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J.A. Bayona recommended The Executioner (1970) in Movies (curated)

 
The Executioner (1970)
The Executioner (1970)
1970 | Action, Mystery
3.0 (1 Ratings)
Movie Favorite

"I wanted to mention a Spanish film because I’m Spanish. Criterion just released — I think this week — they just released The Executioner. Not many people know that film but it’s been considered the best Spanish movie ever. It’s black and white, it was made in 1963, and it’s a black comedy about the death penalty. It’s about this guy who falls in love with the daughter of an executioner and how, somehow — we find one thing: that he’s becoming more into the position of the father of his girlfriend, and eventually he becomes an executioner. That was shown during the Franco regime under a cruel, ferocious censorship regime. It’s as funny as depressing. It’s a very unique film, and it’s considered probably one of the more important Spanish films ever."

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The Craggus (360 KP) rated BlacKkKlansman (2018) in Movies

Sep 12, 2018  
BlacKkKlansman (2018)
BlacKkKlansman (2018)
2018 | Biography, Comedy, Crime
8
8.1 (47 Ratings)
Movie Rating Watch
Spike Lee uses black comedy to showcase white horror in all its grotesquerie. BlacKkKlansman (2018) #Review
There’s a deep-rooted discomfort at the heart of “BlacKkKlansman” and it’s the fact that instead of being a historical, true story poking cautionary fun at the ignorance of the past, it instead feels like a howl of furious irony at the recidivism of modern-day America. FULL REVIEW: http://bit.ly/CraggusBlacKkKlansman
  
    Spectrum Photo Editor

    Spectrum Photo Editor

    Photo & Video and Entertainment

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    SPECTRUM is the ONLY app that automatically colorizes black and white photos in one click! Be the...

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Pawel Pawlikowski recommended Vivre sa vie : Film en douze tableaux [My Life to Live] (1962) in Movies (curated)

 
Vivre sa vie : Film en douze tableaux [My Life to Live] (1962)
Vivre sa vie : Film en douze tableaux [My Life to Live] (1962)
1962 | Drama
10.0 (1 Ratings)
Movie Favorite

"I love both equally. In Pierrot le fou it was the garish colors, footloose narrative, and moments of total ennui where nothing happens and Anna Karina suddenly breaks into song for no good reason. In Vivre sa vie it was the black-and-white photography, the off-center, often flat and seemingly accidental compositions, and the unexpected camera tracks. I loved the intimate connection between the camera and the actress, and the narrative jumps and philosophical digressions. It all gave you the sense that cinema is jazz and anything goes, as long as you get back into the beat and the key at the right time."

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