Only God Forgives ————– Extreme & Total Sexism
irresistible
Only God Forgives, as A.D. Jameson’s excellent 25-Point Post claims, is a great pleasure to watch and to think and talk about. And in this post (which owes much to A.D’s) I want to talk a bit about how the movie deals and centers in Xenophobia, Racism and, by far most interestingly and vitally, Sexism.
The movie’s extreme Xenophobia and Racism are quite obvious and need little explanation outside of how they reinforce the more interesting and varied Sexism that controls and overwhelms this great movie.
The extreme Sexism that the movie traffics in and wields about quite beautifully and, to some extent, flagrantly, is, indeed, something of a complicated beast. And looking at a large slice of the female side of the coin of this movie one might believe that women are its soul, its dream, its ghostly pleasure-force and feel reassured that such captivating and transfiguring elements are able to maintain a kind of independent and alternative sort of power.
But, this would be wrong, READ MORE >
25 Points: Cloud Atlas (RK)
visual aid – © Rauan Klassnik, 2013 (all rights reserved!)
*****
[ I’m sorry, everyone, that it’s taken me this long to join the Cloud Atlas conversation. And I’m talking the movie Cloud Atlas which made a tremendously profound impression on me–so profound, in fact, that just the mention of the words “Cloud Atlas” (by tongue or in print), causes, usually, something in my brain to short circuit. And I start to sweat, and to drool, and, within a second or two, pass out on the spot. But this morning I have, miraculously, been able to overcome the beast of those two simple words, “Cloud Atlas,” and, laboring in a kind of inspired, biblical and epic fervor/trance, have organized my thoughts into a complex, intricate and classical analysis of the movie, Cloud Atlas. ]
*****
1. Boring. READ MORE >
Pina (Bausch) The Movie — Cults and Transcendence (??) — Selling Out (??)
*******
Pina, the movie, Wim Wenders’ movie, about Pina Bausch, the German dancer and choreographer, is a beautiful and strange thing about which much has been said– and I’m going, here, to put my 2 cents into the conversation regarding the inhumanity of the “characters” in the performances; the heavily-emphasized “cult” aspect of Pina and her dancer/followers; and, lastly, the fact that the movie, for all its strangeness, all its ability to jar, alienate and electrify seems to be a tamer and lesser version of what it could have been.
(It’s worth noting, also, that Pina died, unexpectedly, two days before production was set to have begun). READ MORE >