Before immersing myself again in the yugo mainstream cinema (hopefully) i remembered an interesting small documentary about the youth in the middle of the Yugo Wars, might be worth a check for some here. 1995's Vidimo Se U Čitulji or See You in the Obituary, translated in the west as "The Crime That Changed Serbia", is a half-hour video file of the rising Dizelaš phenomenon occurring in the balkans at the time, a "sub-culture" which was merely laborer-class teenagers and young adults who grew up in the dire economical crisis and disparity of the debt-ridden 80's Yugoslavia and who found themselves practically without a stable future when the happening happened and the yugo sphere started to kill each other. So, basically what the russians experienced in the post-USSR but without soldiers filling the crime ranks and with a bit more raw violence even without the proliferation of heavy weapons. Our team of journalists here, B92 (i think they were suicidal independent information seekers) try to interview some of the underground figures and try to patch what the hell is happening with Belgrade, but while trying to do so shenanigans ensue. To add a bit more more context the dizelaši turned into informal work, often petty, which sooner or later became crime, crime became closed-communities of associates which then became gangs and when the film was made the transition between gang and mafia organization started happening, problem is those countries already had mafias but they were either fighting as volunteers/mercenaries in the war or were trying to expand/escape into sideline activities in the Adriatic... or so the youths thought. Either way these young and wild but naive kids started living in excess and playful showings which ended in getting killed all the time: You see at this point, like in the famous Castellammarese War of the NY italian families, every man was a hitman in potential and the only way to avoid getting lead was hiding perpetually in holes or highland. But the flesh is weak and these dudes needed to drink cheap rakija, play arcade games and drive fast cars, which sometimes ended up in their demise when somebody searching ultimately found them; only those deemed worthy or honorable enough survived, that is until you banged the wrong girl. The documentary doesn't go that deep into the origins, that was just a quick explanation, but it does focus on the hilarious attitude many of these dudes had in contrast with the horrible war, hitmen roaming the city to score points and the infamous government security squads, the Red Berets, made of hardened military-trained cops and technically co-founded by a former mafia hitman-turned-caudillo, the great Arkan. This unit would later on be in waters just as hot as the dizelaši because of their ambiguity when their top ranks were found guilty of hitting the Prime Minister himself in 2003, that's how tough they were. Anyways, we see the youth supposedly getting their drug connections "from somewhere" (tip: the entirety of Eastern Europe) and being reckless assassins with no honor (hence the prevalence of their volatile lives) some of those who live enough, according to the images, seem to spend it all on german imports: These dudes dress in full Adidas attire, listen to House records, eat only Kinder chocolates, drive used Mercedes and they all want to buy BMW Alpines and AMG-tuned MC Benz; the Ultimate Krautboos. The most memorable part of this whole thing is a group of interviewees wanting to exert a bit of dominance to the opposing gang, so they all go up to one of their leaders' apartments and start posing/squatting for a photo in front of his prized Porsche 911 Carrera badly parked outside, heavily emasculating him in the process and adding an utmost shamefur dispray to the front page of some magazine. This led to the hilarious situation our investigation team suffered later on some of the interviewees started to get contract killed soon in the middle of the production run and its post-development, including some not even in that segment, and everyone with a camera was frowned upon and few were left to promote the movie with the directors This video also features a trademark narration seen in some movies from the area/era: The srs bns balkan female narrator, seemingly conventional but adds tons of presence over time, the amusing horror film Davitelj protiv Davitelja also included this to great effect along with other minor pieces. Think of the 70's stoic neutral japanese male narrator that appears in some japanese documentaries and movies. The famous Kocayne YT user uploaded this cool period piece along with his war-era turbo folk videos, a little window more to understand what kind of hell the balkans were living at the moment and that ultimately led to one of the directors/writers to become a monastery monk. Kocayne got taken down for hate speech but many videos got reuploaded again, so here they go in a friendly YT bypasser. >http://www.viewpure.com/porschesquattinggonewrong Wish this was 3 hours long, morbidly

>>709 First season is good, the rest is shit.

