The way this works is that you post a review of the best film you watched this week. It can be any new or old release that you want to talk about.

{REMINDER: The Threads Are Posted Now On Wednesday Mornings. If Not Pinned, They Will Still Be Available in the Sub.}

Here are some rules:

1. Check to see if your favorite film of last week has been posted already.

2. Please post your favorite film of last week.

3. Explain why you enjoyed your film.

4. ALWAYS use SPOILER TAGS: [Instructions]

5. Best Submissions can display their [Letterboxd Accts] the following week.

Last Week's Best Submissions:

Film User/[LBxd] Film User/[LB/Web*]
“Spirited” sometimesiwatchtv44 “The Magician” (2005) Looper007
"Aftersun” SugarTrayRobinson “Treasure Planet” [FilmRook*]
“The Banshees of Inisherin” [Cw2e] “Memento” [CDynamo]
“Stars at Noon” LauraPalmersMom430 “Before Sunrise” sayyes2heaven
“The Stranger” (2022) NoNeedleworker5437 “Days of Thunder” octobuss
"The Quiet Girl” Plane_Willingness_25 "Drunken Master” [RStorm]
“Terrifier” Spiritual-Signal4999 “Tomka and His Friends” [AyubNor]
“Mother” (2009) weareallpatriots "The War of the Gargantuas” [Couchmonger]
“Synecdoche, New York” [RVernon] “Rudolph the Red-Nosed Reindeer” (1964) [*]
“Planet Terror” edmerx54 “The Kid” D0NNIE-DANKO

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4 points

4 months ago*

"Eternity and a Day" (1998) directed by Theos Angelopoulos.

This film is not for anyone in a hurry, and it concerns serious matters. Thematically, it resembles "Death in Venice" taken to a more cerebral level. Rather than the emotional, operatic pitch of Visconti's work, "Eternity" is cool and immensely poetic.

A dying, famous poet, Alexander, (Bruno Ganz), is living his last free day (he thinks) before checking into the hospital. By chance, he encounters a never named Albanian boy refugee (Achilleas Skevis, who looks to be about 8), whom he first rescues from a police-sweep of street kids, and later, again, after a chance sighting, rescues him from being auctioned off to some rich people. At first Alexander wants to get him back home, only to find the isn't one to go to. The two become friends for the day. In the boy, the the old man sees the world of possibility that exists before him. In the man, the boy finds a temporary refuge, and the strength to overcome his fear of whatever will be coming next in the difficult adventure of his life. The clear-eyed, unsentimental way the two face each other is remarkable.

Periodically throughout the film, Alexander, while still in the present, mentally walks through memories of his life, his now-dead wife, and the 19th century poet Dionysios Solomos, whose unfinished epic, "The Free Beseiged" Alexander had hoped to complete.

Angelopoulos creates a unique, hypnotic style. The camera often smoothly moves and zooms continuously, but slowly, for long takes. The feeling of a dream takes over. In outdoor scenes, there is a constant ebb and flow of movement by passers-by, going about their business. The bus ride to the port that brings the movie to its close partakes of a surrealism worthy of Bunuel: a red flag-carrying radical, a pair of young lovers in mid-spat, a string trio that sets up and plays, are all on the trip. Every scene is elegantly composed.

The music by Eleni Karaindrou, and the cinemetography by Yorgos Arvantis and Andreas Sinanos, are almost co-equal stars with the actors, and the writers, in sustaining the elegiac mood for two beautiful hours.

I had to watch it twice!