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4 sterren 9 39.13%
3.5 sterren 3 13.04%
3 sterren 6 26.09%
2.5 sterren 3 13.04%
2 sterren 2 8.70%
1.5 ster 0 0%
1 ster 0 0%
0.5 ster 0 0%
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Old 03-08-2017, 11:07   #41   link
LukeSoloSalade
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En anderen sturen emails met hun gezaag naar een gazet.
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Old 03-08-2017, 12:19   #42   link
Irmo
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Toen hadden ze een fundamentele fout gemaakt in hun weergave van de raid op de compound waar Osama verscholen zat.
Tging niet over een film :-P
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Old 03-08-2017, 14:29   #43   link
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huhuh.
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Old 05-08-2017, 11:11   #44   link
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http://www.davidbordwell.net/blog/20...he-good-stuff/

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Old 10-08-2017, 09:10   #45   link
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DUNKIRK Part 2: The art film as event movie

In some ways Christopher Nolan has become our Stanley Kubrick. Many directors have found ways to turn genre movies into art films; think of Wes Anderson and comedy, or Paul Thomas Anderson and melodrama. But seldom does the result become both a prestige picture and an event film.

Kubrick managed it. After showing his commercial acumen with Spartacus, Lolita, and Dr. Strangelove(costume picture, controversial adaptation, satire) he was able to make 2001, a meditation on life and the cosmos in the trappings of science fiction. From then on, he could frame any project as both working in a familiar genre and offering a challenging narrative or theme. Thanks to shrewd marketing of both each project and his image, he invested his adaptations (A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, Eyes Wide Shut) with a must-see aura. Whether or not the film was a top grosser, people said, this is a guy a studio wants to be in business with. Warners obliged.

Like Kubrick, Nolan moved from the independent realm to an assignment (Insomnia) before being entrusted with a big picture, the first of the Batman reboots. As he developed the Dark Knight trilogy, he made two films in the one-for-them, one-for-me mode (The Prestige, Inception). But Inception became his 2001, a genre hybrid (science-fiction/heist film) that proved that he could turn an eccentric “personal” project into a blockbuster. After The Dark Knight Rises, Interstellar showed that he could make an original genre film that was both prestigious (brainy, based on real science) and an event film. He became another director you want to be in business with. Warners obliged.

There are other affinities, surely. Both Kubrick and Nolan are often considered cerebral technicians, setting themselves gearhead problems with each project. They’re called cold as well. In Kubrick’s case, his detachment is best understood, as Jim Naremore has convincingly argued, as a commitment to the grotesque. Nolan, on the other hand, takes strong emotional situations as his premise but subordinates them to labyrinthine formal designs. For example, the conventional device of the dead wife justifies intricate plot structures in both Mementoand Inception. Sensitive to the charge of coldness, in promoting every film Nolan emphasizes how his formal strategies aim to enhance emotion. But Kristin and I think that they’re of intrinsic interest, as she argues in relation to exposition in Inception.

True, Kubrick the former photographer is the more fastidious stylist. You can’t imagine him accepting that his film could be shown in three aspect ratios (as Dunkirk is). The Prestige shows that Nolan can be a precise pictorialist, but as I argue in our little book on his work he’s usually looser at the level of composition and cutting. What he’s interested in above all is narrative.

It’s rare to find any mainstream director so relentlessly focused on exploring a particular batch of storytelling techniques. Like Resnais, Godard, and Hong Sangsoo (a strange crew, I admit), Nolan zeroes in, from film to film, on a few narrative devices, finding new possibilities in what most directors handle routinely. He seems to me a very thoughtful, almost theoretical director in his fascination with turning certain conventions this way and that, to reveal their unexpected possibilities.

Specifically, I think, he’s interested in subjective storytelling, and how it interacts with a very traditional film technique: crosscutting. And he manages to make both fit within a genre framework.
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Old 15-08-2017, 22:17   #46   link
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flauwe shit
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Old 20-08-2017, 13:08   #47   link
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Quote:
Originally Posted by eye View Post
DUNKIRK Part 2: The art film as event movie

In some ways Christopher Nolan has become our Stanley Kubrick. Many directors have found ways to turn genre movies into art films; think of Wes Anderson and...
Lukt u da om zo'n hele artikels met 1000 referenties te lezen? Ik ben geďnteresseerd en film en heb de boek van dezen dude gekocht maar snel aan de kant gelegd wegens té saai.
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Old 20-08-2017, 21:40   #48   link
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Verlede week het museum in Duinkerke over Operation Dynamo gaan bezoeken. De film doet het wel eer aan, maar de realiteit was wel volledig anders.
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Old 20-08-2017, 21:53   #49   link
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ge zou bijna denken dat het om de filmische aspecten gaat in nen film en nie (of bijna nooit) de 100% juiste historische authenticiteit

want da noemen ze meestal nen documentaire
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Old 21-08-2017, 18:26   #50   link
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Is die film nu echt al weg uit de imax? Weinig respect voor festivalgangers imo
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Old 21-08-2017, 21:42   #51   link
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Ja dat was sinds vorige week zo, maar vanaf overmorgen is hij terug in de IMAX.
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Old 23-08-2017, 22:09   #52   link
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Magnifiek. Letterlijk kippevel op bepaalde momenten. Extra creds voor sound engineering: top tier.
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Old 24-08-2017, 08:26   #53   link
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Quote:
Originally Posted by Wolf View Post
Lukt u da om zo'n hele artikels met 1000 referenties te lezen? Ik ben geďnteresseerd en film en heb de boek van dezen dude gekocht maar snel aan de kant gelegd wegens té saai.
Welja, anders zou ik de link niet posten

Eergisteren de niet-IMAX versie in Kinepolis gezien. Bepaalde shots zien er beter uit zo, maar over't algemeen is de IMAX-versie toch superieur, zeker voor de meer spektaculaire shots als dat zinkend hospitaalschip en de dogfights. Zonder IMAX is het gevoel van immersie en vooruitstrevendheid toch sterk afgezwakt. Maar goed, 't was leuk hem nog eens te zien, zonder dat herkijken een echte meerwaarde bood. Degelijke film dus.
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Old 27-08-2017, 13:04   #54   link
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Ben hem vrijdag gaan bekijken in Brussel, blijkbaar was hij tijdelijk even terug in Imax thx santa. Zalige film, bij de betere die ik de laatste jaren gezien heb. Van begin tot einde zat ik aan het scherm genageld, lang geleden zoiets
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