So I finally saw Lars Von Trier’s “Melancholia” the other night. Briefly, the movies tells the story of a two sisters whose constant head butting is suddenly overshadowed by a planet called Melancholia heading straight for Earth. The movie is split into two acts, Part I, entitled Justine (Kristin Dunst’s character), while Part II, Claire, named for Justine’s sister played by Charlotte Gainsborough. The movie overall was good, but took a while to reach its peak and peak my interest. While the first part moved rather slow, it contained one of the most striking parts of the whole movie: the opening sequence, which was quite simply, breathtakingly beautiful; its surrealness captivating and dynamic. The nearly 9 minute prologue (see below) shows the destruction of planet earth as impact with melancholia is realized, the few moments of panic (in the case of Claire) and tranquility (in the case of Justine) just beforehand, and the visualization of Justine’s dark and foreboding dreams. Part I is saved by good acting on the part of Dunst, who often angered me in her wedding day behavior towards her friends, family, and adorable husband (Alexander Skarsgard). We see her deteriorate in a matter of a day, which just happens to be the day of her extravagant wedding hosted by her sister and brother-in-law (Kiefer Sutherland). She becomes depressed, apathetic, and even nihilistic. This worsens over the course of part I and into part II. In Part II we really begin to see the whole picture, the theme of the movie fleshes out with the juxtapositions between Justine and Claire becoming clear. As Melancholia looms closer, predicted to either pass right by or destroy everything in sight, Claire becomes increasingly anxious, as Justine’s depression seems to be less debilitating. Claire is somewhat calmed by the reassurance of her husband that experts agree the planet will spare earth while putting on a beautiful show, but with little real evidence to back it up. Claire’s anxiousness reaches an all-time high, when her optimistic, in denial husband overdoses on her anxiety medication when they realize the planet is getting dangerously close, rather than receding. All the while Justine remains in silent acceptance, or even anticipation for doomsday. As a clinically depressed person, Justine “knows things”. In other words, she is an enlightened individual whose knows that the destruction is eminent and that yes, it will destroy all that we know around us no matter what. But she sees what Claire fails to; that in the destruction of all that is physical and material, the meaningless, therein lies meaning in what cannot be destroyed. And this is what we witness in the final moments of the film, as Claire, Justine, and Leo (Claire’s young son), as they’ve joined hands underneath a fortress of wooden sticks that will protect their spiritual bond from anything.
So…saw Tron: Legacy last night at the midnight premiere in 3D IMAX. It was amazing. Visually. The plot fucking blowed and the acting was subpar but the visuals and the soundtrack (thanks to Daft Punk) totally made up for it. Daft Punk did not make one wrong move and even had a great cameo in the movie. Half the time I wanted to rage to the music at a rave somewhere and the other half of the time I was just awe-struck at the epic-ness of it all. The movie was a little confusing and cheesy, but through its cliched lines, there was actually some depth in there. Read the rest of this entry
I saw Black Swan (directed by Darren Aronofsky) last Friday when it came out and oh my god is all I can say. The movie, if you haven’t heard of it before, focuses on the extremely stressful life of a New York Ballet ballerina, Nina Sayers (Natalie Portman) who is chosen for the Swan Queen role in a production of Swan Lake. At the pinnacle of her career, Sayers begins to crack when she has difficulty finding the Black Swan half of her role in herself. As she seeks her darkness within strange things begin to happen, exacerbated by the fact that she is afraid for her role from her more relaxed, sensual understudy, Lily (Mila Kunis). That’s basically the gist. Before I say anything about it Read the rest of this entry
note: I would listen to some chill beats to this, like some Album Leaf, Telepopmusik, Explosions…
Made with over 35,000 photos and a mixture of stop motion and live projections mapping techniques, i.e. trippy as fuckk
I have recently discovered a love of mine while stumbling on the net on stumbleupon.com: early 20th century color photography. Something about seeing over a hundred years into the past in color makes the experience all more real. It’s as if the presence of vibrant blues in countryside skies and deep reds in a soldier’s uniform transport me to the moment of the photograph’s inception. I feel if the photos were to be enlarged and posted on a wall I could take one cautious but curious step into the past. This is all coming from someone with a heavy black & white film background, but with now a strong appreciation for early feats in photography.
Hey guys welcome to The Chronic Chronicles where you will soon realize all the crazy shit that happens when you’re under the influence of…Margie-Jane is my name and I recently saw the craziest mother f-ing movie that you will ever see this year. ENTER THE VOID is an acid roller-coaster that will make you feel like you’re still rolling long after its nearly 3 hour marathon is over. For sure the best, or for some people, craziest and most ambitious visuals I’ve seen ever. Anywho, currently in class and sober, lameee. Look out for my first audio potcast coming very soon!
Watch the trailer for Enter the Void: http://www.youtube.com/watch?v=lI89ovR36r0