leia

i’m sorry, but i don't know that part of the routine

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  • But I'm a Cheerleader

    But I'm a Cheerleader

    ★★★★

    it's a classic with lots of heart. it was ahead of its time to have been made over 20 years ago. this was a satire and funny narrative that preys on the insecurities of queer people and i believe that Jamie Babbit was keen on her representation of hypocritical people throughout the film, demonstrating deeper cultural awareness.

    also, if i were Megan, i simply would've just stayed in the bar with Julie Delpy, the prettiest lipstick lesbian

  • The Elephant Man

    The Elephant Man

    Never. Oh, never. Nothing wil die. The stream flows, the wind blows, the cloud fleets, the heart beats. Nothing will die.

    no matter how much I love Lynch's usual dreamlike, non-sensical sequences, and i want him to stay that way, this might be one of my favorite movies of his. mostly because of its subject matter and the talent of an outstanding protagonist.

    the decision to shoot in black & white is perfect and gives it an air of classicism, extremely suiting for the story. the cinematography is beautiful and the ending usually has me in tears, it's both crushingly straightforward and spiritually annihilating.

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  • Sorry to Bother You

    Sorry to Bother You

    ★★★

    danny glover: i’m to old for that shit
    me: points were made

  • The Fountain

    The Fountain

    ★★★½

    i have so many mixed feelings about this, but it's really unlike anything I've experienced before. i felt kept at a distance. It is harmonious with the plot, actors, screenplay, and it evokes sad memories. both the visuals and scores were captivating, and i loved how the stories intertwined with symbolism, surrealism, fantasy, mayan mythology, religion and science.
    but the dialog lines are a bit too naive, too dramatic. i think the ending could have been a little better, and some parts of the plot needed to be expanded.

    if there were something like god's favorite movies, it would probably be in the top five