No possession is sacred. No secret is safe.
A corporate raider and his henchman use a chanteuse to lure a scientific genius away from his employer and family.
A corporate raider and his henchman use a chanteuse to lure a scientific genius away from his employer and family.
Sin escrúpulos, Hotel New Rose, Enigma do Poder, Хотел *Ню Роуз*, New Rose Hotel - Tuomiopäivän salaliitto, Σταυροδρόμι Κατασκόπων, Отель Новая Роза
trying to be romantic in a world that has reduced human connection to transactions: sex objects, hazy video images, bank account numbers and anonymous cityscapes, hotel rooms and screens. ferrara's minimalist, lo-fi vision of cyberpunk is to die for—all mundane spaces abstracted by intense close-ups, lighting, cross-fades, and strange, fragmented compositions on extremely long lenses with the occasional dreamy musical interlude. one of the rawest expressions of horniness, alienation and despair put to screen. "falling in love without falling in love."
I raise you all to name a film which reveals itself more and more upon each repeat viewing! I stand by thinking that probably more than any other film that one viewing is not enough. The first image we see is Dafoe behind a reflection in a door, equally abstracting and obfuscating him. Obfuscation is a clue - this is a film about images but not the meanings behind images or metaphors through images, but rather the falsity and unreliability of images. To my mind it's the greatest film on the subject of representation I have yet seen (well, and Fort Apache). The Gibson is all still there, and I cover most of that in the last thing I wrote…
Desire in a transactional world that has rendered actual physical emotion complete imaterial. A movie made against a world it abhors. It is a thriller that intentionally jettison its entire plot and is pretty much compromised of leftover scenes. Everything movies have trained us to regard as important is off-screen or at best seen in monitors, instead you most get to watch a bunch of scene between three people, a series of smokescreens and emotional manipulations that matter because the movie give us time to understand how the trio acts of each other and makes those actions have weight. It is movie very much concerned with the idea of consumption and spectatorship and one predicted in how lived experience and…
"Time's up... Do it - or forever wish you had."
A story of romance smothered, deceived, and reminisced. Stream of consciousness as a continual image-to-image journey, trespassing through sunsets, surveillance footage and memories from various angles, perspectives, spaces. Loss is *the* defining gateway, and it affects all who wander within its grasp. Earth-shattering in its form, content, and feeling. Ferrara creates a stew of compositions melding and coalescing, their meaning heightened in sensation while also swooning into incoherent, unearthly surges of representation. A fearless masterpiece which makes almost every other film in the 1990s feel like child's play.
Ferrara’s most remarkable film because of its incompleteness, which due to the nature of the medium (in dissolves, cuts, ellipses), is a totality by omission. That Sandii is Pandora armed not with a box but a computer disc is an afterthought. What is truly disconcerting is the fusion between dream, memory, and video recording that permeates throughout the film. X’s recollections during the latter half of the film in particular constitute a cinematic stream of consciousness that I’ve only encountered with similar strength in Edvard Munch (1974).
What can be said of the smile that concludes the film is that it contains the outline of mischief, satisfaction, contempt, etc.
“You have a demonic power that can tempt a person to…
Films are visual but how does one react when the visuals are false and cannot be relied on? Vast cityscapes get in the way of narrative development (which is ironic for it is a narrative about development) and close-ups get in the way of composition; this is anti-realism at its finest: literally intoxicating plagued by narrative shifts that seem both illogical and complete.
Walken is an Orpheus kind of figure really but he has no Eurydice to chase after; instead refashioning anyone he comes across for his own purposes - he just needs someone to find, someone to help, someone to lose - he doesn't do this because he's evil but because he's lonely.
That's why all Ferrara's images are…
What is this, post-cinema?
A new film I would call my favorite film.
After multiple rewatches I’ve fallen completely in love with this film.
It combines tons of aspects and genres of cinema I love it has the romance and a heist aspect. Romance films and heist films are two of my favorite genres so I was bound to love this.
But it does it similar to the way Limits of Control does it where you don’t actually see the heist you only see the exchanges and impacts of the heist.
Also check out Limits of Control it’s outstanding.
Then visually it’s a dreamy beautiful film.
The visuals are full of haze which helps create an atmosphere of uncertainty.
I also love how Ferrara…
My favorite Ferrara so far.
Didn’t expect it to get so trippy near the end. Actually I didn’t expect it to be as experimental as it was.
The opening has this interesting feeling to it.
It’s a really interesting opening.
But yeah first things first the score.
I could listen to it on repeat.
Just an amazing score.
The atmosphere is great.
I can’t really describe the atmosphere you really just have to see it to understand.
The direction is outstanding.
The film has this hazy feeling to it the entire way through.
My favorite shot is the entire opening ten minutes in the club. The use of red is amazing in those scenes.
