Fly the Friendly Skies with Scrooby

Around the year 1998 PTA tours the EWS set. Now : PTA is infixed in his own Kubrick Situation.—An unlimited budget and endless shooting schedule (so to speak). What shall eventuate from this magic Situation? It took Scroob five years to begin to understand Phantom Thread, so perhaps we'll come to understand Battle in, say, 2030. Best wishes.

Ghostboy is in it, apparently.

via Deadline: A24 to distro latest Guadagnino picture--


"Queer began screening to distributors via CAA Media Finance in late June and we heard then A24 was kicking the tires. There were other suitors. A24 came through and the deal just closed. All of this spells for a theatrical release.

Queer is getting its world premiere at Venice Film Festival with a North American debut at TIFF. It's also getting a NY Film Fest Spotlight Gala.

Guadagnino reteamed with his Challengers scribe Justin Kuritzkes, and promptly shot Queer in Cinecitta after that Zendaya movie recreating a multi-colored Mexico in the heart of the legendary Rome, Italy studio. Challengers catapulted the Call Me By Your Name Oscar nominated filmmaker into the box office charts in late April with his first No. 1 opening ($15M domestic), the sexy romantic tennis drama ultimately grossing over $94M worldwide.

The movie also stars Drew Starkey, Academy Award nominee Lesley Manville, Jason Schwartzman, Andra Ursuta, Michael Borremans and David Lowery.

Pic's blurb: Set in 1950s Mexico City, Queer follows William Lee, an American ex-pat in his late forties, as he leads a solitary life amidst a small American community. However, the arrival in town of Eugene Allerton, a young student, stirs William into finally establishing a meaningful connection with someone.
"

GAGA the Motion Picture!

fast facts with Scrooby

In a dialect of Old French the word oïl! means YES!


Jody. Oui.

Ha! I couldn't agree less with Ebert here. Have always loved lost highway and it really doesn't seem like it should take all that much intuition to realize that it's core narrative has a truth and logic to it. One could come up with countless stories of one's own involving some kind of similar disjointed causality, but it's so clear that Lynch brings a real spiritual depth and everything is backed up.

If you're able to find the piece of analysis that really struck you before, I'd love to read it!
But I know how hard it is to find stuff sometimes.
I met Matt Dillon a few years ago at an art opening of his in Berlin. He told me about a dinner he had with Lynch and some others, I think at Cannes, and Lynch told an obscure parable about two men, meeting on the road to Fez, Morocco. One of the men accuses the other of some kind of odd/banal lie, which doesn't turn out to be a lie? And the "punchline" had to do with "Why, when I see that you are going to Fez, did you lie and tell me that you were my friend?" It was of course extremely obtuse/ koan like.
I've found the parable written out before online, with no reference to Lynch, it is a real folk anecdote, but try as I might, I can't find it again now :/

In re familiarizing myself with Lost Highway now, I see that it focuses more heavily on desire and masculinity than Inland Empire. I think what blew me away most of all with Inland Empire, and that your writing helped bring into focus, is that Lynch has never relied less on what I would call "collective unconscious" ideas, or psychoanalysis maybe. Not that I don't love these elements in his films, but Inland Empire is shocking in how it seems to present such an immanent/real journey of one extremely personal, and relatable, soul, without much exploration of America, desire, mass culture, etc. In my opinion at least

Quote from: abelmont8 on August 20, 2024, 11:59:49 PMHello!

Just watched this film for the first time, and was so unexpectedly moved and affected by it. I always had been saving this movie and expected it to be a bit of a slog, truly didn't know I would end up considering it easily as powerful as Blue Velvet or Mulholland Drive.
I came across your analysis and thought it was a joyful piece of writing that got everything right (especially in terms of tone).

Never before have I encountered a piece of artwork that made the theme of reincarnation feel so real and present to me. It's a bit hard to explain, but his fidelity (especially in the dreaming/nightmarish sequences) to "reality" overwhelmed me in this movie once again, and once again in a new way.
I think this has been the most accessible spiritual experience I've had in ages, and your writing really helped with that.

You mention a wealth of analysis around Lost Highway which makes it crystal clear, but I can't really find exactly what you're referring to?
I would love to read similar analysis of that film. I had no idea it was possible to analyze a Lynch film in this particular way you have, which feels inevitable, expands the themes, and also deepens this feeling of real authentic (even terrifying) spirituality.

Thank you for the kind words! I appreciate that a lot and agree with your sentiments. To your question, I think I was mostly referring to a piece written by a fan (not a publication) called something like "Lost Highway explained."

In trying to find it just now I ran across Roger Ebert's review. Here's how he opens it:

QuoteDavid Lynch's "Lost Highway'' is like kissing a mirror: You like what you see, but it's not much fun, and kind of cold. It's a shaggy ghost story, an exercise in style, a film made with a certain breezy contempt for audiences. I've seen it twice, hoping to make sense of it. There is no sense to be made of it. To try is to miss the point. What you see is all you get.

Usually a film having "contempt for audiences" is code for "this was too difficult to figure out before my deadline." Maybe some works of art take a little more effort and time to fully engage with. And maybe, just maybe, there IS some type of unconventional logic at play in the movie, and the viewer just needs to be a little more open-minded to discover it.

Hello!

Just watched this film for the first time, and was so unexpectedly moved and affected by it. I always had been saving this movie and expected it to be a bit of a slog, truly didn't know I would end up considering it easily as powerful as Blue Velvet or Mulholland Drive.
I came across your analysis and thought it was a joyful piece of writing that got everything right (especially in terms of tone).

Never before have I encountered a piece of artwork that made the theme of reincarnation feel so real and present to me. It's a bit hard to explain, but his fidelity (especially in the dreaming/nightmarish sequences) to "reality" overwhelmed me in this movie once again, and once again in a new way.
I think this has been the most accessible spiritual experience I've had in ages, and your writing really helped with that.

You mention a wealth of analysis around Lost Highway which makes it crystal clear, but I can't really find exactly what you're referring to?
I would love to read similar analysis of that film. I had no idea it was possible to analyze a Lynch film in this particular way you have, which feels inevitable, expands the themes, and also deepens this feeling of real authentic (even terrifying) spirituality.

The boat.