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ऐप का इस्तेमाल करें
oOgiandujaOo_and_Eddy_Merckx की प्रोफ़ाइल इमेज

oOgiandujaOo_and_Eddy_Merckx

अग॰ 2002 को शामिल हुए
We each and every-one of us has a pendulum inside us which goes between grace and idiocy. - Bruno Dumont

...film... exists to consecrate the human face - AO Scott

Je suis venu ici pour écrire un roman. C'est l'histoire d'un homme que j'ai inventé. Il est silencieux, naïf, sans audace, et il laisse passer les chances du bonheur. Je l'ai fait vice-consul de France à Calcutta. Vice-consul, profession médiocre, mais sûr ... et qui trompe. Calcutta, ville infinie de la lassitude d'être... Je dois maintenant dire sa défaite, son rêve ecrasé, et comment Calcutta, lentement, mettre en plein lumière sa solitude, sa banalité, son angoisse, si court. - narration from Marguerite Duras' "Nuit Noire, Calcutta"

Ce soir dans le port il y a un place libre dans la Funchalense. Mais ne crois pas jamais des gens comme moi. - dialogue from Raul Ruiz's "Les trois couronnes du matelot"

REUNIS, LE SOIR, COMME DES CONSPIRATEURS, NE SE CACHANT
AUCUNE PENSEE, USANT TOUR A TOUR D'UNE FORTUNE SEMBLABLE
A CELLE DU VIEUX DE LA MONTAGNE; AYANT LES PIEDS DANS
TOUS LES SALONS, LES MAINS DANS TOUS LES COFFRE-FORTS,
LES COUDES DANS LA RUE, LEURS TETES SUR TOUS LES OREILLERS,
ET, SANS SCRUPLES.
- typewritten note in Out 1: Noli Me Tangere.

〰

I like films about the body and human lifecycle, and about how the mind works. I also like films containing images that strike me with awe. In the mix are films about outsiders and the ostracised, and films that provoke a feeling of being haunted.

Films containing aspects of bildung and spiritual progression are also welcome, as are films of pure aestheticism.

Like everyone I also like escapist cinema.

Below is my ordered top 100 (Oct 2024).

Stay safe and happy.

