/horror/ general megathread - Let's talk about movies and shit.

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John.Doe said:
Then name 5 good female directors with a catalog of well directed movies, not one-hit wonders.
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Okay just rattling some names off the top of my head? Kathryn Bigelow, Naomi Kawase, Lynne Ramsay, Andrea Arnold, Jane Campion, Sofia Coppola, Ana Lily Amirpour, Mary Harron... Of course this is redundant because it's subjective and you can just dismiss these directors based on a difference in taste, but for me they're all firm favs of mine with catalogs well above 1 or 2 films.

I'm not disagreeing with you that narrowing down a top 10 for male directors is a lot tougher, but of course women have only really started getting into directing in the 90's so the pool is comparatively smaller and filled with less classics. It's not that women don't make good directors, it's like saying directors of an emerging cinematic culture (eg South Africa) don't make good directors. No it's just that they're relatively new to it.
John.Doe said:
Also you can't use Leni Riefenstahl, give me at least five besides her.
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Never even heard of the bitch.
 
Almighty Kevin said:
Never even heard of the bitch.
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She is one of the most influential directors of film, an absolute trailblazer in the art and science of film-making. As a director, producer, and editor she pioneered many techniques that became the language of cinema, and without her work and brilliance the ascent of movies into popularity with the masses would have been greatly delayed.
Goodbye Horses said:
She directed Triumph of the Will and a whole bunch of other Nazi propaganda films.
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Perhaps her most famous work, yes, but her best work is without a doubt Olympia. The first (and still best) sports documentary which chronicled the first modern Olympics in 1936 Berlin, Olympia is a celebration of athleticism and its unifying character among mankind. It is also a technical marvel - the first movie to use tracking shots (which she invented), dual air and underwater photography, slow motion, simultaneous multi-camera setups, and a number of innovations in all aspects of film-making and editing that would go on to become industry standards.

Really a beautiful film, though sometimes tough to find sometimes. I was lucky enough to be first exposed to it at a private screening at a small cinema with a restored copy of the original cut, and it was mind blowing. Like Birth of Nation, it is still as potent today with the force of its art as it was when it first premiered.
 
John.Doe said:
She is one of the most influential directors of film, an absolute trailblazer in the art and science of film-making. As a director, producer, and editor she pioneered many techniques that became the language of cinema, and without her work and brilliance the ascent of movies into popularity with the masses would have been greatly delayed.

Perhaps her most famous work, yes, but her best work is without a doubt Olympia. The first (and still best) sports documentary which chronicled the first modern Olympics in 1936 Berlin, Olympia is a celebration of athleticism and its unifying character among mankind. It is also a technical marvel - the first movie to use tracking shots (which she invented), dual air and underwater photography, slow motion, simultaneous multi-camera setups, and a number of innovations in all aspects of film-making and editing that would go on to become industry standards.

Really a beautiful film, though sometimes tough to find sometimes. I was lucky enough to be first exposed to it at a private screening at a small cinema with a restored copy of the original cut, and it was mind blowing. Like Birth of Nation, it is still as potent today with the force of its art as it was when it first premiered.
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Thanks, Wikipedia.
 
John.Doe said:
She is one of the most influential directors of film, an absolute trailblazer in the art and science of film-making. As a director, producer, and editor she pioneered many techniques that became the language of cinema, and without her work and brilliance the ascent of movies into popularity with the masses would have been greatly delayed.

Perhaps her most famous work, yes, but her best work is without a doubt Olympia. The first (and still best) sports documentary which chronicled the first modern Olympics in 1936 Berlin, Olympia is a celebration of athleticism and its unifying character among mankind. It is also a technical marvel - the first movie to use tracking shots (which she invented), dual air and underwater photography, slow motion, simultaneous multi-camera setups, and a number of innovations in all aspects of film-making and editing that would go on to become industry standards.

Really a beautiful film, though sometimes tough to find sometimes. I was lucky enough to be first exposed to it at a private screening at a small cinema with a restored copy of the original cut, and it was mind blowing. Like Birth of Nation, it is still as potent today with the force of its art as it was when it first premiered.
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I'm curious what is the end goal of your ranting.

Leni Riefenstahl was a great filmmaker -in the context of propaganda efforts- but not really a director. The term "director" is reserved for narrative films. I.E. there is a story, actors, people to actually direct. I don't think Hitler was very open to being directed, if a director asked another take from him regarding his speeches their ass would be thrown into a camp. So in this instance you just call them a filmmaker because it addresses the technical aspects and yes she was great at that. She made two narrative features (one a silent) but they were so amazingly good that dudes never bring them up and talk about them -such as yourself.

But sadly, there's not too many female directors and even fewer horror directors and even fewer that made a good one. But you could argue the influence of women in other aspects of horror: Daria Nicolodi is a great example and not just as an actress but she wrote Suspiria and partly wrote the sequel Inferno.

