I just finished watching Immortal Tales (1974), and it’s basically five unrelated stories, but the main thing in each story is simply fucking. The first story is about a couple who go to a beach and she gives him a blowjob, the second is about a woman who starts masturbating, the third is literally a woman fucking a monster, and so on.

I finished the movie and I have no idea what I just watched. I mean yes has a good directing and i enjoyed it, but for UNSPEAKABLE reasons.

I’ve watched multiple erotic movies(idk if this one even considers an erotic), but this one feels different because of the sheer amount of sex scenes and the lack of an actual story. So it’s really hard to even come up with an opinion on it.

Note: If there was anything "deeper" to it, I completely missed it.

I was thinking about how the movies we consider part of the great lexicon of cinema aren't a given and how much availability and restoration effect those discussing

For example , Theo anglepolpous was once considered one of the most important filmmakers in the world he won a palmdor multiple internationally famous actors starred in his movies like Harvey keitel and Marcello mastrioni

But now he feels like an obscure art house darling , he still has his fans but his not Revered like say tarkovsky or Bella Tarr

On the other hand some films that were ignored can re_ enter the Canon decades later

Like soy Cuba or chess of the wind that were discovered and restored by the world cinema foundation ran by Scorsese

Or the works of edward yang, I feel with each passing year his body of work is more and more revered

I'm in my early 20s, so I don't have much frame of reference

But can you guys think of some directors who lost or found appreciation in your lifetime because the availability of their work ?

I just watched it last night and was wondering about something, is the reason the first Sam is dying because the clones only have a 3 year lifespan or because of his injuries from the crash?

There is signs he is feeling ill earlier in the film like when he doesnt want hot sauce as his stomach is upset and he is obviously seeing hallucinations which cause him to burn his hand and ultimately crash the rover.

The 3 year contract would also suggest that the clones only live for that period

I organized an AMA/Q&A with actor Andrew Scott. He is known for countless memorable roles in films, TV, and on the stage, including: WAKE UP DEAD MAN, FLEABAG, RIPLEY, ALL OF US STRANGERS, SPECTRE, DENIAL, 1917, and BLUE MOON.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1w492dn/hello_reddit_im_andrew_scott_ama/

He will be back at around 2 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

His new film, a WW2 drama based on a true story, Pressure, was out in US theaters earlier this year and is hitting UK cinemas next week. It also stars Brandon Fraser, Kerry Condon, Damian Lewis, and Chris Messina.

Trailer: https://www.youtube.com/watch?v=eYa8N3R2cZw

Synopsis: The fate of the free world hangs in the balance as Gen. Dwight D. Eisenhower and Capt. James Stagg face an impossible choice -- launch the D-Day invasion or risk losing World War II altogether.

His verification/proof photo: https://i.imgur.com/M0qpoBU.jpeg

Has anyone seen this yet? There’s a lot to discuss, but I just want to talk about cinematography in this post.

1. How did she get that satellite shot? Did she pay to send a camera to space?
2. The color is brilliant. Who knew that the jersey’s on an amateur girl’s soccer team could be that visually arresting?
3. Disembodied voices: Lucretia Martel is captivated with this trope: in La Mujer sin Cabeza, the head of the lead is always chopped in the frame, never fully present. Here, we often do not see the face of a speaker. Separating image from locution.

4. Textures: clothing, the red wood panels of the courtroom, white hair, all vivid and visceral.

5. The use of found footage: taking the raw, documentary footage and rendering both as evidence (as it is used in court) and as an abstraction (e.g., the long shot of the scuffle, in which we only see swirling rocks)

Spent 3 years on this forever WiP project of mine :)

In the transitions I did not just prioritize chronology, but also setting, and perhaps most of all: theme, mood and subject matter.

I would like adjacent movies to be in dialogue with each other and also tried to create rhymes and echoes across the full sequence, e.g. Chariots of Fire > Race > Contact.

Prioritized throughline over comprehensiveness. Sometimes I really wanted to include certain history such as the French revolution, etc. but I just couldn't find the film chain to bridge it seamlessly. Another example is WW1 which is mostly present as negative space. I wanted to prevent oversaturating with war movies, and give WW2 more space to breathe.

I have focused on films released from the 70s onwards, for visual/acting consistency, and due to my own strong preference for color films, so unfortunately that disqualified some highly acclaimed historical films that otherwise would have fit nicely.

My personal genre definitions:

Epic = multiple characters and events over a significant timespan
Biopic = deep single character study (even if fictional)
Drama = focus on event(s) and/or multiple characters (but lacking the scale of an Epic)

Let me know if a transition puzzles you or if you have suggestions for how to improve!

The List: 153 fish

Rating: 8/10

Watched: September 1, 2026

This is my second time watching this movie, and the first time, the experience was pretty terrible. I'd rented it on VHS somewhere in the mid-to-late 80s and all I can honestly remember was that most of it was in total darkness.

The version I watched today is the 50th Anniversary restored edition, and let me tell you: the restoration is quite literally night and day. It's a general peeve of mine when directors choose darkness as 'ambiance' over storytelling, but that was never the case here.

So let's get to the movie itself.

It's a LOT funnier than I was expecting. All five of those teenagers are honest-to-gosh idiots, with Franklin being one of the most ridiculous people I've ever seen in a movie. He's cranky, he's mean-spirited, he's got a weird obsession with knives that his friends are surprisingly okay with and he throws temper tantrums when he's having a bad time.

One of the things I like to wonder about when I'm watching a movie like Texas Chainsaw Massacre is how long I'd put up with weird shit before calling it quits.

In this instance, it's incredibly likely I wouldn't even go on the trip if Franklin was present. There's no way that how he is in the movie is a new thing to anyone else. I'd rather not go if a major buzzkill like Franklin was in the car.

If for some reason Franklin was actually a sweet and reasonable fella before this and it's just the pressures of being handicapped on the road, the very next thing that'd have me quit the trip is the hitchhiker. THAT guy was very obviously completely deranged that he really should've been kicked out of the back of the van while it was still in motion, and that was BEFORE he decided to cut open his hand.

One of the more interesting things about this movie is that the world was smaller back then, so the simple act of walking up to and going inside someone else's crazy old haunted Murder Mansion probably didn't seem like a big deal. It's not the world was any less dangerous, it was that it just didn't seem that way. Need gas? I'm going to go on up and ask for some help. Wall of Mounted, Stuffed Heads and Skulls?

This is the Deep South. Probably just a taxidermy enthusiast.

Even though this really is only my second time seeing it, I've seen a lot of horror movies and I'll say this about Tobe Hooper's Texas Chainsaw Massacre: Obviously made on a small budget, it's clear to see why it inspired so many sequels and reboots AND why it influenced so many other horror movies.

Because it's a bloody good time. By the time Leatherface makes his terrifying appearance and things turn nasty, we're prepped and ready to be terrified and grossed out until the last frame. With Sally as The Final Girl, trapped in Backwater Nowhere, being hunted by Leatherface and trusting the absolute wrong person, we get a full, final look at the inescapability that truly would be a family of hillbilly cannibal crazies living in plain sight.

Like a lot of older horror movies, Texas Chain Saw Massacre walked so other movies could run, and that's saying a lot. Sadly, because I've seen so many horror movies, I didn't find this one terribly scary, but what I DID find it was UNSETTLING. There's a rawness to it that earns it's 8/10 from me.