i love the way this entire thing was filmed

i’ll tell you what major aesthetic problem i DO have with frozen though

I HATE THIS DRESS.

not in a concerned mom way of it being ‘too revealing’ or whatever, but it just sticks out like a sore thumb in contrast to the other costume design?? i get the point that elsa wants to be free and ‘different’ but still, having more incorporation of the entire hostoric norway aesthetic would go a long way imo. i really love the design of elsa’s coronation dress. its got the folk motifs and everything going

but then i remember being so upset having to see her wearing….that thing for the majority of the film. even concepts like this still feel like they ‘belong’ in the universe and is more harmonious with the rest of the set

and this is only a mild critique, im not even talking about all the visual creativity that was lost in the early concept art….

  • httyd: wow look at all this heterosexual stuff. look. see here all the guys love astrid. stoick misses his wife. just look how heterosexual they all are. how nice
  • httyd 2: ok so we might have lied, gobber *might* be gay. if you interpret a passing comment the right way but it could mean a bunch of other things too. FINE we'll confirm it outside the film
  • race to the edge: everyone is so fucking queer i swear the entire island is made out of rainbows or some shit. here have some gay flirting is that not enough??? HAVE A GAY KISS HERE YOU GO

The thing is I am all for celebrating the fact that Furiosa and Max don’t kiss or share any expressions of attraction and on an entirely textual level the relationship is platonic, but I have to harp on the fact that there is such a thing as non-sexual romantic dynamics whether you’re considering how the characters feel or just the suggestive parallels and structures writers may have in mind when they want to approach something as a love story in the most vague/open-ended way. I rant about this a lot but with Fury Road I just can’t let it go because it has one of the most breathtakingly simple culminations of non-physical intimacy I’ve seen in a while.

The film deals very heavily with sexual assault victims but on the broader level it’s about a society that ruthlessly objectifies and pillages people’s bodies with no concept of sexual/reproductive consent or bodily autonomy of any kind. Max is commodified for his O negative blood and forced onto a battlefield to serve as a muzzled IV bag (in a clever invention of the writing that effectively elevates the sense of injustice towards a non-consenting blood donor by making him also a humiliated hood ornament who could get badly injured at any moment). In the context of a film that charges forward in almost non-stop violence motivated by an insidious war of bodily control, the moment at the end when Furiosa is dying and Max is outright frantic to give her his blood might as well be tantamount to a love scene.

In fact it’s more effective than a love scene could have ever been, because the submission is entirely his. Some hope for a place of good humanity could have been represented by one of the women trusting Max or Nux with her body, but the scene we get feels less forced and more poignant for how unremarkable the event should be: it shows that every little violation does matter, by bittersweet contrast with how freely and kindly these things would be given in a world where more caring could thrive. The fact that Max loses all emotional control here–rushing to share his name with her, probably more vulnerable at that moment than the character has ever been in the entire franchise–only makes it a more powerful moment. After the events of FR he may very well never see Furiosa again, but the scene makes it hard to believe she didn’t affect some kind of change in him in what little time they fought together, and I don’t think there’s anything wrong with finding their little journey romantic, in its own strange purgatorial way.


(ETA: There is, interestingly enough, a piece of early concept art that appears to be where the transfusion scene came from, and George Miller wrote a note next to it describing this embrace as something out of “a post-apocalyptic Gone With The Wind,” whatever you’d suppose that means.)

the Montage of Heck was fucking brilliant.
so many feels right now.
the home videos and numerous journal entires & art by Kurt just made it that much more personal along with his parents actually being interviewed as well.
my heart aches for all that happened in his life & I mean while other documentaries covered his home life, I just felt more connected to the way it was presented in this film.
I think a big chunk of ache comes from the scenes with Kurt & Frances, these are scenes you’ve probably never seen before & its just something to watch how much he fucking adored her.

a big thing that I loved was the fact his death wasn’t really covered. no press releases or news reports like other docs, just a simple “after coming back from Rome, kurt took his life. he was 27.” & that was it.
that was the most refreshing thing out of the whole film because it leaves you more focused on his LIFE in the home movies & such.

truly a bittersweet film.