Directors

http://www.notablebiographies.com/Ba-Be/Bergman-Ingmar.html http://ingmarbergman.se/en/production/macbeth

Seventh Seal: https://www.youtube.com/watch?v=NtkFei4wRjE Persona: https://www.youtube.com/watch?v=HOsJBylEhmo Fanny & Alex.: https://www.youtube.com/watch?v=IkszXVEUHco Wild Strawberries: https://www.youtube.com/watch?v=0RzOCwer-gc Φθινοπωρινή σονάτα (1978)

"Bergman is a master with sound. It's impossible to forget what he does with the lighthouse in THROUGH A GLASS DARKLY: a sound on the very brink of audibility... War is the obvious catalyst for the cruel anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in THROUGH A GLASS DARKLY to explore his view of man." -TARKOVSKY

https://www.youtube.com/watch?v=an6brehsD7c

“Cinema is a very difficult and serious art, it requires sacrificing of yourself. You should belong to it, it shouldn't belong to you. Cinema uses your life, not vice versa.”

― Andrei Tarkovsky

http://andrei-tarkovsky.com/bio.html

TARKOVSKY (1932-1986) Ivanovskaya, Russia

Solyaris (1972) Offret (1986) The mirror (1975) Nostalgia 1983) Stalker (1979) The early years of Ivan (1962) Andrei Rublyov (1966)

During his staying in Italy he shooted "Tempo di viaggio" -about his life- with his good friend Tonino Querra.

"Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." -INGMAR BERGMAN

BIO Tarkovsky's films include Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). He directed the first five of his seven feature films in the Soviet Union; his last two films, Nostalghia (1983) and The Sacrifice (1986), were produced in Italy and Sweden, respectively. His work is characterized by long takes, unconventional dramatic structure, distinctly authored use of cinematography, and spiritual and metaphysical themes. His contribution to cinema was so influential that works done in a similar way are described as Tarkovskian.[1][2]

Soviet authorities prevented the film Nostalghia from winning the Palme d'Or, a fact that hardened Tarkovsky's resolve to never work in the Soviet Union again. In the same year, he also arranged the opera Boris Godunov at the Royal Opera House in London under the musical direction of Claudio Abbado. [...] About his death from lung cancer: A controversy emerged in Russia in the early 1990s when it was alleged that Tarkovsky did not die of natural causes, but was assassinated by the KGB. Evidence for this hypothesis includes several testimonies by former KGB agents, who claim that Viktor Chebrikov gave the order to eradicate Tarkovsky to prevent what the Soviet government and the KGB saw as anti-Soviet propaganda by Tarkovsky. Other evidence includes several memos that surfaced after the 1991 coup and the claim by one of Tarkovsky's doctors that his cancer could not have developed from a natural cause.

Ο Ταρκόφσκι συνθέτει μια απολύτως προσωπική κινηματογραφική γραφή που κατατάσσει δικαίως τον δημιουργό, ανάμεσα στους κορυφαίους όλων των εποχών. Η μεταφυσική, η πολυσήμαντη φύση της καλλιτεχνικής δημιουργίας, ζητήματα πίστης και θυσίας, το νόημα της ανθρώπινης ύπαρξης μέσα στο πέρασμα του χρόνου, αποτελούν μερικές από τις βασικές θεματικές που διαπότισαν τη φιλμογραφία του Αντρέι Ταρκόφσκι και καθόρισαν τη διαρκή και εναγώνια προσπάθειά του να συνθέσει την απόλυτη κινηματογραφική εικόνα, μαχόμενος την εξοντωτική ρωσική γραφειοκρατία (...) Η Νοσταλγία είναι η πρώτη ταινία του Ταρκόφσκι έξω από τα σύνορα της Σοβιετικής Ένωσης. O σκηνοθέτης βρίσκεται στην Ιταλία σε ένα είδος αυτοεξορίας, που ωστόσο δε θεωρεί ακόμη πως θα είναι μακροχρόνια. Είχε ζητήσει να του χορηγηθεί άδεια προσωρινής εργασίας στο εξωτερικό, μετά την επιδείνωση των σχέσεών του με τους ιθύνοντες του σοβιετικού κινηματογράφου. Η άδεια δόθηκε στον ίδιο, όχι όμως και στην οικογένειά του, που αναγκαστικά μένει στη Ρωσία και θα ζήσει τα επόμενα πέντε χρόνια μακριά του. Η ψυχολογική κατάσταση στην οποία βρίσκεται ο ξενιτεμένος σκηνοθέτης κατά τα γυρίσματα της Νοσταλγίας αντικατοπτρίζεται έμμεσα στην ψυχή του πρωταγωνιστή της ταινίας. * Όταν έφυγε από τη Ρωσία το 1982 είχε σκοπό να επιστρέψει στη Μόσχα, αλλά συνειδητοποίησε ότι δεν επρόκειτο να ξανά δουλέψει στη Σοβιετική Ένωση. Το καθεστώς είχε αναπτύξει πολύ αρνητική στάση εναντίον του – ουσιαστικά τον ανάγκασαν να εγκαταλείψει τη Ρωσία. Είχε ζητήσει από την κυβέρνηση να κάνει τρεις ταινίες και, φυσικά, δεν του έδωσαν ποτέ αυτή την ευκαιρία. Καθώς είχε ήδη δουλέψει στο εξωτερικό, αποφάσισε να φύγει. Λάτρευε την Ιταλία και είναι η χώρα όπου ίσως να ένιωθε λιγότερη νοσταλγία για τη Ρωσία απ' οπουδήποτε αλλού. Στη «Νοσταλγία» ο Ταρκόφσκι είναι εμφανώς επηρεασμένος από το ψυχόδραμα του Ίνγκμαρ Μπέργκμαν. Ο κεντρικός ήρωας, μετά τη συνάντηση με τη νεαρή Eugenia και τον παράφρονα Domenico, οδηγείται προς την ατομική κάθαρση. Αλλά διαβάζοντας προσεκτικά ξανά το βιβλίο του Σουηδού καλλιτέχνη, γίνεται κανείς μάρτυρας του απόλυτου θαυμασμού του για τον Ταρκόφσκι, για τον οποίο αναφέρει χαρακτηριστικά: «Ο Ταρκόφσκι είναι ο μεγαλύτερος σκηνοθέτης, αυτός που εφηύρε μια καινούρια γλώσσα, πιστή στη φύση του κινηματογραφικού μέσου, καθώς καταγράφει τη ζωή σαν μια αντανάκλαση, τη ζωή σαν ένα όνειρο.»

Για τη "Νοσταλγία": «Ήθελα να κάνω μια ταινία για τη ρωσική νοσταλγία, γι’ αυτή την ψυχική κατάσταση που αποτελεί ιδιομορφία του έθνους μας και επηρεάζει κάθε Ρώσο που βρίσκεται μακριά από την πατρική του γη. Ολόκληρη η ιστορία της ρωσικής μετανάστευσης επιβεβαιώνει την άποψη των δυτικών ότι «οι Ρώσοι είναι κακοί μετανάστες»: είναι πασίγνωστη η τραγική ανικανότητά τους να αφομοιωθούν, οι αδέξιες προσπάθειές τους να υιοθετήσουν ένα νέο ύφος ζωής. Πού να φανταστώ όταν γύριζα τη Νοσταλγία ότι η αποπνικτική αίσθηση νοσταλγίας που κατακλύζει το χώρο αυτής της ταινίας θα γινόταν κλήρος μου για όλη την υπόλοιπη ζωή μου, ότι από τώρα ώσπου να τελειώσουν οι μέρες μου θα κουβαλώ μέσα μου αυτό το σαράκι.» - Αντρέι Ταρκόφσκι

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About the "MIRROR": "Mirror is noted for its loose and nonlinear narrative. It unfolds as an organic flow of memories recalled by a dying poet (based on Tarkovsky's own father Arseny, who in reality would outlive his son by three years) of key moments in his life both with respect to his immediate family as well as that of the Russian people as a whole during the tumultuous events of the twentieth century. In an effort to represent these themes visually, the film combines contemporary scenes with childhood memories, dreams, and newsreel footage; its cinematography slips, often unpredictably, between color, black-and-white, and sepia. The film's loose flow of visually oneiric images, combined with its rich - and often symbolic - imagery has been compared with the stream of consciousness technique in Modernist literature. It has also found favor with many Russians for whom it remains their most beloved of Tarkovsky's works".

About the "OFFRET" We can say that all the pictures belong to the genus director of "passion" - the ancient, medieval form of literature. The first was "The Passion According to Andrei" (this was at the beginning of the name of the movie), the latter was the painting "The Sacrifice." "The Passion" - a test of doubt, way of the cross of the human soul, which runs through temptation, death, loneliness, but overcome all the power of faith and love.

Also, the film "SOLYARIS" was marketed as ‘the Russian answer to 2001.'” The Russian auteur indicts what he sees as 2001‘s lack of emotional truth due to its excessive technological invention, effectively declaring that, in his own foray into the realm of science-fiction, “everything would be as it should. That means to create psychologically, not an exotic but a real, everyday environment that would be conveyed to the viewer through the perception of the film’s characters. That’s why a detailed ‘examination’ of the technological processes of the future transforms the emotional foundation of a film, as a work of art, into a lifeless schema with only pretensions to truth.” Jonathan Crow recently quoted Tarkovsky as saying: “2001: A Space Odyssey is phony on many points, even for specialists. For a true work of art, the fake must be eliminated.”

details on Solaris: https://www.shmoop.com/solaris/literary-devices.html " - Solaris is set on a space station hovering near the surface ocean of the planet Solaris. Solaris the planet is mostly ocean, and the ocean is maybe sort of sentient—scientists think it's a kind of big brain, which could be controlling the orbit of the planet. You don't necessarily get a strong sense of place in ether the space station or on Solaris itself—but that's perhaps part of the point. Again, Solaris is a brain, and going to Solaris, therefore, is less going to a particular place than going into a head—perhaps Lem's, perhaps yours, perhaps someone else's."

Αυτό ακριβώς που βλέπουμε είναι ο αυτοεγκλωβισμός μέσα στις σκέψεις. Σε σκέψεις και ερωτήματα που επαναλαμβάνονται : " - Kris Kelvin is the guy who's telling you the story, and he's also the main character. You can't get out of his head—which is a central theme in the story. Solaris is about being confronted with the contents of your skull, and about how you can't ever get out of that skull, so everything is ultimately unknowable. Kelvin's not particularly reliable or forthcoming as far as narrator's go (how much do we find out about Rheya anyway?), but again, that's the point. You're trapped in there with him—or as the man himself says: I was going around in circles; there seemed to be no escape. It was not possible to think except with one's brain, no one could stand outside himself in order to check the functioning of his inner processes." " - Solaris, though, is all about how, in the future, we know less instead of more. Oh sure, they have clunky spaceships and they've discovered a new planet. But the more they study it, the more they know they can't know. As one Solaris specialist bleakly concludes, "there neither was, nor could be, any question of 'contact' between mankind and any nonhuman civilization" (11.61). Rather than finding new stuff, then—as is usually the case in the sci-fi genre—we find nothing."

Το άλογο του Τορίνο Werckmeister harmóniák Κολαστήριο (1988) Sátántangó (1994)

KIESLOWSKI (1941-1996), Warsaw, Poland. He was an influential Polish art-house film director and screenwriter. Leaving college and working as a theatrical tailor, Kieślowski applied to the Łódź Film School, the famed Polish film school which also has ROMAN POLANSKI and Andrzej Wajda among its alumni. He was rejected twice. To avoid compulsory military service during this time, he briefly became an art student, and also went on a drastic diet in an attempt to make himself medically unfit for service. After several months of successfully avoiding the draft, he was accepted to the Łódź Film School on his third attempt. He attended from 1964 to 1968, during a period in which the government allowed a relatively high degree of artistic freedom at the school. Kieślowski quickly lost his interest in theatre and decided to make documentary films.

