Grey Gardens

Unlike anything I've ever seen. Besides that weird turn of the century footage of men hunting polar bears in the Arctic that Tomasz made me watch at the Gene Siskel Film Center. Or Cremaster. My life has been changed.

So many questions.

Gamorra

For You

A great question to ask at the end of this film is, "Which storyline was your favorite?" There is much to take in with Gomorra—it's a spiderweb of vignettes focusing on the Italian Mafia and how it affects all classes and ages. This is the meat of the film, and it's saying something distinct about Mafia culture. Here in the states we think to ourselves that getting a good education, moving up in the world, daring to keep kids of drugs; all of this can get you ahead in life. Gomorra is saying that even if you do that, the end result is the same—the company that hires you will be run by the mob anyway.

It's risky to think that Gomorra represents the true Italy (this is still a movie, complete with elaborate narratives and suspense), but hiding behind the cinéma vérité lay thought-provoking comments on culture, code of conduct, and class mobility.


For Me

When was the last time you saw a modern Italian film? (I'm not counting Life is Beautiful or Cinema Paradiso. These are a different kind of film, in a genre of their own. Women love them, which creeps me out.) It's great to see something well made, superbly acted, and expertly written come out of Italy.

I am a goddamn mind reader when it comes to plot lines and viewer expectations. Gomorra constantly surprised, caught me off guard, and worked against anything I was waiting for. All the while maintaining a subtle attitude, taking itself seriously, but not manipulating the viewer. If we were manipulated at all with this film, it was in the story surrounding the author of the books that Gomorra is based on. He's in hiding now, apparently after telling too many secret truths that belonged solely to the Mafia. This forces us to think we are watching "true stories," and I'm not falling for it.

Gomorra is a great film, but will lose it's luster upon repeat viewings. It's success lies in it's suspense. The Hurt Locker, my favorite film of 2009, suffers from the same syndrome—after the first time you see it, you're blown away. Moved. Affected. But re-watching, what us film nerdies do best, reveals mistakes, not perfection. If you haven't seen either of these movies, save it for the right occasion. Consider it your virginity.

Gamorrah Trailer

The Hurt Locker Trailer

Dear Video Games

I hate you. Here's why:

Right now I live in a house where the living room is set up for viewing pleasure. Perfect. Only problem is, video games get played way way way too often. I own a Nintendo DS and have been addicted to Tetris and Dr. Mario since before I was born, so I'm with my roommates as a partner in crime. But gaming is an inherently singular experience. This, I like.

I made dinner at the house last night, and as we were eating, Tomasz and I picked something random to watch on Netflix streaming (my new favorite thing in the whole wide world). Yes. We eat dinner at the living room table. Judge away. Stuffing goolash into my face, I kept hearing:

"What is this?"

"She's my favorite character so far."

"Do girls actually say that?"

Kids kept pouring into the room, sitting down, attention grasped. But hey—people were eating—so there's no need to be overly intense.

Having a TV in the living room is never a bad thing, but it should be used to invite conversation, ideas, exploration. A video game only entices the player, leaving the rest of us in the dust. Or worse. As tag-a-longs. Gross.

I prefer capture the flag. Or kickball. Then we all get to play.

Oh, and the movie we were watching (I know you can hardly contain your excitement), was Trust, by the Amazing King of awkward play-like movies, Hal Hartley.

Trust Trailer

El Topo

I had this movie laying around for centuries before I could set aside my ADD and concentrate on watching the whole thing. It's a surrealist spaghetti western (what a mouthful) that barely has a plot, but is loaded with great visuals. El Topo is not my favorite surrealist film, but it did remind me of some great ones. Before delving into this cowboy bebop, start with Cocteau (preferably Orphée), then try your hand with the rest. You choose, this way I wont be blamed for ruining your night. Sorry again Dad.

Orphée by Jean Cocteau
















The Discreet Charm of the Bourgeoisie by Luis Buñuel













In the Mirror of Maya Deren by Martina Kudlácek

(This is a documentary about one of the most amazing an influential surrealist auteurs, Maya Deren. It's crazy hard to find any of her films, so this is pretty much the only way to get a peek at her work. I love her like I love denim on denim. Visionary.)

New York, I Love You

I couldn't watch the whole thing. My apologies, it was too painful. Using the wonders of Netflix streaming, I was able to fast-forward through the first three quarters till I found what I was looking for—a short by one of my favorites, Fatih Akin. It's called "Chinatown," and it left me underwhelmed. Shorts are almost impossible to make well (trust me, I've seen some that nearly made me lose my faith in cinema completely), but I do love how Wolphin can curate a scenario of entirely watchable miniature films. Like these:

"Kitchen" by Alice Winocour














"Bobby Bird" by Carson Mell











"The Pity Card" by Bob Odenkirk








"Sour Death Balls" by Jessica Yu

So Mr. Akin, I don't blame you for making something that was just, okay. Shorts are hard, and I'm a pretentious snob.

My Son, My Son, What Have Ye Done?

While Watching
Slightly funny, disorienting, creepy intrigue that led to boredom

After Watching (One Day)
Not the best

After Watching (Two Days)
Just bad

Today
Bad on purpose?

Anyone else feel like Herzog is messing with us?


My social experiment: Ben recommended that we see it and I resisted the urge to read anything about it. True story. I haven't walked into a movie with a blank slate like that in a thousand years. Your assignment for the week is to watch a movie that someone told you to see that you know NOTHING ABOUT.