Only God Forgives (2013)

[Ajant23]

Čekaj, Sludge, zar i ti voliš Refn, zar je postao toliki mainstrem ili je 3opqe uveo kreativne banove, pa te naterao da ga zavoliš?

[*edited by mod]

Ja gledao juce u Sava Centru. Jebem li ga ne znam sa da mislim osim da mi je prvi utisak bio da je Nikolas posle snimanja Drajva rekao Rajanu "Brate, pa ti si do jaja lik, ajde da odemo na Tajland. Sad cu ja na brzinu da smutim malo Jodorovskog i malo Drive i idemo da se zezamo na plazi i jurimo kurve."Da ne spojlujem previse Ryan je u filmu totalni edipovac, CST je fenomenalna a sto se tice Tajlandjanina jos mi se nisu slegli utisci sto se njega tice ide mi i i tamo i vamo.Nego ko sledeci odgleda neka mi pojasni crveno-plavo simboliku koja mi nije bas najjasnija.

[Sludge Factory]

Kojim povodom je to bilo u Sava Centru? vidim da na imdb-u pise

Serbia 15 June 2013 (Belgrade Blockbuster Review)

Da li ce ici u distribuciju ili je to samo nesto jednokratno?

[kim_philby]

Ja gledao juce u Sava Centru. Jebem li ga ne znam sa da mislim osim da mi je prvi utisak bio da je Nikolas posle snimanja Drajva rekao Rajanu "Brate, pa ti si do jaja lik, ajde da odemo na Tajland. Sad cu ja na brzinu da smutim malo Jodorovskog i malo Drive i idemo da se zezamo na plazi i jurimo kurve."Da ne spojlujem previse Ryan je u filmu totalni edipovac, CST je fenomenalna a sto se tice Tajlandjanina jos mi se nisu slegli utisci sto se njega tice ide mi i i tamo i vamo.Nego ko sledeci odgleda neka mi pojasni crveno-plavo simboliku koja mi nije bas najjasnija.

refn je delomicno color-blind. pojedine boje su mu prenaglasene dok su druge prigusene. to bilo banalno objasnjenje.o filmu vise za par dana. inace ogf ide u bioskopsku distribuciju od 27. juna.edit: inace da, dobro poredjenje sa zodorovskim. tu dodaj malo into the void gaspara noea i to bilo to.Sent from Bender's iPad using Tapatalk Edited June 18, 2013 by kim_philby

[*edited by mod]

Kojim povodom je to bilo u Sava Centru? vidim da na imdb-u piseDa li ce ici u distribuciju ili je to samo nesto jednokratno?

od 14og pa do sutra je u SC neki novi festival letnjih hitova pa su stavili svasta nesto izmedju ostalog i OGF, WWZ (sto gledam veceras), novog Almodovara i remasterizovanu Kleopatru. Edited June 18, 2013 by pavllle

[Sludge Factory]

Hvala vam obojici za info!

[Sludge Factory]

Nicolas Winding Refn Might Make Tokyo-Set ‘Valhalla Rising’ SequelPosted on Friday, June 21st, 2013 by Germain LussierWhile most people know Nicolas Winding Refn for Bronson or Drive, sandwiched in-between the two was a film called Valhalla Rising. It follows a mute, imprisoned warrior in 1000 AD named One-Eye (Casino Royale‘s Mads Mikkelsen) who breaks out of prison with the help of a young boy. Together, the pair board a Viking ship and end up in a mysterious land. Valhalla Rising got generally favorable reviews and remains something of a cult classic, despite being a dud at the domestic box office.Still, the film obviously holds a special place in the heart of the director. While out promoting his latest film, God Only Forgives, Winding Refn said he and Mikkelsen have talked about revisiting the One-Eye character in Tokyo-set pseudo sequel.Winding Refn revealed the news speaking to The Playlist. Here’s an excerpt:He revealed that project was a re-teaming with “Valhalla Rising” star Mads Mikkelsen, saying they had, “talked about revisiting the [One-Eye] character from ‘Valhalla Rising’ again to kind of complete… because there’s a similarity between ‘Valhalla Rising,’ ‘Drive’ and ‘Only God Forgives.’ But in a way I had this idea of Mads Mikklesen to go back to the origins of this character. But make the movie in Tokyo.”When asked how this could be a sequel, Refn cryptically said, “Tokyo is a world onto itself.” This didn’t seem to clear up exactly how One Eye could emerge from the early Viking era to modern day Tokyo, so when pressed, Refn teased that the film was, “About the future…”It all sounds very cryptic but the director had talked about making a Tokyo movie in the past. Read more at the above link.

