I killed my father. I ate human flesh. I quiver with joy.
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Salò, or the 120 Days of Sodom 1975
I've been thinking a lot about contemporary art's reliance on character-driven emotion-driven narrative and the colloquial aversion to violence.
I recently when to a student poetry competition. Every poem told the story of something tragic that had happened to the speaker. A single analogy telling a narrative of how someone was groomed, or their heart was broken, or they were depressed. The prose described their feelings and their voices broke through the walls as they screamed about how they had…Translated from by -
The Hour of the Furnaces 1968
The film shows bespectacled tweed-jacket men corresponding with each other while narrating "the intelligentsia... an elite that translates into Spanish the ideology of the oppressor colonies". The scene immediately cuts to a quote from Jean-Paul Sartre, translated into Spanish.
La Hora de los Hornos is contradictory in nature but these contradictions have less to do with the film and more film as a medium. While the film tries to represent the every-man it fundamentally fails at doing so because the…
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Stroszek 1977
“We've got a truck on fire, can't find the switch to turn the ski-lift off, and we can't stop the dancing chicken!” This line was solidified in my memory from a very young age when I happened to only pay attention to the last scene of Stroszek while my parents were watching it. That scene really stuck with me. It is unfortunately the best scene in the movie but it’s so hard to beat the dancing chicken.
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The Cremator 1969
I go into every movie wishing it was like The Cremator. Czechoslovakia, Nazi esoteric mysticism, Tibetan Buddhism, cremation, avant-garde German Expressionist style… there’s no way this couldn’t be my favorite movie
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