Two important and visually stiumlating movies
923880
I've been a fan of both movies for a long time, and have seen Koyaanisqatsi performed live a number of times.  I heartily recommend that if you have a chance to see a live performance, you go - far more intoxicating than having the soundtrack come through the theater's speakers.
You can read more about the content of the movies elsewhere in here, so I won't get into that. FOr my money, the music of both movies - which is quite different - fits perfectly with the on-screen action.  The frenetic pace of Koyaanisqatsi's car ride saddled with the frenetic music is a real trip, and when it finishes, and goes back to slow, there's always a sense of relief and a sigh of "Wow - I've not been breathing!" from the audience.
I have played both of these movies as part of my church's movies series, hitting mainly the topic of stewardship (of our resources and our bodies and our neighbors), which is, for me, the message that I take from these movies.  Of course, there are many other messages, and being purely visual without dialogue or story, one can see and find many, many areas of discussion.
These are two powerful movies, that at least for me, after seeing them, my thinking about life and the world and people and consumption was forced into a more sensitive-to-others and sensitive-to-me approach.
Watch these movies, and you will be moved. Even my mother, who absolutely abhored Philip Glass, sat through Koyaanisqatsi with me and thought it kinda cool and wasn't put off by the music as she otherwise would have been.
In the realm of top movies, these two are in my list of favorite, and most affecting, films I've seen.
36418
Great movie, great acing, diffenitely a movie with a meaning.
2983051
This modern film about gay life in L.A. shows a man returning to a relationship he may have left behind by mistake.  The problem is that his former boyfriend is in a new relationship. Both have unfinished business to take care of, but at the expense of destroying another relationship.  The way the filmmaker explores this story and the feelings of the actors as they go through their process is really interesting.  A lot of the film shows the characters thinking, contemplating, observing.  There is a lot of gold in what is not said.  This is a small film about a few people, but it is visually fascinating and the story is somewhat told out of order, which helps to keep the viewer guessing at what will happen next.  The acting is very good.
410163
both movies are good movies to watch and keep you entertained. will keep you fascinated by the spectacles of the world coming to an end as know it today
2661988
Of course comparisons can be drawn, content-wise, to "Precious" and "An Education," all released 2009, and I'm convinced that because of the successes of those two films this gem got somewhat lost in the shuffle.  "Fish Tank" deserves to be seen (won the BAFTA for Outstanding British Film, was nominated for the Palm D'or and won the Jury Prize at Cannes) and can fully stand on its own two feet--it is a great film with great performances and cinematography.  There are a couple reviews on here and more on IMDb.com that can do the film more justice than I can.  I would however like to take the opportunity to share my experience with the Blu-Ray version of this film.

There is currently no Blu-ray version of "Fish Tank" available on amazon.com but I did find it available on amazon.co.uk.  The Blu-ray I received was the Artificial Eye release (011BD).  I have had good results with Artificial Eye in the past when I ordered an international version of "Hidden" (Cach)--the difference though, "Hidden" was region-free, it had A, B & C on the case.  "Fish Tank" on the other hand is clearly region coded "B."  I'll admit I was a bit worried about it working in my Blu-ray player, but I am excited to announce that it did indeed work (I am using a Panasonic DMP-BD55).  Movie played fine and looked great--curiously though in 4:3 (the old standard TV frame rather than the current 16:9 or any other cinematic aspect ratio) which is stated as the Director's Approved Ratio.  Special features on this version include: Andrea Arnold's Oscar winning short film "Wasp"; trailers for "Fish Tank" & "Red Road"; and a photo gallery of Holly Horner's stills from the set of "Fish Tank."  Despite the film playing perfectly, a few of the special features did not.  Neither the trailers nor the short film played correctly--no image, I did hear the audio.  I have to attribute this to some sort of post-authoring.  It's safe to say that although this version of "Fish Tank" originated in the UK they didn't block its playability in other regions.  I am guessing that the short and the trailers were not authored to disc in the same way or from similar source materials that the film was, thus the standard PAL playback issues.  Sad.  After "Fish Tank" I was very curious to see more of Andrea Arnold's work, especially an early short--I will do some web-searching...  The photo gallery did work.  The final plus to this purchase was that I ended up paying 14.12 (under $22) which included shipping!

Be adventurous and track down the films that you miss in the theater.
3324964
A beautiful movie, with great attention to detail, plenty of sight gags, and a wry commentary on modernism (especially of the mid-century variety that is all the rage right now). Tati wanders through a world he doesn't understand and, because we are some distance from it, I think it is easier for us to "get it" than it might have been at the time. And Tati nails it! This, "M. Hulot's Holiday," and "Mon Oncle" are superb and personal favorites of mine. Start with any of them, but see them all.
4717152
A visual reference and inspiration of the early development of vocabulary of film as well as a history. These DVDs are the result of massive restoration/preservation project for the films researched and found by the editors.

