My review of Brett Morgen’s Montage of Heck

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“I was in my parents’ living room stuffing my face with potato chips when I first heard and saw the video for Nirvana’s Smells Like Teen Spirit. I almost choked. The punk rock bands that I was heavily in to then, were long gone, so the noise and anarchic imagery coming out of the television spoke to something inside me, my depression, my anger, and disenfranchisement with society. It was almost as if my generation were given a new chance at something beautifully chaotic, life rendering, changing, and a way to rebel. The plaid shirts, baby doll dresses, and existential dirt emanating from that video was loud and it was pure rock and roll. Beyond Dave Grohl’s speed punk drums and Krist Novoselic’s infectious bass, there was the raw gravelly scream Kurt Cobain. That voice expressed pain, love, and a myriad of vivid emotions….” Read more here: http://nextprojection.com/2015/04/25/hot-docs-kurt-cobain-montage-heck-np-approved/

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THE SHINING script excerpt. Reworked with a woman

http://www.minimalist-approa.ch/great-minimalist-movie-poster-concepts
http://www.minimalist-approa.ch/great-minimalist-movie-poster-concepts

THE SHINING based on a novel by Stephen King. Screenplay by Stanley Kubrick and Diane Johnson. Reworked with a woman by Jacqueline Valencia

*************************************************************

INT. HOTEL LOUNGE – M.L.S.

BOB, carrying baseball bat, walks away into Lounge. As

he goes, he turns and looks about him – CAMERA TRACKS

after him.

BOB

Jackie…?

He looks about and then moves L-R past table, with his

typewriter on it. He walks L-R behind pillar and appears

again on the other side. CAMERA TRACKS with him.

BOB

Jackie…?

BOB stops and looks about.

CUT TO:

M.L.S. BOB, holding bat, in f.g. He turns and walks away

to JACKIE’s typewriter on table in b.g.

CUT TO:

M.S. Low Angle – JACKIE’s typewriter in f.g. BOB moves

forward into shot. He looks down at sheet of paper in

typewriter.

CUT TO:

M.C.S. Sheet of paper in typewriter with repetition of line

on it, reading: “ALL WORK AND NO PLAY MAKES JACKIE A DULL GIRL.”

108.

Sheet of paper is turned up, showing repetition of line.

Again sheet of paper is turned up showing repetition of line.

CUT TO:

M.S. Low Angle – BOB looking down at sheet of paper in

typewriter. He looks cam.R – then moves to cam.R.

CUT TO:

M.S. Sheets of paper, filling cardboard box. CAMERA TRACKS

IN on top sheet, showing repetition of the line “ALL WORK

AND NO PLAY MAKES JACKIE A DULL GIRL.” filling sheet.

CUT TO:

M.S. Low Angle BOB looking down at box of paper in f.g.

He holds up top sheet and looks at it – then puts it down

in box.

CUT TO:

M.C.S. Sheets of paper filling box. BOB’s hand enters

cam.L.f.g. He flicks through sheets of paper and sees they

are all filled with repetition of line: “ALL WORK AND NO

PLAY MAKES JACKIE A DULL GIRL.”

CUT TO:

M.S. Low Angle – BOB flicking through sheets of paper in

box.

CUT TO:

M.S. Pillar. CAMERA TRACKS R-L revealing BOB, back to

camera, looking through sheets of paper in box on table in

M.L.S. JACKIE enters cam.R.f.g.

JACKIE

How do you like it?

BOB SCREAMS and turns round to face JACKIE.

BOB

Jackie!

JACKIE

How do you like it?

JACKIE moves away towards table. BOB walks R-L along table.

CUT TO:

M.S. JACKIE moves forward. CAMERA TRACKS BACK before her.

109.

JACKIE

What are you doing down here?

She stops by chair and puts her hand on back of it.

CUT TO:

M.S. BOB holding bat.

BOB

I just eh… wanted…

CUT TO:

M.S. JACKIE – hand on back of chair.

BOB (OFF)

…to talk to you.

JACKIE moves R-L to table. CAMERA TRACKS BACK.

JACKIE

Okay. Let’s talk.

JACKIE flicks through sheets of paper in box – then looks

towards BOB.

JACKIE

What do you want to talk about?

CUT TO:

M.S. BOB holding bat.

BOB

I…

CUT TO:

M.S. JACKIE

BOB (OFF)

I can’t really remember.

JACKIE

You can’t remember.

JACKIE moves forward L-R. CAMERA PANS with her.

BOB (OFF)

No, I can’t.

CUT TO:

110.

M.S. BOB, holding bat, moves L-R. CAMERA PANS with him.

CUT TO:

INT. HOTEL – JACKIE’S APARTMENT – M.S.

DANNY sitting at table. CAMERA TRACKS IN on him.

JACKIE (OFF)

Maybe it was about Danny. Maybe it

was about him.

CUT TO:

INT. HOTEL – LOBBY – M.S.

Blood clear from camera lens revealing furniture floating

about on river of blood.

JACKIE (OFF)

I think we should discuss Danny.

CUT TO:

INT. HOTEL – CORRIDOR – M.S.

Low Angle Door with word “MURDER” scrawled in reverse on door.

CUT TO:

INT. HOTEL – LOBBY – M.S.

Furniture floating on river of blood towards camera.

JACKIE (OFF)

I think… we should discuss what

should be done with him.

CUT TO:

INT. HOTEL – LOUNGE – M.S.

JACKIE moves forward.

JACKIE

What should be done with him?

CUT TO:

M.S. BOB holding bat gives nervous laugh.

CUT TO:

111.

M.S. JACKIE moves forward R-L – CAMERA PANS & TRACKS BACK with

him.

BOB (OFF)

I don’t know.

JACKIE

I don’t think that’s true. I think

you have some very definite ideas

about what should be done with

Danny… and I’d like to know what

they are.

CUT TO:

M.S. BOB holding bat moves back R-L. CAMERA PANS with him.

He weeps.

BOB

Well I… I think maybe he should

be taken to a doctor.

CUT TO:

M.S. JACKIE

JACKIE

You think maybe he should be taken

to a doctor?

CUT TO:

M.S. BOB

BOB

Yes…

CUT TO:

M.S. JACKIE

JACKIE

When do you think maybe he should

be taken to a doctor?

CUT TO:

M.S. BOB holding bat.

BOB

As soon as possible?

CUT

112.

M.S. JACKIE

JACKIE

As soon as possible.

BOB (OFF)

Jackie…

CUT TO:

M.S. BOB holding bat.