Sixty-two Films That Shaped the Art of Documentary Filmmaking https://www.newyorker.com/culture/the-front-row/sixty-two-films-that-shaped-the-art-of-documentary-filmmaking http://archive.is/rq18D Godard fanboi Richard Brody has become extremely annoying with recent writings that champion not just contemporary wokester cinema but even corporate capeshit. This list was potentially redemptive with plenty of fresh documentary recommendations mixed with some lesser-known favorites of mine. But on closer inspection the new titles aren't quite as interesting as they first appeared; many seem to be chosen for their shitlib idpol value. At any rate here's his list: “Salt for Svanetia” (1930, Mikhail Kalatozov) “The Forgotten Frontier” (1931, Marvin Breckinridge) “Enthusiasm” (1930, Dziga Vertov) “The City” (1939, Ralph Steiner and Willard Van Dyke) “Let There Be Light” (1946, John Huston) “Farrebique” (1946, Georges Rouquier) “Strange Victory” (1948, Leo Hurwitz) “Night and Fog” (1955, Alain Resnais) “Chronicle of a Summer” (1960, Jean Rouch and Edgar Morin)

>>802 I salute to those who have the stomach for sorting through all that poison.

>>802 I tried one that wasn't on the torrent sites >“With Babies and Banners” (1979, Lorraine Gray) https://www.youtube.com/watch?v=pa75V-tdBko After 20 minutes it's a fairly dull recollection of a 1936 UAW strike in Flint. So far there's no reason to watch it unless you're particularly interested in the history of the US labor movement. Perhaps it picks up steam eventually, but Harlan County USA is a vastly superior documentary on the same general topic. >“The Lenny Bruce Performance Film” (1967, John Magnuson) I haven't seen this, but it's highly questionable nonetheless. Who cares about Lenny Bruce anymore? I can't name a single comedian who cites him as a major influence. Usually he's mentioned -- very briefly -- in dismissive terms because his act doesn't hold up.

>>779 At the end of the day we just need to show people that /film/ is still around and active. Some people would come back. You can still see anons discovering the webring after the fall of 8ch now.

We might get a trickle of traffic from 8kun but that board keeps rolling back to August 17. I have tried several times to get the catalog to properly update over there, but it never sticks for more than a few hours.

>>785 Yeah, saw that bug a couple of weeks ago, the first page doesn't update either. It also deletes some newer posts unless there's a couple of mods checking every new post in a bunch of boards. That boat is pretty damn shaky.

>>785 8coom is dead, what possible use do we have of it?

>>804 I check threads for reference sometime. Now the stupid site error makes it possible the board will get deleted sometime because all posting has stopped.

>>792 I wanted content from Arte so I found this program to easily download online programming from several French television stations https://captvty.fr/ Similar for Germany https://mediathekview.de/download/

Let's see what they're discussing at Filmboards

Can anyone recommend a lightweight video editor? Adobe Premiere is probably a huge program at this point and pirating Adobe is kind of a pain (the program may stop working eventually). I've also heard good things about Sony Vegas (for effects) but I never tried it. Really I just need to do basic cut + splice, work with audio, save as mp4 in a nice interface. Thanks.

>>797 Why is Premiere a huge problem?

