Film like Blow-up's cover.

[pnh]

The cover. Not the film.
(So) I saw that marvellous red, black and white stark poster of what seemed to be two fighters (I didn't make it out) wrestling and then read what I remember being a description about a photographer fascinated by the aesthesis of violence. I went to see it and discovered my impressions were all wrong.
Now I want to see a stark film about a photographer on the aesthesis of violence. But in which this aesthesis becomes the theme, instead of limiting itself to setting the mood. And not necessarily that red, bloody, fleshy violence of films like Kill Bill or (?) Fight Club, but also that sense of potency, tension and fear present in conflict.
It doesn't need to be about photography either, just not those weird hardcore SM porn creep please. I'm faint of heart.
People may not have actually understood the hell I'm talking about, but recs, anybody?

[Kublai Khan]

I'm not sure I totally understand what you're asking for but something like The Wrestler?

[Stewball]

The cover. Not the film.
(So) I saw that marvellous red, black and white stark poster of what seemed to be two fighters (I didn't make it out) wrestling and then read what I remember being a description about a photographer fascinated by the aesthesis of violence. I went to see it and discovered my impressions were all wrong.
Now I want to see a stark film about a photographer on the aesthesis of violence. But in which this aesthesis becomes the theme, instead of limiting itself to setting the mood. And not necessarily that red, bloody, fleshy violence of films like Kill Bill or (?) Fight Club, but also that sense of potency, tension and fear present in conflict.
It doesn't need to be about photography either, just not those weird hardcore SM porn creep please. I'm faint of heart.
People may not have actually understood the hell I'm talking about, but recs, anybody?

Assuming you aren't talking about a documentary style examination, these should qualify:

Rollerball ('75 version only)
A Clockwork Orange
The Quick and the Dead.

[pnh]

I'm not sure I totally understand what you're asking for but something like The Wrestler?

There's two The Wrestler on criticker (I'm guessing it's the 2008 one) and I can't say if they fit just by the description, but it should be kinda like A Clockwork Orange (well remembered). Will give them a go sometime.
It should raise the kind of questions, or the wonder, one have about someone who finds it apealing (such as Alex) or searches for the apealing in it (for example a war photographer): why is it apealing? is there beauty in it or is all mere sadism? how can something that causes pain be apealing? does it unsensibilize? what are the consequences of going too far on the asthetical side? etc

Assuming you aren't talking about a documentary style examination, these should qualify: (...)

I'd prefer fiction, but have nothing against docs. And thanks, I will check them. The last one is 1995 or 1987?

[Stewball]

Assuming you aren't talking about a documentary style examination, these should qualify: (...)

I'd prefer fiction, but have nothing against docs. And thanks, I will check them. The last one is 1995 or 1987?

'95. And I'd appreciate it if you'd post a response if you view it.

[pnh]

To partially fullfil the request, I have seen the films "Only God Forgives", "The Quick and the Dead" (spot on) and would count "13 Assassins" as unintentionally related, based on N's behaviour*.

OGF settles, powerfully, the aesthetic; TQTD and 13A, the discussion. But the first case doesn't raise questioning and the second seemed unsatisfactory. These apparently understand violence as a function of boredom, which, being a consistent answer, ignores the lack of necessessity of risk from the part of the character. While can be argued that individuals can reach this state by instinct, I don't think it explains the "artistic feel" of it.

An user also suggested me "I Stand Alone" with OGF, and I'm yet to see it.

*(Unrelated) This is a film that managed to make me feel shame. Not only because it was personally disturbing how close are N's and the(-is) viewer's reasonings, but thanks to the blatant effort of the film in satisfying this need for "shock".

[paulofilmo]

I'm not entirely sure I grok what you mean. I'd put myself at about 40% comprehension; although it is 4am and I'm sleepy.

Perhaps Alan Clarke's Elephant (1989).