Blick und Stimme im Film am Beispiel von The Magnificent Ambersons (German Edition)

Newly expanded from five to 10 available slots, the Best Picture lineup of could have easily accommodated Bright Star , which matched the writer-director's poetic flourishes to a quietly passionate story, played out through a pair of superlative performances. With just three features under her belt one of them her graduate thesis project! Toni Erdmann was her breakthrough, but that's only because Everyone Else , about a young couple vacationing in Sardinia, lacked any sort of narrative hook that would grab people's attention. Watch it with a date at your peril. Asghar Farhadi's twisty studies of deception and domestic duress work the brain and the heart in equal measure; they're emotionally devastating dramas with the investigative urgency of murder mysteries.

A Separation , his masterpiece, spins a tangled web of lies around two families caught in a nasty legal dispute, and the brilliance of the Iranian writer-director's storytelling is how it divides its sympathies among all its beleaguered characters, even as it casts every version of events under suspicion. Farhadi won his first of two Foreign Language Oscars for the film a rare feat , but his movies transcend nationality and language barriers.

Their crushing power is universal. Paul Thomas Anderson followed his violent, searching Western, There Will Be Blood , with a film that can feel as gargantuan and shifting as the images of the ocean that bookend it. Anyone checking in for the headline-grabbing potential of its Scientology inspiration would be quickly disappointed. Xenu shows up only in passing; Anderson sees in L.

Ron Hubbard and his broken followers something much more personal, a parable for American invention, hucksterism, sexuality, and aimlessness. Oscar-nominated performances by Philip Seymour Hoffman and Joaquin Phoenix feed off each other like binary stars, matching the director's supernatural ambition. Anderson was snubbed entirely. This year's Oscars are gratifyingly attuned to the achievements of Greta Gerwig's Lady Bird even given its ridiculous lack of an editing nomination.

But a previous Gerwig project, her first co-writing collaboration with director Noah Baumbach, went ignored four years ago. Like Lady Bird , Frances Ha might look slight at first, but it accumulates power as it merrily skips through time, covering roughly a year in the life of a hapless twentysomething with both comic and melancholic vignettes. Baumbach's work is often too prickly for consensus-driven awards, but Frances Ha is one of his most affirming and lovable pictures. If you want to understand what made Harvey Weinstein powerful, don't look at the movies and careers he claimed to have made, but the ones he destroyed.

One of the great American films of the decade, James Gray's The Immigrant wove a masterful drama of survival on the margins out of the internal struggles of a Polish immigrant Marion Cotillard in s New York, her weak-willed pimp Joaquin Phoenix , and his cousin Jeremy Renner , an alcoholic stage magician—novelistically shaded characters whose contradictions and conflicts suggested Dostoevsky by way of Ellis Island.

But the film was sold to Weinstein against Gray's wishes the two had a history and was punished with a delayed bare-minimum release after the director refused to agree to a radical re-cut and a baffling happy ending. After a slew of toy-, animal-, and superhero-related movies, Inside Out broke the Pixar mold by focusing on emotions themselves—the feelings vying for control of homesick, hockey-loving year-old Riley. No parent could keep it together as childhood memory keeper Bing Bong headed for oblivion in the Memory Dump.

No child could fail to appreciate the permission Inside Out gave them to feel sad sometimes. Groundbreakingly empathetic and brilliantly imaginative, Inside Out won Best Animated Feature, but deserved a Best Picture nomination just for the Abstract Thought room alone. Park Chan-Wook's whipcrack storytelling and painterly visual composition combined to uniquely rousing ends in The Handmaiden , a film of almost overwhelming abundance. It's got it all: It's a turning point in Park's rich filmography that netted no attention at all from the Academy, which gave Best Picture instead to La La Land , before calling an audible and giving it to Moonlight instead.

Many of this year's Best Picture nominees resemble subversions of traditional Oscar bait: The World War II epic is borderline experimental, the costume drama is about how the guy who makes the costumes is an unpleasant control freak, and even the big social-issue movie is also a horror film. The group could have been improved further by the addition of Sean Baker's warm, funny, devastating portrait of the economic margins formed just outside of Disney's Magic Kingdom. It's a choice that would have felt forward-thinking in the moment; instead, in a few decades, it'll be puzzling to consider that voters overlooked such a timely and original tearjerker.

