IMPORT DVDs

[oscar jubis]

I've been collecting import dvds for a few years. I'd like to have a forum to discuss the discs available outside Region 1 (North America), and perhaps be available for consumer advice if you're interested. Many of these releases are perfectly playable in your common region-coded player that I hope you already own. Some may only play in your PC or require a "world player", which basically accepts any disc, even European PAL-format discs. The price of these beauties is now competitive. Why is this a big deal? Well, because there are tons of great films never released here, at least not on video, which are available elsewhere, at affordable prices.
I'm not only talking about obscure foreign movies (Orson Welles' Chimes at Midnight is only available in ...Spain). I start the column by highlighting two American films that for political reasons have yet to be released in North America. There are quality dvd releases of these films available on Ebay.

KEN PARK
The whole planet has seen this fierce film, directed by Larry Clark (Kids) and co-written by Harmony Korine. The disc for "all-regions" is preferable over the Region 3 disc from Hong Kong (unless nudity bothers you and you own a "world player")

PROZAC NATION
Miramax's Harvey's been sitting on this adaptation of Elizabeth Wurtzel's novel since its Toronto 2001 premiere. Producer/star Christina Ricci is mighty pissed. Every dvd-head wants one of these so they command a high price, at the time.

[Johann]

Is the DVD of Prozac Nation in high demand because we finally get to see a completely nude Ricci? That's my guess.

I have 3 import discs which I can't play (no player!): Valerie and Her Week of Wonders (arrived yesterday- I thought it was an NTSC disc. It's not. pissed me off), The Baby of Macon, and Dogville.

I would contribute to this thread a lot if I had something to say about import DVD's. I don't, so I'll just sit back and learn...

[oscar jubis]

Nudity, yes. Complete? No idea. I think the recognizable title also could account for its popularity.

Dogville is now available in NTSC format. I have a single disc with Trier commentary (a surprise) which I bought from a seller from Malaysia. There's also gorgeous 2-disc with tons of extras, made in Korea. The Russian version(PAL) came out first but it's no longer available.

Johann, have you tried watching these dvds on a PC?

[Johann]

Originally posted by oscar jubis
have you tried watching these dvds on a PC?

No- should I? Are they playable in any computer? If so, I'm about to get very excited....

[oscar jubis]

I've been able to watch in my PC some discs that my "regular" player rejected.

[oscar jubis]

I decided there's no point opening a thread to discuss Hungarian director Bela Tarr's career. None of his films have had a regular commercial release in North America, except for some screenings in a few big cities including New York. None of his films is available on video here.
Since my sole exposure to his works is the UK release of DAMNATION and WERCKMEISTER HARMONIES on dvd, I decided this was the most appropriate place to post my brief comments.

Bela Tarr was born in Pecs, Hungary in 1955. He started directing in his teens. He decided to attend film school in Budapest after his feature Family Nest won top honors at the Mannheim Film Festival. Tarr was 22. The Outsiders and The Prefab People followed. These three films evidence a semi-documentary style and detail the daily realities of life in a communist Hungary. The films are not political per se, as Tarr appears more interested in domestic issues:couples trying to stay in love and raise children, dealing with cramped conditions both at work and home. Their bleak view of the world and human nature would remain a constant as his films developed a unique visual style, a curious blend of Tarkovsky, Antonioni and Dreyer. Almanac of Fall is a transition film. It's his last one in color but exhibits in embryonic form the elements of Tarr's mature visual style.

Damnation is the first film that abandons the cramped spaces where Hungarians (or the Hungarians Tarr is concerned with) live and work, as well as the color palette. Black and White from here on. The film shows public places such as bars and plazas, as well as barren, industrial, muddy vistas, with long shots in which the camara remains static or pans laconically. Characters no longer simply converse but often make pronouncements or recitations. Tarr explains he is interested in characters-in-situations that can lead to a deeper understanding of human nature. He is concerned with developing a visual signature. He is not concerned with telling stories, or plots. The misused term "art film" truly applies to Tarr's work.

SatanTango, his 7 hour 15 minute long film about the disintegration of a community was released to worldwide acclaim in 1995. The film's duration limited screenings to festivals and cinematheques.

His latest film is Werckmeister Harmonies. From the dvd: "The population of a provincial town in the Hungarian plains await the arrival of a circus that features the stuffed carcass of a whale and a mysterious Prince. Its appearance disturbs the order, unleashing a torrent of violence and beauty". There are some images here that will live with me forever. The town's gradual descent into anarchy is highly allegorical and carefully developed.

I realize many are not interested in this type of film. East European despair and bleakness is not everyone's "cup of tea". But if anyone has seen one of Tarr's films, please share your opinion.

[oscar jubis]

Mexican films have finally received some distribution in English-speaking nations during the past five years or so. Amores Perros and Y Tu Mama Tambien made it into several critics' Top 10 lists in recent years.
The debut film from young writer/director Carlos Reygadas, Japon (Spanish for "Japan"), didn't gain distribution in the U.S. despite winning many awards at film festivals worldwide. It was shown in the cable channel Sundance, where I saw it for the first time.
The film is now available on dvd in the UK. I find it hard to understand why Japon has not been released here, given the size of the Mexican-American community.

Japon takes the basic premise of Kiarostami's Taste of Cherry (a middle-aged man from the city travels to a remote area intent on suicide) and makes something special out of it. The dvd includes a lenghty interview in which Reygadas, speaking impeccable English, discusses his cinema education. A disciple of Tarkovsky, Berlanga, Bresson, Dreyer and Ozu. The influences show all over this lusty, sensual but sober movie. Classic choral music is married to widescreen images of vast spaces with the skill of an older, more experienced artist. An unhinged visual imagination is evident throughout.
I have now enjoyed this film several times. I am donating the dvd to a video store, whose owner will transfer it to vhs for rental. I would appreciate any comments regarding this movie and the films by Bela Tarr I discussed earlier.

[oscar jubis]

Facets Video released Almanac of Fall many years ago. They seem to have printed few copies. I've been searching Ebay periodically for a long time for a copy on sale but to no avail. I also decided not to buy the one available at Amazon for $60.

