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Kolberg (1945) was the Nazis last war cry. They were clearly losing World War II at this point, so Joseph Goebbels used a story from history where the Germans managed to get a underdog victory over Napoleon's army, proclaiming it can happen again. And you can sense the desperate propaganda being thrown at you. Most Nazi sponsored movies were kind of subtle about their message. This one wasn't. This one was delivered in a nervous fashion. Doesn't matter how much they tried to cover it up with color and lavish settings. The message was a loss, as the war, and it's really interesting to witness the Nazis loss of confidence.

Veit Harlan 🤝 Star Wars

Conveniently letting
Characters die to
gain cheap drama

"Kolberg" ist ein Historien- und Kriegsfilm, dessen Rahmenhandlung 1813 und Haupthandlung 1806/07 während der Napoleonischen Kriege spielt. Gleichzeitig handelt es sich um einen Durchhaltepropagandafilm der Nationalsozialisten, den wahrscheinlich noch heute teuersten deutschen Film und um einen versehentlichen Antikriegsfilm, der mit "Spartacus" (1960) und "Full Metal Jacket "(1987) gleich zwei Filme Stanley Kubricks beeinflusste, der die Nichte des Regisseurs von "Kolberg", Veit Harlan, heiratete. Als Propagandafilm funktioniert der Film vor allem auf rhetorischer Ebene: Gleich zu Beginn sehen wir eine Massenszene, Bürger marschieren im Gleichschritt durch die Straßen und singen einen Gedichttext von Theodor Körner, den Joseph Goebbels zur Sentenz verkürzt auch in seiner Sportpalastrede vom 13.2.1943 verwendete. In der Stadt Breslau muss der König indessen davon überzeugt werden, das Volk...

Zum ersten Mal nun den Film in seiner "Ur-Form" gesehen. Digitalisiert und restauriert mit erstrahlenden Farben des Agfa-Color. Durch die Hintergrundgeschichte entbehrt sich der Film normalen Kriterien (deshalb gibt es auch keine Bewertung). Doch hinter der Propagandaabsicht steckt ein extrem durchdachter Film, mit immensen Massenszenen und einem Aufwand, der im deutschen Film so nie wiederholt wurde. Veit Harlan beweist sein Geschick für den Bildaufbau und Melodrama. Wahrlich ein beeindruckendes Werk der Filmgeschichte. - Im Guten wie im Schlechten

3/10 would tell the Nazis to waste time, resources, and troops again.

The last epic from Goebbelwood. Some pretty impressive battle sequences near the end (though I hear Goebbels excised much of this stuff because he was less keen on the suffering, more about the propaganda of the hero nationalist who takes a stand blah blah blah). More engaging than I thought it'd be, but not great. Nazis gonna Nazi. In this one the gay violin-player gets blown up for loving music more than being a cog in the wheel. Do di do

Movie Challenge 2020: 104 Years in 52 Weeks: Movie #80 out of 104
This was the last attempt of the Nazis to mobilize the german people against the imminent defeat. Luckily, it didn't work.
It's hard to rate a movie like this with its despisable agenda and idiology and so I won't take this into account and will rate this movie with a distant look at it. And I think it was quite impressive and I wonder how the Nazis managed to shoot a movie at this time of the war with such a great effort.
#52years20

This may have been produced by a monster (Joseph Goebbels), but it's actually pretty good as a film. It retells the story of the Prussian town of Kolberg's defiance of Napoleon following the Battles of Jena and Auerstedt and the ensuing French siege of the town. It has obvious - and terrifying - parallels to Nazi Germany's doomed efforts to win WWII, including Goebbels' notorious efforts to enlist the civilian population in the cause of "total war." Goebbels meant industrial production, but Kolberg's defiance in the face of bombardment that reduces their community to rubble evokes top Nazis' attraction to Götterdämmerung, the apocalyptic ending to Richard Wagner's Ring cycle.

That said, Kolberg is surprisingly fast-paced for an ideologically-driven propaganda film. It...

"Das Volk steht auf
Der Sturm bricht los!"

Wohl einer der besten Propaganda Filme aller Zeiten
__
(3x) SD- TV Recording

Propagandafilme gibt es ja viele auf der Welt, manche staatlich gelenkt und viele frei und freiwillig entstandene pathetische Äußerungen zu irgendeinem Thema. An deutsche Filme dieser Art kann man - aus verständlichen Gründen - nur beschwerlich rankommen. Jedoch, was verboten ist, macht umso neugieriger! Das gilt nicht nur für "Geisterstadt der Zombies".

