4v291o

I first discovered Dean Blunt through this opera. Dean Blunt’s presence is what I really value in artists who let their work speak for themselves, he is someone who uses whatever he has in his resource to get his message and emotions across, even when he doesn’t have any money or resources. There’s also a big appeal that his work has in satirising the conventions of music. But what I connect to in Dean Blunt’s work and this opera especially is how effective they are as works of mood, which absorb you into these deeply personal and hedonistic emotional landscapes that remind one of processing demons through grief. A recurring theme in Dean Blunt’s work seems to be processing ‘trauma’, his choice of language and expression goes for a very pure and raw expression, using directly the music that inspires him and letting his lyrics speak their emotion in simple yet evocative phrases.

A lot of his work seems to explore ‘abusive narcissists’, that might just be me keying that in to my experience , as I am still recovering from a bad breakup. But I feel that this opera explores this theme in a more classical setting, using the backdrop of heaven and hell, angels and demons to express an almost religious sense of relation and betrayal.

His work is as equally elusive as it is immensely personal, and emotional. He creates art that feels as if spun out raw, using low fi thumbnails and names, there’s an equally amusing provocation of music genres.

Inna is by far his aesthetically most elaborate collaboration. Collaborating with the likes of Mica Levi, the performance itself is an experience to just absorb and feel. In of design it is incredibly minimal, yet places you in an intoxicating place.

Amusingly playful and dark, my favourite vignette was Berta - this segment really resonated with me emotionally.

I really like the poetic choice to make the character faceless, with her face re-emerging once she resembles an activity painted on
one of her frames, it’s a crisis of imposter syndrome I resonate in performance-making, I often feel that I am completely lost until you get to the finish line.

I love that the film ends with everyone stripping to make a painting, as if all struggles and pursuits of anxiety were closed on a single idealist painting to validate their entire journey.

Watch and .

“One drop of water doesn’t make change. But keep dropping the water, and it will make change.”

Free Palestine.

Thank you Georgia for just rating this, if it were not for you I would not find out about this incredible mirage of an animation. I do not have many words, just immense appreciation for the emotional vision presented.

My favourite of Kurosawa’s films, his ability as a director truly shines in many powerful poetical choices of subtle visual storytelling in the communication of a scenes’ weight and implication through the mostly absent showcasing of violence and the emphasis on costume and details of a performers NOH-like presence to suggest an emotional reality.

There’s a theatricality which is emotionally sound, I got inspired by so many shots and sequences in this film. There are so many brilliant reveals in this film.

What do filmgoers and gamers have in common, we are all strangers in dark rooms.

Some go to memories, some go to dreams, some to paintings, and others to GTA, when they are lost and start observing the bitmaps of an Indian shop like you’re lost in Peckham late at night.

Really taken by the experience of watching this film, on a craft level, this film tells its story in such a striking combination of different shooting formats and subtle stylistic choices which communicates a narrative of shifting lives changing with the period, culture, and memory. All represented by the films’ stream of period structure. As a viewing experience this film balances enough tonal experimentation with a feeling and ambience which was meaningful to watch.

With 2019-2022 dates and checked, Cinema feels as if it is now in a comfortable place now to reflect on the lockdown. It’s funny to now look at it like a dated period, given how not long ago this all was.

I have noticed most about films made post 2021, share an interest in reflecting on the economy of filmmaking and video editing, to comment on the confusion and changing economy.

I think what this film explores is not just how memory and history exists then, but how memory and the timeline of our history feels entirely distorted by the feeling of the present. Some futures feeling as if they are in the past.

It feels as nostalgic as the dv used in this film, lockdown is memory. And stepping out of the world post-lockdown felt renewing. There was a renewed sense of purpose and life, I feel as if we all moved to a life that was never previously available to us. I felt a very radical shift in what my career even meant to me.

For myself, I transitioned from animation to filmmaking and performance art. And took up dancing classes as an attempt to open my life up more to physical creation.

In this film you see how emotions travel with history, and in events like lockdown unravel and open in a place where everyone feels out of touch.

I feel that I have changed, becoming someone more extroverted and humble. Yet apart of me feels I am learning my way, through the ladders I have formed to learn how to come back to my openness without the mark of trauma.

I am really loving these short films which question existence and liminality by the means of a video games’ function and physics.

These are the sort of questions and meditations, I do not think video games aS a form of expression has enough people exploring within artistic fields. And I think that this and the work of Phil Solomon really get me to re-think what it means to be an avatar in a virtual space. This film is simple in its conceit, yet for me was meaningful, in the same way one looks at a flower and re-examines the architecture of its form, for me it was like looking at a video game and really questioning what it means to be an infinitely changing body. Suspended from time and space.

We have first our broken relationship, and second the relationship with ourselves and our memories. Often we do not know a person until we get to feel the length of who they were once they are absent.

Longing makes any person into a ghost of memory. And we have to befriend it, many do so by filling a void, some accept and move on and become someone else, we all have the journey of putting peace with the past. And hope that we may be able to heal. We are kept in this infinite cycle of longing, which we must learn to responsibly control.

Wong Kar Wai explores labour in his films with the most humanity and nostalgia (by definition pain of ing), and presents his stories with such an organic and emotionally felt awareness. The hug scene is perhaps the best I’ve seen in a film, it emotionally and subjectively emphasises with jumpcuts the weight of what that hug represents to a relation never lived, but also what that hug represents in the comfort of that characters’ longing.

I find his approach as a director to making scenes incredible - essentially improvising the entire film and letting his actors discover the film Happy Together and his other films have such a natural feeling to them. They’re all like sunshines in the soul, despite the bitterness of their characters. They all hit you like a memory that has only been able to share happiness upon retrospect, which in the moment was absolutely miserable.

Everything about Stay’s soul bites of untalented hacks wanting to make their Donnie Darko/Mulholland Drive’s ghost. I was not expecting this film to be as aggressively 2005 and caricature as it was.

A fun experience Ryan Gosling’s character and delivery is filled to the peak with sass.

For every Stalker there is a slasher happening in the same universe.

Touching and beautiful.

Very garish for Tsukamoto, aesthetically an incredible film.

But also a fun exploration of doubles.

The costumes, imagery, and styling choices were candy of the coldest kind, and thematically very tasty.

I will it I am very seduced by this film purely because I just love characters without eyebrows, I want to look like all of these characters.

I think this film has the best sex scenes in cinema.

I am going to live until 120 years, if I don't learn how to play chess now, I envision this as a genuine consequence of not learning how to play chess.

I couldn't help but wonder if this film had a self-referential criticism about what it must feel like to lose creative ownership at Disney, and that executives and creatives essentially play chess to win out creative differences. Everytime that chess box was shown, I felt a sense of subliminal threat, like catching the crack of something dark and undercurrent.

Cinema will never be dead, because you will firstly never see enough films, and secondly you will keep uncovering histories.

Sometimes you will find life in what is buried, and not everything wants to be buried.

This film spoke my language, it's one of those rare moments when a film literally knows you, and as a creative, also speaks the same ideas as something you are also currently trying to get made. I am convinced at this point, that the debate of making original films is pointless, we are inspired by everything around us, ideas and conversations influence everyone. And if you really looked hard you would find a film that captures exactly what you tried to capture without knowing it existed.

In what correlates, it only brings joy in what connects in our planet through synchronicity and coincidence. - Because this film is exactly like a film I want to make, if it had been made in 1994. But I am not envious of the dead, I am simply inspired - inspired to make something different, and will probably credit Amano when that film is materialised.