The release of Damnation and Werckmeister Harmonies in the UK gives me hope Tarr's other titles will be released in the future. This double dvd includes an interview in which Tarr responds to charges that his films are brilliant, but also claustrophobic and depressing.
We wanted to tell what social problems we are facing. Then we realized there were also problems of an ontological nature. And cosmic problems as well. There was nothing else to do but to create complete desperation. The more desperate we are, the more hope there is.

[oscar jubis]

Tarr will be appreciated more in the future, particularly outside Europe. I hope we don't have to wait until "after he's done with cinema". After all, he turns 49 years old Wednesday. Maybe he'll make a film in the future that doesn't scare off distributors. I wonder what he'll do next. It's been 4 years since Harmonies came out and I haven't heard of any new projects. Did you notice he always uses "we" in the interview, not "I"? He views himself as part of a team that includes his editor/wife, writer Laszlo Krasznahorkai, composer Mihaly Vig and others.
East European cinema in general is an unknown entity in North America.

[silverheart]

I keep complaining about the dvds who are released in america and not here. Here, in Portugal, we can easily find spanish/mexican movies, but most movies from other countries are not just hard to find, they're simply impossible, which is terrible for someone who comes to these foruns and hears all about the latest releases. FNAC sells some criterion dvds but they're all around 40 euros, and wow that's expensive.
ah well.

[oscar jubis]

Why not import dvds from the UK?

[oscar jubis]

I would appreciate if our young Portuguese colleague or our resident expert could find the following films directed by that master Manoel de Oliveira (With English or Spanish subs) on dvd from anywhere:

Doomed Love
Inquietude
Benilde ou a virgen-mae
No, or the Vainglory of Command

Thanks

[silverheart]

benilde ou a virgem mãe and amor de perdição are quite hard to find, i don't even remember seeing them anywhere on dvd/vhs but the others like non ou a vã glória de mandar and inquietude you can find them at FNAC but i've never seen inquietude with subtitles so that one maybe a bit difficult.
you might want to try those websites arsaib said because i know quite a few places where you can buy them but well, the subtitles will always be a problem.

[oscar jubis]

Gracias amigos! Knew I could count on you. I'm going to purchase No... from blueplanetdvd. The Inquietude tape is PAL and I don't think my VCR can handle it. Fnac is currently out of those two titles mentioned but will re-stock, hopefully by the time I go to Spain in late Autumn.

[Chris Knipp]

What we need I think is more good independent video rental stores all over the country and the world, places like Scarecrow Video in Seattle, Video Americain in Baltimore, the place in Philly, Real Video and Movie Image in Berkeley, Le Video in San Francisco. NOt everybody can afford to buy every exotic film DVD they'd like to watch, but they'd love to rent it at a convenient store. Instead Blockbuster has lived up to its name, wiping out smaller competitors and smearing its bland, dumb images all over the land. Isn't this important? You bet it is! Small neighborhood independent stores, as in other fields, are a link with the community, have helpful, well informed staff who can make movierenting and movie watching fun and enlightening for everybody.

Film buffs unite!

[arsaib4]

I couldn't agree more on having more independent and specialty video stores but even if that was to come true, the copyright laws do and will prevent owners from carrying films on dvd and video from other regions. There are stores (some were mentioned) that already distribute under 'fair use' but most others who don't because of the inane copyright issues that exist in this country and therefore the rest of the world.

A better solution would be proper film distribution theatrically and in terms of video. Only 3% of all films released in the U.S in 2003 were foreign films, a low number even when compared to distribution during the 80's and early 90's (not exactly great periods either). Even if i just talk about films that do actually get distributed, it's painful 'How' they do. If someone doesn't live in NY, LA, Chicago, Boston, Sanfrancisco and couple other markets and if your city doesn't host a meaningful film festival (that's most of U.S folks), there is good chance that you won't get to see those films EVEN as they are distributed in the U.S. Unacceptable. Local NY distributers don't bother expanding their films if they get couple of unfavorable reviews from NY/LA critics, especially THE TIMES, so there is no word of mouth factor involved.

To name just couple of great asian films,Eureka and Devils on the doorstep, both released in few markets but then since their distributers went under, there is nothing further in terms of dvd/video release. Atleast there is a reason or an excuse there, but what about Lilja-4-Ever, one of the most critically acclaimed films (and deservingly so) from last year which still isn't available in this country on dvd/vhs. 'Newmarkert' has made half a billion on The Passion and they should have an obligation to a film which helped established them. Media circles in NY and LA (including the heads of these indie distributers) pay lip service on how great Hou and Kiarostami are and how much they love their films, so why the hell it takes half a decade to have their films released. Where is Kiarostami's Ten(Zeitgeist) and Abc Africa(NewYorker), films that played in some selected cities, again available to only a few but no video distribution. Hou's Flowers of Shanghai was only first of the 4 masterpieces he made in the 90's to be disributed and it was half-heartedly dumped on video by Wellspring. Miramax's Hero a film which was rotting away since 2002 and only now that Tarantino is in the limelight again and he likes the film they have decided to release it with the title Tarantino presents....... Shamefully Harvey tried to crack down on the U.S based asian retailers who were selling 'Hero' but was ultimately defeated due to simply the sheer number of them that exist and who can control Ebay. Meanwhile Miramax has no problems promptly releasing shit like The Barbarian Invasions and I'm not scared. Harvey also has the power to keep the flashy City of God in theatres for over a year so he can collect some awards at the end while the greatest film ever made about street kids and possibly the greatest film of the 80's, Pixote, is even hard to find on vhs.

I apologize for my rant here and this is not in direct response to the post by Chris who i enjoy reading here and elsewhere but the state of film distribution in the U.S is awful and that has led me to go and seek these films elsewhere. Initially i was hesitant and frankly embarrased to spend my money at foreign sites but I have no other options and i actually live near NYC. The price of these forign dvd's is about the same as what a Criterion dvd costs here and isn't much more than a regular new release. I've no qualms anymore about hunting these films down as i'm not simply satisfied with reading about them online and in film magazines.