[ruzajelic]

meni se nesto i ne svidja

[kim_philby]

meni se nesto i ne svidja

djizus! Novi clan! Sta mislis o Drajvu?

[Molder]

[3opge]

ујеботе пантелејемон, ово ће бити Херцог среће Куросаву а све обојено Фасбиндером

[Sludge Factory]

Nicolas Winding Refn: I am a pornographerDanish director Nicolas Winding Refn's follow-up to the darkly stylish Drive is the even more violent Only God Forgives. Is he revelling in sexual brutality?Andrew AnthonyThe Observer, Saturday 13 July 2013 23.00 BS"So," asks Nicolas Winding Refn, as we sit down for lunch in a swish new place in King's Cross, London, "what was the first reaction you had to my film? What was the first thought that went through your mind?"Not only is this a reversal of the traditional interview roles, it's also a tricky question. The film under review is Only God Forgives, the follow-up to Refn's critically acclaimed and commercially successful Drive. Imagine a Quentin Tarantino homage to oriental slasher movies but directed by David Lynch at his most elliptical and unsettling, and you might get some idea of the strangeness of Only God Forgives. It features Ryan Gosling as a boxing promoter and drug dealer with impotence issues, Kristin Scott Thomas as his blond, American psycho-mother, and some of the most horrific torture scenes committed to a cinema-release film.Like Drive, Only God Forgives is not exactly overburdened with dialogue and, like the earlier film, it also takes an unblinking approach to violence. But that's where the comparisons come to an end. Drive was an existential hymn to urban alienation LA-style, a film about a rootless getaway driver, directed by a man who doesn't drive. Only God Forgives is set in the seedier areas of Bangkok and what it lacks in plot, it makes up for in blood.Unlike Drive, which won him the 2011 best director award at Cannes, Only God Forgives was booed at the festival screening and, in many quarters, critically savaged. Sight & Sound designated it the worst film shown at Cannes. And even Scott Thomas admitted that it was the type of film that she found impossible to watch.What then was my first reaction? I thought it was pretentious, slow, repetitive, sickeningly violent and absurd. But I don't tell Refn any of that for several reasons. Obviously it would be a bit of conversation stopper, and more than a little rude. The key reason, though, is that I had a similarly negative reaction to an earlier Refn film, Bronson, yet found that images from it kept revisiting me unbidden for weeks afterwards.So, while I have some sympathy with the critic for Hollywood Elsewhere, who said: "I felt violated, shat upon, sedated, narcotised, appalled and bored stiff", I also have respect for the Guardian's Peter Bradshaw, whose five-star review declared that Only God Forgives was "emotionally breathtaking, aesthetically brilliant". Thus I tell Refn that it left me in a state of confusion.He seems satisfied with this response, although he claims he's unbothered by harsh criticism. "People have called me everything," he says with what turns out to be characteristic overstatement. "Every word in the dictionary I've been called at one point or another."His manner is languorous, teasing, almost camp. He speaks English with an Americanised drawl in which he tends to stretch vowels to a point that perhaps only Loyd Grossman has previously reached."I wanted to drop the atomic baawwmb on society," he tells me, in reference to his youthful artistic nihilism. But for all the extremity of his language, there's nothing macho or intimidating about his presence. He's not one of those directors like, say, Ridley Scott or Abel Ferrara, who bristle with a threatening sense of self.When I initially meet Refn, he is being photographed in a darkly atmospheric boxing gym a few minutes' walk from the Observer offices. It's not the only time he's adopted a pugilistic pose for promotional purposes. Given his track record of cinematic brutality, it's an obvious visual reference. But it also remains a striking irony, because the first thing you notice about Refn is that he's a bit of a wuss, in the nicest possible way.A few minutes into our chat, he tells me how much he loves Sylvanian Families, the tiny plastic anthropomorphic animal dolls beloved by young children. "Denmark is like a Sylvanian world, but one thing it breeds is malady. The malady is generally in good taste. Opinions are correct. That is the chief enemy of creativity."His personal war on good taste began precociously early. As a child he had dyslexia and didn't learn to read until he was 13. Instead, he immersed himself in film, but not the European arthouse cinema his parents worked in. His mother was a cinematographer and his father a leading film editor in Denmark. When they split, his mother moved to New York, where Refn lived between the ages of eight and 17. It was in America that he saw The Texas Chain Saw Massacre."The only thing that would really make my mother angry would be if I liked horror movies or violence or Ronald Reagan," he recalls. "And very violent films were a way