method A Dangerous Method opens with the ominous notes of a cello, that, leading out of the opening credits, give way to a horn & string crescendo and the disturbing first scene: Sabina Spielrein (Keira Knightley) arrives screaming, restrained by men, in a black carriage, drawn by black horses at the Burgholzli Clinic. And as our stomachs vibrate from the bass and the violence of the scene just past, a calm Carl Jung (Michael Fassbender) greets his new patient in a beige paneled room with dark parquet floors and bounced light. This is Zurich. It is 1904. Sabina suffers from mental hysteria (with spontaneous orgasms provoked by humiliation). She and Jung eventually begin a sexual relationship. In these early meetings between […]
**Update: Accatone is a pain in the ass to see, but it’s on youtube right now. Great quality in one full video. Watch it before it vanishes (make sure to turn on CC)** Ballila the Fat Thief to Accatone the Starving Pimp: Did you sell your car? Is all the gold gone? You really look like a beggar. What a bad end! Hai venduto la macchina? E finito l’oro? Ma tu mi pari proprio un dizgrazato. Che brutta fine! Che brutta fine! Che brutta fine! I watched Accatone for the first time eight years ago, and for eight years now I’ve recited those words “Che brutta fine!” with regular regularity. I say them out loud, not to myself, and I do this the most as I walk […]
See parts 2 & 3 of the episode at www.ebertpresents.com And below are a few of my previous Race in Film posts that elaborate on some of the films and ideas mentioned on the show!
*I am traveling right now, and am uneasy and anxious. Interestingly, in the past few days I’ve found myself yearning for the comfort of Juliette Binoche’s breasts in Certified Copy, and so I am reposting* I watched Certified Copy on a plane. I watched it on my laptop sitting between an older man and an older woman, and so the three of us watched the film together. They in secret glances here and there, and I, aware of their curiosity, in varying states of self consciousness. This is the inevitable consequence of personal movie viewing in public spaces, but as we three watched, these lines appeared and to my horror, I began to cry. “Look at your wife, who has made […]
marlene How can I communicate the importance of a film without one dimensionalizing it and destroying its magic? I don’t know. I never want to discuss cinema in a leaden and academic way, but what other way is taken seriously? Emotional discussion of film is often dismissed as juvenile, and this is unfortunate, but also strange. I have no interest in seeking objectivity through art, and since our idea of the objective in regards to art criticism means “from a white, male perspective”, it has no interest in me either. Now, let me make this very clear, because there seems to be a little confusion: This is not a blog about race, and it is not a blog about gender. It […]