Twilights resonated with me so much in its silent movie and tableaus inspired aesthetics, creating a surrealist existential crisis which captures the feeling of being in your dreams and out of touch with time and maturity. Your parents mannequins of the past, your friends - hats and pats on the back.

Roaming around in a world that decides your path, but with endless paths to roam. The air floats and sings with humour and bliss, but outside the world is full of wars and corruption. You shift in through time and space, to eventually be the tapestry of your own personal playground.

And about all other thoughts I leave to just being inspired by the playful and entertaining aesthetics on display, this film has such striking visual playfulness and emotive creation despite its DIY minimalism.

This is a film brim full of emotional symbolism, ideas, and abstractions of the feeling of maturing. Existential pondering of being in-between life and death while feeling like both an old woman and a child could not be a more fit metaphor and playful analogy for how I view life at this day and age.

This film was ed on my birthday, and I see discovering this film as a gift for me.

We have ourselves another incredible director whose work is yet to be given its due. I looked into Tengai Amano, I believe we have another incredible director to dust off, and make busy for the archivists.

This man's work looks amazing, a theatre-director, set-designer, illustrator, puppeteer, actor, and founder of the 'Shonen-oja-kan' theatre group. He seems to be someone who was incredibly prolific in his country, the stills I have seen of his work on "Yaji and Kita" and it looks fucking great! www.jfkl.org.my/wp-content/s/2023/01/yazikita_2003china_6.y.jpg

With this film, and the stills I have seen of Armano's work, it is clear that the director has an incredible vision and emotionally creative sensibility.

I was shocked to find this is Armano's only featured film, I am absolutely positive there are more of his films that exist that we are yet to discover.

There's a beautiful if quite tragic feeling sometimes of discovering and praising a director's film long after they are gone.

And of all this joy and surprise, this film fell onto my lap purely because I discovered it from my ex. And in my eyes, if a troubled relation can lead one to discovering influence, creativity, happiness, and above all optimism, and appreciation for creation, then I am happy, and I am infinitely thankful.

The film that is pure dopamine, to make even a moments’ walk bug-eyed and adhd.

I slip in and out of catching up with film histories canon, but knowing nothing, Fallen Angels was an absolute thrill and inspiration to watch. I have never seen a film realise wide angle lenses to such sensorially immediate stimulation. Everything in this films' design just lands perfectly into place, with editing choices which immediately create distinct visual separations. It's always a tight rope to balance low-shutter speed with slow motion, and fast-motion all at once. But this film permeates with such instinctually creative and invigorating energy, that this is a film that truly just lives and breathes in its impeccable realisation of tone and design.

This film puts you right in the dopamine of its characters, and made me feel like I was 16 again seeing Hong Kong for the first time.

I love how Wong Kar Wai, makes this film from beginning to end a ride, it knows its aesthetics are big, but the film also balances itself out with some meaningful moments with its characters personal relations. These are characters that I would probably find obnoxious and look past in real life, but enjoy watching in a film.

Often with films which are staples of everyone's books and canons, I tend to feel a little detached and inconvinced by their effect, like a lot of these big 'history' films just end up feeling like Lottery. But then a film like this comes on, and regardless of what you feel, this film technically is just garishly effective and inspiring. A film you could re-visit at any age with the same level of dopamine.

I re-visited this film with a more open-mind with memory of its predecessor not fresh in, I think it is best to approach this film for its theme rather than its sequel consistency. I still find this to be one of Solondz weakest films, I really don’t like the colour grading, and this film does not communicate or express much outside of its central theme. Yet the film is so short that for its simplicity, its length evens its pacing.

Life During Wartime touches a very emotional deep and complicated theme of how we choose to move on from abuse and trauma - the explicitly asked question of ‘do we forgive or forget?’. A theme I resonate strongly with processing this question in my own trauma.

The film poses this with its previous characters, and like Twin Peaks the Return these characters have radically changed like the places they live in. Yet the problems persist.

For Joy, it’s forgiving and taking agency.

There is no general answer for us and it should not be generalised, as each of us have our own specific experiences, I personally think it is best to find a form of acceptance, which ultimately ends with one not choosing to be stagnant with their trauma, a way to both forgive and forget, to move on from any abuse.

Solondz films have always explored ostracisation, and questioned our own treatment of eachother particularly within neglect and abuse. This film is particularly about the ptsd.

The scenes with Billy’s father returning to talk to their son was one of the most emotional moments of the film for me, there’s such humanisation in Solondz depiction of what is ultimately a tragic character who acted on what they knew was wrong. The fact is that this character is still a human being who has to live with the burden of their action, to the point of being denied connection and almost humanity.

The film asks how much are we willing to accept of someone who has even done wrong before we disregard their humanity.

Really a comfort movie for me, yes there’s not much to it aside from the energy of actors, the and the resonance of the emotion. And I feel that this film especially speaks to me, having broken up with a friend who struck me like an anti-villain. Which the same could be said about, Linda Lawson’s character, yes this film has plottings and tropes that are as dated as any other film of this genre and period, yet this film is so much more sincere and peaceful, it’s peacefulness is genuinely refreshing.

But there’s something about the way all characters speak which feels so smooth and comforting, in an ASMR kind of way. Dennis Hopper and Linda Lawson’s presence just comforts me in this film, they are both levels above the script. But I just appreciated all the little things in this film that made this film, obviously the tarot references and siren setting was going to seduce me as a lover of esotericism and mythology.

I would argue that this film is a great example of a love-bomb film. You know there’s fate linked to the characters, but you enjoy their time together until the bomb sets off.

Genuinely one of my favourite Fellini films, this film surprised me by having so much personality, symbolism, character, and emotion than expected.

I was captivated every minute!

I love how Fellini celebrates and presents life, his film feels as if it was dreamt by nihilism, yet was realised with infinite optimism, ion, and love that Fellini makes you both laugh with him and at him.

Me and Kit double billed this film with Coppola’s B’Twixt Now and Sunrise. The two bare similar crises in the late director exploring their own grief, in Coppola’s case it is his lost son. In Fellini’s case it is nostalgia as a party, the old men who are still children, the old friends we still forget to spend time with, and the annual lust list of female bodies that Fellini still craves.

He finds both his sensibilities and the world of the time he was making this film silly, and so explores his feelings with sincerity, absurdity, poetry and humour.

And there’s something so powerful about that, to make what is archetypally a zoomer film where you are both laughing at yourself and the world you’re out of touch with.

Coppola writes like his characters like they’re on two different worlds. Sentences and plots stop, Coppola just has no interest to finish what he started, when what is most important to him is to process his grief for his son which he channels with his idols and influences.

This is a film about a man out of touch trying to reconcile his feelings, not giving a fuck about consistency, trying for the bit of his budget in the hope that he will return to make his magnum opus…Megalopolis.

Self-referential dialogue make the intentions clear in meeting idols to inspire him, Val Kilmer’s character becomes a cipher for Coppola’s own desire to move on.

This film has become something of a staple among letterboxd s fond of aesthetics which showcase digital experimentation. And while I ire the intentions behind the attempts to capture early ‘coloured’ black and white photography, and select colour palettes. The ambition clearly outweighs its small budget and resources, yet Coppola still wants to go for it.

I’m not in a position to process my feelings to the inviting layers of subtext and background which I expect will make this film tasty for speculation following. I am going here based from my pure feelings, on a technical and formal level, this film is incredibly satisfying.

It’s familiar in its influences and tropes, but uses them to tell an incredibly refreshing and narratively effective emotional journey. This film plays with your feelings and expectations in such fun and emotional places. This film reconciles so much feeling for trauma in the tropes of Horror. Taking you in unexpected yet impactful shifts.
.
For me this film is ultimately about how we are all susceptible to corruption, in trauma of hatred and suffering.

