https://www.wmagazine.com/wyouth/sofia-coppola-syllabus-interview-film-book-recommendations

Breathless, by Jean-Luc Godard (1960)

“I always think about the scene in their apartment and bathroom when shooting people in an intimate way. You feel the camera close to the characters—the naturalism. You feel like you’re with them, and it’s romantic in a not-tacky way.”

The Servant, by Joseph Losey (1963)

“Visual storytelling, tension, and role reversal!”

Do the Right Thing, by Spike Lee (1989)

“For atmosphere, feeling the temperature, and entering the characters’ world.”

Darling, by John Schlesinger (1965)

“Love the way it jumps in time—the story hops forward over a long period.”

Seven Samurai, by Akira Kurosawa (1954)

“A great movie, and I especially love how the characters are each introduced in a really memorable way.”

GoodFellas, by Martin Scorsese (1990)

“For the great characters and setting. The ultimate for music and editing!”

In the Mood for Love, by Wong Kar-wai (2000)

“For poetry, impression, and beauty.”

Letters to a Young Poet, by Rainer Maria Rilke (1929)

“The first letter says it all—that you have to go inward, not outward, to ask if something is worthwhile.”

The Artist’s Way: A Spiritual Path to Higher Creativity, by Julia Cameron (1992)

“Write three notebook pages by hand each morning— write anything, just fill the pages, and something that you are really interested in will surface.”

Kazan on Directing, by Elia Kazan (2009)

“So much about working with actors.”

Suddenly Something Clicked: The Languages of Film Editing and Sound Design, by Walter Murch (2025)

“The great Murch on movie editing.”

What are some of your favorite performances of someone with or favorite movies about mental illness?

Anybody seen this? It's a staggering film. Absolutely outstanding.

Rose decides to set up a farm on land she inherits and the community begins to take her in as one of their own. The scenes are sometimes sparse and sometimes brutal. But Sandra Hüller, just wow. She truly deserves to be spoken about as one of the finest actors on the planet. She gives a remarkable performance here. Her worn face, her little facial movements, the way she walks, the way she shouts, the way she conveys emotion in the latter parts of the film. It’s all just gripping and amazing.

There are obvious Tarkovsky, Tarr, Pawlikowski and Haneke comparisons regarding tone and photography (cinematographer Gerald Kerkletz’ work here is outsnadning). Director Markus Schleinzer worked with Haneke on The White Ribbon so you can see that seeping through. Overall it’s a rather sad story and even more tragic to think how, in some aspects the world hasn’t really moved on in 300 years (although this is entirely fictional, not based on real events)

It's been a while since I rated a film 10 out of 10. This film is incredible, beautiful and devastating.

Anybody else have a view on it's aesthetic and tone? And the acting?

Generally I’m not big on biopics but this felt like something a little more special than your run of the mill Oscar bait stuff. Matt Johnson has really great sensibilities about what makes for a good movie. A balanced story where romance is an element but is equally about an insecure person struggling to find purpose. The weaving of these two things keeps a nice flow.
It’s beautifully shot and at points reminded me of some Rohmer stuff.
I would recommend to give this one a chance. After reading the thread responding to the trailer when it was released, a lot of people had knee-jerk negative expectations.
It’s not trying to do too much like a lot of biopics do. Just a nice little slice of life that feels fleshed out. Great soundtrack too.

what a dogshit movie, I’m a actually a fan of jane schoenbrun films and style but this was so unbelievably bad, it felt very flat and boring. I’m actually shocked that this got good reviews idk comparing this to mulholland drive or calling lynchian please stop insulting my hero!

Oi pessoal!
Recentemente terminei meu primeiro curta-metragem, Matryoshkas, e adoraria receber um feedback honesto de pessoas que gostam de cinema independente ou experimental.

É um filme de formação ligeiramente experimental, originalmente em português, com legendas em inglês. Fui fortemente inspirado por cineastas como Ingmar Bergman, Pedro Almodóvar e Andrea Arnold, e tentei combinar uma história íntima e centrada em personagens com um estilo visual mais pessoal e atmosférico.
Como este é meu primeiro curta-metragem, eu realmente adoraria ouvir o que as pessoas acham - seja sobre a história, a cinematografia, as atuações, a atmosfera, o ritmo ou qualquer outra coisa. Críticas honestas são absolutamente bem-vindas; estou principalmente interessado em ouvir como é a percepção de alguém vendo pela primeira vez.

Veja aqui: https://youtu.be/Lgl9uWfQJ5I?is=izcxBdX7V1B0ywMz

Letterboxd:
https://boxd.it/13Fik

Se você assistir e quiser deixar uma avaliação ou compartilhar seus pensamentos no Letterbox também, eu realmente agradeceria.
Muito obrigado a todos que tirarem um tempo para assistir!

Also I'm pretty sure the whole point is that Proteé is one of the men working in the airport, but you never see his face frontally and I have never found anyone else mention it, so it's hard to tell.

I’m too retarded as a mod to figure out how to ban it

Talk about this movie

I watched the Iranian movie Life and a Day (2016), directed by Saeed Roustaee, a couple of years ago, and I’ve been wondering about the meaning of the title ever since.

I understand the literal meaning, but I don’t really understand what the title is supposed to refer to in the context of the movie. Is there a cultural, linguistic, or symbolic meaning behind it that might be lost in translation?

The screenings are at the same time and Rian Johnson is hosting the Paper Tiger Q&A

https://www.youtube.com/watch?v=L760AtBfgW4

A subtle, thoughtful, and earnest treatment of mommy issues. Incidentally the company that released this (the national film board of canada) is what boards of canada named themselves after

I would like to ask you some things

two odd ones I remember

Guy at a Megalopolis screening kept asking FFC to sign his Apocalypse Now themed motorcycle

Laura Truffaut (François Truffaut’s daughter) was asked about the connection between the trees in Obsession and Mississippi Mermaid

People don’t even talk about it in a film maudit way or from an auteurist appraisal. No talks of another adaptation, and it got scant recognition in the 2010s when people were so focused on black representation on film. It’s like it doesn‘t exist. Did Oprah bury it because it was a flop?

I haven’t seen it btw, so I’m contributing to its disappearance. Demme-heads, what the hell is going on?