"Kolberg" besteht hauptsächlich aus unterschwelliger Propaganda. Daß da ein politisch völlig inakzeptables Regime dahinter steckte, macht den Film bedenklich, aber der Bogen ist nicht weit bis nach Hollywood oder den Rest der Welt, wo auch gerne mal heldenhaft gekämpft, pathetisch gestorben und kitschig tapfer zum Durchhalten aufgerufen wird. Da gibt es durchaus Parallelen.

Der Aufwand, der für "Kolberg" getrieben wurde ist irre. Es bewegen sich Menschenmassen, die Schlachten- und Kampfszenen sind episch und am Ende wird eine ganze Stadt in die Luft gesprengt und man muß sich eingestehen, daß diese Schauwerte auch ein klein bisschen gelungen sind, wünscht sich aber, sie wären unter anderen Umständen entstanden.

Decently crafted Napoleonic-war movie with a few solid performances and some spectacular battle sequences. Unfortunately, it comes tarred with Goebbels' propaganda-brush; the movie was made to get the civilian population excited about the idea of becoming guerrilla ubersturmenfallentrupperen when Germany got their ass invaded by the Allies. Luckily, that idea never amounted to much. There's some residual Jew-bashing directed toward one character; that's far from invisible here, but relatively understated and minor.

Also, I really hate that actress. Seen her once before, and she's such an Aryan girl-next-door UberMadchen I can't stand watching her.

Technically impressive yet boring propaganda film riding off the success of gone with the wind with none of the interesting parts. Period pieces that feel empty are especially hard to stay invested in. Also some from frustrating acting and camera movement.

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During Napoleon's victorious campaign in Germany, the city of Kolberg gets isolated from the retreating Prussian forces. The population of Kolberg refuses to capitulate and organizes the resistance against the French army, which immediately submits the city to massive bombardments.

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I bet you $15 that there are probably loads of 20-something pseudo intellectuals on this app who'd just love to write you a 5 page paper on why this movie is actually really good.

when the jew is sus!!! bum bum bum bum bum bum bum, bum bum bum, BUM! BUM!

Warning: Yellow (star) was the impostor!!

Impossible to review. The cinematography is actually decent and the story is sort-of compelling, even though there are some dull moments in the middle of the film. Still, how do you value those things when you are watching something you are inherently repulsed by.

Veit Harlans JUD SÜSS ist ein ästhetisch und technisch höchst gelungener Film, der einen tollen Cast und eine saftige Story bietet. Davon abgesehen ist der Schinken vielleicht das unmoralischste Filmwerk des 3. Reiches, das uns die kranke Ideologie des Antisemitismus allerdings in wirklich ansprechender Form präsentiert.
Filmisch absolut sehenswert, menschlich zutiefst ekelhaft!

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Þessi mynd er hrottaleg

A horrible, despicable, and dangerous film that I really wish I didn't have to watch for class. Fuck Veit Harlan and fuck Nazis.

So I enrolled in a history course titled "Film Images of World War 2" (yes, it's every bit as amazing as it sounds), and the first feature we watched was this little relic from the Nazi regime. This falls into the "Birth of a Nation" school of films -- technically accomplished, confidently directed, and well-acted, but the subtext is undeniably problematic.

Now, at the time of the film's release, systematic extermination of the Jews hadn't yet started, but the film in many ways anticipates that. A historical drama based on actual events (and a novel inspired by said events), the film tells the story of a Jew named Oppenheimer who becomes the Duke's financial advisor, corrupts the state, and reaches...

Propaganda films are always going to be amusing to me on a historical level, as vile as they can get. I wouldn't call Jew Süss a "good" movie in a million years, but I'm not going to completely reject what it does right. Neither the narrative nor the filmmaking are particularly bad. Anti-Semitism aside, this is a solid melodrama. Every time things got uncomfortable I simply remembered the title and started bursting into laughter because I have the comedic sensibilities of a two-year-old.

is this an anti-semitic among us reference?

Watched for class. 3x speed

the ideologically-perverted spawn of the cultural industry of the third reich, a propaganda product disguised as legit melodrama.

the big issue here is the successful depiction of an utterly despicable character, in a plot that is engaging and emotionalizing. Ferdinand Marian creates a character, that is way above the classic caricature of a jew, being diabolically captivating - not unlike the construction of the villain in contemporary TV shows (shamed be he who thinks evil of it). he's a fascist by heart (he uses the word "ausrotten" - exterminate - at some point, a popular wording in third reich linguistic usage), and by that a projective identification for nazis in the most absurd and ironic kind. at the same time...

