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Some of my favorite installations of 2000s:

Ken Jacobs: Razzle Dazzle
Ernie Gehr: Panoramas
Tim Hyde: Live Cinema/Building in Reverse

Michael wrote: Got into Drama/Mex last night. Sorry to report: Not good. Nice simple photography, the night club scenes were wonderful But overall, the movie was silly. Not impressed.
There are much superior Mexican films (Hernandez, Reygadas, Cuaron, etc) of the current decade and my favorite remains Y Tu Mama Tambien.

I never realized how unlikeable my swapsie was until I just now saw it's 35% rating on Rotten Tomatoes.

You're not the only one with an unlike Swapsie.

I'm surprised that Linda Linda Linda has been listed a few times. I didn't know that that film had a following. I rented it on a whim not so long ago, and while I enjoyed it, I fail to see what would make it one of the decade's best.

I'd like to recommend Patrice Chéreau's intoxicating Gabrielle, an acting tour de force and one of my favorite French films of the 2000s, and Millennium Mambo, which, in my opinion, is often unfairly dismissed as minor Hou.

xavier110 wrote: and Millennium Mambo, which, in my opinion, is often unfairly dismissed as minor Hou.

I forgot about that one. That's a pretty wonderful film.

Va Savoir - Rivette's take on the Hollywood screwball comedy, and specifically Howard Hawks. He expertly incorporates the genre and director into his own milieu. Love how he makes Castellitto his Cary Grant and Bonnaffe his Jimmy Stewart. This will definitely chart my list, along with Don't Touch the Axe.

Michael wrote:

xavier110 wrote: and Millennium Mambo, which, in my opinion, is often unfairly dismissed as minor Hou.

I forgot about that one. That's a pretty wonderful film.

My own favorite HHH film (and I like or love every one of his films -- so far).

I wish people could see another of my favorites -- Shiota's Gaichu (Harmful Insect). Alas, no subbed release -- though I believe a fansubbed version may exist in the Internet netherworld. Sort of the polar opposite of Linda Linda Linda -- rather like a variation on the theme of Mouchette.

I like both Va savoir and Axe quite a lot -- but I think Marie and Julien will get my top Rivette spot for the decade (one of my many top favorites by him).

Millennium Mambo will definitely make my list, it's where my avatar's from!

Murdoch wrote:Millennium Mambo will definitely make my list, it's where my avatar's from!

Well, my avatar is from Nana, a 00s film I like -- but which may not even make the cut If it does, it will be (mostly) in honor of Aoi Miyazaki -- for her inspired comic performance. Her contribution wasn't truly recognized unti the sequel was made -- with a different actress due to her unavailability. Whilew Yui Ichikawa is a decent young actress, she wasn't able to bring the necessary spark that brought this slightly daffy character to life. Miyazai's feat was especially striking -- as her prior career consisted mainly of playing sad (and or depressed) girls.

Murdoch, I watched Under the Sand last night and it was a very moving experience, easily the best of the handful of Ozons I've seen. Rampling was masterful and wrenching; she involved every pore, every crease of her being into that performance.

What I like most about Ozon's style is that he creates such powerful atmospheres in such austere movies, without ever overtly foisting an emotion upon you. I've had problems with some of his other movies (Swimming Pool's cheap ending; Sea the Sea's transparent plot) but I found Under the Sand to succeed on all counts as a fine, and affecting, movie. Thanks for the recommendation.

A couple swapsies I caught over the weekend:

Ce jour-là (aka That Day)
I've been somewhat slow to warm to Ruiz, but this makes me want to go back and revisit everything I've seen from him in the past. Utterly brilliant, with a coolly restrained but manic energy. Great cinematography too. I loved the scene with the hallway chase, where Livia stood in the background, and would let out a scream whenever someone came into her field of view, but she would still just stand there.

The Gleaners and I
I guess I'm not really a huge Varda fan, but this was pleasant enough. As someone who does not subsist from other people's trash, I found the various subjects alternately fascinating and annoying, though to Varda's credit, she doesn't really judge anyone on either side of the eating trash debate. Also, I liked the part she "gleaned" from Kids in the Hall.

swo17 wrote:

GringoTex wrote:btw- the following swapsies are not available on Netflix:

swo17 - You, the Living (Andersson)

As I've mentioned before, You, the Living is currently only available on DVD in R2, but I would really like people to make the effort to see this. If the R2 is not an option for you and you would like to see this, PM me.