[Chris Knipp]

Thanks for saying you like reading my writing.

I wouldn't call "I'm Not Scared" and "The Barbarian Invasions" "shit", nor would I consider "City of God" just "flashy." The way to wider distributions is paved with openmindedness. That said, while you and I completely agree in wanting more sophisticated independent movie rental stores, I have to say in justifacation of the status quo that inevitably theatrical distribution and rental store availability are pretty much determined by profits and audiences. Would you start a distribution company to feed DVD's of these unusual items to American customers? Could you make money that way? If not, why would you do it? Merchandising isn't a charitable operation. If foreign movies were more available to see in theaters in the past (and I don't know if there were--please educate me on this), that was also a time when people didn't rent videos let alone buy DVD's. I'm not sure if there were really more foreign movies available to see in the US in the Fifties and Sixties and Seventies or if there were just more famous foreign directors a lot of Americans had heard of, like Fellini, Truffaut, Bergman and Kurosawa. If Kierostami and Hou acquired that kind of name recognition, then their work would turn up on video pdq, don't you think?

There is a financial reality of the hinterlands. You can't make money with exotica there. I'm sorry to hear that a lot of the stuff you want, you have trouble getting. But I'm more interested in either being able to rent it, or having it shown in theaters near me. The truth is that I must be lazy because I seem to be happy with seeing whatever's out there whatever it is, whether it's "The Time of the Wolf" or "The Five Obstructions" or "Harold and Kumar Go to White Tower," which I actually did see today. But I live in a prime distribution area--SanFrancisco/Berkeley, and I see a lot of movies when I'm in New York. "The Corporation," contrary to what I thought, is still showing here, and for the moment so are "Hijacking Catastrophe" and "Outfoxed" ("Outfoxed" just starting today). I don't know if you'd find these in Utah or Colorado. Not in Denver...but in Denver "Fahrenheit 9/11" is showing in eight different theaters, because it got the publicity and Moore has name recognition to burn right now.

I'm still not content with buying DVD's of exotic movies so I can see them. That may appeal to some people but it seems to me a somewhat selfish and elitist activity-- the private and expensive practice of a specialized hobby in lieu of the shared cultural experience watching movies has always been. I hope you have people you trade around your DVD's with. I used to do that a lot but now I really focus on seeing what's in theaters. I like to be in the dark room with the popcorn smell and the big screen. I do buy the occasional DVD though. A few days ago I acquired one of "Raising Victor Vargas" at Blockbuster for five dollars --an offer I couldn't refuse.

Still, I agree that I wish distributers took more chances. It's a vicious circle. They don't take chances. The public doesn't get exotic movies in theaters. And then there's no rental market for them, because people haven't been taught to crave them.

Unless you're rich or a talented entrepreneur, we can't change the market. But maybe we can create an audience another way. When I was a graduate student at Berkeley Tom Luddy ran the "F.W. Murnau Film Society," which was nothing more than renting rare old movies and showing them in Wheeler Auditorium on the UC Berkeley campus. Luddy would come up and talk about each movie before it showed. He'd blow you away with his knowledge. A sense of shared movie lore grew up out of those sessions. Later Luddy became director of the Pacific Film Archive. He's made a difference. And in some way his Murnau Film Society like Cinema 16 years before in New York helped to change and influence my taste. This kind of thing is really cool. And it's much more the kind of cultural and social influence I'd like to see, rather than simply more exotic merchandising to make Chinese and Iranian cinema items available for your private DVD library. Not that it has to be an either/or; on the contrary, it's best to have both, and the hip rental stores too. But I'd like more of a shared group experience. Wouldn't you rather be actually talking to me instead of penning these cybernotes?

[oscar jubis]

*I've written before repeatedly about the lamentable state of foreign film distribution in this country (and many others) as a result of Hollywood monopolizing screens and the media letting Hollywood publicity budgets dictate what's important.

*I do believe that during the 60s and 70s it was easier to find challenging fare in theatres, but don't ask me for figures or stats. I think it's insane for a movie to open in over 3000 theatres as is the common practice now.

*The foreign films that get distribution are generally the least challenging, most commercial ones. I think these films are generally "worth-watching". Those of us who sample undistributed films at festivals, retrospectives, museum showings, import dvds,etc. have reason to be angry at the media, distributors, theatre owners, etc. But I don't believe these "safe" films are "shit", even the soulless, exploitation flick City of God or the by-the-numbers thriller I'm Not Scared entertain effectively, if nothing else. Then again, one discovers films like Goodbye Dragon Inn, Eureka, Werckmeister Harmonies, etc. and feels sad and angry for the directors, and for cinema in general. Even most of the films that actually get distribution are only seen in a few major cities, often a year or more later than the rest of the world.

*I resent Chris using the word "exotica" to refer to films that don't get distribution. There are directors today as accomplished as Kurosawa, Bergman, Truffaut, etc. Directors that are moving or have moved the medium forward. Directors that have new aspects of the human experience to share, or new ways of creating memorable images to communicate with an audience. But they are no more exotic than Resnais of Godard or the old masters, perhaps less so. Tarr, Kiarostami and Hou are now middle age. There are younger directors doing wonderful work who deserve the exposure the older generation received. We are forced to buy these dvds from abroad because that is the only way to experience these movies. And thank goodness there's a guy in El Cerrito, or Vancouver or wherever willing to pen cybernotes.

[arsaib4]

You beat me to it Oscar so i'm not just going to repeat your excellent points. The word "shit" usually is the first the comes to my mind when discussing Miramax so that's why it was used. The films I mentioned do have their postive virtures as you mentioned but i wasn't writing a review although I am being generous when i called 'City of God' flashy, especially when 'Pixote' is mentioned in the same sentence.