The Decalogue (1989) The Double Life of Véronique (1991) The Three Colors Trilogy (1993–1994) Personel (1976) Blizna (The scar) (1976) Amator (Camera buff) (1979) No End (1985)

Krótki film o zabijaniu (1988) aka "A Short Film About Killing" Krótki film o milosci (1988)

Both "PERSONEL" and his next feature, "THE SCAR"(Blizna), were works of social realism with large casts: Personel was about technicians working on a stage production, based on his early college experience, and The Scar showed the upheaval of a small town by a poorly-planned industrial project. These films were shot in a documentary style with many nonprofessional actors; like his earlier films, they portrayed everyday life under the weight of an oppressive system, but without overt commentary. "CAMERA BUFF" (Amator, 1979) (which won the grand prize at the 11th Moscow International Film Festival) and "BLIND CHANCE" (Przypadek, 1981) continued along similar lines, but focused more on the ethical choices faced by a single character rather than a community. During this period, Kieślowski was considered part of a loose movement with other Polish directors of the time, including Janusz Kijowski, Andrzej Wajda, and Agnieszka Holland, called the Cinema of Moral Anxiety. His links with these directors (Holland in particular) caused some raised eyebrows within the Polish government, and each of his early films was subjected to censorship and enforced re-shooting/re-editing, if not banned outright (Blind Chance was not released domestically until 1987, almost six years after it was completed).

No End (Bez końca, 1984) was perhaps his most clearly political film, depicting political trials in Poland during martial law, from the unusual point of view of a lawyer's ghost and his widow. It was harshly criticized by both the government and dissidents. Starting with "NO END", Kieślowski's career was closely associated with two regular collaborators, the screenwriter Krzysztof Piesiewicz and the composer Zbigniew Preisner. "THE DECALOGUE" (1988), a series of ten short films set in a Warsaw tower block, each nominally based on one of the Ten Commandments, was created for Polish television with funding from West Germany - it is now one of the most critically acclaimed film cycles of all time. Co-written by Kieślowski and Piesiewicz, the ten one-hour-long episodes had originally been intended for ten different directors, but Kieślowski found himself unable to relinquish control over the project; in the end, each episode featured a different director of photography. Episodes five and six were released internationally in a longer form as A Short Film About Killing and A Short Film About Love respectively. Kieślowski had also planned to shoot a full-length version of Episode 9 under the title A Short Film About Jealousy, but exhaustion eventually prevented him from making what would have been his thirteenth film in less than a year.

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His first non-documentary feature, Personel (1975), was made for television and won him first prize at the: MANNHEIM-HEIDELBERG FILM FESTIVAL ***The festival presents arthouse films of international newcomer directors. It is the second-oldest film festival in Germany (the oldest being Berlin). Since 1994 it has been held jointly by the cities of Mannheim and Heidelberg. The festival takes place annually around November. During the history of the festival, feature films by now-famous directors such as: Jim Jarmusch, Thomas Vinterberg, Bryan Singer, Atom Egoyan, François Truffaut, Rainer Werner Fassbinder, Krzysztof Kieslowski, Lars von Trier or Rahmin Bahrani were first introduced to an international public at the festival***

Luis Buñuel Portolés was born on the 22nd of February 1900 in Calanda, Teruel, Spain and died on the 29th of July 1983 (aged 83) in Mexico City, Mexico.

Often associated with the surrealist movement of the 1920s, Buñuel created films from the 1920s through the 1970s. His work spans two continents, three languages, and nearly every film genre, including experimental film, documentary, melodrama, satire, musical, erotica, comedy, romance, costume dramas, fantasy, crime film, adventure, and western. Despite this variety, filmmaker John Huston believed that, regardless of genre, a Buñuel film is so distinctive as to be instantly recognizable.

When Luis Buñuel died at age 83, his obituary in the New York Times called him "an iconoclast, moralist, and revolutionary who was a leader of avant-garde surrealism in his youth and a dominant international movie director half a century later.

"Buñuel nearly always made Buñuel films". -INGMAR BERGMAN



Viridiana Un chien andalou Belle de jour La voie lactée The Discreet Charm of the Bourgeosie

A great many directors, when asked to name their favourite film-maker, invoke the name of Luis Buñuel. It isn't surprising, since he was undoubtedly a genius who had the invaluable capacity to offend and delight at the same time. You could choose any of a dozen of his films as one of the best 100. Viridiana is my choice, since it caused the maximum annoyance to people one is quite glad to see offended. It was made in Spain in 1960 after Franco had told his minister of culture to invite the country's leading film-maker back from exile in Mexico to make whatever film he liked. But once he completed it, Buñuel sensibly decamped, deliberately leaving a few out-takes behind to be instantly burned by the authorities.

The film was, of course, banned outright in Spain and the minister reprimanded for passing the script. But it won the Palme D'Or at Cannes, despite protests about it representing Spain and articles in l'Osservatore Romano, the Vatican's official organ, saying it was an insult not just to Catholicism but to Christianity itself.

That was exactly what Buñuel intended. He had long ago lost his faith and Viridiana was the score he had to settle with the Catholic Church, for its support of Franco and what he considered to be many other sins. "I hope I don't go to hell", he once said, "imagine the table talk of all those popes and cardinals".

Ένας εκ των κορυφαίων σκηνοθετών στην ιστορία του Κινηματογράφου. Ο Ισπανός δημιουργός δε δίστασε μέσα από τα έργα του, να ασκήσει δριμεία κριτική στην καθεστηκυία τάξη και στους αντιπροσώπους της. Στο στόχαστρό του καλλιτέχνη βρέθηκαν το Κράτος, η Εκκλησία αλλά και οι Αστοί - Μπουρζουαζία. Με ευρηματική σκηνοθεσία, που συχνά πυκνά αναιρεί το διαχωρισμό μεταξύ ονείρου και πραγματικότητας, ο Μπουνιουέλ επαναπροσδιορίζει τα όρια της Έβδομης Τέχνης.

«Ευτυχώς, κάπου ανάμεσα στο τυχαίο και το μυστηριώδες βρίσκεται η φαντασία, το μόνο πράγμα που προστατεύει την ελευθερία μας, παρά το γεγονός ότι οι άνθρωποι προσπαθούν συνέχεια να την περιορίσουν ή να την αφανίσουν ολοσχερώς...» Luis Bunuel

O Λουίς Μπουνιουέλ (Luis Buñuel Portolés), γεννήθηκε στις 22 Φεβρουαρίου 1900, στην Ισπανία και πέθανε 29 Ιουλίου του 1983 στο Μεξικό. Μεγάλωσε σε μια μικρή επαρχιακή κοινωνία, τόσο κλειστή, παραδοσιακή και θρησκόληπτη, που ο ίδιος την αποκαλούσε «μεσαιωνική». Μέλος ευκατάστατης οικογένειας, έλαβε από νωρίς αυστηρή καθολική μόρφωση. Σύντομα όμως, το ελεύθερο πνεύμα του και ο επαναστατικός του χαρακτήρας τον οδήγησαν σε μια αντίδραση που θα συνεχιζόταν σε όλη του τη ζωή.

Στο πανεπιστήμιο γίνεται φίλος με δύο μεγάλες μορφές της τέχνης, τον ζωγράφο Salvador Dalí και τον ποιητή Federico García Lorca. Το 1929 ήταν χρονιά ορόσημο για τον Buñuel, καθώς, μαζί με τον Dalí, θα γυρίσουν το "Un chien andalou" (Ένας Ανδαλουσιανός Σκύλος). Μία ταινία απόλυτα σοκαριστική για τα ήθη της εποχής, με την οποία γράψανε κινηματογραφική ιστορία. Ο Buñuel χρησιμοποίησε την εμμονή του με τα όνειρα και δημιούργησε ένα συνειρμικό όσο και “βλάσφημο” σύμπαν, κάτι που θα αναπαράγει σχεδόν σε όλες του τις ταινίες.

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Ο «αιρετικός» Λουίς Μπουνιουέλ και το φιλμ «Ναζαρέν» (-Γιώργος Ρούσσος)

Βραβευμένη στο Φεστιβάλ Καννών του 1959, η ταινία «Ναζαρέν» (Nazarin) του Λουίς Μπουνιουέλ, αποτελεί μία από πρώτες δημιουργίες του σπουδαίου δημιουργού, που θα χαρακτηριστούν από την καθεστηκυία τάξη, ως «βλάσφημες και ιερόσυλες». Η ταινία του Ισπανού σκηνοθέτη, καταθέτει μια ολομέτωπη επίθεση ενάντια στην υποκρισία της οργανωμένης θρησκευτικής εξουσίας και αποτελεί ίσως την ομορφότερη κινηματογραφική κατάθεση που πραγματοποιήθηκε στην ιστορία της Έβδομης Τέχνης με κεντρικό άξονα, την έννοια της πίστης... (...) Ο Λουίς Μπουνιουέλ, γεννήθηκε στις 22 Φεβρουαρίου του 1900, στην Ισπανία. Πατέρας του σουρεαλιστικού κινηματογράφου κι ένας εκ των κορυφαίων σκηνοθετών όλων των εποχών, ο Μπουνιουέλ δε δίστασε μέσα από τα έργα του - που αποτελούν μοναδικές στιγμές στην Ιστορία της Έβδομης Τέχνης - να ασκήσει δριμεία κριτική στην εκάστοτε εξουσία και στους αντιπροσώπους της.

Στα τέλη του '70, ο Μπουνιουέλ αποσύρθηκε από τη σκηνοθεσία μέχρι και το τέλος της ζωής του και μαζί με τον Carrière, έγραψε την αυτοβιογραφία του, "Mon Dernier Soupir" ((My Last Sigh) - 1982). Έναν χρόνο μετά, στις 29 Ιουλίου του 1983, ο μεγάλος αιρετικός του κινηματογράφου έφυγε, αφήνοντας πίσω του μία μοναδική πολιτιστική κληρονομιά.

«Ο Μπουνιουέλ είναι ένας εύθυμος πεσιμιστής. Δεν παραδίνεται στην απελπισία αλλά είναι σκεπτικιστής... Σαν τους συγγραφείς του 18ου αιώνα, ο Μπουνιουέλ μας διδάσκει πώς να αμφισβητούμε...» - Φρανσουά Τρυφώ

La belle et la bete Orphee Blood of a Poet

"A true poet does not bother to be poetical. Nor does a nursery gardener scent his roses"

• Jean Cocteau

Born: February 7, 1929 in Tocopilla, Tocopilla, II Región, Chile

Santa Sangre (1989) La montaña sagrada (1973) El topo (1970) Jodorowsky's Dune (2013)

Alejandro Jodorowsky was born in Iquique, Chile on February 7, 1929. In 1942 he moved to Santiago where he attended university, was a circus clown and a puppeteer. In 1955 he went to Paris and studied mime with Marcel Marceau. He worked with Maurice Chevalier there and made a short film, La cravate (1957). He also befriended the surrealists Roland Topor and Fernando Arrabal, and in 1962 these three created the "Panic Movement" in homage to the mythical god Pan. As part of this group Jodorowsky wrote several books and theatrical pieces. In the later 1960s he directed avant-garde theater in Paris and Mexico City, created the comic strip "Fabulas Panicas", and made his first "real" film, the surrealist love story Fando y Lis (1968), based on a play by Arrabal. In 1971, El topo (1970) was released and became a cult classic, as did La montaña sagrada (1973). In 1975 he returned to France to begin work on a film that was never made: a colossal adaptation of Frank Herbert's "Dune", which was to star Orson Welles, Salvador Dalí and others, was to be scored by Pink Floyd, and which brought together the visionary talents of H.R. Giger, Dan O'Bannon, and 'Jean "Moebius' Giraud' (Giger and O'Bannon later collaborated on Άλιεν: Ο επιβάτης του διαστήματος (1979).) The project's financiers backed out, and "Dune" was eventually filmed by David Lynch. Jodorowsky's next film was 1979's Tusk (1980), a story of a young girl's friendship with an elephant, which quickly faded into obscurity. In the early 1980s he began working with Moebius and other artists on various comic strips, graphic novels and cartoons, and wrote several more books. He returned to film with 1989's Santa sangre (1989), which was critically acclaimed and widely distributed. In 1990 he directed Omar Sharif and Peter O'Toole in the fantasy film The Rainbow Thief (1990). Throughout the 1990s he continued to produce cartoons with a variety of graphic artists and is reportedly to begin work on another film, the long-awaited "Sons Of El Topo", sometime in 2002 or 2003. Jodorowsky's wife Valerie and sons Brontis, Axel and Adan have all at times appeared in his films.