>>796 Kinda off-topic but that kind of whipping irony made me remember that i was seeding that christian samurai movie, Shiro Tokisada, and after getting a good internet speed upgrade it seems i've shared it 85 times. There's been 85 people downloading an obscure title from a second-tier (in terms of popularity) director from Japan, which is a must-see country in terms of cinema but still an unorthodox choice for the mainstream, especially when the movie isn't from a popular stylistic wave: It is neither a femboy sitcom, nor a chanbara, nor a schoolgirl slasher, nor a surrealistic trip but it is a pessimistic/nihilistic protagonist journey but situated in a non-urban era and made 60 years ago. Taking into account many people download to archive and see later (my case) and that i'm not the only one seeding nor is it the only source available, let's suppose 50 watched that movie downright in the last 3 months. Checking sites it seems only two persons have commented on that in the time span, who said it was good to great, and another in a shill site (who seems to be ranked as a top critic) scoring it as mediocre at best. That makes me wonder, are the vast majority of niche film enthusiasts silent? i can understand most people not watching that kind of movies but i still find the number considerable enough to be more actual discussion or a group leaving some kind of collective feedback. One even mentioned that the view source was YT so the number is potentially higher. Just rambling about, it's one of the first real tacit examples, from my point of view, where i could see the proportions of action men vs. silent masses even when the example itself is a bit inconsequential. >>797 Everyone seems to be using DaVinci Resolve, i tried it once and it is better than Premiere in UI experience but nothing "lightweight" about it. I think one year ago i tried to search for the same thing, basic cut, audio levels and simple export. I don't recall finding a good alternative but i never went big into it as i had no urgency. All the cutting i do it using Avidemux, which isn't perfect, and the audio i edit it separately in Audacity and replace it; it's a ghetto workflow but i was in ghetto situations trying to deliver ghetto goods so no big deal. Vegas was the go-to years ago but i think they bit the dust time ago, or at least got overtaken really hard. Premiere is a RAM whore and Resolve got tons of shill power behind it but at some point justifiable so, it is good but nothing express. Adobe went full into the "software as service" and it is getting annoying to crack, i only use Photoshop 2018 because they stopped working with Windows 7/8 and they can easily reach 2GB of RAM use now, instead of optimizing stuff it seems the best solution is to buy more RAM.

all about lily chou chou. an amazing film that probably changed my life

>>755 Please tell us more

Is there anything like nobodytm or randy prozac now? Absurdist videos that are critical of modernity rather than worshiping it? I really liked some of nobody's work in particular. Burden didn't do it for me.

>>755 good share. straight from the ether

Well, if i may meddle, for me the films that made me think and change permanently were Miike's Ichi the Killer and KWWong's Ashes of Time. Not because of their plot, ideas or content but because they bend and invent their own rules in terms of cinematography and visuals. In this case it's more of a meta thing that made me thunk. Miike is a mixture of knowledge in unorthodox photography and wing-it on-the-fly attitude in solutions to his busy filming schedule, while Wong uses many sequences based on old ideas and even ripped off at times (moving backgrounds, dynamic lighting, spinning cage from Macario) but teaming up with a sophisticated character like Mark Lee or a maverick savant like Christopher Doyle really potentiated said ideas into overdrive. Ichi was my first exposure to this kind of camera work while Ashes was a heavily-condensed single dose of it.

>>379 Yes, great job of digital restoration

>>379 >>382 Thanks although i might try it once more, forgot about the tent and there's nasty blur on the edges of the crew and sea i carelessly made at 100% power instead of 50, looks like a cellphone app. Also how about state-approved cinema? 1998's The Glass Agency seems interesting for a sponsored project due to its synopsis: Irak-Iran war vets, a soldier and his commanding officer, want to travel abroad because one suffers from war-time health issues and the other knows a doctor who can help him but bureaucracy and officialist shenanigans ensue which led to the commander blowing a fuse and taking hostage a travel agency with all and civilians. I'm downloading it and i read positive feedback. The other is a bit relevant these days, a tribute winky-wink at their nation's commanding officer Qassim Suleimani (or was it Qasem?) this time re-imagined as a prestigious bodyguard of top-level executives, but gets into trouble when a job doesn't go as planned. In 2016's Bodyguard the interesting thing is how the protagonist is portrayed here, it is supposedly a copycat interpretation of the general with all and his mannerisms, at least physically we can see he's the same along with his famous purple rings. I read it's not quite good but i might check it due to seeing a de-facto official portrayal of the guy who, by all sides, on paper seemed like one of the last old-timey strongmen or Caudillos.

