Synopsis
We are not alone
After an encounter with UFOs, a line worker feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.
Close Encounters of the Third Kind
1977 Directed by Steven Spielberg
Cast
Richard Dreyfuss François Truffaut Teri Garr Melinda Dillon Bob Balaban J. Patrick McNamara Warren J. Kemmerling Roberts Blossom Phil Dodds Cary Guffey Shawn Bishop Adrienne Campbell Justin Dreyfuss Lance Henriksen Merrill Connally Amy Douglass Gene Dynarski Carl Weathers Norman Bartold F.J. O'Neil Hal Barwood Matthew Robbins Gene Rader Daniel Nunez Chuy Franco Luis Contreras Galen Thompson John Dennis Johnston Robert Broyles Show All…
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Alternative Titles
The Close Encounter of the Third Kind, CE3K, The Special Edition: Close Encounters of the Third Kind, Watch the Skies, Близькі контакти третього роду, Близькі контакти третього виду, Rencontres du troisieme type, Rencontre du 3e type (HDR), Rencontre du 3e type, 미지와의 조우, Director's Cut: Close Encounters of the Third Kind, Encuentros en la tercera fase, Encuentros cercanos del tercer tipo, Close Encounters of the Third Kind (Director's Cut), Close Encounters of the Third Kind (Special Edition), Incontri ravvicinati del terzo tipo, Близки срещи от третия вид, Encontres a la 3a fase, Blízká setkání třetího druhu, Nærkontakt af tredje grad, Unheimliche Begegnung der dritten Art, Στενές Επαφές Τρίτου Τύπου, Kolmannen asteen yhteys, Rencontres du troisième type, Encontros na Terceira Fase, מפגשים מהסוג השלישי, Bliski susreti treće vrste, Harmadik típusú találkozások, 未知との遭遇, Artimi trečiojo laipsnio kontaktai, Bliskie spotkania trzeciego stopnia, Contatos Imediatos do Terceiro Grau, Encontros Imediatos de Terceiro Grau, Întâlnire de gradul trei, Близкие контакты третьей степени, Blízke stretnutie tretieho druhu, Блиски сусрети треће врсте, Närkontakt av tredje graden, มนุษย์ต่างโลก, Üçüncü Türden Yakınlaşmalar, Близькі контакти третього ступеня, 第三类接触, 第三類接觸
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In the doc that precedes the 40th anniversary release, director Denis Villeneuve suggests the movie is a personal one for Spielberg beyond his obvious fascination with the material. He says the movie is about movie-making too, which struck me as a little trite - and cliche - in the moment. I mean, how many directors and their films has this been / could it be said about?
And yet, watching this time, I was struck by Roy Neary's journey from blue collar electric lineman to obsessed artist, chasing the perfect representation of his vision regardless of how it alienates him from his family, friends and co-workers - all of society really. I never gave it a second thought before, but…
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(35mm, Director's Cut)
If Jaws was the rise of the commercial blockbuster - albeit one with sharp, savage technical bravura and small character dynamics - then Close Encounters was the setting sun of abstract, sprawling, experimental science-fiction. Spielberg's trademarks are all here in abundance (crumbling family units, cross-talking, sustained sequences of suspense) but the focus in this 1977 classic is primarily one of sculpture and confrontation, engagement and rapport. Spielberg communicates through universal methods of information - TVs, radio signals, air traffic controllers etc. - but deliberately keeps Roy in the dark to fend for his own journey, one formed via artistic creation and sculpting of visions and flashes of inspiration. Much of Close Encounters is hinged on the…
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had previously only seen the climactic five-tone scene on a sleepover in 4th grade when we were surfing for scary movies. friend said "BORING!" and changed the channel. adult me does not think "BORING!" she thinks "BALABAN!"
here is what she also thinks: WOW!!!!!!!!!!! some of the most beautiful cinematography and visual effects of the sci-fi genre –– vivid bursts of cosmic color instead of sterile chrome. a simultaneously condemning and sympathetic portrait of obsession. the elastic tone effortlessly mutates from dramatic to comedic to horrific, keeping the story moving right along despite not much actually happening. this is spielberg at his artsiest and most self-possessed, a side of his work that i haven't really been exposed to but would love…
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An experiencer dad abandons his shrewish wife and four extremely annoying and ungrateful children to smoke weed and play keyboards in space with alien grays. Very cool.
There is also some stuff about how grays have been doing electro stim to the prostates of WWII era pilots for forty years and the French government is really interested in this for some reason.
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a young boy wonders why a parent might abandon their family and destroy their home in the manic pursuit of a dream, and many years later (after discovering a few obsessive compulsions of his own, including one for visual beauty and spectacle) uses his natural visionary control of light and sound to not just understand the destructive drive to see a passion through but to cathartically realize it and actually help them transcend. one of the most bittersweet, awe-inspiring movies ever; one that despite its chaotic woundedness and tragic melancholy still genuinely believes in magic and the mysterious draw it has on us.
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A movie about the importance of leaving your wife and kids in order to pursue your passion (to fly in a UFO).
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Watched this because my friend Liz is hosting a digital film festival of sci-fi favorites (Close Encounters, War of the Worlds, Contact) for a few of us and calling it SPACE WEEK. :)
Haven’t seen any of them somehow and this was a stunning first view. Everything from the giant sculpture to the ending is phenomenal. The final 20 or so minutes of this movie has some of the most stunning, evocative images I’ve ever seen, as does the sequence at Jillian’s house. The way Spielberg uses those tones is absolutely fascinating, though I’m not gonna pretend it doesn’t leave me with a thousand goddamn questions.
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A beautiful fantasy—that intelligent life is out there and will come in peace, and also that if your father left, it would be for very important reasons.
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Preparing (As Much as Humanly Possible) For Interstellar
Close Encounters of the Third Kind is one of Spielberg's finest, a combination of dizzying wonder and startling terror. Can a film feature both one of the most frightening sequences of all time and one of the most beautiful sequences of all time?
Yes it can.
Brilliant performances, wonderful casting, perfect cinematography, creepy and euphoric music, powerful pacing, and incredible direction; It all adds up to one of the finest sci-fi films ever made and one of the great motion pictures of the 1970s.
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