He is is a Chilean scholar in comparative religion, playwright, director, producer, composer, actor, mime, comic book writer, tarot reader, historian and psychotherapist. He is perhaps best-known for the 1970 film El Topo.

Alejandro Jodorowsky has only made seven feature films in the last 45 years, but he is revered among fans of cinematographic fantasy. In the 1970s, he was a genuine superstar of the international artistic counter-culture. For many years, he dedicated himself to creating comic strips, writing books and teaching the Tarot. After an absence of 23 years, Jodorowswky has returned to directing with THE DANCE OF REALITY.

In the age of psychedelia, with its new permissiveness in terms of sex and violence, Jodorowsky was a visionary favorably compared to Kubrick or Fellini. He has always found himself in between the two, worshipped by fans of rock music and science fiction for the power of his imagery. Jodorowsky is an incredible cineaste, with each of his films tracing the path of an adventure, vision or experience ever more crazy, terrifying or dangerous, comparable to the work of Dario Argento or Werner Herzog.

Many have never heard of him. Others only know selected works—the ‘80s effort Santa Sangre, the consistently mentioned “midnight movie” El Topo - but even for those who claim an intimate knowledge of cinema, director, poet, agitator, self-described “deity” Alejandro Jodorowsky remains an enigma. This could be due to the fact that the filmmaker has only helmed seven projects in the 50 years he’s been in the business (that’s right, seven in half a century behind the camera). Part of the problem is also that Jodorowsky remains a vehemently idiosyncratic artist. Like many Latino moviemakers, he lives his works and is only driven to create when the passion (and the fiscal possibility) strikes him. The final issue with his covert career is the lack of access to his major films - Fando y Lis, El Topo, and The Holy Mountain. Only the first title has ever appeared on DVD, the other two considered “lost” due to ongoing animosity between the director and infamous ‘70s business bully Allen Klein. Now, with all wounds apparently healed. The recently released Films of Alejandro Jodorowsky box set provides a chance to see the works that loom largest in the auteur’s considerable legend.

In the grand tradition of fellow experimentalists Luis Buñuel and Salvador Dali, Alejandro Jodorowsky is, at his heart, a surrealist. He works in the weird and fashions out of the freakish. Like all artists working within said medium, the Chilean-born Renaissance man loves to break convention as he embraces the recognizable. In fact, it’s safe to say that Jodorowsky is the most arcane avant-gardist ever to take up the genre’s mantle. Typically, a surrealist tackles the real world from a ridiculous yet recognizable avenue. But Jodorowsky isn’t content to simply shock and confuse. His is an aesthetic of contradiction, the juxtaposing of the sacred with the profane, the beautiful with the grotesque, the simple along with the complex. Out of said incongruities, he hopes to unlock the secrets of love, desire, death, evil, happiness, hate, terror, wisdom, God, man, the Devil, and the bifurcated nature of spirituality and physicality. Sometimes he succeeds in stunning fashion. But even his missteps are fabulous in their fascination.

After beginning life as a performance artist and theatrical “terrorist” (part of the Panic Movement—inspired by the god Pan—in early ‘60s France) Jodorowsky’s move to film was seen as a way of extending his influence beyond the simplicity of the stage. After fooling around with a work about a lady who sells substitute heads - La Cravate - he went off to tackle his first full-length project; a quasi-adaptation of a play written by Fernando Arrabal. While neither was completely successful, they proved that Jodorowsky had an eye for cinema and could really tell a story visually.

Μαύρα γυαλιά (2022) Suspiria (1977)

Βαθύ Κόκκινο (1975) Η όπερα του τρόμου (1987) Το Πουλί με τα Κρυσταλλένια Φτερά (1970)

Born: Rajmund Roman Liebling August 18, 1933 in Paris, France

Carnage (2011) The Pianist (2002) The ninth Gate (1999) Το μωρό της Ρόζμαρι (1968) Repulsion (1965) Chinatown (1974)

sexual abuse - Samantha Geimer https://en.wikipedia.org/wiki/Roman_Polanski_sexual_abuse_case

Το εξπρές του μεσονυχτίου / Midnight express (1978)

Pokot (2017) In darkness (2011) The secret garden (1993) Europa europa (1990)

Born: May 16, 1898 in Asakusa, Tokyo, Japan

Ugetsu monogatari (1953) Life of Oharu (Saikaku ichidai onna) (1952) Sanshô dayû (1954) Akasen chitai (1956)

Unjustly overshadowed in the west by Akira Kurosawa and Yasujiro Ozu, alongside whom he is seen as representing Japanese cinema’s golden age, it is Kenji Mizoguchi whose work arguably embodies some of the purest expressions of cinematic artistry cultivated within the domestic industry in its first half century.

While Ozu steadfastly kept his camera still and his images flat for his low-key portraits of contemporary family life in the postwar period, Mizoguchi’s seldom ever rested, with some of the most delicately choreographed tracking shots and striking examples of deep-focus staging seen the world over. If Kurosawa’s meticulously realised portrayals of samurai heroics were fashioned in the stylistic vein of Hollywood, Mizoguchi’s portraits of a bygone age were all of his own. And if Ozu or Kurosawa could be accused of skirting around the political aspects of their chosen subject matter, Mizoguchi was unashamedly unapologetic about his chosen concern: the unfair lot of Japanese women through the ages.

Throughout a career lasting just over three decades, Mizoguchi directed almost 90 films, making his debut in 1923 (four years before Ozu and some 20 before Kurosawa) with The Resurrection of Love. His Passion of a Woman Teacher (1926) was among the first Japanese titles to play in the west, and Hometown (1930) was one of the country’s earliest experiments in sound technology. Unfortunately most of the titles realised in this first decade, which make up over half his overall output, no longer survive. Born: May 16, 1898 in Asakusa, Tokyo, Japan Coming from a lower class family Mizoguchi entered the production company Nikkatsu as an actor specialized in female roles. Later he became an assistant director and made his first film in 1922.

Though appointed chairman of the Directors Guild of Japan in 1937, Mizoguchi’s refined aesthetic sensibilities only really reached western consciousness late in his life, when he received his first international award in 1952 for The Life of Oharu. Just four years later, his career was brought to a tragic end by his death of cancer, aged 58.

AKIRA KUROSAWA (1910-1998) Tokyo, Japan.

Yume (1990) - based on Akira Kurosawa's dreams Kagemusha (1980) Ran (1985) Yojimbo (1961) Οι επτά σαμουράι (1954) Ο καταδικασμένος (Ikiru) (1952) Η γκέισα και ο σαμουράι (1950)

Born: December 12, 1903 in Tokyo, Japan

Banshun (1949) Tokyo Story (Επισκεψη στο Τοκιο) (1953) Bakushû (1951) Sanma no aji (1962)

Η αυτοκρατορία των αισθήσεων (1976)

Born: January 5, 1941 in Tokyo, Japan

Ταξίδι στη χώρα των θαυμάτων (2001) Το κινούμενο κάστρο (2004) Πριγκίπισσα Μονονόκε (1997) Η Ναυσικά της κοιλάδας των ανέμων (1984)

Woman in the dunes (suna no onna) (1964) Tanin no kao (1966)

http://flix.gr/news/cannes-2019-wild-goose-lake-review.html

Η Λίμνη με τις Αγριόχηνες(2019) Μαύρος άνθρακας σε λεπτό πάγο (2014) -Χρυσή Αρκτο στο Φεστιβάλ Βερολίνου

Wong Kar-Wai, (born July 17, 1958, Shanghai, China)

Chinese film director noted for his atmospheric films about memory, longing, and the passage of time. He is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylised, emotionally resonant work, including As Tears Go By (1988), Days of Being Wild (1990), Ashes of Time (1994), Chungking Express (1994), Fallen Angels (1995), Happy Together (1997), 2046 (2004) The Grandmaster (2013), AND His film In the Mood for Love (2000), [starring Maggie Cheung and Tony Leung, garnered widespread critical acclaim. Wong's films frequently feature protagonists who yearn for romance in the midst of a knowingly brief life and scenes that can often be described as sketchy, digressive, exhilarating, and containing vivid imagery].

Wong’s family emigrated from Shanghai to Hong Kong in 1963. For many Shanghainese, assimilation of Hong Kong’s different dialect and culture was difficult. Wong’s early experiences left a lasting impression, and three of his feature films are set in the 1960s.

~ His movies inspire a lot of passion. Few other directors can convey the pain and suffering of love quite as seductively as Wong Kar-wai. His films are breathtaking symphonies composed of those unspoken emotions and hidden desires that we conceal deep inside of ourselves. They’re stories of doomed romances that unravel languidly featuring loners, dreamers and the heartbroken. You see, he’s often transfixed by the smallest details – smoke swirling towards the ceiling or a reflection shimmering in a puddle – and he prefers his drama to be understated. Wong’s multi-narrative, non-linear storylines delight in jumping around restlessly. All of this requires patience but for those who have it, they’ll be richly rewarded.

Starting out as a scriptwriter for Television Broadcasts Limited (TVB), the Chinese filmmaker shunned the formulaic conventions that afflicted much of Hong Kong cinema at the time and helped to reinvigorate the industry. His debut As Tears Go By (1988) played around with the tried-and-tested triad movie, sticking to the genre in its bare bones but with poetry pumping through its blood. A Fei jingjyuhn (1990; Days of Being Wild) was the first film in which Wong employed voice-overs by multiple characters and a complex, fragmented story structure—both signatures of his style. From then on he became more and more experimental, finding his feet once he started a fruitful collaboration with cinematographer Christopher Doyle. Together they consolidated Wong’s famous style turning his films into stunning, neon-drenched reveries using a step-printing process, which allowed them to slow certain sequences down, to dazzling effect.

As a director, he feels his way to the very heart of his stories, relying on instinct rather than scripts, and in doing so captivates the soul.

Μια λαμπρότερη καλοκαιρινή μέρα (1991) Και ένα... και δύο... οικογενειακοί ρυθμοί (2000) Du li shi dai (1994) Kong bu fen zi (1986)

Born: August 23, 1963 in Seoul, South Korea

Ah-ga-ssi (2016) Δίψα 2009 Oldboy (2003)writer Η Εκδίκηση Μιας Κυρίας (2005) Boksuneun naui geot (2002)

https://koreanfilm.org/kimkiduk.html

More than any other Korean director, the films and reputation of Kim Ki-duk have been characterized by a sense of disconnect. Kim himself disavows any commonalities with other Korean filmmakers of his generation such as Hong Sang-soo or Lee Chang-dong, due to his lower-class upbringing and lack of formal training in film. In terms of subject matter, Kim has focused on marginalized and disenfranchised characters who operate outside the main currents of middle and upper-class Korean society. Kim is also a rare case of a director who has won accolades and found box-office success overseas but -- with a few exceptions -- has largely failed to connect with Korean critics or audiences. In terms of his influences, his aesthetics, the stories he tells, and his local and international reception, Kim Ki-duk seems to inhabit a world all his own.

Kim was born in 1960 in Bonghwa, North Gyeongsang Provice (south of Gangwon Province). His family moved to Seoul when he was nine, and there he attended agricultural training school before dropping out at age 17 to take up work in factories. From age 20 to 25 he served in the marines, where he is said to have fit in well. Afterwards he spent two years at a church for the visually impaired with the thought of becoming a preacher. Then in 1990, scraping up all the money he had to buy a plane ticket, he traveled to Paris where he spent two years selling his paintings (a lifelong hobby) on the street. Kim says he went to the movie theater for the first time in his life at this time, and remembers being especially impressed with Silence of the Lambs and Leos Carax's Les Amants du Pont-Neuf.