Chris's response is actually similar to what I wrote few years ago when i had similar beliefs and I was embarrased by someone's response who is now a good friend. She mentioned films and directors I used to talk about while throwing around words and phrases like "this is the best film by director X" or "X is the best french film of the year". If Chris or any one else here were to call Andre Techine's 'Strayed' his best film, i'll ask have you seen 'Loin', i wonder what the response would be? Would some one be able to discuss filipino giant Lav Diaz with me or is everyone content with countless discussion of Yimou or Almodovar. Do emergng talents like Damien Odoul (Le Souffle) and Celina Murga (Ana and the Others) do not matter? or should we continue to have repeat viewings of 'Amelie' and 'Cinema Paradiso.'? Do we not want to truly appreciate Peter Watkin's 'La Commune' by watching it again or if we happened to miss it for the week it played? Is it a surprise to any one why europeans and asians aren't particularly enamored by our views of their directors, may be it's because we haven't seen all their films. If someone is content keeping the conversation just between friends or between people who have exactly seen the same films as they have and don't want to learn about what else is there then i've nothing else to say.

[Chris Knipp]

It’s not always a good idea to use the first word that comes to mind as personal experience teaches me. When something is from far away and unseen it seems fair to call it “exotica,” though with familiarity, the same familiarity that Kurosawa and Bergman and Truffaut have achieved, it ceases to be worthy of that name. Some of the directors and many of the films you are talking about I have not seen. So to me they’re exotic. The word describes something fascinating rather than repulsive and would never be meant to cause offense, as does the word "shit." Now you have piled another term of opprobrium on “City of God,” “exploitation,” which is even worse. And for “Io non ho paura,” on which the jury is still out (I gather many of us think it has at least some strong virtues, despite it’s easily palatable “Miramaxical” aspects), I don’t think “by the numbers” is necessary. You don’t have to recommend the less seen films you want to praise by running down the more commercial products. You never know when some commercial product may turn up as the next generation’s classic, witness the fashionablity of Douglas Sirk.


“If someone is content keeping the conversation just between friends or between people who have exactly seen the same films as they have and don't want to learn about what else is there then i've nothing else to say.”
I was of course saying exactly the opposite. I was suggesting more people set up public showings of the under appreciated, often unseen films they love, and share them with whoever comes in. FilmWurld is a very limited group of people, it seems. Not many people, I mean, I don’t mean the people are limited!
One of the shortcomings of cyberspace is that it’s so easy to be misunderstood. I was saying that face to face forums would be more fun and more human. You’d also have gotten my point, that I wasn’t talking about “a very limited group of people,” just people, face to face, rather than cybernotes whose tone is very often hard to read.
Neither of you responded to my points about the demands of economics and an uninformed demographic over much of this land. You respond with invective against me and the distributors. How that helps, I don’t know, but I guess it makes you feel better.

[arsaib4]

* "shit" is the word that is used when more 'extreme' words are inappropriate to use on a site. That is exactly the way i feel about Miramax.


"You don’t have to recommend the less seen films you want to praise by running down the more commercial products. You never know when some commercial product may turn "

Less seen by who?, certainly not the knowledgable or should I say the people not being manipulated by our distributers. I'll keep by fingures crossed and pray for a "commercial product to turn."

The way our lives are nowadays it's virtually impossible to have what's ideal. Most of us spend majority of our day online or some where close by a computer. Chris, you should know better as you host a forum yourself.

Your points regarding economics and demographic simply don't add up to much. Same points are made when certain distributers try to save their behind. As i mentioned in original post, when certain films do well it's imperative for that distributer to take care of films in it's library, a practice under taken by Palm Pictures. Uninformed demographic needs to be informed which is precisely my case. As i don't own a theatre chain, the best i can do is to inform and expand the horizons of people interested in the best of what cinema has to offer.

So, my friendly advice to you would be to save the money you spend on 'Harold and Kumars' of the world and look into buying films you haven't seen from the directors you appreciate, even though you talk about those directors in your reviews nonetheless.

[Chris Knipp]

Miramax releases include:

Ararat
Basquiat
Belle de Jour
Blue, White, Red
Chasing Amy, Clerks
The trashy, “exploitation,” “ultraviolent” City of God
Confessions of a Dangerous Mind
Dirty Pretty Things
Flirting with Disaster
Gangs of New York
Gerry
The Grifters
Almereyda’s Hamlet
In the Bedroom
Kill Bill 1 & 2, Jackie Brown
Pulp Fiction
Purple Noon
The Quiet American
Rabbit-Proof Fence
La Reine Margot
Trainspotting
With a Friend Like Harry
The Magdalene Sisters
Chungking Express
Dead Man
Zatoichi

Some of these conform to Oscar’s polite dismissal: they are eminently watchable. But some I consider essential.

I couldn't agree more on having more independent and specialty video stores but even if that was to come true, the copyright laws do and will prevent owners from carrying films on dvd and video from other regions.
I’m not sure if this is true or not about copyright laws but I know a couple of rental shops that carry them.


A better solution would be proper film distribution theatrically and in terms of video. Only 3% of all films released in the U.S in 2003 were foreign films, a low number even when compared to distribution during the 80's and early 90's (not exactly great periods either). Even if i just talk about films that do actually get distributed, it's painful 'How' they do.

Yeah, I agree. I assume this is because film production is up everywhere and the giant American corporations push the others out.


So, my friendly advice to you would be to save the money you spend on 'Harold and Kumars' of the world and look into buying films you haven't seen from the directors you appreciate, even though you talk about those directors in your reviews nonetheless.
No, I would consider buying a lot of films a waste of money because I couldn’t get the use out of them to justify the money spent; that’s why I want to be able to rent them. Otherwise you are watching them once and keeping copies as trophies like a stamp collection. And the Harold & Kumars I need to know about. I learned a lot from watching Harold & Kumar. It’s an expression of the zeitgeist.


Your points regarding economics and demographic simply don't add up to much. Same points are made when certain distributers try to save their behind. As i mentioned in original post, when certain films do well it's imperative for that distributer to take care of films in it's library, a practice under taken by Palm Pictures.
That’s a good point. However I still maintain that you can’t expect what I called exotica to fly in the hinterlands. I don’t think you can dismiss the economic and demographic issues that easily, but it’s perfectly true that a responsible distributer should use its profitable items to support depth in its library.