Everything has a poem, that only we can tell.

What these filmmakers remind us, is that every experience is a document of our existence, our non-sequiturs, our little undefinable waltz of words and moments become instrumental reminders of our happiness to purge us from the void of grief and absence.

I watched this film thinking I was for a moment seeing the first home film of Takashi Ito, until I realised I was watching a film by Isao Yamada. This odd feeling of feeling like I was watching an unreleased film from a director that never existed made this film feel as if I was watching something snuck away from time. Isao Yamada’s films come to you like this.

The discord servers going crazy on this guy’s filmography years after they were finished, it’s a beautiful feeling of dust, which works completely in the favour of short films designed for a personal purpose, abandoned and then left for the Internet to discover.

These are ghosts in film form.

You watch these films and wander, what was their relation, what were they discussing on the day of shooting. A byed with their film camera, a locked away treasure for the aesthetics and memory.

Perhaps she just really wanted to look at mirrors and drink margarita. And I just fetishised it as a relic of ghosts.

Being a director to document your friend, making your friend the avatar of your emotions. Turning your friend into an abstraction of feelings. Most of these experimental films are portraits of anemoia, the person unknown the feeling shared.

Loved this!

It’s always incredible to meet filmmakers who have such incredible lives, I have found since I moved to London that I am always surprised by the strange synchronicities and coincidences which have engulfed me into circles and friends I am infinitely grateful to know. It’s never predictable, and everything always leads to the next. Among the filmmakers I have met, one of the most exciting is Em Li, who I had the pleasure at meeting at one of the WendyVision party’s I have since had them in my periphery for a long time. And got the chance to properly meet them when they videographed a performance I made at Portal.

Em, your film was really valuable and resonant. Reminding me of the magic of a Terry Gilliam film, where magic is both wonderous and plagued by the crisis of the everyday. I mean this comparison as a complement. This film tells a story that is so beautifully realised, showing numerous characters, the film routes for many perspectives, and represents the importance of magic in the cycles of loss and disconnection from land and family.

All the actors and delivery of lines all come from a very palpable and felt place.

Very sweet and sincere short film about the importance of respecting your imagination.

Every time I re-watch this film, it becomes sadder and more tragic. This is a film about social ostracisation, the trauma of neglect manifested in the social maligning of outsiders. Particularly within femininity, the film is about the hunger for idealisation, and the silent savagery of dismissal.

I am so struck by 3 Women’s attentive non-sequitur and dream-like atmosphere, and how simultaneously grounded its reality is. Everything is so mundane it is surreal.

The film has with its tragedy an incredibly infectious curiosity, which makes the viewing experience incredibly memorable, it’s visual language of unusual colours, contrasts the boiling tension beneath.

Free Palestine!

Thank you KinoMad, for sharing this film.

I really want to check out more of this directors’ work. Watching a film about Palestine from a Palestinian’s point of view was incredibly enlightening for me.

I must it that I am not the most well-read person when it comes to country-politics and borders. So I feel close to this filmmakers deliberate silencing of events, the intention here is to highlight the absurdity and horror of a country that is silenced.

The filmmaker’s choice of aesthetics reminds one of Roy Anderson with symmetrical framing, dead-pan delivery, and occasional stylistic and tonal non-sequiturs. However, one finds that these choices are not just intuitive stimulations but conscious choices that comment on the control and isolation of a country bordered by checkpoints, silencing, and control. It’s terribly saddening that events prove worse now.

This film has so much humour which as comedy is arousing, but as commentary is incredibly potent. The film is a marks optimising in its ‘divine intervention’, appropriating surreal imagery as a symbolic expression of optimism, in a horrifying oppression.

I think that surrealism as a tool of expression is and has always been a very personal expression, one that reveals the nature of experience and paradoxes, as truthfully emotionally and cosmically.

This film has as it should do arouse curiosity about Gaza Strip, this was 23 years ago.

Free Palestine!

m.youtube.com/watch?v=5IWXAjHXCo8&pp=ygUSTGltaXRsZXNzIHBhcmFkaXNl

Really impressive film, given the fact that the director was making this animation at the age of 18 while he was still in college. Beats anything I made in that time.

For such a young age, his short films around this period are booming with strong messages and unique aesthetics.

Each of his shorts has an incredibly personal energy and intensity to them which make each film incredibly intense experiences. You immediately sense that these animations are cries of a traumatised, angst and angry teenager who has been traumatised by his country, system, and school.

You truly experience the expressions of someone who feels as if they had nothing but resentment towards everything around him. These films feel like purgings.

So many films like this easily fall into the feeling of a ‘a closed minded incel lack of ability’, but Haradi, has so many unique emotions, commentary, and visual expression to showcase even in his limited resources that his short films really stand out.

This is perhaps the penultimate youth angst revolt against the education system.

Adolescence as a project aims to capture a believability and authenticity in its characters and subjects. This mini-series is incredibly effective in creating a believable and papable situation, which asks many questions about how society, the individual, and the perpetrator deals with grief and ability.

The series maintains a decisively neutral point of view, creating all perspectives alike. Which I think was an important choice in dealing with the subject of children, murder, gender, and grief.

The acting from everyone is absolutely incredible, the series’ strength is in its authenticity, acting, and writing. Watching this was very relatable, in how characters exchange and interact with eachother, you are constantly aware of this sense of cognitive distrust, and inability to connect. I was genuinely distressed and felt as if I was in the same room as these characters.

The series gives you its answer, but distorts the question based on its varying perspectives - the police, the family, society, the child.

The series I think most potently explores the ability and ostracisation of children, the relation and mistrust of law enforcement, and the reciprocation of grief and trauma in family dynamics.

How we choose to and process someone is how we choose to move on. Do we forgive them, do we decide to forget them, or do we construct narratives and perspectives to distort facts, guiltrip ourselves into believing we could have done something, when there was nothing we could have done. We have to work to be at peace. Ultimately there is empathy for everyone, but someone is dead, and that action must be held able.

Sabin Balasa's YouTube Page recently ed this with a soundtrack. My experience watching this was completely different from the first time.

I view Return to the Future as an animation about generational depression, the process of a tear descending into darkness, the inheritance of sadness, and the inevitable optimism to grow into light, after the cycle of darkness has ended. It reminded me of the journey of going through trauma, where one eventually matures from it, by learning how to forge their own portal.

m.youtube.com/watch?v=1jgvqFAUaG8&list=LL&index=1&pp=gAQBiAQB

I am very curious about the production of The Death Lullaby, the film opens with a similar note to Godard’s King Lear. Making the production of the film a factor of the narrative, that fact this was made by one person in 3 years is absolutely astonishing, that is an incredibly short period for a animation which showcases these incredible animated sequences of smooth shifting geometries, constantly changing peripheries on both bodies and vantage points. The Death Lullaby is a film not just about childhood abuse, but about the systematic violence not just of the film but the economics of Japan. This film is one which reciprocates its emotion not just internally but nationally.

What stands out to me is the film’s aesthetics, it reminded me of the flexibly chaotic nature of a Bruce Bickford film. There’s something about low fi analogue soundtracks which I find very appealing in these short films.

This film has its emotion rooted in pessimism, but it’s among many of these films which still has a surreal sense of vision, which makes this film open up to a more psychedelic quality.

This film definitely feels as if it was conceived by a 20 year old in the best way. It’s emotions are intense, its visions are highly innovative and striking, it is unlike any animation I have seen.

