this really was a solid film

anonymous asked:

Don't believe me, I understand that, really it's all good. Just don't get mad at me for sending this information to only one person on Twitter and then someone else copy it and send it to diffrent account. I guess when you'll see that Tarjei is really filming today you'll be more convinced.

wow so that tarjei might be filming today is THE proof that it’s his last day filming? never heard a more solid argument ever in my life

my mom watches her shows in the family room of our house where everyone is always hanging out and sometimes theres a (hetero) sex scene in whatever she’s watching and no matter how explicit or non explicit it is no one cares. its not a big deal. i mean its a little weird sometimes to just listen to really bad moaning for a solid minute but its not like she changes the channel or anything its just part of the show.

but me? i flinch when i’m watching two girls on my laptop and someone walks by or enters the room. not sex with two girls just. two girls. thats all. i pause the video and i wait for them to leave, my heart beating really fast. im not even in the closet. if the girls kiss i feel like i have to hide my screen and make sure no one saw i was watching that. 

i hate this more than anything

One of my favourite things about Age of Ultron is that the Avengers are presented with 2 new super-powered rivals and the only member to really land a solid hit to either of them in the entire film is the very non-super-powered Hawkeye.

Not only that, but in both cases he pretty much just does it out of sheer spite towards them




I’ve done three or four solid films now that became cult classics. And everyone’s like, ‘What’s it like being a Muslim?’ That’s offensive. Really, that’s what it is, offensive. What you’re saying is that you cannot see me as creative or an artist or a human being first. I’m so happy to talk about all these things. I think it’s really important that we do. I don’t think it’s enough to be visible anymore. I think we have to be vocal about what we believe in. We’re living in scary times. But I think if those conversations really start detracting from, ‘Oh by the way, someone is skilled at their craft,’ I think that’s a step backwards. You know what I mean?

I’m really loving the theme lately with big budget film and TV projects in the ‘nerds and nostalgia’ genre having White Male Entitlement as the villain


Mad Max asked who killed the world

their answer was 'toxic masculinity’

Jessica Jones answered with 'rape culture’

and Star Wars threw in 'entitled, privileged white dudes with nostalgiaboners for eras of extreme oppression for everyone else’

could we ask for a more accurate unholy trinity, or a better group to be putting this shit on blast??

An unnecessarily deep analysis of the string motif in Kimi no Na wa

I really need to write about this.

Written on the spot. Some research might be nice but aint nobody got time for that. Also I’ve only watched it once so my memory might be dodgy.

Please note this is primarily an analysis for my own personal enjoyment, not a review. Also the views in it are purely my thoughts and opinions


Kimi no na wa is a friggin amazing movie. Beautiful artwork and solid characters aside my favourite thing about the movie is its brilliant storytelling. And I am going to deconstruct it through the string motif rn because I feel like it.

The plot for Kimi no Na wa is basically the red string of fate, but reimagined and extrapolated in a very creative way. The red string of fate connects two individuals and brings them together romantically but here it is not only geographical boundaries that are transcended, but time itself. String itself takes on multiple meanings within the context of the film. This is summed up best by Mitsuha’s grandmother’s quote, which I cbf looking for rn. Rather than string, though, the emphasis is on the term “musubi"結び. The term we use for knotting thread also means connecting/linking/binding. You can also use it to refer to tying up your hair or fastening something. It also means the end. This (conveniently) flexible term is the basis for the whole story and you see this in almost every aspect of the movie.

The start of the movie is a bunch of events told in a pretty confusing layout. In addition to the main characters swapping bodies, some of the events aren’t even in chronological order. This was evidently intentional, not only for dramatic purposes but I believe also for structural reasons.

The film is set out like a bunch of loose threads starting with seemingly unrelated events: There’s a rare comet appearing in the sky; Mitsuha and Yotsuha make kuchikamizake; Mitsuha and Taki swap bodies…But as the film progresses, just like the weaving of individual strands to make a cord, the pieces start to come together. I think the moment this truly becomes evident is right after Taki drinks the kuchikamizake. This is also the moment Taki and Mitsuha’s worlds truly intertwine.

