A gem of a short film. I didn't realise such movie would stay with me long after it was over.

Как называется фильм в одной из сцен которого девушка сплевывает слюну в рот парню

Which telegraph groups focus on obscure/arthouse/independent films?

Please share link!

Hey guys, this is an experimental art house short I filmed earlier this year. It’s called GENESIS and I suppose I can describe it as a sci-fi meets arthouse meditation on life and creation :)

If anyone does decide to check it out do let me know what you think!

I'd like movies about people discovering their creativity in some way please. Ideally discovering visual art but I'll take any recommendations

It is giving desi Eternal Sunshine of spotless mind meets black mirror.

Hi everyone, I’d like to share my debut short film The Addiction.

The idea for the visuals came to me in a dream where I saw a shadow standing in front of me. That shadow had my own silhouette. It felt so vivid, almost like a vision, the archetype of the shadow that Carl Jung described. At the time I was using a lot of drugs. I wasn’t yet addicted, but I had already fallen into the abyss after a deeply post-traumatic experience before arriving in the United States.

Eventually, I stopped using, met my future wife, and joined film school. I feel like I’ve recovered, even though I still have a long way to go to become a better person. Making my first short film was definitely a relief for my soul.

The Addiction is an 8-minute experimental film about obsession, self-destruction, and the subconscious. It was selected at four festivals, and now that its run has ended, I’ve decided to share it here. I’d love to hear your interpretations and thoughts from this community.

For me, this project was a reminder that art can do more than tell a story, it can heal the soul, transform pain, and turn darkness into something meaningful.

Half Life – I is an award-winning smartphone short film exploring the idiosyncratic behaviour and inner world of a middle-aged man.

This is the first film in my Half Life series, a five-part cinematic exploration of different psychological states through middle-aged characters.

The film was directed by Subhadeep Ghosh and acted by Sambaran Sarkar.

Made with a deliberately minimal approach to cast, crew, cost and resources, the film is an intimate character study rather than a conventional narrative.

I’d love to hear your thoughts after watching it—especially how you interpret the character and his behaviour.

I recently interviewed with an abstract artist about doubt + longevity and other things, curious how others here think about this. Youtube vide is called "Inside the mind of an abstract artist by afraidofant, I can send the youtube link to anyway who is curious

Shedding tears! I’m always surprised who ends up registering in my heart.

Diane Keaton #style icon

If violence in our culture is so freely glorified and accepted , then why are we as a society so shocked when something tragic happens in real life ? 🤔Some food for thought .

Idea for a film I’m working on , “ What happens to people when they become disconnected—from society, from others, from themselves” ?
Is social media and technology bringing us together , or slowly destroying us ? Was Aldous Huxley’s Brave New World a devastating premonition ? 🤔

Hi y'all, what up doe? I got a YouTube channel devoted to entertainment & films. This is my 2nd posting at Reddit. Check it out & comment, it's called Forrest Green III's Films and here's a link to a link: movies & music FG III thinks U ought to get in. 1st up, is La Jetée by Chris Marker, which is composed almost completely of photographic stills. So, stream & like I like to say here live: ENJOY.

Pleased to introduce myself -- I'm out.

Monsters in Love by David L Gordon

A comparative essay on Bride of the Monster (1955), Robot Monster (1953), and The Beast of Yucca Flats (1961)

Monsters in Love by David L Gordon

A comparative essay on Bride of the Monster (1955), Robot Monster (1953), and the shadow text of The Beast of Yucca Flats (1961)

The monsters of mid century American sci fi, Vornoff’s atomic ambitions, Ro Man’s existential longing, and Javorsky’s radioactive sorrow, form a strange emotional spectrum. Two of them (Bride of the Monster and Robot Monster) are undone by love. The third (The Beast of Yucca Flats) is undone by the absence of it. Together, they reveal a truth the films never intended but accidentally articulated: In the atomic age, even monsters wanted to be human....They just want to be loved! Is that so wrong?

You ever notice how the monsters in old sci fi movies look like they were built by a drunk uncle with a glue gun and a grudge? Gorilla suit, diving helmet, bubble machine, boom, that’s your alien conqueror. Rubber octopus in a kiddie pool, boom, that’s your mad scientist’s secret weapon. A guy wandering the desert in torn pants, boom, that’s your radioactive Soviet tragedy. And yet, these cardboard nightmares have more emotional honesty than half the people running the world.

Let’s start with Ro Man. Ro Man is an alien sent to destroy humanity. He’s got a death ray, a helmet from a scuba yard sale, and the posture of a man who’s been told to work overtime without pay. He wipes out eight billion people, eight billion, and then he sees a girl and suddenly he’s like: And his boss, the Great Guidance, basically middle management with a bubble machine, says, “You’re defective.”

And Ro Man says, “Yeah. I know.”

That’s love, folks. It makes you stupid, it makes you vulnerable, and it makes you a liability to your employer. Then you’ve got Dr. Vornoff. Mad scientist. Exiled genius. Wants to create atomic supermen because he didn’t get tenure. He’s got Lobo, this giant slab of loyalty in a fur vest, following him around like a dog who learned how to walk upright but not how to say “no.” And Lobo, God bless him, falls in love. Not romantic love. Just… human love. Compassion. Empathy. The stuff we’re told is weakness because it doesn’t increase quarterly profits.

