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Au point d'être dans le top 15 de fin d'année ?... Ca reste un Woody Allen très mineur quand même. Mais bon je le répète, je ne suis pas objectif sur Allen.

Mais pas Scoop il me semble...

Le top de John Waters

1. Import Export (Ulrich Seidl)
2. Antichrist (Lars von Trier)
3. In the Loop (Armando Iannucci)
4. World’s Greatest Dad (Bobcat Goldthwait)
5. Brüno (Larry Charles)
6. Lorna’s Silence (Jean-Pierre and Luc Dardenne)
7. Broken Embraces (Pedro Almodóvar)
8. The Baader Meinhof Complex (Uli Edel)
9. Whatever Works (Woody Allen)
10. The Headless Woman (Lucrecia Martel)

classe

avec les commentaires

JOHN WATERS

1 Import Export (Ulrich Seidl) The most sorrowful movie of the year is also the best. The miserable lives of Ukrainian immigrants in Vienna make this agonizing but brilliantly directed opus the cinematic equivalent of slitting your wrists. A new genre? Depression porn? Hey, I got off.

2 Antichrist (Lars von Trier) If Ingmar Bergman had committed suicide, gone to hell, and come back to earth to direct an exploitation/art film for drive-ins, this is the movie he would have made.

* dédicace à TBA *


3 In the Loop (Armando Iannucci) A smart, mean, foulmouthed British satire about the struggle for global power that asks the all-important question: How do you debate the invasion of Iraq if your gums start to bleed in the middle of your presentation?

4 World’s Greatest Dad (Bobcat Goldthwait) Why, oh why, wasn’t this blackest of comedies a hit? Appallingly rude, decidedly family unfriendly, this autoerotic-suicide tale of a hateful son and his clueless father left the viewer gasping in surprise.


5 Brüno (Larry Charles) Don’t listen to the critics—it’s better than Borat. Imagine a hetero teen couple in a mall on a first date somewhere in Middle America watching Sacha Baron Cohen pantomime every known gay male sex act, ending in a joyous “facial.” Sometimes audiences get what they deserve.

6 Lorna’s Silence (Jean-Pierre and Luc Dardenne) How do these great art films get financed? European socialism, that’s how, and I’m glad the taxpayers abroad put up the dough for this Tracking Shots“R”Us masterpiece. Only the Dardenne brothers could get away with not showing the dramatic action that climaxes the whole movie. Just think if they had to test-screen this film in America!

7 Broken Embraces (Pedro Almodóvar) There was some grumbling from Cannes that this wasn’t one of Pedro’s best, but boy were those rumors wrong. It’s a beaut! A relentlessly intelligent melodrama filled with so many dizzying plot points that you’ll experience vertigo.

8 The Baader Meinhof Complex (Uli Edel) Now here were some kids who knew how to cause trouble! Hmmm . . . What should we do today? Stop the Olympics or blow up a commercial airplane? These radicals made the Weathermen look like pussies.

9 Whatever Works (Woody Allen) Gerontophilia never seemed so appealing. This time, Woody goes a little gay and lives to tell about it with lovely, comic success. I am so mad I don’t have this director’s career.

10 The Headless Woman (Lucrecia Martel) Bleached hair, hit-and-run accidents, in-laws with hepatitis? Huh? I didn’t get it, but I sure did love it!

Mec qui a jamais vu un film de Bergman de sa vie.

En même temps c'est John Waters, faut pas s'attendre à ce qu'il comprenne Bergman.

Certes.

Mec qui suppose des trucs sans doutes faux.

Je suppose rien, j'affirme.

D'ailleurs là, il est en train d'adapter Scènes de la vie conjugale en odorama.

Lol, à ça, pour affirmer...

suffit d'aller à la page wikipedia: Il grandit à Lutherville (dans la banlieue de Baltimore), rentre dans une école catholique dont il ressort plus provocateur que jamais. Sa tante lui offre sa première caméra à l’âge de 16 ans. Parce qu’elles l’ennuient, il abandonne ses études de cinéma à l’université NYU. Il réalise deux films en 8 mm : Hag in a Black Leather Jacket et Roman Candles (1964) ; ses influences sont Jean-Luc Godard, Walt Disney, Andy Warhol, Russ Meyer, Kenneth Anger, Ingmar Bergman et Herschell Gordon Lewis.

je pense que c'est lui qui a cité ses influences.

J: Well I love Bergman more than anything. That movie that Liv Ullmann directed, Saraband, that’s a fucking brilliant movie. I just went to see the Bergman documentary, Bergman Island. Have you seen it?

B: No. I love Bergman too.

J: I’m obsessed by it. I do a whole thing in my monologue about it. If I had to have sex with a dead celebrity, who would it be? It would be Bergman. He’s not dead yet, but he will be, and I’d like to go to that island and maybe Liv Ullmann would join us in a threesome! That would be the best necrophilia ever! But he’s there, and they show him just snapping his fingers, and the poor person in the projection room starts one of the movies that he watches all the time in his screening room alone. He lives on the island by himself and I want to go dressed in that outfit as Death with the sickle…

T'as vraiment pas compris ce que j'ai voulu dire ?

J'ai surtout compris ton incroyable prétention sur le coup.