Mitsuha making kuchikamizake binds a part of her soul to the sake. Mitsuha and Taki swapping bodies are a spiritual connection. This act binds their timelines together. The foundations of human relations, most notably love, is also based on the same concept. The film takes the motif of string and layers it through the connections of multiple events through musubi.

But what I feel truly makes this film brilliant from a storytelling perspective is the creativity employed in extrapolating this motif, especially in regards to the comet and the hairstyles. 

The way I see it there are actually only two things that connected Mitsuha and Taki before the body swap. One is the comet. Three years ago Taki witnessed the comet that killed Mitsuha with his own eyes. The other is Mitsuha’s hair cord which is something like a time paradox. Mitsuha went to Tokyo to meet with Taki three years before he knew her. She hands him the cord in her hair and dies the next day but Taki kept her cord wrapped around his wrist for three years.

I’m going to start with the comet which is actually quite a complex symbol. I think everyone will interpret it differently so here’s my personal take.

My initial impression of the comet was something like a shooting star, because it granted Mitsuha’s wish to be reborn as a "handsome Tokyo boy”. Before watching the movie I thought the body swapping would be a miracle only possible while the comet was visible. When Taki and his senpai went to the Nostalgia exhibition at the museum on their date, they saw an aged photo of Itomori. That was my hint that Mitsuha was from the past. I didn’t expect them to be only three years apart though. I thought they would be a literal lifetime apart but then romance would have been near impossible without some bs miracle. Suffice to say, there was no miracle. Instead there was a goddamn tragedy.

The film’s explanation for the body swapping was that it was all to prevent this one disaster. Tbh that sounds a bit too far fetched for me. Instead I like the interpretation of the comet as an extension of the string motif.

When Taki learns the truth he attempts to turn back time by drinking the kuchikamizake. What follows is my favourite scene in the whole movie and it starts with a wall painting of the comet turning into a piece of string. With the visual connection I could then see the metaphorical connection. The comet is another form of binding the two main characters. The comet is closely tied to Mitsuha’s ‘world’ but Taki also witnessed the comet the day she died. Thus their worlds were connected. From a romantic standpoint the comet allowed two individuals to transcend time to be together (red string of fate parallel). But by killing Mitsuha the comet also destroyed the relationship it brought about. I think we can connect this to how the town of Itomori was made from a comet a thousand years ago but another comet ends up destroying the town and killing Mitsuha. Because of this I personally also think the comet represents time. Destroying what is created is basically time itself. Time is musubi. (Additionally, by overcoming the comet i.e. saving the town, the main characters overcome time and can finally be together, because Mitsuha’s lifespan is extended. You can see this as another take on the red string of fate.)

Mitsuha is metaphorically and spiritually saved by a string. I think it is important that in the timeline where she dies she is not wearing the cord in her hair, because she gave it away to Taki who she met in Tokyo the day before and who does not remember her. Her cut hair has multiple meanings. Originally I thought it was a sign of her giving up on Taki because he went on the date with his senpai (Tessie associates haircuts to breakups and I do too, at least in anime). Then I realised she cut it after she went to meet Taki and found out he didnt recognise her. While the “breakup” haircut interpretation still stands, ultimately I think she feels betrayed which is why she gives up the one thing she believes in, her connection to him, represented by the cord. This also becomes linked to her name, which she shouts at him as she leaves the train after throwing him the cord. If I were to continue with the red string anecdote, this is where the string is cut, fate abandons the couple and Mitsuha dies.

But it is the same string that saves her. Because Taki kept it for three years and it is how he remembers her even if he doesnt know her name. Once he learns she dies everything from her diary entries on his phone to her name in his memories disappears. But the cord doesn’t. And he passes this cord to short hair Mitsuha when they finally meet at twilight.