There is a book:&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Unseen-Cinema-Early-American-Avant-Garde-Film-1893-1941/dp/0962818178/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Unseen Cinema: Early American Avant-Garde Film 1893-1941</a>&nbsp;that has essays on the films and film makers that complements the contents of this DVD set.

I bought the book and have the DVDs but correlating the two (finding on the DVD after reading about it in the book) takes some effort. Along with the contents of the DVDs there is a 20 part programs that the editors listed in the book as presentation series of the films. Some are not included in the DVD.
118344
The most striking element of the film The Diving Bell and the Butterfly is most certainly the cinematography. The majority of the film is shot from the perspective of Jean-Dominique Bauby's eye. This creates some very interesting and dynamic shots. I found the first couple scenes particularly interesting. When the film begins, Mr. Bauby's eye slowly opens and looks around the room. The Camera is extremely out of focus and blurry. It immediately draws you deep into the film. As people begin to take notice of Mr. Bauby's awakening the shallow focus becomes more obvious. People's faces are blurry until they move as close as possible to the camera. As the film progresses, the depth of field progressively become deeper. As Mr. Bauby's vision becomes clearer, so do ours. The attention to realism and detail in the film is the most important part of it. The purpose of the attention to detail is clear; the film invites us to become fully immersed in the experience of Jean-Dominique.

Later in the film we are kicked out of Jean-Dominique Bauby's perspective rather abruptly. The cinematographer makes some really unique stylistic choices throughout the film. For example, the scene in which Mr. Bauby is driving in his convertible soon before his stroke, the camera moves often and abnormally. Sometimes the camera focuses upward at the sky and the tops of buildings from inside the car. While many different symbols and other things can be inferred from this stylistic choice, it at the very least sets the film apart from the norm.

As with any film, a combination of cinematography, directing, and editing make a film work or fail but "The Diving Bell and the Butterfly's" cinematography creates a unique and intriguing feel to the film that draws you in and never lets go, even when it kicks you out.
4873799
This double feature provides an interesting view of the state of filmmaking in China in the 1930s. While Hollywood films were certainly not unknown in China, and indeed were admired and sought-after in urban areas when available, their influence here is slight enough (despite 'Street Angel's' reference to an earlier Borzage film) and these two films reflect a mostly indigenous style.

Both stories proceed on a relatively low key, and may try the patience of viewers who prefer a story line that glides along swiftly. But there's a lot of warmth and humor here, particularly in the scenes in which Zhou and Zhao flirt charmingly with each other from their windows on opposite sides of the street -- with songs, magic tricks, and a trumpet!

The visual and aural quality of the DVD leave a lot to be desired, but with some good performances, and as a record of the time, both films are well worth viewing.
395642
You don't really see movies quite like this anymore.  This is more of an esoteric, ambient style movie that makes you feel things by presenting stimulating visuals and audio, rather than movies today that are about bright colors, loud sounds and tense but empty dialogue between characters.
3668382
Beautiful,artistic film,cleverly composed with two characters, one an orthopterist and the other her maid. Peter Strickland is a new writer-director with two previously praised films(Berberian Sound Studio and Katalan). The story of the two women is set somewhere in Europe(filmed in Hungary) in the 60s, in a cottage- mansion. Strickland has the temerity to unearth older genres from the European canon, here its erotic love and S&M using a kind of Europop, bicycles and lepidoptery. There is not a man to be seen, so the pure relationship between the mistress Cynthia(Sidse Babett Knudsen) who appears strict and demanding, and her maid /assistant Evelyn(Chiarra DAnna), is evident in all its guises. They even attend lectures on lepidoptery together.

We are in a realm of pure ritual as the seemingly dominant Cynthia sets Evelyn to do an endless rota of tasks: cleaning furniture, scrubbing floors, emptying rubbish, hand-washing underpants, polishing boots, massaging feet and her back. Something is always left undone, which leads to an endless round of punishments. The latter takes place behind closed doors, so we don't see Cynthia pee in Evelyns mouth, but we see her sitting on her face or locking her in a chest overnight until she calls  Pinastri. There are no naked scenes, they are two lovers who use role play, then come together at the days end in each others arms. Everything is suggested. Evelyn even spies on Cynthia disrobing and dressing in tight clothes, stockinged-legs through a keyhole.

