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  • Martin Eden

    Martin Eden

    "Culture and emancipation have nothing to do with each other!"

    Art can never lead to one's radicalization on its own, just take a look on Obama and Musk loving Parasite. What it does is on an emotional level, which you may use to do the actual work or not. Martin is the figure of the artist who can never let go of the supposed magic of his medium and his supposed power as its creator. The result is a journey into resentment, as any long term acceptance of individualism will result to.

  • The Vampires of Poverty

    The Vampires of Poverty

    Film as imperialism. Sets up a dichotomy between the "sold truth" scenes of close-ups and color and the "real truth" of more distant, black and white shots that cut before showing any pain, only to expose that there's no way to difer between them. Form can never achieve truth, it's just manipulation.

    "All the gringos come here to exploit us. They only print books and pictures but never help us"

    " - But you don't even know what kind of film we're making.
    - Of course I do: It's a documentary to to sell to a foreign country."

    Alguém mostra esse filme pra Petra Costa, urgente.

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  • Look Who's Back

    Look Who's Back

    Wasn't sold on this until the last 20 minutes. It avoids being just a "wacky nazi" comedy from 2005-ish, and reaffirms its intent as big critique of neoliberal politics.

    There's a lot of decisions that only really work if you have the context of what German culture is (or in my case, someone to explain it to you), such as the decision of "wacky Hitler" humour being used because it's so shocking for them. But even without that context, you…

  • Some Kind of Connection

    Some Kind of Connection

    Captures really well the loss of perception of time in quarentine. What is even time anymore? Also just impressed at managing to complete work during these times, let alone one as good as this one.