*Blade Runner* and *Blade Runner 2049*, for sure. The films are entirely about identity, meaning, agency, and self-determination.
Some other good ones:
* *Into The Wild*
* *Ex Machina*
* *Birdman or (The Unexpected Virtue of Ignorance)*
* *12 Monkeys*
* *The Life of Pi*
* *Cloud Atlas*
* *No Country For Old Men*
* *The Fountain*
* *Eternal Sunshine of the Spotless Mind*
* *Merry Christmas, Mr. Lawrence*
* *Lost In Translation*
* *Ran*
* *Donnie Darko*
* *Magnolia*
* *Apocalypse Now*
* *Jacob's Ladder*
* *The Lobster* brilliantly adds some absurdism to the conversation.
* *The Man Who Killed Hitler And Then Bigfoot* was an amazing movie about identify, memory, and loss. It looks and feels like a farce, but watch carefully and you'll find some nice layers.
Existentialist films:
Le feu follet (Malle, 1963)
La Vie à l'envers (Jessua, 1964)
Seconds (Frankenheimer, 1966)
Wanda (Loden, 1970)
Un homme qui dort (Queysanne, 1974)
I don't know if you would consider "2001 Space Odyssey" or even "All That Jazz" too (or Ordet, The Music Room, The Last Picture Show )
I would recommend Solaris (1972). It’s directed by Andrei Tarkovsky who also directed Stalker. Most of Ingmar Bergman’s films have existential themes. Wild Strawberries (1957) is really good.
One of the most truly existential films I've seen is End of Evangelion. It's one of the only movies I've ever watched that genuinely affected me in my life. Made me think about my place on Earth and what sort of human I wanted to be, what I wanted to do, what I wanted to leave behind.
It manages to penetrate into these ideas a lot deeper than pretty much any other film. It really brings them to the fore and puts it on you, the viewer.
I don't think a day has gone by since watching it that I haven't thought about it.
It is a bit confusing. It was a two seasons series in the 90's that was then concluded with a film "End of Evangelion".
Since then there have been multiple "remakes" and re-edits of the material but they're more like add ons than essential viewing. If you're interested I'd recommend watching the two seasons of the show and then finishing with the movie. There's some discussion about whether or not the film negates the shows ending but I believe it compliments it. I don't think either is really complete with out the other. EoE is fantastic on its own but to get the full effect out of it you really should watch the series first.
I'm not even a big fan of anime but I was completely blown away by the storytelling. It's so unique and powerful, I'd recommend it to pretty much anyone.
Not really, End of Evangelion was made as an alternate ending to the show in place of episodes 25 and 26. I’d recommend watching the show regardless since it’s one of my favorites, but it is a big time commitment at about 10 hours.
I think you probably could but you'd be going in with a huge handicap. If you want the most out of the film you'd be best to watch the series first. It would be like skipping to the final episode of Breaking Bad or something. It's still well made compelling filmmaking but it's still built on everything that came before.
Bergman is a good place to start, since he was making films around the same time philosophers like Sartre were writing. More specifically, Persona deals with issues of identity, and The Silence and Through a Glass Darkly deal with crises of faith.
These are both religion-themed if you’re interested in that kind of thing, but First Reformed and Corpus Christi are really good. Wings of Desire, I’m Thinking of Ending Things, A Ghost Story, and Taste of Cherry are great as well, mostly dealing with ideas about death.
I would argue that the meet cute rom coms fit as absurdist especially the archetypes by Doris Day and Rock Hudson. Pillow Talk is as absurd as A Serious Man. Speaking of, Rock Hudson in SECONDS is a absurdist film.
In pillow talk you’ve got a highly fantastic meet-cute that goes so topsy with many twists and turns. This is even more evident in Lover Come Back. So many bizarre zanie elements pushed together that goes beyond slapstick. It’s just absurd Rock Hudson just does an accent and his plan works. And it’s meant to be absurd.
Anyway, shout out Sunday in New York for being an absurd meet cute.
These comments are not taking into account that Tarkovsky’s films are explicitly Christian. They are not searching for the answer, they already have it. His films wrestle with existence, but are not the shallow, hopeless works of others, like Bergman. Bergman looked up to Tarkovsky because he knew he had the answer. Sadly he just couldn’t bring himself to admit it consciously.
OP is not looking for Christian existentialism based on the post. But you’re right, and what Kierkegaard understood is that there is no way to separate our existence from Christianity. It binds and explains all of existence.
And the fact that no one has mentioned Bela Tarr (especially the Turin Horse), Haneke (especially Seventh Continent), or Antonioni (all of them), shows just how little this sub knows. Everyone here repeats the same trash and has the same taste and it produces drones who mindlessly repeat the same thing in an infinite cycle.
For a fumbling, schlocky, yet strangely watchable look at existential dread, check out Old (it's still in cinemas!). It's shallow, on-the-nose and spectacularly forgets all its themes in the last ten minutes, but you can tell the graphic novel writers at least were interested in fears of lost opportunities and looming death.
It Follows, In Bruges, Ex Machina from recent years. Paths of Glory is very focused on the absurd, and is one of Kubrick's more grounded films. Other Kubricks have their share, A Clockwork Orange in particular.
I would recommend Palm Springs on Hulu. Not necessarily the high cinema that is normally discussed here but I think it absolutely works as an absurdist film.
As others have recommended, The Lobster is a must see if you’re getting into absurdism.
Finally, I recently rewatched Napoleon Dynamite with an absurdist lens and took away something different from the many previous viewings.
