did otherwise massively in the home market section which later became a staple in late-nite television peeping saw that one around 2004 or 2005 on TV, always looking at the door to avoid getting caught this one also starred the original Emmanuelle's protagonist, venerable and interesting character Sylvia Kristel, the pack-a-day smoker bag-a-day snorter sophisticated lounge girl (who was probably a groomed girl in the euro elite circles) who was also known for being extremely badly advised by doopy-headed friends due to rejection or ignoring several big projects and decisions due to them being high all the time and giving as higher rules of action for her sadly-not-as-high career. The man himself made another film and a couple of TV episodes later, not as successful, and after getting hyped and getting his ideas crushed by nosey producers he decided to call it quits and use the money he had made (not as much as one would think despite his gold-printing products) to do art, sell it and just live relatively calm with his cutesy wife somewhere in i guess France; despite this it seems he decided to film some small-scale stuff once in a while, mostly commercial stuff like adverts, one for Seiko which gained some recognition later on. As a sidenote it seems the japs loved the guy and his stuff, i mean most did but they were more open about it letting him direct stuff not related to porn or chicks; also some say (tabloid headers) he photobanged both Marika Green and Marlene Jobert which is very commendable and i feel envious about it until i realize i had to be french to do that So this dude called it quits from everything some days ago, leaving a seemingly forgotten legacy by most other than that sharp eyed fellow who interviewed him extensively a year ago out of nowhere, kudos to him and shame there's no subtitles. For us non-frog tonguers we will be left with his pictures of girls and flawed but certainly very charming film adaptations of adulterous roasties being eternally inquired by horny rich dudes bordering the cuckoldry line, something most recently von Trier successfully (and unnervingly) mimicked in his 4-hour degenerate journey called Nymphomaniac. For us still living all we can do to serve this frenchman's memory is to remember, if vaguely, his name and what he did which is something few do in these genres' realms where everyone are, including me, just jaeckin off :^)

>>2724 I never realized his filmography was so brief. I don't think I've actually seen one of his films though. I watched a few Italian Emanuelles but none of the French.

Godard died and i feel i should write something about him, but i can't remember when i last enjoyed something made by him. So i won't. I do commend him on having good taste in women and probably having the skill to wrap them up via personality rather than shady tricks, but who knows because he was jewish and rich enough to masquerade in/as the elite like his uncles and father did. He did great work in the editing room but no product of his made me feel they were employed in fulfilling ways, i do wonder sometimes how he got his name in the first place or if i am too far ahead in time to appreciate his supposed pioneering work, or if the famed communist press in France helped build his fame later on in the 70's when most cinema scenes were aligned with the red wave. Seems the french are doing charity and have been scheduling their own assisted deaths themselves, J.L. being one and supposedly Alain Delon being the upcoming feature. That one will certainly wreck many hearts in old ladies but also french new wave viewers who watch actually enjoyable movies. >>2732 There's also some american ones but the euro versions have that artsy but really depraved vibe to them that makes them shocking but also arousing to women. Americans are just jovial about relations and do it "for fun" according to what the movies show, the euro ones explore it as secrets or adventures while often too as "fever dreams" so it adds an atmosphere of spontaneity, danger and downright body integrity degeneration. The ones set in travels through Africa are a prime example as they show people with very primal behavior, and you can guess what C.K.-tier antics appear at times. The ritualistic and dark nature of some of those scenes do show a glimpse of how the sex tourists and high-ranking swinger/elite parties work or at least look like, the montage/editing/mise en scene are also quite above-average at least for porn.

>>2738 Yes, when I familiarized myself with the full spectrum of European cinema, I was confused why the mediocre midwit Godard held status as a classic entry point. There are so many more interesting directors but somehow his films are the first that people watch. Even my film school friends were introduced to Breathless which they treated like a stroke of genius.

>>745 One of the sites mentioned in this article "La Loupe" is back at laloupe.org. I guess they are a French news and sharing community that was banned from Facebook.

I have not even fucking started drawing the crude schematics to the action thread and one of my fav performers called it quits; Chung-San Chui Alan has turned into a wooden tablet recently at 70 years old, so far from what i've seen one of the best stuntman of the entire hand-to-hand combat genre, being particularly notorious in the golden age of "pure" action choreography circa 1977-1982. As was often the case with his genre's era and history, he was a youth enlisted into one of those 12=hour-a-day opera schools (i think Beijing) fancy word for circus which was a fancy idea sometimes of undercover gangbangers/militants, also fancy word for orphanage/"can't pay this kid's food and education" and did dirty work for budget movies until climbing ladders to high-profile action movies, which were still budget, and later on being a surviving 70's pro in the new wave era of Hong Kong movies (1982-1994) which is codeword for the cantonese appropriating their own industry after Shaw Brothers and other companies focused on TV productions and soap operas, leading to him winning some awards for stunt coordination/action director and appearing sometimes in decent-budgeted productions, mostly for TV but also sometimes in movies. A great acrobat who was forced to act as was the case in the era where stuntmen ruled most aspects of filmmaking, in which his acting chops weren't very endearing due to quite wooden and sometimes even nervous demeanor mainly because he was quite the unlovable face and also often cast as senseless villains, he more than made up for it due to being quite precise (and natural looking when the footage was sped up slightly) and running as double for a wide variation of actors which sometimes came as obvious due to his visible superiority in movement or due to being considerable higher than normal for chinamen (which isn't saying that much). The Pocked Squareface was then, due to his low market value looks, often relegated to secondary roles or downright thrown into the directing/choreagraphing scenes but that's probably where he mostly shone and is/was appreciated by viewers of such niche genres; it is normal to see his fight scenes being technically better than the main fights, including the grand finale ending ones. And so despite having rare leading roles one could be guaranteed at least a single very good sequence if he appeared on screen as it meant he was going to get a scene or was going to be a stunt for some actor later on which meant knee-busting low stances, long uninterrupted exchanges or physical sacrifice in getting a kick or being thrown around without visible protection vests or cables. Farewell to a face that meant a sure telltale sign of quality in a field full of budget, uncertain products that is the kung fu action cinema. What is it with knowing mostly yellow devils recently than euro actors? guess i have to see more euro quality asap