After returning to Korea he took up his newfound interest in cinema by writing scripts for local screenplay contests. In 1993 he won the top award from the Educational Institute of Screenwriting for A Painter and a Criminal Condemned to Death. This was followed up in 1994 by a third place award in the KOFIC (Korean Film Council, then the Korea Motion Picture Promotion Corporation) Screenplay Competition for Double Exposure, and a first place award in the same competition in 1995 for Jaywalking.

In 1996 Kim made his debut Crocodile with production company Joyoung Films. The film tells the story of a man living at the edge of the Han River in Seoul, who saves a woman trying to commit suicide. He then proceeds to rape and abuse her until an odd relationship develops between them. A keen promoter of his work from the very beginning, Kim says he contacted journalists directly to encourage them to come to the film's press screening, but little of them showed interest. He got a more receptive response from the Pusan International Film Festival, who screened Crocodile and almost all of his subsequent features in the Korea Panorama section, helping to launch his international career. (In 2002, Kim's The Coast Guard would screen as the festival's opening film.)

From this point on Kim would shoot 1-2 low-budget films per year, developing a reputation for shooting quickly and efficiently on location. In 1998 his third film Birdcage Inn screened at Karlovy Vary, then he received his breakthrough when The Isle -- produced by local powerhouse Myung Films -- was selected to screen in competition at the 2000 Venice International Film Festival. The film lived up to its billing as a controversial shocker when an Italian journalist passed out during a press screening, during a particularly gruesome scene involving fish hooks. Although the film was not awarded by the main jury, it firmly established Kim's reputation in Europe.

However most local critics were unimpressed, with feminist critics in particular calling him a "monster", a "psycho", or a "useless filmmaker." This ignited an ongoing feud between the director and his critics, culminating in Kim's announcement that he would no longer give interviews with the local press (a promise that was soon broken).

The next couple years saw more high-profile festival invitations (Address Unknown to Venice and Bad Guy to Berlin, though Cannes showed less interest in the filmmaker), and Kim's first local box-office hit with Bad Guy. The film's commercial success was chalked up to the sudden popularity of lead actor Jo Jae-hyun after starring in a hit TV drama, but a high-profile, seductive marketing campaign by local major CJ Entertainment also contributed. Kim's next work The Coast Guard featured top local star Jang Dong-gun (the only star casting of Kim's career), but it ultimately performed under expectations.

A major shift occurred in Kim's career with his ninth, Buddhist-themed film Spring, Summer, Fall, Winter... and Spring. Although he continued to focus on marginalized elements of society, his work took on a more consciously spiritual aspect, downplaying violence and foregrounding themes of redemption and foregiveness. Kim's softer style played well with foreign audiences -- Spring, Summer... and 3-Iron were strong successes in Europe and North America -- and with festival juries. In 2004, Kim won Best Director awards from Berlin for Samaritan Girl and from Venice for 3-Iron. (Each film, incidentally, was shot in a space of about two weeks)

Kim has undisputed strengths as a filmmaker, primarily his knack for evocative imagery and his ability to propel his narratives forward with virtually no dialogue (both of which help make his works more accessible to foreign viewers). As a self-taught director his films -- particularly those of his early career -- display certain rough edges. And to date he remains a source of controversy. Although in recent years many Korean reviewers have warmed to his films, critical opinion is far from unanimous. His portrayal of female characters in particular remains a bone of contention. Although he will never win over all his detractors, Kim has by now established himself as one of Korea's most famous and distinctive directors.

Note: Kim Ki-duk has the same name as another filmmaker who directed over 50 features in the 1960s and 1970s, including such classics as Five Marines (1961), Barefooted Youth (1964), South and North (1965), and Grand Evil Master Yonggary (1967). They are not related.

Samaria (2004) Pieta (2012) 3-IRON (2004) Moebiuseu (2013) Άνοιξη, καλοκαίρι, φθινόπωρο, χειμώνας... και άνοιξη (2003) Time (2006) Breath (2007) The Isle (2000) Uddress Unkown (2001)

Asako (I & II) / Netemo sametemo (2018) Drive my car / Doraibu mai kâ (2021) cannes

Κλέφτες Καταστημάτων (2018) Nobody Nows (2004) Life Father Like Son (2013) Still Walking (2008)

https://nerdist.com/article/bong-joon-ho-parasite-interview/ https://www.wired.co.uk/article/bong-joon-ho-okja

There are some stories that transcend their country of origin and their place in time. Stories that find eager audiences all over the world, who relate to it in a primal, intimate way—terrified of its societal potency. Parasite, the newest film from South Korean director Bong Joon Ho, is a prime example of art taking up that mantle. It’s a movie about family and class, and the way money bleeds into our very nature, informing our perception of the world around us. Fans of Bong who are familiar with films like his international breakout hit The Host, or his English language movies Okja and Snowpiercer, will know that class division is a subject that crops up over and over in his work. It’s something that—in a conversation with Nerdist at Fantastic Fest last month—he said isn’t premeditated so much as a topic that comes to him naturally. “If you think about Snowpiercer, it’s based on a French graphic novel that came out in the ’80s, and so people were already exploring class at that time,” Bong explained (via translator). “We live in this age of capitalism, and I think artists and creators have consistently explored this theme. So I don’t consider myself special.”

He's been called a master of cinema, but Bong Joon-ho’s more concerned with control "Capitalism turns love to something ugly"

Dark, satirical, surreal, Bong's career has been defined by crazy thoughts. At 47, he is one of the stars of South Korean film; a director who rose to prominence with true-crime thriller Memories of Murder in 2003. But he is best known for his two international cult hits: 2006 breakout horror The Host, about a mutated monster who terrorises a family; and his English-language debut Snowpiercer, a post-apocalyptic satire starring Chris Evans and Tilda Swinton. Quentin Tarantino once described him as "Steven Spielberg in his prime". Okja, however, is about as mainstream as Bong gets. Released through Netflix (online June 28, in cinemas at a later date), it's the coming-of-age story of Mija (Seo-Hyun Ahn), a young South Korean girl whose new best friend, Okja, is a scientific breakthrough for the food industry. At the heart of the film lies a question: is Okja, a huge, boar-like animal, a living, sentient being with its own rights, or is it the property of creator Nancy Mirando (Swinton), the corporate scientist of a multinational? "The essence of the movie is the love between human and animal," Bong explains. "But capitalism turns that love into something ugly and turns living things into commodities." This is why he worked with Dutch animator Erik-Jan de Boer, who oversaw the tiger effects on Life of Pi. "I didn't want Okja to look cartoonish. It is based on hippos, pigs, manatees - kind creatures with lots of meat. The effects were vital for making it feel like a real animal." Compared to The Host, Okja is almost family-friendly, but it remains a truly black comedy: a satire of corporate culture and animal activism. It's an edge that runs throughout Bong's work - one he attributes to the "absurdity" of growing up in South Korea. "Just look at our country's history," he says. "In the North, the leader has been called insane. In the South, the leader [Park Geun-hye] has been impeached. It inspires me, but it's exhausting."

Parasite follows the impoverished Kim family, who slowly integrate themselves into service roles for the wealthy Parks. But their scheming ways—which are portrayed with a blunt hilarity that gives the film its black comedy edge—aren’t without consequence. We won’t say more than that, as the whole fun of Parasite is experiencing it unspoiled. But that juxtaposition between the poor and the rich—and between the lives of these parallel families—is a story that’s been with Bong for years, since he tutored a wealthy family as a college student, taking mental notes that would eventually weave their way into Parasite‘s narrative. “Compared to all my other films, Parasite in particular I think is the most universal story, and no matter where it screens, which country or festival, the audience response has been pretty similar,” he explained. “I think that’s because, while on the surface the film features very Korean characters and details, in the end it’s as if we’re all living in this one country of capitalism.”

Για τα "Παράσιτα" (http://flix.gr/news/cannes-2019-bong-joon-ho-parasite-interview-pre.html): Η οικογένεια των πρωταγωνιστών της ταινίας θυμίζει κάτι από εκείνη του «Κλέφτες Καταστημάτων» του Χιροκάζου Κόρε-Εντα: φτωχοδιάβολοι, παρίες ενός κοινωνικού συστήματος που είναι και στην Κορέα (όπως άλλωστε παντού κι ακόμη πιο έντονα στις μέρες μας), βαθιά ταξικό, δίχως χώρο για τους «μη επιτυχημένους». H τετραμελής οικογένεια του Κιμ-ταέκ, καθηλωμένη σε ένα «ημι-υπόγειο», έρχεται σε... μοιραία επαφή με μια από τις πλουσιότερες οικογένειες της πόλης. Κι αυτή η τυχαία συνάντηση των δυο διαφορετικών κόσμων δεν θα είναι παρά μόνο η αρχή μιας σειράς από γεγονότα που θα εξελιχθούν με απρόσμενη ταχύτητα κι θέσουν σε κίνηση απροσδόκητες εξελίξεις. Το θέμα της ταινίας είναι, ακριβώς, η ταξική πόλωση. Η Κορέα είναι, τώρα, μια πολύ πλούσια χώρα, πολύ αναπτυγμένη, αλλά όταν μια χώρα γίνεται τόσο πλούσια, αναλογικά το κενό μεταξύ των τάξεων διευρύνεται, μεγαλώνει. Οχι ότι οι μισοί άνθρωποι της χώρας είναι άποροι, αλλά υφίστανται στην κοινωνία μας και λίγοι τους αναφέρουν. Οταν επισκεφτείς τη Σεούλ και φύγεις από τους μεγάλους δρόμους και περιπλανηθείς στα πίσω δρομάκια, θα δεις πολλά από αυτά τα ημιυπόγεια σπίτια που είδατε στην ταινία κι από τα παράθυρα θα δεις τις οικογένειες μέσα στα σπίτια αυτά.»

Parasite (2019) Okja (2017) Snowpiercer (2013) Memories of a murder (2003) Mother The Host

Memoria (2021) ** Loong Boonmee raleuk chat / Uncle Boonmee Who Can Recall His Past Lives (2010)

* A Letter to Uncle Boonmee and Phantoms of Nabua (both 2009) - short film (17m)

Sud pralad / Τροπική ασθένεια (2004) Dokfa nai meuman / Mysterious Object at Noon (2000) Sud sanaeha / Blissfully Yours (2002) Mekong Hotel (2012) Rak ti Khon Kaen / Cemetery of Splendor (2015)

** Στα ρέοντα 136 λεπτά της διάρκειάς του, σαν από ένα παράλληλο σύμπαν, μου έρχονταν συνεχώς στον νου οι στίχοι του Νίκου Καρούζου «σα να μην υπήρξαμε ποτέ, κι όμως πονέσαμε απ’ τα βάθη». Και ως γνήσια ιστορία φαντασμάτων, εξήγηση δεν δίνεται ποτέ στο σινεμά του Βιρασεθάκουλ, όπως και στην περίπτωση των δύο εραστών που «μια μουσική άξια των συγκινήσεών τους δεν άκουσαν», ωστόσο η Τζέσικα της αξιοθαύμαστα συγκεντρωμένης, σε απόλυτο έλεγχο των διακριτικών κινήσεών της, Σουίντον παίρνει αφορμή από έναν απόκοσμο γδούπο που την ξυπνά σε έναν εφιάλτη και την «επισκέπτεται» σε ανύποπτες στιγμές, για να συνδεθεί με ανθρώπους (που μπορεί να μην υπήρξαν) και τοπία (που ίσως έχει ξαναδεί), καταλύοντας τον χρόνο. Ανάμεσα σε εσωστρεφή υπερβατικό διαλογισμό και χαμηλής πιστότητας επιστημονική φαντασία, το Memoria είναι ένα αταβιστικό ταξίδι στη μνήμη, άρα στη φιλοσοφία της ζωής, σοφού ηχητικού σχεδιασμού και τόσο ανοιχτού διαλόγου με την έννοια της αφήγησης, που αψηφά ακόμα και τον ρυθμό. Επειδή ακριβώς βυθίζεται στις απροσδιόριστες υπαρξιακές ρίζες, χωρίς να επιχειρεί έναν κύκλο στο στόρι, όπως στον Μπούνμι ή στο Tropical Malady, η βραβευμένη στο πρόσφατο Φεστιβάλ Καννών ταινία αφήνει χώρο στον θεατή να προβάλλει τη δική του εκδοχή των γεγονότων ή, απλώς, να παρασυρθεί.

