88:88, —:—, flashes, demonstrating those who live in poverty live in suspended time.
88:88, —:—, flashes, demonstrating those who live in poverty live in suspended time.
We had 11 dollars in our bank account when we finally checked to see if we could actually go watch "The Diary of a Teenage Girl" at the local cineplex so we ended up staying home. We've been fretting over money ever since my boyfriend lost the extra pay afforded to night shift workers after he had decided he'd had enough of being exhausted. We're scraping by, making it and loving each other, but it's a lie that money doesn't buy happiness. I can't get a job yet, because my immigration paperwork hasn't been cleared by the government so we're a one income household with two mouths to feed. We're doing better than a lot of people, but I can't…
"...it was like the universe being broken down into molecules.."
For me, a work so utterly inspiring and so TRUE, so informed by philosophy yet so far from theoretical. Everything is informed entirely by experience. It's political yes, but unlike so many other films this is built from the ground up; the politics are just a consequence. Broken down to pieces, this is a movie about a person, his friends, and how much he loves them. And yet watching this intensely emotional experience again, I realized that no other film to my mind, from beginning to end, treats cinema as a language itself. It is important to realize that in 2015, cinema is a language, and the predominant one the…
A densely beautiful encapsulation of the paralysis in overthinking life and modern reality...eponymous eights as signs of life, of restoration, of infinities that form a grid, a chain, a prison of possibility...a brain addled by Neo-Platonism and Godard, the soul of Hip-Hop and Winnipeg, a heart belonging to friends and family and community and youth...the cinema as a living, thinking vitality.
Poverty is only feeling comfortable at the skate-park or at the library; the rest is limitless repetition, "suspension," time reveals itself as non-existant and you enter psychosis because this wasn't supposed to be reality. Personal and theoretical as inexorable, or that the former is little more than a reaction to the latter. "No thought without madness" - here's my vote for the greatest film made in Canada. The editing itself destroys time, conflating personal experiences and/or recollections of those experiences into a sociological context, and more - suspension itself: "the 1 is not whole, the 1 is not a beginning, middle or end, the 1 is unlimited, the 1 has no shape, the 1 is not in-another, the 1 is not in-itself, the 1 is nowhere"
I don't even wanna know how long it took to edit this.
This would make a great billing with From the Notebook Of… (2000) and Field Niggas (2015) under the title Obfuscation, Rhythm, and Stillness. Or Posturing, Lucidity, and Politicization.
This is a cinema of affected flashing screens, not of the supremacy of the cut as the director claims. A cut gives meaning and/or rhythm, here it disguises more than it does. With this film I do not have time to think, to form a thought, a memory. This is a crisis of media, or that which Godard has condemned and what Peter Watkins' has defined as the Monoform.
"Our self-alienation has reached such a degree that we can experience our own incommunicability as an aesthetic pleasure of the first order. This is the situation of human relations which late-capitalism is rendering aesthetic. Communism responds by politicizing art." – Walter Benjamin’s Ghost
Gimli Film Fest report
My final film of the festival and of course I chose the difficult, non-narrative, highly experimental documentary 88:88 as my closing movie. The best part about watching this in a theatre was laughing at all the old Baby Boomers walking out during the screening.
I want to write something substantial about this, but I need to see it again, with control over the running time, so I can go back and forth, before I can write. I did love this movie. I can't think of any other film I've seen in the past couple years that used dynamic editing to such clever thematic effect. This isn't student film school flashy shit for the sake of it;…
If scheduling allows, please try to see 88:88 and Mark Lewis's Invention on the same day. Both works are examples of a relatively new conjuncture between HD cinema and video art, and of artists boldly working with the gestures and vocabularies of “experimental film,” historically understood, but in no way beholden to them. At the same time, the two films exemplify radically different and possibly complementary poles of this new media experience. Whereas Mark Lewis’s art is almost impossibly stately and austere, Isiah Medina uses an equal degree of precision to attack the screen with a barrage of images and ideas. If you have ever been in an argument,…
At its most complex and beautiful, 88:88 is a fight for nirvana, the goal to become one with and outside of binary, but at its most base, 88:88 doesn't get further than being a confusing street-documentary. Dense, and also densely flawed: trying to do too much at once - not only making the sprawling comment about poverty but also questioning the form and the radicalization of a new language, and also questioning its own form, and the form the audience should take, and the question of location and outreach, and the sprawl of editing and 'meta' as a concept.... yahyahyahyahyah it says so much without showing anything - would have been a brilliant film if it ditched half the ideas…
A radical masterwork from 23-year old Isiah Medina, "88:88" shatters any preconcieved notions of what cinema can and should be, disregarding common form, technique, structure, or influence. This is avant-garde cinema that smashes the barrier between concept and execution, meaning and visceral experience, a film that flows like water yet manages to elegantly express an entire worldview.