I’m going to digress for a bit to explain why I find this scene so important. The only time Mitsuha does not have the cord in her hair is when she is sleeping, performing the ceremony, the first time she swaps bodies with Taki, and of course right before she dies. The cord is a very obvious symbol of musubi. I also think the fact it changes form throughout the film is important. At the start when Mitsuha wears it she always puts her hair in a complicated bun with the cord in it. When she swaps bodies with Taki who cant make complicated hairstyles he changes the form of the cord by wearing it in a ponytail (though initially he did not wear it at all and made Mitsuha looked “possessed”). The hairstyle was an instant way to tell who was in Mitsuha’s body, and also became a representation of their relationship.

The cord starts to change forms drastically when the pair’s relationship takes a nosedive the day before Mitsuha dies. She takes it out of her hair and the cord changes from a hairtie to a wristband/bracelet. The form of “musubi” changes, from “doing up one’s hair” to a spiritual connection between the two. This is one way Mitsuha manages to live on, because just like the kuchikamizake, the cord is a part of her soul now.

Taki returns Mizuha’s cord when they finally meet. She has cut her hair but wears the cord as a hair decoration anyway. The red string is restored and its changed form represents a new step in their relationship. Throughout the film Taki and Mitsuha have had to compromise on each others’ lifestyles. Mitsuha’s new appearance seems to be a culmination of this: the boyish haircut coupled with the hair cord. She also gains Taki’s courage, seen when she confronts her father in a very similar way Taki did in her body previously. (Taki also experiences a similar change but it is not as pronounced. As far as I know he just got “kinder”.) This is musubi because their two souls have actually intertwined. From a romance perspective, I guess this is how couples change each other for the better.

And what happens after is classic red string of fate. Interestingly Mitsuha’s final hairstyle is a half ponytail. Analysing any farther would actually be overkill though so I’m just going to leave it as a design choice.

I don’t think I’ve conveyed even one tenth of what I actually wanted to say about the film. It’s so rich in symbolism just analysing it in my head was a ton of fun. Best film I’ve ever watched in my life. Definitely want to watch it again.

Hey @anti-tony people I’m not sure if you know about this but marvel actually did a trilogy of like. super low-budget student-film type movies that go into a lot of Tony’s backstory and if you haven’t seen them that’s probably why you don’t know about any of Tonys character arc or just. general details about him as a person and his motivations over the past decade! I’d really recommend watching them so that everything makes a little more sense. The first one is like a little over 2 hrs long and apparently they didn’t even have a solid script or anything, and marvel was super nervous about hiring the lead actor, but I thought they turned out pretty well!! Anyway the first movie was released in 2008 and it’s called Iron Man and

Homemade Fertilizer

Can’t afford to buy fertilizer or just want to make your own? Here is my magic plant juice recipe (proven to yield awesome results)!

You will need:
- A clean jar
- Banana peels
- Egg shells
- Used coffee grounds OR tea bags
- Coffee filter / paper towel (for straining)

1. Chop up banana peels.
2. Clean egg shells of any remaining yolk and/or film.
3. Collect used coffee grounds (or used tea bags, if you don’t drink coffee).
4. Place all of these in your CLEAN! jar.
5. Top with water. Close jar and shake it up nice and good.
6. Leave it alone in a cool, dark place for about a week.
7. Strain the solids.
8. Keep refrigerated. Or don’t. Personally I just leave it a cool, dark corner of my studio. Just make sure to keep it out of direct sunlight.

* Use fertilizer full-strength on plants that really need a boost. Otherwise, you can dilute it with water.
* Banana peels are full of macronutrients like potassium and magnesium, eggshells add calcium, and coffee grounds add nitrogen.

Now go forth and get your plants drunk and happy!!!


