I am unable to detect whether the English are capable of humor
A Charlie Brown Christmas 1965
David are u happy now
Guinea Pig 5: Android of Notre Dame 1988
flesh is temporary, gore amounting to a ship of theseus that as long as it is molded will then melt away; the hunchback of notre dame must be an android because how else can a statue live among bodies of granite if not molded from metal for flesh is too fragile to be warped or carved into form
A dream in the life; tomorrow is my birthday, tomorrow will be different. Tomorrow I will be special, tomorrow I will be important. Tomorrow I will matter. Everyone around me matters. Everyone around me is important, the nearest to me has created great art that surrounds me and all I have created is an apology. Tomorrow is my birthday, and I will circle that day, and that day will be the last time
Hana & Alice 2004
Having seen Shunji Iwai's animated The Case of Hana & Alice first, I do wonder how this plays as fresh characters, rather than with the delight of the playful teenage noir of its prequel as context for these characters. As much as I relate to the growing apart that comes with getting older, it pains me that the seminal female friendship film centers strain and antisocialization (Frances Ha), finding itself an antithesis to celebration at times, rather than this sweet reminder of the power of platonic intimacy over the more trivial relationships that pass by
Afternoon Breezes 1980
I know Sion Sono is trying to monopolize the Japanese lesbian schoolgirl deranged obsession drama supply, but something like Afternoon Breezes or the manga of Riyoko Ikeda instead takes the approach of sadder, lonelier, almost pitiable- and without the upskirts- and this more poignant arisal of the trope instead evokes the childhood memory of loving your best friend as she discovered boys rather than pornhub wet dream... eat a bouquet of roses, vomit back the image of a man who…
They/Them isn't all that bad.
In fact, it's better for its insensitivities.
The biggest fear factor of course is the dreadful P!nk karaoke, but the relative scarelessness isn't all that it was dragged for. There are moments with a genuinely good nostalgic horror set dressing, from the room full of dolls, to the torture tool shed; classic slasher images used for fake-outs and twists. But the real scare is instead a crushing expectation that masculinity must equal violence; these kids…
Cherry Falls 2000
Carol Clover's final girl- she's defined as either virginal, or otherwise sexually unavailable; she tends to have a unisex name, and a certain boyishness compared to others. She usually wins not by taking on the attributes of the killer (though some archetypal final girls are an exception, namely Stretch from Texas Chainsaw Massacre 2), but by being faster, smarter, more sympathetic to the audience.
These simplified slasher tropes have been the basis for a large portion of the contemporary meta-slasher…
A web that eats and eats, the plague of dopamine drywall as the monsters that tick by wane away and leave only nothing but the pulse of an artificially generated memory that can never be found again without a request to reboot, reactivate, reconnect, remember.
Watched in the parking lot of an Indiana Arby's off the side of the highway
That Day, on the Beach 1983
"The power of time is so overwhelming it's frightening"
Edward Yang's Beaches
Casa de Lava 1994
“It's easy enough to read the thoughts of a newcomer. Everything seems beautiful because you don't understand. Those flying fish, they're not leaping for joy, they're jumping in terror. Bigger fish want to eat them. That luminous water, it takes its gleam from millions of tiny dead bodies. The glitter of putrescence. There is no beauty here, only death and decay.”