what the fuck did I just watch
one of the greatest examples of the Film medium.
A mediocre action movie.
Elder god tier black comedy
Really good dystopian film
something with a shit script, but wonderful 'atmosphere'
Doug Walker's favorite film
The funny thing, is when they edited it for tv they cut off the part where he wakes up in the chair. They just drive into the sunset and the movie ends.
British """""""""""""""humor"""""""""""""""
>>68753062
How do you know that?
>>68752962
The beautiful weirdness of Terry Gilliam.
>>68753064
two-ending-MASTERRACE-TIER
>>68753072
Made by an American
>mfw my entire knowledge of Brazil comes from being too bored to watch the first five minutes, a kid calling Brazil "that Deniro movie", and Jupiter ascending.
>>68752962
Thematic adaption of 1984. 1984 really is a kib of dark, satirical comedy, but Brazil was much more on the nose about it all.
It's also probably one of the best examples of cyberpunk in film made outside of Japan. I love any movie that goes against basic filmmaking and narrative convention.
>>68753014
>>68753036
>>68753043
>>68753056
>>68753062
i mean I almost quit watching halfway through because i watched Sam fuck everything up by not saying what he really means, you know, communicating like a normal fucking human being. that's where all his problems came from. I couldn't suspend my disbelief watching a man this fucking stupid and unable to speak
Then I remember back in high school where I was deeply in love with a woman for three years and I could never bring myself to say anything to her except a few sentences every month, so hey, maybe it's not so implausible, and I kept watching
>>68753061
>>68753080
my impression is that Gilliam had 1984 on his mind and also like five pounds of LSD. I agree; nice atmosphere (whatever the fuck that word means) but easily the least coherent movie Gilliam has made
>>68753064
>>68753319
i felt that the main problem of the movie is that Gilliam made the fabric much more interesting than the "main thread" if you get what I mean, and yet I can't get immersed in the movie's backgrounds because the only character I can live vicariously through and root for is Jill. I'm no tumblrette but I can definitely be a bit peeved that she was turned into a prize for Sam, which may have been intentional but she was a shallow prize
>"I love any movie that goes against basic filmmaking and narrative convention"
can really fucking stretch your mind when done well, I agree
"It's also probably one of the best examples of cyberpunk in film made outside of Japan"
what
>>68753864
This is a big post for me. I'm the anon who mentioned cyberpunk.
Punk is an English creation just like 1984 and I think that both may have actually had similar ideas in mind behind their creations, whether the creator's meant this or not. The main link I see is that both are opposed to the dehumanizing processes which are being brought about by the 20th century.
I'd say that Brazil takes the connections further. Punk is about being different, and not being a slave to convention and arbitrary rules and ideas which turn you into a boring, mentally cucked normalfaggot. This is expressed in punk music through the aesthetic of the performers, with their wild attitudes and clothing, and through their music, which often doesn't meet any conventional standard of quality but still resonated with people through a weird kind of subversive appeal. They might not have been making music the right way, but they weren't going for the right audience.
Brazil is a weirdass movie, but I'd say that rather than being a failure of a normal movie, it's a success at something different, like punk music. I'd imagine that while it was being made Gilliam knew he was making something that would seem bizarre to the average filmgoer and didn't care, doesn't it seem natural that a movie about breaking free of the rules would defy the rules behind the creation of movies? That's what punk's about and that's what Brazil's about, that's where I draw the link. I can try to explain again more succinctly if I got too wordy there.
And as for what makes it 'cyberpunk' specifically, well, it's the future and the aesthetic seems to be going along those lines. Cyberpunk is really just applying a science-fiction premise (pretty much anything not real but plausible for the sake of exploring an idea) to the punk aesthetic (fuck the normal way of doing things). Stuff like body-horror and certain kinds of music may have become staples of the genre but they aren't necessary.
BRAZZIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIl, WHERE HEARTS ARE ENTERTAINING JUUUUUNE
>>68755303
WE STOOD BENEATH AN AMBER MOOOOON
Fight Club was better
>>68754331
>"I can try to explain again more succinctly if I got too wordy there"
I am not a /tv/ regular so my attention span is okay, thanks
I don't know anything about punk except a couple of my friend's friends were unironically SXE. Also that the only ones who unironically get mohawks these days are the social justice crowd. I was born a decade after MRR and any punk era of relevance so while I did enjoy the sound (leaning more toward heavy like crust punk) I don't pretend to know about a zeitgeist I wasn't even alive for. Also born too early to get into Nirvana and grunge. My teen angst was spent on /b/ and /v/. But despite all that, I get what you are saying.
>"doesn't it seem natural that a movie about breaking free of the rules would defy the rules behind the creation of movies?"
That's a very good point
>"Brazil is a weirdass movie, but I'd say that rather than being a failure of a normal movie"
When I said "i felt the main problem of the movie was" I did not mean for it to seem like I was working from a mainstream or conventional framework. Certainly I understand it's bizarre. Indeed my gripe is that I cannot buy even more into this convincing bizarro-world because Sam is a bumbling beta fuck-up without a hint of Kafka underdog to him. The only time he ever had power was when he had Jill and he only had that power to get it taken away from him 10 minutes later because otherwise he would be completely unrelatable. Maybe the point is that he was a fungible cog who could barely think for himself (except in his dreams) but the whole point of rallying against dehumanization is that humanity is being ignored and if you as a director ignore too much humanity yourself I just end up watching cardboard. Only the people around Sam--Jill, Ms. Buttle, Tuttle, Jack--have personalities
>>68756655
I get your meaning but I can't imagine how Sam could work any other way. If he were actually assertive and had some kind of agency in the running of his life I think it would probably take away from how awful we're supposed to view the world that he lives in. He is kind of a dull cog of a human being with the only real spark of life being in him trapped inside his imagination but in a society where bypassing bureaucracy to fix somebody's ventilation system is an outrageous crime that kind of makes sense at least.
Keep in mind also that I think Brazil is a comedy as well, Sam having the personality of an A4 sheet of paper and being totally helpless to do anything to fix his shit life, let alone his shit world is kind of amusing in a bleak way.
>>68756655 [continued]
>"Cyberpunk is really just applying a science-fiction premise (pretty much anything not real but plausible for the sake of exploring an idea) to the punk aesthetic (fuck the normal way of doing things)"
I guess I am too attached to the "cyber" part of the word to see the connection. Here's my take: all dystopian authors explore dehumanization. Once it's the year 2077 and you have AIs on par with savants humans are no longer simply fungible, they're an inefficient liability. We've reached the next step of dehumanization. The bottom line and logic/reason gone mad. We have several paths here. Deus Ex's solution was to have peer and social pressure into taking human augmentations. Or maybe we go out with a whimper and everyone's left to fend for themselves with a government-allocated allowance. And then someone finds a copy of Industrial Society and Its Future, on the Darknet...
>>68755983
>"Fight Club was better"
Fight Club is wish fulfillment for cavemen. In the real world, your attention is being too drained to care about anything. Infinite appetite for distractions and all. You already lost.
In the slightly less real world, humans deal with their unsatisfying lives as bureaucracy swallows human meaning and purpose like a black hole and anything like Project Mayhem would be put down like dogs by the FBI, months in advance.
>>68756794
>"I think it would probably take away from how awful we're supposed to view the world that he lives in"
As an engineer, I was triggered when I saw those (Giger-esque) air pipes. Also I was struck by those apartment walls and how similar they were to another very generic, lifeless idea: the default wall texture in Valve's Hammer editor (pic related). I was pretty mesmerized by the world to begin with, but I see what you mean. Maybe he's the foil, or the "control sample," to be deliberately compared to other characters whom the world has changed.