I know I’m late to the part but here’s the trailer for “Atomic Blonde”. All you need to know is that it stars Charlize Theron and is directed by one half of the duo that directed the first “John Wick”.
I’m really excited for this one. We’ve needed a good female fronted action film for a while. There have been a few that have tried and failed, but this one looks like it might actually work. The fight scenes look brutal and well conceived (she doesn’t look like Wonder Woman. She has to work hard to beat her enemies) and Theron seems to suit the role perfectly. Can you believe she’s 41?
That neck-yank-causing-the-dude-to-kick-the-other-guy-in-the-face moment is solid gold.
I’ll be watching the fuck out of this one.

“I guess I started basically giving less of a fuck and saying what I think more. Probably that comes with just being a bit older. If you’re, like, a young, white actor, who comes out and does a good role, then it’s like, ‘You’re a great actor!’ And the interview is like, ‘Oh, wow you can act. Wow, tell me about that? When did you want to start acting? I’ve done three or four solid films now that became cult classics. And everyone’s like, ‘What’s it like being a Muslim?’ That’s offensive. Really, that’s what it is, offensive. What you’re saying is that you cannot see me as creative or an artist or a human being first. I’m so happy to talk about all these things. I think it’s really important that we do. I don’t think it’s enough to be visible anymore. I think we have to be vocal about what we believe in. We’re living in scary times. But I think if those conversations really start detracting from, ‘Oh by the way, someone is skilled at their craft,’ I think that’s a step backwards. You know what I mean?”

anonymous asked:

"That pretty much already exists, given Toho’s 1950s to ‘70s output." Yes and no. I mean, a lot of the stuff from the 60s and 70s weren't really connected, plus a lot of them weren't really good. I mean something that has a stronger foundation, thereby allowing for a greater longevity.

Toho produced monster and sci-fi films for a solid twenty-one years, and we’re still talking about them forty years later. That’s longevity.

And “a lot of them weren’t really good”? Hahaha, fuck you.

Me Before You - Bucky x Reader

(Prompt list)

From: @wunder188
Can u do #3 and #7 ? And can it be just really really fluffy?? Thank u 💜💜

3 – “Don’t cry.”
7 – “Come here.”

Warnings - FLUFF OVERLOAD, swearing, crying, cuddling, kissing, flirting.

Originally posted by couplenotes

Summary - You and Bucky are watching a sad movie (Me Before You) and he does anything and everything to stop you from crying. 

(I got this idea after watching the film: Me Before You - this film made me cry like a Baby.)

Keep reading

Beauty and the Beast is the ultimate in don’t-become-too-invested-in-a-critique-before-you-actually-SEE-the-thing-and-know-what-you’re-talking-about.

I thought it was really good. Stayed strongly faithful to a lot of the animated film, but made a lot of really good revisions. (more about Belle’s mother, gave the Beast more of a personality, gave the main relationship more development and screen time, they didn’t act like black people hadn’t been invented yet) And La Fou was given a lot of good revisions. Most of the things people were scared about with him were not part of the movie. I actually thought they did a solid job with that. 

Also, while Emma Watson was good, Dan Stevens blew it out of the fucking park as the Beast. He was genuinely amazing, especially considering he was masked in CGI for a good part of the film. 

You wanna know an underrated movie? Titan A.E. 

Reasons you should watch it

  • its by the guy who made Anastasia
  • its solid Sci Fi and utilizes the conventions really well
  • it stars Matt Damon and Drew Barrymore
  • Joss Whedon was a writer on it and it feels sorta like Firefly 
  • it blends traditional animation with CGI and this is one of the few films where that REALLY works (there are some gorgeous space scenes)
  • Goon (you’ll see)
  • its got that early 2000′s grunge rock where you can’t tell if they’re actually using words half the time but it still gets you pumped
  • Sort of a jim hawkins-ish lead
  • some really unique aliens
  • the main reason it didn’t do well is it got marketed poorly and it isn’t really a kids movie but its animated so people kind of thought it was but its actually really good
  • that guy who plays Timon is in it too
All That Was Missing Was The Kiss

I’m not a part of the Captain America fandom. I never have been. So when watching the movies it was never with heart eyes toward any ship.

