(Author’s Note: This was original published on Fandor on February 14th, 2016, but they’ve deleted their archives.)
Is there anything more romantic than watching the face of your date as the image of Rosamund Pike slitting Neil Patrick Harris’s throat is projected up on the big screen—on your first outing, no less? Now that’s an ice breaker. My date was seated to my right as I scribbled down notes for the first fifteen minutes, unaware of the context of our meeting until a good fifteen minutes into the film. The ambiguity with which our outing was initially imbued may or may not speak to a larger idea of the cultural shifts in courting, but to watch Gone Girl on a first date is really, contrary to public perception, a romantic thing. The jittery ebullience of the evening doesn’t really change, since the context is the same, and though we didn’t go out again, not because of the film (our post screening discussion was lively and impassioned), there’s a hurdle one overcomes when watching Gone Girl—or even other works like Antichrist, Scenes from a Marriage, etc.—it’s a weird, inexplicable sense of intimacy and understanding one has when watching a film like this, let’s call them Anti-Romantic films. Read the rest of this entry »
This was an exhausting year, about which, I do not have any interesting or insightful thoughts, at least that pertain to anything other than my personal life. But I did go to the movies, so there’s that. Here’s to the cinema that made it somewhat bearable. Read the rest of this entry »
At the heart of Steven Spielberg’s sci-fi epic Close Encounters of the Third Kind (which opens in theaters for its 40th anniversary September 1st) and Todd Haynes’ (whose new film, Wonderstruck, will play at NYFF) masterpiece [Safe] is the all-consuming desire to feel comfort and belonging when the world you live in offers no such pleasure. Though different in form and approach, Spielberg, whose unapologetic sentimentality is a hallmark of his work, and Haynes, who makes heady, intellectually rigorous movies that more often than not comment on sentimentality than are necessarily culpable of it, find a common feeling that infects both of their lead characters: displacement and — no pun intended — alienation. Read the rest of this entry »
“What sort of resources did you have in terms of resource for research, or did it all just come during rehearsals?” an audience member asked an actor during a NT Platform panel regarding a six hour long play, reports GayTimes UK.
The actor responded, per GayTimes’ reportage:
“The preparation had begun before (rehearsals began) with a lot of my friends. (The play is) As much devoted to my friends in the gay community as it is those that passed during the epidemic.”
[He] later revealed that a certain drag superstar’s show has helped him find his character: “I mean every single series of RuPaul’s Drag Race. I mean every series.
“My only time off during rehearsals – every Sunday I would have eight friends over and we would just watch Ru. This is my life outside of this play. I am a gay man right now just without the physical act – that’s all.”
The play was Tony Kushner’s Angels in America: A Gay Fantasia on National Themes. The actor was Andrew Garfield. His role as Prior Walter leaves him with the difficult work of playing a gay man living with AIDS and a prophet, whose message to humanity is overwhelming.
This isn’t really a story, more of a quick anecdote about his acting process. But a story was picked up nonetheless, with places like Attitude and Out Magazine decrying the actor’s comments as insensitive, specifically regarding the “I am a gay man right now, just without the physical act” bit. Read the rest of this entry »
A ball bearing drops onto its track, the little sphere rolling smoothly held between metal wires, its path never too crooked, never uneven, never too wide or narrow. Marbles need support, but otherwise, they seem like little else but totems used to set things off in motion, as the grander design of the path reveals the intricate workings of something like a Rube Goldberg Machine. For me, it was a letter, or an invoice, rather, that arrived a year after my father’s death and a few weeks after my first semester in college, on Christmas Eve. Seated in the living room, before the enormous television that acted as the only string that could keep my mother, my sister, and me together in any semblance. The string between the three of us had been taut since his death – a combination of emotional abuse, physical abuse, pathological lying, betrayal, and manipulation had been the things to cause the relationships to unravel without control. I avoided leaving my room whenever I was home, lest any threads deteriorate beyond fixing. But, as always, returning home sent me into a fury and depression. My skin crawled when I knew I had to be at home. My mother and I were rarely not at each other’s throats, a simple question to either of us (“What do you want for dinner?”) enough to send us down a spiraling, dizzying path to a shouting match. This letter was the catalyst, the climax taking place the next morning when my sister placed her hands around my throat and, in an effort to get her off of me, I smashed a coffee cup on her head. Merry Christmas to us.
Being in the midst of an argument with a loved one, a family member especially, is like seeing red. Everything disappears – your sense of space, time, the language you use. They’re either volcanic eruptions, building up, or when a flame touches the sulfur tip of a match: an overwhelming burst, a spectacle.
If Xavier Dolan knows anything, he knows that he likes spectacle. His most recent film, It’s Only the End of the World, returns to family dysfunction on a slightly larger scale; where his previous films concerned two or three characters at most, giving the works a focus and a balance, his newest jumps around between the four family members of Louis, a gay prodigal son returning home after a 12 year absence, with the intent of telling his family that he is dying. He is the ball bearing, the marble, and domino, and yet he is not unaffected by the events that follow his homecoming. He must contend with his younger sister, Suzanne (Lea Seydoux), who always wished to know him; his smothering mother Martine (Nathalie Baye); his petty and volatile older brother Antoine (Vincent Cassel); and Antoine’s perceptive and compassionate wife, Catherine (Marion Cotillard). Before long, madness ensues. Read the rest of this entry »