for me to rebel. You have to rebel against your parents."But it was a very Scandinavian rebellion, because his parents remained utterly supportive, financing his first video efforts. In his early 20s, he turned down a place at the Danish film school to make his debut feature, Pusher, a gritty drama that brought a documentary-style immediacy to the Copenhagen drug scene.This was back in 1995, the year that the film-makers Lars von Trier and Thomas Vinterberg produced their Dogme manifesto that argued for a rejection of special effects and a return to naturalism. Although the film wasn't released until 1996, Mads Mikkelsen, who launched his career in Pusher, insists that it influenced von Trier and Vinterberg."The whole Dogme concept was inspired by Pusher, even though they will never admit it," Mikkelsen has said.Refn claims to have had nothing to do with the Dogme gang, because they were film school and he was a genuine independent. But he retains a spiky rivalry with Von Trier, whom he likes to wind up at every opportunity. He has been known to read out their text messages on Danish television – in one Von Trier said that Refn would stab him in the back and take his crown. When Von Trier ran into trouble at Cannes a couple of years back for jokingly suggesting that he "understood" Hitler, Refn couldn't resist joining in."Everyone asked me about it and I said, 'Of course he's a Nazi. I'm horrified. How can he say things like that?' I even found a poster of The Boys from Brazil, framed it and sent it to him."All the same, he maintains that his taunting of Von Trier is a sign of respect. " I say all those things out of admiration for him as well. Because I think he's an incredible force of nature and inspiring to be around. Danish culture because of socialism and our mindset, everything is generally in good taste, except Lars. That's what I like about him."Denmark has become rather fashionable of late, partly due to the success of TV programmes such as The Killing and Borgen. But Refn has mixed feelings about his homeland. He pays homage to its magnificently efficient welfare system, its excellent state schools and hospitals. "It has all those great things which from a family and moral standpoint make it one of the best places to live in the world. But not the best creatively. It's very claustrophobic."He speaks a lot about the disjunction between his moral needs and his aesthetic tastes. At one stage he even suggests that he has "got a lot more conservative about violent entertainment since having children". When I say that this new conservatism hadn't appeared to cramp his style in Only God Forgives – where a scene of limb amputation is a long way from the most stomach-churning – he concedes the point, but argues that his moral self exercises little control over his aesthetic choices."It's like pornography. I'm a pornographer. I make films about what arouses me. What I want to see. Very rarely to understand why I want to see it and I've learned not to become obsessed with that part of it."It's not an answer that is likely to satisfy those critics who saw an almost misogynistic glee in the sexual brutality visited on women. Not only does Refn vacate moral responsibility for the grisly scenes he depicts, but he also compares himself to a pornographer.There's a kind of provocative flippancy in some of his replies, a punkish temptation to shock; but there's also a disarming candour, a willingness to look at himself critically. He says that experience has taught him humility. After Pusher and the equally well received Bleeder, Refn could do no wrong in Denmark. So he moved to Los Angeles to crack Hollywood.Working with the novelist Hubert Selby on a screenplay, he developed Fear X over several years and at great personal expense. But the film flopped, leaving him with large personal debts and his production company bankrupt."It was a massive failure," he says, "which still haunts me to this day because it was a failure on all levels: financially, commercially, artistically, creatively, personally." He had no choice but to return to Denmark where he made two sequels to Pusher.Pusher II was semi-autobiographical insofar as Mads Mikkelsen played a film nerd. Originally Mikkelsen's character was a bit of a cool dude, but Mikkelsen complained that it was nothing like Refn. "I had to talk to him," Mikkelsen has joked, "and say, 'Listen Nic, you're not that cool. We have to take that out.'"He managed to make enough money out of the Pusher trilogy to pay off his debts, but it also involved him turning to hack work. He even directed an episode of Miss Marple, whose genteel pleasures one struggles to reconcile with, for example, the interaction of an eyeball and a meat skewer in Only God Forgives."Extremely degrading", is how Refn recalls the experience. "But it was the best thing that ever happened to me. I got slapped around and I needed to be slapped around. Knock some sense into me. Because I realised that you can't walk on water and vanity and ego are more destructive than drugs."He says it was the transformation wrought by