You are hereby reminded that Wake in Fright is a Christmas movie

>>2781 >Christmas not being a main concept of the movie >Christmas values not being seen through character development >No Christmas aesthetics being the main or secondary artistic direction through out the movie I don't think so, the movie could've happened in "summertime" vacations (mid-year winter time down under) and would've been the same thing except the protag would've had lots of cold and his purgatory lasted twice. A medium-sized steak and two fried eggs was 70 cents of a US dollar back then

>>2782 My argument that Wake in Fright (1971) is the best Christmas film ever made may come as a surprise to some; however, it has everything that a great holiday movie needs. The setting of a small outback Australian town on the brink of its Yuletide celebrations captures the essence of the festive season. It embraces themes such as family, togetherness and communal spirit in which Christmas plays an important part for any small community. For those who know or grew up in rural Australia, this is a tale that speaks directly to their experiences and understanding of Christmas traditions and how far-from-home ‘mateship’ can bring people closer together at this special time of year. The main protagonist, John Grant (played by Gary Bond), is bored with city life, so his work and leisure takes him out into the bush over the festive period. Initially discontented when he arrives in the fictional town of Bundanyabba, John soon discovers that despite their challenging circumstances, locals here still have much to celebrate at Christmastime. As more people arrive from other towns hoping to make Yuletide merry, they find ways to connect with each other through makeshift parties and increasingly drunken games fuelled by supply of emu beer delivered by local magistrate Jock Crawford (played by Chips Rafferty). John’s journey through the town takes him on a rollercoaster of emotions – he meets both supportive friends and potential foes who interact with each other in ways that have them laughing one moment then crying the next – making their moments together intense yet poignant enough for us all to relate to around Christmas time. What makes Wake in Fright particularly effective as a Christmas movie is its acknowledgement and exploration of diversity within both cultures and beliefs; John encounters individuals from multiple backgrounds who also embrace certain idiosyncrasies about themselves— including passion for kangaroo hunting – which challenge his own view on Christmas cheer but ultimately teach him what true companionship really means during festivities away from home. This sincerity makes it easier for viewers worldwide who don't necessarily share similar cultural perspectives but can nonetheless appreciate what these characters are trying to achieve during their remote celebration amongst strangers. Ultimately it is Roger Ebert's famous remark which elevates Wake In Fright into legendary status – calling it “the roughest, toughest most brutal Australian film ever made”; there are no easy undertones or allusions here - this movie pulls you tight & fasten your seatbelt for an exhilarating experience where danger & emotion collide against backdrop of stark beauty surrounding Bundanyabba making it uniquely powerful yet small-town enough for every viewer identify with - especially for those with roots deep inside heartlands Down Under! From this pointof view therefore ,it is without doubt that Wake In Fright becomes perfect choice candidates when searching stand-out movie capture true meaning being merry at Yuletide .

>>2805 Nice although i have my opinions >embraces themes such as family, togetherness and communal spirit in which Christmas plays an important part >‘mateship’ I agree, especially with the last word because it does happen often in work towns and even on college circles in studies were no women often appears (agronomy, mining, engineers) but family is stretching it a bit and the communal spirit doesn't go as far as community building but conservation of it mostly. I can agree in the end WiF is about mates passing time and wanting companionship by trading trust, which the protagonist hasn't been able to reciprocate due to his education and experience... or at least until the very end in the train ride. >The main protagonist bored with city life, so his work and leisure takes him out into the bush over the festive period Kinda, he was forced by the ministry to take his work into the outback and he wasn't supposed to stay in the 'jabba on his festivities, he is marooned there due to his mistakes and his sweet time only lasts half a night. >makeshift parties The only kind of party, baby >making their moments together intense yet poignant enough for us all to relate to around Christmas time. It does happen everyday in small workplaces, not isolated in holidays. >effective as a Christmas movie is its acknowledgement and exploration of diversity within both cultures and beliefs I mean i can say the same sentence regarding the movie but with hunting, everyone in the movie is a hunter but they have their different methods and some their different preys. I can expand upon this later if you ask me, i don't think this can take Christmas as its focus point but rather man and his constant need for human contact. >Ultimately it is Roger Ebert's famous remark which elevates Wake In Fright into legendary status I have been trolled, good going. I thought you were going to say that a hobo ejaculating on your chest in the middle of the desert was as Christmassy as eating cold bread with eggnog but somehow your post's punchline was much more offensive than i thought. And even if aussies get angry i still think Wake In Fright is one of their very best cinema works, made by a canuckold to add insult to the pleasure.