There are shots to mounted butterflies and moths and eerie background music. Two other independent characters are a neighbour Lorna, who is disapproving of them, and a sales-woman who sells fetishistic objects manufactured to their taste. As well as Cynthia giving lectures they also read to each other at night and listen to records of insect noises. The follower is really the leader, making more and more
demands to be told off,or to be punished. Evelyn has a wandering eye and looks at other women- one who exhibits at the lectures and the fetishistic saleswoman. They speak of a bed where a lover sleeps on a lover, or a human toilet. Cynthia has a breakdown, she cant keep up the charade, her back is giving in, she snores,she wants to wear looser clothing. The night scenes are accompanied by a throbbing noise. There are scenes of opaque,abstract shots of light. There are superb shots of nature,wind in the trees, autumn leaves, languorous music.

Scenes at night suggest strange depths, moths fluttering around lamps or around a blind-folded face, Cynthias opened legs, a skeleton in a chest,the moonlight,screams in the night. We get images of a Brakhage-like intensity of moths wings and the associate sounds. As Evelyn saysto her mistress, Its all a luxury, what they are doing(as is the film), but declares her love for Cynthia, saying everythings fine. Strickland has tapped into the anxieties of any lovers,desiring to please their partners, with the ebb and flow of power, the exploration of discomfort that people will stretch to for the ones they love. Great acting from Knudsen and DAnna,brilliant direction from this budding auteur.
2583612
Using absolutely stunning imagery and sets with a artistically shot work, Girl With a Pearl Earring is a beautiful picture with a relatively thin story.  Recreating the Flemish 17th century to tell the story about an enigmatic yet less than revolutionary painting might seem like little to which a story could be built about especially in comparison to "the Da Vinci Code" but this movie establishes a pretty notable plot and delivers the audience a convincing feel once again proving that good movies can be built on minimal premise if done with an attention to detail and a sense of caring.  All that being said this movie could be viewed with the sound off and still be impressive.  The costumes are very authentic and not overly garish or even too clean like we often see in period piece film.  The sets used are too well done both in the adorned homes and the bawdy and ruff taverns.  But something more is working in this film: there is a plot as tightly woven as the alleys of a Flemish walled city with as many loves, lies and secrets that any one romance film can handle.

The film painstakingly assures the viewers of the class differences between the servants including Griet, the girl with the pearl earring, the artist and his upper class clients.  This is historically accurate and well portrayed.  Though the script is relatively austere the pictures provide words unto themselves.  Using the copious Flemish and Dutch still life paintings as a guide to the style of the age it appears that the set designers may have laid the imagery on a little thick but never the less this is an art movie and a movie about art so the more allusion the better even if it is at the expense of realism.  I enjoyed the film and while the ending is less than a resolution to the plot it was effective.  Vermeer is one of those artists that, in spite of his enormous talent, seems to get less than his full share of regard in the pantheon of European masters.  I certainly think this film provides some needed recognition and is a very good period piece film.  I recommend this as a top rank romantic film and a decent art film all alike. For students of history and art history this film to provides a great background on an era though it must be remembered that this is historical fiction.  Overall very enjoyable!

-- Ted Murena
1984617
Sony marketing calls its new DVD presentation of The Model Shop a "martini movie" -- the implication being that the "movie" ought to be laughed off as a camp curiosity.  Don't believe it.  Jacques Demy's 1969 The Model Shop is important and influential.  Its arrival to DVD is cause for celebration.

With forty years' hindsight, we can see The Model Shop's enormous debt to Antonioni's L'avventura, that great 1960 landmark:  Both films take place in desert locales.  Both focus on disillusioned architects grasping for meaning and direction.  Both architects profess admiration for the emotional fullness of Baroque architecture.  Both men betray their girlfriends -- and both in the arms of tawdry exhibitionists.  The list goes on and on.

But where L'avventura makes the most of its excellent black and white photography, The Model Shop goes one better by deploying vivid color to convey mood and thought and feeling -- and does so with the same canny impact as in the best color art photography (the esteemed William Eggleston comes to mind).  When in the final frames, the film's action renounces color and cuts to the blackest black, the dramatic edit conveys unsettling truths about the lead character's dilemma.  In this one bold move, The Model Shop distills and outperforms Antonioni (and seems to have provided the template for the "Paint it Black" ending to Stanley Kubrick's 1987 Full Metal Jacket.)  This and its lead character's emotional predicament at film's end also appear to have influenced the memorable ending to Quentin Tarantino`s 1997 Jackie Brown.

Throughout The Model Shop's deceptively simple story are poetic clues to its own self-knowing intentions (all of those oil wells, want ads, and so on are all well-placed and all there for good reason).  In our own time of digital histrionics, The Model Shop's quiet engagement with human feeling and human imperfection comes across as fresh and alive.  Its photorealist-worthy portrayal of West LA buildings, streets, and parking lots makes the Southern California cityscape as integral to the film's strength as the Mediterranean island views in L'avventura.  And if the sheer unspeakable beauty of Los Angeles has ever been put on film with more loving attention than in The Model Shop, would someone please hurry up and tell me where?