Πηγή: https://www.lifo.gr/guide/cinema/movies/anamnisi

BIO: Apichatpong Weerasethakul, byname Joe, (born July 16, 1970, Bangkok, Thailand), Thai film director, writer, and installation artist whose preference for unconventional storytelling usually relegated his work to the art house. Nevertheless, his style also has been described as joyful, spontaneous, playful, unpretentious, and gentle.

In 1993 he produced his first film, an experimental silent short entitled Bullet. His next two films, also shorts, were Kitchen and Bedroom (1994), which examines the nature of memory, and 0016643225059 (1994), about the difficulty of long-distance communication. In Like the Relentless Fury of Pounding Waves (1996), Weerasethakul experimented with the layering of sound, light, still photography, and other elements of filmmaking, It was the first of his experimental documentary projects, and its concerns were to evolve in his later films.

His first feature-length film, another blurring of documentary and fiction modes, was Dokfa nai meuman (2000; Mysterious Object at Noon). Its structure was based on Exquisite Corpse, a parlour game adapted by the Surrealists in the early 20th century in which each player contributed to the making of a sentence without knowing what preceding players had written. For Mysterious Object Weerasethakul invented characters and asked his countrymen to help build a story about them. His following films were Sud sanaeha (2002; Blissfully Yours), a diptych that concerns the problems of illegal immigrants and shifts into what seems to be a real-time picnic; and, as co-director with Thai American artist Michael Shaowanasai, Hua jai tor ra nong (2003; The Adventure of Iron Pussy), a tongue-in-cheek Asian soap opera, the third in a series featuring a transvestite secret agent.

Like Blissfully Yours in reverse, Sud pralad (2004; Tropical Malady; “Strange Animal”) is also a two-part feature. The first part examines the attraction between two young men, and the second part, set in a jungle, portrays the psychological aspects of this relationship as an unseen menace. Weerasethakul’s next film, Sang sattawat (Syndromes and a Century), was commissioned for Vienna’s Mozart-inspired New Crowned Hope festival in 2006. Like several films that preceded it, Syndromes and a Century also has a two-part structure, with what one critic called “two incarnations of the same tale.” Each part is set in a hospital—one rural, the other urban. The film is a kind of affectionate and poetic rumination on both memory and the options presented by cinematic storytelling.

Weerasethakul’s interest in the rural Thai culture of his youth and the spirit world ever-present there resulted most memorably in his lush and lyrical film Loong Boonmee raleuk chat (2010; Uncle Boonmee Who Can Recall His Past Lives), which won the Palme d’Or at the 2010 Cannes film festival. It tells the story of a dying man who is visited in turn by the ghost of his dead wife and that of his missing son (realized as a monkey ghost with glowing eyes). Weerasethakul’s later feature films included Mekong Hotel (2012) and Rak ti Khon Kaen (2015; Cemetery of Splendor). He also directed a segment in Ten Years Thailand (2018).

While developing Uncle Boonmee, the director received a commission for a video installation regarding the northeastern Thai village of Nabua and its local legend of a predatory widow ghost. There, from the 1960s to the early ’80s, the Thai army carried on a brutal campaign to suppress the allegedly communist activities of farmers. Weerasethakul called his installation Primitive (2009). It included seven videos and several short films, notably A Letter to Uncle Boonmee and Phantoms of Nabua (both 2009)*.

Πηγή: https://www.britannica.com/biography/Apichatpong-Weerasethakul

Beoning (Burning) (2018) Oasiseu (Oasis) (2002)

Night and day (2008)

Η Ομορφιά της Ύπαρξης (2019)

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A Pigeon Sat on a Branch Reflecting on Existence (2014) Songs From the Second Floor (2000) You, the Living / Du Levante (2007)

"A Pigeon Sat on a Branch Reflecting on Existence" is the last from Roy Anderson’s trilogy (“Songs From the Second Floor” and “You, the Living”). Anderson is a surrealistic director, period. His movies don’t have any plot in them, but they have several main characters. In this one, we have Jonathan and Sam, who sell novelty items, but are not good at it because they seem so shy.

Soon, Jonathan, who is teased and abused because of his sensitivity, starts thinking deep down that something is wrong with his life, and that’s when things change that lead to problems with Sam. In the very beginning, death seems so small, and Anderson makes it look easy.

The film is filled with surrealistic and not quite logically approved scenes that lead to nothing, and may not really fit in, but the black humor that Anderson has mastered is the main vibe, and the music itself plays a quite important role as the film progresses, as it makes the film easy and pleasurable to watch.

(1949) Calzada de Calatrava, Ciudad Real, Spain

Noted for being one of the most internationally-successful Spanish filmmakers, Almodóvar and his films have gained worldwide interest and developed a cult following. He has won two Academy Awards, four British Academy Film Awards, six European Film Awards, two Golden Globe Awards, nine Goya Awards and four prizes at the Cannes Film Festival. In 1997, Almodóvar received the French Legion of Honour, followed by the Gold Medal of Merit in the Fine Arts by the Spanish Ministry of Culture in 1999.

Parallel Mothers (2021) Pain and Glory (2019) Women on the Verge of a Nervous Breakdown (1988) Tie Me Up! Tie Me Down! (1990) High Heels (1991) Live Flesh (1997) All About My Mother (1999) Talk to Her (2002) Volver (2006) Broken Embraces (2009) The Skin I Live In (2011) Matador (1986) Law of Desire (1987) Julieta (2016) Bad Education (2004)

Born in 1976 - Santiago, Chile

No (2012) - with Gael García Bernal & Alfredo Castro Η μυστική λέσχη (2015) - with Alfredo Castro Tony Manero (2008) Post Mortem (2010)

INARRITU (1963) - Mexico City, Mexico

Alejandro González Iñárritu is the first Mexican-born director to have won the Cannes Film Festival Best Director Award. ñárritu began his career in 1984 as a radio host at the Mexican radio station WFM, the country's most popular rock music station, where he "pieced together playlists into a loose narrative arc". He later became the youngest producer for Televisa, the largest mass media company in Latin America. From 1987 to 1989, he composed music for six Mexican feature films. During this time, Iñárritu became acquainted with Mexican writer Guillermo Arriaga, beginning their screenwriting collaborations. Iñárritu has stated that he believes music has had a bigger influence on him as an artist than film itself.

Birdman (2014) The Revenant (2015) Babel (2006) Biutiful (2010) 21 Grams (2003) Amores Peros (2000)

Even the Rain (2010) The olive tree (2016)

Alfonso Cuarón Orozco (1961) - Mexico City, Distrito Federal, Mexico

Y tu mamá también (2001) Ο Χάρι Πότερ και ο αιχμάλωτος του Αζκαμπάν (2004) Gravity (2013) Τα παιδιά των ανθρώπων (2006) [Children of Men] - sci-fi

Born: April 27, 1968 in Iasi, Romania

Bacalaureat (2016)- cannes '16 4 luni, 3 saptamâni si 2 zile (2007) Piso apo tous lofous (2012) Amintiri din epoca de aur (2009) Occident (2002)

Aferim (2015) The Happiest Girl in the World (2009), A Film for Friends (2011) Everybody in Our Family (2012) Βad Luck Banging or Loony Porn (2021)

Radu JUDE (1977, Romania) is a director and screenwriter. He studied filmmaking in Bucharest and started his career as an assistant director. In 2006, he made the short film The Tube with a Hat, winner of more than 50 international awards. Jude's feature debut The Happiest Girl in the World (2009) was selected for more than 50 international film festivals. In 2016, he made his debut as a theatre director with his stage adaptation of Ingmar Bergman’s Scenes from a Marriage. The international premiere of The Dead Nation (2017) marked his debut in documentary film. His latest feature "I Do Not Care If We Go Down in History as Barbarians" (2018) deepens the connection between personal and political.

*** https://www.maxmag.gr/cinema/atyches-pidima-i-palavo-porno-mia-grothia-sti-sygchroni-zoi/

Η Αθηνά είχε συμβουλέψει τον Περσέα να μην κοιτάξει κατάματα την Μέδουσα και πετρώσει, αλλά να δει την αντανάκλασή της από την αστραφτερή ασπίδα του. Γιατί είναι δύσκολο να αντέξουμε την φρίκη κατάματα και έτσι πρέπει να την δούμε μέσω αναπαράστασης, όπως είναι το σινεμά. Αυτήν την διαπίστωση ακούμε-ή μάλλον διαβάζουμε- σε μια σκηνή από το Ατυχές πήδημα ή παλαβό πορνό (Bad luck banging or loony porn), που ουσιαστικά έτσι περιγράφει τον εαυτό του και τον σκοπό του. Γιατί αυτή η ταινία του Ρουμάνου Radu Jude -Χρυσή Άρκτος στο φεστιβάλ Βερολίνου- καταπιάνεται με τις αντιφάσεις της μοντέρνας ζωής με έναν ευφυέστατο, δημιουργικότατο, προκλητικότατο και ασυναγώνιστο τρόπο.

Η Πλοκή:

Το Ατυχές πήδημα ή παλαβό πορνό ουσιαστικά χωρίζεται σε τρία μέρη:

Στο πρώτο παρακολουθούμε σκηνές από την καθημερινή ζωή της Emi, μιας καθηγήτριας της οποίας το sex tape έχει διαρρεύσει στο διαδίκτυο και βρίσκεται σε κίνδυνο η υπόληψή της και η καριέρα της. Στιγμές αστικού νευρωτισμού παντού.

Στο δεύτερο μέρος βλέπουμε ένα μοντάζ από διάφορες εικόνες και επικεφαλίδες που έχει συντάξει ο Jude και οι οποίες ασχολούνται με ποικίλα θέματα όπως οι ναζιστικές θηριωδίες που έγιναν στη Ρουμανία, οι δικτάτορες και η επανάσταση της χώρας (και το πώς ακόμα και αυτή έχει εμπορευματοποιηθεί σήμερα), το τι είναι τέχνη, με τον φεμινισμό και άλλα πολλά σε ένα κωμικοτραγικό και ενοχικά ψυχαγωγικό πανδαιμόνιο.

Στο τρίτο μέρος γινόμαστε μάρτυρες μιας ερασιτεχνικής δίκης, δηλαδή του συμβουλίου γονέων και κηδεμόνων που καλείται να αποφασίσει αν η Emi θα πρέπει να παραμείνει στο σχολείο ή να απολυθεί, δεδομένου ότι έχει εμπλακεί σε ένα σεξουαλικό “σκάνδαλο”. Και όλες οι αντιθέσεις που ανακινούνται στο συμβούλιο αυτό θα υπερκεραστούν με ένα κορυφαίο και υπερρεαλιστικό φινάλε.

