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agenttud

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Posts posted by agenttud

    Rammstein Paris au cinéma le 23 mars

    in News du site

    Posted

    1 hour ago, Vlad_Lashnikov said:

    Au moins question authenticité ce sera un live 100% français, sans montages d'un concert sur un l'autre comme le volkie ou america (Till qui change de coupe de cheveux un plan sur 2 sur pas mal de séquences je trouvais ça un peu gros...)

     

    Il pourrait encore y avoir des problemes de continuite (ex. Keine Lust en RiA). Je ne les aime pas du tout.

    Rammstein Paris au cinéma le 23 mars

    in News du site

    Posted

    8 minutes ago, OzaiAang said:

    Quelqu'un peut me dire quelles chansons seront présentes dans la version cinéma?

    Sonne
    Wollt Ihr das Bett in Flammen sehen
    Keine Lust
    Asche zu Asche
    Feuer Frei!
    Mutter
    Mein Teil
    Du riechst so gut
    Du hast
    Bück dich
    Mann gegen Mann
    Ohne Dich
    Mein Herz brennt
    Engel
    Pussy
    Frühling in Paris

    • Like 1

    Rammstein Paris au cinéma le 23 mars

    in News du site

    Posted

    Le "Der Spiegel" a ecrit un article "interessant" sur Rammstein et R:P aujourd'hui.

     

    http://www.spiegel.de/kultur/kino/rammstein-paris-an-der-volksbuehne-die-urszene-von-pegida-und-afd-a-1138891.html

    Traduit en anglais:

     

    Quote

    Rammstein at the Volksbühne: Bankruptcy

    By Jens Balzer

    The Volksbühne is experiencing it’s last big Pop-music event in the era of Frank Castorf. Too bad, it had to be the premier of “Rammstein: Paris” which devalues everything what this house stood for.

    The masculine-teutonic stadium-rockband will go to the Volksbühne in Berlin this Thursday, to celebrate the premier of “Rammstein: Paris”. The focus is on an almost two-hour long compilation of several performances from the band in the French capital, from which the director Jonas Åkerlund tried to extract the aesthetic of the Rammstein-esque being.

    This is something he achieved, because what you see in the film is: six super-men covered in ash and oil, who will give a Fritz-Lang-Metropolis-meets-Cyberpunk-stage-show which is played with rough gestures on their instruments and explode, blow up or burn something no matter if it fits or not. It’s a very long-stretched meaning and senseless overwhelming aesthetic, from which you are tired from after the first ten minutes, which feels like a very stretched out never-ending action –scene from a blunt Action-Blockbuster. Some kind of distance to the band or aesthetic reflection cannot be found in Åkerlund’s film. The larger dramatic picture consists of shaky cutting between close-ups and panorama-shots and computer enhanced effects to the pictures.

    When Rammstein singer Till Lindemann rolls his “R” in his typical nazigerman-martial manner, which he often does, his longue tongue was morphed into a three-spliced snake-tongue by Åkerlund. The sound (Dolby Surround-something-super-Atmo) is brilliant, and will please the fans, who can enjoy the film next week for three days.

    The last big event of its era

    “Rammstein: Paris” will be the last big pop-culture event in the era of Frank Castorf, who has for the last 25 years hosted the House at the Rosa-Luxemburg Platz. The director, who recently said goodbye to his many worshippers and few critics by showing a 7-hour interpretation of “Faust, was until now known for his fearlessly-risky emancipatory game with political symbols from the totalitarianism of the 20th century. The aestheticism of nationalist-socialist and Stalinist politics is used in his political aesthetic, in nihilistic blackness and utopian beams it became unrecognizable. This was fueled by his cocaine-addiction-fueled association-fury megalomania which went overboard, sometimes it was annoying and sometimes it was grandiose. What was really great about the Volksbühne in the Castorfe-era, was the madness and heat, in the case of Speech-based theater, the weekend-long discourse-festivals and discussion-programs, in the long lines outside of the cinema, and last but not least the pop-musical events. Which became just as important in the 2000s as the theater.

    Artists like Throbbing Gristle and Whitehouse, Antony and the Johnsons and Suicide, Current 93, Laibach and PsychicTV - a radical, from the 70s to the present-day reaching Avantgarde, from the displays of violence in the 20th century to the totalitarian potential of the post-modern mainstream-media, the century-old ingrained pop-culture which influences the dialogue between liberation and oppression.

    The Masculin-catch with the “Neue Deutsche Härte”

    Until now we were anticipated in regards to which band would be given the honor to bring this era to an end; which pop-culture statement would this theater deliver to its many worshippers and few critics near the end of the Castorfe era.

