jose larraz

I wonder how many films this same street has been used in. This still is from John Mackenzie’s One Brief Summer but I could easily tag it in one of Jose Ramon Larraz’ pre-Symptoms films and no one would know the difference (other than perhaps that stately car). The beauty of cutting costs in order of being practical.

anonymous asked:

what are your favorite films that weren't made in america and not made by an american cast/director/producer/studio etc

i feel like this is a drag because i almost answered “none” but 99% of my fave films aren’t amerikan so this is also like a personal canon and at least 90% of the directors have other works that number in my top 100 somewhere but i am only listing them once to avoid being redundant:

  • the life of oharu (kenji mizoguchi, 1952)
  • stromboli (roberto rossellini, 1950)
  • may god forgive me (tito davison, 1948)
  • late autumn (yasujiro ozu, 1960)
  • nights of cabiria (federico fellini, 1957)
  • through a glass darkly (ingmar bergman, 1961)
  • the blue angel (josef von sternberg, 1930)
  • day of wrath (carl th. dreyer, 1943)
  • the white angel (raffaello matarazzo, 1955)
  • the cranes are flying (mikhail kalatozov, 1960)
  • vive l’amour (tsai ming-liang, 1994)
  • night of the hunted (jean rollin, 1980)
  • chinese roulette (rainer werner fassbinder, 1976)
  • mamma roma (pier paolo pasolini, 1962)
  • fallen angels (wong kar-wai, 1995)
  • yearning (mikio naruse, 1964)
  • the strange vice of mrs. wardh (sergio martino, 1972)
  • alice in the cities (wim wenders, 1974)
  • close up (abbas kiarostami, 1990)
  • the piano teacher (michael haneke, 2001)
  • last orgy of the third reich (cesare canevari, 1977)
  • daughters of darkness (harry kumel, 1971)
  • cleo from 5 to 7 (agnes varda, 1962)
  • the young girls of rochefort (jacques demy, 1967)
  • martyrs (pascal laugier, 2007)
  • mazurka (willi forst, 1937)
  • and soon the darkness (robert fuest, 1970)
  • tenebre (dario argento, 1982)
  • les saignantes (jean-pierre bekolo, 2005)
  • the descent (neil marshall, 2005)
  • the battle of algiers (gillo pontecorvo, 1966)
  • black girl (ousmane sembène, 1966)
  • lady snowblood (toshiya fujita, 1973)
  • attenberg (athina rachel tsangari, 2010)
  • red desert (michelangelo antonioni, 1964)
  • all about my mother (pedro almodovar, 1999)
  • house of tolerance (bertrand bonello, 2011)
  • belle (amma asante, 2013)
  • the laughing woman (piero schivazappa, 1969)
  • bandini (bimal roy, 1963)
  • les yeux sans visage (georges franju, 1960)
  • thriller - a cruel picture (bo arne vibenius, 1973)
  • three colors: red (krzysztof kieślowski, 1994)
  • sans soleil (chris marker, 1983)
  • the kneeling goddess (roberto gavaldón, 1947)
  • a lizard in a woman’s skin (lucio fulci, 1971)
  • symptoms (jose ramon larraz, 1974)
  • the night porter (liliana cavani, 1974)
  • possession (andrzej zuławski, 1981)
  • that obscure object of desire (luis bunuel, 1977)
  • noriko’s dinner table (sion sono, 2006)
  • mother joan of the angels (jerzy kawalerowicz, 1961)
  • the girl who knew too much (mario bava, 1963)
  • in my skin (marina de van, 2002)
  • picnic at hanging rock (peter weir, 1975)
  • demons 2 (lamberto bava, 1986)
  • last year at marienbad (alain resnais, 1961)
  • crepusculo (julio bracho, 1945)
2

This version of Gogol’s Viy is decidedly more eurohorror than the 1967 film, which is similar to one of Aleksandr Rou’s folk tale movies with the addition of a curse and demons. Here the witch is a cruel, castrating seductress instead of vengeful ingénue, and like Jose Ramon Larraz, all of Djordje Kadijevic’s characters have secrets, haunt claustrophobic mansions, and are consumed by repression. (A Holy Place, 1990, Djordje Kadijevic).