Lars von Trier
The town of Dogville is filled with Trump voters. Not merely the aspect of their working class status, but their benevolent condescension to the one that doesn’t belong in the town. Their justification for abuse, for prejudice, for causing trauma, for turning a blind eye. Even the intellectual among them makes logical leaps to justify his actions, which seem all the more anti-intellectual. They are both beholden to a particular system of homemade bureaucracy as well as suspicious of it and anyone else that threatens their way of life. Read the rest of this entry »
As I said in another list, this year was slightly different, not only in that I wrote a heck of a lot more, but also in that I just saw more, at least as far as new releases went. My journey to making these lists was a fun one. Finals were already happening and I thought, oh, I have a couple of weeks to finish the seven or so lists I had to make, I have plenty of time. And then I realized I had just over a week. So I crammed in as many 2014 films as I could, and voila!
So, here it is, folks, my final, locked in list of my favorite 14 films that I saw in 2014 (I’m not worrying about US release date or anything, just counting what I saw.)
You can also find my ranked 2014 list on Letterboxd, my top 20 performances at Under the Radar, some capsules I contributed to Under the Radar’s best films of 2014, and to Sound on Sight (my individual ballot here), and my favorite musical moments in film from 2014. And, also, my superlative year in film. And also, my complete list of all the new releases I saw in 2014. Yes, I made a lot of lists this year.
Thanks for taking this cinematic journey with me! I hope 2015 to be as fruitful and fun! Have a safe and very Happy New Year, folks! Read the rest of this entry »
My writing really took off this year, for which I thank so many people (Justine Smith, Sam Fragoso, Austin Trunick, Scott Beggs, Jill Blake, Peter Knegt, et al.). I’m very excited for the year to come.
In the meantime, here are some things that I wrote that I didn’t hate. Read the rest of this entry »
As Anna (Morjana Alaoi) walks tepidly down the uncomfortably clean, chrome hallway, the overhead lights go on, one by one, revealing something akin to a claustrophobic passageway to Hell. There are pictures, blown up, on the wall. On them are bodies, gaunt, beaten, broken down, aesthetically comparable to Mengelian victims of experimentation. Up on the wall are “real life” martyrs, women and children who have submitted their bodies completely to pain. Their eyes are open, accepting not only every ounce of cruelty made upon them, but, seemingly on humankind in general. Read the rest of this entry »
Here are my new writerly offerings, because I am unemployed and I live a very exciting life.
Over at Movie Mezzanine, I wrote about one of the best scenes in film last year.
There were snickers in the audience when James Franco began warbling on screen, three balaclava-sporting young women surrounding him at the ivory piano. Such derisive, incredulous laughter is only justified if one hasn’t been investing their attention in what Harmony Korine’s madcap nightmare Spring Breakers has to say. When Britney Spears’s “Everytime” floods the speakers, it’s so gorgeous and alluring, the inherent sadness of the song subverted by playing it over horrific, dreamlike images of empowerment. It’s ironic and cynical and strangely powerful, and certainly one of the most captivating things about Korine’s hallucinatory treatise on youthful indulgence.
I tackled Lars von Trier and Rape Culture.
Lars von Trier wants to hold us accountable. His films sear and contain a rawness that’s rare in cinema. He shows a small town community protecting people who abuse a fugitive, sexually and emotionally, and a religious culture that allows its elders to be dispassionate towards a woman who expresses her sexuality in an unconventional fashion for the love of her husband, subsequently deeming it unworthy of being saved. His fictional congregations do not respect women. They do not abide by the idea that a woman owns her body. They allow men to get away with sexual assault and violence, allowing the women to be dehumanized. They perpetuate this dehumanization through subtle ways, feeling entitled to these women’s bodies. The seemingly meek female protagonists subject to this abuse, though, transcend the very culture that takes advantage of them, revealing its rotten core. The Danish auteur isn’t just being sadistic for his own sake; he confronts it. Lars von Trier is attacking Rape Culture.
I’ve started writing some review over at Under the Radar Magazine, first off with an AIDS drama…
As Pina Bausch once said, “Dance, dance, otherwise we are lost.” Set against the exponentially growing AIDS epidemic in San Francisco in 1985, Chris Mason Johnson settles his eye on the intimacy of dance, the irony of the body and its treatment in dance versus sex, and the gradual paranoia of the era in his film Test.
…and secondly with a cliched, but clever teen sex comedy.
The vague pleasures of Premature are intermittent and inconsistent and fairly conventional, and yet they are there. The story of a young man who gets stuck in a time loop that is only ever reset when he orgasms, the film will probably be tiresomely described as “Groundhog Day meets American Pie”, though this only slightly eclipses the latter for the sheer fact that it seems kind of sincere, despite its vulgarities.
And I’m really happy to announce I’ll be doing a bi-weekly column at SoundOnSight.org about music videos and film. I’m kicking it off with OK GO and a call to conversation.
Just over a week ago, OK GO premiered the video for their new single “The Writing’s on the Wall”. Appropriately, the Internet responded with the expected “oohs” and “ahhs”. But, of the dozen or so articles I checked out regarding the video, said articles were no longer than a couple hundred word blurbs that briefly mentioned that OK Go makes cool videos and this was another one of them. I would not call myself a music connoisseur by any means, but I do adore music and I adore music videos. I think we should talk about them with more respect. Let’s talk about their relationship to film, both formally and textually. Let’s talk about how film informed music video aesthetic and how, subsequently, music video informed film aesthetic. Let’s talk about how directors have jumped back and for between the medium and how that’s affected their overall style. Let’s talk about how music videos are just as interesting a short form cinematic medium as the short film, with a wealth of possibilities to experiment with narrative and style. So, I have this is statement: We Need to Talk About Music Videos and Their Relationship to Film.
Have a good week, folks!