I made a sweatshirt instead and made it so that if I said something…there’s actually a scene where I talk about Greenhill, and not that I shit on it. But I think what I wanted to say was that going to your second home, it’s kind of the most selfish time of your life. Picture 9/10. The myth of Joan Crawford’s life and career is inseparable from what she did on screen. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. I’m betting that Greenhill didn’t lend you the mascot? As Robbe-Grillet describes in his introduction to the published screenplay, Last Year at Marienbad is “an attempt to construct a purely mental space and time—those of dreams, perhaps, or of memory, those of any effective life—without excessive insistence on the traditional relations of cause and effect, nor on an absolute time sequence in narrative.” Last Year at Marienbad was filmed, as it were, in the conditional mood, exploiting a narrative tense that hashes together future and past. There’s an unspoken sense that Sarah’s arising revulsion with her son may be rooted in how he reminds her of his father, and there’s a particularly moving scene where we see Sarah’s disgust with Chris as he eats spaghetti, which Cronin frames in a cruelly unflattering close-up. Evil Eye has no set pieces, jokes, or surprises. [eyes light up] I am obsessed! The main characters are The Man, The Woman and The second Man played by Giorgio Albertazzi, Delphine Seyrig and Sacha Pitoeff. From this rich mix of mystery, Resnais weaves a tapestry of chilling beauty. She was 18 years into the process of navigating the system, whereas Aloné was in the very beginning stages of that. In our times certainty is either a pose or an indication of ignorance. Writer-director-star Cooper Raiff’s Shithouse, with its evident mumblecore influences (Jay Duplass even has a cameo), its soundtrack of morose acoustic string-plucking, and its probing of an adrift young white man’s soul, seems to have arrived in 2020 from an earlier era. To illustrate precisely what he wanted, Resnais reportedly screened G.W. In either case, the primary instigator is Danvers, who despite being theoretically in charge of the estate appears to spend most of her time lurking in corners waiting for Mrs. de Winter to make another mistake. But if the film can at times suggest a West Coast-set Garden State, it’s a more emotionally mature, less grandiose examination of young people and their incipient strategies of coping with love and death than Zach Braff’s quirk fest. Surrounded by side-splittingly listless chorus girls, also in half-ass blackface, and a bunch of adoring chorus boys who I hope were well-paid, Crawford goes through with this insanity as she did everything else, with completely oblivious chutzpah. Our senses become confused as well as our ability to determine time and place. So good! Crawford’s films are filled with funny contrasts and incongruities, and Sadie McKee is no exception: Even when Sadie is so down and out that she can’t afford a decent meal, she wears a stylish black suit with fur cuffs, and when she gets angry, Crawford drops her piss-elegant, strained diction and suddenly sounds like a tough broad trying to run a laundry. For it is in Last Year at Marienbad where audiences are offered countless paths to follow, choosing the version of the story they appreciate most. As a matter of fact, "X" insists that they have met the year before at the Czech spa-town of Marienbad; however, the perplexed woman has no recollection of their covert romantic encounter. Fisk currently writes for the now online-only Independent. Ben Wheatley’s Rebecca is effective at channeling elemental fears into a glossy package, but less so at crafting characters that are more than the sum of their archetypal parts. A film as essentially kind-spirited as its protagonist, Shithouse builds toward Alex’s realization that his approach to college needs correcting by dedicating its second half to his discovery that the people around him whom he’s dismissed are, in fact, real people. With today's release of Tom Petty's Wildflowers & All the Rest (Deluxe Edition), we're revisiting Petty's 20 best songs. Parents Guide. He travels with Amira Haas, an Israeli journalist he admires, to survey the West Bank areas sundered by Israel’s separation wall and to visit what Fink terms Israeli “colonies.” Inevitably, the reporter has been denounced as an anti-Semite, notably by Alan Dershowitz in a 2001 audio debate excerpted in the film. Rumors that she made a few stag films before 1925 have never been verified, but sex was clearly the weapon that Crawford used to pull herself out of the gutter she came from. Jeremiah Kipp, In 1922, Wilfred James (Thomas Jane) initially scans as a broadly brutish characterization given by an actor looking to disrupt his handsomely aloof image, following a cinematic tradition of expressively filthy, monosyllabic and flamboyantly antisocial characters such as Daniel Plainview and Karl Childers. Everyone leaves home, because not everyone goes to college, but never would I think about someone connecting to the very specific private school to college [journey] and just how special that small school makes you feel. Christopher Smith’s 14th-century period piece exudes an oppressive sense of physical, spiritual, and atmospheric weight, with grimy doom hanging in the air like the fog enshrouding its dense forests. King's 'Indianola Mississippi Seeds' Retooled R&B, Bad Wires Release a Monster of a Debut with 'Politics of Attraction', Matt Berninger Takes the Mic Solo on 'Serpentine Prison', 'Avatar: The Last Airbender' Nudges