BOB

…please…

CUT TO:

M.S. JACKIE moves forward – CAMERA TRACKS BACK before her.

JACKIE

You believe his health might be at

stake?

CUT TO:

M.S. BOB holding bat moves back.

BOB

Ye…yes.

CUT TO:

M.S. JACKIE moves forward. CAMERA TRACKS BACK before her.

JACKIE

And you are concerned about him?

CUT TO:

M.S. BOB holding bat moves back.

BOB

Yes.

CUT TO:

M.S. JACKIE points to herself as she moves forward.

JACKIE

And are you concerned about me?

CUT TO:

M.S. BOB holding bat moves backwards.

113.

BOB

Of course I am.

JACKIE (OFF)

Of course you are.

CUT TO:

M.S. JACKIE moves forward. CAMERA TRACKS BACK before her. She

points to herself and gestures.

JACKIE

Have you ever thought about my

responsibilities?

BOB (OFF)

Oh Jackie, what are you talking about?

JACKIE

Have you ever had a single moment’s

thought about my responsibilities?

Have you ever thought for a single

solitary moment about my

responsibilities to my employers?

CUT TO:

M.S. BOB holding bat moves backwards.

CUT TO:

M.S. JACKIE moves forward – CAMERA TRACKS BACK before her.

JACKIE

Has it ever occurred to you that I

have agreed to look after the

Overlook Hotel until May the first?

Does it matter to you at all that

the owners have placed their

complete confidence and trust in

me, and that I have signed a letter

of agreement, a contract, in which

I have accepted that responsibility?

CUT TO:

M.S. BOB holding bat moves backwards L-R to foot of stairs.

CAMERA PANS with her. She moves onto first step.

JACKIE (OFF)

Do you have the slightest idea what

a moral and ethical principal is?

Do you?

CUT TO:

114.

M.S. JACKIE moves forward L-R. CAMERA PANS with her.

JACKIE

Has it ever occurred to you what

would happen to my future, if I

were to fail to live up to my

responsibilities?

CUT TO:

M.S. BOB holding bat backs up stairs.

JACKIE (OFF)

Has it ever occurred to you?

JACKIE moves in cam.R.f.g.

JACKIE

Has it?

BOB swinging bat before him backs up stairs. JACKIE moves

after him. CAMERA TRACKS FORWARD after them.

BOB

Stay away from me!

JACKIE

Why?

BOB

I just want to go back to my room.

JACKIE

Why?

BOB sobs.

BOB

Well… I’m very confused, and I

just need a chance to think things

over.

CUT TO:

M.S. High Angle JACKIE over BOB. She moves forward up stairs.

She backs away. CAMERA TRACKS BACK and UP before them.

JACKIE

You’ve had your whole fucking life

to think things over – what’s good

a few minutes more going to do you

now?

115.

BOB

Jackie… stay away from me… please.

JACKIE reaches up to him.

BOB

Don’t hurt me! Don’t hurt me!

JACKIE

I’m not going to hurt you.

BOB swings bat in front of him as he backs up stairs.

BOB

Stay away from me,

JACKIE

Bob!

BOB

Stay away…!

JACKIE

Darling, light of my life, I’m not

going to hurt you. You didn’t let

me finish my sentence. I said ‘I’m

not going to hurt you… I’m just

going to bash your brains in!’ I’m

going to bash them right the fuck in.

BOB waves bat in front of him. JACKIE laughs.

BOB

Stay away from me!

CUT TO:

M.S. Low Angle BOB swinging bat in front of him, backs up

stairs. JACKIE follows him – CAMERA TRACKS FORWARD after them.

BOB

Stay away from me!

JACKIE

I’m not going to hurt you.

BOB

Stay away from me!

CUT TO:

M.S. High Angle JACKIE over BOB. He swings bat in front of

her, as he backs away and she follows him.

116.

BOB

Stay away from me! Please…

JACKIE

Stop swinging the bat.

BOB

Stay away from me.

JACKIE

Put the bat down, Bob.

BOB

Stop it!

JACKIE

Bob give me the bat.

BOB

Stay… stay away!

JACKIE

Give me the bat.

CUT TO:

M.S. Low Angle BOB over JACKIE. CAMERA TRACKS FORWARD as

they come up stairs.

BOB

Stay away from me.

JACKIE

Give me the bat.

BOB

Jackie, stay away from me!

JACKIE

Stop swinging the bat.

BOB

Get down.

CUT TO:

M.S. High Angle JACKIE over BOB. He swings bat in front of

her as they move up stairs. CAMERA TRACKS with them.

JACKIE

Give me the bat.

BOB

Go away from me.

117.

JACKIE

Bob…

BOB

Go away.

JACKIE

Give me the bat.

BOB

Go away.

JACKIE

Give me the bat.

JACKIE reaches up with hand. BOB hits her hand with bat.

SHE SCREAMS. SHE YELLS and grabs her wrist.

CUT TO:

M.S. Low Angle BOB over JACKIE.

JACKIE

Goddamn!

BOB hits JACKIE on head with bat.

CUT TO:

M.S. High Angle JACKIE over BOB – he throws up hand and

leans back.

CUT TO:

M.L.S. Low Angle BOB over JACKIE. She falls backwards down

stairs. CAMERA PANS L-R with her as she somersaults down

stairs, stopping face down on half landing.

CUT TO:

M.L.S. High Angle BOB back to camera at top of stairs.

JACKIE lying facedown on half landing.

BOB

Oh…oh!

An essay on film and women up at Lemon Hound.

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Up at Lemon Hound, an essay I wrote called: “The Need For Lonely Women Film.” You can check it out here:  http://lemonhound.com/2014/05/30/jacqueline-valencia-the-need-for-lonely-women-film/

Some of the memorable films I saw in 2013.

I’m not a conversationalist. It’s just not a strength of mine. I’m good at questions though and have a far more enjoyable time listening to conversations flow as opposed to initiating them. More often than not, I end up second guessing all of my input. It’s a funny trait to have when you’re an interviewer though, because the interview depends on you starting discussion. It takes a lot of preparation to start an interview and if I have that foundation, I’ve found fascinating elements that *I* need answers too.

It’s very hard for me to do that spontaneously.

Since film critiquing, I find myself often confronted with this question during social situations: “What films do you recommend?” or especially right now, “What are your favourite films of 2013?”

My brain immediately freezes and I can’t even remember the last thing I saw or if I even have eyes. It’s ridiculous. My theory is that I’m both paralyzed that someone asked me a question in the middle of parsing people’s conversation, and a huge influx of information temporarily floods my brain, “What if I forget about that movie that I think everyone should see? How many films did I see this year?” And so on and so forth.