The Soska Sisters are terrible and have yet to make anything good. "Passable" is the highest praise you can give their shit and they've marketed themselves as being the go to female horror directors and in doing so lowered the bar so basically any chick can make a shit horror film and market themselves as a horror director to the press and social media.
 
I have to say I like one Soska Sisters movie, American Mary. It was also the first movie I watched by them, so watching the rest of stuff after was crazy how much more shit their other movies are. See No Evil 1 was already a low bar, have to question if they tried to make a worse movie with See No Evil 2.
 
See No Evil 2 was dog shit. All of their movies have the same problem: it takes forever for things to get in motion. That and it was a thoroughly lame slasher movie.
 
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Vampirella said:
Dark City is better, trannies suck at everything. It's all show and not much story.
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The ending felt a bit thrown together and weird, like they were unsure how to conclude things and communicate it visually. Still a super strong and underrated film though, certainly a horror picture by my reckoning.
 
John.Doe said:
The ending felt a bit thrown together and weird, like they were unsure how to conclude things and communicate it visually. Still a super strong and underrated film though, certainly a horror picture by my reckoning.
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I enjoy the director's cut better then the theatrical cut. Dark City really does have a horror feel to it.
 
Vampirella said:
I enjoy the director's cut better then the theatrical cut. Dark City really does have a horror feel to it.
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Its the better cut for sure! Thinking further on it, I think that DC actually captures a sort of Lovecraftian sense of terror (though less nihilistic) through most of its running. The Strangers, even when 'explained' are still so alien and outside the human experience that they provoke the same kind of existential dread as the Old Ones. The ideas of maddening revelations and machinations outside human knowledge is very Lovecraft.
 
Check out this Philippine horror movie Mallari based on an actual priest that commited horrible murders predating Jack The Ripper
I just wish it stayed in the 1840s as a period piece satirizing the relationship of the Church and Colonial Philippines. It was fine though, just that the jumpscares get a bit annoying. One of the victims is a trans that is a sex worker, gets hacked while streaming to a British guy fapping to the trans' moaning and breathing and the sex workers' last words was someone is behind. There's even a scene that takes place in post WW2 where a Filipino film maker collaborates with US Servicemen to record some dead supposedly killed by an 'aswang' and he calls the US general-consul played by a white guy who claims there isn't an aswang and the soldiers killed them like that to scare the communist rebels and claims the US are the aswang.
 
PS1gamenwatch said:
Check out this Philippine horror movie Mallari based on an actual priest that commited horrible murders predating Jack The Ripper
https://youtube.com/watch?v=MlxxhaggsfM
I just wish it stayed in the 1840s as a period piece satirizing the relationship of the Church and Colonial Philippines. It was fine though, just that the jumpscares get a bit annoying. One of the victims is a trans that is a sex worker, gets hacked while streaming to a British guy fapping to the trans' moaning and breathing and the sex workers' last words was someone is behind. There's even a scene that takes place in post WW2 where a Filipino film maker collaborates with US Servicemen to record some dead supposedly killed by an 'aswang' and he calls the US general-consul played by a white guy who claims there isn't an aswang and the soldiers killed them like that to scare the communist rebels and claims the US are the aswang.
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I've noticed this phenomenon in Southeast Asian cinema (also Indian films but that's a given) where instead of exploring and creating their own identity they instead copy what Hollywood productions do but they don't have the money or talent to achieve so it comes off as a pale imitation. With a handful of exceptions at best when it comes to "big" movies they've made. My pet theory is that they're ashamed of their culture and want to strive for something better. Because once you get your feet wet you can spot the differences -culturally- between a Japanese film or South Korean film or German and Russian films and you can keep going.
 
Vampirella said:
Dark City is better, trannies suck at everything. It's all show and not much story.
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I love Dark City, but the theatrical cut's ending was disappointing as it just shoehorned in at the last minute. Still a great movie, and the director's cut was so much better, and even has Jennifer Connelly's amazing cover of Sway.

As for The Matrix, it's still a better story involving the fear of a dystopian world full of technology than Dark City.
Vampirella said:
I enjoy the director's cut better then the theatrical cut. Dark City really does have a horror feel to it.
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I'd say the original director's vision using more emphasis on terror worked way better than it did in the theatrical cut.
 
TVB said:
As for The Matrix, it's still a better story involving the fear of a dystopian world full of technology than Dark City.
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If you've read a lot of Sci Fi dystopian stories Matrix isn't anything new, look up Simulacron-3 it was published in the 70s. I saw it and thought the story was fine at best the the SFX were something new and that was pretty much it. It has a generic "chosen one/fight the man" story going on but it looks pretty and uses big words so the masses like it.
 
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