(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 »
I’m also reminded of the time I was once invited to play fantasy football. It was with some friends, including Kevin Ketchum and Bryan King, and someone had tweeted that it was going to be “film critics vs film fans”. In my naiveté, I thought that suggested that we would be picking actual film critics and film people to play football against one another. I was imagining Richard Roeper and Peter Travers being pummeled and thinking it would be “warm and likeable” to experience. Signing up to begin playing was kind of how I imagine the shoot for The Revenant to be, if I am to believe the press tour. Arduous, stressful, dirty, and bloody. (I gave myself a papercut.) But, in the spirit of making fantasy picks for things that are as foreign to me as heterosexuality, and also an awards show I just suffered through, here are my ideal picks for awards things. Read the rest of this entry »
“You can’t really what it is to want things until you’re at least thirty. And then with each passing year, it gets bigger, because the want is more and the possibility is less. Like how each passing year of your life seems faster because it’s a smaller portion of your total life. Like that, but in reverse. Everything becomes pure want.”
Looking in no particular direction, Brooke (Greta Gerwig) says this to Tracy (Lola Kirke) as her life is falling apart. “Everything is pure want.” Maybe that desire, inexplicable and ineffable and uncontrollable, is the biggest running theme in my list, and to get personal, my life. In the films featured on this list and in my personal life, there’s the want for intimacy, to be validated, to be wanted, to be seen and heard, to find stability, to be human, to ache, to feel pleasure, to transcend or eschew convention. It’s full of flaws, complexities, and nuances. And it’s not that those wants or desired be fulfilled that matters: it’s the articulation that might matter more. It’s not only cinematic, it’s human.
To say that Looking takes pride in the quotidian, as it were, is at once a limiting and apt and expansive way to understand the show. Yes, part of Looking’s charm is its “dullness”, as if the queers who liked Queer as Folk are nor just tired as fuck and are ready to settle down for a nice quiet dramedy, but that day to day appreciation of the little moments informs its aesthetic as much as anything. Because what you get in Looking is not merely economical shot/reverse shot compositions and sequences, but the camera hovering and lingering on this group of men. Because, similarly to another comparably cinematic show Mad Men, Looking, its second season now available on Digital HD, is about silences, it’s about touches, and it is, as its title suggests, about gazes. Read the rest of this entry »