This is the first year, as a reviewer, that I’m voting for film awards. This time it’s for Next Projection. As I parse my library for selections, I’m going to jot a few down here as my personally memorable ones. Hopefully, people will see them, or at the very least will help me as I’m faced with the year end questions.

(Keep in mind, these are SOME of the memorable films I saw in 2013, which means they are either from this year or made in 2012, but I saw them this year regardless.) As of today, I will be watching Inside Llewyn Davis, Her, Philomena, Prisoners, and The Wolf Of Wall Street.

(Note: Linked reviews below either by me or some of the very talented critics I enjoy.)

1.  upstream_color_xlg

Upstream Color: Trailer

You HAVE to see Upstream Color! Shane Carruth is one of the few filmmakers that has the guts to still push the envelope. Much of the film is a snippet compilation of images and occurrences. Our main characters search for a mutual truth within their obscured memories. In that search is a world of a new kind of science fiction, a new perspective on the search for meaning, and most of all, the most subtle cinematic film catharsis I’ve ever experienced. You will be rendered. You will be sampled and find yourself upstream.

Amy Seimetz  is fascinating to look at. Her character’s anxieties surface as quirks, but the fact that this is Carruth’s second feature film ever after Primer, and he had no film or classical film making experience before that (he was a math major and worked on flight simulation software), makes this masterpiece even more intriguing.

My non-spoiler review: http://lemonhound.com/2013/06/13/jacqueline-valencia-two-short-takes/  My spoiler laden analysis: http://jacquelinevalencia.com/2013/05/23/upstream-color-my-impression-analysis/

2.
OnlyGodForgivesNeonposterGosbig3

Only God Forgives: Trailer

Nicholas Winding Refn is a master at visuals. After the Pusher trilogy and Bronson, I could just watch any of his films with no dialogue. Actually, Only God Forgives is like that. However, there is story, and much like Upstream Color, it’s a bit of a maze to decipher. The film itself is infused with great tableau vivants that allow the audience digest the hyper aware emotional settings and colors coming out of the screen.

Ryan Gosling is a blank canvas for Refn and I’m totally ok with that in this film. We’re looking at provocative images and the tale of someone finding the possible monsters within himself. Whether that is Refn’s search, I’m not entirely sure, but the film is a feast for the eyes. Only God Forgives gives us the creepiest karaoke singing villain (maybe the only one) ever in Vithaya Pansringarm . If you miss Stanley Kubrick and David Lynch at their finest, then watch Only God Forgives.

Alan Jones‘ defense of the film (thank you!):  http://torontostandard.com/culture/only-god-forgives-and-the-merits-of-pushing-at-the-edges-of-acceptability

My spoiler laden analysis: http://jacquelinevalencia.com/2013/07/23/only-god-forgives-my-analysisreview/

3.
MV5BMTk1NTc3NDc4MF5BMl5BanBnXkFtZTcwNjYwNDk0OA@@._V1_SX640_SY720_

Amour: Trailer

This film came out at the very end of last year and I saw it then as well, so I’m cheating. My blog. My choice. The reason I include it is because it is a film that affected me in many ways.

First off, the month that this film came out, my grandmother has passed away. I needed to get out of the house and joined my friend at the last minute to see this film. I had no idea what it was about. Oh it was a devastating reveal.

My grandfather died of complications from Alzheimer’s a few years before my grandmother. We saw him go from being an extremely active man to just a shell of a person at the very end. We were lucky to get glimmers in his eyes in his last few hours. My grandmother watched as the love of her life (they’d been together since they were kids), fade away. My grandmother died of heart complications. She’d suffered long, but clung on until she saw all of her great grandchildren. These two deaths deeply imprinted me with how fleeting a life is and the cruel finality of death. Thus, after watching this film, I both mourned the loss of my grandparents, but saw the beauty in the end of it all. I couldn’t review it then because it was just too much. As it is, this little write up elicits the same emotions I felt then.

Amour is the portrayal of a couple who love each other deeply. One day, one them starts to fade into senility. The film is mostly set in the rooms of one apartment and in its claustrophobic way, it gives us the true horror of how it is to lose someone you love. Michael Haneke lets Jean-Louis Trintignant and Emmanuelle Riva play out the sparse script creating a palpable portrayal of romance, friendship, and touching partnered rituals. Quiet moments seem so real that it may seem that they are left open to interpretation, but upon closer look at scenes, there is no hidden meaning; things are what the characters produce them to be in their reactions. Shots of Anne sitting in her living room looking at her unused piano or Georges looking lovingly into his wife’s unfocused eyes, they’re all too intimate views of unsurmountable situations.

I want to recommend this film, but I warn that you’ll feel like you’ve just seen a horror film, so take a close friend or loved one. It’s a must see for it’s superb realism.

Chris Knight’s review:  http://arts.nationalpost.com/2013/01/10/amour-reviewed-love-hurts-those-in-michael-hanekes-film-and-those-watching/  

4.
Manakamana3

Manakamana: Trailer

Not everybody loved this film, but I found so much charm in watching travellers go back and forth in the sky car. Some of them reminisce about the times when they had to travel several days to get to their temple, others sat in silence looking at the lush views that surround them, and sometimes the animals had more to say than the humans.

If you love documentaries and if you love true everyday stories, explore Manakamana. It’s nothing more than a silent commute in the sky, but then again, don’t we silently commute every day?

My spoiler free review: http://nextprojection.com/2013/09/13/tiff-2013-review-manakamana-2013-np-approved/

5.

BSS-4

Berberian Sound Studio: Trailer

At first, I was more intrigued with the soundtrack to this film than I was to what the film was giving me. The workings of film sound engineering are so vast and complex and that’s not even scratching the surface at all of the production that goes into making a film. I’ve never wanted to be filmmaker and I’ve never been trained for it because the amount of project management that goes into a film is way too much for this already insane multi-tasker. Peter Strickland offers up a tribute to sound engineering, but also an audio retrospective of old giallo films.

I love giallo flicks for the sinister sets and visceral portrayals of slasher gore. I was never big into the slashing and dicing of women in it, but stylistically, the genre is an archetypal foundation to many of the films that came after it to this day. Sound effects featured hugely in the unseen, the world of the film in the mind can only be created fully with sound and setting. You can create entire feature with just set and sound. This film attempts that and it’s my opinion that it succeeds in its task. Much credit is due to Toby Jones touching work as a man on edge.