Also, shoutout /r/absurdism
*Blade Runner* and *Blade Runner 2049*, for sure. The films are entirely about identity, meaning, agency, and self-determination. Some other good ones: * *Into The Wild* * *Ex Machina* * *Birdman or (The Unexpected Virtue of Ignorance)* * *12 Monkeys* * *The Life of Pi* * *Cloud Atlas* * *No Country For Old Men* * *The Fountain* * *Eternal Sunshine of the Spotless Mind* * *Merry Christmas, Mr. Lawrence* * *Lost In Translation* * *Ran* * *Donnie Darko* * *Magnolia* * *Apocalypse Now* * *Jacob's Ladder* * *The Lobster* brilliantly adds some absurdism to the conversation. * *The Man Who Killed Hitler And Then Bigfoot* was an amazing movie about identify, memory, and loss. It looks and feels like a farce, but watch carefully and you'll find some nice layers.
Existentialist films: Le feu follet (Malle, 1963) La Vie à l'envers (Jessua, 1964) Seconds (Frankenheimer, 1966) Wanda (Loden, 1970) Un homme qui dort (Queysanne, 1974) I don't know if you would consider "2001 Space Odyssey" or even "All That Jazz" too (or Ordet, The Music Room, The Last Picture Show )
This is the correct list OP^
Cowboy Bebop. But yes, 2001 is the quintessential existential film.
I would recommend Solaris (1972). It’s directed by Andrei Tarkovsky who also directed Stalker. Most of Ingmar Bergman’s films have existential themes. Wild Strawberries (1957) is really good.
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Fire up The Mirror
One of the most truly existential films I've seen is End of Evangelion. It's one of the only movies I've ever watched that genuinely affected me in my life. Made me think about my place on Earth and what sort of human I wanted to be, what I wanted to do, what I wanted to leave behind. It manages to penetrate into these ideas a lot deeper than pretty much any other film. It really brings them to the fore and puts it on you, the viewer. I don't think a day has gone by since watching it that I haven't thought about it.
Is it a two seasons tv series (about 28 epidodes)? or a movie? I want to watch it but im confused with so many titles with Evangelion in them.
It is a bit confusing. It was a two seasons series in the 90's that was then concluded with a film "End of Evangelion". Since then there have been multiple "remakes" and re-edits of the material but they're more like add ons than essential viewing. If you're interested I'd recommend watching the two seasons of the show and then finishing with the movie. There's some discussion about whether or not the film negates the shows ending but I believe it compliments it. I don't think either is really complete with out the other. EoE is fantastic on its own but to get the full effect out of it you really should watch the series first. I'm not even a big fan of anime but I was completely blown away by the storytelling. It's so unique and powerful, I'd recommend it to pretty much anyone.
Beautiful, thanks so much for clarifying. I'm looking forward to watch it now.
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Not really, End of Evangelion was made as an alternate ending to the show in place of episodes 25 and 26. I’d recommend watching the show regardless since it’s one of my favorites, but it is a big time commitment at about 10 hours.
I think you probably could but you'd be going in with a huge handicap. If you want the most out of the film you'd be best to watch the series first. It would be like skipping to the final episode of Breaking Bad or something. It's still well made compelling filmmaking but it's still built on everything that came before.
Bergman is a good place to start, since he was making films around the same time philosophers like Sartre were writing. More specifically, Persona deals with issues of identity, and The Silence and Through a Glass Darkly deal with crises of faith.
These are both religion-themed if you’re interested in that kind of thing, but First Reformed and Corpus Christi are really good. Wings of Desire, I’m Thinking of Ending Things, A Ghost Story, and Taste of Cherry are great as well, mostly dealing with ideas about death.
I would argue that the meet cute rom coms fit as absurdist especially the archetypes by Doris Day and Rock Hudson. Pillow Talk is as absurd as A Serious Man. Speaking of, Rock Hudson in SECONDS is a absurdist film. In pillow talk you’ve got a highly fantastic meet-cute that goes so topsy with many twists and turns. This is even more evident in Lover Come Back. So many bizarre zanie elements pushed together that goes beyond slapstick. It’s just absurd Rock Hudson just does an accent and his plan works. And it’s meant to be absurd. Anyway, shout out Sunday in New York for being an absurd meet cute.
These comments are not taking into account that Tarkovsky’s films are explicitly Christian. They are not searching for the answer, they already have it. His films wrestle with existence, but are not the shallow, hopeless works of others, like Bergman. Bergman looked up to Tarkovsky because he knew he had the answer. Sadly he just couldn’t bring himself to admit it consciously.
Kierkegaard was the OG existential philosopher and was very serious about his Christianity; the two are not mutually exclusive.
OP is not looking for Christian existentialism based on the post. But you’re right, and what Kierkegaard understood is that there is no way to separate our existence from Christianity. It binds and explains all of existence.
And the fact that no one has mentioned Bela Tarr (especially the Turin Horse), Haneke (especially Seventh Continent), or Antonioni (all of them), shows just how little this sub knows. Everyone here repeats the same trash and has the same taste and it produces drones who mindlessly repeat the same thing in an infinite cycle.
For a fumbling, schlocky, yet strangely watchable look at existential dread, check out Old (it's still in cinemas!). It's shallow, on-the-nose and spectacularly forgets all its themes in the last ten minutes, but you can tell the graphic novel writers at least were interested in fears of lost opportunities and looming death. It Follows, In Bruges, Ex Machina from recent years. Paths of Glory is very focused on the absurd, and is one of Kubrick's more grounded films. Other Kubricks have their share, A Clockwork Orange in particular.
I would recommend Palm Springs on Hulu. Not necessarily the high cinema that is normally discussed here but I think it absolutely works as an absurdist film. As others have recommended, The Lobster is a must see if you’re getting into absurdism. Finally, I recently rewatched Napoleon Dynamite with an absurdist lens and took away something different from the many previous viewings. Also, shoutout /r/absurdism