Movie Threads?

catefrances wrote:

Byrnzie wrote:

Just watched 'Exit Through the Gift Shop: A Banksy Film'.



Very good.

i thought it was very good too. musta considering i now own it.

what did you think of it? did you have any preconceptions going in? and did you come out of it with any thoughts about the elusive banksy and what he was doing with this film?

I had no preconceptions.

Like most people I'm not 100% sure what to make of it, although I suspect the whole thing - the French fella - was a put-on by Banksy as a means of exposing the art-world for the bunch of money-obsessed, pretentious wankers that they are - not much diiferent from the fashion industry wankers.
Either way, even if the French fella - and the story as a whole - was genuine the film would still have the same effect/result.

Watched 'The Kings Speech' yesterday. I wasn't expecting much from it, but I thought it was really good. A very nice story, and great acting.

Newch91 wrote:

mickeyrat wrote:

thoughts on The Adjustment Bureau? looks interesting from the trailers. out this friday.

I've been wondering about that movie also. It looks good.

This is on my Radar

I'm looking forward to seeing this:

Trailer: http://www.wernerherzog.com/index.php?id=64#c148


Cave of Forgotten Dreams

Directed by Werner Herzog


Werner Herzog gains exclusive access to film inside the Chauvet caves of southern France, capturing the oldest known pictorial creations of humankind in their astonishing natural setting. He puts 3-D technology to a profound use, taking us back in time over 30,000 years.

Werner Herzog is a wizard at conjuring unforgettable visions, from the ship dragged over the mountain in Fitzcarraldo to the Antarctic landscape in Encounters at the End of the World. Now he brings us the earliest known visions of mankind: the Chauvet-Pont-d’Arc cave art of southern France, created more than thirty thousand years ago. By comparison, the famous cave art of Lascaux is roughly half as old. Since Chauvet’s discovery in 1994, access has been extremely restricted due to concerns that overexposure, even to human breath, could damage the priceless drawings. Only a small number of researchers have ever seen the art in person.

Herzog gained extraordinary permission to film the caves using lights that emit no heat. But Herzog being Herzog, this is no simple act of documentation. He initially resisted shooting in 3D, then embraced the process, and now it’s hard to imagine the film any other way. Just as Lascaux left Picasso in awe, the works at Chauvet are breathtaking in their artistry. The 3D format proves essential in communicating the contoured surfaces on which the charcoal figures are drawn. Beyond the walls, Herzog uses 3D to render the cave’s stalagmites like a crystal cathedral and to capture stunning aerial shots of the nearby Pont-d’Arc natural bridge. His probing questions for the cave specialists also plunge deep; for instance: “What constitutes humanness?”


In an essay titled “Why I Hate 3-D (And You Should Too),” the critic Roger Ebert wrote that he could only be reconciled to the format by a filmmaker like Herzog. Cave of Forgotten Dreams promises to both open and blow the minds of similar skeptics.

Cave of Forgotten Dreams was triggered by an article in The New Yorker by Judith Thurman, who tried to gain access to the Chauvet caves and finally wrote her piece based on photos and interviews. I recently joined Thurman at a screening for her first experience of Chauvet in 3D. Her response when the lights came up: “It’s a miracle.”