My spoiler free review: http://nextprojection.com/2013/06/13/review-berberian-sound-studio-2012/

6.
MV5BMTAxNzE5NzU0MDleQTJeQWpwZ15BbWU4MDY4MzU3NDAx._V1_SX640_SY720_ Les Salauds/Bastards: Trailer

I’m a big fan of Claire Denis. Chocolat is in my top films that I’ve ever seen. It’s a simple film, but one that visually connects personal recollections a part of history itself. Denis is an expert at painting emotive visuals that are nuanced in their delivery. With Bastards, Denis takes all of her skills and gives us a sensually provocative image collage that gets under your skin.

I’m not going to lie, I’ll rewind and re-watch Vincent Lindon and Chiara Mastroianni bumping bodies together. It has been one of the highlights of this movie season. The film is markedly complimented by the Tindersticks soundtrack that seeps into the film as if it were another character itself.

Bastards is disturbing and gorgeous. I now require all of the Tindersticks I can possibly consume.

José Teodoro‘s Bastards review and interview with Claire Denis: http://cinema-scope.com/cinema-scope-online/sanctuary-claire-denis-bastards/

7.

MV5BMTQxNTc3NDM2MF5BMl5BanBnXkFtZTcwNzQ5NTQ3OQ@@._V1._CR28,28.649993896484375,1271,1991.0000305175781_SX640_SY720_ Don Jon: Trailer

Is it Joseph Gordon-Levitt’s smug face that keeps my friends from watching this movie? I know the trailer doesn’t do this film justice. It was a pleasant surprise to me overall at how much I enjoyed it.

It’s a smart and charismatic take on romantic comedies. Don Jon is addicted to porn. Are the ladies addicted to rom com? This is either an uncomfortably hilarious date movie or a good conversation starter.

Sabrina Maddeaux‘s review: http://www.torontostandard.com/culture/tiff-13-review-don-jon

 

 

 

 

 

8.

MV5BMTQ1MjQwMTE5OF5BMl5BanBnXkFtZTgwNjk3MTcyMDE@._V1_SX640_SY720_ Frozen: Trailer

I didn’t want to see this movie. I mean, *stomps feet* I didn’t want to see this movie. The trailer made it unappealing in the same “this all that Disney can offer now” way. We had an icestorm here in Toronto which left my family without power for a couple of days so we had to find something to do to keep the kids entertained. It was a gamble because my youngest will not sit still for long in a theatre. It takes a lot preparation, a keen interest on her part for the film, and sometimes her autistic tics aren’t conducive to a quiet theatre crowd. Luckily, she was in the mood for anything new that day. We headed into the theatre with our huge boxes of popcorn and candy and I was ready to focus on keeping my daughter in her seat for almost two hours.

Thank you for the surprise Disney. This in no way redeems previous features where the plot depended on women hating each other and tacky plots to make us believe that life is so hard for the privileged (I know, IT’S JUST A DISNEY MOVIE. A CARTOON!), but when you have a kid and you have a conscience, you have to think about the candy floss you put before impressionable minds.

Frozen has two strong female characters who are sisters that love each other immensely. Men come to save them, but in the end, it doesn’t work out that way. The charm and clever subplots earns this film a top spot in my memorable picks because who knew that Disney could renew itself? And who’d a thought a snowman singing about summer would be so touching?

Linda Barnard’s review:  http://www.thestar.com/entertainment/movies/2013/11/27/animated_frozen_will_warm_your_heart_movie_review.html

Special mentions (links to reviews):The Oxbow CureBlackfish, Call Girl, Pepper’s Ghost, La Ultima Pelicula, Big Bad Wolves, A Field In England, and Beyond the Black Rainbow. Oh and Short Term 12! (That Kiva Reardon review parses it with good bite).

Favourite interview conducted:Pirjo Honkasalo

Movies I disliked and bear mention because they were so awful (links to reviews):

The Canyons, Hammer of The Gods, and Passion.

As for shows, I got nothing much because I’m still catching up with everyone else, however, I’ve suddenly become a huge Dr. Who fan because of my son.

1506367_10153656017450343_1018887295_o

Happy Holidays movie watching folks. Keep warm and stay safe.

A few thoughts on The Coen Bros. No Country For Old Men

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http://movie-posters-r-us.deviantart.com/art/No-Country-for-Old-Men-372853573

I’ve heard that once you finish writing a book and set it out into the world, it ceases to become yours and it becomes the work of the reader. I understand that somewhat.

Sometimes I’ve had people give me feedback on a poem, short story, or piece and tell me what they got out of it. I find the process of authorial transference to reader consciousness fascinating. It’s like coming up with an idea and watching people riff on that, eventually the idea becomes an independent entity this way. I find the same thing happens with film.

When screenwriters give their scripts to filmmakers, they release the visual interpretation of their words to the director. As in the case with No Country For Old Men, Cormac McCarthy wrote the novel, Scott Rudin bought the rights to the film, the Coen brothers then adapted it into a screenplay to make into a film. The film is seen by audiences to parse in their minds. I haven’t read much criticism on this film and I’ve seen it many times though and know that there are a few books out there that are dedicated to the critical parsing of it.

For me, I’ve enjoyed its silence, its in depth character study in that silence, the epic scenery, and the realization that it’s actually a visually loud film in all that muteness. There is also a huge difference between watching a film like this on the small screen and seeing it loom large on the big screen. I’ve made it a point to watch as many films on a big screen as much as I can purely for the fact that I notice so much more in it’s re-watching in a theatre. No Country For Old Men last night was a new experience for me upon its re-watch at the Lightbox.

For the purposes of time (I have to go put up the Xmas tree and work on some overdue poems), and a lack of brain cells (I stayed up way too late), I’d like to jot some things down and share with you before the steam train leaves my head station (and pardon the quick no grammar/spell check. I’ll come back and edit if necessary later).:

  • There’s definitely music in the film. When I got home I immediately wiki’d and imdb’d the hell out of it and besides the ambient noise, there are instruments being played at times. That’s one of the things I couldn’t really discern on the dvd. I mean, I cop it to being possessed by the film; for the film subtly gets under your skin. Besides the ones I’ve seen pointed out (the first coin toss – humming, the buddhist bells in the desert scene), there are natural sounds and that’s something I’ve paid attention to before. My favourite on the re-watch is the great street shootout between Llewelyn and Chigurh. As Llewelyn gets up, he fires a series of shots at a car where Chigurh is supposedly hiding. We hear the car tires deflate and the bullets ricochet from all over. Llewelyn is right by the car, picks up a rifle, and we hear the faint, but definite chug of a train trundling in the near vicinity.

