Culinary Mysticism — review of “Pig,” starring Nicolas Cage (IM1776) Rob does not hate Portland; like Socrates, who dismisses outright the idea of fleeing Athens for Thessaly, he sees it from the standpoint of eternity, and so both loves it and knows it to be deeply broken: Amir: “If the city floods we can always…
Tag: movies
wEeKeNd LiNkS
Suddenly, On Halloween (Wrath of Gnon) Why don’t I know any of my neighbors? Why are the young couple down the street not around anymore? When did they move out? They seemed so nice. The Reality War (The Upheaval) Maybe now you are willing to believe that a good portion of our world’s political strife…
w҈҉҈҉e҈҉҈҉e҈҉҈҉k҈҉҈҉e҈҉҈҉n҈҉҈҉d҈҉҈҉ ҈҉҈҉l҈҉҈҉i҈҉҈҉n҈҉҈҉k҈҉҈҉s҈҉҈҉
The Putney Spoons Interviews: Malcom Kyeyune – Knowing Me, Knowing Kyeyune (Fisted by Foucault) There’s a scene in the old Jurassic Park movie that is pretty instructive… After the hacker Dennis Nedry basically knocks out the entire computer system necessary to run the park in order to disable the security and cameras so he can…
ẅ̷̷̢̟͇͈̒ę̷̵̧̖̫̗̆̊ę̷̵̧̖̫̗̆̊k̶̸͙̭̹͆͟ę̷̵̧̖̫̗̆̊n̷̶̯͉̊̽̐ͦ͘d̸̡̩͍̔ͥ͜ ḻ̸͈ͧ͑̓̓̀͡i̵͓͙̱͚̎͟n̷̶̯͉̊̽̐ͦ͘k̶̸͙̭̹͆͟s̩͙͖̋͛͟
2#: Notes on the Desertification of Signs and Men (Some Private Diagonal) After America, Baudrillard often returns to this theme of banalisation. With his Stateside serenity having vanished, he frames the unstoppable advance of the desert of banality in increasingly bleak terms. He speaks often of loss – of the Westerner having ‘lost his alterity’, or sometimes ‘his…
N E I G H B O R S
Cross-posted at Medium ‘Neighbors,’ a 1981 film starring John Belushi and Dan Aykroyd, has been lost to cinematic obscurity, which is sad because the movie is a masterpiece that ruthlessly deploys discomfort and tension as comedic tools. Recently I watched it again and came away impressed with how the movie has aged. It may be funnier than…
WEEKEND LINKS
A GUIDE to IANNIS XENAKIS’S MUSIC: “When you hear Xenakis’s music – any piece of what we recognise as his mature work, starting with 1954’s Metastasis, onwards – you’re confronted with an aesthetic that seems unprecedented according to any of the frames of reference that musical works usually relate to. You won’t hear vestiges of things…
SEXY BEAST: A Love Story
A blogger asks: “Does Sexy Beast contain cinema’s best description of love?” “‘Don’t be fooled by the genre trappings, this film is about how love can steer you away from harm.” https://t.co/eICzZ4x6yx — тцпдяапацт (@tundranaut) May 13, 2020 SOURCE: Little White Lies
Where Am I, and How Can I Leave?
FIRE WALK WITH ME, deleted scenes
“There is a voltage to the storytelling sending pictures that you can’t help feeling. It hits you hard. It’s like a gigantic system. It magnetises your consciousness and reception into a special pattern. It is floating and shining as though we have been drawn into a constellation that’s all tangled and detonating, warping like a psychological depth charge.”
Richard Marshall on TWIN PEAKS: The show’s piloting consciousness steers bright dark religious-type negotiations into hell. Formerly embraced and humanized archaic forces plus energies of indistinct feeling converse in simple, profound terms. They are struggling with elemental, chaotic images that are continually becoming more primitive. It has become a place of demons. All we register…
“Existence…is the ultimate pathological state.”
“A dark pit has opened in the floor of the living room, and she can see the appetite for cruelty and murder that underpins the foundations of her domestic life.” https://t.co/o5BXxKAWo8 — ᵗ ᵘ ⁿ ᵈ ʳ ᵃ ⁿ ᵃ ᵘ ᵗ (@tundranaut) May 8, 2019
Trap Worlds
Maybe the best fan theory/analysis of TWIN PEAKS to surface yet. The analysis involves a “trap world.”