I’ve been coming back to images of this film. Since doing a performance where I created a piece about two engers who died and resurrected inside an abandoned fiat panda with moss over growing. I’ve grown a strong emotional and expressionist attraction to the car as a metaphor for a journey into the unknown. The car as a liminal space, sometimes a journey into death, or the approaching into places beyond. I went back to images of Casey and Matt in the car reflecting on what is front of them as I’m Spiegel plays, those subtle emotions and facial features feeling the sun them, as a calm before the tragedy. Somehow feeling it before it happens.

This movie is a road movie, a movie about the journey into survival, the adaptiveness of human communication, and the liminal walk into death.

Scenes soaked in spaces with so much emotions of distances beckoning death.

David makes an act of cooking Quinoa a unique drama of time, energy, and order. He commits to every bit, this video reflects the world view and commitment David would bring into every occurrence of life. Truly changed by this man, I felt the tension when there was not enough time to put the broccoli in. As a neurodivergent, I take eating and cooking seriously.

But the stories cooked during was the true meal of this memory, which we are all happy to now log on Letterboxd, and call an entry in Lynch's filmography.

The shores rush and the sky goes down, as simple as an everyday occurrence, a beautiful image of unreal proportions a sight of the everyday in the beginnings of CGI.

I have noticed many reviewers hyping
this film as a work of ‘batshit insanity’, many reviewers likening the film to David Lynch in of its ‘surreal effect’. Which always states more about how many films they have seen, than of the film itself. And as someone who enjoys films which are intuitively surreal and ‘weird’, these words do not represent this film well.

Unless surrealism for you means conservative straight guy forming incestuous relations and demonising disabled people, then this film may stimulate you, a little, I would strongly encourage you to see more films, if you are watching this film purely for this alone.

I am going to be very brash with this review because I do not have too much to say, I simply watched this film for Hijakata’s involvement who is one of my favourite Butoh performers. It’s lovely to see more films which incorporate Butoh, even if to a very minimal screen time of 2 minutes.

This is the third film I have seen which was adapted from a Rampo novel, and while I have never read any of Rampo’s work, and I welcome people to recommend me any of his work. I am starting to get the sense that he might be one of my least favourite writers, every film I have seen which is based off of his texts has vapid characterisations and contrived provocation, which remind me of the musings of a straight lustful incel with a very limited pallette of experience.

You sense that these films were made by filmmakers who have an incredibly derogatory view on women and disabled people, who have perhaps had no relations with disabled people, or women.

This film is very much a product of its time, it has not aged well in its ethics. As a work of narrative provocation and taboos, it is incredibly shallow. And lacks the empathy or genuine affection to make its subjects believable.

I am frankly disgusted by films which demonise ‘disabled’ people. This film was clearly targeted towards an incredibly conservative crowd. Even its surrealism and ‘weirdness’, is so hollow that I would not recommend this film.

I wanted to log the final part of Twin Peaks The Return.

Coming back to the series 8 years later is a fascinating feeling, 2017 now feels like an epoch, and The Return resonates differently. Now that my perspective on Twin Peaks is less fanatically charged. I view Twin Peaks the Return as using Twin Peaks itself as a surrogate for exploring the sensations and feelings of what it is like to be misplaced from time, to age into an older body, to be caught in the flux of intersecting lives and realities, shifting day-by-day. An inconclusive world of vignettes chaotic and sporadic.

Twin Peaks as a series feels as if it shifts aesthetical worlds regularly, like someone walking from a suburban town into an abandoned oil station or a forest.

Connecting worlds with disconnected feelings.

One could only leave Twin Peaks with a feeling, which is what Lynch I think most prominently wanted to conclude with, the ideas that he doesn’t understand yet trusts.

The finale feels like characters floating in moments after a plot has ended, almost like an extended epilogue. But everything here has a completely different sensibility, direction, and tone in comparison to the previous episodes.

There’s this disquieting sensation of: where are we, who are we, and where are we going? None of these questions are answered and the aim is to simply make us anxiously aware of these questions as pure feelings.

I think the best comparison I make, is that this episode is a lot like an Antonioni film, deliberate meandering to make scenes feel more like spaces, pacing is there to make you feel present in the space, time lengthens when one is lost, the scenes are the journey. Take it as it comes.

The final episode is so stripped compared to other parts which is a surprise, the quite conflictory special effects are no longer present.

Scenes are slower than usual, and have a weight of anticipation and space in them, which feels like you are stepping into the ether, someone described it as dream-like not in the sense of it being surreal, but in the sense of you being overly aware of the emotions, because of how much there is less than usual. Which makes each flow almost like being lost on your way home late at night. Tireless trudges in a flight or fight mode of emotion.

Kyle Machlachlan and Laura Dern play incredibly haunting subtle performances, Dale’s character is not who we think he is, and we see him struggling to comprehend both himself and the world around him. To me he feels like doppelganger Cooper, Dale, and Dougie all combined into one character - it feels genuine like an autistic person who feels slightly out of their skin, reacting in ways they are not used to. Cooper’s comments and interactions are all delivered with an uncertain yet confident demeanour. One that borders between good and evil, it feels natural.

I actually like how the series rather than showing you characters you expect, creates new versions of characters who feel as if they play new parts of themselves as time changes.

To me it feels reflective of how life changes you as you move forward.

Sheryl Lee and Kyle Machlachlan’s subtle body language creates unease:

The sequence with Laura and Dale moving late at night in the car, is so subtly impactful, there’s nothing except a vague drone playing. The gaze and look of two characters who know something is wrong, who both feel they may be heading to the end of the world.

The subtle feeling that something is wrong without ever revealing what it may be.

This episode is a road, a journey to a place we do not know.

David Cronenberg’s new film is one of the most cerebral and unique depictions of grief I have seen, and he explores it in perhaps the most ‘him’ way possible. Which is not to say that this film is lesser for feeling familiar, it’s actually just that I still haven’t processed this film. A re-watch is imperative.

Cronenberg does what he does best transforming the tenderness of deeply emotional worlds into explosive landscapes of body politics, and surveillance.

Through conspiracies and skepticism, Cronenberg presents a powerful and intoxicating exploration of grief.

That’s all I can say right now, I still need to process this film. And like Crimes of the Future before this one, there are so many layers of subjects explored within the exchanges of characters.

The narrative framing and form of this film is interesting, because most would probably turn this story into a ‘it’s all in your head’ narrative, where the plot is by design an illusion, so characters become surrogates, and some directors and writers create those narratives with such expected plot beats, because they are attempting to sculpt twists.

Which Cronenberg does, but poses more with an ‘if’, than a ‘this is the real interpretation’ type ending which ruins films that aim for mystery -(‘I’m thinking of ending things for example). Because it is not about the ‘twists’ or the ‘conspiracies’ those are all intrigued and frameworks to explore the truth of the subject of the complexity and confusion of grief and the human condition. Which the film uses to create a conclusion which deliberately paradoxes the plot, and embraces in emotion.

I am surprised by how much this film works well, the film is incredibly convincing and effective. Out of context, each dialogue has an inorganic and detached feeling, which sounded more like characters reading a monologue than directly talking to eachother, as if each character is simultaneously in conversation with eachother and themselves, but it becomes very clear that this was a deliberate narrative intention, to present a story of distortions which makes sense for the narrative of grief.

This film I think ultimately explores the distortion of grief, and how our minds construct elaborate conclusions as a way to handle our world model after experiencing loss. I have not experienced grief vividly in my life, but having just gone through a bad trauma, I relate it to this feeling of patterns and constant reflux, where the conclusion has to be healthily created by the individual to mature from their own trauma.

Seeing this film on 16mm film was a dream fulfilled, I told myself I would not see this film again until the changing of medium.

And I must say this was a perfect time to re-evaluate the film which instigated my entire creative career in filmmaking and performance art. I have this film to thank for inspiring my creativity and my spirituality.

