No possession is sacred. No secret is safe.
A corporate raider and his henchman use a chanteuse to lure a scientific genius away from his employer and family.
A corporate raider and his henchman use a chanteuse to lure a scientific genius away from his employer and family.
Хотел *Ню Роуз*, Enigma do Poder, Sin escrúpulos, New Rose Hotel - Tuomiopäivän salaliitto, Σταυροδρόμι Κατασκόπων, Hotel New Rose, Отель Новая Роза
trying to be romantic in a world that has reduced human connection to transactions: sex objects, hazy video images, bank account numbers and anonymous cityscapes, hotel rooms and screens. ferrara's minimalist, lo-fi vision of cyberpunk is to die for—all mundane spaces abstracted by intense close-ups, lighting, cross-fades, and strange, fragmented compositions on extremely long lenses with the occasional dreamy musical interlude. one of the rawest expressions of horniness, alienation and despair put to screen. "falling in love without falling in love."
I raise you all to name a film which reveals itself more and more upon each repeat viewing! I stand by thinking that probably more than any other film that one viewing is not enough. The first image we see is Dafoe behind a reflection in a door, equally abstracting and obfuscating him. Obfuscation is a clue - this is a film about images but not the meanings behind images or metaphors through images, but rather the falsity and unreliability of images. To my mind it's the greatest film on the subject of representation I have yet seen (well, and Fort Apache). The Gibson is all still there, and I cover most of that in the last thing I wrote…
Desire in a transactional world that has rendered actual physical emotion complete imaterial. A movie made against a world it abhors. It is a thriller that intentionally jettison its entire plot and is pretty much compromised of leftover scenes. Everything movies have trained us to regard as important is off-screen or at best seen in monitors, instead you most get to watch a bunch of scene between three people, a series of smokescreens and emotional manipulations that matter because the movie give us time to understand how the trio acts of each other and makes those actions have weight. It is movie very much concerned with the idea of consumption and spectatorship and one predicted in how lived experience and…
"Time's up... Do it - or forever wish you had."
A story of romance smothered, deceived, and reminisced. Stream of consciousness as a continual image-to-image journey, trespassing through sunsets, surveillance footage and memories from various angles, perspectives, spaces. Loss is *the* defining gateway, and it affects all who wander within its grasp. Earth-shattering in its form, content, and feeling. Ferrara creates a stew of compositions melding and coalescing, their meaning heightened in sensation while also swooning into incoherent, unearthly surges of representation. A fearless masterpiece which makes almost every other film in the 1990s feel like child's play.
Ferrara’s most remarkable film because of its incompleteness, which due to the nature of the medium (in dissolves, cuts, ellipses), is a totality by omission. That Sandii is Pandora armed not with a box but a computer disc is an afterthought. What is truly disconcerting is the fusion between dream, memory, and video recording that permeates throughout the film. X’s recollections during the latter half of the film in particular constitute a cinematic stream of consciousness that I’ve only encountered with similar strength in Edvard Munch (1974).
What can be said of the smile that concludes the film is that it contains the outline of mischief, satisfaction, contempt, etc.
“You have a demonic power that can tempt a person to…
Films are visual but how does one react when the visuals are false and cannot be relied on? Vast cityscapes get in the way of narrative development (which is ironic for it is a narrative about development) and close-ups get in the way of composition; this is anti-realism at its finest: literally intoxicating plagued by narrative shifts that seem both illogical and complete.
Walken is an Orpheus kind of figure really but he has no Eurydice to chase after; instead refashioning anyone he comes across for his own purposes - he just needs someone to find, someone to help, someone to lose - he doesn't do this because he's evil but because he's lonely.
That's why all Ferrara's images are…
What is this, post-cinema?
"Is Playtime cyberpunk?" is a thought that ran through my head revisiting this, which depicts a realm of the future that lacks all of the sleek looks and cool technology of cyberpunk in favor of depicting the quotidian likelihood that our future will likely look like what is now the present, of cities that have lost their personality in favor of landscapes of indistinguishable condo towers and office spaces, all faceless rectangles of steel and glass where identity is so obscured that the credits are listed in German, Japanese and English. Interior spaces are crushed flat and set against negative space that makes damn near each room suffocating if not outright swallowed in darkness. Nothing belongs to anyone, all spaces…
Sandii, You're a Fine Girl, What a Good Wife You Would Be
A globetrotting technothriller with either the boring bits or the exciting bits cut out, depending on what you find boring and exciting. Loses a bit of steam, interestingly, when we hit William Gibson's short story's structure and Willem Dafoe's unnamed character is sitting in his New Rose Hotel coffin remembering everything that went wrong (and everything that went right), especially since that would have been a perfect film noir framing device for the entire movie. But the atmosphere here is intoxicating, the central triangle of Dafoe, Christopher Walken, and Asia Argento is one of the best ever assembled, the Schoolly D score tying everything up for that sublime last shot. Happy Birthday Abel Ferrara, you did good on this one!
