Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

"Damnation:" one of Susan Sontag's favorite films and I can see why.

Posted by tinear on March 8, 2009 at 21:25:08:
On my second visit, I liked it even more than my first enthusiastic experience.
In a small, dark (this is a Bela Tarr film, after all), rainy town whose only business appears to be mining, a man is consumed with the wife of another; she seems to see him as nothing but a diversion whilst her husband is away.
The lover asks her to escape the town, her marriage, and her daughter and he plans some sort of illegal activity to finance it.
Tarr, whose style is quite different from Tarkovsky's but almost as inscrutable, is not a plot driven director; yet, one becomes inexplicably involved in the fate of the characters. Unlike, say, the characters in "Watchmen," these are people with feet of clay; still, the bleakness, the sense of doom and melancholy is inescapable and far more harrowing.
And Tarr's is a subtle intelligence: a long shot in a bar, with camera movement somehow coordinated between focusing and panning, gradually reveals surprise after surprise, injecting understanding and motive into the characters action and non-action.
If Dostoevsky had made films, this is what they would have looked like.
A brilliant masterpiece by one of the true geniuses in modern film.