#paul thomas anderson
Women on the run.
Films in Frame - Persona, Potrait of the Lady on Fire, Licorice Pizza, The Worst Person in the World, Spencer, The Double Life of Veronique, Little Women, Frances Ha, Fleabag, Run Lola Run
Licorie Pizza X Punch Drunk Love
My Love For PTA knows no bounds.
Credits - cinema.unchained
Licorice Pizza(2021)
Directed by Paul Thomas Anderson
Cinematography by Michael Bauman & Paul Thomas Anderson
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The Women of Woodcock - Photography by Laura Hynd
edited by Sophie de Rakoff, 2017, August Editions, 120 pages, clothbound hardcover, signed.
A book companion to Paul Thomas Anderson’sPhantom Thread, focusing on the women that populate the fictional House of Woodcock and that surround Reynolds Woodcock.
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Penélope Cruz taking a picture of Steven Spielberg, Ariana DeBose, Paul Thomas Anderson, Denzel Washington,and Kenneth Branagh at the 94th Annual Oscars Nominees Luncheon at the Fairmont Century Plaza Hotel in Los Angeles, March 7, 2022.
photo by Sian Heder director of CODA
1. Stevenn Spielberg takes a picture with Penélope Cruz, Ariana DeBose, Paul Thomas Anderson, Denzel Washington, and Kenneth Branagh at the 94th Annual Oscars Nominees Luncheon at the Fairmont Century Plaza Hotel in Los Angeles, March 7, 2022.
2. Steven Spielberg and Paul Thomas Anderson sharing stories at the luncheon.
Film Hype #277.
When P.I. Doc Sportello’s ex-old lady shows up with a story about her current billionaire land developer boyfriend and a plot by his wife and her boyfriend to kidnap that billionaire and throw him in a looney bin… well, easy for her to say.
It’s the tail end of the ‘60s, paranoia is running the day and Doc knows that “love” is one of those words going around, like “trip” or “groovy,” that’s way too overused—except this one usually leads to trouble.
With a cast of characters that includes surfers, hustlers, dopers and rockers, a murderous loan shark, LAPD Detectives, a tenor sax player working undercover and a mysterious entity known as the Golden Fang, which may only be a tax dodge set up by some dentists…
Part surf noir, part psychedelic romp — all Thomas Pynchon.
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I want you to see that my reasons for doing this are not selfish, only this: I’d hope that you would do the same for me.
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Contrast and Comparison. Robert Altman and Paul Thomas Anderson. Just watched a great doc on the former titled simply ‘Altman’. The minute I saw footage of Shortcuts finale I realized I had to do a C&C on these two masters. PTA is indebted to Altman in so many ways. I recommend checking all these flicks in pairs to check the earmarks PTA’s drawing from. PTA is following Altman’s film oeuvre like a roadmap of what to try next. Pretty excited to see what he’ll draw from next. Already they’ve both spent time deconstructing Western and Noir tropes, dabbling at and failing to break into the mainstream crowd pleasing and lastly fine tuning the art of ensemble filmmaking. They don’t get much better than these two.
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Inherent Vice (2014)
Directed by Paul Thomas Anderson
Cinematography by Robert Elswit
“He’s technically Jewish but wants to be a Nazi.”
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1.Amour (Michael Haneke)
This masterful ode to death and dying is every bit as uncomfortable and unflinching as Michael Haneke’s sombre reputation suggests, but by adding a new found warmth to his repertoire, Amour is a film made remarkable in its simultaneously brutal and tender depiction of humanity.
2. The Master (Paul Thomas Anderson)
Paul Thomas Anderson’s latest opus offers, among other things, an intensive study of men who lead and men looking to be led in post-war America. This cerebral approach to character makes for fascinating cinema, and although its mysteries may ultimately evade, The Master is as breathless a film as one would expect from America’s greatest showman.
3.Tiny Furniture (Lena Dunham)
Building on the already solid foundations of mumblecore with the wit of Woody Allen, Lena Dunham’s painfully frank film about life after graduation is a thoroughly modern and disturbingly relatable examination of alienated youth and wasted talent.
4.Rust and Bone (Jacques Audiard)
Jacques Audiard’s exquisite take on melodrama observes the blossoming relationship between a security guard and a whale trainer in the wake of a career-ending tragedy, but instead of descending into mawkishness, Audiard’s well judged restraint grounds the film in some kind of reality, allowing the central romance to develop in an organic, unsentimental way.
5.The Innkeepers (Ti West)
By combining the twin terrors of ghost stories and existential crises, Ti West has found the perfect home for the thematic concerns of the mumblecore movement with a film that not only functions as A grade horror, but also as a terrifying parable for the modern youth.
