Making Chocolate the Traditional Way, From Bean to Bar: A Short French Film

Chef turned restau­ra­teur Alain Ducasse has rather a lot to say on the sub­ject of choco­late.

On the web­site of Le Man­u­fac­ture, the small-batch choco­late fac­to­ry he found­ed in a for­mer Renault Garage, he wax­es poet­ic, shar­ing wide-eyed child­hood mem­o­ries of the “ter­ri­bly sen­su­al and bewitch­ing sub­stance.”

He’s a bit more mer­ce­nary in the pages of the The Wall Street Jour­nal and Har­vard Busi­ness Review, not­ing that the choco­late oper­a­tion grew out of his desire to con­trol the process from cacao beans to dessert plates in his numer­ous fine din­ing estab­lish­ments.

His involve­ment in the day-to-day oper­a­tions is like­ly cer­e­mo­ni­al, but in a choco­late mak­ing stint ear­ly in his career, he found the “olfac­to­ry uni­verse” plea­sur­able and “intox­i­cat­ing to the point of being dis­turb­ing.”

Take that, Her­sheys!

His fond­ness for vin­tage machin­ery and tra­di­tion­al meth­ods opens the door to some seri­ous cacao porn, above, star­ring for­mer exec­u­tive pas­try chef Nico­las Berg­er.

The word “metic­u­lous” comes up more than once in the voiceover nar­ra­tion. Hope­ful­ly, Sat­ur­day Night Live will take note. Tasked by Epi­cu­ri­ous to iden­ti­fy a guilty plea­sure on the order of choco­late or wine, Ducasse named BLT sand­wich­es, but he musters the req­ui­site, par­o­dy-wor­thy roman­ti­cism for direc­tor Simon Péno­chet:

Beyond gour­man­dise, we are seek­ing truth, a quest which is more pri­mal than orig­i­nal.

via Men­tal Floss

Relat­ed Con­tent:

The Mar­velous Health Ben­e­fits of Choco­late: A Curi­ous Med­ical Essay from 1631

An Ivory Coast Cocoa Farmer Gets His Very First Taste of Choco­late

How to Make Sushi: Free Video Lessons from a Mas­ter Sushi Chef

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

CBS Evening News with Walter Cronkite Introduces America to Underground Films and the Velvet Underground (1965)


“Not every­one ‘digs’ under­ground movies, but those who do can ‘dig’ ’em here.” Now imag­ine those words spo­ken in the arche­typ­al so-square-it’s-cool con­sum­mate mid­cen­tu­ry news­cast­er voice — or actu­al­ly watch them enun­ci­at­ed in just that man­ner out on the steps of New York’s The Bridge, “one of sev­er­al small the­aters around the coun­try where ‘under­ground’ films are shown.” The report, which aired on CBS Evening News with Wal­ter Cronkite on Decem­ber 31st, 1965, intro­duced to main­stream Amer­i­cans such avant-garde film­mak­ers as Jonas Mekas, Stan Brakhage, and Andy Warhol — as well as a cer­tain band called the Vel­vet Under­ground.

This six-minute seg­ment spends some time with Piero Helicz­er, film­mak­er, poet, and “once the Jack­ie Coogan of Italy.” As Dan­ger­ous Minds’ Mar­tin Schnei­der writes, “When CBS came a‑callin’ to do its sto­ry, Helicz­er was shoot­ing a 12-minute short called Dirt, fea­tur­ing the Vel­vet Under­ground, and that was the scene Helicz­er hap­pened to be shoot­ing that day. (For some rea­son none of the fel­lows in the band are wear­ing a shirt.)” Schnei­der also quotes Vel­vet Under­ground found­ing mem­ber Ster­ling Mor­ri­son, who cred­its play­ing in Helicz­er’s “hap­pen­ings” with show­ing him the pos­si­bil­i­ties of exper­i­men­tal music: “The path ahead became sud­den­ly clear — I could work on music that was dif­fer­ent from ordi­nary rock & roll since Piero had giv­en us a con­text to per­form.”