The sound of an obscure whirling came form the projector before the film begun, it was an incredibly evocative sound, like a memory replaying something you are familiar with but in a different way. The tone would violently shift, from harsh contrasted to slightly denatured, all of this added to the texture of a memory of a world dreamt from some of the best sound design.

Truly a miracle for the influence this film carried with it!

I am infinitely grateful.

People have bedtime stories to fabulise their youth, starry nights, and magic lanterns. I had Tara and Shaye Saint John to tell me explosive tales of autism and dopamine.

Shaye and Tara live in my mind, all snuggled up in my language and identity.

The otherly empty apartment, the synth midi soundtrack, the transportation and humbleness of an android welcoming me to beginning of teenage-hood. Whispers of body dysphoria in the liminal landscape of identity and non-identity in the realm of virtual image and mannequins.

When I left the screening, someone’s immediate response was ‘If I were to have someone make a documentary about me, I would get my exes to be interviewed for they will have the most revealing and honest perspectives of what a bitch I was’.

Incredibly touching and believable, a raw portrayal of youthful hedonism and cynicism in Araki’s world of the queer and depressed.

Compared to Nowhere and Doom Generation, this one takes a more grounded and almost-video note style of filmmaking, where the dialogues and interactions of the characters are more in the forefront. I found the experience of seeing this film reminded me of the importance of films which remind us of the destructive and embarrassing parts of ourselves which we repress or try to forget, it makes us aware of ourselves as forever changing people, and allows us to find solace and acceptance in the places we violently erased in our memories.

It was something many people from my screening, who said to me ‘God, I am glad I am no longer like that’. And for me that moment was when I recalled an experience in which I almost committed suicide because I couldn’t get access to my grandmother’s computer and that thing breathed my being as a 13 year old. You are grateful you do not let the dumb sensitivity of youth change your life in those moments.

As teenagers we are incredibly sensitive, emotions are weigh down on us as we try to find our identities across different sexes and preferences. It’s the time where the body is radically changing. But I feel the most underlying tension in this film is the aids crisis, and as someone who was not born in that period, I could only imagine the discouragement and existential threat that posed to every LGBT person everyday.

In the audience of the screening I spoke to many people who were non-binary. And while I was too uninitiated to experience the lives that these characters go through, one can make connections. And it certainly allows one to contemplate their own youth, and hopefully for those going through it to find solace.

I think a lot of childhood was spent living in an unspoken sense of dysphoria, which only came to me after I comfortably found how I even perceive myself. The body is different from who we are within. And this crisis and struggle always continues in the social anxieties, pressures, and roles given to us. The performance of who we are.

What an amazing surprise of a film. A brilliant surrealist satire on the assassin lead. Branded to Kill is an elliptical, beautifully poetical, yet hilarious exercise in decaying the archetype of the Japanese assassin film.

The film poses what is an assassin of the mind, a frequently burnt out figure who never sleeps, and has an eating disorder. The rice is played for laughs, but also unveils a dark yet vulnerable undertone to the pathetic quality of the lead.

The liquified room, textures of water seen in the primacy of artificial vision.

Before we know, we see. And some films are just about seeing, the nature of perspective.

Angel, made me think about being a sculpture at the end of time. A static spectator, like an audience viewing the tranquility of day rising and ending, with my thoughts produced under the water pond’s ripple and the leaf’s departure.

To be a silent spectator of intermediate existences.

The earliest memory I have is of my
Mother shutting a door on me out of frustration of in my inability to help them. The most vivid memory I have is the thought of knowing that I was 5 years old.

I the interior room, the yellow warm light, the carpet, something about my rooms seem to feel as if they are lit in a way a room could only texturally feel in 2001 or 1998. I feel a strong sense of tranquility, talking about them is strange because with my words I always try to articulate feeling and I can only articulate that something that usually feels like a purgatory of city-life dopamine now feels like an extract of life from long ago seen in the eyes of a 20+ year old.

I feel as I am now looking at life through the eyes of an imaginary 20 year old I once thought of when I was 5.

Transcendent.

This film healed my trauma!

Has it really been 8 years?!

My memory of seeing this when first premiered was exciting, to witness an event of David Lynch in a time when no-one knew what would follow was incredibly exciting. This I feel was and is still the feeling that approaches Twin Peaks the Return, so to return to a series in which 2017 now begins to recall itself in a period of epoch feels very exciting to someone who still feels as if they are growing to find themselves.

2017 is the year which I feel moving-image begun to really instigate the fusion between artist-filmmaking and mainstream media, where communities and the desires of the public again called for cinema and streaming to scream for challenges and for lack of a better word ‘emancipated’ creations.

Twin Peaks The Return’s impact was and still is an incredibly exciting and optimistic reminder that audiences are excited by what they do not understand but are changed by, regardless of quality, and regardless of content, a piece speaks for itself. And I feel that the return is proof to the industry that narratives like life are not limited to arcs nor stories, a story is a sequence - events, happenings, journeys. The space that is filled within a moving-image is there to ultimately be spectated.

Now with Twin Peaks The Return being allowed to be called a reflection of its period, it provides an interesting look into what has changed since The Return and what 2017 was.

To begin with David Lynch, as an artist and creative showcases himself in a completely new form, aesthetics, and disciplines. The fact that audiences were really receptive to this form is incredibly irable.

It is akin to Mulholland Drive in the sense of the series like an Antonioni film is all about the journey of its ideas, concluding arcs, and ideas like a book of ideas that may or may not return to what it has established.

Just because you mark a stone in the ground does not mean it will still be there when you return, life changes. And if there is anything The Return states it is that you can never return to the past, to return is to actively create a new memory by new form.

Time is different, and our lives have changed.

Twin Peaks’ identity is simultaneously referenced but of a completely different entity here.

The series asks you to both forget and to .

I think that the aesthetics of Fire Walk with Me and the original series speak about the mythologising of America. In the case here it is something that is almost as raw as reality yet altered digitally.

Everything here is sterilised, the red glow of the black lodge is now empty of ambience, there is no shadow, but light.

Lynch opts for complete emotional and ambience sterility.

CGI that makes you aware of each screen presence being an inherent part of H264, watching every image feels like you watching a dimension of life being told through a digital screen.

Without realising I watched this film on the exact same Thinkpad used in the film, a broken screen, as if the remains from the digitally glitched murder, which made for surreal immersion into a world that is by design detached.

Despite my iration for the series, (and I say this believing Inland Empire to be Lynch’s masterpiece and penultimate work). Lynch’s direction and writing feels far less textured and as emotionally alive as the original series, or even his work in Inland Emprie. His sterility in sound design, and visual digital rawness. Then stifles the moments in which Lynch actively attempts to recreate the same surreal nature of dreamscape attempted in the original series, which in-comparison feels hollow and empty of soul.

One could argue this as deliberate, and the emancipated form does indeed in some regard lend to the emotional power of many integral narratives and moments. But I feel Lynch constrains himself too much for his own good.

To the point that Part 8 really I feel is this season’s saving grace. Because Lynch truly lets his expression command the aesthetics and textures required to make his emotions strike in the form needed.

This series is in equal parts reaches its potential, but also detracts and lacks a mystery and emotion which makes his other work so memorable. And I think a lot of that is due to how much Lynch forces his mythology to exist within the artifice of aesthetically unappealing digital not in VFX but also in devices. There’s less refine to the composition, things appear as they may be in reality which does not meld well with moments which are meant to be expressionistically heightened.

