Showing posts with label michael haneke. Show all posts
Showing posts with label michael haneke. Show all posts

Friday, July 8, 2022

A FEW MORE WORDS ON THE CINEMATIC INFLUENCES OF JOEL POTRYKUS

A tale straight from the bible...
Snow White /
Ape


I don’t mean for all of my writing on Joel Potrykus to be attached to other filmmakers, but given what my blog is partially about (visual comparisons & connections), it’s kind of difficult to not focus on that.
To be clear - references, similarities & homages aside, I’m a big fan of his work. His openness about his influences just makes my appreciation that more heightened. He made a comparison video of his own films himself (click here). 

...but I think I found a few more visual similarities (or I could be reaching).


Last month we touched on a handful of visual similarities between Portykus’s films and everyone from Haneke & Alan Clarke to Murnau & Linklater (click here to go to the article). After exploring all of his feature films and reading a handful of interviews, I came across a few more homages & visual connections that I wanted to highlight…


In my review of The Alchemist Cookbook I brought up his nods to Alan Clarke (click here).

It doesn’t take much to realize I lift the openings to all my films from Clarke’s MADE IN BRITAIN and Haneke’s FUNNY GAMES - Joel Potrykus, RapportoConfidenziale.com


But it appears that his love of Clarke extends a bit beyond opening scene of This Is Britain

Elephant /
Buzzard

The Firm /
Buzzard

Road /
Buzzard

Road /
Ape


The way drug use & addiction are casually introduced in Potrykus’ early short film Coyote is similar to how Clarke handles the same subject matter in Christine… 

Christine / Coyote



This connection to Clarke led me to Harmony Korine who Potrykus has shouted in the past…

Gummo / Buzzard


Harmony Korine made it cool to use natural lighting - Joel Potrykus, RapportoConfidenziale.com



This connection makes sense as Korine is also an Alan Clarke Enthusiast…

If there is any British film maker that has influenced me, it’s Alan Clarke. For me he is the most important. He came out at a time in my life when I needed something like that - Harmony Korine, Vertigo Magazine

Rita, Sue& Bob Too /
Gummo


For me Clarke was the most important filmmaker. He made this movie ‘Christine’, which people don't really talk about much, which is one of my favorite movies - Harmony Korine, Vice

Christine / Gummo


That earlier comparison to Gummo is not much of a reach but Potrykus has made it clear that the spaghetti scene in Buzzard was a reference to Kubrick…

The Movie Mezzanine: In the pantheon of movie spaghetti-eating scenes, you easily knock Harmony Korine's Gummo off the throne. It's this rare moment of happiness for Marty. Was that all done in one take?

JP: That's another really important scene, which is originally lifted from A Clockwork Orange when towards the end, [Alex is] all cleaned up and he's taking a shower and wearing a robe and eating spaghetti. He's happy like he's at home, right before they poison his wine. That scene is really important because that's Marty in a foreign environment, the only time we see him clean, and he's wearing white instead of black, and he's eating essentially real food as opposed to, you know, Hot Pockets or Bugles.
A Clockwork Orange/
Buzzard


The idea of a struggling comic that develops a weird growth on his body in Ape appears to borrow from The Dark Backward… 
The Dark Backward /
Ape

The basic premise of the main character with growth forming on his body also reminded me of How To Get Ahead In Advertising which I came to find out was an influence on Potrykus as well…

I saw this one at a young age, and it warped my taste in the best way possible - Joel Potrykus, Criterion 

How To Get Ahead In Advertising /
Ape



We touched on this in my review of The Anarchist Cookbook last month, but there’s some early Linklater in Potrykus' films...
 
It's Impossible To Learn How To Plow... /Coyote


While his latest feature Relaxer is a loose remake of Luis Bunuel’s The Exterminating Angel (the basic idea of not being to leave a room in Exterminating Angel is morphed in to not getting off of a couch in Relaxer)...

The Exterminating Angel / Relaxer


...the final scene where the main character takes on the form of a Christ-like figure has the DNA of what feels Bunuel’s entire filmography…

The Milky Way / Relaxer

L’Age D’Or / Relaxer

Simon Of The Desert / Relaxer


I try to steal a lot from Bunuel - Joel Potrykus, Criterion.com
Un Chien Andalou / Buzzard



We also see shades of everyone from Brian DePalma to John Landis…

                                                                  The Fury / Relaxer


I just spent a whole summer watching, like, two-hundred movies. And in there was American Werewolf in London, and that kind of changed a lot of things for me. Seeing that kind of blend of horror and comedy, and [director John] Landis going whatever direction he wanted - Joel Potrykus, 366weirdmovies.com 

American Werewolf In London / Coyote


Before the year is over I'll be sharing my thoughts on Buzzard but until then I just wanted to share a few more words (and comparisons) on a filmmaker I've quickly come to admire.

Friday, February 11, 2022

THE SCHOOL OF CHANTAL AKERMAN: MICHAEL HANEKE - PART 3

 

The Seventh Continent / Michael


Former Haneke collaborator Markus Schleinzer owes a bit to Haneke when it comes to style (see above). But that style also comes by way of Chantal Akerman…

For Michael I chose a way of storytelling that is often used by Haneke as well but he hasn´t invented it. You can find it as well with Chantal Akerman - Markus Schleinzer, Indiewire.com


Jeanne Dielmann / 71 Fragments... / Michael


We even looked at the coincidental influence and visual similarities between the work of Akerman & Haneke so it only makes sense that his unofficial “protégé” should have his share of Akerman-isms as well.

Below are some visual similarities between the feature films of Haneke & Schleinzer by way of Chantal Akerman.

