All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
There will be no order, only chaos
The debut film from Darren Aronofsky in which a mathematical genius Maximilian Cohen discovers a link in the connection between numbers and reality and thus believes he can predict the future.
Darren Aronofsky's feature film debut presents the now reputed auteur experimenting with various aspects of filmmaking to carve out his own distinct identity & contains all the elements that are now well associated with his works, be it the theme of obsession, biblical motifs, inventive use of camera angles, heavy use of montages, isolated characters or surreal structure.
Pi (π) tells the story of Max; a brilliant mathematician, who believes there are patterns everywhere in universe & tries to find the same in stock markets to determine its rise n fall on the basis of his calculations. But his increasing obsession with numbers ultimately results in his self-destruction when he's driven to the brink of madness by the people who are after…
Is he really insane or just insane enough to make the discovery of a lifetime! Watch the film and decide for yourself!
Intriguing premise to say the very least! An exceptionally clever film done on a wing and a prayer! And it paid off!
"When your mind becomes obsessed with anything, you will filter everything else out and find that thing everywhere."
Darren Aronofsky's first feature film, Pi, was a unique and experimental movie that cemented his status as an auteur director. Even in his latest big budget film, Noah, his unique and creative voice shined through. Just like his characters, Aronofsky seems obsessed with discovering what drives them. His films are a psychological character study in which he delves deep into their minds in order to try to discover what leads them to their self destructive behavior. In the surface, Pi may sound like a boring film dealing with math and numbers, but Aronofsky sucks you in from the beginning with his very…
''11:15, restate my assumptions: 1. Mathematics is the language of nature. 2. Everything around us can be represented and understood through numbers. 3. If you graph these numbers, patterns emerge. Therefore: There are patterns everywhere in nature.''
Darren Aronofsky's bold and striking debut is one I had not visited in many moons. It's a film with a pulse, a film with a vision, a film with a mission, and that was to call out a brave new modern Auteur with much to offer. He has since this debut delivered another four masterworks that while all different from each other, reflect his unique voice.
Maximillian Cohen is a mathematical genius who believes he can unlock the secrets of existence by determining…
A claustrophobic, paranoid migraine of a movie. Pi's an impressive debut for Aronofsky who makes an odd premise strangely compelling. The limited budget works in its favour and the lead is convincingly committed. If the run time had been longer I may have become agitated with the constant kinetic visuals/overbearing sound but on the whole I found Pi to be an interesting, if confusing little oddity of a watch.
You have to hand it to Aronofsky, the man has a talent for making fascinating films about subjects that generally bore me: maths, heroin, Rachel Weisz, wrestling, ballet and the bible. Bravo!
Aronofsky's award-winning first full-length feature takes us deep into the mind of a pill-popping, paranoid mathematical genius, Maximillian Cohen (Sean Gullette), who is searching for a number pattern that can explain and predict stock market fluctuations. His work is coveted not only by greedy corporate interests but also by religious scholars, who believe the pattern may be the key to the lost Hebrew name of God.
I especially enjoyed the scenes of playing I-go with professor Sol Robeson (Mark Margolis), the only person Max trusts enough to confide in. But Max's hallucinatory spiral into madness doesn't allow him to linger very long in the "normal" world. He is made blind by his obsession, just as he was temporarily blinded as…
Um matemático chanfrado, um jogo de GO que não leva a lado nenhum e uma forma de filmar daquelas que agora são tão de moda mas que não eram nada disso antes de serem isso. Lembro-me de ver o filme pela primeira vez numa sessão do Fantas à 1 da matina e ter achado a coisa muito marada e um pouco sonolenta. Era novo, mas não era assim muito parvo.
Kind of reminds me of Eraserhead
oh math, you crazy
I don't think I can translate into words what this movie made me feel. Loved the repetitive takes/scenes (just like in Requiem for a Dream). I was able to sink into the character's madness. I have nothing to say about it's genius.
An hour-and-a-half of a guy looking at numbers to try and find a pattern that's more exciting than it has any right to be. Has some religious themes relating to numerology that were right up my alley. And while I'm not usually a fan of modern films done in black-and-white, this one, like "Nebraska" and "The Artist", uses the technique well to add to the feel of the film.
This review reportedly contains spoilers. I can handle the truth.
A pawn shop owner, who operates from his apartment and deals mainly in computer hardware starts hallucinating 'The Matrix, 1999' (before it was released) on the screens of the busted hardware he is obsessed with. He hates people, I do too; but that doesn't matter. What matters is that Mr. Hobo with delusions of grandeur and a drill machine thinks he has found, broken, stumbled upon, or the screenplay says so, or whatever Aronofsky (the guy who made the fucked up film with a bald Buddhist Wolverine... what was the damn name..., yeah, 'The Urinal, 2006' and the mega Bible buster, FAKE, shamelessly fake 'The Adventures Noah Nash') he barks out of the blow horn.
He's the recluse type. And?…
Tense, claustrophobic atmospheres seem to be Aronofsky's strength. Interesting and memorable scripts, not so much. Here we have an example of his directorial aptitude burdened by a script far too dependent on cringe-worthy exposition uttered by characters. The surreality of the premise isn't the film's biggest problem -- I actually embraced it -- it's biggest problem is how its plot is advanced by what is TOLD rather than what is SHOWN.
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…