Luca Guadagninoâs frequency once again encircles the objects of our obsessions, and while familiar ground for the filmmaker, we are presented with all new gesticulations and rippling fusion.
I'm always a sucker for the unlikely hero, the bystander to history who gets swept up in something he can't quite define, but all the same rises to the occasion.Â
Tied to the feminist movements of the 1960s and 1970s, feminist film theory critiques the portrayal of women in film, the male gaze, and the ways in which cinematic techniques shape audience perception of gender. By examining both classical Hollywood cinema and contemporary film, feminist theory seeks to expose and dismantle patriarchal ideologies embedded within the medium.
Us film people are not a pretty race. We arenât tan because we bask in the glow of monitors. We arenât fit because weâre sitting down most of the day. The healthiest thing we eat is popcorn. Most of us smell like moth balls. Some have us have been described as âMorlock adjacent.â Socially speaking, we do a little better because we have The Flicks and the occasional festival, but even then, you have to go: âIs this as coolâŚ
For a particularly aggravating type of human, policing the purchase of luxury items by those on food stamps is a hobby, bordering on fetish. They glare at their carts, accusatory eyes wide at the forbidden items: lobster, caviar, whiskey, New York Strip Steaks, sushi. These sad, sad people have little to offer the world, so they take it out on poor people.
As creatures of memory, we as a species live in a space occupied by the past and present, fluctuating between our objective and subjective realities simultaneously. Often, we imagine a romanticized past to escape the tribulations of the contemporary present. Alice Rohrwacherâs recent phantasmic oeuvre La Chimera envisions an antiquated protagonist who despondently drifts through his old haunts where the past gnaws at him with harrowing temptation.
Apparatus theory theory was a dominant film theory during the 1970s, rooted in Marxist, psychoanalytic, and structuralist thought. It examines how the cinematic experience shapes viewersâ perceptions and ideologies, arguing that film is not merely a neutral medium but an ideological tool that reinforces dominant power structures.
David Cronenberg is one of the few Canadian directors who have generated a lasting impact in cinema over the past 50 years. His auteurist vision, as one of the originators and leading purveyors of the body horror genre, has gained him reverence as well as notoriety.
The history of color in film is a story of technological innovation, artistic exploration, and the gradual evolution of cinema. While modern audiences are accustomed to vibrant color in films, this evolution was a long process marked by experiments and technical breakthroughs.
Us Film People are not a pretty race. We aren't tan because we bask in the glow of monitors. We aren't fit because we're sitting down most of the day. The healthiest thing we eat is popcorn. Most of us smell like moth balls. Some have us have been described as âMorlock adjacent.â
Socially speaking, we do a little better because we have The Flicks and the occasional festival, but even then, you have to go: âIs this as coolâŚ
buntovnica s razlogom
The thing that struck me most about âStroszekâ was the inability of Germans to dress themselves. They pick out cowboy hats, greasy leather jackets, rhinestone vests, ferret fur coats, even clogging shoes, and then walk around outside like this is all normal. I believe this is one of Herzog's signature traits; emphasizing the more bizarre side of Germanness, the Teutonic spirit run wild.
Even though Herzog is preoccupied by the unbearable weight of capitalist modernity, I couldn't help but grinâŚ
This was one scene away from Will Smith and Martin Lawrence breaking up the scene with guns drawn and the sex workers giving them lap dances to break up the tension. There is some wonderful execution here but not enough to merit 140 minutes worth of enthusiasm. The tension disintegrated into slapstick trading emotional investment for tedium. By the end it felt like one of those zany 60s films where you start it with a couple and it ends in a caravan of people all giving chase. I really wanted to like this more.
A lot of Leigh Heads won't appreciate this, but there is a very disconcerting throughline from High Hopes's Cyril to Naked's Johnny. I had this epiphany during Cyril's defenestration of the very soul of that poor woman who had the gall to out-socialist him by assisting the Sandinistas with their coffee harvest, under massive personal risk. Cyril (obviously) doesn't need to do this, but because he's a sadist disguised as a Cuddly Sweater Social Critic, he feels the urge toâŚ
I think it's hard to overstate the impact Flowers For Algernonâor, for that matter, the genuinely challenging 1968 film Charlyâhad on how we imagine these Trading Spaces thought experiments. American society is (on paper, at least, and those who write said papers are paid to write glowingly) a more humane place for those existing outside ânormalâ cognitive/psychical states of being. I think people are, at the very least, more empathetic than they were in the 1960's. This doesn't change theâŚ
When aliens jigsaw back together the desiccated pages of all our film journals, trying to figure out just what âcinemaâ was and why it meant so much to us as a species, I believe they will find most of it sound, logical, with one exceptionâthey won't understand the aesthetic snobbery around digital camcorders. âWhat? It was a technological marvel! It democratized film making, allowed millions of their subaltern populations to craft stories of their own! Most of all, it lookedâŚ
Absolute ass  đ¤