Uninformed demographic needs to be informed which is precisely my case. Lovely but this is a capitalist country where school programs are being shut down right and left, so don’t expect them to see Hou in South Dakota.


As i don't own a theatre chain, the best i can do is to inform and expand the horizons of people interested in the best of what cinema has to offer. Meaning what? Telling me not to watch Harold & Kumar? With respect, arsaib4, there must be more we can do than that! (I do respect your passion and your knowledge.) If you owned a theater chain, either your elitist stance would soon crumble or your business would.

[arsaib4]

Yeah, as long as people like you are around, ofcourse my business wouldn't succeed. All the key points i've made so far still stand as you still haven't come up with an answer to my specific questions. Frankly, i am not even sure how to respond to you 'Harold and Kumar' statement. My advice was friendly, now it's up to you.

I guess distributers in Mexico and HongKong don't care about money as much as ours do here, and the ratio of foreign releases in those countries (i could've used more extreme examples but i am sure you've heard of these countries) is much better and I am not just talking about American Blockbusters, I am also pointing toward the european and asian 'art' cinema releases.

[Chris Knipp]

Yeah, as long as people like you are around, ofcourse my business wouldn't succeed. All the key points i've made so far still stand as you still haven't come up with an answer to my specific questions. Frankly, i am not even sure how to respond to you 'Harold and Kumar' statement. My advice was friendly, now it's up to you. How can you say your advice is friendly when you persist in sounding like a jerk—and like you think I’m a jerk? I would be one of your best customers if you’re talking about a rental store, or a distributor of unusual films. I was talking about distributing the latter and saying maybe, just maybe, it might be hard to break even doing that in this country, particularly outside of SF, LA, Chicago, NY, the main urban areas. Please don’t make me a scapegoat representing all you detest. I’m not an appropriate object for your scorn. I wasn't trying to refute your points. I value your enthusiasm for film, the knowledge you have acquired at a young age, and your desire to gain a wider audience for the films you love.

Here’s the situation. I got to a lot of movies. I write a lot of reviews. I don’t get paid for them. I don’t have much time to watch videos or DVD’s any more because I do that, and I have other interests, and other things to do and people to hang out with. Besides that, I no longer live near a good video store as I once did when I lived in San Francisco. Real Video in Berkeley, which is a slog to get to for me, requires that all new items be returned by noon the next day, which is pretty much out of the question for me. I appreciate that you and Oscar and others obtain quantities of more rare films on DVD or video (which Real Video or Movie Image wouldn't have) by purchasing them, but I don't want to do that because I'd rather spend my money on other things, given that I don't have much time to watch movies at home anyway.

I wasn't trying to put you down or refute you or be negative, I was only making the (admittedly obvious) point that one of the main reasons you don’t get the theatrical or DVD distribution of the unusual films you want here is economic competition. (I'll grant you US distributors may be less enlightened or more focused on profit above all else than others in Asia or Mexico or Europe) Now you’re saying it’s my fault you wouldn’t make money at it. That won’t fly. I’m not your problem. I’m on your side if you would but know it...

I try to experience as wide a spectrum of the film world as I can and I'm interested in what the majority of reasonably intelligent people (not mindless idiots) are watching. Okay, Harold & Kumar was an exception, maybe, maybe I was slumming, I admit it, but I find it valuable to see what stuff like that is like sometimes, and it wasn't the first time and won't be the last--actually I thought Dude, Where's My Car was pretty funny in its mindless frat boy way. If you want to spend your time otherwise I don’t blame you.

I’m not sure what you mean by the “specific questions” I haven’t “come up with an answer to.” What questions? “Less seen by who?” By most people. “If Chris or any one else here were to call Andre Techine's 'Strayed' his best film, i'll ask have you seen 'Loin', i wonder what the response would be?” The response would be I haven’t seen Loin. I would like to, and I’ll see if it’s available at a local rental store. But your question is weird because I wouldn’t call Strayed his best film by a long sight. I’m wondering if seeing Loin would rock my world so much I’d rearrange my list of best Téchiné? Then I better rush to see it.

“Do emergng talents like Damien Odoul (Le Souffle) and Celina Murga (Ana and the Others) do not matter? or should we continue to have repeat viewings of 'Amelie' and 'Cinema Paradiso.'?” That’s rhetorical, right? I happen to particularly dislike both Amelie and Cinema Paradiso. And I love French films and will see any I can.

“Do we not want to truly appreciate Peter Watkin's 'La Commune' by watching it again or if we happened to miss it for the week it played?” Isn’t this kind of rhetorical too? Do we flunk the test if we don't watch La Commune multiple times?

I’m happy to answer whatever questions you have to the best of my ability. There are some questions I asked which you haven’t answered. You didn't repond to my list of "shit" from Miramax, for instance. But under the circumstances, I don’t urge you to do so. I'm not a demon for punishment.

[arsaib4]

oh, i see, so i sound like a jerk while my attitude was referred to as 'elitist' and 'selfish' on numerous occasions, something i didn't respond to earlier but if you think i'll let that slide then you are talking to the wrong person.


Here’s the situation. I got to a lot of movies. I write a lot of reviews. I don’t get paid for them. I don’t have much time to watch videos or DVD’s any more because I do that, and I have other interests, and other things to do and people to hang out with. Besides that, I no longer live near a good video store as I once did when I lived in San Francisco. Real Video in Berkeley, which is a slog to get to for me, requires that all new items be returned by noon the next day, which is pretty much out of the question for me. I appreciate that you and Oscar and others obtain quantities of more rare films on DVD or video (which Real Video or Movie Image wouldn't have) by purchasing them, but I don't want to do that because I'd rather spend my money on other things, given that I don't have much time to watch movies at home anyway.

this almost sounds desparate but that's not my concern.