Just saw where You, the Living will be released in U.S. theaters next week.

I don't know if it's playing anywhere else, but it's running for two weeks at the Film Forum, starting Wednesday. I was going to watch it tonight, but I suppose I'll catch it on the big screen instead

LQ wrote:Murdoch, I watched Under the Sand last night and it was a very moving experience, easily the best of the handful of Ozons I've seen. Rampling was masterful and wrenching; she involved every pore, every crease of her being into that performance.

What I like most about Ozon's style is that he creates such powerful atmospheres in such austere movies, without ever overtly foisting an emotion upon you. I've had problems with some of his other movies (Swimming Pool's cheap ending; Sea the Sea's transparent plot) but I found Under the Sand to succeed on all counts as a fine, and affecting, movie. Thanks for the recommendation.

Glad you liked it! I've only seen two by Ozon (the other one was Water Drops on Burning Rocks) so I'm not familiar enough with his style, but Rampling is brilliant in the film and really elevates it thanks to her performance.

I'll be watching the Varda sometime this week so I look forward to it!

GringoTex wrote:Just saw where You, the Living will be released in U.S. theaters next week.

Where are you seeing this, and does it mention anywhere other than New York? In any case, this is great news, and this is definitely a film that would greatly benefit from being seen on the big screen.

xavier110 wrote:I'm surprised that Linda Linda Linda has been listed a few times. I didn't know that that film had a following. I rented it on a whim not so long ago, and while I enjoyed it, I fail to see what would make it one of the decade's best.

I'd like to recommend Patrice Chéreau's intoxicating Gabrielle, an acting tour de force and one of my favorite French films of the 2000s, and Millennium Mambo, which, in my opinion, is often unfairly dismissed as minor Hou.

I think the crux of the experience, for me, with Linda Linda Linda, was the really low-key but effective way Yamashita sneaks up on you with these characters - the way you get to know them so thoroughly (with so little hoopla) makes the ending that much more powerful - and the ending itself is both joyous and sad at the same time. The collection of shots of the empty school - which hold SO much power for me emotionally - while they perform at the end are my favorite moments in cinema this decade. I think it is a film that definitely benefits from closer analysis than it probably receives because of its "genre" (a genre that it doesn't really even fit into) - it'll be my #1 for the decade unless I see something amazing this year or from a previous year. Such a special, unassuming, beautiful, graceful film!

I'm kind of cold on Ozon personally - I thought Angel was an interesting genre exercise but one that showed a director who didn't know how to keep control of the style or the performances. And Time to Leave was unpleasant, manipulative rubbish.

I've been unable to really choose just one swapsie, so I'm going to make it Vibrator (2003, Ryuichi Hiroki) - because more people seem to have seen Linda Linda Linda than I thought would be the case.

GringoTex wrote:Va Savoir - Rivette's take on the Hollywood screwball comedy, and specifically Howard Hawks. He expertly incorporates the genre and director into his own milieu. Love how he makes Castellitto his Cary Grant and Bonnaffe his Jimmy Stewart.

Yeah, I read a little about this.

And still I don't see the connection with Hollywood screwball comedy and Howard Hawks (other than that Rivette wrote about it in Cahiers).

puxzkkx wrote:Have already mentioned these, but just wised up to this 'swapsie' notion.
My swapsies are:
Atef Hetata's The Closed Doors
Iciar Bollain's Take My Eyes
Maren Ade's The Forest for the Trees
Ryuichi Hiroki's Vibrator
Lucile Hadzihalilovic's Innocence
Marzieh Makhmalbaf's The Day I Became a Woman
Emanuele Crialese's Respiro
Chantal Akerman's La Captive
Jeong Jae-eun's Take Care of My Cat
Nobuhiro Yamashita's Linda Linda Linda
Jorge Gaggero's Live-in Maid

These can't be great films. I never heard of them.

