Film programmer, usher at dying theater. Taste can be best described as "eating olives at 3am". she / her
The most calculated while lax about each decision. This reveals so much about one's self to have an incessant expectation of violence at each and every juncture. "Forgiveness" and "vulnerability" feels like a surreal, repetitive gesture, almost too natural of an answer for human conditioning. We might be the only beings that ponder on their risk but they feel lent down to us as things to move forward.
Max Renn's honest self-portrait:
So I'm sitting there, shoulder holster for my indifferent-reality-flesh-technology-gun...
I also sport some kind of half-gored, half-yonic VFX wonder as a projection of my deeply and obviously suspect interpersonal desires, where I've confused healthy intimacy with sated control so many times that now, when I redress my perversions and delusions about women as society's fault and desire, for letting voyeurism become a coveted and accessible market that's poisoning men with equal parts grandeur and inadequacy, I've…
The Straight Story 1999
"The sky is sure full of stars tonight."
A really yummy bittersweet. Like dark chocolate, or trying to fix your favorite boots so they can go another year, or just a month, even a week.
The Elephant Man 1980
"I've gained myself."
*Hopkins voice* I've avoided this for some time. Strings together conventional and semi-predictable but it's a bit odd to care about that; like, Lynch gave us only two relatively simple ones, where the rest of his stuff has pillars of reams of film class essays sometimes on just the set design of specific scenes. Also this ending almost killed me, yeah.
Uncle Boonmee Who Can Recall His Past Lives 2010
“What’s wrong with my eyes? They are open but I can’t see. Or are my eyes closed?”
Favorite Weerasethakul, hovering around my top 8 to 10 ever. For the past year and a half since I first saw this, it's staggering to learn how much my tastes and the very way I look for and at films has changed because of Boonmee. Such a project that inevitably lands abstract and prodigious would carry some assumptions about how serious it takes…
Second viewing and now I have a kid (becoming obligatory waterworks that were simply pumped out via narrative twist last time). Interesting that this sort of poptimist Nolan / Malick amalgam seems to work wonders on me, where Nolan's obsession with Grand Events and Malick's Kids Playing in Tall Grass Motif Galore are neither of the aspects I particularly like about each auteur. Maybe it's because the grand event (with political goofiness to boot) is just a…