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Film

Dr. Horrible’s Sing-Along Blog

It’s the perfect story, so they say.

It’s tough taking over the world, but it’s especially tough taking over the world whilst your arch nemesis shares a love interest with you, as Dr. Horrible finds out in Joss Whedon’s short musical “Dr. Horrible’s Sing-Along Blog” a star filled story filmed during the 2008 writers strike.

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Late night with Hemingway and Silver Lining Playbook P.1

5 AM and secretly engrossed in A Farewell To Arms, I was past the midnight flirting with the book and now was gripped by restless vigour to finish. The journalistic style of the novel set my heart into rating the book 3/5, the story was beautiful, but I was emotionally detached from any of the events that occurred…until the last page.

After reaching the fateful conclusion, I felt cheated, cheated of a certain happiness that comes from the timely ending of the book, had I not read the last page and instead closed the book a page before, I would have smiled and assumed all was well, the fairytale complete.

Naturally I sought comfort from a friend, as i voiced my displeasure in tired upset tones, he comforted me with a scene from the film “The Silver Lining Playbook” a film I’d heard nothing about, yet the scene shown to me, of the main character throwing Hemingway’s novel out of the window in frustration at 4 in the morning, fell in line perfectly with how I felt, so today, the morning after, I sought to watch the whole film.

12 Years a slave

Walking out of the cinema after watching 12 years a slave is an almost absurd experience, in my case the festivities of Carnival in Freiburg disagreed so strongly with the incomprehensibility I was left with, a small void so hard to explain but so characteristic of incredible storytelling.

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Nymphomanaic vol.1 not shocked, moved.

This film is not about sex.

Sex is not the focus of this film, sex is the glue that holds the story together, and tears it apart.

Volume 1 of nymphomaniac evoked a wealth of emotional responses throughout it’s showing, what it did not do, was force these emotions  or play a front to justify it’s content and the audience’s responses. nymphomaniac is not a shocking film, It’s scenes are at times stark and bare, but for all it’s lofty artistic style nymphomaniac sticks anchored to earth, gazing at the sunset.

This is no ‘Wir Kinder vom Bahnhof Zoo’ our character is not falling into the depths of a lifestyle or an addiction, nor is she trying to shock with gritty realism and most importantly she is not defending herself to the audience as she speaks, we are experiencing a cinematic narrative so close to genuine experience that we are entranced, we laughed and we groaned at her stories even if our experiences deemed them alien.

To this extent the shooting and direction confuses our sense of judgement, joe places sex as the subject and world by which her world operates, she describes in detail the meticulous narcassistic purpose of having multiple partners, of her sex oriented lifestyle. But when the sex scenes occur, the camera hovers, it doesn’t explore, the dynamic cutting invades, the pleasure is the purpose but the act gives nothing, it is less than an event, it simply happens, it cuts at our emotional connection to sex, even if that’s merely pleasure for us in the audience and for joe, it passes too quickly, it may have been orgasmic, but she is still not satisfied and this sense of normalisation seeps into the audience until the tragic “I CAN”T FEEL ANYTHING”  that closes the curtain for volume 1.

I await viewing volume two of Nymphomaniac, for me volume one did not have me squirming in my seat from explicit scenes, but instead, from such a deeply human tale, woven from nonchalant narrative that strangely brings you deeper into the characters.

I’m not sure about my emotional response to the film and I have my reservations about the second part, but after a few discussions, i’m glad the film is divided into two volumes.

“Perhaps the only difference between me and other people is that I’ve always demanded more from the sunset,”

TAG

City Lights and Shame: What scene has captured you?

Steve McQeen’s Shame:

Golden hair, golden dress, golden earrings, Carey Mulligan breathes in. New York is still, for a brief moment there is not a sound, soft city lights precede a soft voice as Sissy begins her rendition of “New York, New York” The camera settles close to her face, we begin to experience not a rendition, but a deeply personal and moving dream, so inviting is the city, sparkling jewellery and red lips, yet her eyes look elsewhere unable to meet the camera’s gaze.

Continue reading “City Lights and Shame: What scene has captured you?”

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