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This Year In Film / Re: Like Me
« Last post by WorldForgot on Yesterday at 11:59:10 PM »
Caught this when it was playing at the Arena Cinelouge. Interesting small space. Could have sworn this thread had more post but perhaps I hallucinated a shoutbox convo onto here.


The first act had me hooked, and there's some special production design for the motel scenes, the webby ones, but it lagged for me. Felt so long that the final peaceful shot actually brought me near serenity to see a shot without much performance needed, and the peskiest, scene-gobbler of all. The boi'z vlog interjections took me out of the atmosphere Addison and Larry built up.

This Year In Film / Love, Simon
« Last post by WorldForgot on Yesterday at 11:48:01 PM »
Adapted from young adult novel 'Simon vs the Homosapien Agenda' by Becky Albertalli, and not a film intended for the xixax palate, this article on 'progressive banality' gets at why that is probably, I think it's important. We may see it make a dent in the coming of age genre. If you go watch the film you may find that's also deserved, in the way the audience interacts with its John Hughes riff-rom forumla. The performances are twee and they know it, giving in to the nancy meyers-esque sort of dramedy logic is essential. It's one of those. A comfort flick, for sure.

As a movie which aims to be politically engaged, cathartic, trigger conversation, I figured I'd open a thread in case any of y'all catch this with your nephews or cuzzoz or while babysitting or something.
Quote from:  brad in CMBYN thread
Mainstream gay movies often beat the same 'coming out' drum, but there's no big agenda here. This is an honest and raw love story you revel in, much like Phantom Thread.
This is that msm film, not a Guadagnino joint.
2017 In Film / Re: Call Me By Your Name
« Last post by ©brad on Yesterday at 11:24:02 PM »
Pete and Ghostboy nailed it. Sensual is one of those words overused to the point of meaninglessness, and yet it's so apt here. I could taste the food they were eating, and feel the white sun-baked sheets in Elio's bed when he was alone pining for Oliver. And as Pete said, what struck me most wasn't just Timothee Chalamet owning every frame he's in (and boy does he), but everything that surrounded him. Guadagnino lets every scene breathe, and in doing so allows humanity in. I saw so much PTA in this, didn't you? So many great small moments that are easy to miss, like when Ollie goes for ice in the freezer and finds frozen meat instead. He leaves in a huff but doesn't close the door fully, leaving his grandma to do it for him. I love that shit. Or when Ollie calls his mom for a ride home from the train station, and they share a quiet car ride home. That wrecked me.

I think what some feel as a lull in the middle was necessary. Like where the fuck did Oliver go, I thought, but I was so tapped into Elio's world, and being in love is being alone, so when we see him again, it's magic.

I loved this, and not just because I want to go to Italy and eat fancy breakfasts outside and fuck a teacher and fall in love during a summer and be 17 again. Mainstream gay movies often beat the same 'coming out' drum, but there's no big agenda here. This is an honest and raw love story you revel in, much like Phantom Thread.

Other Media / Re: What are we reading?
« Last post by jenkins on Yesterday at 07:57:53 PM »

Rebecca Solnit slays, is basically what i'm saying. how did i find about her? not even from someone i know, no, but from the internet, she was just listed around the things i liked and there i went. the same thing happened with me and Mary Oliver. do i think Mary Oliver lives up to her reputation? that's another thing i'm saying. here's Solnit:

The places in which any significant event occurred become embedded with some of that emotion, and so to recover the memory of the place is to recover the emotion, and sometimes to revisit the place uncovers the emotion. Every love has its landscape. Thus place, which is always spoken of as though it only counts when you’re present, possesses you in its absence, takes on another life as a sense of place, a summoning in the imagination, with all that atmospheric effect and association of a powerful emotion. The places inside matter as much as the one outside. It is as though in the way places stay with you and that you long for them they become desires—a lot of religions have local deities, presiding spirits, geniuses of the place. You could imagine that in those songs Kentucky or the Red River is a spirit which the singer prays, that the mourn the dreamtime before banishment, when the singer lived among the gods who were not phantasm but geography, matter, earth, itself.

There is a voluptuous pleasure in all that sadness. and I wonder where it comes from, because as we usually construe the world, sadness and pleasure should be far apart. Is it that the joy that comes from other people always risks sadness, because even when love doesn’t fail, mortality enters in; is it that there is a place where sadness and joy are not distinct, where all emotion lies together, a sort of ocean into which the tributary streams of distinct emotions go, a faraway deep inside; is it that such sadness is only the side effect of art that describes the depths of our lives, and to see that described in all potential for loneliness and pain is beautiful? There are songs of insurgent power; they are essentially what rock and roll, an outgrowth of one strain of the blues, does best, these songs of being young and at the beginning of the world, full of a sense of your own potential. Country at least the old stuff, has mostly been devoted instead to aftermath, to the hard work it takes to keep going or the awareness that comes after it is no longer possible to go on. If it is deeper than rock it is because failure is deeper than success. Failure is what we learn from, mostly.