    The statement was: Rammstein

    Because of this, you could say that the premier of this film goes against everything this house stood for, in a very unsubtle way. The political ambivalent risk-aesthetic which once was here at home with the Avantgarde, was beaten down by Rammstein’s risk-free masculine-catch from the “Neue Deutsche Härte” and turned it into a spectacle without ambivalence and tries to distance itself with irony. It still stays noticeable humor-less and bossy. German history isn't all bad, and when it was bad, it was still fascinating: The Rammstein aestethic is the original arena for the You-should-be-allowed-to-say-something-like-that-attitude, from Björn Höcke (leader of a political party known as AfD) which is used today. Rammstein is the original platform for Pegida and AfD - the fact that they are former East-German punkrockers and consider themselves left-wing changes nothing.

    Rammstein at the Volksbühne: This is the complete bankruptcy of a once emancipatory institution, which in the end for all the wrong reasons went against the so-called “neoliberal” discredited internationalism from the Castorf- predecessor Chris Dercon, now goes without any good-will into the hands of the nationalist German mainstream. Everyone, who still loves this house, can do nothing today but feel ashamed. However, what remains and can still give us hope, is that something new can find its way to the stage.

     

    Rammstein Paris au cinéma le 23 mars

    in News du site

    Posted

    53 minutes ago, agenttud said:

    Une premiere revue (en allemand):

    http://www.wolframhannemann.de/archiv/201701.shtml#17012401

     

    Traduction en anglais:

     

    Quote

    You have to like their music, of course, if you decide to watch this concert film from Rammstein. The Gentlemen work with a lot of pyrotechnics and lewd performance, when they show off their rock rhythms to the Paris audience. Director Jonas Akerlund refrains from any backstage recordings, only captures the live concert and simultaneously tries to be the world champion in cutting. With such fast cuts one can become quite dizzy! What's disappointing about this concert film is it's soundtrack, even though they made use of the new sound system "Dolby ATMOS". There is no lack of dynamics and bass, but the so-called "ambience" is quite pulpy, which is not particularly beneficial to the presence effect. It appears as if the sound mixing was done under quite a lot of pressure and the sound engineers either just couldn't do it, or weren't allowed to. When compared to other concert films that were also mixed with Dolby ATMOS it becomes clear that it isn't the sound format that leaves something to be desired. For example in the Imagine Dragons film you can make out individual audience sounds, in superb quality, from any direction. This results in a truly immersive experience, which greatly enhances the "You were there"-effect, however that is not the case with RAMMSTEIN: PARIS.

     

    Rammstein Paris au cinéma le 23 mars

    in News du site

    Posted

    1 minute ago, Atomiiik said:

     

    Encore un fameux troll concernant un truc que t'aurais soit disant vu avant tout le monde, change un peu de tactique mon grand :D.

     

     

    Tu as un lien en MP ?

     

    Le subreddit de Rammstein. Je le posterais ici (le lien de la subreddit), mais il pourrait enfreindre les regles.

    Rammstein Paris au cinéma le 23 mars

    in News du site

    Posted

    La video de MGM pourrait etre depuis 2013.

    La source de la speculation

     

    Quote

    In short: I don't think that the "Mann gegen Mann"-video is from the finished film. I think it's from an early version of the film in 2013.

    Last year, someone posted a video on the "LIFAD"-forum which showed a 13 second clip of the "Sonne"-intro. The user who uploaded it, explained that he got it from a friend who worked on a Rammstein concert-film.

    Furthermore, he added that his friend worked for a post-production company which recieved an early cut from "Rammstein: Paris" back in 2013. Supposedly they were given the task to edit some effects into the footage, and propose an artistic direction to Åkerlund. The footage they recieved was obviously just an early rough cut, and they were just fooling around and trying different effects and color-filters.

    I suspect that this new footage is from the same guy. Some of the effects just look a little to sloppy and unfinished.

    While it is possible that someone was able to leak footage from the finished film, I have also read that a lot of effort was put into avoiding this. All screenings of "Rammstein: Paris" were surveilled by people wearing night-googles during the screening (according to the Cologne film-festival), no cellphones were allowed and all reviews were given a released date (look at IMDB).

    The guy filming the "Mann gegen Mann" video doesn't look like he is hiding anything and there are people behind him talking. In additon the video just abruptly ends. I just think that this doesn't look like an early screening, it looks more like an editing room.

    If I'm wrong.....Well, let's hope it looks better on the big screen. Judging a film by a 3 minute cellphone video is a little rushed.

     

    Cela semble plausible?

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