Of course, setting this film in the western genre, a train is very symbolic. However, in the context of the film, it takes this symbolism in a variety of analytic levers.

  1. Trains were a symbol of the industrial revolution in the time the classic western was usually set.
  2. In No Country For Old Men, it’s a reminder of that, but also part of the recurring “something is coming” theme. Fate plays a big part in the film (If things are meant to be, they work out, if they don’t, you’ll get killed). The trundle of a train is steady and you can’t really run away from its set path. It’s either doom or be doomed.
  • A few scenes caught my eye that reminded me of the way Stanley Kubrick or Alfred Hitchcock used to set up single person shots. It’s kind of a short tableau vivant (something directors Alain Resnais & Claire Denis drag out, as do the Coen brothers usually) and/or rather more like watching a moving graphic novel.

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The above being one of my favourite scenes for that. There’s something very clean and OCD about it. The lines around Wells frame him in his absurdity. A veteran who is, in every sense of the definition, the embodiment of the western hit man: he’s got an omniscient knowledge of things beyond the scope of the viewer or the people he deals with. He’s smooth and calm, even when confronting his possible end. Yet there he is clean-cut in a power suit, but he’s wearing a white cowboy hat. He is the corporate cowboy. A contemptible notion, but when you think of a cowboy going from veteran to fighting for the power that drives the money, it makes ridiculous sense. Yes, this is a Texan fashion (having seen it when I lived in Dallas myself), but in the context of the film, he’s the only one wearing a power suit and a cowboy hat.

Just before Wells leaves the office, he asks about the missing floor. I may be wrong, but he might be referring to the missing “13.” In the line of work that he is in, he notices these things. It’s also a way of his pointing out that even in the buildings that house the money, old school superstitions still come into play, thus alluding to an assumed lack of control over fate.

In the realm of symbolism and impending doom, this is the one that sticks out:

As Chigurh approaches the windowed door, his shadow transforms into a black triangle comprised of circles. There’s something very esoteric in that symbol. It very well mean nothing, but if we can delve into an occult meaning of light, all seeing eyes, and the figures of light and power, that scene pretty much shows elements to that effect. The women at the counter refuses to give Chigurh the information he demands, even challenging him with her expressions. The totally utilitarian Chigurh can easily kill this woman, but the fact that someone is in the other room, and that she has agency over him with the information she holds, would have made her death illogical. The man that can kill indiscriminately (God), leaves the room a bit emasculated in the moment. It’s a hilarious scene for that.

  • I think this is my last one I can think of at the moment. I love love love LOOOOOOOVE the settings in this film. They’re so palpable, they remind me of travelling desert country as a kid. For its running themes of fate, decay, doom, the old hat handing over the goblet to the new, this scene is a beauty:

One can assume that cats are used as symbols of death and evil (the cat drinking the overturned milk in an implied death scene, Ellis’s home overrun with cats as him and Bell converse about death). However, in the cinematic frame of filmmaking, a cat is a quiet observer. It offers comfort of place in a world of chaos. Anton Chigurh is chaos. As the old time cowboy faces an unknowable foe (for the trick of the western was in the respect of knowing one’s enemy), he feels impending doom for the first time. Chigurh is not a knowable enemy or one that you can just work over in a classic show down. Chigurh is a force of nature, bred in an alien world as the world of consumer culture and corporate war isolates the cowboys (the original superheroes), and brings them down to level ground. The cowboy now fears the darkness and waits for the fire in the night to guide him to a familiar home (think of Lord of Rings where the mythical world hands over the universe to the time of Men). In the last scene, Bell talks about the dream of his father holding a horn with fire guiding his way to camp in the desert. He’ll always be waiting there for him.

I’m reminded of how filmmaker Chris Marker adored his cat Guillaume. Cats were super-human and empathetic to him. In the scene above, the cats just hang around Ellis, either wild or domesticated, but they stick around the old man. They are his eyes when someone walks in, and they are his old country companions; reassurances that things will always be the same no matter how much they change.

Ellis: Whatcha got ain’t nothin new. This country’s hard on people, you can’t stop what’s coming, it ain’t all waiting on you. That’s vanity. 
And it’s true. Down here, in this time, cowboy, you’re just like everyone else. So this is they way I saw the film. Like a book, a film becomes a viewer’s work even if that interpretation is different than the maker’s. We can never be unbiased about what we view or read, nor can what we read or view be unbiased about the mind of its consumer.
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Ok, I gotta have a brunch, I guess. I let the time fly. But feel free to comment if you agree or disagree or if you’ve got other ideas on the film. I’d love hear them before I start reading up on it and the book.

Beyond The Black Rainbow: my analysis

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This is an analysis and not a review per se. THERE ARE SPOILERS EVERYWHERE HERE so THIS IS A SPOILER ALERT! A SPOILER ALERT!  DANGER, WIL ROBINSON! I recommend you watch the trailer, go see the film, then come back here if you’d like an interpretation or analysis.

David once said to me, “I can’t wait until Dead Ringers opens so critics can tell me what it’s about.” – Jeremy Irons talking about David Cronenberg, 2013.

A common thread I’ve seen among Canadian horror film directors is that they never assume that the audience is dumb. Many of them, like Cronenberg, are keenly attuned to the idea that there are untapped layers in the human brain; there’s a whole other film in the mind. Films like My Bloody Valentine, The Changeling, Cube, Dead of Night, and the seminal Black Christmas ***, are interpretable story allusions.

I watched Panos Cosmatos‘s Beyond The Black Rainbow this weekend at the TIFF Bell Lightbox. The first time I saw it was at home. I was on two hours of sleep and dozed off while watching it. I was intrigued, but tired and the great visual/musical combo was just right thing to sleep to. This last time I was on maybe three hours of sleep, but luckily still had enough caffeine to appreciate the film. And how. I’ll most likely watch it a few times, it was that good.

I think a plot rehash may be a little too much for it, so I’ll post up the trailer and let go:

 

I look at Arboria as kind of naïve.  He had the best of intentions of wanting to expand human consciousness, but I think his ego got in the way of that and ultimately it turned into a poisonous, destructive thing.  Because Arboria is trying to control consciousness and control the mind.  There is a moment of truth in the film where the whole thing starts to disintegrate because it’s stops being about their humanity and becomes about an unattainable goal.  The idea of letting your humanity suffer to achieve some unattainable goal…like making a movie [laughs].  That is the “Black Rainbow”: trying to achieve some kind of unattainable state that is ultimately, probably destructive.  – Cosmatos, 2011.

