Elvira Madigan.

As I thought it was beautiful, my currrent fear is that someone will give me bluntly the truth, stating that in their view it is utter crap, leaving me speechless.

So lynch should have reflected reality?

Fucking hell

I'm done

This was one of the best ideas I've ever had.

r.e. Lynch and people of colour: I enjoyed someone's joke that the reason there's no black people in Twin Peaks is that they've decided that they don't want to get involved in that crazy white man business.

Twin Peaks had as many black actors as Sonic Youth had in their music videos. Inb4 aCcEpTaBle MiNuTeS On ScReEn RaTiO QuOtA.

'Why don't I see any black people at my gigs?
Why don't black people like my music?
No blacks at my concerts, it really makes me sick
Do they hate me, or are they just a little bit too thick for my lyrics?
I love Kool Keith, you love Kool Keith
Everybody loves Kool Keith
"But the whole audience at the Baltimore gig was white kids," said Lawrence
Now, what do you think about that?
And how do you think Kool Keith feels?

[Chorus]
Please tell it like it is
Don't fuck around with words
When you fuck around with words
You make the situation worse
That's a bomb on the ground
Those are limbs flying through the air
These are bullets all around
That's cum in your hair

[Pre-Chorus]
Some loss of life must be expected
When you're going shooting
Some rapes, why not? Some amputations
And a bit of looting
In olden days, a glimpse of mangled face
Was something shocking
But now, when the news has war and love
Anything goes, keep going

[Chorus]
Please tell it like it is
Don't fuck around with words
When you fuck around with words
You make the situation worse
That's a bomb on the ground
Those are limbs flying through the air
These are bullets all around
That's blood in your hair
[Verse]
Why don't I see any black people at my gigs?
Why don't black people like my music?
No blacks at my concerts, it really makes me sick
Do they hate me, or are they just a little bit too thick for my lyrics?
I love Kool Keith, you love Kool Keith
Everybody loves Kool Keith, Kool Keith
But the whole audience at the Baltimore [?] was white kids
What do you think about that?
And how do you think Kool Keith feels?

[Outro]
I flick from film to film and then Columbo
I waited for my stone to lose its shape
I feel into a deep and chilling slumber
I woke up and continued with this tape
Time to myself, to get to know me better
To ask me how my week was and "How do I feel?"
Well, thank you, me, for asking, my week has been fantastic
I curled up on the sofa and lay down like a spastic'

videodrome x10000000000000000

i'd like shrek better if it wasn't so pushily meta. everything wink wink nod nod. it's like... who quotes or remembers stuff like the tiny toons? nobody, that's who. not sure if that's where that meta plague started in kids cartoons

the good shrek is the main shrek story of the ogre without all the hollywood bullshit "jokes"

lmao why am i so angry at this

but anyway lol hell yes videodrome

-

my take on lynch's absence of colored folks is that his childhood didn't feature many. he harks back to a kind of 50s americana and looks at the rot underneath. what does lynch know of the black experience or whatever? it would have been presumptuous of him to attempt it

whereas something like that cacky 90s show "friends" is otoh unforgivable in its bizarro world depiction of new york, given that it wasnt an auteur driven production. seinfeld also depicts a very insular world but it does not grate the same way for some reason

new york is actually more segregated than, say, washington dc

I remembered which movie this was:






in Spanish: El secreto de sus ojos
it's from Argentina


there's of course a US made remake, but watch the original. Wonderful movie
(even though I usually don't like movies in a language I don't understand)

no he visto esa película pero ya me diste curiosidad

yeah, it's worth a watch if you have the chance.
You may need to be in the right mood for it, you might find it a bit too melodramatic otherwise

They could reflect the society in which they are made.

Maybe it's a generational thing, but I feel like your frustration is a bit misplaced here - if I had to guess you're complaining about things that exist because of Shrek, rather than the things in Shrek themselves. There isn't really that much that's directly ripping something else, they saved that for the sequel. Of course, I may just be an idiot and not know the deal.

dreams are a part of any conscious beings reality (dogs dream. birds dream. sometimes fascists dream).