I watched the individual movies and no particular ship ever really stood out for me. I watched the first Avengers movie. Still no ship. Then I watched Age of Ultron. Still no ship. 

Then I watched Winter Solider. Something I hadn’t done before. Whoa.

This movie is not just a action film, but a love story. I’m at a loss as to how I’m suppose to take it as anything but that, tbh.

Let’s review:

The film starts off with Sam and Steve running. Though it’s clear they know each other, they’ve never really introduced themselves to each other. Yet they already have a catch phrase. Something unique to them. Something that only the two of them would understand. “On your left.” 

So Steve finally says, fuck it, he goes up to Sam, introduces himself. They talk about soft beds, Marvin Gaye, and deeper shit that Steve’s not ready to discuss yet. Then Steve has to go. Natasha needs him. They make heart eyes at each other. Sam let’s it slip where he works. More heart eyes. More flirting. Then Steve is gone. 

Steve goes through some shit. Then he seeks Sam out again. This is classic. Person A watching Person B while they work. He stands in the door unbeknownst to Sam watching him do his things. More heart eyes and maybe even a little awe. He looks so taken with Sam. He’s patient though. Respects Sam’s work. Waits until he’s done. Then he walks up to him.

 This is classic too. Person B is pretty much like; “Oh if it isn’t so and so…” This is exactly what happens here. These are Sam’s exact words to Steve.

They talk some more. “What makes you happy?” they both ask this of each other. Things get deeper. The flirting goes harder. The heart eyes intensifies. 

Steve is hurt, him and Natasha. They have no one they trust, so of course they end up on Sam’s doorstep. This is also classic. Person A thinks of person B in his time of need. I can trust him. I don’t know him that well, but I feel connected to him somehow. There’s a bond there. I want it to be him that I can turn to. Person A shows up on person B’s doorstep bleeding and wounded. 

 They want to keep each other safe. Steve/ person A, won’t ask Sam to fight with him.  Sam/ person B refuses to be pushed  aside, “You need my help. I’m there, end of discussion.” You matter to me now. 

So they fight. They fight together. And of course Steve is tossed through the sky, and of course Sam saves him, catches him and delivers him back to solid ground. I mean what else should one expect in a romantic action film? 

Then someone questions it. Questions them. Person B is like. “Fuck that I stand with him and him alone. Sam’s actually words. “Don’t look at me. I do with he does…” It’s like he’s saying: ‘I trust him and only him. If he says we need to do it this way, then that’s the way we do it. My loyalty is with him and him alone.’

Then the talk, because they always have to have the talk. “Do we know what we’re doing? Are we sure about this? I’m with you no matter what, but I think you really need to realize what we’re stepping into here. Sam has that talk with Steve, of course is Sam. He is person B, the love interest, the only one person A will even remotely listen too. They talk. Steve has to do this. Sam says okay and they suit the fuck up.  

So person A is hurt and of course person B is by their bedside with sweet soulful music playing in the background. Steve is in the hospital. Sam is by his side. He’s got the Marvin Gaye Album that they talked about when they first met playing in the background and he’s just there for him. 

Of course person A wakes while person B is looking away. Person A then has the chance to give the mother of all heart eyes while person B’s not paying attention. ‘You’re here. You stood by me. I can trust you. You believe in me. We believe in each other. Who else would I want by my side but you? What other face would I want to see when I first wake up, besides yours?” 

Then the catch phrase. Literally the first thing out of Steve’s mouth when he wakes up is, “On your left,” and he gets the heart eyes to end all heart eyes from Sam when he says it. ‘He’s back. He’s going to be okay.”

Then The end. They stand side by side. Sam is like, ‘I got you. I stand with you.’ This film begins and ends with Steve and Sam side by side. Of course it does. It’s their fucking love story.