>>380 >>381 well?... we're waiting!

[End of Dump JW05 ~ 07/10/2020]

I don't know if you can find the full film anywhere but this summary is powerful

>>753 I ate some shit there bro, sorry if i read lines in-between that weren't there. Clerks is not that bad tho hence why i don't dislike it, it's just that the director has been living off from it for the last 3 decades thus giving it bad enough shade to be seen with utter disdain, which it very almost deserves because that guy is a prick yet also a pushover and the movie reflects that same spirit in its core, the events and characters are mean-spirited yet under a relentless passiveness. >He also had a crew to help him I suppose Barley Boy went camping with some friends and they divided work, one was recording video while the other recorded audio, and maybe someone else made the digital work while one of these made the rest a camp fire and dinner. It sounds very fun producing something out of camping and making money on top, or at least getting his name in the fame game. The SC version seems to be the go-to version but 15GB is quite the download/upload, especially when i still don't know how their BLM ratio system works. >>746 So here it is, i watched some parts out of order because the movie is mainly visual but now i somewhat regret saying we should watch it. It's not bad but it's not kidding when the synopsis mentions it's a slow movement cinema piece, it totally applies to the camera work done on the iPhone and i would also add abstract/meditative tags in there. To be brief the movie is basically a set of "moving" landscape and astro photography, as in static framing with only slow zooming and panning as the dynamic element, that showcase an idyllic forest under a threat of darkness. The format is 4:3 which further enhances the traditional photo/film cinema presentation. Said darkness is represented by the heavily post-processed mood from the image quality out of the phone's camera because of its lack of low-light capabilities, using under-exposed shots and denoising, halation + vignette tools as resources for creating this gloomy effect; the pros are that all of these are used in a properly tasteful way, the cons are none other than this being more of a visual art installation rather than a "proper" (as in narrative-driven) film, a fact the director very directly references and even mentions how the original purpose for this was to relax or "nap", hence the tongue-in-cheek title that completely stole my joke The only thing that bothers me is reading this took "months" to render in a machine, honestly i don't see how it would've taken that long unless they did add unholy amounts of post-process algorithms into those small digital sensor videos. This is more of a movie for photographers or perhaps people who enjoy getting into a relaxed trance while watching moving pictures that is until the forest and horses burn in a thunderstorm fire at the end https://mega.nz/file/qBoE3JiJ#wj5r0BhsVoyoyAakeyfPbW2lvITL-C3Sqd5jkS6e89E Would def watch again if insomniac and minus the last 15 minutes.

>>754 Thank you very much! I was meaning to watch this mostly as a study into low-budget filmmaking.. so the movie being visually-driven is kind of a plus here in a way, I'm not going to expect anything other than pretty images for this, but with its reputation I'm at least hoping for a somewhat interesting experience. About the rendering part, they probably did use a bunch of post-process tricks, but I don't see how it would take literal months to render either. Unless they rendered it on some 10-year old netbook, which seems unlikely, but who knows.. Bless you for sharing it

>>754 No worries >The SC version seems to be the go-to version but 15GB is quite the download/upload, especially when i still don't know how their BLM ratio system works. Yeah, it's too large. Thanks for the upload. Basically it's ratio-less, so you can download as much as you want. There was a silly discussion on their forums about it a few weeks ago. Stupid drama. I just ignore their political bullshit, strange how they're the only tracker I'm on wherein they're so overtly loud about it. Otherwise, the closest I saw was on SG regarding the New Zealand shooter manifesto.

Anybody happen to have Vampiyaz? Need it for a bad movie night.