Η Κριτική:

Το Ατυχές πήδημα ή παλαβό πορνό είναι πάνω από όλα μια ταινία που καυτηριάζει. Δείχνει, ειδικά στην τρίτη πράξη της, τις αντιφάσεις που κατακλύζουν την σύγχρονη κουλτούρα και ειδικότερα την Ρουμανία. Η κύρια αντίφαση είναι αυτή του συντηρητισμού και του προοδευτισμού και πως οι δυο τους εμπλέκονται. Παραδείγματος χάριν, υπάρχουν γονείς που θέλουν να διώξουν την καθηγήτρια από το σχολείο λόγω του sex tape της, ενώ υπάρχουν και αυτοί που -επικαλούμενοι ακόμα και αποσπάσματα κοινωνιολόγων- προτείνουν μια πιο ανεκτική προσέγγιση. Κυράτσες και στρατιωτικοί από τη μία, κοινωνιολόγοι και mansplaining διανοούμενοι από την άλλη σε μια δίκη-φάρσα με κύριο θύμα της την ίδια την Emi, που αναγκάζεται ακόμα και να δει ξανά το sex tape της που την έφερε σε αυτήν την θέση. Και εμείς παρακολουθούμε μια χώρα που διχάζεται ανάμεσα στον παρελθόντα (;) αυταρχισμό και ξενοφοβία της και στον σημερινό (;) εξευρωπαϊσμό της.

Ατυχές πήδημα ή παλαβό πορνό Πηγή εικόνας: IMDB Το Ατυχές πήδημα ή παλαβό πορνό ντύνει τέλεια το περιεχόμενό του. Οι υφολογικές επιλογές του Radu Jude είναι ποικιλόμορφες, όπως το να δείχνει τυχαίες σκηνές από την αστική καθημερινότητα, να δείχνει καρτέλες με τίτλους (που σαν επιλογή χρωστάει πολλά στον Γκοντάρ, ιδιαίτερα στο Weekend, στον Gaspar Noe και ίσως στις τελευταίες του Trier) και να καταλήγει θαρραλέα σε ένα φαρσο-σουρεαλιστικό φινάλε.

Και επίσης αξίζει να μνημονευτεί ότι είναι μια ταινία που έχει γυριστεί συνειδητά μέσα στην πανδημία, δηλαδή όλοι οι ήρωες φοράνε μάσκες, τηρούν αποστάσεις κλπ, δείχνοντας μας μια γνώριμη καθημερινότητα αλλά και τις περίεργες συμπεριφορές που αυτή δημιουργεί (ακούμε πάντα “φόρα τη μάσκα σου”).

Έτσι, το Ατυχές πήδημα ή παλαβό πορνό αποτελεί ένα καίριο σχόλιο για τη σύγχρονη ζωή. Καυστικό, τραγελαφικό (με χιούμορ που θυμίζει λίγο το The Square σε σημεία), με εξαιρετική γνώση του εαυτού του και του κοινού του, μια φάρσα, όπως αυτοαποκαλείται, η ταινία του Jude προκαλεί άφθονο γέλιο, αλλά ταυτόχρονα σε κάνει να απορείς για την περίεργη κατάσταση στην οποία η ανθρωπότητα έχει βάλει τον εαυτό της. Και όλα αυτά με αφορμή ένα sex tape.

Pillow Book (1996) The Cook, the Thief, His Wife & Her Lover (1989)

Savovi (2019) κάμερα και εξοπλισμός στο Underground (1995) του Kusturica

La passion de Jeanne d'Arc (1928) Ordet (1995) Gertrude

Leviathan (2014) Elena (2011) Izgnanie (2007) Η επιστροφή (2003)

Andrey Zvyagintsev’s “Elena” and “Leviathan,” offer damning portraits of everyday life under Vladimir V. Putin. Unlike “Leviathan,”

L'Idiot (2014) Mayor (2013)

The third film by Mr. Bykov, who also wrote the screenplay, “The Fool” is the latest in a lengthening list of Russian miserablist films. It represent's Bykov's perspective of a curruption Society. “The Fool” doesn’t refer directly to Mr. Putin, but its depressing portrayal of oligarchical privilege and lawlessness is every bit as scathing.

Θορηκτό Ποτέμκιν

Strike Ivan Groznyy

Eisenstein, who was of Jewish descent through his paternal grandparents, lived in Riga, where his father, Mikhail, a civil engineer, worked in shipbuilding until 1910, when the family moved to St. Petersburg. After studying in 1916–18 at the Institute of Civil Engineering, Eisenstein decided on a career in the plastic arts and entered the School of Fine Arts.

With the outbreak of the Russian Revolution of 1917, he enlisted in the Red Army and helped to organize and construct defenses and to produce entertainment for the troops. Having now found his vocation, he entered, in 1920, the Proletkult Theatre (Theatre of the People) in Moscow as an assistant decorator. He rapidly became the principal decorator and then the codirector. As such, he designed the costumes and the scenery for several notable productions. At the same time, he developed a strong interest in the Kabuki theatre of Japan, which was to influence his ideas on film. For his production of The Wise Man, an adaptation of Aleksandr Ostrovsky’s play, he made a short film, Glumov’s Diary, which was shown as part of the performance in 1923. Soon afterward the cinema engaged his full attention, and he produced his first film, Strike, in 1924, after having published his first article on theories of editing in the review Lef, edited by the great poet Vladimir Mayakovsky. He said there that in place of the static reflection of an event, expressed by a logical unfolding of the action, he proposed a new form: the “montage of attractions”—in which arbitrarily chosen images, independent of the action, would be presented not in chronological sequence but in whatever way would create the maximum psychological impact. Thus, the filmmaker should aim to establish in the consciousness of the spectators the elements that would lead them to the idea he wants to communicate; he should attempt to place them in the spiritual state or the psychological situation that would give birth to that idea.

http://www.biography.com/people/wim-wenders-9527757

Υπέροχες Μέρες (2023) Der Himmel über Berlin Paris, Texas Der amerikanischer Freund Alice in den Stadten State of Play (2009)

documentaries: Buena Vista Social Club (1999) Pina (2011) The Salt of the Earth (2014)

About "Der Himmel über Berlin" aka "WINGS OF DESIRE": You’re seduced into the spell of this movie, made in 1987 by Wenders, who collaborated on the screenplay with the German playwright Peter Handke. It moves slowly, but you don’t grow impatient, because there is no plot to speak of, and so you don’t fret that it should move to its next predictable stage. It is about being, not doing. And then it falls into the world of doing, when the angel Damiel decides that he must become human. He falls in love with the trapeze artist. He goes night after night to the shabby little circus where she performs above the center ring. He is touched by her doubts and vulnerability. He talks with Cassiel, the other angel, about how it would feel to feel: to be able to feed a cat, or get ink from a newspaper on your fingers.

Das Leben der Anderen Werk ohne Autor

TYKWER (1965) - Wuppertal, North Rhine-Westphalia, Germany He is a film director, producer, screenwriter, and composer.

Tykwer eventually relocated to Berlin, first working as a film projectionist and then becoming head of programming at the Moviemento Theater. Tykwer's friend, the director Rosa von Praunheim, encouraged him to experiment with film-making and the result was the short "Because"(1990). Other short films followed, and in 1993 Tykwer made his first full length feature "Die tödliche Maria" (1993).

Since Winter Sleepers, the music for all of Tykwer's films (with the exception of Heaven) has been composed by Johnny Klimek, Reinhold Heil, and Tykwer, unusual for a film director. The trio named Pale 3, originally a film scoring group, expanded to produce music unrelated to film.

Lola rennt (1998) Perfume: The Story of a Murderer (1996) Der Krieger und die Kaiserin (2000) Paris, je t'aime (2006) Die tödliche Maria (1993) Cloud Atlas (2012) Sense8 (2015) Winterschläfer (1997) Heaven (2002) written by KRZYSZTOF KIESLOWSKI (trilogy "Heaven, Hell and Purgatory")

FASSBINDER (1945–1982) - Bad Wörishofen, Bavaria, Germany He was a German film director, screenwriter, and actor. He is one of the most important figures in the New German Cinema. Fassbinder maintained a frenetic pace in filmmaking. Apart from directing he also worked as an actor (film and theater), author, cameraman, composer, designer, editor, producer and theater manager. Openly homosexual, he married twice; one of his wives acted in his films and the other served as his editor. Accused variously by detractors of being anticommunist, male chauvinist, antiSemitic and even antigay, he completed 44 projects between 1966 and 1982, the majority of which can be characterized as highly intelligent social melodramas. Underlying Fassbinder's work was a desire to provoke and disturb. His phenomenal creative energy, when working, coexisted with a wild, self-destructive libertinism that earned him a reputation as the enfant terrible of the New German Cinema, as well as being its central figure. He had tortured personal relationships with the actors and technicians around him who formed a surrogate family. However, his pictures demonstrate his deep sensitivity to social outsiders and his hatred of institutionalized violence. He ruthlessly attacked both German bourgeois society and the larger limitations of humanity.

Lili Marleen (1981) Die Ehe der Maria Braun (1979) Lola (1981) Die bitteren Tränen der Petra von Kant (1972) Angst essen Seele auf (1973) Katzelmacher (1969) In einem Jahr mit 13 Monden (1979)

Fassbinder left school at age 16 and became involved with Munich’s Action-Theatre, an avant-garde repertory group for which he wrote, acted, and directed. When the company was closed by police in May 1968, Fassbinder founded the “anti-teater” troupe that produced original works and unusual stage versions of literary classics. Many of the actors with whom he worked in both companies later starred in several of his films.

His films, which are highly critical of middle-class values and manners, include Katzelmacher (1969); the word is Bavarian slang for “foreign worker”), about a working-class Greek who shocks the German bourgeoisie; Die bitteren Tränen der Petra von Kant (1972), The Bitter Tears of Petra von Kant), an account of power struggles in human relationships; Angst essen Seele auf (1973), Ali: Fear Eats the Soul), a tale of doomed romance between a German cleaning woman and a much younger Moroccan mechanic; and In einem Jahr mit 13 Monden (1979; In a Year of 13 Moons), a political allegory concerning a transsexual who regrets having undergone a gender-reassignment operation. Fassbinder’s great trilogy—Die Ehe der Maria Braun (1979; The Marriage of Maria Braun), an ironic portrait of a marriage that reflects German history from World War II to the “economic miracle” of the 1950s; Lola (1981), Fassbinder’s version of the Blue Angel legend; and Der Sehnsucht der Veronika Voss (1982; Veronika Voss), based on the life of the German actress Sybille Schmitz—was well received. He also adapted Alfred Döblin’s novel Berlin Alexanderplatz for a 14-part television series in 1980 and later released all of the episodes as a feature film that ran nearly 16 hours.

Fassbinder greatly admired American cinema and its straightforward, uncomplicated narrative style; the melodramas of German-trained director Douglas Sirk were a major influence. Fassbinder believed that intellectual subject matter worked best without the self-conscious “artiness” employed by his fellow European directors. Though his initial success was critical rather than popular, both his later films and his death at the age of 36 prompted widespread interest in his early work.

Fassbinder died on 10 June 1982 at the age of 37 from a lethal cocktail of cocaine and barbiturates. His death has often been cited as the event that ended the New German Cinema movement.

http://www.biography.com/people/werner-herzog-21239203

Οικογενειακή Ευτυχία Α.Ε. (2019) "Είναι άραγε οι ψευδαισθήσεις ο μοναδικός τρόπος για να ξεπεράσουμε τα ψυχολογικά τραύματα; " https://www.athinorama.gr/cinema/article/poia_einai_i_moni_pragmatiki_alitheia_kurie_xertzogk-2538296.html

Aguirre: The Wrath of God (1972): Nosferatu the Vampyre (1979) Fitzcarraldo (1982) Rescue Dawn (2006) Into the Abyss (documentary - 2011)

Haneke (1942) - Munich, Bavaria, Germany http://www.britannica.com/biography/Michael-Haneke

La pianiste (2001) Das weiße Band (2009) Amour (2012) Caché (2005) Funny Games (1997)

born in March 14, 1941 in Emden, Germany

Η δεύτερη ευκαιρία (1993) with clid eastwood Τροία (2004) Υποβρύχιο U-96: Επιστροφή στην κόλαση (1981) The never-ending story(1984) Air Force One (1997) with Harisson Ford

Jagten / The Hunt (2012)

Festen / The Celebration (1998) Submarino (2010) Druk (2020)

The Big Heat (1953) M (Ο δράκος του Ντίσελντορφ) (1931) Μητρόπολις (1927) Hangmen Also Die! (1943) για τον Bertolt Brecht Woman in the Moon ή Frau im Mond (1929) (sci-fi)

Der goldene Handschuh (2019) Auf der anderen Seite (2007) Head On (2004) Solino (2002)

The hand of God (2021) Youth (2015) La grande bellezza (2013) Οι συνέπειες του έρωτα (2004)

VISCONTI (1906-1976) - Milan, Lombardy, Italy

Il gattopardo (1963) The stranger (1967) Rocco e i suoi fratelli (1960) Θάνατος στη Βενετία (1971) Το λυκόφως των Θεών (1972) Le notti bianche (1957)

Salo / 120 Days of Sodom Κατα Ματθαίων Ευαγγέλειο

FELLINI (1920-1993) - Rimini, Emilia-Romagna, Italy

City of women (1980) 8½ (1963) La Dolce Vita (1960) La Notte (1961) -Screenwriter Ennio Flaiano

Πουλημένη από τη μητέρα της (1954) Le notti di Cabiria (1957)

Amarcord (1973) Ginger e Fred (1986) E la nave va (1983) -Written by Tonino Querra, the screenwriter and good friend of Tarkovsky.

