Jan 19, 2017

best friends -
u should read this:
https://www.pastemagazine.com/articles/2017/01/what-trumps-tv-cameos-mean-for-america.html
i wrote it


@Vahn @Pinhead @Dew @Charlie Work @MovieSXN @Twan @Michael Myers

 

Jan 22, 2017

Rare interview with based auteur Linwood Boomer talking about Malcolm in the Middle

 

Jan 23, 2017

Amour fou (2014)

 

Jan 24, 2017

Yesterday was gloomy so i made a film.

 

Jan 25, 2017

Intolerable Cruelty (2003) is absolutely nuts. Underrated Coen brothers tbh.

 

Jan 25, 2017

i watched Videodrome drunk with like 7 dudes. Top 5 viewing experience of my life.

 

Jan 25, 2017

need to watch it properly though

 

Jan 25, 2017

im worried about your drinking, frankly.

@Charlie Work stay losing

 

Jan 25, 2017

maybe. its fine

 

Jan 25, 2017

all your snaps i see youre sitting against a blank nondescript wall, staring blankly. "drunk" usually the caption.

i can help u. let me help u.

 

Jan 25, 2017

 

Jan 25, 2017

Let my inner artist grow

 

Jan 25, 2017

Deconstructing Robert Altman's McCabe & Mrs. Miller:
http://bit.ly/2k2i6TK

Because of its many moving parts and modes of storytelling, this is not an easy film to digest nor review. It is haunting and atmospheric, leaving a resonant melancholy long after viewing. And yet somehow the film does so by rejecting viewership and forcing a disconnect between subject and object. It is the closest in formal step where Altman mounts a Brechtian or Godardian influence; its renewal of Western mythos paired with a dreamy low saturation colour palette (flashes on the film strip itself) and contemporary romantic soundtrack appear to clash and alienate, creating a formal disharmony between sound, image, and story. This formal deconstruction is later pieced together by the sub-liminal as a collage of image and sound most relatable to one’s morning revelation of a dream. The film thus conjures a strange, unique experience of an untold world.

From a cinematographic perspective, McCabes use of long lenses and zooms is unparalleled. What is considered a rudimentary, even crude technique, is the film’ most evident formal signature, from the slow zoom towards the centered but diegetically insignificant fiddle player to the zoom towards Keith Carradine’s dying cowboy figure to the zoom towards Warren Beatty’s still silhouette being hidden by the pure white of falling snow, the repeated utilization of slow zooms in soft lighting during emotive moments convey a chord of tragedy integral to the film’s unique audio-visual symphony.

On another signature element, Leonard Cohen’s music serves the film’s haunting atmosphere, and yet it does so by feeling asynchronous or out of place—in a world of its own. Though beautiful melodies stir one’s emotions, the soundtrack’s readily apparent isolation from story and cinematography deject the profilmic, pushing visual elements into the background while at once entering the center of attention. Rather than integrate the music and use sound as a tool for transformation of image, Altman here does quite the opposite; the brilliant visuals often subserve the music and thus the image is used as a tool for transformation of sound. This technique, which I would compare to Godard’s use of music in Le mepris, turns the film into something quite different and unique, inhabiting multiple worlds at once.

Though its artistic value is for question—I tend to more easily realize aesthetic experience when it is conveyed through a singular artistic vision than through multiple—McCabe’s innovative digressions from a traditional understanding of film art and cinematography is one worthy of exploring as it surely influenced a number of filmmakers and American cinema as a whole since its development.

88/100 – Excellent.

 

Jan 27, 2017

@Dew I get drunk a lot too

@Papa Andy let us live plz

 

Jan 27, 2017

Going to be able to finish my list for 2016 this weekend and it's very different from what I posted before.

Also 2017 is already goat cause of Split.

 

Jan 29, 2017

updated

There was technical difficulties at my Paterson screening so I couldn't finish it it is a big classic though from what I've seen so it will be high on my list once I finish it.

http://letterboxd.com/razvahn/list/top-16-of-2016/

 

Jan 29, 2017

The PTA and DDL reunion has begun shooting.

 

Jan 29, 2017

 

Jan 30, 2017

screeners out

 

Feb 1, 2017

• 
  20th Century Women 2016
  ★★★★½ Watched 27 Jan, 2017
  
  A maturely scripted, engagingly shot, and humourously performed drama on masculinity & modern female perspectives.
  
  85/100 - Excellent.
  
  No likes
  
  
• 
  Paterson 2016
  ★★★★★ Watched 30 Jan, 2017
  
  Review Posted at Aesthetics of the Mind:
  bit.ly/2jEQvEm
  
  Through its dreamlike aesthetic, lethargic rhythm, and patterned mise-en-scene, Jim Jarmusch’s densely philosophical tone poem manages to convey a certain unutterable phenomenology, one which is surrealistically experienced in life’s poetic coincidences and confusions. It is mindfully realized through an acute sense of reality as a projection by the unconscious; it is the inner self manifest. This is life as a dream or mind at large, and a way of seeing the world as old as Buddhism or the Indian Vedas, but popularized by the acid counter-culture of the 1960s.
  
  Paterson (Adam Driver) at once embodies the city of Paterson while himself an individual, but it is through his conscience that the world around him takes shape, as if it were all created for him. In this view, the poet’s interpretation of reality is a measure of understanding the self and expressing the meaning of one’s life to oneself. This idea explains the privacy of poets, to wit Paterson, who displays apprehension in sharing with his girlfriend poems which she herself inspired. He neither chooses to make copies of the poetry, and when his notebook is ripped to shreds by Marvin, the bulldog, Paterson experiences a visible loss of self, which is later reinstated in bizarre fashion through a Japanese man’s wise advice.
  
  Neither contrived nor self-serving, this action which appears without context may exist in Paterson’s world simply because it is Paterson’s world in which it exists. The Japanese man arrives as response to an inner yearning, a projection of Paterson’s unconscious which has manifested in order to direct Paterson back towards a path of grace and poetry.
  
  Cross-fades and waterfalls convey this life within a life theme, supporting the film’s surreal atmosphere with superimposition of image over image. Dreams conveyed by his girlfriend become Paterson’s thoughts which later become part of Paterson’s experience. His poetry is thus informed by the surreal qualities of life which appear to reflect back on his own existence. It’s the poet in him that recognizes these bizarre coincidences and patterns as signs of meaning, which he then documents in poetic form as an act of self-revelation.
  
  Encircling Paterson’s poetic world is Jim Jarmusch’s cinematic poetry, which forges itself as a distinct layer of art, as one of creation and of pure expression. Paterson’s life thus expresses the poetic manifestation of Jarmusch’s creative act. The film is Jarmusch’s world as much as Paterson’s notebook writings are Paterson’s world. And so life exists within life, each layer supporting the other as if dream being manifest into a reality in which dreams manifest into a reality, each reality slightly removed yet fully encapsulated by the individual—existence itself the one line within a reality where the rest of it doesn’t really have to be there. It’s all just Paterson unfurled.
  
  94/100 – Amazing.
  
  No likes
  
  
• 
  Nocturama 2016
  ★★★★½ Watched 25 Jan, 2017
  
  A labyrinthian fever dream where music, persona, and gunshot each play a role in the collective hallucination. Modern Caraxian.
  
  87/100 - Excellent.
  
  3 likes