starting to dive into nate's wonderful Oneiric Houses list with a title i've been meaning to watch for quite a while -- this works so well because it's so ambitious, and the animation style is relentless, exhausting, and vertiginous, creating a sort of affect of intensity even if the surface level narration claims to be more chaste (this formally echoes the film as a whole, i'd argue).
It severely bugs me that the dominant form of film in 2016 is a mode of narrative film-making (& film criticism, & understanding of film, & viewing habits of film) that derives explicitly from the confines of late-capitalism. When viewers think that acting is the most important thing in a film, the producers can capitalize on that by creating a star system in which familiarity & hegemonic style is read as "objectively good" while unfamiliarity & variant style is read as "bad acting." Similarly,…
This is an extremely difficult film.
Difficult primarily because what is seen on screen is a gay black man given enough alcohol to find himself wasted, who then gets yelled at by an off-screen white woman who also directed the movie.
However, if it were really that simple then this wouldn't be a difficult film, it'd just be an offensive film, it'd be a bad film. This is not a bad film, this is not an offensive film, this is…