2 weeks ago
While Syndromes and a Century is ostensibly about Weerasethakul’s parents, it also concerns itself with many images that depart from this main thread: a wild and root-tangled orchid filling up the backseat of a car, pleading looks from not-so-distant admirers, a nearly limbless man dragging himself with his single arm across a sterile white floor, and furtive sips of liquor taken from a bottle hidden in a prosthetic leg. The deliberateness of cinematographer Sayombhu Mukdeeprom’s slow tracking shots, particularly pronounced in the second half, masks the film’s promiscuity; in one of the most quietly astonishing scenes, the camera fixes on Toey, Nohng, and a hospital colleague as they walk down the hall, gossiping idly. Instead of following them into the depths of the basement, however, the camera changes course, or rather steers forward, drawn to the open balcony view of lush green fields and the jungle just beyond it. The audio track, meanwhile, keeps pace with the doctors until they finally break character and joke about the number of takes they’ve already done, “playing the same scene over,” and admitting they’ve forgotten to take off their microphones. The reflexivity of this moment isn’t simply about Brechtian distanciation or postmodern glibness; instead, as the film’s title is unobtrusively layered onto the landscape, it recognizes the filmmaker’s own desire to experience the fullness of the medium’s sensual pleasures, here offered to the viewer as a resplendent gift. (via)

While Syndromes and a Century is ostensibly about Weerasethakul’s parents, it also concerns itself with many images that depart from this main thread: a wild and root-tangled orchid filling up the backseat of a car, pleading looks from not-so-distant admirers, a nearly limbless man dragging himself with his single arm across a sterile white floor, and furtive sips of liquor taken from a bottle hidden in a prosthetic leg. The deliberateness of cinematographer Sayombhu Mukdeeprom’s slow tracking shots, particularly pronounced in the second half, masks the film’s promiscuity; in one of the most quietly astonishing scenes, the camera fixes on Toey, Nohng, and a hospital colleague as they walk down the hall, gossiping idly. Instead of following them into the depths of the basement, however, the camera changes course, or rather steers forward, drawn to the open balcony view of lush green fields and the jungle just beyond it. The audio track, meanwhile, keeps pace with the doctors until they finally break character and joke about the number of takes they’ve already done, “playing the same scene over,” and admitting they’ve forgotten to take off their microphones. The reflexivity of this moment isn’t simply about Brechtian distanciation or postmodern glibness; instead, as the film’s title is unobtrusively layered onto the landscape, it recognizes the filmmaker’s own desire to experience the fullness of the medium’s sensual pleasures, here offered to the viewer as a resplendent gift. (via)

3 weeks ago
Nonnative

Nonnative

Self Edge vintage repro lighter
3 weeks ago

howtotalktogirlsatparties: Handmade, literally.

I’m also selling one of my holy grails that I never wore because I never have to dress up. Very rare. Cloak elbow blazer from SS04 (Size S). Hit me up!

I’m also selling one of my holy grails that I never wore because I never have to dress up. Very rare. Cloak elbow blazer from SS04 (Size S). Hit me up!

Selling a Patrik Ervell standard buttondown with club collar (Size XS) from FW08 that I never wore because I never have to dress up. $150. E-mail me.

lettertojane: Rick Rubin (Source: thepursuitaesthetic)

lettertojaneRick Rubin (Source: thepursuitaesthetic)