This was some mixed doubles for me, what it supposedly wants to suggest about desire and competition in the last 20 minutes, climaxing in the Zack Snyder's 300 But Tennis Hug, seems at odds with the actually-very normative presentation of erotic desire. Sex is tennis framed in terms of glaring more than grunting, and the film pushes a series of binaries forward--fire/ice, win/lose, slow/fast, left/right, rich/poor, lust/love, excitement/stability, talent/skill--and wants to suggest something about female desire being an almost sacred…
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Buffalo '66 1998
American culture confuses love and transaction, eros and pornography. The film's whole pathetic toddler ethos is of time spanned, child-man. "Look like you love me but do not touch me."
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The Shining 1980
Really thrilled to be able to discuss The Shining and the tug toward the void on Amy Hensarling’s podcast. Her Progress Series involves heavy and spiritual investigations into films, sobriety, and health, and so we discuss the weight of Jack’s soul against the bottom of his ghost-poured glass. Check it out, and Amy’s podcast if you haven’t, and cheers to 2024.
Amy’s Progress | Ep 12 | Audio • Video
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Collateral 2004
Coyotes run red lights and meet south central deer. The plot coincidences are part of the film's whole theology, "Darwin, shit happens, iChing," we die by improvising at the end of a fatalistic folktale of such coincidences, the soul expiring into a sky turned purple with polluted light.