Then I look at Age of Ultron again. Sam is Steve’s plus one. Of course he is. Sam is like , ‘This is your life. You life is crazy.’ Heart eyes, smiles and Then. “Home is home.” The way Steve looks at him when he says that. Like, ‘Like home is you. You’re my home.” How else am I suppose to take that look. Or that whole damn conversation, tbh.

Then there’s the comics. That shit is not even subtle. 

“I don’t want to live in a world without you in it.” (not sure if this one is word for word. I can’t seem to find the quote now. Does anyone have it?”)

“Here was a man, I’d been as close to as two human beings could be.”

‘A look, only one passes between them… But they know what’s left unsaid .” 

The list goes on. 

So I ask you. How else am I suppose to take the Steve/Sam relationship, but as a canonical romance? 

I’m really excited to see Ezra’s version of Barry Allen but I swear to fucking god can people please stop stanning him I don’t care if he supports #blm there are a lot of annoying white ppl who are casually racist who “support blm”

he was involved in an arts film abt Darren Wilson, a man who made money off of killing Mike Brown

that’s solid garbage, that’s not something we can just overlook

"The Magnificent Seven" Remake
  • expectations: two solid, entertaining hours with actors I like, lots of action, and a fucktonne of explosions
  • reality: two solid, entertaining hours with actors I like, lots of action, a fucktonne of explosions, and SO MUCH HOMOEROTICISM I COULD PRACTICALLY HEAR THE FANFICTION BEING WRITTEN EVEN AS I WATCHED THE FILM. FUCKING HELL, FUQUA, YOU REALLY DIDN'T SKIMP ON THIS SHIT, DID YOU

This year, I watched more films than ever before (over 65 if I’m showing off) and enjoyed every second of pouring over their details, scrutinising and analysing them and their merits, and just generally being a nerd. I did have a full list of ten (it included Haider, Jigarthanda and Dedh Ishqiya if you were wondering) but I had nothing to say about them. They were perfect, solid, inventively sculpted pieces of cinema. I agreed with their aesthetics and politics. But it’s really hard for me to say what makes them so great. They just…are!

So the films in this list are simply the most interesting; the films which are perhaps not always perfect, but could not have been made in any other way, for any other audience, in any other language or cultural climate. They are works that have surprised me, will continue to surprise me, and that I’m sure will prove to be of great cultural importance to the industries they were produced in. I hope that all makes sense! So here we go:

7. Oohalu Gusagusalade

Sometimes the most brilliant films are not those that try to be everything, to break new ground, or impress with breathtaking craft. Sometimes, a brilliant film will utilise simplicity in such a charming way that you don’t even wish it tried to be ‘better’. If you are making a romantic comedy, you need a good looking lead pair, some relatable romance and some comedy that is actually funny. You do not need a club song or incessant innuendos or suicide and heartbreak. Kudos to this lovely little film which knew exactly what it was and what it needed to do, while subtly and brilliantly assessing the place of a woman’s choice in arranged marriage. 

6. Bangalore Days

An ‘epic’ is generally considered to be a film with massive production values, conjuring up a huge sense of escapism and a time and a place you never dreamed of seeing, complete with a sprawling time scale and a vaguely existentialist battle between good and evil. But then there is another kind of epic; the kind that boldly attempts to encompass the entire human condition, from youth to adulthood. One of Bangalore Days’ many strokes of genius was casting the ever-popular romantic pairing of Nazriya and Nivin Pauly as cousins, deftly pronouncing the importance of family and friendships that so many Indian films leave at the wayside. Bangalore Days is a whole life lived, with a cast of characters who will feel like your own kin when it’s over. 