When we enter a movie theater we don't leave our morals or political agenda at the door. The same applies to knowledge about film history and more specifically the knowledge about that certian film and the director. In our film reviews we don't just talk about the film so naturally the more films we have seen from a certain director, the better our grasp will be of the material in front of our eyes and later on, on the paper. 'Loin' was used as an example if it was too hard for you understand from my post, may be i should've been more clear, i can give you numerous other examples but I am not going to, it should be understood. But in response, YES, it just might make someone think a little differently of Techine and when referring to a later film, that film will be in your conscience. Does it mean you should 'rush out' and get it, as you so elequently stated, no, but you shouldn't forget that it exists, and YES, there is way to get it.

[Chris Knipp]

I understand your point better now and I apologize for falling victim to your more subtle rhetoric and using the word "jerk." It's never a good idea to get personal in these discussions. The point came up before in talking about best lists and your point is valid, if idealistic. Everybody has inevitably seen only a fraction of the total number of films in the world. If you're making a list of the year's best, should you, could you, have seen all the films made and shown in that year? It's not possible. And if I had seen Loin, say, would it have changed my picture of the director?That doesn't matter, it would be in my consciousness, and my remarks would be in a subtle manner aware of it. It's true. And I said "rush out" because I really like Téchiné. Sometimes, though, he's off form, and I don't have to judge his newest work by his less successful ones. I guess you won't want to hear that. I'm not sure what about my life sounds "desperate" to you. Actually I'm having a lot of fun these days. I've never been less desperate, if I ever did fit that description, which really would be a stretch, since I've had a good life.

P.s. I also have found that my pc likes foreign DVD's that DVD player rejects. I'd like to see some Bela Tarr if only because Van Sant said he influenced him in Gerry.

[arsaib4]

I wasn't referring to your personal life in any way, it was more to the point that you were again thinking without an open mind. Your situation doesn't apply to everyone so one shouldn't imply what others do or think. If someone else isn't able to fly around the country or doesn't lives near a metropolitan area and/or simply just loves cinema and the only option that person has is to buy dvd's then it shouldn't be refereed to as an 'elitist' activity and 'cybernotes' shouldn't be down-graded in any way. With due respect to You, Oscar and frankly, myself, people when looking for reviews for films currently in distribution don't prefer to read what we have to say. They prefer the 'Times' or the 'Chicago Reader' or the 'Villiage Voice' and thousand of other publications and online media. Does it mean one shouldn't write reviews as you do? No, absolutely not, this is what you love and if your review is able to make a reader think of something specific, then even better even though you might never get to hear from that person. You are not just writing reviews for yourself but in extention, for others also. I participate in many different forums, , and i get to hear many different point of views and how desparate people are in seeing films that we take for granted. So, besides reviewing or posting thoughts about certain films i started to gave the readers options as you how to purchase those films and surprisigly got a tremendous response. So to me just to review a film and not post anything regarding how a reader might see or get it is 'elitist.'

[oscar jubis]

*If the average moviegoer adopted Chris's viewing habits most of the great undistributed films would be playing "at a theatre near you". And a word of thanks to arsaib for sharing his knowledge of new films coming out worldwide, both theatrical and home video releases.

*Agreed that I don't need to "run down the more commercial products" to "recommend the less seen films I want to praise". I've posted in detail about why I found City of God objectionable and why I found the Italian film overrated in these forums. It's not due to their being commercial. Incidentally, my two favorite films of 2004 are American movies with widely recognizable "stars".

*Even with poor film distribution and even though it's summer season, I have better films to watch than "H & K". But watch out what you dismiss arsaib, I personally hold in high regard several 2003 films many dismissed as slight, including Looney Toons:Back in Action and Down With Love.

*Just like Chris, I don't know much about copyright laws. There are at least two stores here that buy import dvds (many from me, both NTSC and PAL) and transfer them to vhs to make them available for rental. I'm friendly with the owners, who've never had legal problems as a result.

*Chris, reading Rosenbaum's "Movie Wars:How Hollywood and the Media Limit What Films We Can See" might be an eye-opener. Brief examples: how the "New Yorker" refuses to carry even capsule reviews of important films like Dead Man and Techine's Thieves, and Miramax's (mis)handling of the former after Jarmusch refused to recut it for its American release. More recently, Miramax has become infamous for buying distribution rights to films and then failing to release them.

[oscar jubis]

I was lucky that Down With Love was still playing at one theatre here when Rosenbaum's "must-see" review(***) was posted online. Then he rated Suzuki's Pistol Opera a masterpiece(****) so I watched it, twice. Eye Candy!

[Chris Knipp]

Thank you Oscar for your diplomatic and conciliatory statements when arsaib4 and I seemed to be locking horns earlier. Thank you, arsaib4, for explaining your remark about my life in a conciliatory way. (I'm still not sure what was meant by calling me "desperate.") I'lll try to get hold of the Rosenbaum book. I was not aware I was being "elitist" in reviewing films a lot of people can't see, just that I was putting the information out there. Reviewing those films may be more useful than reviewing "The Bourne Supremacy" or "Troy" or "The Day After Tomorrow." I may write for a tiny audience, but as you say, arsaib4, I write for others: my friends and readers actually do rely on my reviews to decide whether or not to see a current movie. I have reviewed some things I saw in NewYork in June which now have since begun opening elsewhere. Occasionally I've released my reviews for online use by DVD dealers at their request and Howard Schumann also has done that. "Elitist" only refers to a sense of superiority about what one watches or cherishes which others are unaware of, if that happens. What I meant about buying DVD's in order to see unavailable films is it only helps you, nobody else, but this forum is an improvement; it at least exposes others to the existence of the film titles and their availability through channels.

When you say you have "better films to watch than H & K," that's a personal and arbitrary decision -- as is any decision about what films are "better" to watch when in fact you have not yet seen them, though the choice to avoid gross youth comedies is hardly a foolish one; as you note, thouigh, items in low esteem among film buffs can turn out to be winners or personally appealing. This issue we've discussed in the "Guilty Pleasures" thread, and elsewhere. I personally like to explore genres, especially popular ones, and a diet of nothing but film buff movies would be stifling. I like popcorn. But what I like most is a rich diet ranging from H & K to Dumont or Tarr.

