Salo - Pier Paolo Pasolini - 1975

The Gods of Quickflix said, you will watch this. So I did. I wasn’t as traumatised as I thought, perhaps this is because I’m a child of this technology age filled with sensationalistic news and over-the-top crime television (not that I’m complaining). It was certainly chilling. I probably found the delighted faces of the men more horrid than the torture. Something more introspective about that, like a pointed note of what humans are capable of. To think we could derive pleasure from such actions, that it is capable for a human to do so, is confronting.

For all the metaphor I put in my own work, I’m not that great at picking it up in other films. I don’t know if I would have picked up the underlying political messages in Salo if it weren’t common knowledge. Again, as I am fairly young and not European*, this could be a contextual thing, where I don’t have the knowledge to make what would otherwise be a simple connection. I’d like to learn more and figure more of this out.

It’s not a movie I “enjoyed” watching, but then, a lot of the films I’m drawn to aren’t the feel-good type. It was certainly compelling, fascinating throughout its horror. 

*I am actually technically half Italian. That said, I’ve never been there or grown up with lots of Italian relatives.

We Don’t Live Here Anymore - John Curran - 2004

I really liked this film. Character driven, dialogue heavy, which isn’t always my favourite but can sometimes be done super well and this was definitely an example of that.

Gorgeous and impressive cast, they all moved and convinced me. Laura Dern and Naomi Watts have both been in David Lynch films which makes me smile.

I don’t know if I have that much to say. I liked the way scenes were abrupt and there were flashbacks as quick as a fleeting moment of remembering something. Edith was like that mysterious type of person I could never be, and Terry was desperate clinging crazy in a way that I saw more of myself in. Adultery in cinema is often so glamorous even its destruction, though I wanted Terry and Jack to find their way back. There seemed to be this passion still in them, in the way they chose to hurt each other so badly in such an unhidden way, especially from Terry’s side. I find that fascinating, the ways people are capable of hurting the ones they love.

We’re all a bit crazy, aren’t we?

I liked this movie quite a lot.

Caché (Hidden) - Michael Haneke - 2005

My lecturer always noted that my script was vague to the point of being confusing or frustrating. I fought him on this, and I’m happy with my grad film. That being said, I wanted to punch my television screen when this film ended for pretty much that exact reason.

Strong performances; Miss Binoche can do no wrong and she was powerful and fragile and everything in this film and I love her to bits. I also like that it has surface similarities to Lost Highway. :P

Again, it was only after my little post-watch Internet search that I began to realise there was a political statement throughout, although I was picking up bits of the Algerian/French tension as I went along.

This is a film that I really enjoyed watching, but was annoyed with once it had finished, because I was expecting more closure than we were given. As a fan of David Lynch's INLAND EMPIRE, I know it seems hypocritical, but in a film like that I was given some sort of catharsis, a “feeling” of closure. With Caché, I was actually shocked when the credits rolled because I wasn’t ready for it to end, nor understood how this was possibly the conclusion. As I think about it more, I’m beginning to understand but the first impression should still count for something.

I don’t even know what I think. I’ll probably remember this film fondly though.