6.Alps (Yorgos Lanthimos)
The Hitchcockian idea of using doppelgangers to help appease grief is an inherently sick one, and Lanthimos’ steady, distant observations of how the frailties of such a process begin to surface are, while elusive, as morbidly fascinating as they are troubling.
7. Once Upon A Time In Anatolia (Nuri Bilge Ceylan)
With its long, glacial takes, stunning photography and startlingly calm approach to narrative and character, Once Upon A Time In Anatolia offers an unusually lyrical, thematically rich take on the police procedural sub-genre.
8.Laurence Anyways (Xavier Dolan)
The epitome of a hot mess, Xavier Dolan’s vivid dissection of transsexuality, romance and heartbreak is a gorgeously presented, decade spanning emotional epic reminiscent of the work of Pedro Almodovar, and although it lacks control, its bombastic style is more than enough to sustain its ambition.
9.Sightseers (Ben Wheatley)
Taking cues from Badlands and the films of Mike Leigh, Ben Wheatley’s third film in as many years is an unabashedly violent, romantic and hilarious romp through the English countryside, blending horror and comedy to wonderful, if wholly British effect.
10.Holy Motors (Leos Carax)
Leos Carax’s brazenly opaque oddity almost didn’t make this list, with its absurd, often hideous images serving to baffle rather than engage. But, for better or for worse, Holy Motors has stayed with me more than any other film this year, and that surely has to mean something.
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NOTE:This list is based on UK release dates.
“I have not been this close to a person in a long time. I know the way home is short, and soon I’ll have to get off. But at this moment, I feel very warm”
Originally published by Little White Lies
Wong Kar-Wai’s 1995 film, Fallen Angels, was made at the height of his powers. Coming straight off the back of the draining shoot of martial arts epic Ashes of Time – the film that Kar-Wai famously placed on hiatus to write and shoot Chungking Express – and before Happy Together – the film that won him the Best Director Prize at Cannes in 1997 – Fallen Angels was the product of a filmmaker on a spectacular run of form. It remains one of his greatest achievements.
It would be fair to consider Fallen Angels a spiritual sequel to Chungking Express, as both feature interweaving storylines, many of the same thematic and visual cues and even shared locations. The reasons for these similarities become clear in the knowledge that Fallen Angels was originally set to be a third strand of Chungking Express, but was rejected as Kar-Wai thought it would work better as a standalone film – a decision that would prove a shrewd one.
In spite of these similarities, it’s the films’ differences that define them. This is where Fallen Angels really comes into its own as a unique entity in Kar-Wai’s body of work.
The first story chronicles the relationship between a hitman (Leon Lai) and his partner (Michelle Reis). Despite them never having met she has fallen in love with him, but all he wants to do is escape his life of crime. The second story centres on He Zhiwu (Takeshi Kaneshiro), a mute who breaks into shops at night, as he falls in love for the first time with Charlie (Charlie Yeung), a girl in love with another man.
Where each narrative strand in Chungking Express plays out separately, with only the occasional location or character to connect them, the two stories in Fallen Angels are told simultaneously in a fashion akin to Robert Altman’s Nashville, or Paul Thomas Anderson’s Magnolia. The way in which Kar-Wai manipulates the audience’s perspective of time creates the illusion that the characters could potentially be mere metres away from each other at all times.
This feeling is heightened by Christopher Doyle’s claustrophobic cinematography, utilising distorted fish-eye lenses and uncomfortable close-ups to make Hong Kong feel incredibly small and over-crowded. Of course, Doyle’s talents as a cinematographer range further than simply this, and his kinetic, neon-soaked visual style is apparent in Fallen Angels – particularly the film’s emotional climax on the back of a motorbike, delightfully scored by The Flying Pickets’ ‘Only You’.
But then this is where Kar-Wai has always excelled – his creation of scenes, and Fallen Angels is a film littered with standout moments; be it the devastating scene where He Zhiwu watches old home videos of his recently deceased father; the slow-motion, black-and-white scene where Zhiwu declares his love for Charlie through voiceover; or the electrically paced opening sequence as the hitman and his partner go to work. But Fallen Angels is more than just a collection of great scenes, and it’s to Kar-Wai’s credit that he can fit all of these moments into a 90-minute film and still have it make sense as a story.
In this sense, Fallen Angels is the quintessential Wong Kar-Wai film. It’s visually stunning and painfully romantic, and while it’s not his masterpiece – that accolade surely belongs to In The Mood For Love – it’s the boldest, most exciting declaration of his unique directorial vision.
I have a love in my life. It makes me stronger than anything you can imagine.
Punch-Drunk Love (2002) Dir. Paul Thomas Anderson