The closest relative here is probably "Goodbye to Language," but this film has perspective and empathy where Godard's film had intellectualism and anger. Besides, Medina isn't conerned with "scenes" here, but moments, images, fleeting experiences...as if all of space and time were compressed into a single moment.
The ramifications here are political as well; (the title refers), and the images suggests different life…
A Few Words on Narrative and the Self
An inspection of this film's narrative might seem like the wrong approach to take. I've seen the claim made in several places that 88:88 is a work of anti-narrative, by which I can only assume they mean that it defies those aspects and features typical of narrative as such. Of course, the film still possesses a narrative but it's one constituted by visual and auditory fragments (dis)connected to and from each other, which function in a variety of ways depending on their sequencing. I admit that this is an impressive work technically, but I am skeptical of it being any kind of suitable means for the goals which the political content of…
this reminds me kinda of cosmos in that it's a film filled with constant dialogue that is very philosophical or far from straight forward, and has characters that aren't really developed as characters but combines these two things together with the power of masterful images and energetic filmmaking, making both singular transcendent experiences that go against "typical cinema". but while zulawski's magnum opus disregards and satirises Euro art house bullshit, medina's modern masterpiece reinvents cinema itself, with fragmented images, sounds and edits transfixing the viewer. this is a film that you can ignore all deep meanings of, and just be in awe of medina's skill and jaw dropping mastery especially for a first feature. but if you look closer, focus…
I still wanna know, what his grandmas favorite movie is :(
A quilt of textures in the digital-video surrealism style of Terrance Nance
A stretchy shaggy impression of a film barely contained by its own form. True and inspired.
Much to think about. Energizing to witness radical film form, disorienting to try to understand it most of the time. Very moving, but only because I've read the impetus behind this project. Curious to watch this again sometime. Definitely never boring.
a pretty radical (form-wise) attempt at proletarian cinema. bonus points for the moishe postone book
The closest anyone's come thus far to fulfilling the promise of Godard's Film Socialisme, but I wish just a little bit of that mountain of subtext managed to haul itself up into some, y'know, text.
Didn’t really understand most of this. Mobile phones mean a new cinematic language? America is a shithole? I knew these things already
Maybe this would be rated higher on a next watch. But for now i think its fine on a 6.
There is definitely a great flow to this it doesnt get boring at all and it is really interesting and well made for the most part. I only thought at times that a lot of the ffects are really pointles and made this look really unprofessional and it could definitly be better shot (I know its the style from the film but it definetly still could be done better),
I wish i could recommend people this but i don't think others would like this that much.
my head every night 
actually fucking dope
Gosto como ele não busca uma simplificação através do tema principal que ele trata (pobreza, capitalismo). É um filme que de fato tenta modular sua articulação visual e sonora pra construir um imaginário simbólico. Não acho que ele se importa tanto com os monólogos e conversas aqui, pelo menos não segue uma linearidade muito clara nesse ponto, mas gosto como ele nunca alinha certinho as falas com as pessoas que ele tá filmando. Preserva esse aspecto espectatorial das imagens. Um vislumbre simbólico daquelas pessoas, impessoal até de certa maneira, em que a imagem pela imagem acaba se sobressaindo.
don't really know what to say besides "jeez" or "AHHHHHH"
essie 386 films
I've been asked a lot lately about films to watch to help someone get into experimental cinema. Or even what…