View Single Post
Old 01.23.2011, 02:10 PM   #13824
demonrail666
invito al cielo
 
demonrail666's Avatar
 
Join Date: Feb 2007
Posts: 18,510
demonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's assesdemonrail666 kicks all y'all's asses
Quote:
Originally Posted by atsonicpark
It's hard to describe what makes his films so fucking fascinating. They just have an atmosphere that you can't get anywhere else. I just watch his films and am instantly taken somewhere else. But, by somewher else, it's not in the Tarkovsky or Bergman or Herzog sense. This "somewhere else" is eerily familiar. He's a very cold director most of the time, kinda like Fassbinder in that sense, though way more apt to deal with alienation and isolation head-on (Fassbinder's characters seemed to keep a lot of their feelings inside so that you never knew their true motives).

He is cold but for some reason i never feel remotely depressed when watching his films. Same with Tarkovsky and Bergman - well, sometimes Bergman. Even at his bleakest, there's usually atleast some hope in an Antonioni film (the beach scene in Red Desert, Monica Vitti's dance in L'Eclisse, the final scene in L'Avventura). Fassbinder seemed far too cynical for all that, reflecting a very different era.
demonrail666 is offline   |QUOTE AND REPLY|