>>782 Why not watch a good movie instead? It's on JewTube at the moment so check that out. >https://www.youtube.com/watch?v=25jYsCEZyFo I take it back, just checked what it was and it's hilarious. Even the light softboxes and mics are visible in some scenes Drug-dealing nigger muggers who are also bug-eating vampires who also hunt other vampires who get high It's like Blade combined with Park's Thirst but gone really wrong

One of the last of its kind in terms of drawing aesthetics and viewer reach, but other than that i cannot say for sure, we never got that in my region as we were too busy with Dragon Ball and the seasonal hit series like Digimon, Medabots and so on. Did you know in some places Yu Yu Hakusho, one of the "mandatory" viewings, got beaten real good in popularity by the relatively obscure Shaman King? I never knew the former was that popular and also i didn't suspect so few watching the latter.

>>777 Go discuss shounenshit to /tv/.

>>731 Hey there, excuse me for the long time for a reply but was out for a while. >Now that you are familiar with Mexican action, what did you think of Mariachi? Not gonna lie to you, i saw it a long time ago on TV and i don't recall being fond of it nor my uncle and cousin, subsequently when i was discussing with local film circles (actually just some dudes from the region who came for a forum and we drank and discussed how to get government money) there was a lot of animosity for it. That's a big can of worms you opened there, to this day its effects are still swinging in the local filmmaking, although in subtle touches. Speaking very strictly about the product itself i think it was a giant anomaly. Man i wrote a long winded post forgetting the first part of this line so cutting to the chase El Mariachi showcased a director with complete foreign influence in terms of style, borrowing from Hong Kong Blood Operas and italian westerns (not common nationally) and a new perspective with almost every actor being an outsider (due to being amateurs or local talent) it ticked all the boxes for freshness. Personally i liked the cinematography a lot (i'm a big sucker for wide unorthodox angles, my repeated line in all the boards i visit) but the script and characters are overly silly/non-common, it's another southern mexican power fantasy. At this point you can guess it's a common thing in well-known (aka nationally distributed) movies because that's how they get to know themselves for a wider audience aka the distributors with the connections to the USA. The movie portrays 3 main characters, the southern (foreigner) who gets everything right, the stoic northerner who comically missteps all the time and the white villain (the "foreigner") all of which are the usual archetypes that got upgraded to new levels in this movie, the villain even created a long-running joke that has many victims like Red Dead Redemption. The civilians did appear prominently which was rare in northern films (the motel guy, the henchmen) so honestly it broke ground in terms of context development, but ultimately its main narrative was the same old same soup. All in all it was a nice "accident" that left too many negative stigmas to appreciate its real value at the time, good cinematography and a risky business proposal (non-cinema-sponsored project) and to be fair, other than the real protagonist and all his side of the story, it was a movie good for the region. Now if we want to talk about the consequences of its context like how it was made, the sequels its produced and the archetypes it practically founded here (moco sickness, the legend of the budget, protag being disappeared, director being a renegade out of reject/fear) which are frankly more famous than the movie itself round these parts, then that's another bigger story. Spoilers none of them were any good, Rodriguez and his works are virtually blacklisted even in taco stands By now you might imagine northern mexico hates every single national movie out there, that's part of the big story, but the truth is the popular cult movies around here are not the usual man against men stories of tiny individuals and their meteoric rise to the top, squash people and be the boss which are popular with southern and american individuals, no, the stories people seemingly cherish here are man/dynasty against adversity stories, dudes who are in control of their lives but are against nature, tough environments or internal family/clan clashes. The Blood In Blood Outs, the Chato's Lands, the Death Wish, the Hierro Brothers, the Black Winds, those are the ones people ask for.

>>740 >>741 Giovanni/Damiani is tops, as a script writer or sometimes as a director. I don't remember how many times i've seen Le Deuxieme Souffle, somewhat retelling some of his experiences in the anti-resistance gang. For a rough corsican who volunteered for the german side in WWII and killed usurer jews in Paris i found puzzling how he, in his double identity, mingled with JP Melville who was a staunch resistance member (also a jew, hence his hack attitudes at times) and hired the jewish starlet Marlene Jobert for one of his movies. I don't blame the man, that girl was just so stupidly hot.