Le soulier de satin / O Sapato de Cetim / The Satin Slipper (1985 - Manoel de Oliveira)
Les Maîtres du temps / Time Masters (1982 - René Laloux)
Les enfants du paradis / Children of Paradise (1945 - Marcel Carné)
Morvern Callar (2002 - Lynne Ramsay)
Il deserto dei tartari / The Desert of the Tartars (1976 - Valerio Zurlini)
La maman et la putain / The Mother and the Whore (1973 - Jean Eustache)
La double vie de Véronique / The Double Life of Véronique (1991 - Krzysztof Kieślowski)
Les amours imaginaires / Heartbeats (2010 - Xavier Dolan)
有りがたうさん / Arigatô-san / Mr. Thank You (1936 - Hiroshi Shimizu)
Les bas-fonds / The Lower Depths (1936 - Jean Renoir)
Lady Chatterley (2006 - Pascale Ferran)
Cesarée (1978 - Marguerite Duras)
Nostos: Il ritorno / Nostos: The Return (1989 - Franco Piavoli)
Odd Man Out (1947 - Carol Reed)
Edvard Munch (1974 - Peter Watkins)
Limite (1931 - Mario Peixoto)
The Saga of Anatahan (1953 - Josef von Sternberg)
Per qualche dollaro in più / For a Few Dollars More (1965 - Sergio Leone)
The Last Picture Show (1971 - Peter Bogdanovich)
大菩薩峠 / Dai-bosatsu tôge / Sword of Doom (1966 - Kihachi Okamoto)
The Spiral Staircase (1946 - Robert Siodmak)
America America (1963 - Elia Kazan)
Camille (1936 - George Cukor)
Club de femmes (1936 - Jacques Deval)
Deadfall (1968 - Bryan Forbes)
Winter (2008 - Nathaniel Dorsky)
The Fanny Trilogy - Marius, Fanny, César (1931, 1932 & 1936 - Alexander Korda, Marc Allégret & Marcel Pagnol)
Fanny och Alexander / Fanny and Alexander (1983 - Ingmar Bergman) TV Version
Gymnopedies (1965 - Larry Jordan)
In the Stone House (2012 - Jerome Hiler)
秋日和 / Akibiyori / Late Autumn (1960 - Yasujirō Ozu)
The Swimmer (1968 - Frank Perry & Sydney Pollack)
Viskningar och rop / Cries and Whispers (1972 - Ingmar Bergman)
L'année dernière à Marienbad / Last year at Marienbad (1961 - Alain Resnais)
The Tree of Life (2011 - Terrence Malick)
耳をすませば / Mimi wo Sumaseba / Whisper of the Heart (1995 - Yoshifumi Kondô)
Panique au village / A Town Called Panic (2009 - Stéphane Aubier & Vincent Patar)
The Pumpkin Eater (1964 - Jack Clayton)
Footsteps in the Fog (1955 - Arthur Lubin)
The Doom Generation (1995 - Gregg Araki)
Vertigo (1958 - Alfred Hitchcock)
Consuming Spirits (2012 - Chris Sullivan)
Saraband (2003 - Ingmar Bergman)
Alaya (1987 - Nathaniel Dorsky)
World of Tomorrow Episode Three: The Absent Destinations of David Prime (2020 - Don Hertzfeldt)
Meshes of the Afternoon (1943 - Maya Deren & Alexander Hammid)
東京物語 / Tôkyô monogatari / Tokyo Story (1953 - Yasujirō Ozu)
Malmkrog / Manor House (2020 - Cristi Puiu)
Ferdinand the Bull (1938 - Dick Rickard)
おもひでぽろぽろ / Omohide poro poro / Only Yesterday (1991 - Isao Takahata)
天使のたまご / Tenshi no tamago / Angel's Egg (1985 - Mamoru Oshii)
À l'ombre de la canaille bleue / In the Shadow of the Blue Rascal (1986 - Pierre Clémenti)
La nuit fantastique / The Fantastic Night (1942 - Marcel L'Herbier)
Le Mepris / Contempt (1963 - Jean-Luc Godard)
King of New York (1990 - Abel Ferrara)
Gone with the Wind (1939 - Victor Fleming, George Cukor & Sam Wood)
Csillagosok, katonák / The Red and the White (1967 - Miklós Jancsó)
Get Carter (1971 - Mike Hodges)
Jauja (2014 - Lisandro Alonso)
Shutter Island (2010 - Martin Scorsese)
Krysar / The Pied Piper of Hamelin (1986 - Jirí Barta)
L'armée des ombres / Army of Shadows (1969 - Jean-Pierre Melville)
Fünf Patronenhülsen / Five Cartridges (1960 - Frank Beyer)
Eyes Wide Shut (1999 - Stanley Kubrick)
Aliens (1986 - James Cameron)
Gwen, le livre de sable / Gwen, the Book of Sand (1985 - Jean-François Laguionie)
A Pál utcai fiúk / The Boys of Paul Street (1968 - Zoltán Fábri)
Picnic at Hanging Rock (1975 - Peter Weir)
Au coeur de la vie / In the Midst of Life (1963 - Robert Enrico)
Accident (1967 - Joseph Losey)
The Secret of Kells (2009 - Tomm Moore & Nora Twomey)
Êxtase / Ecstasy (2020 - Moara Passoni)
Trys Dienos / Three Days (1991 - Sharunas Bartas)
Хрусталёв, машину! / Khrustalyov, mashinu! / Khrustalyov, My Car! (1998 - Aleksey German)
Liquid Sky (1982 - Slava Tsukerman)
Patterns (1956 - Fielder Cook)
Monsieur Verdoux (1947 - Charles Chaplin)
Bizalom / Confidence (1980 - István Szabó)
Red Riding (2009 - Julian Jarrold, James Marsh & Anand Tucker)
A Canterbury Tale (1944 - Michael Powell)
Accattone (1961 - Pier Paolo Pasolini)
Una giornata particolare / A Special Day (1977 - Ettore Scola)
Jofroi (1933 - Marcel Pagnol)
Meandre (1966 - Mircea Saucan)
The Long Day Closes (1992 - Terence Davies)
Davandeh / The Runner / دونده (1984 - Amir Naderi)
Dodsworth (1936 - William Wyler)
Il buono, il brutto, il cattivo / The Good the Bad and the Ugly (1966 - Sergio Leone)
At Sea (2007 - Peter Hutton)
Altair (1995 - Lewis Klahr)
Нежность / Nezhnost / Tenderness (1967 - Elyor Ishmukhamedov)
Manhunter (1986 - Michael Mann)
Deep End (1970 - Jerzy Skolimowski)
De helaasheid der dingen / The Misfortunates / The Shittiness of Things (2009 - Felix van Groeningen)
Семнадцать мгновений весны / Semnadtsat mgnoveniy vesny / Seventeen Moments of Spring (1973 - Tatyana Lioznova)
Frost (1997 - Fred Kelemen)
To Live and Die in L.A. (1985 - William Friedkin)
Careful (1992 - Guy Maddin)
Midnight Cowboy (1969 - John Schlesinger)
नई प्रोफ़ाइल में आपका स्वागत है
हमारे अपडेट अभी भी डेवलप हो रहे हैं. हालांकि प्रोफ़ाइलका पिछला संस्करण अब उपलब्ध नहीं है, हम सक्रिय रूप से सुधारों पर काम कर रहे हैं, और कुछ अनुपलब्ध सुविधाएं जल्द ही वापस आ जाएंगी! उनकी वापसी के लिए हमारे साथ बने रहें। इस बीच, रेटिंग विश्लेषण अभी भी हमारे iOS और Android ऐप्स पर उपलब्ध है, जो प्रोफ़ाइल पेज पर पाया जाता है. वर्ष और शैली के अनुसार अपने रेटिंग वितरण (ओं) को देखने के लिए, कृपया हमारा नया हेल्प गाइड देखें.

