Cinema students, however, are of a different breed.They watch silent films, black and white films, foreign films; films that require thought and introspect, films that avoid shortcuts and nutshells, films that are multilayered and captivate an audience with minimal sensationalization.Juxtaposing this against Le Samourai is an interesting experiment in stylistic and era-based contrast.(Something that could be nonchalantly mentioned, in passing, to your partner. It is the wind beneath the wings of every self-respecting cinema aficionado)Pasolini’s Salo, or 120 Days of Sodom, is an exercise in the extreme.Additionally, it will also give you an insight into the maniacally obsessive world of cinema aficionados.The Dreamers is the ideal stepping stone for a neophyte to climb into the realms of Godard and the New Wave.You will initially be lost in the references, but it will spark in you a curiosity to see more and know more.
Obviously, you can’t be expected to research the political landscape that forms the background, so The Dreamers functions as a sneaky compromise. The camera dreamily waltzes through the frames in a manner that will envelope you in curiosity and wonder.
Based on the works of Marquis De Sade, Pasolini’s Salo is human expression at its most deranged. Try something non-committal and diplomatic like “this is the best and worst movie I ever saw”. With plot points centered on fascism and scatology, this film is a badge that displays your stomach for the deviant.
Yet it maintains an aesthetic quality that will have your senses cross-firing amidst the death throes of your morality. It might be even revelatory enough for you to research further into the paradox of beautifying the repulsive.
They like to analyze camera movement, set design, lighting and pacing.
They’ll critique dialogues, and look to read in between the frames.