>>744 It's trappped, not sure if he's Ruse but yeah the same one as the Gothic King Cobra doc. KC is hilarious.

Sladké hry minulého léta AKA Sweet Games of Last Summer (Juraj Herz, 1970) Immediately following his horror classic Spalovac mrtvol, Herz took a drastically different stylistic direction with this lighthearted summer romp produced for Slovak television. The hourlong film is based on a short story by Guy de Maupassant about a group of friends, Mouchette and her five orbiters, who spend the summer gleefully boating down the Danube and lounging around an artist's shack. The film takes visual inspiration from impressionist painters, with picnics and parasols that channel Monet and Renoir. The editing tends to be impressionistic as well, arranging images and colors that create a carefree mood rather than advance a story. But as the characters' joyous temperament transcends every pitfall they encounter, you start to wonder if there's something very wrong with them.

A surprisingly underseen horror from occupied France. Perhaps one reason it's overlooked is the bland English title "Carnival of Sinners" dubiously replaced the superior literal translation "The Hand of the Devil". The story follows a failed painter who purchases a talisman -- a left hand in a box. The talisman changes the painter's fortune, immediately granting him personal and professional success. But it's a Faustian arrangement that gradually pulls him down, and he might fight to break free. Maurice Tourneur's style of horror is very similar to that of his son Jacques: regular 1940s people encounter dark supernatural forces that send their lives into disarray. These films are like paranormal noirs, shot in black and white with expressive lighting and hard shadows. As with Clouzot's Le corbeau, La main du diable is a Nazi-funded French production with a subtext of resistance. Here the film's malevolent force is a short, unassuming old man -- an easy stand-in for a Vichy bureaucrat managing the occupation.

>Keanu Memes >Black people in the cast That's a no from me, dog

This isn't /tv/.

And here's another one not many remember did some music videos, a pesky individual and sure enough someone not many may like, the british Guy Ritchie. While the guy pretends he's a tough street urchin the truth is his lineage and upbringing are very strong, born of an executive with royal ties and a scott soldier from a top infantry line (with royal ties and notorious family too, ranging from King Edward I to guitar god John McLaughlin) this dude certainly didn't have anything going south in his life other than his school friends. The horny bugger fooled around with girls, did drugs and appeared drunk in his front yard from time to time without his dad being around due to his obvious rank schedules, so it is of not surprise to read his high school days were crazy and not very fulfilling in terms of grades but he sure blew tons of weed and money from his mom's side, along with watching movies all day. He didn't know any trade other than having a sharp but refined tongue and some visual skills, so he started going around practicing with an expensive camera (which you might expect got easily) and refined his style from very early on, influenced by the back-then new wave of asian cinema (Hong Kong, Japan) and old british gangster movies in the line of Get Carter. Somehow he met a dirty rich dude, from Hard Rock restaurant money, who was starting to get into production of small but elaborated projects and soon enough Ritchie sold him a very sturdy idea he had been working on for a long time. They got the money later on and Guy went out with one of the strongest debuts i can imagine, Lock, Stock and Two Smoking Barrels, in 1998. His first try into making something big was in 1995 with a short film called The Hard Case, but later on to keep going (and win money independently) he started doing some small gigs in which his collaboration with The Bucketheads came on. A big name for a project just made by one guy, a big cat in the house scene Kenny Dope Gonzalez, Guy did 2 videos in short succession from late 1995 to early 1996 for him: The Bomb! and the one in this post Got Myself Together. From early on we can see clear stylistic trademarks: Wide angle perspective which at times are fish-eyed, crooked angles and dynamic close-ups, flashy colours, extravagant characters from the lowly street life and tons of filler scenes, usually portraying the city life.