बैज12

बैज कमाने का तरीका जानने के लिए, यहां बैज सहायता पेज जाएं.
बैज एक्सप्लोर करें

रेटिंग4.3 हज़ार

oOgiandujaOo_and_Eddy_Merckxकी रेटिंग
10
Ariadne
Holly
6.07
Holly
Before Sunset
8.110
Before Sunset
Eephus
6.810
Eephus
Human Traffic
7.110
Human Traffic
Drømmer
7.510
Drømmer
Before Sunrise
8.110
Before Sunrise
Mandy
6.510
Mandy
Le diable probablement
7.06
Le diable probablement
1871
6.44
1871
Der Verlorene
7.08
Der Verlorene
Seisaku no tsuma
7.79
Seisaku no tsuma
A Wife Confesses
7.410
A Wife Confesses
Angel
6.36
Angel
Young Mr. Lincoln
7.57
Young Mr. Lincoln
Angelic Conversation
6.110
Angelic Conversation
Rosa la rose: fille publique
6.36
Rosa la rose: fille publique
My Beautiful Laundrette
6.89
My Beautiful Laundrette
Kalamita
6.76
Kalamita
Defence of the Realm
6.58
Defence of the Realm
The Secret Adventures of Tom Thumb
7.210
The Secret Adventures of Tom Thumb
The Night Comes for Us
6.96
The Night Comes for Us
The Place Beyond the Pines
7.37
The Place Beyond the Pines
Masques
6.89
Masques
Hai zi wang
7.18
Hai zi wang

