cinematically challenged, celestial mouthpiece/laughing stock, and insatiable insomniac
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Mulholland Drive 2001
Susan Sontag writes that reflective art postpones gratification by imposing discipline on the audience, which keeps coming to mind when reflecting on this film.
Here disorientation seems to be the means of said discipline, effectively delaying gratification, at the very least, until the credits roll, thus making the digestion, rather than the consumption, the viewers "reward" (this is not to say that the viewing experience is unrewarding, for it is far from it).
I'm inclined to believe that rewatching this…Translated from by -
Anora 2024
Stirring watch. Enticingly, at times absurdly, comedic, with an unbelievably captivating performance from Mikey Madison (something I don't often pick up on). The further into the film I got, the more prepared I was to brace myself for that which I knew was inevitably ahead. It had to happen, but expecting it didn't make it any easier to handle once it finally did. The sudden cut to credits and complete silence felt devastating, and I don't think I have watched enough films to be familiar with the pit in your stomach that opens up, and then just. Lingers.
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A Conspiracy of Faith 2016
Not the kind of scissoring I wanted, but definitely the kind I should have expected.
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