And in moments I think Lynch’s digital artifice fails him, take the one scene where the ‘gulps’ disintegrates, in the BTS, you see Lynch applying dough to create a featureless figure, in the actual show none of this is used, and instead Lynch just uses photoshop to create a visual crack. I think that the inclusion of texture in this scene would’ve made the sequence far much more effective even if low-fi in a practical setting. This I suppose speaks more to my preferences, but because some imagery does not anticipate a room for unintentional humour I realise that my initial confliction is affirmed by not being convinced by the intended emotion.

That being said, this series equally feeds moments where the surrealism and emotion, hits right on track, Part 8 is in my opinion one of the best short films Lynch has ever created a true realisation of his sensibilities.

• Shakespeare’s Sonnets
• The Black Rider
• Einstein on the Beach
• Home of the Brave: A Film by Laurie Anderson
• INNA
• Stop Making Sense

My list of Stop-Motion films, I am particularly attached to this list, as I feel that there are too many cutesy stop-motion films which don't utilize and explore the intellectual and evocative potential of the medium, this I hope will introduce animations which will give you experiences and contemplations made up of dead frames with the illusion of life!

• The Wolf House
• The Angel
• Prometheus' Garden
• The Tale of the Fox
• Eager
• Mad God
• Street of Crocodiles
• Stille Nacht I: Dramolet
• Dolls Don't Cry
• Blood Tea and Red String

...plus 53 more. View the full list on Letterboxd.

• Rehearsals for Retirement
• Perpetual Spawning

Thank you Charlotte and Zodiac Film club for inspiring this list, these are my selections for oneironauts looking to channel their lucid dreamscapes with film, and hopefully emerge out with the two combined.

• City of Pirates
• The Black Dog
• Asparagus
• Om Dar-B-Dar
• Manoel’s Destinies
• The Angel
• The Hourglass Sanatorium
• Surviving Life (Theory and Practice)
• Earwig
• Evolution

...plus 6 more. View the full list on Letterboxd.

Films for the longest of times have been referred to as a dream medium, the psychological connection is inherent. This list is interested in films both long and short in duration which completely blur the line between film and dream, not just in the reality of the film, but in our experience - these films stimulate the phosphonic explosions into the rem cycle.

• Breakfast
• The Angel
• The Woman Who Powders Herself
• A Solar Dream
• City of Pirates
• Brouillard #14
• Ville Marie
• The Blind Owl
• Last Year at Marienbad
• Black Moon

...plus 20 more. View the full list on Letterboxd.

I do not recommend these films based on the idea that they will heal your trauma. These are films which helped me emotionally process the roughness of my emotions, which helped me to better understand myself and am ever grateful for.

• I Do Not Know What It Is I Am Like
• Green Snake
• Sinners
• Love Exposure
• Life During Wartime
• Filmletter★oufuku IV

A list of favourites that keeps changing as does my taste. Those that remain are films that continue to change, spark, and inspire me - but importantly have shaped me, and films that I indeed love.

1. The Wolf House
2. El Topo
3. Green Snake
4. City of Pirates
5. The Holy Mountain
6. The Fabulous Baron Munchausen
7. Asparagus
8. The Angel
9. River of Fundament
10. The Color of Pomegranates

...plus 90 more. View the full list on Letterboxd.

A trend of filmmakers channelling old aesthetics in digital software.

• Twixt
• Twin Peaks: The Return
• Hanagatami
• Labyrinth of Cinema
• Goltzius & the Pelican Company

• Interrogation
• I'm Thinking of Ending Things
• Céline and Julie Go Boating
• Cremaster 5
• Suspiria
• The Holy Mountain
• Forbidden Zone
• Neon Genesis Evangelion: The End of Evangelion
• Under the Skin
• The Hourglass Sanatorium

...plus 59 more. View the full list on Letterboxd.

Come on now, expose these into your retina!

• Marketa Lazarová
• When the Cat Comes
• Kagemusha
• Woman in Chains
• Black Cat, White Cat
• The Free Will
• Bacurau
• Sada
• Bad Lieutenant: Port of Call – New Orleans
• The Assassination of Jesse James by the Coward Robert Ford

...plus 68 more. View the full list on Letterboxd.

Really just a list of fantasy films which make me so much magic in a way that to me feels shared across th

• Prospero's Books
• The NeverEnding Story
• Legend
• The Company of Wolves
• Bram Stoker's Dracula
• Green Snake

• Inland Empire
• Blue Velvet
• The Elephant Man
• Eraserhead
• Twin Peaks: The Return
• Twin Peaks: Fire Walk with Me
• Mulholland Drive
• Twin Peaks
• Rabbits
• The Straight Story

...plus 3 more. View the full list on Letterboxd.

• The Little Soul
• Dolls Don't Cry
• everything is ok | an ASMR to help you sleep at night
• Macabre

For the unrequited, the limerence, the unreciprocated, for the lonely, the mourners, the lovers who love in moments, for moments.

• Last Year at Marienbad
• The Beast
• Queer
• Mulholland Drive
• The Brown Bunny
• Despite the Night
• I'm Thinking of Ending Things
• Eternal Sunshine of the Spotless Mind

• The Beast
• I Saw the TV Glow
• The Zone of Interest
• The Substance
• Sanatorium Under the Sign of the Hourglass
• Challengers
• Rumours
• She Is Conann
• Do Not Expect Too Much from the End of the World
• Dune: Part Two

...plus 1 more. View the full list on Letterboxd.

• May
• The Hunger
• The Ninth Configuration
• Violence Voyager
• Golem
• The Wailing
• The Blackcoat's Daughter
• The Boxer's Omen
• Alucarda
• Dogra Magra

...plus 1 more. View the full list on Letterboxd.

• Normal Love
• The Yellow Sequence
• Pink Floyd: The Wall
• Mulholland Drive
• Antichrist
• Koyaanisqatsi
• 2001: A Space Odyssey
• Black Narcissus
• Gummo
• The Fly

...plus 7 more. View the full list on Letterboxd.

• Lost in New York
• Hanagatami
• Pastoral: To Die in the Country
• Manoel’s Destinies
• Sanatorium Under the Sign of the Hourglass

• A Streetcar Named Desire
• Involuntary
• Alraune
• Leptirica
• Gia

• Eager
• Asparagus
• The City
• Pas de Deux
• Mad God: Part 1
• Breakfast
• The Woman Who Powders Herself
• Brouillard #14
• Life Is Flashing Before Your Eyes
• Stille Nacht I: Dramolet

...plus 78 more. View the full list on Letterboxd.

Recommend me some films, that's it, don't tell me anything, just recommend them and I will see them because you recommended it to me.

• The Naked Island
• The Plague at the Karatas Village

1. The Persians
2. The Oresteia
3. Medea
4. Medea

• Cemetery Man
• A Zed & Two Noughts
• City of Pirates
• The Cell
• The Baby of Mâcon
• The Capsule
• Earwig
• The Wolf House
• Hard to Be a God
• Crimes of the Future

...plus 13 more. View the full list on Letterboxd.

• Son of the White Mare
• Faust

...and nothing was what I was expecting it to be.

I will sleep here.

• As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty
• Skinamarink
• Institute Benjamenta, or This Dream People Call Human Life
• The Evolution of the Stones
• Dolls Don't Cry
• Stille Nacht I: Dramolet
• The Wolf House
• The Man Who Sleeps
• Tale of Tales
• Through the Ruins

...plus 4 more. View the full list on Letterboxd.

A list about the curious realm of film characters who have families they make on photoshop.

• Klimt
• Batman & Robin
• Scream 2
• The Change-Up
• Easy A
• Left Behind
• The Intruder
• Transformers: Dark of the Moon
• Twin Peaks: The Return
• Gone in Sixty Seconds

...plus 3 more. View the full list on Letterboxd.