The Model Shop is unforgettable cinema.  A sincere thank you to Sony for making it available at last.

Now.  About that "martini" marketing...
954272
Enjoyed because of the excellent visuals and subject matter.
3191450
Having seen Constance Talmadge in "The Primitive Lover" (1922) and having especially enjoyed her lively performance with Douglas Fairbanks, Sr in "The Matrimaniac" (1916), I had a good idea what to expect from this great new Kino release, but I was still pleasantly surprised and impressed by these two excellent films.  Not only is Constance at her bubbly best, but other talents such as handsome co-star Ronald Colman and renowned art director, William Cameron Menzies, add even more charm and appeal to both these films.  Visually, both movies are a real pleasure to watch simply due to Menzies' aesthetic style and fine attention to detail; from costumes to houses and interiors.  Combined with witty intertitles, these light and easy-going romantic comedies will remind viewers of the Lubitsch style in their sophistication and smoothness.  Constance and Ronald Colman co-star in both "Her Night of Romance" and "Her Sister from Paris", making a good team as each add their own personal touches to the characters.  Constance is lively and expressive, confident in her role as the silent screen icon that she was, having appeared in over 80 roles during the silent era.  Her sweet and charming nature, combined with skillful comic acting, made her a beloved star of many popular romantic comedies.  In "Her Night of Romance", a good and satisfying story brings out the best in the stars:  Ronald Colman seeking a way out of financial troubles by making a deal with a dubious character (superbly played by Jean Hersholt) to marry a wealthy heiress, only to find that he has truly fallen in love with her.  Despite some twists and complications, the movie seems to flow effortlessly due to the performance of the leading actors, direction by Sidney Franklin, and top quality screenplay by the German screenwriter, Hanns Kraly.

Along with other great silent classics such as "Eternal Love" and "Wild Orchids", director Sidney Franklin and screenwriter Hanns Kraly were also responsible for both movies on this DVD, making them similar in style and exceptionally good quality.  "Her Sister from Paris" is notably different in story and characters however, giving both stars an opportunity to express their talents further:  Constance playing dual roles as twin sisters, and Ronald Colman as the confused husband.  With more exquisite set designs by Menzies, this time of high class Vienna, the couple split after another argument, just as her famous sister comes to visit from Paris.  She soon shows her housewifely sister how to look and act beautiful, at the same time finding the perfect opportunity to help the couple get back together again.  Believing he is taking out his stylish and beautiful sister-in-law, Colman plays the confused and then distressed husband perfectly, while Constance secretly hopes her deception will lead him back to his wife and their marriage.  Both films are charming and delightfully entertaining, as well as being of a high standard in all respects.  The musical accompaniment for both is traditional piano, always suited to the scenes, and although the picture quality is a perfectly clear black & white throughout, there are a few seconds of film damage in both movies.  However, this should not detract from the beauty and enjoyment of both of these movies as they take us back in time to the mid 1920s when this type of light romantic comedy was very popular - and still is today.
231238
These two movies go well together and will not let you down
4685292
These are two very good and clever comedies featuring Douglas Fairbanks before his 'swashbuckling era' of the 1920s for which he is best remembered.  These are not like the old slapstick or vaudeville style comedies, rather an early century equivalent of our popular 'feel-good' Comedy-Romance films with a good theme and easily-followed plot.  For example:
"The Nut" is Fairbanks, the main character, who invents useless gadgets and instead of impressing his lady-love only makes things worse.  It becomes more complicated when a 'baddie' goes after her as well, and some of his cronies con 'the Nut', resulting in more desperate attempts by him to win back his girl's love.  It all works out in the end and they live happily ever after, but not after some unforeseeable twists and turns, making it exciting and very entertaining viewing.
The second film, The Matrimaniac, is short and sweet, being only 46 minutes long, but packed with action.  Our guy is trying to elope before the girl's disapproving father can stop them, but with Papa and 'Papa's idea of a son-in-law' close on their heels, they decide to grab a nearby pastor to marry them before Papa can do anything.  Not as easy as it sounds because they become separated and our hero desperately tries to bring pastor, girl and himself together for the quick ceremony while also evading Papa, preferred son-in-law and some lawyers with injunctions to prevent the marriage.  Near the end, Fairbanks gets to show off his athletic abilities by scaling buildings and jumping across roof tops, and throughout both films he expresses his usual enthusiasm and vitality, but unlike his costumed swashbuckling films, he is just a regular guy wearing a suit and tie.
Another appealing feature of these two comedies is that they are a window into the past showing a more innocent and playful mentality.  There are also steam trains and gorgeous pre-1920 automobiles, for those who are interested.  The Matrimaniac was filmed in 1916 and I was surprised by the good quality of this film. Both films on this video are in top condition and a thorough pleasure to watch.