natsumi hayashi's "daily levitations"

a twenty-first century version of melvin sokolsky's fly girls. jumping never looked so out-of-this-world.

for your daily levitation, see yowayowacamera.com.

original hipster: emile cohl and stop motion magic

learn the history and see the magic.


I love stop motion from chloe fleury on Vimeo.

Emile Cohl's FANTASMAGORIE, 1908

hanna: i still love joe wright

i saw JOE WRIGHT's HANNA a while ago and couldn't place it. it's a story that's been told somewhere before, so when walking out of the theatre after watching my favorite director's latest work, my first thought wasn't awe. it wasn't disappointment. i knew i needed to sleep on it.

HANNA tells the tale of a girl (SAOIRSE RONAN) that's some sort of government project. she has undergone rigorous training by her father (ERIC BANA), and is sent on a mission to kill a woman (CLAIRE DAINES). she learns a bit about herself along the way.

she runs. she sleeps. she kills. images containing a decaying amusement park and an awesome score by the chemical brothers sometimes suggest the perversity of an adolescent female made to murder. but i think that's all, folks, which begs me to ask: is telling an oh-too-familiar story in a well-directed way worth the $8 - $15?

even so: interesting characters. beautiful cinematography. great acting. good pacing. perfect for a friday night at home, but can't wait for what's next for mr. wright.

may 7, 2011

i'm not afraid of anything.

last night: sex, love, and a frenchman

MASSY TADJEDIN's LAST NIGHT boasts one of the most attractive casts i've ever seen in a film. and what do attractive people do? sleep with each other.

writer/director tadjedin, however, doesn't make it a movie about sex, but a story of a married couple (KIERA KNIGHTLEY and SAM WORTHINGTON) confused about their faith in one another when confronted with temptation (french GUILLAUME CANET and EVA MENDES). after a fight, a business trip divides the main couple between philadelphia and their home in new york, and it is during this one night apart that they are separately confronted with a sexual/romantic itch. the film's scheme keeps its audience guessing how its characters will react to their given circumstances of emotion, desire, intoxication, and doubt throughout the night. all four have backstories, but a viewer must ask themselves what they want of the other: is it sex, or is it love? how do they express it? to this plot, marriage is an unmistakeable roadblock for its players in their exploits outside, and one that elevates the plot to honest drama.

it is full of awkward moments that add to immediacy of its viewing experience, and feels more like a stage play than anything that has been on screen for a while. the story and its tellers don't try convince their audience of a specific viewpoint of love and marriage, but try to figure it out, making this film a genuine gem in a genre generally jaded to the male or female sex. beautifully shot, well acted (i think something's clicked for knightley), and skillfully directed, LAST NIGHT will read you as well as you read it.

blue star

you know what i mean

certified copy: let's talk about art

the first hour and a half of director ABBAS KIAROSTAMI's COPIE CONFORME (CERTIFIED COPY) offers a most profound discussion on art and marriage. it is, for the most part, a walk-and-talk; the audience follows two opinionated, intelligent, 40/50-something europeans through a small tuscan town as they talk about the nature, purpose, and viewing experience of a work of art and the nature, purpose, and experience of the lasting romantic human relationship otherwise known as marriage.

an obvious story begins as the two converse and middle-aged sparks fly, but after a beautiful exchange between JULIETTE BINOCHE and an old, wrinkled italian barista about the pangs and privileges of wifehood, things just get weird. binoche and her male counterpart, WILLIAM SHIMELL, start without announcement to behave as if they were a married couple and have been for a good while. they act strangely, silly, forcing the emotions of their 'characters' and failing to react accordingly, as the film's genuine first half suggests. where had the story gone? and where did this french absurdism spring from? was it important thematically, poetically, even structurally? what was this to communicate now about marriage, about art?

i rode the remainder of the movie out in anger, feeling as if we the audience had been cheated out of eight matinee dollars. part of what we as audience members pay for is the story that what was marketed to us (SEE TRAILER); part an enjoyable viewing experience, a dramatic foray into a world unknown; part an original worldview, a point-of-view that expresses truth about humanity and the madness that surrounds us.

perhaps mr. kiarostami has satisfied that last part, perhaps not. binoche and WILLIAM SHIMELL's characters speak at length about the insignificance of whether a piece of art is a copy, for the viewing experience remains the same. the 'copy' of binoche and shimell's fabricated relationship, on the other hand, was hard to observe. if CERTIFIED COPY's two recurring topics were art and marriage, he has to be comparing them. is he saying marriages cannot be faked with any success? is that some twisted critique of romantic drama? unfortunately, this argument stems more as a product of my frustration than it does from specific evidence or claims of the film, so i can hardly take anything in this paragraph seriously.

is this a movie i can recommend? for the first hour and a half, yes, it's a great experience. in its entirety, however, it seems at best to be certifiable confusion.