A Field Guide to Getting Lost.

and on top of all that, she has a book dedicated to walking. it's titled Wanderlust: A History of Walking. you know it's like, clearly worth my time here, since i like to write about these things, and because of how well she writes.

she also wrote Men Things Explain To Me, which cover i had seen but which book i hadn't read. i knew about it. for some reason i thought Sheila Heti wrote it. Sheila Heti can "bring it" as well. Men Things Explain To Me brought mansplaining into the cultural lexicon, although that word isn't in the book and Solnit isn't a fan of it.

basically in life as far i can tell i share movie interests with gay men and writing interests with women.

honestly if i made a list of female writers slaying nonfiction it'd be a long list. that's truth.
The Small Screen / Re: saturday night live
« Last post by wilder on Yesterday at 03:32:58 PM »
News and Theory / Re: 2018 Xixax Awards - Nominate!
« Last post by jenkins on Yesterday at 03:08:05 PM »
"All the nominees, you know, are great, you guys are awesome, we should go and get ice cream after this."

i become emotionally invested in that speech, thanks for sharing it.

jb wins the awards is all i'm sure about.
The Small Screen / Wild Wild Country (Netflix Documentary)
« Last post by wilberfan on Yesterday at 02:56:34 PM »

  A Netflix Original documentary series about a controversial cult leader who builds a utopian city in the Oregon desert, resulting in conflict with the locals that escalates into a national scandal. Coming March 16.

  Directors:  Chapman Way, Maclain Way

The latest must-binge original offering from Netflix comes in the shape of a six-part documentary series about a small religious movement (or cult, if you prefer) that moved into a small Oregon town in the 1980s. Easily one of the craziest documentaries I’ve ever seen, Chapman and Maclain Way’s six-part series “Wild Wild Country” boasts a profound narrative with intricate human beings, an amass of intellectual themes and more twists than you can count. Told chronologically and using 250+ hours of footage and extensive new interviews, it places you into the contrasting experiences of people in this bizarre saga, leaving you to wonder in part how such a story could have been so forgotten by American history.
   --Nick Allen

I was hooked half way through the first episode.
News and Theory / Re: Box Office Guesstimations
« Last post by jenkins on Yesterday at 02:49:45 PM »
Black Panther is currently the world's highest grossing movie, here in March.

number 2 is Operation Red Sea, which is a war movie so it doesn't interest me.

number 3 is Detective Chinatown 2, this is its trailer

number 4 is Fifty Shades Freed, which doesn't interest me.

number 5 is Monster Hunt 2, this is its trailer

number 6 is Maze Runner: The Death Cure, which doesn't interest me.

number 7 is Paddington 2, which i'll eventually see.

number 8 is Insidious: The Last Key, and really at this point it's clear that it's not necessarily the best movies which make the most money.

i want to see Detective Chinatown 2 though, maybe #1 too
This Year In Film / Re: Black Panther
« Last post by Drenk on Yesterday at 09:02:14 AM »
I can't give a pass to Marvel. Black Panther is ugly, but it's not new for them. Those movies make billions and I should think that they can't make two people at the top of a mountain not look ridiculous? They don't care.
News and Theory / Re: 2018 Xixax Awards - Nominate!
« Last post by samsong on March 17, 2018, 11:51:01 PM »
Best Film
phantom thread

Best Director
david lynch - twin peaks: the return

Best Female Performance
cynthia nixon - a quiet passion

Best Male Performance
daniel day lewis - phantom thread

Best Cast
marjorie prime

Best Minor Role Performance
val kilmer - the snowman

Best Screenplay
phantom thread

Best Cinematography
the lost city of z

Best Original Music
THE SHAPE OF WATER!!!! :roll: :roll: :roll: :roll: :roll: :roll: :roll:
... phantom thread

Best Debut Film
lady bird

Best Documentary
faces places

Most Disappointing Film
call me by your name, three billboards blah blah blah, the shape of water, the killing of a sacred deer, blade runner 2049, it comes at night

Best Film of 2016 - Redux
still love paterson

Best Opening Credits
good time

Best Movie-going Experience
sitting in front of jeff garland and hearing his insane laugh all throughout john wick: chapter 2

Best Acceptance Speech
(skip to 1:14)
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