Ranked by Surreal-ness!!

I would like to use this list as an opportunity to spotlight entries which embrace surrealism more openly and definitively than most apocryphal entries, this list is also an opportunity to hopefully clear the apocryphal reputation of films which only utilize surrealism in scenes rather than their whole. This list is only for those that entirely embrace surrealism into their form.

Yet, I mainly wanted to create this list not only to please surrealist fanatics like myself, but also to recommend people films which I view are the quintessential and most embracively surreal films, taking advantage of every cinematic device to craft a fluently surreal viewing experience.

I feel that far too many lists, start meandering over their selections of films which only use surrealism as an aesthetical tool for expressing minor elements which do not serve the film outside of one scene.

Throughout my entire experience with cinema, I have always been intrigued to watch a film that could evoke an ethereally transcendent experience through surrealism. And out of the films I've seen, the entries have proven to fulfill what I feel are the most surrealist experiences.

If you're one who wants to get right into cinema's capabilities with Surrealism, I believe that any film 20 onwards fulfills that expectation. Film at 28 and under are films I would consider films with strong elements of the surreal.

Feel free to recommend any if you like, although none will find themselves on this list if they don't evoke any of the core ideas of surrealism.

Films such as Au Chien Andalou are not featured due to the fact that the film is short, if I were to list short films this list will go on forever - although that's an idea I hope to encom at a later date.

1. Tetsuo: The Iron Man

   Transformative surreal kinetic INSANITY! -Essential viewing

2. River of Fundament

   One of the most unabashedly unfiltered operatic works I've seen - Essential Viewing

3. Kuso

   A grotesque sensual assault of surreal splendour - Highly recommended if you do or don't know what you are getting yourself into.

4. The Holy Mountain

   Poetically, whimsically, and soul-strikingly surreal - Essential viewing

5. Om Dar-B-Dar
6. Inland Empire

   Essential viewing

7. City of Pirates

   Paradoxical surrealism, and oneiricality - Essential viewing

8. Paprika

   Essential viewing

9. The Angel

   Hypnotizingly delphic, cosmic and sensorially surreal - Essential viewing

10. The Insomniac on the Bridge

...plus 36 more. View the full list on Letterboxd.

Faeries are feral!

• Tideland
• The Brothers Grimm
• Return to Oz
• Palindromes

Experiences I fondly , the quality of the film is irrelevant, only the memory is discussed here.

• Om Dar-B-Dar

  I had not slept. I had went to a rave, and then saw this film just by chance. SupaKino attempted to introduce the film, and failed, after 20 minutes they gave up, and just showed the film. The first image was a rough classification board.

  After the film played, I don't think there was a single person in the cinema who felt real after seeing this film.

  I applauded the film by doing a handstand with both of my feet in the air, clapping my shoes for it made my mind dance and shake its cognitive ass!

• Two Years at Sea

  During this films' meditatively enchanting runtime, I slept and dreamt about a group of old men who grew spoons from their mouth and rode on balloons, I then told this dream to the filmmaker who was there for a Q&A.

• Opera

  This was the first time my friend went to the BFI, and it was for such an intensely mind-baffling experience with Argento's dissonant work of insanity - Opera. The audience was filled with laughter at the final moments, my jaw has never been this widely opened by a film.

• Gummo

  Seen on VHS and 35mm, both experiences made for a film experience I could only describe as seeing a Frank Sinatra album a as work of film.

• As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty

  Seen at Closeup with my dear love Nina, we both played finger games, and started dancing during the 4 hour duration. Jonas Mekas allowed any response to take place in the duration, and that made us feel incredibly free and liberated, when a filmmaker acknowledges the space it is projected in, and accepts anything.

• Star Wars: The Last Jedi

  I watched this film with my Mother at cineworld, this is one of the rare instances, where I felt connected with my mother, we both laughed hysterically at the films' awkward execution.

  A highlight was seeing 60+ year old Mark Hamill doing ridiculous acrobatics.

• Sorcerer

  After one hour of delays from the REX cinema, and many leaving, this film begun and made up for every minute of that wait.

• Bound

1. Grass Labyrinth
2. Pastoral: To Die in the Country
3. Laura
4. Smallpox Tale
5. Fruits of ion
6. Butterfly
7. Throw Away Your Books, Rally in the Streets
8. Farewell to the Ark
9. The Trial
10. Labyrinth Tale

...plus 4 more. View the full list on Letterboxd.

Each of us at some point will come across a film, which may never be seen, either due to artist discretion or that the environment that the film was played is no longer available, these are films which I have had the fortune of seeing, which I will have only my memory to go on.

• The Afterlight
• Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone

  Maybe a film that is best left for those who want to see it, because once they do they are greeted to one of the most memorably discarding works of Paul McCarthy, it is exactly what you think this film would be. Not words to please anyone desperate to see it, but if you do, you will.

• Ghosts and Whispers

  Played for Clare Hammond's tour, this film is a performance more than a film, a collection of fragments accompanied by Clare Hammond's score. It is inevitably not a work that would ever be seen elsewhere. Yet, many of us I am sure will see this film in another way, many of the footage here are taken directly from existing Quay films, and those not yet seen will be seen.

• 1000 Kings
• Cremaster 5

  Cremaster 5 in HD, this beautiful work, made more by its high quality was screened at Picturehouse Central. I went to both screenings, just to see this one. Cremaster 5 is such a beautiful film in HD, and boasts some of the most flamboyant Eiko Ishioka-like costumes.

Music over Movie

• Moonlight
• Morvern Callar
• The Holy Mountain
• Synecdoche, New York
• Under the Skin
• Jackie
• Fantastic Planet
• Tetsuo: The Iron Man
• Suspiria
• Midsommar

...plus 5 more. View the full list on Letterboxd.

• The Holy Mountain

  Repressed sexual elder with profusely lactating leopard nipples.
  illuminatemyeyes.files.wordpress.com/2009/05/2460456309_e472c8cab0.jpg

  storage.googleapis.com/stateless-campfire-pictures/2019/02/The-Holy-Mountain-1973-dir.-Alejandro-Jodorowsky.jpg

• The Lovers on the Bridge

  Running Naked, Fireworks, and heightened set.
  images.celebritymoviearchive.com//thumbs/hd/j/8823/Juliette%20Binoche%20-%20The%20Lovers%20on%20the%20Bridge%20-%202_1-500.jpg

  www.mondo-digital.com/loversbridge5.jpg

  media3.giphy.com/media/DVesIonZoyhxK/giphy.gif

• Prospero's Books

  Urinating boy, Yellow ship underwater, frames within frames, stomach prosthetic

  www.jonathanrosenbaum.net/wp-content/s/1992/03/prosperos-books-017.jpg

  66.media.tumblr.com/360d9f3897e8abed81ef621f6a2925cb/tumblr_pdaht1Reld1uvhqjfo3_500.gifv

  lh3.googlecontent.com/proxy/89oGPiBF2JedGzjMptageAg2NKk1h4uSpuFUV3x0waxcvpFlmPMpNJk45uiuYFa-fGodH0hy6U5CIvZcS6hPiFCjJyaZ9tkxxsYS24uj_5QfeQSqQqOF4dWrjpiA8GbNtG2rpAA

• The Color of Pomegranates

  "dream" tableaux, Final Shot - Armenian Cut

• Mister Lonely

  Bicycle and Nun Sky diving
  mpsdownsblog.files.wordpress.com/2014/03/misterlonely4.jpg
  www.artnews.com/wp-content/s/2018/06/lonelya.jpg

