maxitrash
Mäx
what is lost, will be found
she/they/he
24574 posts
Don't wanna be here? Send us removal request.
Last Seen Blogs
mottochouetsu
映画『もっと超越した所へ。』最新情報
dontnotcatchme
best friend sundae time!
toyalpedopag
Toyalpedopag
todo-esta-en-el-futuro
En la soledad
miss-moving-on1-blog
Break Ups Suck
Text
I WANT TO LOCK SOME PEOPLE IN A ROOM AND FORCE THEM TO WATCH DARK AND 1899 BECAUSE THOSE ARE THE TWO BEST SHOWS ON NETFLIX AT THE MOMENT BUT PEOPLE SLEEP ON THEM CAUSE ONE IS ENTIRELY IN GERMAN AND THE OTHER IS A MIX OF MULTIPLE LANGUAGES. BUT THE CINEMATOGRAPHY IS JUST INCREDIBLE. THE STORIES ARE SO COMPLEX AND INTRICATE BUT IT ALL MAKES SENSE AT THE END WITHOUT LOOPHOLES (AS FAR AS I AM AWARE). CHARACTERS ARE MULTIFACETED. AND IT'S THE RIGHT AMOUNT OF DRAMA - THRILLER - SCI FI - HORROR.
1K notes
·
View notes
Text
Jesper: Who else is hiding in the laundry room trying to listen to Kaz and Inej’s conversation?
Matthias: I’m in the laundry basket.
Nina: I’m in the washing machine.
Wylan: I’m in the closet.
Nina: We accept you Wylan <3
Wylan: No, I’m literally in the closet.
Jesper: Love is love <3
3K notes
·
View notes
Text
Jesper: would you slap your best friend in the face for a million kruge?
Kaz: I would break all your bones for free
Jesper, tearing up: I'm your best friend?
1K notes
·
View notes
Text
To think my future little sister is going to have the life my father never gave us.
I'm not resentful, I'm glad she's going to have a nice life. I'm just sad thinking about all the missed opportunities.
0 notes
Text
LEAKED: AMC's 'Interview with the Vampire' season 2 final scene.
443 notes
·
View notes
Text
every time i watch the courtyard scene from episode 3 i'm like okay haha we laugh but it's just not possible that it wouldn't have occurred to Lestat in the slightest that this sort of arrangement would be reciprocal i.e. Louis will be entertaining other dicks that do not belong to Lestat but then i see his face and
this is absolutely the face of a man who had heretofore never conceived of a world where the penises of other men could end up in his husband's mouth
he has completely dissociated. Louis has knocked the soul from his body and there is no one home. this is the shell of a man with a thousand different images of a thousand different men blowing his husband's back out passing in front of his vision like a neverending rapidfire View-Master and he cannot close his eyes and he cannot escape [this hell, of his creation]
and Louis with the stoic nod like 'damn right imma be out suckin dick'. he is 100% committed to ruining Lestat's whole fucking week
2K notes
·
View notes
Text
I'll add that I hadn't noticed how much my tics are oriented around body symmetry but a huge chunk of my list is just me being triggered by this type of stuff (like if my hands are not both wet, or if I have one rolled up sleeve and not the other) and how much it triggers my anxiety and uneasiness when it's not directly adressed/dealt with or noticed
Started actually following my therapist advice and began documenting all my tics so I can actually adress the issue someday. I usually struggle alot talking about them when asked, but I feel like they are kinda getting a bit out of hand.
2 notes
·
View notes
Text
Started actually following my therapist advice and began documenting all my tics so I can actually adress the issue someday. I usually struggle alot talking about them when asked, but I feel like they are kinda getting a bit out of hand.
#personal#tumblr really is like my diary#I only have 2 or 3 irl friends following me here so i don't mind just rambling
2 notes
·
View notes
Text
Film review: Aftersun (2022)
I love this movie. It’s such a riveting examination of grief. It shows how when something bothers us, we can’t stop rewriting and rewriting that memory in our head, tweaking our mind’s camera this-and-that way, in hopes of catching some revelatory insight.
It’s going to be hard to review this movie because I keep getting reminded of my own experience with grief which I both adore and hate the movie for. It reminds me that viewers are a part of the synthesizing process and that movies have that magic of transporting us through their stories with our own memories as carry-on luggage.
Spoilers for Aftersun (2022) in this post. I don’t own the pictures.
