Kristen Stewart's Ghost Bro ( ... )
Flea markets are (finally) back, baby.
Still your resident Tsundoku Master. 📚
“How splendicious!” - Vivian Vadim (Erica Prior)
An exhaustive distillation of the early aughts CD-ROM disk mag aesthetic, complete with artist and song credits that fade up in the lower left of the screen. An ode to commercialism. A blatant, self-referential ‘sex sells’ advertisement.
Also: impromptu cage fights; sassy lesbian limo drivers; yacht parties; vicarious arousal by way of online portals; a snobby burger fetishist; a fashion first approach to filmmaking; a frankly abnormal amount of rabbits, for some reason; precognition, but limited to bedroom ventures; moped jewel thieves; and so, so, so much more.
Michelle: "Do you live alone?"
Mark: "Everybody lives alone."
Quite possibly the greatest, least discussed, and nearly forgotten film about Los Angeles and its beautifully, tragically endemic culture of twenty-somethings who have abandoned family, friends, and the comforts of home in pursuit of big city dreams. It is a reality that everybody secretly recognizes, but that few would ever openly admit to one another. Life in LA is frequently difficult, at times it is utterly unmanageable, and by default requires…
Powerful anti-AI sentiment from ape + lizard.
The lesson (???): Just because our ancestors fought doesn’t mean we have to do the same.
Hm. Neither hated this nor loved it. And, what’s more, I only picked this up because it was $2 at a local flea market. I feel strongly that whatever mildly warm feelings I have for it would likely diminish (if not vanish entirely) upon rewatch. There is a canny self-awareness in much of the line delivery that…
Earnest (the sugar), but problematic (the spice).
Imagine being such a f’n dummy that you make yourself an accessory to a crime for something as trivial as becoming cheer captain. Honestly ridiculous. I’m happy for Fern, though. Best girl.
A petite film that proves Godard's sunglasses are the root of all his darkness.
Rewatch with Vincent Gallo’s commentary track from the Japanese home video release. He talks a lot about the start-to-finish booing of the unfinished version exhibited in Cannes; how he positioned a monitor just out of frame, but to match his eyeline, so as to allow himself to compose the shots and serve as cinematographer; and he openly ponders what drove him to spend three years creating a film that (almost) nobody liked, that didn’t make any money, and that has since…