his failure with Fear X that made him decide to direct Bronson, a film about the long-term violent prisoner Charles Bronson (real name Michael Peterson) as a kind of autobiography. On the face of it, there seems to be little personal or experiential overlap between a slightly effete Danish film-maker and a career-criminal hard man. But Refn could see the shared theme of salvation. Both men had to accept the fact that life had consequences. In Bronson's case – he was played by Tom Hardy in the film – repeatedly beating people up, meant solitary confinement. In Refn's, believing his own myth led to bankruptcy. "You cannot go through life without cause and effect," he says ruefully.It was Bronson that brought Refn to Gosling's attention. The actor was looking for a director for Drive and, impressed by Refn's work, he arranged a meeting. Unfortunately, Refn had flu and was feeling upset because he'd been unable to persuade Harrison Ford that his character should die in a thriller they were planning to work on.After an awkward dinner, Gosling drove Refn home in a tensely silent car journey. But then REO Speedwagon's I Can't Fight This Feeling Anymore came on the radio and Gosling began singing. Suddenly Refn announced that he knew how to make the film. Gosling had to be a taciturn loner.From that moment a collaborative friendship grew. Refn is reluctant to talk about it, presumably because he doesn't want to run the risk of saying anything that might jeopardise an important, as well as lucrative, relationship."We're very similar in many ways," he says. "We have shared values and understanding. We're both mama's boys. We both worship women as goddessses. We like electronic music."He says that he has worked with the three best actors in the world. "I went from Mads Mikkelsen to Tom Hardy to Ryan Gosling. Those are the three best male leads."He clearly elicits a strong sense of loyalty from the actors he works closely with. But I wonder if Gosling will stick around if Only God Forgives bombs and the reviews are less than favourable. Had he given Refn any feedback on the film?"Oh yeah," he drawls. "He likes these kinds of films. He likes this kind of cinema. And he's a very brave actor who makes very interesting choices. He goes against all conventions. I have a lot of affection for him."Refn also seems to have an affection for Kristin Scott Thomas and Carey Mulligan, both British actors who have appeared in his films. He calls Scott Thomas "KST". Cast against type, she's the best thing in Only God Forgives, delivering a performance that's both disturbing and darkly amusing. He didn't think she would be interested in the part, but then he flew to Paris and had dinner with her. "I very quickly realised that this woman has no problem turning on the bitch switch," he says, giving me a look as if to suggest he's pretty dexterous himself with that particular switch.As for Mulligan, who appeared opposite Gosling in Drive, he wants to cast her in a thriller or a horror film. "I think she needs to be slapped around a little bit," he says. "I don't mean physically, but mentally. She's up for it."Originally he was not interested in casting her in Drive, because he thought she "was a bit chubby, a bit fat. So I was like, why meet her?"Mulligan, a veritable waif, fat? What was he thinking? But he says he changed his mind after 10 seconds in her company. "First of all, she was extremely beautiful and petite and I realised she had what I was looking for, which is I want to protect her. That's what I have with Liv my wife, I want to protect. Drive is about a man who protects purity. Drive was about needing to show the love and devotion I have for my wife."Given that Drive is also about beating the shit out of people who threaten that "purity", it's perhaps a revealing statement. He's been with his wife for 17 years. She is, he says, the only girlfriend he's ever had. You get a sense of Refn as a man who uses film to act out his personal fantasies and fetishes. That gives his work a distinctive edge but it also leads to some weird places that are not always reconcilable with old-fashioned ideas such as narrative cohesion and character motivation. Never has that conflict been starker or more polarising than in Only God Forgives.The good news for the kind of Gosling fans that see the actor as some sort of feminist icon is that the next project Refn plans with him won't involve the slaughter or sexual exploitation of women. "We agreed, having done these films back to back, that what we need to do next is a comedy with a lot of talking."Refn doing a romcom. Now that might turn out to be the strangest of all his films.Only God Forgives is released on 2 August

[mlatko]

nisam gledao film, a posle par pročitanih recenzija ni ne nameravamnešto mi čudno da je ovaj Gosling iskren bio ovde u vezi Ramba i ostalog...http://www.bbc.co.uk/news/entertainment-arts-23319272

[Ravanelli]

a je l skupljate goslingove postere iz hupera?

[kim_philby]

a je l skupljate goslingove postere iz hupera?

bilo ih je? propustio sam. koji brojevi? imas ih na gajbi?