Every film that has ever been nominated for an Academy Award in any category. Enjoy!
I'm Not There.
All I Can Do Is Be Me Whoever That Is
Six actors portray six personas of music legend Bob Dylan in scenes depicting various stages of his life, chronicling his rise from unknown folksinger to international icon. This stylized portrait reveals how Dylan reinvented himself many times.
Cloud Atlas: Bob Dylan Edition
"so full of mystery... contradictions... and chaos. Yes, it's chaos, clocks and watermelons... It's everything."
I have no idea what watching this is like without any point of reference or interest in Bob Dylan or 60s arthouse films, but I also don't care. If not for all of the footnotes needed, this would, I think, widely be considered one of the best movies of the new millennium. It's certainly one of the best movies about an artist or maybe just about artists in general or maybe about these things and history and identity, etc. There's a lot to unpack and it's deliberately messy and evasive, just like its subject. Cate Blanchett is supernaturally good in this. She seems more possessed than performing.
I never realized Bob Dylan was 1/6th female
I'm Not There sounds like an interesting concept on paper.
Six different actors playing different versions of Bob Dylan, one of them an African American child and another a woman. (Due to Dylan being a white male).
And it starts off pretty well.
Marcus Carl Franklin acted really well, especially for a 14 year old (at the time).
But the more the film went on, it got a lot more confusing and weird.
I really don't mind films being complex. Some films especially take time, even after the ending, to make sense.
But sadly, I'm Not There. simply is all over the place.
There is nothing really connecting all the different versions.
I understood that they represent different times in…
So I have quite a few thoughts on this one, but I'm also not totally ready to let forth those thoughts. This movie's one to sleep on and watch again.
Hayne's choice to have several different actors play Dylan is absolutely perfect. Few artists have such an odd, multifaceted career with so many different "phases." Dylan is also a guy who clearly sees himself in so many various ways. He wants to be the ragged stranger on the boxcar, but he also wants to be the Rimbaud-ian enigma of genius and misanthropy. He's a man out of time, unsure of who he is and what he wants. But he's still fucking cool, and Haynes doesn't forget that either.
There is something fascinating about the daring biographical tactics of I’m Not There, splitting its inspired subject, Bob Dylan, into six personas who are played upon with six different actors, others capturing the familiar aesthetic of the subject, while others in a manner of surprising fantasy. It would have been easy to lay out this musician’s life in a structural and condensed manner, often focusing on a singular point and highlight the particular journey endured; I’m Not There is expansive and thoughtfully provoking, but its daring approach to its storytelling does not heave out its rewards as efficiently as I would have hoped.
I found myself emotionally unlinked to the manner of its storytelling, unable to perceive the soul of…
A Newton’s cradle where “Bob Dylan” is played by five men and Cate Blanchett, and Blanchett's Dylan says, "I'm the only one with any balls." So for starters it out-Wachowskis the Wachowskis. The boundaries are harder (explosions of Godardian surfaces here, Pennebaker gently folded into a Fellini-Lester circus there; the late Western is a tortoise on a rabbit farm), except for the unfortunate unifying factor: widescreen, even for the cheapo ‘80s TV doc. But somehow they’re softer too, most obviously when Marcus Carl Franklin shows up dressed as The Tramp (an abandoned seventh Dylan) in Richard Gere’s Riddle, which is maybe to say Haynes knows specificity is the key. Because, as they all believe, identity is exactly that fluid. Where…
Un tipo muy lúcido haciendo una película sobre El Artista Más Grande de Todos los Tiempos. Una pena que se disperse tanto (y que la haya visto un poco derrotado) porque podría haber sido fácil una de mis películas favoritas.
how does it feel
like walking through a mirror maze constantly getting lost confused looking for the way out bumping into images reflections of not only yourself but your surroundings and in the attempt to uncoil untangle understand the backstage machinations that govern the hole you walked into it only takes a few seconds to stop calm explore believe immerse accept enjoy appreciate the details and pores on your face
I'm Not There:Love and Mercy|24 Hour Party People|Walk the Line
I know I'm almost a decade late to the party here, but Cate Blanchett is fucking unreal in this.
Perfeito ao traduzir cada fase de Dylan, mesmo que nem sempre consigamos captar a mensagem de cada segmento. Mas o sentimento é sempre presente e nos atinge em cada um daqueles universos. A montagem é brilhante, transformando as cenas em peças biográficas, influências musicais e dissertação sobre as canções em si.
Todd Haynes's I'm Not There. comes in a period of dire times for biographical pictures. When each year brings us another crop of shoddy American studio films seeking to narrate the life histories of well-known historical figures (seemingly worse and worse, with The Theory of Everything, The Imitation Game, and The Danish Girl being some of the worst films of the 2010s so far), it is refreshing to find a film that cares enough about its subject that it is willing to actually study him. I'm Not There. looks at Bob Dylan's life not as a series of milestones and songs but as a multi-dimensional character, a slew of lives encased within a single physical being. We have the family…
Deliberately surreal yet grounded in a fictionalized version of reality. It's an experiment in recreation as much as one of narrative trickery. Once again Haynes toys with various genres as much as he does with the overall structure of the piece. After the success of Far From Heaven, which for all of it's successes, was still a stylistic experiment in imitation of Sirkian and Fassbinder-esque melodrama. Here foregoes it in favor of multiple genre explorations and experiments. Making use of surrealistic westerns, documentary/cinema verite, and dramatic satire - Haynes brings together pretty much every stylistic technique he'd learned up to this point. It has the genre playfulness of Poison, the deliberately tough to grasp characters and slow zooms/push-ins/outs of Safe,…
Perfect film? No.
Perfect way to make this particular film? Absolutely.
This is a little bit of a mess, but I think it's a mess that mostly works. This format is really the only way to do a biopic of someone like Dylan. Everyone playing Dylan is him, while not being him at all. It's a great take on him as a person/artist, and biopics (especially about musicians) in general. I enjoy the "behind the music" life story approach as much as the next person, but they never feel 100% authentic. This doesn't try to be that at all and rather presents the influence, and legacy of Dylan while still being about the enigma that he's always been in a…
Having just completed Todd Haynes’ feature filmography, it’s very clear to me that he is much better at writing female characters than male characters. His three films about women—Safe, Far From Heaven, and Carol—are exercises in restraint and subtlety in affluent suburbia. His female characters can be elegant, poised, and broken, all while carefully navigating the societal norms that confine them. In contrast, Haynes’ movies about men tend to be a bit of a mess. Perhaps this is some grand statement (men can be wild and sloppy while women are forced to be mannered and demure), but the fact remains that Haynes is less successful at building stories around male protagonists.
This brings us to I’m Not There—the experimental semi-biopic…
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…
A list of films compiled from every response to "What Have You Been Watching" on r/TrueFilm in 2015.