I can only imag­ine how the view­ers of fifty years and one week ago must have react­ed to hear­ing these cut­ting-edge film­mak­ers dis­cussing “the nar­ra­tive aspect and the poet­ic aspect” of cin­e­ma, let alone see­ing clips of their works them­selves, right down to a rep­re­sen­ta­tive twen­ty sec­onds of Andy Warhol’s SleepIt even includes a clip from Brakhage’s Two: Creeley/McClure which must have made more than a few of them won­der if their set had sud­den­ly gone on the blink. But even the most staid of CBS’s audi­ence must have come away with a nov­el idea or two worth think­ing about, such as Brakhage’s stat­ed aim of mak­ing movies “for view­ing in a liv­ing room, rather than in a the­ater.” That, per­haps, they could dig.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via Dan­ger­ous Minds

Relat­ed Con­tent:

Three “Anti-Films” by Andy Warhol: Sleep, Eat & Kiss

A Sym­pho­ny of Sound (1966): Vel­vet Under­ground Impro­vis­es, Warhol Films It, Until the Cops Turn Up

Warhol’s Screen Tests: Lou Reed, Den­nis Hop­per, Nico, and More

New Wave Music–DEVO, Talk­ing Heads, Blondie, Elvis Costello–Gets Intro­duced to Amer­i­ca by ABC’s TV Show, 20/20 (1979)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

See The Empire Strikes Back as a Silent Film — Precisely How George Lucas Imagined the Star Wars Films

The rush to rank the lat­est Star Wars movie The Force Awak­ens against its pre­de­ces­sors has got the series’  legions of fans look­ing back with even more scruti­ny than usu­al at those six chap­ters of this appar­ent­ly nev­er-end­ing cin­e­mat­ic space opera. While Star Wars fans have been known to argue amongst them­selves, quite a few of them do agree on cer­tain broad­er points of assess­ment: about as many of them call 1980’s The Empire Strikes Back as the best of the bunch as call 1999’s The Phan­tom Men­ace the worst. (The worst Star Wars movie, the worst movie, the worst thing — take your pick.)

Much time and ener­gy has gone into the dis­cus­sion of what makes The Phan­tom Men­ace so bad, but what makes The Empire Strikes Back so good? We can get some insight into the mat­ter from the video above, which con­verts the much-ref­er­enced, oft-par­o­died duel between Luke Sky­walk­er and Darth Vad­er, com­plete with the big reveal of parent­age and ensu­ing wail, into a scratchy, twitchy, title card-punc­tu­at­ed, piano-scored (but still faith­ful to John Williams’ com­po­si­tion) arti­fact from some­time around 1920. I’ve heard it said that the best songs, how­ev­er heav­i­ly pro­duced in their best-known ren­di­tion, work just as well by their very nature when played on noth­ing but a gui­tar or piano. The Empire Strikes Back, by the same token, works as a silent film.

This all, if you believe Star Wars cre­ator George Lucas, comes down to music. “Star Wars films are basi­cal­ly silent movies,” he says in the inter­view clip just above. “The music has a very large role in car­ry­ing the sto­ry, more than it would in a nor­mal movie. In most movies, the sto­ry is car­ried by the dia­logue — in Star Wars films, the music car­ries the sto­ry.” Every install­ment in the series, from the most beloved to the most exe­crat­ed, has to hop from world to world quick­ly while advanc­ing the sto­ry, and Lucas sees the music as the “con­nec­tive tis­sue” that makes it work: “With­out that music there to smooth it out and take you from point A to point B in an ele­gant way, it becomes very jerky and con­fused, and the sto­ry does­n’t work very well — the film does­n’t work very well.” Does the the­o­ry hold for the also Williams-scored The Force Awak­ens? Let the debate begin.

