They never cast a fucking actor who actually speaks Turkish.
Anyways, I don’t know whether I can really imagine this as a Cronenbergian piece, as I am more accustomed to Videodrome Cronenberg. However, it certainly is, and perhaps even more subtle than ever. You see the body as a focal subject once again: the body preserve an identity, tattoos to your sins and misdeeds, bruise or cuts to an action, and family imply a heritage. Your body mirrors your life. With…
The unessential complexity of the image when thought as a body work; never really knowing what the film is about, a prominent criticism. Or in juxtaposition, arguing it is too grounded in its creator’s memories and traumas, that it can’t be made sense when it is taken out of a specific context. Angel’s Egg is long presumed by many to be based around existential confusion in the life of Mamoru Oshii, and hence why many criticise it for the intense…
This segment has been directly transcribed from Prof. West End’s 2018 seminar at Harvard University.
Audience Member: If you really understood American Psycho, you would know that Patrick Bateman is not Sigma because he lost his humanity.
Prof. West End: 😭😭😂😂😂😂😹😹😹
Prof. West End: I’m literally a renowned Sigmanaloge. You don’t know anything. And clearly you don’t know anything about the Meta-Sigma. His disintegration of the self serves as an interdimensional transgression into a higher echelon of Sigma, namely Si-mi-gma. From…
We are finally in the gritty, dark, unforgiving streets of Gotham. The film stylistically thrives; Reeves understood we don’t need Nolan’s stone-cold, post-9/11 Batman. Therefore, the neo-noir style along with the brutal mise-en-scéne of crime and night(life) is what truly elevates the film in my opinion. I like the monologues (most of the time), seeing some mental subjectivity finally, reflections akin to Rorschach’s diaries. Again, an hegemonic male tale though, Catwoman needed more justice. Blame the screenwriters, the narrative structure…
