Which filmmakers are holy? I'd say Malick, Ozu, and

Li Fuk

Jacque Tati

>>85751330
I can't feel like Malick is kind of a fucking hack

>>85751440
*help but

I was thinking about Brave New World and forgot to type

>>85751330
Well the pope if he ever made a film.
Else, none

>>85751473
it's The New World, and that's his best film, numbnuts

>>85751330
Tarkovsky

>>85751506
t. cathcuck

>>85751520
What's so bad about all his other films?

>>85751440
This condescending viewpoint explains the failures of the left in total.

Malick is on team spirit. He's escaping the transient "historical materialism" of short-sighted pigs like you. While you roll around in the dirt, slinging mud, reducing existence to something understandable to your pathetic, finite bodily circumstance, Malick is erupting out of history with his eyes on God, taking the brave leap that resentful, cynical pussies like you are too self-absorbed to even see as an option.

Malick is the most courageous artist alive. The soulless cowards criticizing his quest just don't realize the stakes.

>>85752480
This condescending viewpoint explains the failures of the left in total.

Zack Snyder is on team spirit. He's escaping the transient "historical materialism" of short-sighted pigs like you. While you roll around in the dirt, slinging mud, reducing existence to something understandable to your pathetic, finite bodily circumstance, Snyder is erupting out of history with his eyes on Superman, taking the brave leap that resentful, cynical pussies like you are too self-absorbed to even see as an option.

Snyder is the most courageous artist alive. The soulless cowards criticizing his quest just don't realize the stakes.

>>85752523
Snyder is a hack.

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Does ascended count as a religion?

>>85752480
>>85752523
The main theme of Malick's films on spiritual dematerialism is not eschatological, but a phenomenological ontology. Thus he implies that we have to choose between predialectic construction and deconstructivist neodialectic theory, essentially Heideggerian as seen in the concept of Dasein. The subject is interpolated then into a cinematic dematerialism that includes spirituality as a whole. But if the Kierkegaardian worldview holds, we have to choose between the cultural paradigm of expression and atomism. In Malick's own "The Concept of Horizon in Husserl and Heidegger" he says that "dread marks the ‘collapse of the world’”. Inherent in this is how the function of Lebenswelt (translated by Malick as "world of life") operates in all his films, chiefly in Days of Heaven and The Tree of Life. We see a phenomenological approach to the world showing a cinematic logic that presupposes a strucutral constraint in rootedness, another intentionality central to his filmography and philosophy. Because "metaphysical comfort" is not an object of temporality per se, but rather an aspect of automatic condition, as suggested by Cavell. Hermeneutic interpretations are also apparent in his post-hiatus movies; in fact the interchangeable subjectivities are but another representation of Husserl's and Wittgenstein's "form of life". As his academic hero Heidegger succintly noted, "freedom is the ‘abyss’ of Dasein, its groundless or absent ground". This is essentially the thesis operating in Malick's films.

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>>85752480
>Malick is the most courageous artist alive

>>85754424
*hand hold camera makes floaty movements around two people interacting*

Anno

Antonioni

Anthony Fantano