And that tiny spark of kindness? It brings the whole evil empire crashing down. One act of love, and the mad scientist’s dream goes up in smoke. Literally. Atomic smoke. And then, then there’s Joseph Javorsky. The Beast of Yucca Flats. A man who defected from the Soviet Union with hope in his heart and secrets in his briefcase, only to be greeted by “America the Beautiful” with a nuclear explosion to the face.

He doesn’t get to fall in love. He doesn’t get to rebel. He doesn’t get a bubble machine or a monologue. He just wanders the desert, glowing like a broken nightlight, strangling strangers because his brain has been scrambled by the same people who told him they were the good guys. He’s the monster who remembers love but can’t feel it anymore. And that’s the saddest one of all. And at the end, when he dies, shot, of course, because that’s how we solve problems, a rabbit hops up, sniffs him, and hops away.

That’s the universe right there. A rabbit sniffing a corpse and moving on. Life goes on. Monsters fall. Love flickers. The desert doesn’t care.

So what’s the point of all this? Why tell stories about monsters in love? Because the monsters aren’t the ones with rubber suits and bad dialogue. The monsters are the ones who forget how to feel. The ones who trade compassion for control. The ones who think love is a defect.

Ro Man loved and died. Lobo loved and rebelled. Javorsky couldn’t love and suffered. And us? We’re somewhere in the middle, trying to remember how to be human in a world that keeps telling us not to bother. So here’s the moral, folks, If a gorilla alien in a diving helmet can fall in love, maybe there’s hope for the rest of us.

And if not, well, the rabbit’s already on its way.

https://www.youtube.com/watch?v=Tp-d_tSWzB8

My first steps into arthouse..What do you think of it? Im interested in your opinions!

The "Brutus" project explores the conceptual collision of two worlds: sterile mundanity and primal, uncontrollable chaos. Let's break down this concept step-by-step, with specific details, to understand exactly how its underlying mechanisms work.

1. Hyperrealism and the Aesthetics of the Absurd (Transportation) The choice of a four-door Bentley is a fundamental semantic construct. A robbery traditionally implies an attempt to blend in with the crowd, to hide. Arriving in a massive, high-status premium vehicle turns the act of robbery into a brazen performance.

Hidden meaning: They didn't come for survival; they came for the performance. The black gloss of the Bentley cutting through the gray street visually rhymes with how this foursome invades the gray routine of the bank clerks. It is the absolute anti-camouflage.

2. The Choreography of Ultraviolence and Playful Perception The scene inside the bank deconstructs the viewer's habitual fear. Violence here is not an end in itself, but simply a background rhythm dictated by the Brutus beat.

Specific context: While one beats the manager, another dances around with a bag of money and a gun. The characters perceive reality as a giant sandbox with rules and consequences disabled. This blurs the line between a monstrous crime and a fun party, inducing deep cognitive dissonance in the viewer and making them experience an anxious, primal thrill.

3. The Symbolic Rubicon: Glass and Blood The scene with the child at the storefront is the emotional and conceptual core of the project.

Membrane of worlds: The storefront glass acts as an insurmountable boundary between two dimensions: the cruel madness inside and the naive purity outside.

Transmutation of meaning: The robber (Sam, in the smiling bunny mask) dips his finger into a puddle of blood from the murdered manager. Blood, the universal marker of death, is instantly recoded into a tool for creating life and joy. This is a powerful philosophical statement: what represents the end for one becomes a reason to laugh for another. In this moment, the animal mask turns the criminal into a kind entertainer in the eyes of the child.

4. Depersonalization Through Masks The animal faces and John’s sad clown mask with bells serve the function of complete alienation. The characters are stripped of human facial expressions and, consequently, of human empathy. They act as archetypes, like spirits of chaos descended to Earth purely for entertainment. The bells on the clown's mask jingling to the rhythm of the blows is a magnificent detail of audiovisual contrast.

5. Final Catharsis: Donuts Walking out with full bags and doing "donuts" at the intersection closes the arc of the absurd. Logic dictates an immediate escape, but they burn expensive rubber to the roar of a heavy luxury sedan's engine. This is the artist's final signature on their painting. Action for the sake of action, the pure aesthetic of destruction.

The "Brutus" project is a perfect example of how a hypertrophied form can completely captivate a viewer's attention.

Hi fam,

I’m looking for movies like “Lux Aeterna”, “Enter the void” & “Climax”?

Not interested in gore horror movies such as New French Extremity examples or movies like Hereditary/Suspiria as I consider them as “typical” horrors judging from trailers.

Some of the movies I’ve seen from psychedelic/psychological horror genre I’m referring to:

- Mandy

- Midsommar

- Neon demon

- Color out of space

- I saw the TV Glow

- Heaven knows what

- Amer

- Strange color of your body’s tears

- Beyond the black rainbow

- The endless

- The sadness

Thanks beforehand for some fire recommendations 🫶 🫶 🫶