6 volatile tales, worst case after worst case after worst case, scenarios often drenched in vengeance and justice, unexpected reactions to systemic rigidities, spitfires and incendiaries, riddled with hostility, both participants in the carnage, explosively splintered and drawn.
Who's in the wrong?, detonates each of these backlashed drills, as they comedically yet devastatingly assert themselves, like sociocultural aneurysms, caution and hesitancy be damned, to escorted retributive strife.
Beyond grieving.
Alarming dysfunctions.
The bitter outcast, the conscientious victim, road rage, billeted bombast, chaotic extortion, a bridal blush.
Consequences abound.
Social media condemns then rectifies.
Punishment, misfortune, degradation, resilience, Relatos salvajes (Wild Tales) passionately revels in ambiguous cohesion, disobedient in its logic, playful, carnal, means.
The oppressed and the oppressive, skewered kindred collisions, chance, structure, happenstance, mischievously envisioned in/sane tec/tonics.
The rules.
Play by which set of rules?
Immediacy begets fleeting permanence, instantaneous conception, sudden breaking news.
Showing posts with label Outcasts. Show all posts
Showing posts with label Outcasts. Show all posts
Friday, March 20, 2015
Tuesday, November 4, 2014
Horns
Cast out.
Disbelieved.
Betrayed.
Punished.
Horns begin to grow on young Ig Perrish's (Daniel Radcliffe) head as his beloved hometown accuses him of the murder of his one true love, Merrin Williams (Juno Temple), Ig valiantly proclaiming his innocence, searching, desperately, for the murderous guilty party.
Unbeknownst to him, in the beginning, his horns unwittingly command everyone he encounters to reveal their darkest secrets, or embrace violence and/or sexual desire, as if they're dislocating a contingent of vice, irascibly disdained, savagely enacted.
This proves rather confusing.
As does the film, which is a bizarre blend of the sentimental, the ambiguous, and the ridiculous, irreverently devout, as deduced by its spry submission.
The sentimentality seems to be appealing to its youthful market, juxtaposed with the ridiculous, which is generally subscribed to adult behaviour, to vindicate cracks of teenage rebellion, coming of age compartmentalizing certain tendencies, to outrightly misbehave, in preparation for the reign of jouissance.
But as Horns takes a moral turn, as Ig's investigation bears fruit, it becomes unclear whether or not the film is being serious, in which case it becomes quite tiresome, or pretending to be serious while revelling in playful incongruities, what's actually happening being rather serious, and sentimental, the situations themselves devilishly corny, and ridiculous, in which case the film excels.
Hence the ambiguity.
If this is what director Alexandre Aja intended, it's a stroke of maudlin genius, don't think about what's happening, just focus on what's being depicted, graceful in its contrite subtlety, overcoming the bounds of placated smarm.
If not, the film collapses during its final third, the irreverence which sustained its peculiar plea, giving way to a uniform banality.
Need to see more of Aja's work to reach a conclusion.
Disbelieved.
Betrayed.
Punished.
Horns begin to grow on young Ig Perrish's (Daniel Radcliffe) head as his beloved hometown accuses him of the murder of his one true love, Merrin Williams (Juno Temple), Ig valiantly proclaiming his innocence, searching, desperately, for the murderous guilty party.
Unbeknownst to him, in the beginning, his horns unwittingly command everyone he encounters to reveal their darkest secrets, or embrace violence and/or sexual desire, as if they're dislocating a contingent of vice, irascibly disdained, savagely enacted.
This proves rather confusing.
As does the film, which is a bizarre blend of the sentimental, the ambiguous, and the ridiculous, irreverently devout, as deduced by its spry submission.
The sentimentality seems to be appealing to its youthful market, juxtaposed with the ridiculous, which is generally subscribed to adult behaviour, to vindicate cracks of teenage rebellion, coming of age compartmentalizing certain tendencies, to outrightly misbehave, in preparation for the reign of jouissance.
But as Horns takes a moral turn, as Ig's investigation bears fruit, it becomes unclear whether or not the film is being serious, in which case it becomes quite tiresome, or pretending to be serious while revelling in playful incongruities, what's actually happening being rather serious, and sentimental, the situations themselves devilishly corny, and ridiculous, in which case the film excels.
Hence the ambiguity.
If this is what director Alexandre Aja intended, it's a stroke of maudlin genius, don't think about what's happening, just focus on what's being depicted, graceful in its contrite subtlety, overcoming the bounds of placated smarm.
If not, the film collapses during its final third, the irreverence which sustained its peculiar plea, giving way to a uniform banality.
Need to see more of Aja's work to reach a conclusion.
Monday, July 16, 2012
Moonrise Kingdom
Stoic particular oddities are seamlessly intertwined with a general reconceptualization of a stilted romantic American summer vacation, framed through recourse to a revitalized instructional capacity, championing the ingenuity of two young outcasts, demanding that those who neglected them altruistically unite, with the aid of Bruce Willis, as the peculiar becomes the pertinent and vice versa, discussion engenders understanding, the resulting text overtly incarnates visceral dialectics, melodramatically idealized by the pursuit of love.
Regardless of the structural impediments firmly bulwarking a sustained historical social reverberation, Suzy (Kara Hayward) and Sam (Jared Gilman) courageously escape to the wilderness which created it, only to find their commitment to one another strengthened all the more, after having been discovered.
Underground authorities are then enlisted to creatively sanctify that which has been forbidden.
And as the heavens thunderously strike back, only s/he whose bravery eclipses his/her intellect can function as saviour.
And the Moonrise Kingdom shines forth.
Having been integrated into the system.
Regardless of the structural impediments firmly bulwarking a sustained historical social reverberation, Suzy (Kara Hayward) and Sam (Jared Gilman) courageously escape to the wilderness which created it, only to find their commitment to one another strengthened all the more, after having been discovered.
Underground authorities are then enlisted to creatively sanctify that which has been forbidden.
And as the heavens thunderously strike back, only s/he whose bravery eclipses his/her intellect can function as saviour.
And the Moonrise Kingdom shines forth.
Having been integrated into the system.
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