of gods and men: a story of faith for euro-loving hipsters everywhere

some french cistercian monks got more than they bargained for during a terrorist uprising in algeria a few years ago, inspiring this magnificent film to be made. OF GODS AND MEN explores the unique dramatic situation of this group of holy men that stood determined to live out their vocation as Catholic priests in a foreign country.

the film's beauty extends from these men coming to realize what faith is in the midst of death. while one might think a priest would have a solid grasp on the mysteries of what faces a man after death and their personal relationship to the divine, we are able to see doubt spread across their faces as terrorists intrude their monastery. it is a true drama here, seeing these men come to terms with their own priestly vows when their lives are threatened, and it seems here to be the honest conversion of saints or martyrs.

great characters. fantastic direction. so cannes. so euro. so beautiful and thought-provoking. absolutely powerful. for our hipster generation that rarely puts faith above itself, i think this is one to consider seeing.

original trailer

the universe continues to rain on natalie portman this year. thank her for producing something that looks like it could be awesome, or at least original.

'60s french magic

mark wahlberg is a firework

david o. russell makes a directing comeback with this more run-of-the-mill feature, something definitely worth watching for anyone that likes a good underdog tale. feel free to disagree, but apart from unzipping in 1997's BOOGIE NIGHTS, marky mark can be a pretty boring actor. he stars as micky ward, a boxer that supports the unfortunate family that manages him.

the storyline follows the relationship of the family, highlighting the interesting, dramatic bond between brothers micky and dicky (christian bale in his best role yet--just try not to tear up in the film's last shot). pipedreams, greed for dollars, and fame tear the massachusetts townies apart. in the end we have the firework-inspired success story of a boxer whose main family members learn the value, strength, and importance of individual will power.

russell's THE FIGHTER is no plastic bag drifting through the wind. bale and melissa leo add the dynamite to a story that reflects the glistening, triumphant human spirit.

i wanna die with my chin up

all die young
when love is love and when you are young

snow for days and days

Big Troubles - Georgia from alexander iezzi on Vimeo.

AIRSTREAM DREAM

LONG BOAT PASS!

BOWIE!

i miss childhood

often are the time i yearn for a time machine.

dogtooth: bite on this

yorgos lanthimos' DOGTOOTH. it's messed up in all the right places.

here's the story: two parents keep three kids (now matured young adults) at home, teaching them to fear the world that exists beyond their yard's fence. when they happen to accidentally learn of outside words and ideas, their parents explain them away (for example, they are taught the word "pussy" to mean a large light, and a "zombie" is a yellow flower). one of the three children acts up throughout the film despite physical punishment. because she creates stress for the family, we as audience members have enough of a plot to follow.

lanthimos begs his audience to reflect on how parents raise children, specifically comparing these kids to the domestic pets many families own today. he tells his story through scenes with unnerving action, imposing frightening and bizarre images on the minds of anyone who chooses to see it. (the clip below provides a great idea of the film's tone; trust me, though, it's just the tip of the iceberg.)

this cannot be anyone's cup o' tea, nor can i give it a stellar recommendation, but by golly does it start a discussion.

the last day of our acquaintance

127 hours: tik tok

damn, it would suck to be literally stuck between a rock and a hard place, wasting away until time snatched your soul from your nubile body. that's where aron ralston (james franco) finds himself in 127 HOURS, deserted in the desert and left only to imagine escape, the past, and his own loneliness.

danny boyle mounts the director's chair to tell this true story, something that proves to be both a cinematic and riveting experience. for the most part, audience members live the character's experience (though not as suffocatingly-so as this year's BLACK SWAN), realizing his regrets, despair, much-needed humor, and most memorably, his pain. in living the accelerated 127 hours with mr. ralston, we can see boyle's argument against solitary livelihood when our time on earth can be/is so limited.

it's a fun one--heartfelt, too. kate mara forever.

original hipster: film distribution edition

the criterion collection is totally inspiratory of a contemporary subculture.

today is our life

looks like an indie darling

i'm interested to see the directoral debut of HOW I MET YOUR MOTHER's JOSH RADNOR in HAPPYTHANKYOUMOREPLEASE, although the title is an annoying mouthful. it feels very zach braff, right?



"my great shame as a writer is just that i'm this suburban kid with good parents... hardly dickensian." magical visionary... definitely not, but i'm staying tuned.

and i love and will always love kate mara.

waterbirds

such a good album, for real.

lord knows best

dream cop

i love you, jerri blank

a most fitting tribute.

baby, i could rule the world

"you think this is sexy?" "you're damned right i do."

having an inner monologue that talks back is a blessing and a curse. i'm a scorpio and having named my dueling personalities "sex" and "death" is something i was born into. i blame my parents. anger is liberating.

the super objective of the social network

here's what i admire most about the FINCHER / SORKIN SOCIAL NETWORK: i could not figure out character mark zuckerberg's super objective. i saw it again. i could not figure out character mark zuckerberg's super objective. at least not with definition...

high praise to DAVID FINCHER for crafting a visually intriguing story to the important textual melody of AARON SORKIN, who writes playful words and interesting characters into power battles that drive the electric current of what i consider the best film of 2010.