Let’s start with Mercurio Arborio. He’s an 80s new age visionary who uses a combination of benign therapies, pharmacology, herbal therapies, naturopathy, and neuropsychology to help humanity attain happiness and inner peace. In the commercial that starts the film, the Arboria Institute is described with phrases like “A New State of Mind: A New Way of Being,” and “A Practical Application of An Abstract Ideal.” The most telling of these is: “Born Of A Dream: To Create A Reality.” This one kind of stuck with me and I will talk about it in a bit.

Mercurio Arboria’s name is an interesting new age-y made up entity. Mercury is a Greek god that can travel between the worlds of gods, human, and the dead. The word mercurial means flighty or constantly changing. Breaking down Arboria as a word, it brings to mind trees. My thoughts veer toward Dr. Arboria representing someone from the 80s new age movement. Luckily (or unluckily), I was born in 1973, and a lot of the visual and religious shopping aesthetic of the early 80s resonates strongly. These were the times when drugs and spirituality were mixed freely as a reaction against the political oppressive environment that surrounded the world back then. I grew up watching doomsday clocks and tv films like The Day After, that continually plugged the notion that the end was near. Constant mass anxiety is a means of control, ie. cold war era propaganda and sensationalism. In turn, some would experiment with religion the same way they would experiment with drugs to release themselves from that anxious reality. Aleister CrowleyHelena Blatvasky retro-inspired cults (Jim Jones) flourished in these sorts of environments. The new age movement provided alternatives to their already repressed lifestyle. Unbeknownst to them though, they were leaving institutions for other institutions wrapped up in esoteric terminologies.

Harken back to the word Arboria = trees. This is an integral advertence to archaic religious and societal structures based on hierarchy.

Deleuze explains in a very concise manner the difference between the dominant western thought idea of “the tree” and his rhizome concept by stating: “the tree imposes the verb ‘to be,’ but the fabric of rhizome is the conjunction ‘and…and…and…’” (Deleuze, 1987, p. 25). 

While Dr. Arboria presents the Arboria Institute as a “new way of being,” it has evolved into another regulating entity. Thus, we have Dr. Arboria at the top with his assistant/prodigy, Dr. Barry Nyle, below him or at his side. His “customer(s)” are imprisoned in this giant compound with “award winning gardens.”

After the Arboria Institute advertisement (which have visuals reminiscent of Stan Brakhage’s Mothlight and Dog Star Man, much to my delight), we are given low-angle shots of Nyle. He looks dominating, meancing, and cold.

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He’s also the only one that interrogates Elena, the heroine of our story. 

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The only people in the institute seem to be:

1. Dr. Mercurio Arboria (played by Scott Hylands)
2. Dr. Barry Nyle (played amazingly by Michael Rogers – creepy and sort of delicious to a freak like me)

3. Margo (nurse/secretary – played by Rondel Reynoldson)

4. Elena (Dr. Mercurio Arboria and his late wife’s daughter- expertly played by Eva Bourne)

5. Sentionaut (Roy Campsall)

6. A mutant (Geoffrey Conder)

Elena has special powers….or does she? Since the Arboria Institute experiments with drugs and spirituality which is “born of a dream to create a new reality,” I suspect here that there is way more than meets the eye. I posit that there are a multitude of ways interpreting Beyond the Black Rainbow, but one of the theories that sticks to me is that the otherworldly aesthetics and supernatural abilities seen are merely perceptions built upon drug fuelled visions of an actual truth.

In a flashback, the audience is given clues to the Nyle’s true character. In 1966 (the heady days of drug experimentation and acid trips), Nyle is young, looks doe-eyed up at his teacher (Arboria), and gazes lovingly at Mrs. Arboria before his big transcendental drug trip. “Bring home the mother load, Barry,” Arboria says as Nyle goes into black pit (a black eye is drawn on his forehead, referencing the new age movement’s appropriation of the Hindu third eye). Somehow the journey turns sour. Images of Nyle’s face burning and being melted away in lava lamp like sequences fade in and out of the screen. Whatever good facade Nyle has had up is stripped away and obliterated. As Nyle emerges from the pit, an overhead shot reveals the black liquid pool as the iris of a giant eye.

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Out of the spiritual realm, Nyle comes out a psychopath and inexplicably kills Mrs. Arboria. Soon after, Elena is born, her mother’s death, Dr. Arboria says, shall “not be in vain.” “Let the new age of enlightenment begin,” he proclaims as a masked Nyle quietly looks on.

There is nothing but menacingly masochistic dominance left in Nyle. He must wear a false veneer with a wig and contacts, for his true face is monstrous. Every scene has him either orgasmically high on control or holding back a constant disgust for others. As he goes in to visit a highly sedated and senile Dr. Arboria, he rolls his eyes at his textbook new age phrases. Only a hint of the old Nyle comes out in a regretful glance at his mentor while injecting him with a fatal drug overdose.

Throughout the film Nyle pops drugs into his system and in one scene, even smiles at his reflection after downing several of them. His supposed control is artificial. His alienation/alien-ness is an alternative reality concocted from a continual hallucinogenic state. As he picks up the phone he hears static combined with radio white noise. There’s a robotic voice somewhere in there, but it sounds more like someone changing radio channels. While no actual words are discerned, Nyle perceives a conversation that elevates his paranoid state, possibly triggering the deadly events that are soon to follow. Elena, in turn, kills Margo with her brain and talks to Nyle telepathically. But does she really?

“Well I wanted to make a film that’s like a trance film, like Apocalypse Now or Last Year at Marienbad. So I wanted it to feel very dreamlike, but I also wanted it to feel like…in a way, the structure of the film is actually very episodic. But I wanted an episode to sort of fluidly merge into the next one.” – Cosmatos. See more at: http://www.filmschoolrejects.com/features/interview-panos-cosmatos-beyond-the-black-rainbow.php#sthash.U0zkrj6S.dpuf

Cosmatos has presented us with a trance film, therefore putting us in a trance-like state (hence the overly long pacing and the slow moving characters. I will also point out that there are such things such as hallucinogen videos that exist. If they actually work, I do not know.). The camera becomes an unreliable narrator giving us hints of real vs unreal worlds through Nyle’s or Elena’s perspectives. When Elena moves, it’s unstable and slow, and since she’s been drugged all of her life, it makes perfect sense. However, her view of reality can possibly be skewed in such a state. As she escapes her jail, she travels from weird room to another weird room, encounters a mutant, and a Sentionaut, and finally comes face to face with the unmasked Nyle. As Nyle pleads to Elena, his foot catches on a branch and he falls, hitting his head on a rock and dies. Elena might also assume she has pushed Nyle telekinetically, because she smiles, and a great sense of relief comes over her face at that moment. This, however, is questionable. I first thought that Nyle’s death was abrupt considering the time it took to get to that point in the film, but if you think of it as something that occurs outside of their mutual drug fueled states, it makes the death far more meaningful.