ANTONIONI (1912-2007)- Ferrara, Emilia-Romagna, Italy

Beyond the Clouds (1995) Zabriskie Point (1970) Blow Up (1996) Professione: reporter (1975) L'Avventura (1960) La notte (1961) Eros

BERTOLUCCI (1941) - Parma, Emilia-Romagna, Italy

The Dreamers (2003) Ο Κομφορμίστας (1970) Το Τελευταίο Τανγκό στο Παρίσι (1972) 1900 (1976) The last emperor

Ο Μπερνάρντο Μπερτολούτσι αποτελεί έναν μέγιστο καλλιτέχνη, ίσως γιατί στο σύνολο της καριέρας του πραγματοποίησε μια σειρά από γνήσιες κινηματογραφικές επαναστάσεις. Στάθηκε άλλωστε ο μοναδικός σκηνοθέτης στον οποίο επιτράπηκε το γύρισμα στην Απαγορευμένη Πόλη της Κίνας για λογαριασμό του βραβευμένου με 9 Όσκαρ «Τελευταίου Αυτοκράτορα», ενός από τα ανυπέρβλητα έπη της μεγάλης οθόνης.

.............................

• About the rape scene in "The last tango in Paris"

Hanna (2011) Atonement (2007)

Pride and Prejudice (2005) Anna Karenina (2012) Darkest Hour (2017) The Woman in the Window (2020)

Ο καλός, ο κακός και ο άσχημος (1966) Κάποτε στη Δύση (1968) Για μια χούφτα δολάρια (1964) Μονομαχία στο Ελ Πάσο (1965)

http://hitchcock.tv/bio/bio.html

Psycho (1969) Rear Window (1954) Vertigo (1958) North by Northwest (1959) The Birds (1963) The Man Who Knew Too Much (1956) Notorious (1946) The 39 Steps (1935)

JFK Platoon

Savages (2012) Snowden (2016) Natural Born Killers (1994) Talk Radio (1988) Salvador (1986)

Ο Oliver Stone γεννήθηκε το 1946 στην πόλη της Νέας Υόρκης. Μεγαλώνοντας, ο Stone έγινε μέλος μερικών εκπαιδευτικών ιδρυμάτων συμπεριλαμβανομένου ενός οικοτροφείου στην Pennsylvania. Τελικά, κατάφερε να μπει στο Πανεπιστήμιο Yale αλλά το εγκατέλειψε μετά από λίγο καιρό. Από εκεί και έπειτα, μπήκε στο στρατό και στάλθηκε στο Βιετνάμ. Εκεί ανέπτυξε τις προσωπικές εμπειρίες που τροφοδότησαν τις ιστορίες και τις λεπτομέρειες σε μία σειρά από τις μελλοντικές ταινίες του. Κατά τη διάρκεια της θητείας του ως στρατιώτης, ο Stone τραυματίστηκε δύο φορές και έλαβε αρκετά μετάλλια για τον ηρωισμό του, συμπεριλαμβανομένου του Χάλκινου Αστεριού (Bronze Star Medal). Όταν επέστρεψε από τη θητεία του, παρακολούθησε μαθήματα στο Πανεπιστήμιο της Νέας Υόρκης και αποφοίτησε με ένα πτυχίο Καλών Τεχνών. Η καριέρα του στο κινηματογράφο ξεκίνησε όταν έλαβε ένα βραβείο από την Αμερικανική Ακαδημία Κινηματογραφικών Τεχνών και Επιστημών για τη διασκευή του βιβλίου “Midnight Express” (1977) το οποίο το μετέτρεψε σε ταινία με το ίδιο όνομα με σκηνοθέτη τον Alan Parker το 1978. Τα πρώτα χρόνια της καριέρας του εργάστηκε ως σεναριογράφος αλλά τελικά έλαβε καθήκοντα σκηνοθέτη το 1986 σε πολλές ταινίες πολέμου. Η πρώτη ήταν το Salvador, η οποία δεν ήταν οικονομικά επιτυχής παρά τη γενικότερη αναγνώρισή της.

Η επόμενη ήταν η βραβευμένη με Όσκαρ ταινία Platoon, στην οποία ο Stone κατεύθυνε έναν νεαρό Charlie Sheen σε ένα σχεδόν αυτοβιογραφικό ρόλο του στρατιώτη Chris Taylor. Η λίστα με το cast της ταινίας περιέχει πολλά μεγάλα ονόματα του Hollywood, όπως ο Tom Berenger, Willem Dafoe, Keith David, Forest Whitaker, Kevin Dillon, John C. McGinley, Mark Moses, Francesco Quinn και Johnny Depp. Η λίστα των ταινιών, των σειρών και άλλων projects στα οποία αυτό το γκρουπ ηθοποιών συνεργάστηκε είναι πραγματικά αξιοθαύμαστο. Κάθε ένας από αυτούς τους ηθοποιούς απόλαυσαν γιγαντιαίες καριέρες γεμάτες βραβεία και box office επιτυχίες. Το Platoon ως ταινία έφερε έσοδα της τάξεως των 137 εκατομμυρίων στην αμερικανική αγορά έχοντας δημιουργηθεί σε ένα budget των 6 εκατομμυρίων, κάνοντας την έτσι μία από τις πιο επικερδής ταινίες όλων των εποχών. Κατά τη διάρκεια της απονομής των βραβείων, το Platoon ήταν υποψήφιο για 8 βραβεία και έλαβε το Oscar για Καλύτερη Ταινία, Καλύτερο Σκηνοθέτη, Καλύτερο Μοντάζ και Καλύτερο Ηχητικό Μοντάζ. Κάποια ακόμα βραβεία που έλαβε ήταν 3 Χρυσές Σφαίρες και 4 Ανεξάρτητα Βραβεία Spirit.

Η λίστα με τις φράσεις που έχουν δημιουργηθεί για τον πόλεμο είναι πάρα πολλές για να τις μοιραστούμε εδώ. Μία από τις αγαπημένες μου προέρχεται από τον Dwight D. Eisenhower, ο οποίος κατά τη διάρκεια της στρατιωτικής καριέρας του υπηρέτησε ως Ανώτατος Διοικητής των συμμαχικών δυνάμεων στον Β’ Παγκόσμιο Πόλεμο. Στη συνέχεια έγινε ο 34ος Πρόεδρος των Ηνωμένων Πολιτειών. Οι απόψεις του για τον πόλεμο μπορούν να θεωρηθούν ως η απόλυτη εξουσία και αυτή που αξίζει την αναγνώρισή μας. Μία από τις φράσεις που έχει πει είναι η παρακάτω: “Μισώ τον πόλεμο όπως μπορεί μόνο ένα στρατιώτης που τον έχει βιώσει. Μόνο ως κάποιος που έχει δει την κτηνωδία του. Την ματαιοπονία του. Την ηλιθιότητά του.”

https://unboxholics.com/movies-tv/movie-articles/14333-h-kthnodia-tou-polemou-mesa-apo-to-platoon

http://www.biography.com/people/stanley-kubrick-9369672

Dr. Strangelove (1964) http://www.imdb.com/title/tt0057012/?ref_=fn_al_tt_2

Paths of Glory (1957) http://www.imdb.com/title/tt0050825/?ref_=fn_al_tt_1

KUBRICK (1928-1999) - NY, USA

A clockwork orange (1971) The shining (1980) 2001: A space odyssey (1968) Metal Jacket (1987) Lolita (1962) Spartacus (1960) Eyes wide shut (1999)

Η κριτική του Ταρκόφσκι στο 2001: A space Odysseay http://www.openculture.com/2015/07/andrei-tarkovsky-calls-kubricks-2001-a-space-odyssey-a-phony-film-with-only-pretensions-to-truth.html : You expect one auteur to appreciate the work of another — "game recognize game," to use the modern parlance — but the selection of Solaris makes special sense. Just four years before it, Kubrick had, of course, made his own psychologically and visually-intense cinematic voyage out from Earth into the great beyond, 2001: A Space Odyssey.

The appreciation, alas, wasn't mutual. "Tarkovsky supposedly made Solaris in an attempt to one-up Kubrick after he had seen 2001 (which he referred to as cold and sterile)," writes Joshua Warren at criterion.com. "Interestingly enough, Kubrick apparently really liked Solaris and I'm sure he found it amusing that it was marketed as 'the Russian answer to 2001.'" Jonathan Crow recently quoted Tarkovsky as saying: "2001: A Space Odyssey is phony on many points, even for specialists. For a true work of art, the fake must be eliminated.”

Being John Malkovich (1999) Her (2013)

Three Kings (1999) Adaptation. (2002) Where the Wild Things Are (2009)

Jonze grew up in Maryland. He moved to Los Angeles in 1987 after graduating from high school. An ardent BMX biker, he soon became an assistant editor and later photographer for the independent biking magazine Freestylin’. Jonze was also involved in the alternative skateboarding scene, and his unique videos of skateboarders, most notably Video Days, led to his work on music videos. In 1992 Jonze codirected the music video for “100%,” a song by the influential noise band Sonic Youth. (...)

After directing the documentary short Amarillo by Morning (1998), Jonze helmed his first feature film, Being John Malkovich (1999). The surreal comedy, which was written by Charlie Kaufman, chronicles the series of bizarre events that occur after a puppeteer (played by John Cusack) discovers a portal into the mind of actor John Malkovich. The film was critically acclaimed and earned Jonze an Academy Award nomination for best director. In 1999 he also starred in his first major film role, portraying a U.S. soldier during the Persian Gulf War in Three Kings.

Jonze next earned notice as the creator and executive producer of the television show Jackass (2000–02) and the subsequent films Jackass: The Movie (2002) and Jackass: Number Two (2006). The series consisted of short videos of people, including skateboarder and cocreator Johnny Knoxville, performing dangerous stunts and unpleasant feats and often injuring themselves. While a huge commercial success, Jackass sparked controversy and criticism for its lack of taste and its potential encouragement of destructive action, especially among teenage boys.

In 2002 Jonze directed his second feature film, Adaptation, which was also written by Kaufman. The acclaimed dramedy centres on a screenwriter named Charlie Kaufman (Nicolas Cage) who has difficulty adapting a book about orchids into a movie. A parallel story line follows the book’s author (Meryl Streep) and the orchid thief (Chris Cooper) she is profiling. Jonze’s next movie, Where the Wild Things Are (2009), was an adaptation of Maurice Sendak’s classic children’s book. He then helmed the technological romance Her (2013), which featured Joaquin Phoenix as a lonely writer who falls in love with a sentient computer operating system voiced by Scarlett Johansson. His script for that film earned Jonze an Academy Award. In addition, he cowrote “The Moon Song” for Her, and it received an Oscar nod for best original song.

https://www.britannica.com/biography/Spike-Jonze

Greta Gerwig (born August 4, 1983) wrote and directed Lady Bird (2017), a film that garnered strong reviews and Oscar nominations for the first-time solo writer and director. She followed with another widely praised effort for her adaptation of Little Women (2019). Gerwig initially became known for acting in independent films before landing parts in more mainstream fare. She co-wrote and starred in the well-received Frances Ha (2013) and Mistress America (2015), and is romantically partnered with director Noah Baumbach.