Re: copyright and rentals, my understanding is that there are or at least recently used to be lots of foreign language rental shops, mostly but not all Asian, in the Bay Area that rent "illegal" copies of foreign films, but I guess they get away with it because they aren't violating US copyright. And what the prohibition of copying refers to is copying for sale or rental. They're not going to jail you or fine you $250,000 for copying a DVD to look at at home. I have found copies of foreign PAL format videos at other shops very helpful in the past to see a film unreleased on video here.

Down with Love didn't succeed with me except for its excellent art direction and look. The casting was less than ideal and the whole pastiche failed to come off.

[arsaib4]

I spoke to a corporate lawyer around the time when Miramax was truly going after people selling 'HERO', a film they own exclusively in the U.S, and i was told that if they were to pursue some of the cases further they could've won easily. Miramax was sending letters to people's houses who administrate these countless asian sites and from listening to those people, they were scared shitless. It was funny to see one day about 100 people selling the film on EBay and the next day the page was almost empty. Me and Oscar can argue with any one till death whether that's right or wrong, whether it's fair for them to lock the films away after acquring them (with 'Hero' it took them almost 3 years, who knows how long it will take with foreign oscar nominee 'DE TWEELING' and the 6 hr italian drama 'THE BEST OF YOUTH' which if not anything else, is great television) but the fact remains that the law was on their side.

I am no expert on Copyright laws either but i do know that most foreign dvd's (especially european) are owned by the same damn studios, if it's not Fox europa then it's Vivendi-Universal; that's why when Oscar mentioned the way the whole world is under their grasp, it rings true. Having said that it is 'okay' to buy films from foreign sites for personal use but if they were to be distributed in any way shape or form then the copyright laws come in but it's still a very grey area, and most retailers don't want to be bothered.

[Chris Knipp]

When I first went to Scarecrow Video in Seattle some years ago they had a section of PAL videos you could rent and they rented VCR's to play them on, which I thought was great. I don't know what the situaton is in these little Asian video rental shops. You arouse my curiousity to know. Guerilla video renting? If monsters like Fox and Vivendi control all this, that's a motivation to subvert it. Where did you see "The Best of Youth"? Here's where I saw it http://www.ocf.berkeley.edu/~iisa/movies.html. They use a laptop to show DVD's on a big screen in a UC Berkeley lecture hall. Italian students put it on for free.

[arsaib4]

lecture hall, nice! and on top it was free so you can't do better than that.

I saw it first in Toronto last year but didn't really get to enjoy it, my mind was always on what else am i missing as this took almost the whole day. Then i was able to get the french 3 disc-set which has the french language track along with french subs (worked for me as my french is just okay) and appreciated it a little more. It's was nice to see an antidote to the more bland italian cinema available here thanks to miramax (thanks again to miramax) with the likes of 'Cinema Paradiso' to 'Malena'.

[Chris Knipp]

Rumor has it the Italian cinema is pretty bland these days over there as well. I'm not sure you can blame it all on MIramax. I'm going to be in Italy for a while this fall and I'll see if I can find any films with more of an edge to them. The UC showing was broken into two segments a week apart which were shown with Italian subtitles for the hearing impaired which help me the same way French ones would help you, only better, because after all, the subtitles were pretty close to the spoken lines (though not exactly--they simplify or use more standard expressions sometimes), and I've been working to tone up my Italian for the past two years.

Did you see Garrone's L'Imbalsamatore? That was different. It had a limited release and showed at the Lumiere in San Francisco last October.
http://www.imdb.com/title/tt0322725/

[arsaib4]

No, i haven't this film, i do remember seeing a commerical of 'The Embalmer' and wasn't sure if it was spanish or italian but since it is available here i'll try to see it.

From what i've seen and heard, italian cinema actually has slightly reemerged in the last couple of years, not enough to call it a 'new wave' or anything but some new filmmakers from the south have energized the industry with their controversial subject matters as much as Berlosconi and the government wouldn't want to see that. And there's always the presence of Marco Bellochhio who's last two films (not seen here) L'ora de Religione and Biongiorno, Notte are on par with his earlier work. I plan to write about one of them soon. It seems like Bellocchio is back doing what he does best, attacking the beaucracy of state and church that exists in his country, kind of things not too appealing to a larger audience.

The other film i got a chance to see at the italian rendezvous in NY was Sergio Castellitto's Non Ti Muovere with a brilliant performance from Penelope Cruz and Castellitto himself.

[Chris Knipp]

Great. I'm glad to hear that and hope some more work by these new directors will be on view when I'm in Italy. So you saw all these at the Italian Film festival in New York? Are you permanently located there? When is that festival? I saw L'ora di religione in Italy. I did not think it would make sense to an American audience. Castellitto is a good, versatile actor; I didn't know he had directed films; I'm surpprised Penelope Cruz is capable of a great performance. You see, there's a lot I don't know.

[arsaib4]

Among the films i mentioned earlier only 'Non ti Muovere' i saw at the festival, i think it was called 'Open reads:New Italian Cinema' which took place in June. I was surprised first of all to see Penelope Cruz in an italian film but it was tough role and she did a fine job portraying a trouble young woman.

'L'ora Di Religione' is seemingly a rare commodity on dvd in italy also, i was lucky to get a hold of a copy with subtitles, as i mentioned i really liked this film and Castellitto as you mentioned is one of very few recognizable italian actors around.

The only other film i saw in NY was Sergio Rubino's 'L' Amore Ritora' with Giovanna Mezzogiorno (i'm almost willing to see anything with her in it), a somewhat disappointing fellini-esque metaphysical love story.

Have you seen anything else from italy recently?

