jeanne moreau’s narration was really doing all the work in this imo. i wasn’t totally persuaded by the characters’ relationship but the way tony leung delivers duras: “I am dead. I have no desire for you. My body no longer wants the one who doesn’t love.” 🎯 while i find the age gap icky, the use of colonial vietnam as mere backdrop, the occasionally leering gaze over jane march’s body to be impediments to my enjoyment of the film, it’s…
Silence can be a plan
the blueprint to a life
It is a presence
it has a history a form
Do not confuse it
with any kind of absence
—Adrienne Rich, “Cartographies of Silence” (1975) quoted in “Eruptions of Silence”: The Unheard, the Unsaid, and the Politics of Laughter in Marleen Gorris’s A Question of Silence by Amelia Groom
and from elsewhere in the same poem:
This was the silence I wanted to break in…
the horror of borders, surveillance, state violence, the database, the reduction of human beings into data and swarms.
“[A]s we hear in the voiceover: ‘fingerprints always grow back’. It’s strange to think that such thread-fine ridges could press through any scar, however thick or dense, and make themselves visible as surface again. It’s haunting, too, that these delicate marks are so resistant to alteration. They persist in the very same pattern for the whole of our lives. It’s as if…
why watch midsommar when this exists?
a really gorgeous-looking and disturbing film; you can tell a protracted filming process took place looking at its various locations and climes. the epilogue chillingly clarifies and ossifies a horror of erasure and exploitation that was only hinted at before.