Camera Obscura wrote:

GringoTex wrote:Va Savoir - Rivette's take on the Hollywood screwball comedy, and specifically Howard Hawks. He expertly incorporates the genre and director into his own milieu. Love how he makes Castellitto his Cary Grant and Bonnaffe his Jimmy Stewart.

Yeah, I read a little about this.

And still I don't see the connection with Hollywood screwball comedy and Howard Hawks (other than that Rivette wrote about it in Cahiers).

There's the whole man who's stealing woman who's stealing man who's stealing woman scenario. There's the plot of convenience placing guilty party with guilty party at guilty moment like a perfectly cut jigsaw puzzle. There's the strong-willed male protagonist who's commitment to career (craft) consumes him. There's the strong-willed female protagonist who's commitment to career (craft) is consumed. There's Castellitto donning the dark aggressive charm of Grant and Bonnaffe donning the lite passive aggressive charm of Stewart. And then in the last scene, Rivette gives us the physical comedy (the grand pratfall off the stage catwalk), which he's never ever done before.

Thank you for this expert analysis of all the Hawksian details in Va savoir!

but fair warning, Gringo. You probably didn't know this, but I am the number-one expert on Hawks and Rivette in The Netherlands, so here's what I'm gonna do. I'll make three huge pots of coffee and watch the film again, and then I shall try and pay attention to all the things you pointed out (I have two television sets next to each other, so I can compare). So, don't be intimidated if I come up with an analysis that'll make your balls drop (that's an old Dutch expression).

I hope you understand I don't mess around when it comes to Rivette (he would approve, I'm sure!).

Camera Obscura wrote:I'll make three huge pots of coffee and watch the film again

Fuck that. My interpretation came via speyside whiskey. With coffee you're bound to come up with some Hitchcock mumbo jumbo.

Camera Obscura wrote:

puxzkkx wrote:Have already mentioned these, but just wised up to this 'swapsie' notion.
My swapsies are:
Atef Hetata's The Closed Doors
Iciar Bollain's Take My Eyes
Maren Ade's The Forest for the Trees
Ryuichi Hiroki's Vibrator
Lucile Hadzihalilovic's Innocence
Marzieh Makhmalbaf's The Day I Became a Woman
Emanuele Crialese's Respiro
Chantal Akerman's La Captive
Jeong Jae-eun's Take Care of My Cat
Nobuhiro Yamashita's Linda Linda Linda
Jorge Gaggero's Live-in Maid

These can't be great films. I never heard of them.

Reserve your judgment until you've seen them

I'm almost embarrassed I forgot these two before now. The mention of Setsuko Hara in the Kino thread is actually what reminded me of these two
On to what I'm blabbing for. Millennium Actress and Tokyo Godfathers may be the best animated films of the decade. Better then Pixar, Ghibli, Focus, Linklater, and the whole other lot. Really only The Triplets of Beleville compare. I left out Paprika because it feels confused and Paranoid Agent is out for obvious reasons.
Firstly the animation on both is gorgeous. Usually I'm not a fan of this ultra sleek style, preferring the grit of pre-nineties animation, but it feels oddly appropriate here. The dirtiness of the bums in Tokyo Godfathers shine through as people and the protective vanities of the actress are made through the animation.
I'd say Millennium is the better movie, the perfect fusion of Kon's reality interests and a human story, but the characters of Tokyo Godfathers along with the Capra feeling make for the better viewing experience to me.

If it wouldn't be too rude could I have those two added to my swapsie?

I have soured on Kon -- so much so that I do not dare re-watch Millennium Actress (which I did like reasonably well on first viewing) lest I find I dislike even this. Three Godfathers was a big part of his fall from grace. As far as I'm concerned the best animated feature films (post-Spirited Away) are Tekkonkinkreet and (even better) Girl Who Leapt Through Time (rather Takahata-esque in the main but with some dashes of Miyazaki). And I like the the animated mini-series(es) of Haibane Renmei (favorite animated series ever) and Texhnolyze (most visually stunning animated dystopia ever) even more than either of these.

I couldn't really include teevee shows, otherwise those or something similar would have been mentioned instead. I enjoyed Tekkonkinkreet well enough,but didn't feel it was anything special for anime. Loved the animation though. Out of curiosity what did you not like on Tokyo Godfathers?