Afro_Vacancy wrote: ↑
3 months ago
Things I've seen lately
The Dragon Prince
-- Netflix animated series from the creators of The Last Airbender. Two seasons are up and it's a really lovely world that they've created, though probably not as rich as the last Airbender.
- Hairblues and pjhair gave me the recommendation. I found it to be pretty intelligent, the world felt lived in and detailed, which was nice. The black humor was the right humor for me, the jokes were funny without trying too hard and without ever distracting from the story.
- A one season dramatization of a real-life serial rape case told on Netflix. The first episode is one of the hardest hours of television that I've watched, there's a traumatic rape scene and its aftermath. Following that, the series veers into a different territory, with two brilliant police detectives eventually solving the case. The series actually does show "intelligence" in a competent manner, the detectives don't solve the crime by having access to the script, nor do they go on phones monologues like they would in an Alan Sorkin script.
- I agree with Michael Moore (https://www.indiewire.com/2019/10/joker ... 202179054/
), this is an excellent movie. I hope that more of you see it and that we can discuss it. The acting (and thus casting), sound mixing, cinematography are all excellent, and the screenplay is really tight and leaves *a lot
* up to interpretation without relying on any hack-like twists.
The Son of The White Mare
- This is a restored Hungarian animation classic from the 1980s, based on Hungarian folktales, that is playing at various places. I didn't really like it, but others might. The animation and music are quite trippy:
I'm happy and feel richer to have seen all five of the above, and I enjoyed the first four.
I can't be bothered writing a larger analysis of Joker although I do think it is a very good film, albeit a lesser work than the films it draws from/arguably steals from in a seemingly juvenile fashion. Its incredibly interesting reading the broad ranges of analysis and responses, most of all seeing that 75-80% of these seem to outright ignore objective facts of what occurs in the film when analysing it, instead simply espousing their own political agenda and applying it to the film as a whole, without accurately referencing it. The film reviewing community has become a fucking joke, namely because we no longer have art lovers/analysers in the profession for the most part, but rather masquerading political and cultural activists who don't give a shit about art. The amount of people attributing a morality to the film as a whole simply because of the actions of people IN the film as if that somehow logically suggests the film/director advocates it is genuinely sad and fucking pathetic.
This doesn't detail any of the aesthetic, or medium specific components of the film but in terms of analysing the political and cultural implications of the film this is the best look at it I have seen. Sad that it takes political journalist to give an accurate examination of a piece of art in 2019.
I would ultimately say though that the film represents a conservative perspective of the left wing and activist movement however.
“I think it’s because outrage is a commodity, I think it’s something that has been a commodity for a while,” director Todd Phillips told the Wrap in a Sept. 20 interview first published Wednesday. “What’s outstanding to me in this discourse in this movie is how easily the far left can sound like the far right when it suits their agenda. It’s really been eye-opening for me.”
This quite very relevant to a reading of the film in my opinion. To put it in simplest terms, I see it as a broad critique of neoliberalism and modern capitalism, emphasising how the disenfranchised in this environment tend towards political extremes, becoming desperate to be heard and recognised in our culture when faced with clear social inequity. Outside of that it clearly suggests that the left offer little in terms of realistic solutions but their own rabid and violent extremism. None of this is particularly groundbreaking and as a character study Arthur is hollow and 2 dimensional in comparison to a Travis Bickle, but the generic qualities of opposing sides and broad brush strokes in the film lend themselves well to an avalanche of referencing through 2019 political discourse. On top of that the film is overall visceral and consistently engaging, sometimes hugely in particular the last 20 minutes or so.
Honestly the only thing I outright disliked is the very Hollywood manner in which they showed the relationship between Joker and the black woman was imagined towards the end, as if it wasn't already obvious he was out of touch with reality and this was unrealistic. This could have been left more a grey area, as was whether or not his mother had a relationship with Wayne, or if she was completely delusional.