[Chris Knipp]

Only a PAL DVD of Casomai (Alessandro D'Alatri) with the one you love, the soulful Giovanna Mezzogiorno http://www.imdb.com/title/tt0319147/ which I viewed on my pc. It's another somewhat bland Berlusconi-era romantic saga with a message: trust your heart and your marriage will last. The acting is fine but it has been compared to a couple of "Friends" episodes -- telenovela stuff -- and I didn't think it was as skillfully done as Muccino's Last Kiss, which is so superficial but so smoothly done and so energetic. I thought Muccino's first, Come te nessuno mai, sort of a prequel to L'ultimo bacio, about highschoolers trying to stage a Sixties-type school strike but really mainly just wanting to get laid (a "first kiss"), was his best and I think some Italians agree with me. Casomai was a loan from one of the students who put on the UC campus series. http://www.ocf.berkeley.edu/~iisa/movies.html

I looked up reactions to L'ora di religione on FilmUp--it seems to be the IMDb of Italy--and saw that views were very mixed on it, there being af number of viewers uncomfortable with the fantastic nature of the plot.

Will they have another series like that in NYC? Where do you live if I may ask?

[arsaib4]

I'll try to find more about CASOMAI, as i didn't see that film listed under her name, may be it was guest appearance or something similar.

I feel the same way about L'ULTIMO BACIO as you do, it's superficial elements were overshadowed by some fine performances (a very believable one by giovanna) and it's brisk pace. Although i haven't seen the 'prequel' i have seen the sequel if one can call that, RICORDATI DI ME (Remember me) with Laura Morante, Fabrizio Bentivoglio and Monica Bellucci. It seems like some of the characters from Muccino's earlier films have grown up, gotten married, had kids, but they still long for the early love of their life. Ricordati di me recently got a U.S distributer.

I am not surprised by the reaction to L'ORA DI RELIGIONE, typical reaction for a Bellocchio film. It's definetly not his most subtle but he surely gets the point across.

The Open roads:New italian Cinema series has been going on for about 4 years now, thanks to Walter Reade, Italian Society and Film Comment organizers. This is the first time I went, most of the screening were sold out which was good to see, it usually takes place in the first week of June. I don't live in the city but i am not far away from it.

[Chris Knipp]

I should have mentioned Ricordati di me, shown in the UC campus Italian student series. I found it tacky; it was like Muccino peaked technically in Last Kiss, but was most authentic in Io come te nessuno mai.

I was completely off in identifying Giovanna with Casomai; it's Stefania Rocca. I was thinking of Facing Windows, La finestra di fronte, which she's in, and which I consider a piece of fluff. That has been showing in this country, I saw in in NYC in June and it's coming here to the Bay Area shortly I think. Sorry for my mistake. Maybe I should try to come to NYC next time the Open roads:New italian Cinema series is on. I love New York and want to spend more time there.

[arsaib4]

yeah, RICORDATI DI ME wasn't much but i was surprised Miramax didn't go for it as this material is right up their alley. By the way, according to imdb, the company has laid off quite a few people recently due to some of the losses they've suffered (cold mountain any one!).

No problem, Stefania Rocca has been in many italian films recently working with just about everyone. I went with my girlfirend to see LA FINOSTRA DI FRONTE so i can't say anything bad about it, sorry, hell i couldn't even truly appeciate Giovanna while watching it.

Definetely check out the italian rendezvous if you get the time next year. Besides that there is alway a french and a spanish film series every year at the same place also. Sad part is while the screenings are partly organized by their original distributers so the films get picked up for the U.S, most of them still don't and this opportunity becomes the sole one to watch them with subtitles.

[oscar jubis]

I've been following your discussion with interest. I have visited Italy several times and continue to watch every Italian movie I come across, Finestra being the last one to play here. I cannot say I don't enjoy modern Italian cinema, but I've only been impressed by two Italian films during the past decade: Palme d'Or winner The Son's Room and Amelio's Lamerica. I will continue to watch them but I cannot say I'll walk into the theatre with high expectations. Same applies to German movies.

[arsaib4]

Most of the films me and Chris discussed earlier fall into the same category, barely watchable. As i mentioned i was impressed by Bellocchio's L'ORA DI RELIGIONE and do hope that Wellspring releases his latest BIONGIORNO,NOTTE (Good Morning, Night) soon as this is the best italian film i've seen in many years. Olmi's IL MESTIERE DELLE ARMI was impressive but then you have to go back almost a decade to come with anything decent like Amelio's IL LADRO DI BAMBINI.

The only german film i saw and liked recently was Hans Schmid's LICHTER which i tracked down after reading about it in filmcomment. IFC FILMS do have the rights to the german film which played at Cannes this year called THE EDUCATORS.

[Chris Knipp]

What about Miami? They have a Miami Italian Film Festival - Italian Cinema Today (actually at Coral Gables?) listed coming October 12, 2004 http://www.italianfilmfestival.org/intro.html with titles coming from the Venice festival.

The most interesting thing said here was
From what i've seen and heard, italian cinema actually has slightly reemerged in the last couple of years, not enough to call it a 'new wave' or anything but some new filmmakers from the south have energized the industry with their controversial subject matters as much as Berlusconi and the government wouldn't want to see that.

The site for the Open Roads festival this June [http://www.filmlinc.com/archive/programs/6-2002/italy/italy.htm]includes this:
This year’s selection features three works by Neapolitan directors, further evidence of the rise of a new kind of regionalism in the Italian cinema. LUNA ROSSA (Antonio Capuano) and CHIMERA (Pappi Corsicato) are among the most visually distinctive films in the series, mixing a stylized, at times almost theatricalized atmosphere with stories that unexpectedly seem to shift realities. The third Neapolitan film, Paolo Sorrentino’s ONE MAN UP is perhaps less obviously stylized visually, yet its account of the intertwined lives of a soccer player and lounge singer sharing the same name gradually reveals a world in which invisible forces seem to prod characters towards their destinies. Several of the films — WINTER, SANTA MARADONA, DAYS and our opening feature, THE LAST KISS — imagine complex romantic and sexual relationships that offer provocative portraits of the current-day battle of the sexes, while the Neorealist tradition is refreshed and updated in Vincenzo Marra’s acclaimed debut feature SAILING HOME.

[arsaib4]

My fault, i should've posted the link earlier for this year's event.
For the most recent lineup, here's the link:

http://www.filmlinc.com/wrt/programs/6-2004/italy04.htm

[Chris Knipp]

Thanks. I find links can be a big help. Makes it concrete.