Inventory Oscars Academy Awards Feature. Metropolis The actual nominees: City Girl The actual nominees: City Lights The actual nominees: Scarface The actual nominees: King Kong The actual nominees: The Scarlet Empress The actual nominees: Bride Of Frankenstein The actual nominees: Swing Time The actual nominees: Make Way For Tomorrow The actual nominees: Bringing Up Baby The actual nominees: Only Angels Have Wings The actual nominees: The Lady Eve The actual nominees: The Leopard Man The actual nominees: Meet Me In St. Louis The actual nominees: Brief Encounter The actual nominees: Children Of Paradise The actual nominees: Day Of Wrath The actual nominees: Bicycle Thieves The actual nominees: The Third Man The actual nominees: Ace In The Hole The actual nominees: Pickup On South Street The actual nominees: Rear Window The actual nominees: All That Heaven Allows The actual nominees: Seven Samurai The actual nominees: A Man Escaped The actual nominees: Vertigo The actual nominees: Rio Bravo The actual nominees: Psycho The actual nominees: The Umbrellas Of Cherbourg The actual nominees: Alphaville The actual nominees: Blow-Up The actual nominees: Persona The actual nominees: A Space Odyssey The actual nominees: The Wild Bunch The actual nominees: Miller The actual nominees: Mean Streets The actual nominees: Cooley High The actual nominees: Mikey And Nicky The actual nominees: Suspiria The actual nominees: Days Of Heaven The actual nominees: Alien The actual nominees: Modern Romance The actual nominees: Blade Runner The actual nominees: The Extra-Terrestrial ; Gandhi ; Missing ; The Verdict ; Tootsie Ridley Scott's future-noir was rightly nominated for its visuals, which certainly reflected the contemporary critical consensus that it's more interesting as a work of design than cinema.

The King Of Comedy The actual nominees: Blue Velvet The actual nominees: RoboCop The actual nominees: Who Framed Roger Rabbit The actual nominees: Do The Right Thing The actual nominees: Edward Scissorhands The actual nominees: Boyz N The Hood The actual nominees: Groundhog Day The actual nominees: Naked The actual nominees: Heat The actual nominees: Breaking The Waves The actual nominees: Boogie Nights The actual nominees: Rushmore The actual nominees: Being John Malkovich The actual nominees: Beau Travail The actual nominees: Morvern Callar The actual nominees: The Two Towers ; The Pianist Lynne Ramsay came into her own as a visionary director with her passionate and poetic sophomore feature about a woman Samantha Morton who deals with her boyfriend's suicide in unconventional ways.

The Son The actual nominees: A History Of Violence The actual nominees: Marie Antoinette The actual nominees: Zodiac The actual nominees: The Dark Knight The actual nominees: Bright Star The actual nominees: Everyone Else The actual nominees: A Separation The actual nominees: The Master The actual nominees: Frances Ha The actual nominees: The Immigrant The actual nominees: Inside Out The actual nominees: Fury Road ; The Martian ; The Revenant ; Room ; Spotlight After a slew of toy-, animal-, and superhero-related movies, Inside Out broke the Pixar mold by focusing on emotions themselves—the feelings vying for control of homesick, hockey-loving year-old Riley.

The Handmaiden The actual nominees: The Florida Project The actual nominees: Everything I Need flac Skylar Grey. Different World flac Alan Walker. Tell Me It's Over. Hope flac The Chainsmokers.

Glitch flac Julian Jordan. Imagine flac Ariana Grande. Wait Another Day flac Mesto. Rewrite The Stars flac Anne-Marie. Lily flac Alan Walker. Lost Control flac Alan Walker. Take Everything flac Emma Hewitt. Sunflower flac Post Malone. What's Up Danger flac Black Caviar. The theatrical cut is not the beloved one and that's the only one that would qualify for I have similar concerns about Brazil, but I think maybe they did release the Gilliam cut within the year?

Willing to give it a pass unless proven otherwise. I saw the theatrical cut first and it was still pretty great. The only thing wrong was the happy ending. What kind of voiceover do you expect? Because, with a few exceptions Airport for example , the actual nominees were consistently great films.

I don't consider myself a cinephile so its bit of a surprise just how many of the films listed I've seen.

And 'Bram Stoker's Dracula'? It's garbage with a great lead performance. Everyone else in it is absolutely terrible, including Anthony Hopkins, who we know is better than this.

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Keanu Reeves' accent alone should've been enough to disqualify it from these kinds of lists. Some Best Picture winners were questionable Cimarron and Crash, for example but the suggestions here are fun. I'm not entirely against Bram Stoker's Dracula like many here are. It swept the visuals that year for a reason. It's incredibly stylish and as an operatic quality that while not Stoker's prose, works on this epic level. Actually, though, for a vampire film, a nominee for Best Picture I would have suggested was for and that was Nosferatu, the Vampyre.