Relat­ed Con­tent:

16 Great Star Wars Fan Films, Doc­u­men­taries & Video Essays to Get You Ready for Star Wars: The Force Awak­ens

Hard­ware Wars: The Moth­er of All Star Wars Fan Films (and the Most Prof­itable Short Film Ever Made)

Fans Recon­struct Authen­tic Ver­sion of Star Wars, As It Was Shown in The­aters in 1977

Star Wars Uncut: The Epic Fan Film

The Empire Strikes Back Uncut: A New Fan-Made, Shot-for-Shot Remake of the 1980 Sci-Fi Clas­sic

The Exis­ten­tial Star Wars: Sartre Meets Darth Vad­er

Watch a New Star Wars Ani­ma­tion, Drawn in a Clas­sic 80s Japan­ese Ani­me Style

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Great “Filmumentaries” Take You Inside the Making of Spielberg’s Raiders of the Lost Ark & Jaws

Jamie Ben­ning, an Eng­lish­man who edits live tele­vi­sion broad­casts of auto races by day, spends all his nights pur­su­ing his appre­ci­a­tion for Hol­ly­wood block­busters of the 1970s and 80s — or at least I assume he does, giv­en how much effort and enthu­si­asm obvi­ous­ly goes into his sig­na­ture “fil­mu­men­taries,” long-form videos on the mak­ing of his favorite movies, packed with all the behind-the-scenes footage, sto­ry­boards, alter­nate takes, inter­views, and every oth­er bit and piece of media per­tain­ing to the pro­duc­tion on which he can lay his hands. Ear­li­er this year, we fea­tured his fil­mu­men­taries on the orig­i­nal Star Wars tril­o­gy; today, we give you his fil­mu­men­ta­riza­tion of the work of Steven Spiel­berg, specif­i­cal­ly Jaws and Raiders of the Lost Ark.

Even casu­al film­go­ers will rec­og­nize these movies, and they’ll feel, short­ly after press­ing play on Ben­ning’s Inside Jaws and Raid­ing the Lost Ark, as if they’ve just set­tled in to watch them again, though they’ll see them as they nev­er have before. Seri­ous film fans will, as the form of the fil­mu­men­tary emerges, rec­og­nize the basis of the con­cept. Described as “visu­al com­men­taries,” these pro­duc­tions take the con­cept of the com­men­tary track and step it up con­sid­er­ably, over­lay­ing the orig­i­nal film’s sound­track with the words of a ver­i­ta­ble cho­rus of those who worked on it — actors (even some not ulti­mate­ly cast), crew mem­bers, design­ers, pro­duc­ers, hang­ers-around — sourced and some­times even record­ed by Ben­ning.

The line­up even includes Spiel­berg him­self, who famous­ly does­n’t record com­men­tary tracks, but whose inter­views giv­en over the decades Ben­ning cred­i­bly repur­pos­es into their form. As we hear all this while watch­ing these movies we know so well, we also see all man­ner of rel­e­vant footage relat­ed to their mak­ing, just the sort of avenue of cinephilic plea­sure I once imag­ined the DVD play­er’s “angle” but­ton would open up. The facts also keep flow­ing, in Raid­ing the Lost Ark, in the form of onscreen text, just like those old­er DVD releas­es that offered a sep­a­rate sub­ti­tle track with pop-up pro­duc­tion notes. Sam­ple: “Due to dif­fi­cult ter­rain, the don­keys had to be air­lift­ed by heli­copter to the shoot­ing loca­tion.”

Spiel­berg has explained his refusal to do com­men­taries in terms of his reluc­tance to break the illu­sion he and his col­lab­o­ra­tors work so hard to cre­ate in their movies — a fair con­cern, but when I immerse myself in the rich oscil­la­tion between and mix­ture of illu­sion and real­i­ty, fic­tion and fact, movies and their mak­ing, the sto­ry and the sto­ries behind pio­neered by Ben­ning’s fil­mu­men­taries, I feel ready to see a few more illu­sions so fas­ci­nat­ing­ly bro­ken.

Relat­ed Con­tent:

Shot-By-Shot Break­downs of Spielberg’s Film­mak­ing in Jaws, Scorsese’s in Cape Fear, and De Palma’s in The Untouch­ables

Spiel­berg Reacts to the 1975 Oscar Nom­i­na­tions: ‘Com­mer­cial Back­lash!’

