CINEMOTHS

FOLLOW THE LIGHT - MAKE MEMORY

[cinemoths]

A summation. Qohelet.  To see at the end. 

[quarantecine]

Si el sol se me viene,  Se me desencadenan las caderas, 

Y mil soles vuelven a nacer

“Ema”, Pablo Larraín (2020)

[cinemoths]

“Cuando tú sepas lo que estoy haciendo y por qué, te vas a horrorizar” -Ema

[quarantecine]

Multiplicity, 

lives in shallow-depth-of-field

and swallows the lens

“Field Niggas”, Khalik Allah (2015)

[quarantecine]

He looks straight me, 

and I arrest him in time

and I keep him there. 

“Calcutta”, Malles (1969)

[cinemoths]

“VO: They are astonished to be filmed, to be pitied, to be a source of indignation.”

[quarantecine]

Belly of the beast

All things living spill out

Wetly, they disperse

[cinemoths]

“Leviathan”, Castaing-Taylor (2013)

[cinemoths]

After 6 Seasons of the Americans, this image seems to encapsulate a lot of the sensation. 

[smallgracias]

“I was surrounded by so many flowers,” Kusama recalls. “When I looked around, I saw the flowers everywhere. It was this sense of being obliterated by flowers.” “Kusama Infinity”, Heather Lenz (2018)

[cinemoths]

“I was surrounded by so many flowers,” Kusama recalls. “When I looked around, I saw the flowers everywhere. It was this sense of being obliterated by flowers.” “Kusama Infinity”, Heather Lenz (2018)

[cinemoths]

"The part I really loved, was chasing him." “Midnight Actress”, Satoshi Kon (2001)

[cinemoths]

"To her mind Albatross Soup was one of a kind, because, transposed to film, the director must—through sheer staging and editing—conform the format into a coherent journey that can duplicate more traditional film storytelling beats. The source material was uniquely rich because of its inherent drama and its capacity to be molded into a compelling linear story, even if it is then chopped up and presented somewhat non-linearly. Structure is one of those things that we’ve so internalized via media that we often don’t really notice it unless it’s off, but wrangling these massive unscripted recordings and using them to force the potentially sprawling puzzle into a presentation that satisfies on a narrative level is actually a masterclass of documentary technique, and might be the film’s most impressive accomplishment. " From the review found at: https://www.shortoftheweek.com/2019/05/01/albatross-soup/

[cinemoths]

“Este país siempre ha estado dividido en dos, en una parte están los envidiosos y en otra los intolerantes. Yo pertenezco a ambas.” -Francisco Montesinos

Matador, Pedro Almodóvar (1986)

[cinemoths]

“The game is tailored specifically to each participant. Think of it as a great vacation, except you don't go to it, it comes to you.” -Jim Feingold

The Game, David Fincher (1997)

[cinemoths]

“I'm not a violent dog, I don't know why I bite” -Chief

Isle of Dogs, Wes Anderson (2018)

[cinemoths]

“Remember the story I used to tell you when you were a boy, about a young prince, sent by his father, the king of the east, to find a pearl?” Knight of Cups, Terrence Malick (2015)

[cinemoths]

Started the year off right. Finally watched a film I’ve unsuccesfully been trying to watch since university. Stanley Kubrick’s highly disorienting and awe-inspiring formalistic exercise into angle, perspective and perfectionism. Here, set-design seems to be the protagonist: “2001: A Space Odyssey” (1968).  3rd still from Michael Kiwanuka’s “I’m a Black Man in a White World” (2016) directed by Hiro Murai. 

[cinemoths]

There’s a philosophical difference here, perhaps too fundamental to ever settle, between viewers who fetishise restraint and darkness as the apex of dramatic truth, and those who can embrace sentiment and maximalism. Sometimes you need a confection as a pick-me-up. Real emotion can be bound in a synthetic framework.

http://lwlies.com/articles/al-pacino-scent-of-a-woman-performance/

[cinemoths]

Sunday Cinema. Passing through. “Syndromes and a Century” (Apitchapong, 2006)

[cinemoths]

”Marit Allen, costume designer in the film, said that one of the scenes eliminated referred to the dream described by Schnitzler: “One of the scenes that I remember was never shot, but was present in the copy. It is the great scene of the dream, close to the end of the film. It was extremely complicated... Tom crucified... thousands of naked bodies making love... Stanley, obviously, did not think it was necessary and, setting it aside, decided not to shoot it ”(Lo storyboard)2. “ http://ppgi.posgrad.ufsc.br/files/2014/10/reaa-39-THAIS-FLORES.pdf