सूचियां61

  • Fünf Patronenhülsen (1960)
    Great German language films
    • 39 शीर्षक
    • सार्वजनिक
    • संशोधित 13 अग॰ 2025
  • Le soulier de satin (1985)
    500 for 500<400
    • 500 शीर्षक
    • सार्वजनिक
    • संशोधित 08 अग॰ 2025
  • Aurélia Steiner (Melbourne) (1979)
    History films
    • 10 शीर्षक
    • सार्वजनिक
    • संशोधित 31 जुल॰ 2025
  • Irène Jacob and Guillaume de Tonquédec in The Double Life of Véronique (1991)
    Personal Top 50 of the 90s
    • 50 शीर्षक
    • सार्वजनिक
    • संशोधित 18 जुल॰ 2025
सभी लिस्ट देखें

समीक्षाएं471

oOgiandujaOo_and_Eddy_Merckxकी रेटिंग
Bogancloch

Bogancloch

7.1
10
  • 6 अग॰ 2025
  • Nature's lover

    Bogancloch is Ben Rivers' follow-up to his 2012 feature Two Years at Sea, as well as the shorts This Is My Land (2007) and I Know Where I'm Going (2009). All these films follow the life of the now-elderly hermit Jake Williams, who lives in remote Bogancloch, Aberdeenshire, quietly going about his day-to-day life. The film is mostly shot in black and white, with occasional bursts of vivid colour-particularly when Rivers films Jake's old travel photos, likely from the 1970s. Weathered and distorted by time and the elements, these images appear joyously 'smooshed', like psychedelic artefacts from a vanished past.

    Jake is often seen communing with nature-listening to birdsong, observing the landscape, or simply sitting in stillness. From the expressions on his face, it feels fair to say that nature has become his lover. Ben Rivers, as usual, finds beauty in disarray and decrepitude, and occasional magic, helped along by the presence of a cat who comes across as Jake's familiar.

    Bogancloch is an unobtrusive and charming ethnographic document of one of the last eccentrics.
    Human Traffic

    Human Traffic

    7.1
    10
  • 5 अग॰ 2025
  • Human Traffic - A Generational Time Capsule

    Human Traffic is a film I can identify with because I grew up in the same vibe, close to where the movie is set, and around the same age as Danny Dyer's character, Moff. It's about a drug- and love-fuelled long weekend in Cardiff, shared by five friends. I absolutely wasn't involved in that lifestyle, but the zeitgeist is acutely familiar. I was growing on the same agar plate as these guys.

    From 1979 to 1997, the UK was ruled by a Conservative government, one deeply unpopular with young people. The characters in this film had never known another political order. That fostered a persistent, ambient youth alienation.

    I remember, in the mid-'90s, being confronted by unprovoked boys the same age as me, wearing shellsuits, walking up to ask if I wanted a fight. Heavy industry was shutting down. Unions were being crushed. Prospects for young working-class people were grim. A bravura moment in the film captures this mood: an entire pub of young people sings the national anthem to the tune of rebellion-"Our generation / Alienation / Have we a soul?"

    There wasn't yet internet access for most of us. Wikipedia didn't exist. There were no discursive outlets, no easy entry points to alternative perspectives. You couldn't just go down a rabbit hole and emerge somewhere better informed. So we sat with our confusion.

    This is reflected in the film's characters. They know, with deep certainty, that their parents' generation is wrong about everything. But they don't know why. And they don't know what to do about it. The result is a kind of howling absurdity-a culture of oblivion drinking. Other generations drank too, but our generation drank to forget we existed and gurned on MDMA. And for the first time, women-the so-called ladettes-drank with the same abandon and for the same reasons.

    Mimicry was another response to the absurdity. The characters spend much of the film mimicking the cultural voices around them, blurting out fragments of gibbering elderspeak. This is how people respond to authority they don't understand and can't escape-by parroting it, distorting it, making it ridiculous.

    Take the lyric "Who is the Queen?" from the film's replacement national anthem. Critics mocked it at the time for its clunky delivery-but it's a question that carries weight. For Gen X, a profound connection that older generations felt to the monarchy was severed. My father, like many of his generation, had a portrait of Elizabeth II in his study. When he became a police officer, he swore an oath to her, and he meant it. That personal bond was real for him. For us, the monarchy was an absurd relic. The lyric exposes a cultural rift.