Watch Steven Spielberg’s Rarely Seen 1968 Film, Amblin’

Learn the Ele­ments of Cin­e­ma: Spielberg’s Long Takes, Scorsese’s Silence & Michael Bay’s Shots

The Com­plete Star Wars “Fil­mu­men­tary”: A 6‑Hour, Fan-Made Star Wars Doc­u­men­tary, with Behind-the-Scenes Footage & Com­men­tary

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Music from Star Wars, Kubrick, Scorsese & Tim Burton Films Played by the Prague Philharmonic Orchestra: Stream Full Albums

Movies and music go way back — back, even, to the era of silent films, when music, pro­vid­ed by any per­for­mance out­fit, from a full orches­tra to a hum­ble upright piano play­er, con­sti­tut­ed the only accom­pa­ny­ing sound of any kind. Often, kids who begin choos­ing music for them­selves (at least this held for the kids of my gen­er­a­tion) start with movie sound­tracks, since they’ll usu­al­ly have done at least a lit­tle film­go­ing before they come to life as con­sumers of record­ed sound. And mod­ern sound­tracks, so often com­posed in whole or in part of orches­tral pieces, also offer a non-intim­i­dat­ing entrée into the wide world of clas­si­cal music.

Movies and the City of Prague Orches­tra also go way back. Found­ed in the 1940s as the Film Sym­pho­ny Orches­tra, in-house orches­tra of Bar­ran­dov Film Stu­dios, it even­tu­al­ly went its own way as the Czech Sym­pho­ny Orches­tra, and it has worked, post-Vel­vet Rev­o­lu­tion, under the name we know it by today. We know that name because of the sheer amount of music the City of Prague Orches­tra plays, doing 250 record­ing ses­sions every year for not just clas­si­cal albums but a vari­ety of oth­er media as well, includ­ing tele­vi­sion shows, video games, ring­tones, and espe­cial­ly movies. Today we’ve round­ed up a vari­ety of albums on Spo­ti­fy (whose free soft­ware you can down­load here) that col­lect the City of Prague Orches­tra’s work with movie music, which spans scores they first laid down them­selves to their inter­pre­ta­tions of clas­sic favorites.

First, in cel­e­bra­tion of the recent con­tin­u­a­tion of the Star Wars saga with its new sev­enth film, the City of Prague Orches­tra plays the music from the first six. But if you pre­fer a dif­fer­ent sort of space odyssey, have a lis­ten to the playlist just above fea­tur­ing, the music from the films of Stan­ley Kubrick, who said that he did­n’t need to com­mis­sion new music for his pic­tures, since he could hard­ly do bet­ter than sim­ply using the finest clas­si­cal pieces already in exis­tence — which, as any­one who’s seen 2001 knows, he could use suit­ably indeed. Below, you can hear the Orches­tra take on selec­tions from the work of Tim Bur­ton and Mar­tin Scors­ese, auteurs well known for their visu­al inven­tive­ness.

If you enjoy all of those, much more awaits your ears on Spo­ti­fy from the City of Prague Orches­tra’s cin­e­mat­ic cat­a­logue, includ­ing playlists of music from the films of Steven Spiel­berg, whose big Hol­ly­wood visions depend on their scores for a good deal of their impact; of music from pic­tures star­ring icon­ic actors like John Wayne, Paul New­man, and John­ny Depp; of the pieces that have giv­en the James Bond series their sig­na­ture (some­times so-uncool-it’s-cool) cool; and even of orches­tral work from a swath of Ital­ian film, includ­ing movies like La Dolce Vita8 1/2, and of course, Cin­e­ma Par­adiso. If we find the cin­e­ma a par­adise, after all, that owes as much to the music we’ve heard there as the visions we’ve seen there.

Relat­ed Con­tent:

The Clas­si­cal Music in Stan­ley Kubrick’s Films: Lis­ten to a Free, 4 Hour Playlist

A Playlist of 172 Songs from Wes Ander­son Sound­tracks: From Bot­tle Rock­et to The Grand Budapest Hotel

Jim Jar­musch: The Art of the Music in His Films

Quentin Taran­ti­no Explains The Art of the Music in His Films

Hear 2.5‑Hours of Great Jazz Songs Fea­tured in Woody Allen Films: Sid­ney Bechet in Mid­night in Paris, Louis Arm­strong in Star­dust Mem­o­ries & More