The Medium is the Message
How does this film capture a bittersweet childhood dream so well? Through the use of effective framing and the creation of distance — situating us, the viewer, in relation to Adult Sophie and the pair of Calum & Child Sophie.
Adult Sophie and Child Sophie/Calum, being both in-universe characters, are supposed to be closer in metaphorical distance. You expect Adult Sophie and Calum and Child Sophie to be in collaboration to deliver us (the viewers) the story but in fact, Adult Sophie is far closer to the viewer than she is to Calum. She is watching these recordings along with us. You could say that we, the viewers, are extensions of Adult Sophie.
This results in a sort of forced confrontation. You can’t ask Adult Sophie to help you put the pieces together. You are both forced to be spontaneous and react as the recordings play back, in real time.
Through the way electronic recordings become a part of the storytelling, glitchiness and film grain become substance rather than style. The sporadic cutting imitates the unreliability of memory. The cut is there because where filming stops, memory stops.
Distance
You are reminded again and again, that Calum is ultimately inscrutable. Knowledge of him is impossible. This is done in a couple of ways:
Frequently when Calum appears in-frame, his back is to the viewer.
When he does appear on-screen he is often in profile view or looking off-screen. The eyes are the windows to the soul — so we are denied direct access to Calum’s gaze. The only time where we do see him is at the rave, where Sophie is directly looking into the camera — seeing through us, the viewer — to Calum.
Many, many reflections, shadows, shots including Calum but not of him. The environment mediates Calum’s facial expressions. A shadow on the wall shows the crinkle of his nose in profile. A reflection on the table shows a gauzy smile. Everything comes between you and direct knowledge of Calum. How can a movie be about someone who never shows up fully?
One of the earliest examples of this is the phone booth scene. Notice the angle of the shot. Calum is speaking into the receiver. His eyes crinkle. You know he’s laughing. The audio is muffled. A very annoying obtrusive red frame cuts his head in half. The next shot is of Child Sophie. “Show me what she’s looking at, so I can see him better,” you think. You don’t get that. You only get a shot reinforcing the distance between Calum, you, and Sophie.
To love is to share space
Though you know what’s coming, the movie is uncompromising in its tenderness and ability to create frozen little pockets of time. The arrangement of Calum and Sophie in the same frame pits them as the only two people in existence. They’re not really doing anything. They exist together. And isn’t that a lovely thing, to share space together.
Here is a scene that cuts deep, showing that even when they are together they are apart (alt. even when they’re apart, they’re together). They are in completely different headspaces. The left side is so warm. Take in the innocence of Sophie’s feigning to read. The coziness and comfort of the lamp. The cushiness of the chair and armrests. And Calum’s side is so cold and sterile. A thick slab of wall exists between them. The barrier from Sophie to Calum’s troubled headspace is impermeable.
What does it mean to capture a person?
I mentioned before that this movie puts you in Adult Sophie’s shoes and makes you react spontaneously to Calum’s recordings. It makes me also think about technology helps us to remember and the way it distorts memory.
We are able to make sense of the airport clip and shaky phone footage as something shot from Calum’s/Sophie’s distinct perspective. But what do we make of the rest of the movie, the “third-person” perspective? To what extent do you assume that what you see during those scenes of Turkey on holiday are what actually happened?
I argue that even though they are not shot in first-person, they are meant to be partial. The camera is oriented so that we are watching Sophie watching Calum. So often it is trained on the process of looking out. Feel the difference in the way the camera accommodates Sophie’s entire image and the way it flirts Calum’s profile. This is a barrier of memory. Memory unlocks Sophie access to her younger self; she invites Child Sophie to help her put together the pieces. She does not unlock omniscient retrospection. This is what it’s like to use memory to understand. You replay your interactions with a loved one and try to move your mind’s camera to see if capturing the peach fuzz on their cheek in the light can reveal they were secretly unhappy.
Here’s what you do notice: on the second watch I noticed that during Sophie and the boy’s motorbike game, Calum was keeping an eye on them. The first time I was so engrossed in the foreground. But he’s there, having a smoke, keeping an eye on them.
It wasn’t just Sophie looking at Calum but him also looking back at Sophie. Sophie will never find out what he was thinking in that moment but she learns to refocus her mind’s camera to capture the little moments of care that went unappreciated.
This is memory’s greatest offer to us: sympathy.
15 notes
·
View notes
