Hacker Cinema
Enemy
Shatru
2013 · Film · 130 min
Shotru (English: Enemy) is a 2011 Bengali action film directed by Raj Chakraborty and starring Jeet, Supriyo Dutta and Nusrat Jahan, who gave her debut by this film. This film was produced by Ashok Dhanuka of Eskay Movies who also distributed it. The movie is a remake of the Tamil film Singam which starred Surya and ...
7 positive2 neutralfrom 9 commenters
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11 comments on Hacker News
I agree that Enemy, Sicario, and Prisoner are very good movies, not among my favorites but certainly much better than his newer stuff.
About Gosling I’ll refrain from commenting as it can get ugly. :)
Also Prisoners and Enemy were impactful imo (and Sicario of course). I feel like where Villeneuve fails in that respect, filmmakers such as Nicholas Winding Refn succeed— I just watched Drive for the first time (I know I know), and it was one of the best cinematic experiences I’ve had in probably 5 years. Even though the film had a bit of a distant, hands-off quality, one connected with the film and characters completely (a lot of that maybe had to do with Gosling’s impeccable performance, but I’m sure the director had something to do with it).
Recommended movie on those topics: Enemy (2013)
You only chose older films to contrast with Dune (2021). Blade Runner being the newest at nearly 40 years old. It’s a lot easier to bring up old media. Be it music or movies. People revere the old, the classics.
Apocalypse Now, which is amazing, in my opinion, didn’t get amazing reviews upon release.
Fall from grace means you didn’t like Arrival too much either? I loved Arrival as I loved Sicario and Enemy.
> Alien or Blade Runner?
I love the concept of time so personally I enjoyed Arrival more than either of these. Same with Ex Machina, Annihilation, Primer, and Upstream Color. I also think these films are better too. I admit I must have a bias against glorifying the classics because of it being done so much. Obviously everyone has biases.
> There is good cinema within our generation but it is startlingly rare. Most of what makes it to the theaters is bloodless, drained of anything to say about anything at all.
Yes. This is the easy way out. Revering the old is easy. In 40 years people will be saying how new films don’t compare to Dune (2021) or Blade Runner 2049.
You said what makes it to theaters. Not wide release films. That would include a lot of indie and other films. In that case, I completely disagree. I believe it has gotten better. I get to see movies with a wider range with the easier access and technology for smaller films that get to be made. Same with music.
When you state it's one of the best movies ever made, do you mean it's up there with Apocalypse Now? Are there lines or performances from Dune you intend to stand next to Brando's? Is it in any way pointing at or making explicit an essential aspect of the human condition in a way that no other film has done before? (You don't have to agree with me this is important for one of the best movies ever made but it helps.) Should it stand shoulder to shoulder with Bergman or--for sci-fi--Alien or Blade Runner? If so, I'd really appreciate an explanation of why you think it's one of the best movies ever made.
It's my opinion that Dune is the seal to Villeneuve's fall from grace. His early career was studded with greats like Sicario, which explored the deep vulnerability of a powerless female lead outflanked by the violent potential of the professional men in her company; and Enemy, a psychotic allegory for fear of real intimacy. Villeneuve was a rising star, I couldn't have been more excited for where he was pushing film together with his often companion, Roger Deakins.
Dune is nothing more than beautiful scenery with airbrushed beauties vaulting through bedecked spaces. The dialogue could have left the lips of anyone in any scene with as much impact as the platitudes of a college freshman.
There is good cinema within our generation but it is startlingly rare. Most of what makes it to the theaters is bloodless, drained of anything to say about anything at all. Villeneuve's new Blade Runner 2049 was a visual feast as equally as bankrupt. The passage from Nabokov's Pale Fire that Gosling was allowed to develop into the film's baseline test appears as a kind of last, bare rebellion from the director against the powers of Hollywood like Sylvan Esso's pop track Radio, 2 seconds longer than the mandated 3.30 of a real radio hit.
Sicario? Did we watch the same film? I mean sure, that's the content they are dealing with-- gratuitous violence and murder is entrenched in that world and they told a story in that world. As far as film-making and story-telling goes, Sicario will probably always be a top 50 if not top 20 film for me. Also encourage anyone to check out Villeneuve's older less known movies (most of course know Arrival and Blade Runner 2049), such as Prisoners, Enemy and Incendies-- all fantastic movies.
> In Tarkovskian terms, they have no soul.
Isn't that basically true of every modern mainstream director? I can't think of anyone I would call Tarkovskian.
> whilst technically impressive, lack something fundamental and come across as sterile.
I try not to be curmudgeonly about big-budget filmmaking - I don't think there's anything inherently bad about it, but surely there's some truth to the idea that Villeneuve "sold out" starting with Sicario, right? I'd say Prisoners, Enemy, Incendies, and Polytechnique are all extremely good films, but they're precisely the ones that most people haven't seen. I don't think there's any way you could call those films "sterile", though Enemy certainly has a dry intellectual air to it.
I think what you might be latching onto is the aesthetic of Villeneuve's films. They tend to be gritty and realistic, which can read as soulless but I don't think it's quite the same thing. Calling a movie soulless speaks to its (lack of) spiritual / emotive vision, and while none of his films have the slow pacing of a Tarkovsky or their sense for atmosphere, I would say his early movies (and probably BR2049) don't lack a vision. They have something they want to say, and that message isn't a nihilistic or misanthropic one.
Have you seen any of his movies prior to Arrival and Sicario?
Incendies, Enemy, and Prisoners are all quite emotional in distinct ways. Although, I personally feel Arrival was definitely emotional in its own way.
Before The Rain about love and war in Macedonia. Amazing and impactful film.
Time of the Gypsies by Emir Kusturica - just go in cold to this, one of my favorite movies. Featuring musical score from the incomparable Gorman Bregovic.
Enemy by Villeneuve (or literally anything from this director; also check out the compelling Incendies, and Sicario of course; Prisoners is also amazing)
Literally pick any movie from Iranian director Asghar Farhadi. The Salesman is probably my favorite from him. Very impactful and each of his movies shows a compelling and unique slice of life.
While Arrival is emotionally complex, it's also not very original or "sensical" with cliches and the overblown importance of Amy Adams' character - a couple other countries arrive at the same conversational point first with their linguists and the whole mahjong thread is both wrongly simplified (it's a game of win/lose) and impractical. The immersion in a language giving you superpowers? The reuse of the final shot of (the movie) Enemy midway in the film? The purpose of the other ships (oh, earth distraction?). The implication you can have the concept of weapon without the concept of tool...it's fundamentally broken storytelling. The attempt at realism (a la Close Encounters) but with a demonization of the military and mischaracterization of breaking quarantine rules (taking off the suit initially would have gotten her removed, obviously and limiting a word list wouldn't be a concern and is forgotten quickly as the herring it is). Just a sloppy movie that's a vehicle for an M Night Shyamalan trick. It might as well all have been a dream sequence and it's the exact same movie.
I'll add this to my reading list next to Saramago's The Double, the source material for 2013 film Enemy.