• House of Tolerance

  Semen/Milk Tears
  i1.wp.com/s19.postimg.cc/i2voryvsz/lapollonidesouvenirsdelamaisonclose.jpg

• The Angel

  Pitcher, frolicking in a bath, and librarians.
  www.cinexploria.fr/wp-content/s/2018/09/POSTER-ange.jpg
  m.media-amazon.com/images/M/MV5BZDZmZWUwODAtOTU1MS00ZTNiLWFmODgtMmNjMDliYzE5NjNlXkEyXkFqcGdeQXVyNzI0NjU1ODc@._V1_.jpg
  pixhost.icu/avaxhome/05/7c/00107c05.jpeg

• Gerry

  Noon to morning walk and clouds.
  i.pinimg.com/originals/ff/b4/81/ffb481ceb363d8d917c465e7fdbf41e8.jpg
  filmmakermagazine.com/wp-content/s/2018/07/Elephant-1.jpg
  i.pinimg.com/originals/42/0f/8e/420f8ea5c2d08f9ffffe7691b8b2682c.png

• Grass Labyrinth

  Surprise tableaux and final shot

• The Sacrifice

  TV static flutter, miniature house, and naked woman running

  scontent.fbrs1-2.fna.fbcdn.net/v/t1.0-9/96289455_900150857112440_1590406379456167936_n.jpg?_nc_cat=101&_nc_sid=730e14&_nc_ohc=TAPY0JPqd3gAX_NE7oI&_nc_ht=scontent.fbrs1-2.fna&oh=3ebb587d1509500423464a8636a957b4&oe=5F76D0BC
  i.pinimg.com/originals/e9/96/a0/e996a08fda4035cd5e6cf9870468cc6a.jpg
  i.pinimg.com/originals/ad/24/91/ad249168ad61225785e5f2dbc3dfa396.png
  i.pinimg.com/originals/c7/55/b2/c755b2eed0dff050736aa78a4e2960f1.jpg

...plus 23 more. View the full list on Letterboxd.

A mythological cinema where night prevails, and darkness illuminates.

• Sombre
• The Angel
• Breakfast
• Sleep Has Her House
• The Woman Who Powders Herself
• Vitalina Varela
• Horse Money
• Skinamarink
• Eraserhead
• A New Life

...plus 1 more. View the full list on Letterboxd.

• One White Feather
• The Forgotten Colours of Dreams
• Dialectic

• The Holy Mountain

  Alejandro Jodorowsky

• City of Pirates

  Raul Ruiz

• The Wolf House

  Joaquin Cocin & Cristobal Leon

• The Lovers on the Bridge

  Leos Carax

• A Lake

  Philippe Grandrieux

• Synecdoche, New York

  Charlie Kaufman

• Earwig

  Lucile Hadžihalilović

• The Piano Tuner of Earthquakes

  The Brothers Quay

• Prospero's Books

  Peter Greenaway

• The Angel

  Patrick Bokanowski

...plus 9 more. View the full list on Letterboxd.

• Fear and Loathing in Las Vegas
• The Man Who Killed Don Quixote
• Brazil
• The Adventures of Baron Munchausen
• The Imaginarium of Doctor Parnassus
• Tideland
• Time Bandits
• Twelve Monkeys
• The Zero Theorem
• The Brothers Grimm

...plus 1 more. View the full list on Letterboxd.

• River of Fundament
• Om Dar-B-Dar
• City of Pirates
• The Angel
• The Wolf House
• The Golden Boat
• The Fabulous Baron Munchausen
• Asparagus
• The Hourglass Sanatorium
• Possession

...plus 15 more. View the full list on Letterboxd.

My personal favourites of Ruiz's filmography followed by a rank of his other works that I've seen. The top 16 are all solidified as my favourites, the ones I would urgently want anyone to view, the ones in descending order from 17-21 are films that I like yet wish were more. And 22-24 are the ones I ired or appreciate yet do not really like, or enjoy and 25-28 are my least favourites.

1. City of Pirates
2. The Golden Boat
3. Mysteries of Lisbon
4. That Day
5. Three Crowns of the Sailor
6. La Recta Provincia
7. Manoel’s Destinies
8. Snakes and Ladders
9. Life Is a Dream
10. Bérénice

...plus 18 more. View the full list on Letterboxd.

Inbetween our moments of ing, and journeys from places, we are confronted with the ethereality of space moving across time, simple in a sentence, complex as an experience.

A sentence cannot summarise, nor can a text look to analyse these experiences, they are titles to allude your interest, for the image and sound to be your invitation.

We'll see you on the other end of the discussion, but for now I hope you all a pleasant journey into some of cinema's best sensorial journeys.

• Samadhi
• The Angel
• Brouillard #14
• Ville Marie
• I have found your dream.
• Remains to Be Seen
• Fire in Castilla (Tactilvision from the Moor of the Fright)
• The Emblazoned Apparitions
• Psalm II: Walking Distance
• Psalm I: The Lateness of the Hour

...plus 22 more. View the full list on Letterboxd.

• Mr O's Book of the Dead
• Shakespeare’s Sonnets
• Einstein on the Beach
• The Black Rider
• 10/65: Self-Mutilation
• 6/64: Mom and Dad (An Otto Mühl Happening)
• The Other Side of the Underneath
• Strasbourg 1518
• Pina

• The Angel
• The Wolf House
• Institute Benjamenta, or This Dream People Call Human Life
• City of Pirates
• Holy Motors
• Topos
• Shakespeare’s Sonnets
• Last Year at Marienbad
• Vampyr
• Eraserhead

...plus 6 more. View the full list on Letterboxd.

• Decision to Leave
• TÁR
• The Banshees of Inisherin
• Three Thousand Years of Longing
• Barbarian
• Aftersun
• The Kingdom: Exodus
• The Souvenir: Part II
• Vortex
• This Much I Know to Be True

1. Boro in the Box
2. Any Virgin Left Alive?
3. S... Sa... Salam... Salammbô…
4. Osmose
5. After Blue (Dirty Paradise)
6. Our Lady of Hormones
7. Living Still Life
8. Préhistoric Cabaret
9. The Wild Boys
10. Apocalypse After

...plus 7 more. View the full list on Letterboxd.

• The Doll's Breath
• Mile High Threshold: Flight with the Anal Sadistic Warrior
• Aenigma

A list that spiritually captures a season of festivities, and finality. Take of it what you will.

A list of films when you no longer have December and only liminalities and delirium.

• Stille Nacht I: Dramolet
• Kwaidan
• The City of Lost Children
• Unity
• The Golden Boat
• Wings of Desire
• The Tales of Hoffmann

1. Earwig
2. Everything Everywhere All at Once
3. Memoria
4. The Northman
5. Blank Narcissus (ion of the Swamp)
6. Flux Gourmet
7. The Viewing
8. Crimes of the Future
9. Mad God
10. After Blue (Dirty Paradise)

...plus 2 more. View the full list on Letterboxd.

A list of the most textured and strongly made sound design/foley work in films

• Earwig
• Hard to Be a God
• Alice
• Flux Gourmet

• The Wolf House
• The Other Side of the Underneath
• The Devils
• The Devil
• A Visitor to a Museum
• Mad God
• Earwig
• Evolution
• Hard to Be a God
• Hour of the Wolf

...plus 26 more. View the full list on Letterboxd.

There was not a list before on this site, now there is.

One film per director

• Freak Orlando
• The Fisherman's Daughter
• Daisies
• Asparagus
• Blood Tea and Red String
• Earwig
• Madeline's Madeline
• Possibly in Michigan
• The Lure
• The Capsule

...plus 24 more. View the full list on Letterboxd.