Hunting for truth is an elementary business.

A terrible beauty is born.

[theghostofcesar]

More news: I have two new zines for sale featuring the art, stories, and comics I’ve been doing between April 2015 and June 2016.

The first zine is called “Places, and the things that occupy them.” So named due to the fact that most of the work relies on the powers of observation, and the capacity to fulfill oneself with space. It’s about physical proximity vs. visual proximity. 18 pages, both color and b/w, 8x11 size, salmon pink cover. You can purchase this zine here. 

The second zine is called “Chance and Form.” I chose this title because I felt the work represented what I feel is a chance to reform. To grab chance through creation and form. The comics within speak directly to feelings of chaos in form, truth in form, death and dream in form. 20 pages, both color and b/w, 8x11 size, blue cover. You can purchase this zine here. 

I ship anywhere in the US! Thanks.

[gazelleceez]

I also made these two as well! If you're interested then buy one! Thanks!

[theghostofcesar]

FINALLY, SLUR issue 1 is here. It’s been a long time coming of anxiety, depression, and beating myself into submission so as to put something together and get it the fuck out there. I’m extremely happy with the results, and am in debt to my two friends who contributed their original artwork, Luca McGrath and Taylor Lea Macias. I edited, printed, stapled, and numbered this issue, next one will feature a different editor with a different perspective. This is 18 pages of content, mainly b/w, on 8x11 paper, with three different colors of covers, orange, blue and red. If you’re interested in buying one here is the purchasing link, I will ship anywhere in the US! Thanks for your time. 

[gazelleceez]

I made these! If you're interested buy one, support creative expansion!

[freshmoviequotes]

Green Room  (2015)

[hag6]

Dogtooth (2009)

[marvel1980s]

Magik by Farel Dalrymple

[communicants]

The beautiful intro to Silent Light (Carlos Reygadas, 2007).

[strangewood-deactivated20190307]

Post Tenebras Lux – dir. Carlos Reygadas

[bigwoolycoat]

“Brother” by Shee Phon.

Written for a small zine I’ll be printing sometime soon. There’ll be other stories along with this one, in different media!

This turned out a lot more pessimistic than I’d expected, uh oh. I even got a little down revising it.

[nosleepnyc]

Sarah Nicole Prickett at her home, shot for Mask Magazine “Persona” issue. Check out the full interview on the link below.

http://www.maskmagazine.com/the-persona-issue/life/sarah-nicole-prickett

[durgapolashi]

One problem with the “personal essay” is that it requires the essayist to speak too plainly and for too many people “as a woman,” “as a black woman,” “as a black queer woman,” rather than to write in a womanly style, a black womanly style, a black queer womanly style—a personal style, the thing I feel so passionately and contradictorily about. There are so many essays with no style which are subsequently not essays at all. Didion said style was character. Hardwick said style was fate. Someone else I’m sure has said what I believe, which is that style is argument (again, there is nothing more stylish than an argument raged against yourself, and there is nothing less stylish than an argument raged against people who don’t even care about you, which is one of the traps of what we now call “identity politicking” (never mind that in America all politics are identity politics)). Another problem with the “personal essay” in our moment is that it mistakes the first person for the personal. An essay can’t just be about something that happened to you because you’re you. Everything has happened to someone; what new can you make of it is the question. There is nothing more personal than the connections you see between seemingly disconnected things, the ability to do so being, as I learned in an old episode of the X Files, “a mark of genius”; I just think it’s a mark of individuality, which is normal and easy to confuse with genius. There are enough geniuses but not enough individuals. There are a lot of people who know a lot, but knowing a lot is no reason to write an essay. Neither is feeling a lot. Neither is having learned a lot: a good essay is not a lesson but a relentless taking apart of the object(s).

SNP (via her tumblr) where she generously answered a question about her thoughts on the personal essay  (via durgapolashi)

[ozu-teapot]

The Act of Killing | Joshua Oppenheimer/ Anonymous / Christine Cynn | 2012

[kiyosh-deactivated20170110]

from The Act of Killing (Joshua Oppenheimer, 2012)

[thefilmstage]

One of the few things I can really say I love is cinema. I’ve lived a long time for cinema. I lived with it, I still like it a lot, I like doing the work. Now I think it goes a little bit beyond cinema. I was much more of a cinephile 20 years ago; I was much more a believer in all then powers — natural, supernatural [Laughs] — of films. Now cinema, for me, has become… I always say, if I’m just doing a film, I think I wouldn’t bother. There’s something else for me.

We have an extensive conversation with Pedro Costa about the mysteries of Horse Money, films about forgetting, and Bart Simpson.

[365filmsbyauroranocte]

Cavalo Dinheiro (a.k.a. Horse Money) (Pedro Costa, 2014): empty spaces

[mrsamuelhaines-deactivated20181]

After Lucia |Michel Franco (Mexico, 2012)

“Why did you go to the beach late at night? Why didn’t you report it immediately?”

[fraino]

Films - 2012 - #123. ”Después de Lucía” (2012. Michel Franco) 

[salon]

I had already decided that “Güeros,” a gorgeous slice of deadbeat Mexico City slacker poetry, was a work of genius even before the characters step out of the story (for the second time) to debate the movie with the director. These pretentious Mexican directors, one character complains (while sitting on a fancy terrace of a party he just crashed, drinking someone else’s booze), are painting an unfair picture of the country. Why do they want to make these arty movies in black-and-white featuring beggars and criminals? Then they go overseas to film festivals and convince French critics that Mexico is full of gangsters and hustlers and degenerates and phonies and corrupt politicians. But that’s all true, his friend observes. OK, the first guy admits, it is. But should they really get to make their movies on the taxpayers’ dime?

Tragic, romantic and hilarious, this late ‘90s Mexican rebel odyssey is 2015’s foreign-language breakthrough