Enjoy…

The Seventh Continent / Michael

The Seventh Continent /
Michael

The Seventh Continent /
Michael

The Seventh Continent / Michael

The Seventh Continent / Michael

The Seventh Continent / Michael

The Seventh Continent /
Michael

The Seventh Continent /
Michael

The Seventh Continent /
Michael

The Seventh Continent /
Michael


 

Monday, January 7, 2019

THE KILLING OF A SACRED DEER / CACHE

Confrontation in Cache (L) & The Killing Of A Sacred Deer (R)

Much has already been said about The Killing Of Sacred Deer so there’s really no reason to put another “review” of it out in to the universe. We get it. We all know it’s one of – if not the – best films of 2017. What I’d like to delve in to are the strong similarities it shares with another great film in the form of Cache (probably the best film of 2005 as far as I’m concerned)…

In my opinion, The Killing Of A Sacred Deer is essentially Haneke’s Cache without the socially conscious/historical/racial angle. Plus, it’s darkly comical whereas Cache isn’t funny at all. But even with those differences – the films are still similar in the same way that Passolini’s Teorema is to Ozon’s Sitcom. Sitcom is a  loose remake of Teorema. Ozon made quite a few obvious changes like using a rat as the Trojan horse instead of Terrence Stamp (Teorema), but the basic story remains the same in Sitcom.
Actually, all four films (Teorema, Sitcom, Cache & The Killing Of A Sacred Deer) are cut from the same cloth in that they’re all about an outside entity bringing a family’s skeletons & dirty secrets out in to the open. 

In Sacred Deer, Yorgos Lanthimos focused on the part of the story that involves the loss of a father. Fatherhood is a huge part of both Cache & Sacred Deer (there’s also a sub-plot involving class as the two opposing families in each movie are on opposite ends of the class spectrum). For those of you that haven’t seen Sacred Deer – Martin (Barry Keoghan)’s father died on the operating table at the hands of Dr. Steven Murphy (Colin Farrell), and is seeking revenge because he feels Steven is responsible for his father’s death. In Cache, Majid's son (this character isn’t given a name in the credits) is seeking a similar form of revenge. Majid's son blames George - his father’s former foster brother - for his father’s hard life. True – Majid's son (Cache) grew up with his father, while Martin’s father died prior to the events in Sacred Deer, but midway in to Cache *SPOILER* Majid takes his own life (something that is also hung over George’s head).

From a visual/thematic standpoint - the similarities are un-debatable...

Both film have a very similar father/son relationship (the sons in both films even look alike)
Cache / The Killing Of A Sacred Deer

There’s an underlying theme of; “attack on the upper class”. Early on in both movies we get the happy families sitting around the dinner table. This is the last time we see both families happy & undisturbed...
Cache / The Killing Of A Sacred Deer

As we've already established - both Martin (Sacred Deer) and Majid's son (Cache) are motivated by revenge...
Cache / The Killing Of A Sacred Deer

The “antagonist” son characters use the protagonist’s children as pawns to put their plans in to play…
Cache / The Killing Of A Sacred Deer

The “protagonist” keeps important secrets from his wife that comes back to bite him in the ass…
Cache / The Killing Of A Sacred Deer

There's a weird relationship between the protagonist’s wife and his close (male) friend…
Cache / The Killing Of A Sacred Deer

Similar spurts of self-inflicted violence…
Cache / The Killing Of A Sacred Deer

Throughout the film you question the morality of the main character/"protagonist"
Cache / The Killing Of A Sacred Deer


Both films end somewhat open & unresolved…
Cache / The Killing Of A Sacred Deer


There are also indescribable comparisons that can be made in that the overall tone/ambiance in both films are incredibly similar (the exception being that Cache doesn't have any funny moments). It should be noted that when Yorgos Lanthimos exploded on the scene with Dogtooth, he was compared to Haneke quite a bit.


Perhaps I have too much time on my hands or perhaps I'm on to something with this comparison. What do you all think?

Friday, November 9, 2018

THE SCHOOL OF CHANTAL AKERMAN PART 5: THE INFLUENCE ON MICHAEL HANEKE CONTINUED...


This exploration in to the visual & (sometimes) thematic similarities between the films of Chantal Akerman & Michael Haneke is a little different from part one (click here to view part one).
Instead of chopping up 2-4 seconds out of a particular scene, I went with 10-12 second long (unbroken) takes to hammer home my theory/belief that Akerman had some kind of subconscious influence on Haneke. And if not that, their films are still similar in terms of; ambiance (both directors explore the sometimes cold ambiance of Europe), color palettes (grays, blacks, dark blues, browns, etc), themes (depression & loneliness) and framing (you'll notice half of the comparisons below are centered)

I know at first glance some of these may seem vague. There's lots of movies with scenes of people sitting in the back of a car or moving around in their kitchen. You're someone who isn't in to slightly abstract thoughts and/or comparisons, perhaps some Kurosawa/Star Wars comparisons are more fitting for you.

enjoy...


Les Rendezvous D'Anna /
The Seventh Continent

Les Rendezvous D'Anna /
The Piano Teacher

Les Rendezvous D'Anna /
The Piano Teacher

Saute Ma Ville /
The Piano Teacher

Saute Ma Ville /
The Piano Teacher

Saute Ma Ville /
Funny Games

Saute Ma Ville /
Funny Games

La Folie Almayer /
Happy End

Toute Une Nuit / The Piano Teacher 

Toute Une Nuit / Code Unknown


And as a bonus, see how Akerman influenced even younger filmmakers like Markus Schlienzer (far right) through Haneke (middle).
For those that don't know, Schlienzer worked with/for Haneke during his Austrian period...
Jeanne Dielman.../71 Fragments/Michael 

LinkWithin

Related Posts Plugin for WordPress, Blogger...