Dario Argento, and yet it is perhaps the clearest indication of his interest in the cross section between identity and perception on the one hand and science and technology on the other. The story revolves around a break in at a genetics lab where researchers are studying the XYY gene mutation. It seems as though nothing was stolen, but the event is followed by a series of apparently unrelated murders, starting with the only man who knew what the intruder really did. With no apparent robbery and no obvious connection to the murders the police aren't interested in the case, and the investigation is left up to a young journalist and a blind man with a love of solving puzzles.
Tuesday, March 31, 2015
Monday, March 30, 2015
|Malleus Rock Art Lab|
Friday, March 27, 2015
As an old favorite of mine and an easy contender for my top 10 most watched, I was incredibly blessed to see Paprika back on the big screen thanks to the wonderful Brattle Theater (they were also showing Sorcerer, but the large group of friends we assembled couldn't be arsed into seeing two movies on a Saturday night).
Thursday, March 26, 2015
Wednesday, March 25, 2015
Warning: Spoilers for Dredd (2012), Prisoners (2013), RoboCop (2014), and Veronica Mars (2014) throughout.
"I Am [Before] The Law"
Violent Police vs. Benevolent Criminals
In "Before the Law", Franz Kafka writes about a man from the country seeking entry to the law. The gatekeeper denies him entry, but explains that he may be able to enter some time in the future. So the man waits. At the end of his life, he asks the gatekeeper why, in all his time waiting, no one else has come. The gatekeeper responds, "Here no one else can gain entry, since this entrance was assigned only to you. I’m going now to close it." In doing so, the gatekeeper indicates the fallacy of the man from the country: he assumed that there was only one point of access to the law, that the law was an objective institution, when instead the nature of his individuality and subjectivity were always taken into account from the beginning. It is not a building we can enter and exit as we wish but something more ethereal, and our actions and our politics are constantly in the process of reshaping it. The lesson to be taken from Kafka's parable is that justice and the law do not coexist separately from our participation, that our subjectivity is a crucial ingredient in the functioning and power of the law. The law never exists without its subjective dimension.
In contemporary American ideology (embodied in modern Hollywood cinema), this lesson takes on an additional layer. It is not impossible to gain access to the law in its objective dimension, it is merely that this process robs the subject of their subjectivity, of what makes them human. We may access the law, but by doing so we are robbed of our subjectivity and the law is likewise robbed of its connection to justice. Law and justice are no longer inextricably interconnected, and we are forced to search for solutions outside the state; but these can be just as problematic. The common solution of vigilantism arises from a false heroism which tragically reproduces the same conditions of injustice it was meant to alleviate. So how do we resolve this deadlock?
The following recent films visualize this concept of someone who has gone through the gate of the law (as the man from the country never could) in order to explore what they find on the other side. These fictional representations allow us insight into popular perceptions of both the law and vigilantism and their problematic relationship with justice and violence. Specifically, they show us how these relationships are bound up in the law's constitutive split between its subjective and objective dimensions.
Tuesday, March 24, 2015
Brazil is a science fiction black comedy from famously idiosyncratic director Terry Gilliam, and even though I don't consider myself a fan of the director's work in general, to me the film is a masterpiece. It is so richly textured both in terms of its visual presentation and its thematic construction that it's hard to know where to begin (the film almost belongs as part of the German Expressionist movement). Perhaps it is Gilliam's penchant for detail which draws me to the film, as there's a part of me that wants to go through and take screenshots of every one of the fabulous fake posters scattered throughout the film, but there's much more here than simple style.
Friday, March 13, 2015
The following analysis contains potential spoilers for the broad strokes of the plot of Hero. If you haven't seen the movie yet and are looking for a quick reason to check it out, it has some of the most beautiful photography ever. If you like kung-fu movies and don't mind "wire-fu" then you'll probably find as much enjoyment in it as I did.
Thursday, March 12, 2015
They say your life flashes before your eyes when you die, but what if it was someone else's life instead? Lost Highway—as with most David Lynch films—is a particularly enigmatic film, so if you haven't seen it and have any interest in the film you should probably see it before reading anything. There's a sense in which his films are essentially unspoilable (they're too purposefully ambiguous), but that's not going to stop me from trying. Potential spoilers below.
Wednesday, March 11, 2015
There was a time not too long ago when if you asked me what my favorite movie was I might have told you Mulholland Drive. There's a lot going on in the film and I certainly won't claim to understand all of it (something I might have done when it was my "favorite movie"), but I do have a reading of it that seems to answer a lot of the questions it poses, so here goes. No specific spoilers (hence no spoiler tag), but if you haven't seen Mulholland Drive you really ought to see it as blind as possible.
Tuesday, March 10, 2015
Inception is hard to talk about at this point because it was such a phenomenon when it was released that so many things (both good and bad) have already been said about it. It's not only hard to justify the existence of yet another review of the film because the chance that I'm going to say something new at this point is fairly low (I'm not), it's also hard because in order to articulate my opinion I have to make reference to all these other pre-existing opinions about the film and about Christopher Nolan as a filmmaker.