    Human Traffic is stylistically bold. It blends documentary-style narration, stylised sequences, fantasy cutaways, and surreal internal monologues. It's a collage of raw energy and fractured identities.

    At its core, Human Traffic is a joyous film about young people looking for love and escape. They find refuge in the weekend, in chemicals, in the giddy chaos of being "space kittens," to borrow a phrase from the movie. The exuberance is the point. It's something we've since lost. It's something the generations to come never really had.

    We didn't have a reason to be exuberant-but we were anyway. Follow any of the conversations in the film and they're mostly nonsense. They don't have much to say-but they inject energy into the saying. Socially, the worst thing you could be at the time was a "buzzkill." Today, buzzkilling is practically a social obligation. Sobriety and self-righteousness have seen a renewal.

    Human Traffic is funny, energetic, and makes brave stylistic choices-for which it's rewarded. This is a definitional film of a time and place. It may not be perfect, but it's real.
    Masques

    Masques

    6.8
    9
  • 15 जुल॰ 2025
  • Dark Satire of Respectability

    Masks is a gothic mystery of antique origin, successfully updated for a world a century later. To breathe new life into a well-worn story takes style, inventiveness, and brio - all of which Chabrol, co-writer Odile Barski, and a well-chosen cast bring in spades. The traditional shadows and spandrels of the genre are discarded in favour of a uniquely saccharine creepiness.

    Philippe Noiret fits his role as smarmy TV show host Christian Legagneur (literally "the winner") like a glove. His program - in which elderly romantics compete in dancing and singing - feels eerily plausible. We spend most of the film at his country estate, populated with familiars, where he has invited a young biographer to hear his story. This biographer, however, has a secret mission that only reveals itself gradually. The setup sounds implausible, but Legagneur is just egotistical enough to be seduced by the flattery of a biographer's attention, and just manipulative enough to welcome an extra puppet into his theatre, even if he suspects the ruse.

    Robin Renucci, as the fake writer Roland Wolf, brings youthful brashness and self-assurance to the role, making him a worthy opponent in this quiet battle of wits. Other notables include Bernadette Lafont, gleefully hamming it up as the voluptuous tarotist-in-residence Patricia, and Anne Brochet as Catherine, Legagneur's ailing god-daughter.

    It's tempting to think of Chabrol as a New Wave pioneer who drifted into less promising genre territory. But dig deeper, and you find a filmmaker with a remarkably acute grasp of the upper middle classes - particularly the collusive, self-perpetuating nature of class power. Legagneur is no rogue individualist. He gregariously surrounds himself with like-minded confederates who share in the spoils. To put it more simply: the rich don't rock the boat - they eat veal cutlets on the boat and sip fine wine.

    Legagneur laughs easily, with his inner circle and at society. He is a law unto himself, creating a hermetically sealed, ideologically baroque world of his own. This is captured in a memorable image: he sleeps beneath an Arcadian tableau, recessed into ornate panelling - the physical manifestation of his dreams. We glimpse the structure he inhabits whether awake or asleep: a world entirely of his own invention and control. He is a dreamer wide awake. Or, to put it plainly: a powerful fantasist. Years before the world came to understand the true nature of TV host Jimmy Savile, Chabrol had already drawn the silhouette.

    The 1980s were a relatively fallow period for Chabrol, but Masks - this opiated flower from an unmapped canyon of dreams - stands out.
    सभी समीक्षाएं देखें

    हाल ही में लिए गए पोल

    45 कुल पोल लिए गए
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    Ingrid Bergman and George Sanders in Viaggio in Italia (1954)
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    Directors that Need to be Punished by Law!
    13 जुल॰ 2019 लिया गया
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    3 जून 2019 लिया गया
    Irene Dunne and Richard Dix in Cimarron (1931)

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