(having said that, I'm for casting that's interesting, not necessarily faithful to the original text: for me Hamlet can be a woman, a black guy, an old man, doesn't matter as long as you nail the point of the character)

My favorite WH adaption by far! She NAILED the book's Romantic sense of Nature, a very very sophisticated take.
Re: Heathcliff -- even if American race categories still confuse me -- is written as a gypsy, dark skin and dark hair. "Lascar" cannot mean "Benedict Cumberbatch", that's for sure.

Or, Soderbergh makes all four, in a totally different styles. Since -- I'm not sure that a lot of people, you and I the exceptions, remember that Bob Rafelson invented the Monkees -- I'd name the project Four Easy Pieces.

And Green--their scenes work so well because you sense she's having fun, this stuff *excites* her, she projects her intelligence in a way that helps tone down his thuggishness- she's keeping him in line. You can't write *that*. She's almost as fantastic here as she was in Mr Bertolucci's Dreamers.

Our Schoenberg.

The sheer fact that Panahi didn't get like 20 nominations proves that it isn't really about political commitment -- all due respect to PTA whom I really admire, this year the one masterpiece about authoritarianism was Panahi's. I mean, not even close.

There's clearly stuff that for whatever reason the academy doesn't like. No Kidman for Babygirl last year--too hot, I guess. No Pamela Anderson either--her past too cheesy? No Queer, too gay? And this year again: no Guadagnino, this time too uncomfortable and the whole thing is about horrible people

Wild that your number #15 would likely make Top 5 for most of JJ's american contemporaries, and any of his top 10 likely make the other's Top 3.
The one bad movie he made is his student essay and he was, what, 25?

Well I guess we'll have to rewatch Elephant Man for the 146th time tonight then!

He's a hero of mine, a hero, and you know I don't use this word lightly.
And indeed, sometimes you only need *one film*.
Mr. De Sica would be very proud of his disciple.

I was thinking about him last week, I rewatched Alien the way I regularly do-- and the way he (with Giler) sets this perfect mechanism in motion, the sheer economy of means, the inevitability.
Truly an American master, cinema is lucky to have him.