A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
Picnic at Hanging Rock
On St. Valentine's Day in 1900 a party of schoolgirls set out to picnic at Hanging Rock. ...Some were never to return.
On Saint Valentine's Day in 1900, the female students at a private Australian school are given permission by their stern headmistress to travel to an ancient volcanic outcropping for an afternoon picnic. The beautiful day turns into a nightmare when a few among them, including the beautiful and enigmatic Miranda, vanish without explanation on Hanging Rock.
Read any review for Peter Weir’s mesmerising masterpiece, Picnic at Hanging Rock, and you will see the words haunting, dream-like and enigmatic appear time and again. They are vague and uncertain descriptions but perfectly apt for a film that is elusive, ambiguous and rich in symbolism, complexity and interpretation. I have watched the film numerous times over the years (this, my first viewing in high-definition) and every time I am surprised by the new things I find, the new interpretations I dream up and the mixed emotions the film manages to evoke.
On Valentine’s Day in 1900, a school trip to Victoria’s Hanging Rock turns to disaster when three students and their teacher disappear without trace. Whilst sounding like the…
There's something so unique with the Peter Weir directed mystery film, Picnic at Hanging Rock, that just hearing the title makes three adjectives spring to mind. Haunting, eerie and encapsulating. Peter Weir is the Aussie director who went on to direct Dead Poets Society and The Truman Show and he has based the story on the notoriously famed Joan Lindsay novel by the same name, which together with this film spawned an ongoing urban legend and cemented Hanging Rock's position as an Australian landmark.
The story takes place in the year 1900 and is quite simply about three girls from the private boarding school, Appleyard College who wanders of during a field trip to the mountain, Hanging Rock and mysteriously…
Weir's Picnic at Hanging Rock is a mystical and beautiful film that I failed to connect to completely.
Set in Australia in 1900 and centred around a real life mysterious disappearance of three girls and one teacher, it explores the nature of said disappearance and the effect it had on the school and the community.
The first act had me glued to the screen. The attention given to creating a convincing depiction of the time period is something I always respect and admire. When the group of young women arrive at the rock for the picnic, Weir manages to create a sense of unease and mystery that transfixes and intrigues. He almost makes the rock a character, a mystical force…
The ghost is the location itself in this film hidden behind veils, not shy but cunningly ambiguous. Obstructed sceneries, the ominous rock blocking half of the sky, faces embedded in these walls made of stone, holes as eyes forever screaming, the clouds are halos without owners, abandoned by angels.
Like the villagers we search forever, restlessly clawing for clues, scratching our fingers and breaking our nails. In one crucial moment our girl turned her head and smiled towards the camera, can you believe it, she bid farewell with her eyes, to us or to reality itself? Who knows but Miranda.
Should this be labeled as horror? I think yes. The music and filter suggest something supernatural working behind the scenes but my stomach fell when I learned that the film provides no solid answers, the sinister atmosphere is already unpleasant enough, now they leave this -- gap -- in me. Only Miranda knows the truth.
"This we do for pleasure, so that we may shortly be at the mercy of venomous snakes and poisonous ants."
The above quote from Picnic At Hanging Rock is the type of device that you see used a lot in mystery and thriller films especially, and it's a device I don't much care for.
It's usually such an unsubtle and clumsy way of setting up some drama to come, usually the antithesis of what is being stated by way of wanting to prove that character and his or her thoughts wrong, quite often as a method as marking them out as an antagonist. In a film like this, such a technique should be maddening as this is quite clearly not…
Is it just me or does the lady on the poster look almost exactly like Greta Gerwig?
i won't doubt there are some elements that are so slow
it is one of my favourite films visually, atmospherically
it is a masterpiece
so happy it is a local story/vision <3 (i'm from victoria and i love hanging rock)
the slowness in the second half of the film is so eery and has a really dense significance, of trying to understand the first half
it is almost painful, in its heaviness, quite slowness here
but it really, and truly captures that longing of:
certainly a film you need to see in a cinema, since its so transcendent and gentle, and takes you away, far away, you don't want distractions
my favourite cinemtagraphy of nature hands down
a beautiful art work
if i could make a film so transporting it would be my dream
a dream within a dream
nice sleepy times
Picnic at Hanging Rock is one of the most disappointing movies I've seen recently. The setting is very intriguing, the cinematography is superb as is its score and it is mysterious and atmospheric, but the characters are so uninspired, the story isn't particularly well told and the pacing is very slow leading to a dull, somewhat pretentious and ultimately immensely disappointing film.
What I liked the most about this film was the color. Outdoor scenes have a glow to them, as warm earthly colors fill the screen. In contrast, night scenes are cold, as hues of blue become dominant. A great juxtaposition that really contributes to the overall feeling of the picture
Picnic at Hanging rock is an excellent film about people coping with a tragedy. To me, the last 10 minutes are the most powerful and moving.
I wasn't feeling the flute music tho.
this movie could end the cultural cringe
O mistério real tá em como cada um lida com a dúvida eterna do filme. É tão anonimo e geral que qualquer um pode ir lá e embutir uma reflexão pessoal. Seja sobre feminilidade ou incompreensão. O crescimento vem mais do expectador.
I imagine many love this for its dreamy characterizations and atmospherics, but let's just say I found it obnoxiously wispy and vacuous while treating its college-aged characters as if they were morose six year olds. The girls act like children around each other and adults, and although I'm no expert on young female behavior in the year 1900, it seems clear their childlike temperaments are exaggerated for the sake of drumming up some angelic surrealism. And yes, the girls are symbols for innocence, purity and repression (made that pretty clear with the flowing white dress uniforms), but come on, the scene in which the surviving girl walks into the dance studio and the classmates start screaming and asking what happened…
Beyond early ASMR fodder, PHR reminded me weirdly of Terry Gilliam once saying "I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things."
In contrast to the surreal plot, vibe, and dialogue, there's the colonial stance of people sitting around, either by choice or force. Peeling back the fragility of the English empire in the face of the natural world. Also interesting were the many subtle cues on the female mystique/hysteria paradigm.
You're immediately rating the girls on attractiveness. Then all the characters confirm our shallow thoughts. Virgin Suicides and Mustang carry this onward.
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