Dreams are reality. his dreams are supa white

oh, so, in the 90s at some point there was a kind of reboot of looney toons, called tiny toons

the thing is tiny toons was terrible because it went "too meta", whatever happened in it was basically about something else that you had to know about, wink wink, nod nod, postmodernism for the hoi polloi. but that dates too quickly and is not funny and it's not memorable, it just disappears. unlike, say, the original bugs from the 40s or whatever which in spite of changing mores keeps yielding juice even as (postmodern) meme

shrek, the story of it, is cool. but in my recollection (it's been ages) it suffers from the same postmodern disease that spoils the details a bit, too much hollywood navel gazing and insider jokes. or maybe that was shrek 2 when it went to shit? i can't remember, i stopped watching, it became a tired refry in my head. which is a pity, because shrek and donkey were cool

this is not a rant against metafictions or postmodernism btw, only against the tired irrelevant versions of it

well he was supa white indeed, that was very much his upbringing

just like birds have bird dreams i assume

but his art was good because he was loyal to his dreams

when an artist tries to change their dreams to fit into market forces or ideological programs or funding requirements or studio executive demands, that's when their art sucks

Nah, that's something a director like Spike Lee enjoys portraying. There's also no gay characters in his movies, but never mind that possible virtue signal. Maybe his casting directors were the same people responsible for Sonic Youth's and subsequent members' music videos which I should point out are whiter than the Grand Wizards' robe. But Rob likes them, so they get a pass, a special white privilege pass no less. Thinking about it I distinctly remember non-white actors in Inland Empire and Twin Peaks which should naturally render any argument moot, unless the non-white to white ratio does not reach the magic diversity target enough to quell the social justice outrage, at which point I will duck out because this kind or pedantic moral panic bores my tits off.

Precisely.

I don't care about the morality of it, I just think it's weird to only cast white people when about 40% of the population isn't white. So it's obviously a decision he made.

I’m mostly in agreement with you on this, but I don’t necessarily think it was a deliberate choice Lynch made. Don’t ask me why I feel that way, but it’s just the impression I get. Perhaps it’s more of a generational thing than anything else. And he wouldn’t be the first, the last, or the most egregious example of directors casting predominantly white actors.

*shrug*

I do think it’s a bit ridiculous, though. And I’d never really thought about it before, but yeah. It gives one pause.

The unions tried to fix it and turn directors in handing black actors a part in movies.
It didn't always work too well, Afro-American actors landed parts that were not interesting at all (I like Moses Gunn for his parts in Wild Rovers and Remember My Name + he was a big stage actor, but what he was given in Rollerball is an insult). The guy who listens to the hero and asks a few questions to help said hero to reach the conclusion the audience had already guessed.
A bit like when an actress had to play the hero's wife, when it was either "don't do it Bill, think about your family" or "do it Bill, don't think about your family, you're a hero" before returning to the kitchen.

I put it down to stylistic choices in how some directors decide to narrate a particular story in their movies and want it to look, rather than casting issues concerned with inclusivity. David Lynch's movies aren't about real life in the same way that a movie like 'Ni By Mouth' is. Of course I can't tell if a director is secretly racist, a danger to women, children, queer foetuses etc. Nobody knows. I'm a big fan of Larry Clark's work, but I never had a problem with how some of the characters in his movies seem to or give you the impression of being quite homophobic, transphobic or whatever, no matter your ethnic background. In 'Kids' anyway. In his other movies LGBTQ people simply do not exist. I also think his movies are great in terms of ethnic representation in that the location they are filmed in is represented ethnically, I assume. And probably that same location has quite a few 'queer' characters in their midst who interact with those characters, but they are cut out. I put it down to Larry Clark's having to frame that narrative through how the characters live their lives, not his own personal views of them. A few years ago I've read an interview with Sarah Kane where she explained that the awful violence in her plays did not exactly come out of her imagination, but from reading a book about football's hooliganism she read because she was a fan of the sport. I'm never sure why movies have to suddenly be a political channel to present a just and fair society, since they can't do that anyway.

I'll admit it, I'm a sucker for a well-made Road Movie. And this is a fantastic Road Movie. Frances McDormand gives an absolutely amazing performance and there's just a lot of humanity and warmth to it, dark as some of its subject matters may be. Loved the lighting and sound design too. Just how naturalistic it comes across really took me by surprise (turns out, a lot of the supporting characters were actually played by local nomads and drifters).

The first part of an in-progress epic (the two chapters I saw on Sunday - at about the fourth public screening of this film ever - clocked in at four and a half hours in length). A microbudget personalised drama about being a trans woman and being hurt, and dealing with it by hurting other people in your life. There's a section where our antiheroine is scrolling through 4chan and it was a uniquely horrifying experience to see at least half a dozen things I recognised in that one minute. It can be a bit of a grind to sit through - especially the first, seemingly unrelated chapter about a man's collapse into being an incel - and obviously a cisgender audience would be unlikely to connect with it in the same way I did, but it really scratched at a few thoughts I've been having and I'm glad this film exists.
The movie's pay what you want on Gumroad, and the filming of part 2 is in progress - I think you get access to everything, eventually, if you pay now.