You don't want to know.
Only watched part one of this, unlikely to continue. I can no longer deal with the liberal premise that the natural state of man is harmony and that racism, solipsism, or "power" are somehow invasive, artificial constructs. I am weary to death of the kind of deconstructionist discourse Curtis offers, his aesthetic stagnation (basically self parody at this point) not helping matters. If you are going to attempt to give me a cynical history of the 20th century, be…
As made clear in his mammoth directors' cuts, Snyder is as painterly in rhythm as he is in frame, though I think the aspect ratio stretch fucked with his stuff 3 years ago almost as hard as he-shall-not-be-named. I'm so struck by so many of the cuts in this, particularly Cyborg's premonition. Much more gruesome, reestablishing the deliciously brooding tone of BVS. One of my favorite parts in the original, the Cyborg line something like "I've got a language I…
This is from an assignment from my Art Philosophy class, hence why I mostly talk about the opening shot. I got an A.
I often argue for the importance of context in art, and this is one of the ultimate uses of it in film. The opening shot of Michael Haneke’s brilliant film Caché is at first mundane, then terrifying as it recurs throughout the film. It didn’t need to be artfully framed to serve its purpose perfectly and at…