5. Kill/Dil

How did Shaad Ali imagine this film? Where did the ideas spring from? What kind of brain can envisage such visual composition, such a rich colour palette, and this bewildering sense of kinetic energy on a two-dimensional screen? Films like this, that have a genuine madcap ingenuity and creativity behind them (and I’m talking about the physical, tangible CRAFT of the art-form) are destined to be critical failures. But I wouldn’t want it any other way. God bless Yash Raj Films, India’s most commercial production house, for allowing a filmmaker to experiment, and ultimately fail in telling a story, but excel in the art of making images. 

4. Hasee Toh Phasee

Meeta and Nikhil sit down at a bus stand after storming out of the family home. Meeta has returned after disappearing for years without a trace. The wounds are still raw. Nikhil is attracted to her mystery, the fierce independence in her actions. He wants to know what is driving all these choices. To explain, she takes out a red rubber ball. She drops it and it bounces furiously around the bus stand. It doesn’t stop. It just keeps bouncing. He was not expecting that. This red ball, and indeed Meeta’s character, are almost metaphors for this film - a small but vital shot of total insanity amongst the mundane.

3. Punjab 1984

Masala films have a lot in common with the post-apocalyptic genre: those barren, hopeless villages where ordinary folk are terrorised by archetypal evil landlords or corrupt rulers, to be saved only by a singular righteous hero. Using no tricks, technical machinery or effects, Punjab 1984 conjures up this otherworldly atmosphere quite beautifully, employing a steadfastly Indian mode of storytelling which never dilutes or insults the real-life significance of the issue at hand. This film was hard to trust, given that it stars BJP-member Kirron Kher and (allegedly) Sukhbir Badal-supporting Diljit Dosanjh, but its even handed, delicate treatment of separatism makes its ultimately humanist message impossible to disagree with. Smaller budgets make sharper filmmakers, and regional cinema is now the place to turn for honestly made and truly Indian movies.

2. Madras

On the surface, this is just a perfectly sculpted story we’ve heard a thousand times before: two opposing political forces exploiting impressionable youths into carrying out their dirty bidding. There are two best friends whose ideologies drift apart, a romance that becomes a vessel of redemption, and a vivid backdrop of an urban slum and its cast of colourful characters from gangsters to nagging mothers. On this level its a good, engrossing film, but little else. But then, notice the Ambedkar portraits that hang in every house, the Christian names, the political literature that lingers on the bookshelves. These characters are Dalits, once ‘untouchable’ people. And this colourful neighborhood they inhabit is government sanctioned 'slum clearance’ social housing - a ghetto in the most literal sense of the word. The film gains a host of added nuances. Every heartwarming interaction between friends or relations becomes a middle finger to centuries of disgraceful oppression. Their ownership of their environment becomes a reclaiming of this prison. Madras is either a perfectly told saga of wasted youth and failed democracy, or an important document of the current state of the caste struggle. Either way, its a fabulous entry into a canon of cinema that could only be made in the Tamil language, and a fervently proud, rebellious and working-class masterpiece.

1. Highway

I’m going to have to try and be critical about a piece of work which moved me so deeply and profoundly that I was quite literally in tears for half of its two hour runtime. I’m going to have to try and be critical about a film which was so personal to me that whenever I thought about it over the next few days, I burst into tears all over again. I’m going to have to try and be critical about a film which beautifully summed up everything I have ever thought about our futile material existence on this Earth, a film which explores love and kindness and compassion between human beings simply and poetically. This is a story about the haves and have-nots, about the divide between rich and poor, about our priorities, the very nature of the things which give us happiness. It is a film about women, about innocence, about childhood, about family. And all of this from the man who gave us Love Aaj Kal? Ok I’m finished, that’s about as critical as I can get for a film which is so much more than just perfect.

Once again, this list really took over my life. There are of course some fabulous looking films I didn’t get to see (and literally tons more of crappy ones that I actually sat through). These are the films which inspired me, got me thinking, and really forced me to engage with them critically. I look forward to hearing what you think! Much love, and happy new year!!


smallherosix’s animation challenge [4/10 - favorite film released before you were born]

batman: mask of the phantasm (warner bros. - usa - 1993)