Out Conscience in Our Time of Crises, LA Rockers Swerve Make a Dark, Romantic "Escape" (premiere), Rachel Brooke Has "The Lovells Stockade Blues" (premiere), Low Cut Connie Share Their 'Private Lives', 'Alaska' Was Where Between the Buried and Me Clicked, RUI HO Creates Ecstatic Electropop on 'Lov3 & L1ght'. The two things that give this documentary its power and provocativeness are intellectual rather than dramatic: Fisk’s work, and his ideas. The film is at its best when it’s most subjective, putting you into Louise’s mindset, and at its worst when it slows its pace down to a crawl in back-and-forth dialogue scenes. Emptiness more or less sums up Honest Thief’s entire aesthetic. He admits to speaking only “a bit” of Arabic. As Recife’s idle rich flaunt their privilege as lowly laborers circle them like sharks, conflict seems a guarantee. Its impenetrable storylines take shape like most of its dialogue, bearing the enigmatic sparseness of poetic stanzas or ancient spells. Crawford saw that mental illness shows itself above all in the eyes, in the way they seem to stare inward instead of out at the world, and she replicates this quite strikingly. I think the references of the last year spent in that place was to foreshadow a traumatizing event, betrayal, or even guilt of some sort that took place sometime ago which is actually briefly hinted for in a scene of a play that was acted out at Marienbad where we see sequence of flashbacks that had to do with a sexual abuse incident. Escher had been given a camera and had run amok with it. Bowen, 28 Weeks Later rolls in like a poisonous dust cloud of nihilism. This last comparison is also apt in terms of aesthetics, as Helander and cinematographer Mika Orasmaa’s widescreen compositions capture a sense of unsettling scale and unseen terror as well as, in domestic sequences, a warmth and intimacy that helps compensate for somewhat sketchy characters. To get the maximum effect, be sure to watch this one at night; just don’t watch it alone. It strikes a delicate aesthetic balance between hysteria and control, most evident in an unforgettable scene in which Susie (Dakota Johnson) dances for Madame Blanc (Swinton), much to the bone-breaking detriment of the Markos Dance Academy’s former star. Pabst’s Brooks-starring Pandora’s Box for his cast and crew. Check the wallpaper behind Gigi (Bella Heathcote) after she barfs up an eyeball; it’s covered in swastikas. Budd Wilkins, From a script by Psycho novelist Robert Bloch, Strait-Jacket stars Crawford as an ax-murderer returning home to her now grown daughter. Elan and Rajeev Dassani’s Evil Eye has no set pieces, jokes, or surprises. Here, the filmmaker utilizes his command of medium for more individualized purposes. Figure out your shit, make your bed, take responsibility for your actions in a way that you’re moving or not moving. Much like Philip Kaufman’s remake of Invasion of the Body Snatchers, there’s an understanding for what it means to be human—and the magic that is lost when that humanity is stripped away. Visual Artist and Graphic Designer. In everything from the title of your works to the images contained within them, you maintain such a focus on redefining the way we think about giant structures and institutions in our lives. His story concerns a gang of thugs, torturers, and killers led by Ulric (Sean Bean), a devout soldier commissioned by the church to visit the lone, remote town in the land not afflicted by a fatal pestilence, where it’s suspected a necromancer is raising the dead. One thing I noticed is that he is always following our protagonist around, not only in the sense of him putting ideas in her head, never responding to her constant begging to be left alone, but he was literally always one step behind her when moving, he is never walking beside her, he is always crawling behind until the very last scene, when he succeeds in making her “go away with him” and leaving her conveniently barely even around , unaware of her struggle loved one behind, who, strangely enough, never seem to notice that she spends most of her time with Albertazzi. Yeah, I mean, I still don’t really know what the thesis of college is, but I know the arguments. Gonzalez, Peter Strickland’s films are fetish objects that rue the perils of fetishism. Callahan, Distinguishing Michael Curtiz’s Mildred Pierce from many noirs is its disarmingly and modernly casual sense of the reliable humiliation of life as a woman in a man’s world, particularly a woman determined to carve out her own niche in the work sector. I just wanted to get across that there’s gonna probably be some like’s and um’s in this one this big line. I’m young and don’t know anything, so I’m not good at not doing the scrappy, singular thing. It was a real testament to her to her trust. But Last Year at Marienbad’s reputation has preceded it. And Shithouse is very comfortable with not being seen by a lot of people, it just comes across that way. A rushed and cartoonish final act, though, involving cops colluding in the uncontrolled detonation of parts of suburban Boston puts rest to such reveries. There were certainly questions in the edit around how literal we wanted it to be, how much we felt the film needed to explain the minutiae of the crime, the trial, the legal system, the sentencing. If reviewing Last Year at Marienbad has any solace for the critic it is this; the reviewer doesn’t have to worry about spoilers. By contrast, Evil Eye is a feast of timidly undeveloped raw material. But you’re right, ultimately, there’s always going to be for me a conversation between the two.