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Sometimes one location is all it takes to make a great film. These films might have small entries or other places to these points, evidently, one location dominates the story.
If ignorance is bliss, this film challenges it to edge of revolution. Twelve jurors on a hot new york day sit in small room to decide the fate of a young boy who might have murdered his father. SIdney Lumet's moral claustrophobic probe into a changing America right at the cusp of the 50s is at its most crucial, where innocence is a question and optimism is considered a brave statement of justice. Showing us twelve individuals who are more human than we think.
Anything is possible in Czech new wave icon Milos Forman's slapstick comedic situations that occur when a group of motley fireman hold a ball to celebrate a dear elderly employee's years of service, while at the same time clumsily putting together a beauty contest. All taking place in a crowded ballroom, Forman's wildly humorous attack on the absurdity of communism is a blazing satire that still fans the flame as a ribtickling social commentary on political encasement.
A surreal and bizzare experiance with no exit in site in Bunuel's subjective entrapment of a group of upper class citizens that are unknowingly unable to leave. With no rational way to escape the room they are trapped in, they resort to a unified breakdown. With a narrative as ambiguous as the situation, Bunuel's comic nightmare of high society classes obliterated can be placed as one of his most elaborate portrays of foolishness amongs these lambs, where the negation of bourgeois nature plays a part in a ultimate absurdist practical joke.
What do you get when three gangsters are locked in a room for a unknown amount of time hiding out from the cops? You get Norman Mailer's experimental surge into American masculinity with sly playful realism. Mailer's scriptless and narrative broken story pulls reality and fiction together as improvisational statements on the true nature of man locked up.
Today's dinner special is a vast and temporal dive into the minds of play write and actor Wallace Shawn and theater director Andre Gregory as they meet in a elegant New York City restaurant to catch up on a long absence. these monologue conversations begin coming more deeper involved in dry fabric of existence and survival in so called reality, ranging from the actuality to the fantastic. Malle's enclosed conversation of two men who question living when in the end to live means to experiance life through our own perception of experiance whether we understand ourselves or not. This nostalgic dinner becomes a illuminating and self-aware cinematic experiance.
Buckle your belt tight in Kiarostami's boxed in study of identification, memory and political philosophy in a mans desperate search for someone to bury him in exchange for money. Mostly taking place inside the mans car, Kiraostami's semi-filmatic dream ponders the line of life and death with intimate humanism.
Where can you get to know someone just for a few minutes? Try a taxi, there is a story in everyone. Jarmusch's sci-fi like comedy about cosmic connections on a night around the world weaving five stories where language, race, and personality stand empathetically parallel to one another in taxis. Some of the cabs are almost framed like UFO's as it comically enhances Jarmusch's humanistic vision of alienation and isolation on this planet is a boxed view of contact regardless of who we are. As well as Jarmusch's passionate love for film.
The closer you float to another the more tighter the tension gets. As it does in this innocent one day boat trip gone wrong as a couple's eventful encounter with a hitchhiker leads to them to tagging him long on their boat outing. Polanski's claustrophobic castoff of primitive and masculine intentions is almost a pure breakdown of human decadence within a minimalist game, and in a way, an inside-out homage to Hitchcock's confined masterpiece 'Lifeboat'.
Art's nature is ambiguous as human desires tend to portray. Nothing is more mysterious than in this eerie study of love and time in the form of a man and a woman who might have or might have not meet in a vast chateau a year before. Still regarded today as Resnais' most poetic play on cinematic and human memory and a brilliant mystery film where the symmetrical becomes absurd and the absurd becomes our tour host in a place where time does not exist.
Who says ignorance is bliss? Not Marco Ferrari and his darkly comical lesion of personal entrapment enclosing on a gas mask designer's one night romance with a gun he discovers in his pantry that might have belong to the feared and loved bank robber John Dillinger. Practically only taking place in the man's home, Ferrari unmasks modernism and conformity in this quasi-science fiction Italian new wave look at a man who desires nothing but space.
The mind is a trenchant and submissive place, as the closed-in spaced occupied in Sam Fullers cautionary tale is by a smug reporter looking for the big story to win him a the prestigious Pulitzer Prize for solving a murder in a mental institution while assuming the role of a inmate. While trapped in Fuller's social commentary about desperation, disillusion, madness, racism, and American dreams turned into a-bombs. Fuller always had a knack for telling the true evils of politics and its internal crippling to the individual and the masses, but it would never boil to the surface like it did in the boxed in expressionistic satirical vision of confinement and its limits searching for a way out only to find temporal and political horror.
