#mark slutsky

[celluloidrainbow]

YOU CAN LIVE FOREVER (2022) dir. Sarah Watts & Mark Slutsky When Jaime, a gay teenager, is sent to live in a community of Jehovah’s Witnesses in small-town Quebec, she falls madly in love with Marike, a devout Witness girl. The two embark on an intense affair with consequences that will reshape the rest of their lives. (link in title)

[artfilmfan]

this was beyond any expectations, almost flawlessly beautiful love story, some movies just hit you out of nowhere (i'm glad i stumble upon so many independent films purely by coincidence) and leave a lasting impression.

[cinematic-literature]

You Can Live Forever (2022) by Sarah Watts and Mark Slutsky

Book title: Rendezvous with Rama (1973) by Arthur C. Clarke

Submitted by @ciana86

[letterboxd-loggd]

You Can Live Forever (2022) Sarah Watts and Mark Slutsky

October 28th 2024

[asparoh]

You Can Live Forever

You Can Live Forever by Mark Slutsky and Sarah Watts

[rickchung]

You Can Live Forever (dirs. Sarah Watts & Mark Slutsky) x VIFF 2022.

This queer period teen romance about a Jehovah’s Witness community focuses on its burgeoning forbidden lesbian relationship with few surprises but earnestly unfolds a devout religious drama of simmering internal conflict. Set in the 1990s Quebec, YCLF feels particularly universal thanks to its specific setting focused on adolescent young women struggling to express their independent sexual desires amidst a strict religious climate. In particular, the restrained but dynamic lead performances from Anwen O’Driscoll and June Laporte make our investment in the doomed central romance easier to invest into.

Screened at the 2022 Vancouver International Film Festival as part of the Northern Lights series.

[bookwormlily]

I’ve seen Atsuko Chiba as a “father’s daughter.”  It’s a psychological term for a woman who regards her father as the archetypal hero, and this kind of person tends to be very particular about “following an example.” Atsuko Chiba, too, is the kind who prioritizes “what she’s supposed to do”, suppressing her desire of “what she wants to do.” Because of this, she thinks she lacks emotions, or it’s more like she finds it difficult to express her feelings.  And as a result, she doesn’t know how to express her feelings in romantic relationships where a gush of emotions is supposed to be seen. I’ve thought that Atsuko Chiba’s personality careening to the extreme stimulated Paprika’s emotional, wild side, and as a consequence, the two lost touch with each other and ended up splitting.  But this doesn’t mean one is good and the other is bad—it’s the balance that is important, and both sides are to be blamed for not maintaining it.  The big image of a woman that is reborn at the climax is indeed the mature version of Atsuko and Paprika integrated.

Satoshi Kon

[bookwormlily]

In the movie Paprika, I believe the most obvious sexual expression is seen when Osanai captures Paprika and then sticks his hands inside her to tear her apart.  This is nearly rape, but this is what I came up with to show the direct sexual expression in the original in a form other than sex. And actually the importance of this scene lies not only in the shocking sexual expression, but also in the childish desire and personality of Osanai who tries to use his force to control her.  This reflects his selfishness of not accepting her entire personality but only picking out what he finds favourable.  That’s why he doesn’t desire the Paprika-Atsuko personality as a whole, but lusts the Atsuko part, resulting in him extracting Atsuko from Paprika’s body. On the other hand, Tokita, the man who says he swallows anything, is the complete opposite of Osanai.  He accepts Paprika and Atsuko as a whole, and I think that’s why Atsuko realizes her love for him towards the end.

Satoshi Kon