Not dignifying this with a rating. It's obviously morally corrupt and reprehensible, but for all the talk of its seductive power and Harlan's reputation as a gifted filmmaker, I was surprised to find how shoddily made it actually is. Sure, there's a couple of impressive shots and the art direction's great but it's just a hodgepodge of badly scripted and written reactionary talking points about elites vs the common man that drive their points home with all the finesse of a sledgehammer. Honestly, I struggled to finish it because I found it unbearably boring. It doesn't play at all like a film that was made to seduce anyone into anything but rather as ex ante exculpation of what most likely...

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Produced by Terra Film at the behest of Joseph Goebbels, this costume melodrama was wildly successful in its day. A conniving, ambitious Jewish businessman, Süß Oppenheimer, snares a post as treasurer to the Duke of Wurttemburg by showering the corrupt duke with treasure and promises of even greater riches.

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Eight people (I counted) walked out of the screening, a few began yawning toward the end, and others just didn't care enough. I was the only Indian in the theatre, in a hybrid-documentary feature film about the student protests at FTII, JNU and the injustices of the Modi government. It felt incredibly personal, moving and outright angry. It was almost as if Payal Kapadia was speaking to the audience, ranting even, hiding behind the facade of this loose experimental plot of intercaste love and letters at the film and television institute of India.

I knew of all that had been presented in the film, lived through the protests in mumbai and delhi, seen the brutality of the police firsthand on...

maybe i mistook your silence for understanding

Students' critical moments, normalcy is increasingly threatened, the earth is violently shaken by the police while student movements rule the streets. Moments of seeking meaning, moments of moving, youth's self-awareness unleashing immense repulsion - emotional impact exploded again and again.

In that place, their home, their pain, and their time
patiently stayed on the path of revolution, they were swept away and sacrificed with their pain and fear, protesters carried power in the name of justice among beasts of police, government and enemies of its existence.

Poetic yet frightening, the subject of powerful politics that is problematic in India, which is the main point with the narrator bringing the storyline deep into a darker story with moving landscape footage of...

2022 TIDF w/ 若慈
震撼又subtle，緩慢又深刻，用舞蹈開頭和結束，印度左派學運論述力好強。

QA
Q: 一開始很難宣傳這部片，題目跟想法一開始甚麼？
A: at the beginning I was with my friend at FTII, just came out of the strike, no idea what to shoot but just had the urgency to shoot. Back in 2016.
We were interviewing friends and documenting things going on. Over time, partners from other uni also gave us their footage (in protests against Modi govt since 2014 across India). So we have more and more materials. Our feelings are genuine because we participated.
Q: 透過書信的拍攝方式是如何產生的？
A: Initially we have lots of interviews. Question of love concerns a lot of people. In India, love is political. Caste, religious difference. We wanted to blend personal problem with social problem. Over time, we...

"How could you stand beside me during the strike, shouting slogans of freedom, standing up to the government, but when it comes to standing up to the casteism of your parents, you do not speak up?"
In the Film & Television Institute of India, a box was found. Included were newspaper clippings, dried flowers, memory cards of student films, and letters written by a film student named only be the initial "L".

The film uncovers a hidden romance between caste divided lovers, and the film students across India opposing the ever-growing presence of nationalists in their creative institutions, enforcing censorship to take away their freedom of speech.

A lot of heart-breaking and inspiring moments have been included in this film, with a powerful and mysterious context infused within.

Also, Avril 14th is in this film, so it is amazing.
EDIT: Avril 14th has been removed from the Final Cut :(

While I watched this movie I realized that I don't know anything about Indian politics. Or let's say I didn't, because now I do. I guess it only scratched the surface, but I think I got a rough idea of how things are over there.

I think it's extremely hard to describe A Night of Knowing Nothing, but if I had to I would probably say that it's a mix between scripted feature film and documentary. It's based on letters by an unknown person that were found in a room of an Indian film school, and those letters were written in times of big political unrests that started with a student strike in which the writer of the letters was...

Images of violence that fade as swiftly as they appear. Cinema as a political tool to fight against the erosion of memory. Haunting and solemn, it reminded me a bit of Oshima's film's on student's revolts, even if the contexts and structures of each director could hardly be further apart from each other.

'im thinking of you, what can i say?'

probably one of the most important films i've ever seen

revolutions are the festivals of the oppressed and the exploited

This film needs to be pushed to as many people as possible. Solidarity with the students and working class of India

i was waiting for you my beloved.
waiting to touch her gentle lips,
take her in my arms,
kiss her.

