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A film can often feel like a test to see if an audience is convinced by the identity of a character matching their inner arc. The sympathy implored from an audience directed towards what identities do or don’t work in our time and how they correlate to actions (usually around a routine) that we can attach to a sort of noble idea, or the opposite if we want a tragic narrative. With every historical condition, new stable identities appear that we think are right until another subjectivity requires accommodation. But how to assert an identity that must be inevitably left behind? The tragic consequences of pitting together two equally weighted truancies is the major dramatic concern of Yasujiro Ozu’s films. The parents of his films build their identity around an established idea of their culture only to find the world their children inhabit changes what was once established. The children don’t stop this process, nor can they, they do what is necessary to exist in the post-war, modern capitalist age. There are variations of stories: kids that want to leave, or don’t want to leave, or want their parents to leave; want to leave but the parents are stubborn so they run away. Whatever the scenario, the parents have to play the role of letting go despite the suffering it might cause them. Nothing convinces that it is the best thing to do, it’s just the way it is. There’s no blame to be apportioned or any attempt to convince anyone of another way. They just don’t speak the same language. The times change and with it the values or stable universals are impotent. In the new world they can only exist as shadows.

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Dir: Luca Guadagnino, Italy/USA, Sony Pictures Classics.

Luca Guadagnino’s Call Me By Your Name (2017) is a film unable to formally follow through on the subjective desires of its protagonist. The film also has a simple premise, a teenage boy, Elio, falls for an older man, Oliver, who is visiting his parent’s villa in Northern Italy. Unlike in Good Time though, the language of the film never catches up to its protagonists shifting subjectivity instead staying regressively stuck in Elio’s initial fear and hesitation over his burgeoning attraction, even as he begins to make the decisive steps towards closing the torturous gap between himself and Oliver. In the moments where Elio’s feelings are most firmly expressed, the camera pointedly shies away and removes our access, never able to risk the same difficult step Elio does with his feelings for Oliver.

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Dir. Josh and Benny Safdie, USA, A24 Films.

Recalling the films of John Cassavetes and early Martin Scorsese,  Josh and Bennie Safdie’s Good Time (2017) has a simple premise that belies its rigorous formal execution. As the film’s protagonist Connie resourcefully attempts to post his brother Nick’s bail through a succession of impulsive and conniving decisions that leave a path of destruction in his wake, we’re given access to an intimate subjectivity that is neither sympathetic nor contemptuous, revealing more about Connie than any external plot pressure would. As he slickly moves from one opportunity to the next with claustrophobic close ups, over a pulsating soundtrack and through a dystopian Queens, we’re barely given a second to recalibrate our uncertainty towards him, kept as acutely in the moment as he is. It’s only when this moment to moment exhaustion overwhelms and our perspective shifts back to Nick that we can take a breath, look back at how we got here, and begin to see Connie for what he really is. Whether he will ever do the same remains ambiguous.

The psychology of the protagonist is expressed beautifully. We are made to understand a textured concoction of personal thought whilst asked to engage in the emotional melee.


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A New Leaf

Saturday Evening Post (4 July 1931)

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It was the first day warm enough to eat outdoors in the Bois de Boulogne, while chestnut blossoms slanted down across the tables and dropped impudently into the butter and the wine. Julia Ross ate a few with her bread and listened to the big goldfish rippling in the pool and the sparrows whirring about an abandoned table. You could see everybody again — the waiters with their professional faces, the watchful Frenchwomen all heels and eyes, Phil Hoffman opposite her with his heart balanced on his fork, and the extraordinarily handsome man just coming out on the terrace.

— the purple noon’s transparent might.

The breath of the moist air is light

Around each unexpanded bud — (more…)

I was an editor on this film. Trailer not by me. Many amazing people are in this feature and have worked on it. Worth a watch. Directed by Rebecca Dreyfus. Can’t wait to see her next work.

ON MEDITATION film trailer from Snapdragon Films on Vimeo.

IMDB: ON MEDITATION explores the deeply personal practice of meditation through an exploration of extraordinary people and their practices including David Lynch, Giancarlo Esposito, Russell Simmons, Congressman Tim Ryan, Peter Matthiessen, Mark Epstein and others.