might be the greatest film ever made. utterly perfect. will write a huge essay on this one day after countless rewatches and soul searching but for now all i'll say is this, capitalism and the pursuit of money destroys the spirit and the soul itself, and that true connection and meaning is found despite of the all consuming power of the dollar, but that in this world, who gives a shit about romance when the draw of the scam, the draw of the "big bucks" is so ingrained in everything. connection is too pure for this world but ferrara is sure to capture and embrace every moment of it through the nightmarish haze and blends of sounds and colour, culminating in the most transcendent climax i've ever witnessed. ferrara's digital michael mann film, ferrara's masterpiece and one of the greatest films ever made. also willem dafoe is the best living american actor.
"What we get are only the human moments between events, what's happening in people's minds, and here too the key moments may be missed, as they pass in an instant over someone's face, and only later are dimly understood. This is not a movie likely to satisfy anyone on first viewing. As often in Ferrara, there may seem to be far less going on than there is, because he trims expository scenes and explanations, and dialogue is often tongue-tied anyhow, and because we, while searching for what is not there, may miss what is. (We have to create a void so grace can enter in.)" -TG
Like floating on the moon if it were a corporate technopolis. Zero-gravity. Alive in the sea of information.
Theoretically my shit but jfc Christopher Walken was obnoxious in this
this is my synecdoche, new york
not to be like ‘we live in a society’ or anything but holy fuck we live in a society
this movie is a warning from the future.
Much like a couple days ago when I watched Mandy (2018) I was thoroughly confused and underwhelmed by this movie. Why are the last 20 minutes just a montage basically recapping the rest of the movie? Why do we watch random women singing at a nightclub for so long? Why is it called "cyberpunk" if the "cyber" part basically never comes up except for the weird giant palm pilots everyone carries around? Why the fuck is it all so boring? Abel Ferrara is a very stylish and bold director usually, but absolutely nothing in this movie comes off as explosive or interesting like usual, just misused. Well, besides the inventive use of CCTV and camcorder footage which I did like…
Defoe hiding in a box, fucked up over a woman, clinging to snatches of digital images and memory: my quarantine exactly.
Corpos que colidem e se esvaem.
Não há limites na busca por sentindo onde nada existe de verdade.
New Rose Hotel possui um aspecto muito interessante de memória. As gravações de vigilância à todo momento dão um toque de registro de todos os acontecimentos que a dupla persegue, ao mesmo tempo a encenação dos diálogos traz uma noção não do aqui e agora, mas de uma lembrança passada. Tudo entra em conflito nos minutos finais, se confundindo cada vez mais dentro da cabeça do personagem do Willem Dafoe. As transições quase se esvaicendo na tela dão essa impressão também, de algo que está para trás, um passado que não dá para recuperar, mas acontecendo ali no presente. O Fox é velho, mas persiste em continuar no trabalho, e quer curtir a vida como um jovem, com toda sua…
who gave this film the right to be this sexy. damn. still thinking about it a day later, so it deserved the review.
When the chips are down, life and images are fallacious. A movie that plays a closer interaction of its elliptical textures and what's onscreen. How memories are fragmented and its multiple perspectives are deceiving and manipulative. Ferrara's new rose hotel is fragmented reality and how manipulative it can be when it comes together. Because it just simply explodes when it comes together creating a havoc onto everything or making its subject transform into something petrifying.
At first I thought all the flashback sequences at the end were a little unnecessary until the images began to shift and warp, in the same way the aesthetic and narrative aspect of the lo-fi cyberpunk images suggests a marketplace of ideas and information being constantly manipulated on the black market. New Rose Hotel is a singular interpretation of the future that was both ahead of its time and highly imaginative, sexy and stylish.
What I love about this film is Abel Ferrara's minimalist, lower budget approach to the cyberpunk genre and it shows there's far more to the genre than just copying Blade Runners aesthetic. I might just need to check out some of William Gibson's work.
W-Where did you get this footage?
Madame Rosa. Turns out there’s some kind of whoremasters fraternity. This episode was taken at a cathouse in Hamburg which, dig it, is owned by Maas.
I love during this conversation when Fox points to Sandii lighting the cigarette on the balcony and the frame rate slows down a bit. And then again when X walks out on the balcony to see her. The transition from that scene where we see the footage of the women in the shower and it cuts to the underground sex show is sooo perfect.
We get further and further and further
pd187 41 films
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