20 yr old dutch girl
hit me up on discord @ lily/may#9427
minor gripes w/ weird demonization of a crossdressing character & Senpai's undeserved romantic victory aside: it speaks volumes about Yuasa's filmography that this burst of joy doesn't rank among his best. an entire year compressed into one eventful Kyoto night — from spring's warmup to winter's recovery — as a celebratory ode of youth. I'm in love with Kouhai's dedicated march from one party to another; an iron-willed commitment to every opportunity in front of her that she manifests the party…
putting politics aside, I wonder what the fuck does Nolan emotionally get out of making such cynical movies? The Dark Knight is so deeply disinterested in exploring motion and emotion; Gotham's skyscraper monotony is exacerbated by jumps in time and anonymous locations that makes the characters feel disconnected. they're so weightless it feels they cease to exist when the camera does not look at them, evaporating in light until they're summoned to progress the film again.
not exploring the weight…
cinema is magic and directors are wizards but their spells can be deciphered or rationalized, its rhythms and pictures broken down into a filmic science. I just can't do that for Michael Mann, whose lush spells manifest in extravagance; every frame a painting unto itself. like all other greats his cinema invites you not to think but to feel, so that you don't even understand why you're tearing up when Farrell and Li speed off into the horizon. Miami Vice…