but what drives EISENBERG's zuckerberg? is it the girl (erica albright aka a perfect ROONEY MARA)? is it to make her feel mistaken for dumping him in the brilliant opening scene of the film? is it the desire to prove that his geek-dom reigns superior to privileged meathead jocks? is it to prove to everyone that despite his nerdiness and humble appearance, he can gain notoriety and be an important, sought-after figure? he's got angst, that's for sure.

i believe the answer to my above italicized question holds the key to understanding this movie, and i'm interested in seeing what other people have to say.

brian eno says

"A part of me has become immortal, out of my control."

i motion to believe this proof that brian eno is a vampire.

original hipster: sinead o'connor edition

1. swan song 4 U alternate cover album?
2. i hope natalie portman goes black swan shit crazy. v for voulez-vous chill. you'll never be sinead.
3. NOTHING COMPARES 2U

fever

in a perfect world...

b.d. wong would put out an entire album of tori amos' greatest hits. i'm thinking of sponsoring a chain letter.

blue valentine: thinkin' 'bout love in the 21st century

as opposed to my earlier post, DEREK CIANFRANCE's BLUE VALENTINE is a fine example of minimalist storytelling. we aren't presented with overwrought structure or unnecessary supporting characters, but simply the future, the past, the actors, and the camera. it leaves one trying to understand love and marriage through looking at the good, the bad, the kindling, and the ending.

in a day when the pre-marriage counseling is hardly taken seriously and love's feeling is more important than sacrifice and commitment, this is the tale of many love stories (though, yes, this is much more indie). here, love is not a spiritual thing.

CIANFRANCE seems to compare love's feeling to love's commitment and the selfless dedication that a marriage asks of both its members. he doesn't point out the important moments to us, though in the film's wake, we are left to study the characters and see what moments explain the disillusionment at hand. cindy (played by a terrific michelle williams) lives for feeling. dean (a well-studied ryan gosling) found his life's one true mate. her fairytale fades, his continues. what happens when a couple first loses that feeling of love? and what if one also loses the desire to keep the flame flickering?

the performances are top-notch, the filmmaking great. one complaint: too many close-up shots in the film's first hour make the audience feel unpoetically / inappropriately claustrophobic. not a good date movie, but a great one to see. oscar bait? i'm not sure, but this one sure lives up to its title.

melvin sokolsky's fly girls

mo' melvin, for harper's bazaar, 1963.

somewhere?

sophia's not my cup of tea, but i can't say i didn't enjoy watching it. with SOMEWHERE, her latest effort in directing, she not so much tells a story as captures a snapshot of a lifestyle and its implications.

many critics have compared this to european cinema, and this comparison makes sense. the film is quiet. the script is not full of words. the acting is generally genuine and not forced.

but if film directors are storytellers, one should expect them to tell a story. instead, miss coppola presents many prolonged snapshots from the perspective of an unassuming observer, seemingly expecting her audience to hyper-intellectualize the subject matter of her chosen moving images in order to reach a conclusion or formulate their own version of a storyline.

from my experience, good european cinema doesn't do that... so why the comparison? this is narrative minimalism to an extreme, and although it can be mildly entertaining to peek into the life of a fictional hollywood star and his lack of a family life, this seems to be less of storytelling and more of studying character in the form of a feature film.

saturday night slow jammin'

Desert Island Feeling by Mutual Benefit from Nathaniel Whitcomb on Vimeo.

holy costume party, batman!

nico and andy warhol as batman and robin for esquire, 1967.

melvin sokolsky's bubble girls

in 1963, melvin sokolsky snapped his famous "bubble" series depicting fashion models chillin' midair inside of a bubble.

the kids are all right: the film's just a'ight

there was one moment during this film when i felt like there was dramatically intriguing stuff. otherwise, THE KIDS ARE ALL RIGHT offers an interesting look at the levels of sacrifice necessary in a long-term "marriage," gay or not. the story's stituation is unique to lezzie partnerships, however, for breadwinner mom one (annette bening) and dykey mom two (julienne moore) bore children together thanks to one hippie sperm donor (mark ruffalo). the resulting children, now of age, search the hippie down, and his brief addition to the family catalyzes a long-comin', bedrock-shakin' fight between moms one and two.

for conservative theatre-goers, director LISA CHOLODENKO highlights what is probably one of biggest problems in a lesbian marriage: the need to feel sexually fulfilled by something only a man can provide. it's interesting to see that play out dramatically, though in the end i'm not sure it provides the argument it's necessarily going for in proving the absolute viability of gay marriage between women when compared to marriage between man and woman. what it does prove is that this group of people under the "momses," as one character describes, is a fully functioning, alternative family unit.

again: there's one moment that makes this movie absolutely worthwhile, but i can't in good mind spoil it. the filmmaking at that point is great. otherwise, the movie's pretty indie and the performances are generally good, though not oscar-worthy as many people are labelling it. this is simply the mainstream gay movie of the year.