23 years old. BA in media science.
Artist and film enthusiast.
My Favorite Films
Vulgar, beautiful, provocative, inventive, and poetic are a few words that could attempt to describe this masterpiece by Japanese director Toshio Matsumoto.
Bara no sôretsu (Funeral Parade of Roses), tackles taboo subject matter such as sexuality, gender, and identity and displays them explicitly in front of your eyes. The film both celebrates and questions the aspects that come with being part of the LGBT+ community. Few films from the '60s do this as well as Bara no sôretsu.
Persona (1966) is one of the best films ever made and my all-time favorite film.
Persona is Ingmar Bergman's highest artistic achievement and that says a lot, for Bergman, is the man who gave the world such masterpieces as Det Sjunde Inseglet (1957), Smultronstället (1957), Fanny och Alexander (1982) among many others.
The opening sequence of Persona is a work of art in and of itself; surreal, energetic, and mysterious. The whole of the movie is contained in the opening.
Baal (1970) made by Volker Schlöndorff, starring Rainer Werner Fassbinder, is a pure fever dream.
For the most part, Baal is filmed like a drunken haze, camera unrestful, blurred and foggy. Baal is edited as if it was a collage of moments from the titular Baal’s mind.
Some regard Baal as being a genius others perceive him as being a madman. In some way, this might be how people will think about the film. Some might think of it being…
Hiroshi Teshigahara's feature film debut and the first in his avant-garde existential trilogy (incl. Suna no Onna (1964) & Tanin no kao (1966). Otoshiana (Pitfall) is nothing short of breathtaking.
Teshigahara plays with the meaning of light and dark, black and white, and good and evil with this film. Otoshiana is atmospheric, partly because of the score, the atmosphere, however, can also be attributed to the camera-work. There is an impression that somebody is watching at all times, hidden behind covers, watching…
Сталкер explores themes of faith, meaning, art, and the relation between people. With Сталкер, Tarkovsky makes what’s essentially a science fiction film, but Сталкер is more than that. Сталкер is an existential piece of art.
Сталкер is a meditative experience. Long sequences of monologues, ambient sounds, and music... sequences of dreams and memories gliding slowly through time.
In Сталкер nature…