hello. i don't remember the last time i talked about a movie in a sort of review style. i know it was something i used to do, especially when i started posting on the regular and when i was taking those film classes and such three or four years ago. maybe i haven't seen anything worth mentioning since then (most likely the case), but today i would like to bring attention to les emotifs anonymes.
i absolutely relished this film to the full extent, rarely something i will admit to for a film with content such as this. i'm not normally the one to enjoy dramas and romances and comedies too often...i suppose there's too much to think about and keep track of once the film gets going and my upbringing on senseless violence has attributed to this so i end up spacing out or becoming jaded with the trite and banal plot. or i end up super emotional (damn you eternal sunshine).
les emotifs anonymes was different from the usual fare because i felt as if it was a representation of how i go about things, perhaps more of how i used to, and what's happening in terms of "i'm shy and awkward and you're shy and awkward....it's kind of a bad match" incident as of late. all i could think was, "god, that's basically me. i'm really almost that level of shy...holy fuck." it was just...i don't know, i felt as if it summed up what was going with me. the plot revolves around a française chocolate maker who is part of a self-help therapy group à la AA where she reveals her struggles with shyness and love. she becomes employed at a chocolate-making shop(..? is that what you call those sort of places?), becoming the object of affection for her boss, an equally shy and awkward man who has a great love for women, but is too afraid to approach them romantically. it was an enjoyable to watch them interact in train-wrecking fashion over the most normal of everyday activities. and i was maybe swayed a bit because it was a french film. i do enjoy those in general. most times. when the mood strikes.
i could relate to the awkwardness immensely.
i really had a wonderful time viewing this; it was magical in a weird way...i don't know. maybe you have to be a quiet, shy, covert romantic to understand why this film is good. i highly recommend giving it a watch.
it was pleasant to see this in the backgroud throughout the film, too.
this is Pierre Niney. it's almost as bad as my last obsession with Gaspard Ménier.
let's calculate: 140 days in korea. fathomable? yes. enjoyable? not entirely. everything feels so nostalgic and it triggers the trauma i've inadvertently harbored all these years. it's all on me, isn't it? i've made it what it is, the intolerable days that go by (a lot easier to stand now) and the social suicide i've committed (not as prevalent, but still). hm. i make for a miserable existence.
anyway, there is concern for me from others, especially about looking like i should be in the sense of my age and my intentions. i understand what's meant, but doing that here?? questionable beyond reason. it's not like i want that attention..all the time or here, for that matter. this sounds ridiculous déjà vu. if you care to backtrack, please do and tell me i've said everything already. from my recent readings...and film viewings on the youtube i have concluded (at least for me) death to be a romanticized aspect of life while love...oh, this absent, seemingly easy ritual of being--it's illusory and elusive and malignant. It won't ever arrive, will it? that isn't what i meant to say, i merely forgot the realization i made before. yet. i know that deep down inside, even before i read pere goriot, i never showed my love. BALZAC!!! why did you have to solidify my suspicions? this runs deep; i may never display affection or admiration blatantly. i fear relationships parallel to my parents. this cannot be. i don't want it to ever be.
actions to take place: risks, good deeds, some form of whatever included in love's realm with someone i share an undeniable & star cross'd affinity with (yes, there needs to be attraction on at least three levels). isn't this a silly trifle.
i’ve been gone for too long, maybe? In the time of my absence I’ve watched a fucking bunch of entrancing, good/grim shit. Ok..I’m gonna start with this whole Guy Pearce stint I’ve experience (just like the Eric Stoltz one I had in December and I’m talking about suddenly watching movies featuring these people). First off was L.A. Confidential—I really don’t know why I watched the whole thing, I guess I heard something about it that triggered something in my brain or whatever—which I found intricate with interconnections involving crime and unexpected killings. It was slow going and long, but dramatic, old school, detective investigating shoot-outs ensued. Within the same week there was also the viewing of Ravenous. Now, this was another film I vaguely remember being mentioned somewhere, primarily about the subject of cannibalism, and, lo and behold, there was Guy Pearce again (also Jeremy Davies; I suppose he’s part of a stint I had including Spank the Monkey, Lost, and this thing). It was late, i turned it IFC and was utterly transfixed to this gruesome interpretation of 1880s expansionists exploiting Native American folklore for their own evil ways. That doesn’t seem so far fetched, do it? Besides all the blood gulped down and human femurs munched on, I found the whole thing to be a very enticing thriller examining the extremes people go in order to survive—or become more powerful—like survival of the fittest sort of thing. The music was good, I mean, when they were going through the woods and stuff to the cave and when Pearce’s character was in the woods—it was up-beaty-folksy. Right then. Living in Oblivion was quite good; it was fucking funny (i.e. “you hostess twinkie motherfucker”) and showed all the shit film cast and crew deal with. Very trippy too, like, there were these dream sequences…what was real? Or fake? I can’t say specifically for sure because everything bled together and continued into the next scene and it fucking tripped me out, dammit. Lastly there was On The Water Front. Now, I guess all I knew about it was Marlon Brando playing the main guy (a li’l bit of...),
but I dinna know shit about the plot or any of the other people in this thing—Elia Kazan, Leonard Bernstein (I should know better)? To be honest I didn’t much care for whatever was going on, but the cinematography—the compositions of the shots, that was beautiful and conveyed the emotion of the situation/scene brilliantly as well as the messianic undertones (the music helped with this, too).
