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"This is art concealing art. On the face of it, the film is a gentle satire of French bourgeois life on holiday. There is no story, just Hulot (Jacques Tati himself) drifting innocently through a holiday resort, leaving a trail of confusion behind him. The gags are wonderful, apparently effortless, the situations natural. In reality, the film is the extraordinary creation of a man obsessed with perfection. Each move, each image was planned in detail by Tati until the gags were immaculate; the tennis ball that bounces off the head of the serious little girl curtsying to her elders, the paint pot that floats out to sea, then back on the opposite side of the beached fishing boat; everything apparently natural, everything the product of intense creativity."

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A Clockwork Orange (1971)
A Clockwork Orange (1971)
1971 | Crime, Sci-Fi

"Because of Malcolm McDowell I’m gonna go into A Clockwork Orange, because that was the other great teenage performance, along with James Dean in East of Eden. Stanley Kubrick’s treatment of the subject of violence and the mystery of nature and to go against out natures and what is or isn’t necessary, and what is the true evil, and all of these questions that came out of the absurdist and evocative film that is Clockwork Orange, again, is everlasting. And also his lighting: even today when you look at some of the stills from the movie, when they’re in the Milk Bar, it looks like virtual reality and I don’t know how he did it — he was really a master of light."

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