After banging his debut and doing a commercially successful sub-par american semi-remake in the form of Snatch, Ritchie wanted to eat the world and did bite one of its biggest figures: The main reason this guy is here comes from one of his infamous collaborations with his then-wife Madonna, who was LARPing as a british royal at the time and what better than to have this dude, a young high-energy successful party boy with lineage, as her prize for a while. Honestly i probably would've done the same if i was Guy Madonna was still hot back then but she previously burned coal, so who knows maybe i would've not but it seems our boy here went a little overboard with it. The mainstream media had many field days with these two and to be fair their usual projects were trashy or didn't really fit into perspective, we can mention the well-directed but horribly acted BMW action shorts which Ritchie co-directed with Kar-Wai Wong and starred the mentally-retarded Clive Owen, the infamous Madonna cameo/theme song for 007's Die Another Day in which both lobbied hard to get and also the panned 2002 remake of Swept Away, directed by Guy himself and starring Madonna with Adriano Giannini, the son of the original protagonist. The movie sadly shows plenty of scenes with the italian stud kissing, rolling and downright banging Madonna on a desert island while Ritchie somehow called for re-shoots to achieve perfection, something which made him suffer the highest ridicule that still goes onto this day, mainly because the movie was considered hot garbage (haven't seen it so can't say) and the supposed re-shoots seemingly didn't work any good at all, making his """suffering""" and the uncomfortable times the entire crew had go in vain. There is something salvageable there, in fact i think it's pretty decent and probably the only good thing to come out of that hilarity is this video, What It Feels Like For a Girl, made in 2001 for his dear wife. This here shows one of the few well-done examples of hyperkinetic action cinema, the formal street name for the genre spawned from Hong Kong action cinema and refined by the Japanese some time later (mainly by Takashi Miike) that shows deuscth angles galore, quick but legible cuts into action moves, schematic visual explanations of objects in motion ala futurismo, overall somewhat complex camera work accompanying hyperactive editing/montages, exaltation of colours, night life, larger-than-life characters and the average special sauce of not taking anything seriously while doing this. It's very easy to screw this kind of sub-genre, hence why very few achieve this while being entertaining and not migraine-inducing, even the masters like John Woo, Tsui Hark and Miike ended up screwing some attempts up in the process; not here, although overly juvenile, edgy and silly with no substance in initial motivations (like most of Ritchie's work to be fair) this short example plays its cards on time and without overdoing it too much. It does delve well into the independent woman power fantasy but the implications she's the devil/a demon mainly placate this, the song probably is a bit too serious for its own good to be frank. It's all good fun but some channels didn't think so, the video was banned in some countries for its absurd portrayal of violence, namely MTV and VH1 screened only the official debut of it and then dropped it hard. In my case i remember the video getting heavy circulation on MTV Latin America, so i guess it didn't apply everywhere. After that fiasco and having directed two popular but lambasted films, Revolver and Rockn'Rolla, our man here got a second breath and went on to make the surreal re-imagination of Sherlock Holmes, which then spawned a couple of projects more and got him the seat for the recent Aladdin (the one with the CGI). I don't think he ever succeeded a project in quality after his debut Lock, Stock... but Madonna's video is the closest thing i can think of, in other terms i think the guy is rolling in money at this moment and banged anything he could after getting the divorce so fair play to him. Guy Ritchie directed only 4 music videos, one was a one-night stand done as a favor for a DJ i think, 2 for Kenny Dope and the final one for his own girl/milf. Here's the latter 3, one in .mp4 converted from a VHS, a standard .vob and the Madonna one in .mkv from a .vob done losslessly. >https://anonfiles.com/r1z1MeW2ob/_-film-_MsVd_GRitch_rar If someone knows where can i upload stuff while making "a database" of sorts that would be appreciated, i'm thinking something like that anon did with the video game share threads because these zipped files are getting heavy and the host itself might be a bit unpredictable in the future.

>>734 >If someone knows where can i upload stuff while making "a database" of sorts that would be appreciated Why not a Mega folder?

