The world-spirit embodied in an individual simply means you can tell the story of one segment of world history from that individual's eyes. In this sense, Napoleon is not the cause of all change, it is in fact quite the opposite; as his internal unselfconsciousness about the geopolitical universe attests ("they all support me, is it really because I am loved or is it because I have fulfilled the exigency of the satisfaction of the capitalist class in one country…
To me, this is truly astonishing. As with Travis Bickle in TAXI DRIVER, we can say assuredly that Rupert Pupkin's fate and therefore function as character (motive force of narrative) is the fulfillment and realization of fantasy. This is how Scorsese likes to confront the oft-denigrated category of wish-fulfillment, from the inside so to speak, as the object of fantasy becomes directly here, in its objectivity, and this phenomenon by itself is sufficient to crumble the mastery over the wish,…
Maci, a hired escort: It's kinda weird having cameras around, right?
Nathan Fielder: We could turn them off if you want.
M: laughs Could we?
NF: Do you want to?
M: Does that defeat the purpose?
NF: What's the purpose?
M: You're filming something. It's kinda the purpose, right?
NF: We do have this drone. It'd be cool to get a drone shot, maybe.
Nathan Fielder's just fucking brilliant TV show has always been built around the similitudes between…
There are a few things you will see many crime thrillers have in common. Among them are the ominous aerial shots, night-vision photography, and scenes operating with only a single limited light source. Denis Villeneuve no doubt uses all three of these, but it is the subtle impressionist inflections he adds to them which sets this film far apart. I am going to focus on his aerial shots for two reasons: One, they especially stand out for their exceptional ability…