What would be worse the physical of mental prison? predecessor of the new wave Robert Bresson plays with metonymy and singles out metaphors on the subject of imprisonment as a French resistance fighter devises a way to break out of a elaborate prison. Bresson's distaste for story and irony stands strong in this unconventional escape from monotony to spiritual freedom. One of his best devices, using sound as the antagonist.
The most heaviest weight is the prison of truth some have to lock away in order to survive. In Altman's confessional fictional probe of Richard Nixon who isolates himself in a room to dictate private recordings of his political convictions. Philip Baker Hall gives a powerful and vigorous performance as our tragic victim trapped in TV screens and soundwaves of a tape recordering apparatus. Where this film is less of a confession from Nixon's, than of Altman's himself who shows where acting, image, time, and space can become a ultimate device in manipulation. Remember, "for eyes only".
Some of the precious secrets are kept under one roof, in this case Pasolini creates a terrifying display of modernism and it hidden deceptions as four aristocrats conduct a heinous experiment taking place in a secluded mansion where kidnapped children are subjected to unimaginable levels of humiliation and degradtion. Pasolini adapts Marquis De Sade's epic novel into a personal statement of a vulnerablily and amorality in socierty and its future implications, using 1940s fascist Italy as a allegory on power and present sexuality as weapons of our own destruction.
Those unsavory memories that are left tucked away can come back to haunt us. Just ask Guy Maddin's semi-autobiographic nightmare of his fictional character Guy, and his return to his lonely childhood island to fix up the old light house where he grew up with his sexually budding sister, the band of motley orphans living in his home, to his menacing over protective mother who ruled over the island with an iron fist. Secrets and memories start to boil to the surface mixed with expressionistic horror and erotic obsessions. Maddin explores the world of adolescence, sexuality and the sub-conscience where it's a single room of ones derailed mind.
Seclusion and privacy is about to be disturbed in Polanski's darkly comedic quasi-mirror image of his 1962 film "Knife in the Water", that shifts to a wirily wormy husband, to his bored wife vacationing in secluded gothic castle where monotony ensues their days until a burly escaped convict appears testing the couples normality to its limits. Polanski's absurdist take on amorality, masculinity and distaste with the upper class is a trapped-in claustrophobic noir comedy that shows us some eggs are meant to be broke.
Perfection is an illusion, tell that to Jeanne Dileman, a stay-at-home widow who does all the house work, takes care of her teenage son, and squeeze in time for her afternoon appointments as a prostitute. Shot entirely with a static camera at mid level throughout the entire film, and practically in real time, Ackerman feminist examination shows a disturbed closed in world of a woman's perception and trapped-in aggression through time and space that becomes her ultimate escape, and in a way.. the film itself.
Digging out of our own primitive intentions is a difficult task. Hiroshi Teshigahara's claustrophobic experiment in human relations is at this point when a wandering entomologist studying a new rare beetle in the desert is forced to stay with a widow in a house in sand pit after missing the last bus home, the truth is he may never get to leave. Teshigahara's study on human significance is one of cinemas unsung psychological imprints.
You are invited to a special gathering in the country as Jean Renoir graciously opens and close the doors on a group of borgoiuse citizens gathering at a chatue for the weekend as a wicked game of political apathy and broken hearts ensues. Inventively plays with depth-of-field shows people as instruments playing off one another, commenting devilishly on class defiance. Renoir's film still shows how cupids arrow is also a deadly weapon.
Your train ticket says one way in Ingmar Bergman's eerie journey into eroticism and isolation as Anna, her young son Johan, and Anna's sister Ester travel to a secluded hotel In war ridden no-mans land while all three souls are tested to their limit of desire. Bergman has always had a sensitive touch for portraying humans as elements of power and weakness, but here he fearful explores the true nature of the self still trying to understand its own language in a alien world.
Prison manifests the most purely entrapped environment known to man. But to Joe Collins, the urge to escape for good becomes tangible when enlisting his cell mates for a elaborate prison break before a ruthless captin Munsy bears his diabolical shadow on thier path toward freedom. Jules Dassin blows the gates open in a towering infero portrait on post war america where power, manipulation, control in prison mirrors a outside existence where we are still trapped, body and soul.