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(09/26/17 7:28pm)
Most of us have experienced the emptiness of acknowledging a loss: the epiphany that comes with stepping back into the bleak reality after a period of taking shelter in denial. It's painful, ugly, dismaying, and it's futile to explain. But there's a scene in Stronger that manages to capture the very essence of this feeling in the rawest, purest form possible: by allowing us to see, well, close to nothing. It is not the sight of Boston Marathon bombing survivor Jeff Bauman’s (portrayed by Jake Gyllenhaal) wounds that’s striking—in fact, we only know they’re there because of the blurry figure of doctors. But the acute sound of his shrieks as the bandages come off, the tremor of his voice as he seeks comfort in his girlfriend’s embrace, and the tears after looking down at his two stumps reveal a wound that transcends the physical: the agonizing realization that his legs, once taken for granted, are now gone.
(09/13/17 5:07am)
Venice is old and prestigious. Berlin is artsy and edgy. Cannes is opulent and elitist. The combination of a scenic backdrop and a matching selection of screenings has allowed these film festivals to develop unmistakable personalities that never fail to bring together cinema purists from their respective niches. Three times a year, crowds flock to Europe to get a glimpse of not only the cinematic novelties that they showcase, but also of the glamour they’re associated with. Lavish outfits, a high–profile guest list, “movies–with–subtitles,” and a somewhat pretentious, quasi–intellectual discourse: for decades, this extravagant mix has been a trademark of The Big Three, each of which has become a brand of its own.
(09/13/17 4:47am)
College movies are, along with rom–coms and sports films, part of the Holy Trinity in the faith of B movie producers or, alternatively, of the triad of predictability for us regular viewers. Inevitably, when most people think of this type of movie, which it’s safe to say has become a genre of its own, the first images that come to mind are debaucherous parties, never–ending sex and a complete disregard for any type of academic matter. Once the script ticks these boxes, all producers have to do is add in a hero, a villain, and a love interest, and link them together with the help of some worn storyline.
(09/06/17 3:44am)
Fisher Fine Arts Library – The Tree of Life (2011)
(07/31/17 7:27pm)
“Don’t fuck with my love” wasn’t sung by Sheerios, but spewed by Thronies after GoT’s highly anticipated return on July 16th. Though reactions to Ed Sheeran’s infamous cameo were either hilarious, witty, or (excessively) aggressive, most of them are rooted in the same simple fact: the singer’s appearance on the show was a terrible idea.
(07/09/17 9:10pm)
Book: A Wild Sheep Chase (1982) by Haruki Murakami
(06/28/17 7:41pm)
House of Cards is known to the public as one of the shows that made bingeing easy. Ever since its release in 2013, Netflix has managed to keep up with the American political arena in a manner that always has viewers smiling wearily at the screen. It’s not hard to understand why: House of Cards takes current events, twists them slightly so as not to directly reference them, then adds the right amount of darkness needed to achieve its goal—that is, emphasize how corrupt the people who run the world are. The latest installment didn’t disappoint: both in the real and the fictional realms, things are dramatically different as compared to last year. “It’s amazing how ready people are to be afraid,” says Frank; the terror that’s slowly creeping its way into our daily lives was masterfully depicted in the fifth season, which is perhaps the show’s gloomiest yet.