Another possible theory I’ve been parsing in my head is one of the film as a story continually played out by a comatose Elena, (This is where I release my feminist slash philosophical view on the film). Elena is a young girl in a coma. She’s probably been there since before adolescence, maybe placed there due to a car crash (Nyle drives with purpose on long roads with no traffic), where her father was driving in a drug induced haze. Her mother dies and she survives only to end up in the coma. Dr. Arboria and Dr. Nyle are the same person: her father (a young drugged sinister figure and an old weak one that eventually succumbs to his addictions). Perhaps her father was a scientist who dabbled with drugs and, in turn, a comatose Elena creates this dark Elena in Wonderland world.

An infinite world of possibilities can occur in Elena’s mind due to the ever evolving world of the subconscious. In the “interrogation room,” hospital/video game-like noises occur every time Dr. Nyle makes a provocative statement at Elena. She might recall video games or the unique sounds of a modem (ie. the noises in Nyle’s telephone).

The mise en scene is a sampler from various 60s-80s movies aesthetics: Kubrick’s 2001 (interrogation rooms and flashing buttons); Trumbull’s Silent Running (the domed indoor gardens); Cronenberg’s early works (dispassionate tone and repressed scientist); and Lucas’s THX-1138 (the hallways and Sentionaut). I’m sure there are more references, particularly towards the end when we stumble upon two heavy metal drunks in the field (one of them being Chris Gauthier who’s in John Carpenter’s “Cigarette Burns” from the Masters of Horror Series – the mutant on the floor we see in the middle of the film is similar to the imprisoned angel in that episode). That scene could have been plucked from a variety of horror movie tropes. My point being that these are scenes and settings out of film driven archetypes. Elena could either have been exposed to them as a child before her coma or subconsciously in her hospital room while in her coma. Furthermore, we continually see Elena in a hospital room-like bed in a white surgical gown. She is immaculately kept, but there’s no bathroom in sight. The only thing in her room besides her bed are the tiny televisions that change channels on their own, or we can believe that she changes the channels with her mind, (Note: in the channels shown, one of them shows a karate tournament, another shows a police chase, and the last one is a cartoon man being pulled apart. At the end of the cartoon man’s story, a wolf comes out of nowhere, transforms him into a medicine bottle, swallowing him whole. These can also be images she uses in empowering herself in her eventual escape).

Nyle represents the male imposition of desire on a young woman who is “coming of age” ( I loathe those terms because they are generalizations, but they fit this theory to describe this phase in Elena’s life). The only figures she can emulate or have archetypes for, are male (with the exception of the very stoic nurse and a perceived “soft dead mother” trope). Her father is absent and the only male she truly encounters is the psychopathic Nyle who’s obsessed with her and her “abilities.” Nyle can be a collection of male voices (doctors, father figures, sounds from her hospital television). Elena envisions a world made up of those media driven voices without the context, discerning a reality that can be ultimately terrifying to a girl.

Keep in mind that Elena in a coma is extremely vulnerable, naive, and scared of the world outside of her head, especially if she’s going through puberty at the same time. For all we know, she’s only been exposed to a fake corporeality via drugs or the television in her room. Turn on the tv for any length of time and close your eyes. Imagine fashioning a reality or a dream state with the visuals that come to mind from the audio you hear. Then try to parse that through the mind of a teenage girl reaching womanhood. I’m sorry, but when I was in that phase, it was chaotic, confusing, and extraordinarily hard to navigate the real world in that sort of environment.The Sentionaut is revealed to have a childlike face with a perpetual catatonic expression, maybe representative of Elena’s frozen age existence. It is perceived to assist her and aiding her in her release from that phase.

That mirror shot with the multitudes of Sentionauts is both an aesthetically pleasing scene of assuredness in Elena’s visions. Mirror images are a way that her 2-D experienced mine can parse the 3-D world, thus alluding to her creation of various dualities (there are two Nyles- the masked controlling villain and the unmasked unhinged villain; there are two Elenas – the one that is still asleep and the one that awaken; there are two mothers – the dead mother and the passive and fragile Mrs. Rosemary Nyle –rosemary the herb is a symbol of remembrance, love, and loyalty).

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Elena’s slow movements imply her moving through sluggish dreams. As she ventures out from room to room, she marvels at her surroundings, seemingly knowing where she is supposed to go. As she reaches the “outside” her sensory perceptions peak. Elena smiles as her feet hit the soft ground and her eyes marvel at the starry world above her. Sensual and climatic in expression, her reaction comes from a newfound experience of the true present. Meanwhile, Nyle (like many horror movie villains of the 80s can only kill if the heroine’s virginity is threatened.”You fucked her,” Nyle accuses the drunk before he kills him in classic horror movie fashion (of note here is the excessive spraying of blood; a sensational body horror tactic from the 70s).

Skipping to Nyle again at the moment, while it’s still fresh in my brain: the leather suit he puts on is made by a company called Noriega Leathers. Now with references to Ronald Reagan and the famous Panamanian dictator, Manuel Noriega, one can posit that these are things she most likely would have heard in her hospital room. The weapon Nyle uses is called the Devil’s Teardrop. Keeping in mind that there are a ton of videotapes in Dr. Arboria’s room, and he watches a lot of nature shows. The last scene we see him in, he’s watches a documentary on Molokai which is an island created out of ancient volcanoes. Obsidian is a naturally occurring volcanic glass formed as an extrusive igneous rock. The devil’s teardrop is also a nickname for obsidian. Elena could have put the two facts together out of the nature shows her father watches in her room.

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Elena, fresh from her escape, walks towards the blue lights of the televisions coming from suburbia. She’s flown from one controlled environment into another. After the credits, an action figure Sentionaut is seen on a carpet. A voice similar to the one Nyle heard on the phone can be heard repeatedly asking, “Do you read me?”

Is someone trying to wake Elena up? Does she relive an escape every day? Is the Sentionaut a combined archetype of the action figure craze of the 70s and 80s?