The shots in…
might be the greatest film ever made. utterly perfect. will write a huge essay on this one day after countless rewatches and soul searching but for now all i'll say is this, capitalism and the pursuit of money destroys the spirit and the soul itself, and that true connection and meaning is found despite of the all consuming power of the dollar, but that in this world, who gives a shit about romance when the draw of the scam, the draw of the "big bucks" is so ingrained in everything. connection is too pure for this world but ferrara is sure to capture and embrace every moment of it through the nightmarish haze and blends of sounds and colour, culminating in the most transcendent climax i've ever witnessed. ferrara's digital michael mann film, ferrara's masterpiece and one of the greatest films ever made. also willem dafoe is the best living american actor.
REVIEW WRITTEN CIRCA 2006 FOR A FIRST-WATCH CIRCA 2002
Not an erotic thriller, or a cyberpunk movie, or a sci-fi satire of big corporations... Damn it, it's not even hot.
"From the acclaimed director of Bad Lieutenant and King of New York.
Sure, sure... Keep bringing the director's past efforts to lure audiences today to a bear trap...
EDIT FOR APRIL 22ND, 2021
Carnivorous cyberpunk ferocity, greedy, dirty and grim. Technology's potential is maximized for profit pursuit and carnal desires while Ferrara tackles on corporativism and self interest; the underworld has rarely seen such beautiful neon and dark colors, and Ferrara predates the birth of Refn in cinema. The last chapter is cathartic and every single flashback is either…
"What we get are only the human moments between events, what's happening in people's minds, and here too the key moments may be missed, as they pass in an instant over someone's face, and only later are dimly understood. This is not a movie likely to satisfy anyone on first viewing. As often in Ferrara, there may seem to be far less going on than there is, because he trims expository scenes and explanations, and dialogue is often tongue-tied anyhow, and because we, while searching for what is not there, may miss what is. (We have to create a void so grace can enter in.)" -TG
a sleek, cryptic cyberpunk mood piece with flourishes of neon/fluorescent hues, surveillance tapes, fuzzed images, and half-remembered memories, all commixing into one. ferrara perfectly constructs a dystopia in which everything has become diminished, reduced to corporate activity and hollow transactions; any remnants of deeper connections are lost and forgotten. gibson’s core vision: the dissolution of love by technology and capitalism; fully realized and translated here. the last half-hour, which is essentially x’s stream of consciousness played out, assembled from outtakes of scenes shown previously, is just one of many examples of ferrara toying with narrative structure, perspective, and filmic boundaries altogether. i need to further explore this man’s catalog because damn. amazing film.
Donald trumps PBS special/ laced TV dinner and chill
Abel's cooperate espionage/love story mood piece, that I'm sure is better understood after coming down from a 4 day coke and hard liquor binge. Maybe a tad avent garde, but it's Walken being dialed up Walken, Dafoe being Dafoe and If you catch it in the right mood it's good, but equally I could have turned it off. The WTF bit (you'll know when you see) brought me back when I was wavering. Thought Argento was very good she goes missing in stretches tho and it's a worser film when she does (Dafoe may be a great actor but he's no looker, neither is Walken but they both have distracting crazy hair). Fair play to Abel it made me think he's definitely a better film maker than he's given credit for, no one trick pony by any means and he's made one of my favourite films of all time in King of new york. nice score as well.
people screw each other over
Essa narrativa meio que confusa, as sobreposições e jogo de imagens, essa alternância entre diferentes tipos de gravações, seja granular através de câmeras caseiras ou os vídeos de aparelhos tecnológicos, busca evocar esse universo onírico, uma confusão imagética e fantasiosa sobre o que é real e falso. É provavelmente o filme mais experimental de Ferrara, que explora novos potenciais dentro de seu próprio estilo visual, especialmente pela sequência final, que joga a gente nesse devaneio visual devasso através da luxúria, cobiça e ambição.
i do not remember a hotel figuring heavily in this film
Three word review: Will definitely rewatch.
Christopher Walken and Willem Defoe recruit a seductive Asia Argento (daughter of Dario) to love trap a super genius Japanese scientist.
Walken is typically great, even a walking stick doesn't hold him back, but it's Argento who is the real star. She plays her role as the sexual and desirable Sandii very well.
I knew very little going into this. Seemingly a critical failure, that may as well have made zero money, Letterboxd users seem to have a different take with many acclaiming it to be a masterpiece.
Well - I can't go quite that far, certainly not on a first viewing. But that third act is something, something that I won't spoil.
images fade into each other creating a montage of corporate greed, lies, science and sex.
rest is for the boneyard
If I made 20 minutes of music as good as the music in this movie I’d never have death anxiety again. Ferrara skulked so Breen could sprint.
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