List of the most popular hashtags for theme #ARTHOUSEFILM

. Barry Lyndon (1975) Director: Stanley Kubrick A tempered, lengthy statement on the futility of existence and the extent of human folly set against the most absurdly ostentatious visual constructions human beings ever built, Barry Lyndon is intentionally oppressive in its stately elegance, beautifully photographed and impeccably art-directed to underline the role narcissism plays in its title character's life. Every person in this is loathsome, the cast of characters comprised of selfish opportunists, agentless and faceless aristocrats, and money-hungry peasants willing to sell their family members off for coin. Kubrick has dealt with these topics before, but here he very clearly imbues a unique, active contempt for human beings in general throughout, mocking their pathetic attempts at achieving some semblance of success in an unknowable world, synecdochally utilizing one man's rise and fall to exemplify this phenomenon. It works on a different field than his other films, but it's certainly no less masterful.

. The Return (2003) Director: Andrey Zvyagintsev Andrey Zvyagintsev's very first feature shows him to already be a master of film craft, something which has since been reinforced by 2014's Leviathan and his latest “Loveless”. Although I am not sure the Tarkovsky comparisons are fully warranted, there is no denying that Zvyagintsev does know how to create suspense and tension through a well-executed script and careful attention to character development. Thinking back to Tarkovsky, he was famous for including the four elements in his films, sometimes all in the same shot (see Stalker or The Mirror, for examples); perhaps Zvyagintsev may have also tried this here (there is a tremendous amount of wind and rain plus campfires and at least one ditch being dug). The Return is a tremendously acted film, especially by Ivan Dobronravov, and one that was almost unbearable in its sense of foreboding threat. A sinister nail-biter, if you are in the mood, and a beautiful looking one to boot.

. Le Samouraï (2001) Director: Jean-Pierre Melville Le Samouraï is not a masterpiece because of its economical, and stylish construction, all traits that can ultimately be found in any dime-store noir; it's a masterpiece because of its underlying sadness, its portrayal of quiet pain, and its commitment to calculated anxiety. Alain Delon is perfect for this role, beautiful and mysterious and capable of communicating silent desperation with just intense stares and moments of silence, an unknowable and yet entirely universal embodiment of a human being cut off from human emotion. Like the world of the film itself, he is not passionate, cool and calculating out of necessity but hopeless and depressed and without purpose beyond duty. When the world turns against him, he gives in without hesitation, and the tragedy of his ultimate demise is remarkable, succinct, and poignant in a way that makes Le Samouraï one of the best of its genre.

Solaris (1972) - by Andrei Tarkovsky . . . . #tarkovsky #andreitarkovsky #andrejtarkowskij #андрейтарковский #russiancinema #arthouse #arthousefilm #cinematography #filmcommunity #filmfanatic #filmfan #cinemagram #cinephile #cinephilecommunity #artinfilms #artisticfilm #solaris #солярис #70smovies #фильм #Кино #filmstills #movieframes #moviestills #sovietfilm #sovietcinema #screencaps #scifi #scifimovies #sciencefiction

. Under the Skin (2013) Director: Jonathan Glazer Similar to Kubrick, Glazer wants to tell a story through imagery. There is nothing wrong with that choice. I like how the progression of Johannson's character plays with the sound mixing, where her compassion for and understanding of humanity is intertwined with the clarity of individual voices. In some moments, during her drives around the city of Glasgow, she is overwhelmed by the meticulous actions that humans take, progressing from quick cut clips of humans every few seconds to a cluster of actions layered on top of one another. For the most part, whether or not Glazer had let the imagery come from the story, the artsiness works. Pacing: not perfect, but I never felt bored. That may relate to when I began to put the pieces together, meaning that pacing favourability will not be close to universal. Human compassion has greater appeal than physical sexuality, but countless factors can prevent one from receiving compassion.

Blade Runner 2049 (2017) Dir: #DenisVilleneuve DoP: #RogerDeakins What I want to talk about in this post is whether Joi is actually real since it's something that's neglected. Obviously, K is real, he has memories and emotional ties to them, he's a fully fleshed-out person who just so happens to be in a replicant body. He wasn't technically born but he does have a soul, his origin is irrelevant to his 'humanity'. A lot of people extend that same mentality to Joi without a second thought. In my humble little opinion, Joi is the subliminal antithesis to K. She appears to be on the same coin but, in actuality, she's on a different one altogether. She can form memories, she can emote, speak, *express 'free will'*, she is just like K... except she's a product. A piece of equipment designed with one specific goal: to satisfy the user, completely tailored to the buyer. Luv always refers to Joi as a product, at the very beginning 'are you satisfied with our product?' and at the end when she destroys her mercilessly 'I do hope you're satisfied with our product'. Why would Luv, a replicant who was kept alive because she fought well, dismiss the sentience of another being whose reason for existing is nearly as shallow? The only answer that pops into my head is that Luv knows that Joi is nothing more than blank space and won't acknowledge her because of that. Joi is all programming, she says what the user wants to hear, there when the user needs her to be. K was built to be a Blade Runner, however, he has aspirations of his own, a goal or at least a greater purpose. Joi, on the other hand, is an empty shell for K to project his wants and needs. When K discovers that he could be the replicant child, the name that Joi comes up with is Joe, a name so generic and common that there's a term after it, 'the average joe'. Which hints to two things, K being a normal person—a regular average joe, in other words having a soul—and Joi being unable to think outside of her programming. This is confirmed and hammared home in the [second still], ad-Joi says blatantly to K 'you look like a good joe'. (CONT BELOW)

. Mulholland Dr. (2001) Director: David Lynch Though the story is straightforward, it is not told in the conventional fashion and it unfolds its layers with each viewing while resembling a beautiful dream/nightmare. It starts off with a dream sequence (that comprises the entire first half). Every single character is relevant, Lynch leaves subtle hints for the viewer to put together. The dialogues set the tone (humorous or intense or horrifying) and add to the characters. Naomi Watts completely nails her part with a nuanced performance of a tormented character. Laura Harring is sensational. Justin Theroux and Ann Miller are superb in their strong parts as well. The varied camera-work, the haunting score, the effective lighting and use of colour, the amazing art direction and special effects are all part of the stylish execution. Mulholland Drive resembles a detailed painting, one that is better understood with repeated viewing as more details are discovered.

“Death Laid an Egg” (1968), a giallo film directed by Giulio Questi, about a woman who seeks to kill both her lover and his wife, but conspires with both to kill the other. . . . . #ItalianFilm #ItalianCinema #DeathLaidanEgg #GiulioQuesti #Italy #Cinema #Film #CinemaStudies #FilmStudies #GraduateStudies #GradStudies #ConcordiaUniversity #Montreal #FilmArt #Arthouse #ArthouseCinema #ArthouseFilm

Le Fabuleux Destin d’Amélie Poulain (2001) - by Jean-Pierre Jeunet . . . . #lefabuleuxdestindameliepoulain #diefabelhafteweltderamelie #fabelhafteweltderamelie #amélie #amelie #ameliepoulain #améliepoulain #jeanpierrejeunet #audreytautou #filmcommunity #filmfanatic #filmfan #cinemagram #cinephile #cinematography #cinephilecommunity #frenchcinema #arthouse #arthousefilm #movieframes #screencaps #moviestills #moviestill #filmstills #filmstill #moviequotes #frenchmovie #фильм #cinema #filmfrançais