If we go back to the Deleuzian-Guattari rhizome theory I mentioned above (you can click on the quotes to get a small summary on their theories):

We live today in the age of partial objects, bricks that have been shattered to bits, and leftovers… We no longer believe in a primordial totality that once existed, or in a final totality that awaits us at some future date (Deleuze and Guattari 1983: p.42)

A theory does not totalize; it is an instrument for multiplication and it also multiplies itself… It is in the nature of power to totalize and … theory is by nature opposed to power (Deleuze 1977a: p.208)

By Dr. Arboria’s attempt to bring a new state of mind and a new state of being beyond the tree-like hierarchy that the 80s future world follows, his alternative solution is built upon a rhizome-like artifice. It ironically ends up being the same tree-like tower (hello controlling prism), with the same oedipal structured branches. Elena can never truly escape the maze and her stories until she wakes up to her true reality.

(These theories are just theories and may be not the vision that the director intended. However, as with all film, like poetry, it’s reader/viewer that ultimately experiences the film in their own way.)

After my dad passed away [in 2005], I started to really have these really vivid memories of the past, and as I was sort of exploring ways to approach this story, I recalled that memory being inside the Video Attic and looking at all of these VHS boxes of R-rated horror and science fictions films and how I would just daydream about the covers and the plot descriptions on the back. I just decided to use that as the foundation for the whole thing. – Cosmatos, 2012

Taking out any interpretation beyond the director’s own words of it being about control, trance like film states, and his horror film cover exposure, one can gather that Beyond the Black Rainbow is something out of the dreams of Panos Cosmatos. Like many directors, Cosmatos manifests horror, sci-fi, and suspense influences and renders them into an extraordinary film journey. It is highlighted by an amazing cinematographic vision by Norm Li (whose previous exposure on Battlestar Galactica can easily be seen in the lens work in this film), and a minimalist analog score by Jeremy Schmidt.**

**(As an aside, I’m huge fan of Mellotron use in film scores and that black and white contrast scene before Nyle’s drug trip was extremely eerie and satisfying. Kind of TMI, but as a kid I used to dream in mostly black and white and it was contrasted heavily like that; at least that’s how I perceive it now looking back. The television my family first owned was a black and white one that I’d spend a long time watching and changing channels to 0 just to see and hear the white noise. Parts of Beyond the Black Rainbow reminded me of this and enhanced my already enthralled state in the watching of it.)

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** I’m a bit of a Bob Clark fan. I think his reputation for directing A Christmas Story and Porky’s largely overshadows his work in creating one of the foundations to modern slasher film, which was Black Christmas. He’s both an underrated director and BC is an underrated film, (and, admittedly, he also made forgettable movies as well).

* Too many times I found myself typing out Nye (as in Bill Nye the Science Guy) instead of Nyle.

Barry Nyle’s pills are from Benway’s Pharmacy. Dr. Benway is a recurring character in the works of William S. Burroughs. Cosmatos partly picked up these themes (the ones of control) by reading the science fiction works of Beat novellist William S. Burroughs, books by and large dealing with societal control.

Only God Forgives: my analysis/review

Nicolas Winding Refn retrospective: With Blood on His Hands screening November 5th, 2013 at TIFF Bell Lightbox! (an analysis repost)

All screening details can be found here: http://tiff.net/filmsandschedules/tiffbelllightbox/2013/2440005195

jacqueline valencia

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Much like my review of Upstream Color, I fear at this point I have to install not just a POSSIBLE SPOILER ALERT, but this analysis is hopefully a thorough one with details some might just want to witness first on the big screen so THIS IS A SPOILER ALERT! A SPOILER ALERT!  DANGER, WIL ROBINSON! However, Only God Forgives is not based on any spoiler per se. My analysis is based mostly on my own readings and my own film critical viewing background. 

Watch the trailer here: http://www.youtube.com/watch?v=MhRKlwr1-KM

My one problem with Only God Forgives was that it was sold as a hyper violent action, kickass fight flick with an intelligent twist. It’s not. It’s hyper violent and intelligently done. There’s little fighting in it though and you’re not going to get a hero. Looking back at a history of Nicolas Winding Refn flicks, who wouldn’t expect something akin…

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Upon rewatching Upstream Color

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Just some thoughts that came up after rewatching it while writing:

(Here are my first impressions when I first saw it:

http://jacquelinevalencia.com/2013/05/23/upstream-color-my-impression-analysis/)

Shane Carruth’s Upstream Color was the story of the main female character. The guy is a secondary character. Although the story may display their relationship as the main focus, it’s the woman’s discovery for truth, not their shared experience. Them finding each other isn’t the main story. Although he’s present: he’s a vehicle, not a means to an end and he’s not the hero. She is.

“For Kris and Jeff, or Kris in particular, to find him to be the culprit and seek him out and do him in, to me that really subverts the story. That means [that] she’s breaking out of her narrative, and creating a new one — but even that one is false in some way. 

And to end the way that it does… the way this film ends is, it does convey that there is some positive, peaceful resolution to her story. And everything about the film — the music, the cinematography, Amy’s performance — all of it are conveying that. But the text of what we’re looking at is probably not so positive, or at least not going to stay positive.” – Shane Carruth

The relationship as an experience, a revelation of the female character’s psyche. The male character helps with that, but his experience isn’t at the centre, nor is his eventual release shared on screen. In essence, if we find someone, a shared experience, we have companions to deal with reality. But in truth, we will always be alone in that shared joy, in that shared sadness since we each bring different histories to the taste of that catharsis. Their mixing up of histories is a great indicator of human’s search for individual identity. Very often we fall into the “we are the same person” hole and that’s when we suffocate. We can only thrive within by being without….together. We survive because relationships help us discover our separate truths. The human condition is universal already, but we are blind to it as we all swim upstream on instinct. We lose our colours to the collective journey. Relationships are not our truths; instead they’re good, nurturing schema. —->It’s a relatable, intuitive survival theme. Thus when we stop swimming (the mental breakthrough), we find that there are many directions for each person. It happens to work better when we journey together (connect) while supporting those separate directions. I’d say more, but I can talk on and on and on about the films that I love.

This is just still one of the reasons Upstream Color is so good.

1. http://io9.com/director-shane-carruth-explains-the-ending-of-upstream-475087719

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I’m covering, reviewing, and interviewing at the Toronto International Film Festival for Next Projection. You can read some of my pieces over there. Some interesting interviews and films so far:  http://nextprojection.com/author/jacqueline-valencia/

http://nextprojection.com/category/tiff-2013/

Also, this has come in SO HANDY!: http://www.hearnames.com/index.php