Movies I've watched recently:
This is basically like your everyday Beck film, but two things are different here: 1. One actor can actually act somewhat; it's Lena Olin 2. The cinematography is slighly better than during most Beck films; still, the shaky-handheld-cam thing still has Swedish film locked in a vice Apart from those two things, the dialogue is bog standard (i.e. dreadful and unbelievable) and I found no sympathy for the characters, the film or the plot. Do avoid.0.3
The voice-over from the man at the start is *not* rated here; the trial, however, is; naturally, this is a very abridged version as this film is only 90 minutes long, but the most interesting bits about it, I think, are the psychologist's words from having spoken with Dahmer and Dahmer's own words at the very end.0.3
This is a documentary-meets-dramatisation film where Jeffrey Dahmer's deeds and trial meets an intelligent way of display; the viewer is treated as an intelligent being, and some knowledge about Dahmer should be attained before watching this film. Having said that, it's interesting to see some of the interviews as they were more eye-opening than other bits of film that I have seen in regards to Dahmer's life, including written materials. This is good, but one or two testimonies could have been scratched.0.3
This film is marked by time, especially where things are dramatised by actors and some "suggestive" effects, e.g. a malt flying through the air. Despite that, the much more interesting stuff is caught from the interview objects, especially the Houston police at the beginning. I mean, first and foremost, the antifeministic approach from the white, middle-aged police who really wanted to nail the female police who failed to shoot her colleague's killers as they left. Still, the prosecutor and the judge is the real enigma; how the original verdict went the way they went is incredible but, as anybody who is into the legal system and its prejudices will tell you, some times a judge and prosecution just want to condemn a person and won't stop at anything to do so. Other interviews are quite something as well, especially one with the couple who semi-witnessed (or did they?) the shooting. Well worth a check, this one, despite being marred by time.0.3
Forget the fact that this film spans 12 years. Know this: it's a human, straight-forward story about a boy growing up, his family, his passions, being lackadaisical, finding out what he wants in life, as he is subjected to all kinds of wants, likes and you-don'ts by his divorced parents, his teachers, friends and others. Watching this reactivated my sense of how much you were told what to do, where to be, what to think as you were little, especially by adults, even if they are completely wrong and/or don't know what they're doing. The times when Mason is silent and other people practically invent what they believe he thinks, are, to me, the most astounding ones. Peoples' projections are often little fables onto themselves, but it's sad to see them overshadowing the real thoughts of youths. Linklater is, as usual, worthy of rewards for this script. It's well-written, and apart from a few clichés that don't really work in my eyes and are quite vulgar, this film is as close as you can get to the work of Antonioni - notably in "L'Avventura" - and Steve McQueen - notably in "Shame" - without becoming stocky and unpopular. This film is popular, and I think part of its appeal is because it's universal; I think anyone can see this and love it from a variety of angles and get something different out of it with every viewing. I loved Austin (the city) in this film. I really loved how some scenes were directed, e.g. the one with abuse in a garage. The music is atypical of the time and is not there to impress nor interfere. All in all: a very well-made film with very good acting. Two-and-a-half hours flowed past as though the film was an hour shorter. Sublime.0.3
October 20th, 2014
Did I have a wondrous weekend? Yes, I did.
Snuggled up with Mia, Jeffrey Dahmer (well, sort of), John Lydon (in literary form) and a date at Fotografiska where we tried their newly relaunched restaurant…oh, just too good to be true. Loads of calmness, including films. I’m blessed.
The exhibitions of photographic works by Joyce Tenneson and Anders Petersen were fantastic and realistic (yes, those worlds can intertwine); I dig Petersen’s more but something must be said for Tenneson’s incredible touch where the photographic meets the spiritual and ethereal; her presentation simply overcomes the doubts I had, which were simply based on every photograph I’ve ever seen where the word “spiritual” has proved to be a precursor to Bad photography. I adored her shots of old people, and a couple of those in gold simply shone warmth into me. Her “film”, i.e. projections of shots while some “atmospheric” music was playing was a great thing, experienced just before heading off to dinner.
Below are a few pics from the culinary wonders that we had; I can’t write how it felt sitting opposite to Mia, laughing, touching, loving. I won’t, either, ha!