>>2814 Full disclosure: I escalated the earlier post by instructing OpenAI to write an essay arguing that Wake in Fright is the best Christmas film ever made. The result was pretty funny so I posted it here. You might have noticed the writing starts to come unglued toward the end.

>>2815 I didn't need to become even more paranoid towards anons replying than i was but here we are I can see a slightly more advanced version being used already in some imageboards, a bunch claim some big sites have done so since 2016. We probably are fewer people replying in general on almost every site than 10 years ago.

>>2816 it's called dead internet theory and it's true.

How to plan the minute story and scenes of your show I know the premise but i cant seem to decide how many characters or how should the scene be or even what is happening to make story sensible Like how should the hero reach the goal or what are the obstacles or the motives how select or even generate ideas for it?

lmao what a shitty board. bunch of pseuds saying superficial shit about thematically empty movies. no wonder this board is dead, it was never even alive.

I like this board. This is a cute board.

>>2834 What thematically rich films have we overlooked?

>>2738 Females don't care about personality. Looks, money, status. They'll use you to further their career and then cry rape 20 years later.

>>2847 What a nerd.

>>2738 his work was overrated, just like hitchcock and he used his influence in tv and film production, which was nothing more than a product of jewish collectivism, to "get" the women. he was fat and ugly. without the money and the status he would've died a virgin. he used women who whored themselves just as much as they used him to get parts in his boring films.

PSA

I can't find what Tarkovsky said about his opinions on modern life and that he'd preferred to have been living in the pre-Rennaisance. Does anyone know what I'm talking about?

>>2892 Always saw posting in private trackers as playing russian roulette, sooner or later some ill jannitoid/mod will slap you for wrongthink

Does anyone know what this is from? The aspect-ratio is so W I D E!

>>2894 Was it from a book, interview or documentary? >>2896 Salaryman 6, experimental bugman short film

>>2892 >>2895 Source https://karagarga.in/details.php?id=321889 Too many people were shitting on his upload from feminist hobgoblin Nina Menkes

IMDB gets shittier with every update. I just want to check film credits without clicking all over the page first. Is there a way to restore something that resembles "classic view"?

I don't know how I never found this site before but MNTNFILM is an online database of mountain films. One for the Resource Library: https://www.mntnfilm.com/en The map feature provides a list of films shot on particular peaks. For example, the Pennine Alps https://www.mntnfilm.com/en/p/map-search/climb:pennine-alps

>>2903 Add /reference to the URL of the film. Reverts it back to the classic layout with all the necessary details in one page. Don't know how long THEY will allow its existence. But no hopes on the individual actor/director pages. that ship has sailed.

>>2897 Interview I think.

Do any CG-brothas post here or is this strictly KG country? Yes, I am indeed fishing for an invite - genuinely is tougher than KG/PTP

>>2922 I'm on CG. List twenty most lusted after movies that you'd find on CG and a ratio screenshot of your kg account. If i like them I can give you invite

>>2909 Neat! Thanks Anon, welcome!

Reposting this list for future reference The Fallow Field (2009) Angel Mine (1978) Dead Funny (1994) White dwarf (1995) Biohazard: The Alien Force (1994) I'm the Elephant, U Are the Mouse (1994) Forevermore: Biography of a Leach Lord (1989) Eliza's Horoscope (1975) Defenceless: A Blood Symphony (2004) Kung Fu: The Movie (1986) The House of Dies Drear (1984) The Blue Light (2004) Urchin (2007) Harry Knuckles and the Pearl Necklace (2004) Revenge on the Highway (1992) The Shells (2015) Nightlife (1989) We're going to eat you (1980) Drive In Massacre (1976) Tattoo (1991)

OK i need a site/repository to upload cinema PDFs and not have it taken down or purged. Zippyshare got the boot, AnonFiles purges pretty quickly if the link is inactive (which is fair of course) and Mega has that limit which is okay but many might want to download a lot, also the fact it detects copyright material and i plan to have tons of it. I don't want to dump it here because admins have said they rather have space for posts and images rather than PDFs and i agree with them. Internet Archive is constantly being threatened too. What do, i am suspecting i might have to use Mega with solid and locked RAR archives, MediaFire is okay but it's been ages that i don't use it, Torrent i can do but i am doubting i will be able to seed it due to upcoming events.

>>2980 Mega works until you forget to login and lose all your files. Libgen might last longer? It has an upload feature though I haven't used it myself yet.

>>2980 make a torrent; takes seconds/minutes to create one. share the magnet in a /t/ thread on 4ch. You'll have atleast one autist with a seedbox keep it alive for a month. Copy it over here and the KG elite permaseeders here will take it from there.