Also watched in documentary tradition — though so different from the Hour of the Furnaces there did seem to be a kind of shared cinematic language that enveloped the audience. For example, Tongues Untied also utilizes any negative space (silence, stills, black screens, etc) to say something. We watched these films after our direct cinema unit — a movement I am biased against tbh — which raised the question of who can afford to relinquish control over their narrative. Or who can detach…

Watched the first part for my documentary tradition class — really intense in all senses of the word. Constructs what I am going to call an aesthetics of imposition (just made that probs going to drop it officially in my section Friday lfg) as it utilizes all sensory aspects to call for/demand attention and affect from the viewer. It is generally so loud that even the silence functions as an additive stylistic choice rather than merely an absence of sound.…

I planned to write this immediately after viewing but I was actually too scared and there was a man in the back of the theater with long hair that actually looked like Nicholas Cage so we all freaked out. 

Doesn’t let go of tension and is effectively scary. There was a lot of corniness, however. And loose ends. Why was he called Longlegs? The serpents, Carrie Ann’s character felt unfinished (ended her lazily), they could’ve done more with the mom,…

Def didn’t wake up thinking I’d watch this today, but it was magnificent af. Nosferatu has always been a strangely present figure in my mindscape, despite never having seen any rendition of the story (not really sure why), so I’m glad I watched the Herzog version first to really solidify my conception of the character. Obv he made me feel empathy for Count Dracula. Instances where I felt this: “death is not the worst. There are things more horrible than…