One with a semi-interesting story: In the late 70s/early 80s there were a couple of film graduates that were exploiting time lapse cinematography at the same time, some from California colleges, others from the Atlantic side, and a handful self-taught and/or incited by the very early pioneers. In this battle for winning the place of "first person who did cool time lapse" enters the figure of Louie Schwartzberg, a jew yorker and one of the early graduates in California. The "man" seems to have always been proud of his trade, he kept practicing and made some small footage rolls for TV news channels and other jobs, one day he was even tasked to do a couple of small vehicle shots in NY for one of his "rivals", Ron Fricke. Louie says he spend some years bragging how that guy needed his help until one day Koyaanisqatsi was premiered, i think it's fair to say most here know how influential and hegemonic that film was, now imagine the few who specialized in that kind of camera work, it was practically a game over for anyone looking for that cool title of time lapse pioneer... for Louie's disdain it was directed by an art outsider, and for his horror the guy was also a christian friar, and as a further kick to the balls the director of photography was Ron Fricke himself, who had used his previous heli and barge shots in the most emblematic part of the movie. In a talk the guy mentions how, even when he got paid as an outsourced hand and practically he could've been erased from the credits, Fricke actually did credit him as an "additional cinematographer", but it's obvious the guy was/is livid as fuck about not getting the full honors. He kept going with motivation as he said (raging butthurt i would call it) and actually landed a few jobs, truth be told he had portfolio and is good at it, so in the immediate years after the movie's release and with the time lapse meme/popularity at its peak one of his gigs was an experimental music video titled Individual Choice commissioned by the master Jean-Luc Ponty, widely considered the greatest electric violinist around. The new-fangled nature of the video was coupled with Ponty also experimenting with early electronica after many years playing jazz and fusion, so it can be said it was a sight to see and hear in the early MTV days, especially when Koyaa didn't have a good theatrical release outside the U.S. and practically very few saw it anyways. As far as i checked this is his only music video done as a single job, Louie would later be asked to help as camera man or doing single gigs for movies, either from Spielberg or schlock distributors, until he started working for the newly-founded Discovery Channel in the early 90s. Soon he would found a stock image company specializing in you guessed it, and he placed everything he had done which was quite the lot; Getty Images would soon buy it and the guy was practically set for cruise control the next years doing practically what he wanted. Many shows and movies used his stock footage, licensing rules i think say if they are longer than i don't recall how much then he would then need to be credited, so he landed some interesting bills like Sex & The City, Men in Black and Syriana. This dude did know how to sell his trade, odds are you have seen him if you have watched time-lapse film footage from an american city, and in recent years he also went for social media, throwing claims like being "the only cinematographer in the world who has been shooting time-lapse film 24 hours a day, 7 days a week continuously for over three decades", some small documentaries and also an avid TED talk figure. I heard one and the guy really seems to be strange, when he talks about his early days you can see there's still some vitriol left, like when he talks about machines banging nature but in other aspects he's just a seemingly normal dude. Still i find Ron Fricke to be the head honcho of time lapse, having pulled Chronos and Baraka apart from Koyaa, but in quite recent years Schwartzberg seems to be carrying more noise, appearing with Oprah, directing Disney nature stuff, NatGeo shorts and getting his stuff narrated by Hollywood leading actresses, along with implying he was an ideological precursor of Koyaa. At least he's moving forwards but looks like no matter how niche and specific you area is, there's always going to be a tribe member stepping on your heels. He only did Ponty's job "officially", here it is in one VHS rip on .vob, there's probably a better quality copy out there but oh well. https://anonfiles.com/t2BbCfZ2ob/_-film-_MsVd_LSwrtzrg_rar

>>735 Probably but i think their limit is 50gigs, Anonfiles has a 100 but doesn't guarantees anything. One can be browsed easily but the other packs more punch, but i think i will do a pastebin and throw some Anonfile links with a couple of accounts so they last at least some months more, it's not like i'm going to delete the videos from my drive so when the time comes i will just reupload again. It's just that i was thinking of some sort of better UI rather than a plain notepad. >Spheres Very pretty, looks like The Quiet Earth ending death scene