Barbie (2023) Little Women (2019) Lady Bird (2017)

SPIELBERG (1946) - Ohio, USA

Minority Report (2002) Artificial inteligence (2001) Schindler's list (1993) The colour purple (1985) E.T. the Extra-Terrestrial (1982) Jurassic park (1997) Jurassic park (1993)

Saving private ryan (1998) Catch Me If You Can (2002) War of the worlds (2005) Munich (2005) Indiana Jones (2008) Jaws (1975)

White Noise (2022) Marriage story (2019) Frances Ha (2012) The squid and the whale (2005) co-writed Barbie (2023)

http://www.biography.com/people/david-cronenberg-9261970

The Fly (1986) Naked Lunch (1991) -written by William S. Burroughs (novel) eXistenz (1999) Videodrome (1982) Crash (1996) Eastern Promises (2007) A Dangerous Method (2011)

Wes Anderson was born on May 1, 1969, in Houston, Texas. He is an American film director whose works feature a recurring ensemble of actors, including Luke Wilson, Owen Wilson, Bill Murray and Jason Schwartzman. He is known for quirky, comical movies with flawed characters.

Asteroid City (2023) The French Dispatch (2021 - cannes 'golden camera') Rushmore (1998) The Grand Budapest Hotel (2014) The Life Aquatic With Steve Zissou (2004) Bottle Rocket (1996) Moonrise Kingdom (2012) Fantastic Mr. Fox (2009) The Darjeeling Limited (2007) The Royal Tenenbaums (2001)

C'mon C'mon / Η ζωή συνεχίζεται (2021) - με τον Joaquin Phoenix 20th Century Women (2016) Begginers (2010)

Timothy Walter "Tim" Burton (1958) - Burbank, California Burton is an American film director, producer, artist, writer and animator and he is known for his dark, gothic and quirky fantasy films. Burton has worked repeatedly with Johnny Depp, who has become a close friend of Burton since their first film together. He has also worked with musician Danny Elfman, who has composed scores for all but three of the films Burton has directed. Actress Helena Bonham Carter, Burton's former domestic partner, has appeared in many of his films. He also wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories, published in 1997 by Faber and Faber, and a compilation of his drawings, sketches and other artwork, entitled The Art of Tim Burton, was released in 2009.

Beetlejuice (1988) Edward Scissorhands (1990) The Nightmare Before Christmas (1993) Ed Wood (1994) Sleepy Hollow (1999) Corpse Bride (2005) Sweeney Todd: The Demon Barber of Fleet Street (2007) Dark Shadows (2012) Frankenweenie (2012) Pee-wee's Big Adventure (1985) Batman (1989) Batman Returns (1992) Planet of the Apes (2001) Chocolate Factory (2005) Alice in Wonderland (2010)

On January 19, 2010, it was announced that after Dark Shadows, Burton's next project would be Maleficent, a Wicked-like film that showed the origin and the past of Sleeping Beauty's antagonist Maleficent. In an interview with Fandango published February 23, 2010, however, he denied he was directing any upcoming Sleeping Beauty film.[36] However, on November 23, 2010, in an interview with MTV, Burton confirmed that he was indeed putting together a script for Maleficent.[37] It was announced in The Hollywood Reporter on May 16, 2011 that Burton was no longer attached to Maleficent

Neon Demon (2016) Only God Forgives (2013) - with Ryan Gosling Drive (2011) - with Ryan Gosling

Paterson (2016)- Ghost Dog: Ο τρόπος των σαμουράι (1999) Ο νεκρός (1995) Broken Flowers (2005) won the cannes 2005 Μόνο οι εραστές μένουν ζωντανοί (2013) Down by law (1986) Coffe & Cigarettes

https://cinemaaxis.com/2013/12/10/the-auteurs-jim-jarmusch/

Blue Valentine (2010) - with Ryan Gosling The Place Beyond the Pines / Στο τέλος του δρόμου (2012) - with Ryan Gosling The Light Between Oceans (2016) Sound of metal (2019)

The British film-making partnership of Michael Powell (1905–1990) and Emeric Pressburger (1902–1988) — together often known as The Archers, the name of their production company – made a series of influential films in the 1940s and 1950s. Their collaborations — 24 films between 1939 and 1972 – were mainly derived from original stories by Pressburger with the script written by both Pressburger & Powell. Powell did most of the directing while Pressburger did most of the work of the producer and also assisted with the editing, especially the way the music was used. Unusually, the pair shared a writer-director-producer credit for most of their films.

The Red Shoes (1948) Black Narcissus (1947) The Life and Death of Colonel Blimp (1943) A Matter of Life and Death (1946)

L.A. Confidential (1997) 8 Mile (2002)

10 July 1977, Oakland, California, USA Cary's father is from a Japanese family, and was born in a Japanese-American internment camp during World War II. Cary's maternal grandfather was of Swedish descent, and Cary's maternal grandmother's ancestry is English and German. In addition to English, he is fluent in French and Spanish.

Beasts of No Nation (2015) Jane Eyre (2011) Sin nombre (2009) True Detective (2014)

Hateful eight (2015) Django (2012) Inglourious Basterds (2009) Death Proof (1994 I ) (2007 II) Kill Bill (2003 I ) (2004 II ) Reservoir Dogs (1992)

Café Society (2016) Annie Hall (1977) Interiors (1978) Match Point (2005) Scoop (2006) Cassandra's Dream (2007) Sweet and lowdown (1999) Midnight in Paris (2011) To Rome with Love (2012)

True Crime (1999) Blood Work (2002) Here After Οι γέφυρες του Μάντισον (1995) Ελεύθερος σκοπευτής (2014)

Citizen Kane (1941) The Stranger (1946) The Lady from Shanghai (1948) - Rita Hayworth

http://www.biography.com/people/terrence-malick-9542140

A Hidden Life (2019) Days of HEaven (1978) The thin red line (1998) Weightless (2016) Βαλές κούπα (2015) with Natalie Portman The tree of life (2011) Badlands (1973)

Mullholand Dr. (2001) The Strange Story (1999) Lost Highway (1997) Twin Peaks: Fire Walk with Me (1992) Blue Velvet (1986) Elephant man (1980)

The Killer (2023) I care a lot (2020) Gone Girl(2014) The Game (1997) Fightclub(1999) Seven(1995) Benjamin Button (2008) The Social Network (2010)

ARONOFSKY (1969) - Brooklyn, New York

Mother (2017) Black Swan (2010) Requiem for a Dream (2000) The Fountain (2006) Pi (1998)

The Prestige (2006) Memento (2000) Inception (2010) The Dark Knight Rises (2012) Tenet (2020)

ANDERSON (1923-1994) Bangalore, Karnataka, British India [now India]

If... (1968) O Lucky Man! (1973) - with Malcolm McDowell This Sporting Life (1963) - with Malcolm McDowell

and Luc Dardenne.

http://www.gala.fr/stars_et_gotha/jean-pierre_dardenne

Le silence de Lorna (2008) Rosetta (1999) L'enfant (2005) Deux jours, une nuit (2014) ( Marion Cotillard ) Le gamin au vélo (2011) La promese

Intouchables (2011) Samba (2014)

Delicatessen (1991) Amelie (2001) La cité des enfants perdus (1995) Οι ατελείωτοι αρραβώνες (2004)

http://www.jeanrenoir.com/bio.htm

La grande Illusion (1937) La règle du jeu (1939) Les bas-fonds (1936) La bête humaine (1938)

Hiroshima mon amour (1959) L'année dernière à Marienbad (1961) Nuit et brouillard (1955)

The brand new Testament (2015) Nobody (2009) The eighth day (1996) Toto the hero (1991)

http://sensesofcinema.com/2002/great-directors/bresson/

L'argent (1983) Pickpocket (1959) ~The film is considered an example of "parametric narration" in which the style "dominates the syuzhet [plot] or is seemingly equal in importance to it". Roger Ebert sees echoes of Dostoyevsky's Crime and Punishment in this film. "Bresson's Michel, like Dostoyevsky's hero Raskolnikov, needs money in order to realize his dreams, and sees no reason why some lackluster ordinary person should not be forced to supply it. The reasoning is immoral, but the characters claim special privileges above and beyond common morality. Michel, like the hero of Crime and Punishment, has a 'good woman' in his life, who trusts he will be able to redeem himself.... She comes to Michel with the news that his mother is dying. Michel does not want to see his mother, but gives Jeanne money for her. Why does he avoid her? Bresson never supplies motives. We can only guess."

Au hasard Balthazar (1966) Mouchette (1967) Un condamné à mort s'est échappé ou Le vent souffle où il veut (1956)

"The best way to criticize a movie is to make a movie. "

Born: December 3, 1930 in Paris, France

Jean-Luc Godard is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, and is one of the central filmmakers of the French New Wave movement of the 1960s. Like his contemporaries François Truffaut and Eric Rohmer, Godard reworked the conventions of Hollywood movies and brought new energy and irreverence to film. His romance-crime movie Breathless (1959) is one of the most influential movies of its era.

Following the political and social turbulence of 1968, a year when Paris was rocked by civil unrest, strikes and student protests, Godard brought his political beliefs at the center of his work. Like many French intellectuals of the day, he was influenced by Maoism during this era. He and the journalist Jean-Pierre Gorin founded the Dziga Vertov group, a collective of politically oriented filmmakers; the group was active in the 1970s, but its work was rarely seen outside activist circles.

Many of Godard's movies of the 1970s and 1980s were too ideological or too incomprehensible for audiences (or even critics) to embrace. However, he made a brief commercial comeback in the 1980s with a trilogy of films about feminine sexuality: Passion, First Name: Carmen and the controversial Hail Mary. In the 1990s he worked on Histoire(s) du Cinéma, a 10-part video study of French cinema.

In 2010 Godard was given an honorary Academy award, the Governors Award, by the Hollywood establishment; however, he did not attend the awards ceremony.

Adieu au langage (αποχαιρετισμος στη γλωσσα) (2014)

Alphaville, une étrange aventure de Lemmy Caution (1965) with Anna karina & Eddie Constintine Vivre sa vie: Film en douze tableaux (1962) with Anna Karina Pierrot le fou (1965) - with Anna karina Bande à part (1964) - with Anna karina Allemagne 90 neuf zéro (1991) with Eddie Constintine Le mépris (1963) - Writer: Alberto Moravia (novel) - with Brigitte Bardot Breathless (À bout de souffle) (1960) with Jean-Paul Belmondo and Jean Seberg Tribute to Éric Rohmer (2010) 2 ή 3 πράγματα που ξέρω γι’ αυτήν (1967)

Les quatre cents coups (1959) - with Jean-Pierre Léaud (cannes best actor '16)

Le dernier métro (1980) Απολαύστε το Κορμί μου (1962) Tirez sur le pianiste (1960)

-Tribute to Éric Rohmer (2010) by Jean-Luc Godard

Le Boucher (1970) La cérémonie (1995) Les biches (1968) Juste avant la nuit (1971) Que la bête meure (1969) La femme infidèle (1969)

L'amant (1992 Το όνομα του ρόδου (1986) Επτά χρόνια στο Θιβέτ (1997)

One of the main progenitors of the French New Wave, who was also a member of the “Left Bank,” was a woman named Agnes Varda. Legend has it she had never seen a film in her life before making this movie. While that is slightly hard to believe, and she herself has claimed she had at least seen Citizen Kane before, the film is so bold in its innovation in terms of storytelling and formal techniques that it stands as a film way ahead of its time, and, in some ways, a well of creativity left untapped.

La Pointe-Courte (1955) Les plages d'Agnès (2008) Les glaneurs et la glaneuse (2000) Cléo from 5 to 7 (1962) Sans toit ni loi (1985)