Perçant comme un cri dans la nuit

Bravo le cinéma bravo l'amour bravo les femmes et bravo la gauche et la lutte

Mentioned by

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L, a university student in India, writes letters to her estranged lover, while he is away. Through these letters, we get a glimpse into the drastic changes taking place around her. Merging reality with fiction, dreams, memories, fantasies and anxieties, an amorphous narrative unfolds.

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On October 4th, 2007 Arantza, the director of the film, was detained and taken to prison. She remembers a few things about those days: endlessly walking around the prison exercise yard, swimming competitions, Rasha’s prison journey... After 918 nights locked up, Arantza is set free. From then onward…

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Título original

Memorias de ultramar

Año

2021

Duración

49 min.

País

España

Dirección

Guion

Carmen Bellas, Alberto Berzosa

Reparto

Documental

Productora

Género

Documental | Mediometraje. Colonialismo

Sinopsis

Memorias de ultramar es un documental producido por Filmoteca Española y realizado con imágenes caseras filmadas por habitantes de las colonias, provincias y territorios bajo dominación española entre 1940 y 1975.

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Memorias de ultramar es un documental dirigido por Carmen Bellas, Alberto Berzosa. Año: 2021. Título original: Memorias de ultramar. Sinopsis: Memorias de ultramar es un documental producido por Filmoteca Española y realizado con imágenes caseras filmadas por habitantes de las colonias, provincias y territorios bajo dominación española entre 1940 y 1975.

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"I'm very glad I unmuted to you" - Toaster,

- 2022 Ranked: boxd.it/eWNQo
- Sundance 2022: boxd.it/f5MjG

Mmmmmmm... Tim Hortons.

Honestly I think people will be watching this film in 20, 30, 40 years and responding to it in different ways as its relevance evolves but always stays prominent. It's just a unique thing to see a film like this that uses a new medium (VR) for a medium (documentary) but also remains engaging beyond a simple gimmick. On a superficial level it can be appreciated for its weird and goofy substance but on a deeper level it can be understood as a glimpse into the future from the perspective of it's early adopters.

Brilliant.

My VR avatar would look like Rebecca Black on the cover of Read My Mind (feat. Slayyyter).

Edit: I downloaded VRChat after watching this and will not be returning to Letterboxd. My avatar is a stack of pancakes.

WE MET IN VIRTUAL REALITY is a unique documentary experience as it examines people living alternative existences in a fully VR world as they meet others, fall in love & build a whole new life for themselves filled with new beginnings & possibilities. Unexpectedly warm & tender.

Sundance #23

Easily the most Ive been engaged throughout the entire fest but there was something just so bizarre about all the aspects of VR I had no idea about. The exotic dancers, the relationships, the dating, the weddings, the ASL classes, and just the often bizarre and disturbing mix of how humans seek for escapism more than ever. I honestly am struggling to really articulate any concrete thoughts on any of this. Its tiring ,a bit wholesome, a bit depressing, but entirely bizarre and worthy of some attention in my opinion.

kermit the frog learning asl we stan

Four true statements:
1. I found the subject matter of this film fascinating.
2. I wound up having a great deal of sympathy for the people in this movie.
3. The people in this movie are surprisingly articulate (and insightful) about all the time they spend in Virtual Reality Chat.
4. I found this movie excruciating to watch.

Sundance #1
i've *exhausted* myself debating back and forth in my brain about so many points all movie long. saying there's so much to unpack is a disgusting understatement. both fascinating and discouraging; intriguing and terrifying. there's so much uncertainty here. you too will wear yourself out about what "actually counts" as real and what doesn't

Watching this with a group of people that I primarily only know through the internet was the best possible watching experience I could have had.

We Met in Virtual Reality was a genuine surprise. I fully went into this expecting it to be insane and bizarre, something in the same vein of last year's A Glitch in the Matrix. Instead, I got a heartfelt viewport into a few tight-knit communities and an interesting contemplation of intimacy and friendship in a climate that none of us expected to be in.

This documentary feels like a true passion project. Full of humor and heart, I highly recommend We Met in Virtual Reality to just about anyone.

Sundance 2022 - Film #9
We Met in Virtual Reality is probably the most unique experience I've ever had with a documentary, as the film is completely made up of footage recorded in VR Chat. This was a fascinating look into the lives of several individuals and how virtual reality changed their lives and what it means to them personally, and I found it deeply moving in many respects. It does lack a real sense of structure, which may hinder the experience for some, but I found this a deeply personal and engaging experience overall, and it's certainly one of the highlights of the festival for me.
GRADE: B+

Sundance 2022 #1 babyyyyy!!!