A 56-Song Playlist of Music in Haru­ki Murakami’s Nov­els: Ray Charles, Glenn Gould, the Beach Boys & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Overlook Hotel from The Shining Recreated with Gingerbread & Rice Krispies

From “eudi­cotyle­don” on Red­dit comes a hol­i­day project you, too, can maybe try at home. He says: “My fam­i­ly made a gin­ger­bread ren­di­tion of the Over­look Hotel from Kubrick­’s “The Shin­ing,” com­plete with a Rice Krispies treat maze and inte­ri­or rooms depict­ing famous scenes.” You can flip through 29 images in the gallery above, show­ing the edi­ble cre­ation from dif­fer­ent points of view. Then see a “mak­ing-of” gallery here. Enjoy.

Relat­ed Con­tent:

Free Doc­u­men­tary View from the Over­look: Craft­ing The Shin­ing Looks at How Kubrick Made “the World’s Scari­est Movie”

Stan­ley Kubrick’s Anno­tat­ed Copy of Stephen King’s The Shin­ing

The Hedge Maze from The Shin­ing Gets Recre­at­ed by Mythbuster’s Adam Sav­age

The Mak­ing of The Shin­ing

Watch David Lynch’s Playstation 2 Commercial, Then Go Behind the Scenes and Watch Him Make It

Hav­ing lost track of video gam­ing some­where around the turn of the mil­len­ni­um, I admit that I have no idea which gen­er­a­tion of Playsta­tion you or a friend or fam­i­ly mem­ber may have joy­ful­ly unwrapped this Christ­mas morn­ing. I only know that it prob­a­bly did­n’t come adver­tised with a com­mer­cial by David Lynch, so why not take a moment out of your Christ­mas day to revis­it the Playsta­tion — the Playsta­tion 2, to be pre­cise — that did? At the top of the post, we have Lynch’s char­ac­ter­is­ti­cal­ly sur­re­al spot “Wel­come to the Third Place,” fea­tur­ing flames, a mys­te­ri­ous glow­ing woman, omi­nous foot­steps, skewed per­spec­tives, organ­ic odd­i­ties, a talk­ing duck (whose voice actor I chal­lenge you to iden­ti­fy) — every­thing, in oth­er words, that a Lynchi­an hopes for.

What goes on in this Third Place? Why, the sort of vivid, inex­plic­a­ble sen­so­ry expe­ri­ences not acces­si­ble in every­day life — unless, as the adver­tis­ing log­ic goes, you choose to pass through the por­tal of the Playsta­tion. But the man behind Twin Peaks and Blue Vel­vet has “been liv­ing in The Third Place for quite a few years,” says Playsta­tion Euro­pean mar­ket­ing direc­tor David Pat­ton in the mak­ing-of-video just below, shot by Luke Forsythe, who also worked on the com­mer­cial. “If there was one per­son that was gonna to under­stand what we need­ed to com­mu­ni­cate, it was gonna be David Lynch.

“I was 24 and it was easy to think hav­ing worked for so many impres­sive direc­tors, that I was­n’t bull­ish or hard enough to be a direc­tor,” remem­bers Forsythe. “I was liv­ing with my par­ents watch­ing films end­less­ly hav­ing to try and con­vince my mum that I was actu­al­ly work­ing. The next minute I’m in LA film­ing this. Meet­ing David Lynch, see­ing how he worked so play­ful­ly and polite­ly made me realise there are lots of ways to direct and be a direc­tor. It could­n’t have been bet­ter. 15 years lat­er I’m still direct­ing and still full of mem­o­ries of this love­ly man and the time spent see­ing him make.”

“The result­ing one-minute B&W trail­er, shown in the­aters in over a hun­dred coun­tries except the U.S., end­ed up being clas­sic David Lynch alright,” says fan site Wel­come to Twin Peaks. “Except maybe for the 24 major visu­al effects in just 60 sec­onds.” Known as quite pos­si­bly the art-housi­est house­hold-name film­mak­er alive, Lynch has shown more enthu­si­asm for mak­ing com­mer­cials than have many of his peers: “The mon­ey’s good,” he once said, “and the added bonus is that I get to use and learn about the lat­est tech­nol­o­gy.” And though he has­n’t made a movie in almost a decade, he has­n’t announced his retire­ment either. Maybe the U.S. cam­paign for the next Playsta­tion — and wow, now that I look it up, it’ll be the Playsta­tion 5 already — needs his ser­vices. Fif­teen years have passed since “Wel­come to the Third Place”; I’d say Amer­i­ca’s ready.