I think that's one of the great meditations on vampirism the cinema has produced. It's also one of the few remakes that's really worth it's weight. It's a shame that Herzog was not nominated for more. Other horror films that I would have nominated, to name a few: Far too overlooked, don't you think? I firmly believe that when you take the Oscar list all in all, and when you understand what it's really representative of—mainstream Hollywood dramas for the most part, which rules out comedies, genre pictures, or foreign films—it's a pretty solid list.

Not perfect by any means, but pretty solid, especially when you look at the whole field of nominees. There aren't many films on that list that just flat out suck. Just an awful turd, racist, boring, hammy acting, bad bad bad bad bad, even makes Irene Dunne boring and she was the best.

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The interpretation that Warner Bros. While the Dark Knight takes itself serious, if you go back and watch the movie itself, the frame is remarkably bright and clear for huge, key sections of the movie. Harvey Dent's office is a brilliant, light box. The Joker's attack on Gotham General is set to sharp summer sun with lots of on location exterior shots. Even at night, the shots are clean with a clear setting and no smoke, sparks or other distractions to muddle up the frame.

Film als Architektur, als Versuch, Strukturen aufzubauen, aber auch als Abrissbirne, die diese Strukturen lustvoll wieder zerschmettert. Film als Memento Mori: Film als Ausdruck eines universell menschlichen Wissens: Die Kritik an diesem Film ist leicht. Sein Schnitt fragmentiert weniger, als dass er konkretisiert. Nach einer Sichtung lastet er wie ein Stein auf mir. Oder wie das Schcksal, das mich als Sterblichen auf diese Welt geworfen hat.

Montreal-based filmmaker Patrick Boivin of Iron Man vs.

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Ansonsten sind hier meine neuen Sichtungen, vor allem nach meinem gestrigen, ersten "richtigen" FFF -Tag. Der bisher bizarrste Film des Festivals mit einem Gastauftritt von John Waters, was schon andeutet, dass man hier nicht mit Massenware rechnen muss. Excision begleitet eine sozial etwas inepte, aber sehr intelligente und in ihrem Wollen klare Teenagerin: My stream My TV My friends. You are at the newest post. Click here to check if anything new just came in. Sustained until death at 70 by his fame as the prodigy with the [ Cartoon Culture The Simpsons. John Gianvito schreibt richtig: Lang, a restless genre innovator, created not only the first serial killer thriller, but arguably the best.

The script is torn between fantasy and research, but Lang is up to the challenge, the diverging elements merge in a productive, dialectical way. As Truffaut wrote so fittingly: For Lubitsch, cinema works like erotism: Lubitsch is very sober and realistic when it comes to human folly.

You will not find a single scene in his impressive body of work glossing over the desperate underpinnings of human condition.

Mach das Falsche: 90 Jahre, 90 Filme, die für das beste Bild nominiert sein sollten

He never is sentimental. Among Lubitsch's many great films, TROUBLE is my favorite because of it's one-of-a-kind balance between the most stylish movieland abstraction and sharp contemporary oberservation; it's perfectly cast and witty in every detail. One reason I am so much in love with the film might be the fact that my "territory" in films is quite far away. Ford at his most contemporary. He seems to be genuinely involved in GRAPES, reaching out, some scenes are open propaganda for Roosevelt's new deal - but of course with Ford even dust bowl is mythical territory.

Henry Fonda is so pure it hurts. Renoir's greatness seems more than with any other movie director I know of connected with his inner self. It's Renoir's own generousity that breathes through his films.

Arguably, he is the most human of all filmmakers. RULES is the perfect example: Renoir's craft is uneven by design - it really is his handwriting. Maybe the film I think of most often when it comes to questions of my own filmmaking. I admire Visconti's ability to bring the gods down to earth. Unlike the English tradition of "realist" cinema Visconti is not about small things — even a drifter in the Po valley faces destiny. I will never forget the first encounter between Gino and Giovanna, her imediate adoration for him: Antonioni at his most precise.

Film as a tool to register not only people but buildings, furniture, arbitrary things, time cristalls that reflect our life. The ending is the apothesis of modernist filmmaking! The biggest canvas painted by a truly personal filmmaker. The clock episode is a shattering, fantastically realized metaphor for artistic expression. A miracle of filmmaking, unthinkable in cinema today. A film about family, disguised as a Gangster picture.

Arguably the most American of all filmmakers, Lynch is a poet of violence and artifice, embracing the beauty of strange. WILD is his "personal journey through american movies", a dark ride into the night. A proposal for a tender cinema, enchanting and modest.

Hier sind 19 Alternativen: Pro Regisseur nur einen Film: Sight Sound Poll Bestenliste.

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