This is just so sweet man. I think at its core this film is a love letter to sincerity. While it's not that you can't have sincerity in a physical space like in real life, virtual spaces like VR chat (and even discord lol) can make it so much easier to be sincere in every aspect of your life because you don't have to put up a physical front. You can be sincere in your gender, your sexuality (both in terms of orientation and expression lol), your connections with people, your relationships with people, and your love, which we see in all of these subjects.

The way you express yourself is a window into the real...

Filmed entirely in the virtual world of VR Chat during the COVID-19 pandemic, We Met in Virtual Reality is a very compelling and humane film following a group of lonely people who spend their free time in this game, forming social connections both platonic and romantic. Joe Hunting's refreshing decision to have the whole film take place within the game results in it more closely resembling an experimental art project than a documentary. Mainstream society would be all too quick to judge these people, who choose to live through anime avatars, yet there is authentic humanity in their interactions with one another. They have carved out their own safe community, a means of escaping real-world pain and trauma. This fascinating...

Sundance 2022 Film Festival #2

The first image on the Sundance website almost turned me off of this movie, and I'm still not sure why they chose it, but it proved to be nothing like the movie itself. I was admittedly expecting something of a joke, but I ended up loved this.

It's hard to make a film of any kind on a video game, and just saying that makes it sound impossible. But this was not only a well put together documentary that highlights a lot of aspects of the platform, but it was surprisingly heartfelt as it offers a number of different perspectives from users and their experiences with each other. This isn't something like Ready Player One...

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Virtual reality for many is as far away a place as can be imagined. In his groundbreaking work, first-time feature director Joe Hunting examines this new frontier for human engagement with surprising tenderness. Following a number of couples who met in VR during the pandemic, Hunting leads with romance but opens an exploration of technology, borders, and imagination.

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"Hiperstición" es un concepto desarrollado por Nick Land y la Cybernetic Culture Research Unit (CCRU) que refiere a una idea performativa que provoca su propia realidad, una ficción que crea el futuro que predice. También es el nombre de la película del cineasta Christopher Roth que en estos días está exhibiendo el Museo Tamayo (México).

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Jessica uses Letterboxd to share film reviews and lists. 927 films watched. Favorites: 92 Legendary La Rose Noire (1992), Three Love Affairs (1963), My Kingdom for a Husband (1957), A Chinese Odyssey Part Two: Cinderella (1995). Bio: *Thanks Alex for gifting me the Pro Membership. I will continue to…

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Neil uses Letterboxd to share film reviews and lists. 2,483 films watched. Favorites: La Notte (1961), October (Ten Days that Shook the World) (1927), In the Realm of the Senses (1976), A.I. Artificial Intelligence (2001). Bio: I TOO DREAM IN COLOUR AND IN RHYME

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Quite liked this. Some pomp is lost and missed (especially the exploding Soviet and American boxing gloves at the start of the film), and there's some awkwardness regarding new footage, but Sly & co. draw out the most interesting dramatic aspects of the original film. It's a drama of three men insecurely watching each other - Rocky, Creed, Drago - homoerotic and surprisingly sad, with more weight given to the latter two than in the OG cut. About the world...

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Quite liked this. Some pomp is lost and missed (especially the exploding Soviet and American boxing gloves at the start of the film), and there's some awkwardness regarding new footage, but Sly & co. draw out the most interesting dramatic aspects of the original film.

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In a lot of ways this is crudely executed, there's no denying it; it's definitely got nothing on, say, Terence Fisher or even Roger Corman (two directors I would have loved to see adapt this story). Still, I was sold on the interaction between internalized Catholic guilt and the occult mythology of the Horla, an invading external possessor-entity of pure, unreasoning evil. The primary narrative/thematic threads play interestingly into the film's depiction of artistic creation, specifically in the problems of artists claiming ownership of subjects, in ways both metaphoric and literal. Above all, though, it's just an excellent example of Vincent Price's inimitably powerful screen presence.

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Mike uses Letterboxd to share film reviews and lists. 4,544 films watched. Favorites: Outside the Law (1920), Monkey Business (1952), Point Blank (1967), Dog Eat Dog (2016). Bio: Author of Shelter for the Damned, Darkest Hours, and Peel Back and See.

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Tweets by ainhoamarzol

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A newsletter about having fun online by Ryan Broderick. Click to read Garbage Day, by Ryan Broderick, a Substack publication with tens of thousands of readers.