Relat­ed Con­tent:

David Lynch Directs a Mini-Sea­son of Twin Peaks in the Form of Japan­ese Cof­fee Com­mer­cials

Cof­fee is for Peo­ple, Not Robots: The New Ad for David Lynch’s Line of Organ­ic Cof­fee

David Lynch’s Unlike­ly Com­mer­cial for a Home Preg­nan­cy Test (1997)

David Lynch’s Per­fume Ads Based on the Works of Hem­ing­way, F. Scott Fitzger­ald & D.H. Lawrence

Cig­a­rette Com­mer­cials from David Lynch, the Coen Broth­ers and Jean-Luc Godard

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Blue Christmas: A Criterion Video Essay

Where have all the Fezzi­wigs gone? Those fes­tive souls whose joy­ful­ly uncom­pli­cat­ed rela­tion­ship to Christ­mas inspires gen­eros­i­ty and the high­est of spir­its?

You won’t find them in Blue Christ­mas, film writer Michael Koresky’s super­cut of the bleak­est hol­i­day moments in the Cri­te­ri­on Col­lec­tion and beyond.

The fac­tors lead­ing to the sea­son­al malaise doc­u­ment­ed above are far less easy to iden­ti­fy than the sin­gu­lar com­plaint of the famous song Koresky bor­rows for the title of his video essay.

A sim­ple reunion would have fixed Elvis’s Christ­mas blues.

Not so the char­ac­ters played by Cather­ine Deneuve, Angel­i­ca Hus­ton, and oth­er love­ly, aging actress­es gaz­ing mourn­ful­ly in this mash up. Large fam­i­lies, sump­tu­ous tables, and lav­ish­ly dec­o­rat­ed homes are no match for their sea­son­al depres­sion.

Per­haps they should try vol­un­teer­ing in a soup kitchen.

Or get­ting away from it all in the French Cana­di­an asbestos min­ing town that pro­vides the set­ting for Claude Jutra’s Mon oncle Antoine. (Noth­ing like a child-sized cof­fin and some real­is­ti­cal­ly grimy, non-fake snow to make you count your bless­ings!)

A com­plete list of the films select­ed by Koresky for this mis­ery-loves-com­pa­ny com­pi­la­tion is below.  (Kudos to pro­duc­er Casey Moore for his mas­ter­ful edit­ing.)

Grem­lins

Fan­ny and Alexan­der 

Met­ro­pol­i­tan

Mon oncle Antoine

My Night at Maud’s 

A Christ­mas Tale

Black Nar­cis­sus

A Christ­mas Car­ol (1971)

A Christ­mas Car­ol (1984)

The Curse of the Cat Peo­ple

Scrooge (1935)

Scrooge (1951)

The Dead

Dead of Night

Black Christ­mas

Eyes Wide Shut

Meet Me in St. Louis

It’s a Won­der­ful Life

All That Heav­en Allows

The Long Day Clos­es

Blast of Silence

For those who would not have mas­ter­pieces of cin­e­ma rain­ing upon their Christ­mas parade, the Matinee’s antic Christ­mas Movie Super­cut is above. Are we sur­prised that Grem­lins made both lists?

Relat­ed Con­tent:

Neil Gaiman’s Dark Christ­mas Poem Ani­mat­ed

The Junky’s Christ­mas: William S. Burrough’s Dark Clay­ma­tion Christ­mas Film Pro­duced by Fran­cis Ford Cop­po­la (1993)

Sal­vador Dalí’s Avant-Garde Christ­mas Cards

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. I Can Haz Eggnog with That is her Christ­mas present to all Spo­ti­fy lis­ten­ers’ ears. Fol­low her @AyunHalliday

« Go BackMore in this category... »
Quantcast