Tokygo-Ga

Nightclub nectar enriching recreation innate entertainment dazzling alms, seductive maze labyrinthine lorbit Byzantium burnish impulsarcadence. 

Diligent lifetime ceaseless production steady centripetal narrative niche, domicidewinder conjugal cloudburst merrymaidentyne nuptial nerve.

Spacious economy hesitant movement bold captivation disciplined dogma, resilient fortitude experimentation focused creativity longitude larvae. 

Reliable crunchie consistent conversion understudy unction enveloping flick, able craftspersonship intricate angle vehement volume stoical syntax.

Inherent angst-ridden dissatisfaction fleeting obsession cataclysmic birth, Fitzcarraldo finesse herculean hubris wilderness welfare courageous dawn.

Electronic hardwired hammerstein hospice dubious dojos Pokemoonstruck-chuck, compulsive standardized addicting caution robotic revelry covert charisma. 

Unflagging wonder itinerant treatise curious roots inspiring levity, shared admiration decent distinction honest endeavours lighthearted lattice.

Stifled malignance deconstructed dommage delicate stewardship familial curation, consequent mischief storytime sentiment mysterious lullaby frenetic fables. 

Watershedwaylaid curvaceous current tidal imagination robusterbar, campy improvisation innocent divergence communal construction industrious populace. 

Octopickwicycle lion canisterlinger wolverminestronecold jellyfishmongermaine, oceanic fluid volcandid eruption sugar sweet sodelay energon cubes.

Billowing Brandywine nonchalant flow inquisitive scale meteoric concomitance, algebraic chordinance renegade fugue sharpened asymmetry cleffervescent rhythm. 

Distinguished exacting bulbluster track homme de chemin de ferreticenturion, stylistic filmmaker civil auteur urbane citizen engaged existence. 

Half to check out Tokyo some day.

Especially the food.

Wish they'd ease up on the whale hunting.

Otherwise a fascinating culture.  

Lightning Over Water

Ajax buffer meticulous maestro productive career improvised formulae, bulletin balance loquacious lecture sculpted sympatico chill expedition.

Fatherlike fervour intricate thesbianage neophyte nestle directorial dialogue, laidback jettisongbird chillaxed churl emojingle jive priceless expenditure. 

Codagwoods curvature clever cast iron retinewtonian gossamer gravity, enjambment dangle dimple disclosure fiddlestick fetters Zorba xyloafin'.

Finicky nitro Sambuca solace infinite exacting icyclic soma, volatile matter stringent immersion local brilliance versatile flow.

Modest cobalzac cascading quantum incandescent quibble striking composure, salient swaggregateway metric inducement focalabreeze fold indifferent dazzle. 

Boundless endeavours inexhaustible energy idyllic drive counterpinpointment, inherent amusement Cherubim charm papillon panacea indefatigable glide.

Brokered enthusiasm leveraged accent cuneiform gala inscrutable swerve, barge-of-the-light-brigade buoyant bramble-onwards torrid tenacity exuberant douse.

Miraculous misthmas thunderous vertices illuminary lightning indelible storm, congenial quartermast evocative winds furtithing twister bedevilled ballast. 

Limitless industry interactive excursions knowledge and knowhow penchanterbury, steamwhistle turret engineer ne'erwithal locomotartargisan impulsive initiative. 

Eclectic viewing panoramic vistas Blue Jaycent artistry feverish flight, otter agility cast'or syndication minkwellingtitan rebellious bearings.

Urbannock wilderness gymnastic hustle métrobinesting conglomerate codicil, imaginative starlings soaring slamdestine playful tributaries exotic voyage.

It's fun watching lightning over water.

Tough to get pictures though with your phone.

Even if there's a lot and you just keep clicking and clicking and clicking.

Looks beautiful regardless.

I'll try for the video next time.

Fedrelandet (Songs of Earth)

Imagine living there, naturally ensconced in overwhelming breathtaking beauty, consistently revelling in awestruck wonder as the seasons change and life delivers.

It's fun to catalogue the passing of the seasons like the family does in Fedrelandet (Songs of Earth), humbly showcasing their fertile land which they've boldly cultivated since at least 1603. 

Incredibly beautiful consistently revitalizing miraculous mountainous energetic environs, overflowing with habitual endemic resplendency, what a place to grow up then resiliently stay.

Not that it hasn't been difficult, emergency visits to the hospital were arduous at times, in fact to cure routine and troublesome appendicitis one required a nine hour trek over a mountain to a hospital.

And while the mountains constantly provide mood-altering rejuvenating lithe panaceas, they can at times wipe out whole families when they suddenly tremble with capricious fury.

But the beauty outweighs the risk their rooted reasonable irreducible rubric, providing ubiquitous inspirational levity like the perennial emergence of prehistoric dawn (I spent a year in the Rockies).

Mr. and Mrs. Mykløen are still enamoured with old school l'amour, it's uplifting to watch as they lovingly chill far away in the mountains on the family farm.

Still as holistically fascinated with one another as they lucidly were when their eyes first met, the unyielding preservation of romantic love everlastingly conjoined through limitless longevity.

Strong health and inherent vigour naturally accompanying their lives in the mountains, as they still hike like billy-goats to imposing mountain tops far above the sea.

It's impressive to view the heights they reach without looking like they've put in much of an effort, a life of bold adventurous mountaineering begetting calisthenic courageous camaraderie. 

Fjord living seems remarkably versatile from the stunning vistas and prominent panoramas, not to mention incomparable envisaged reflections in the pristine waters and out on the ice.

Filmmaker Margreth Olin (the Mykløen's daughter) periodically showcases wildlife within her film too, deer and moose and ravens and ferrets industriously existing in inhospitable lands.

There must be tourism it may be cold and isolated but it's still like nowhere else on Earth (crazy Northern Lights).

But perhaps that kind of thing would disrupt the harmony.

What a thrilling way of life.

Effervescent through the centuries (crazy waterfalls too).

*The Mykløens explain things much more clearly in the film.

Bis ans Ende der Welt (Until the End of the World)

Fluidly transmitting interactive hybrid tender phenomena, Bis ans Ende der Welt (Until the End of the World) randomly travels around the world.

I can't imagine what it must have been like to exotically film in so many countries, at an accelerated intricate pace kinetically connected universally lithe.

I couldn't watch the entire film in one extended sitting so I divided it into 3 parts, the first two hours, the second two hours, and the last 47 odd minutes.

While I was watching I admired its freedom as it temperamentally trotted the globe, while casually presenting endemic technologies along with brief interrogative artifacts. 

The 4 hour and 47 minute film leaves the viewer full of lighthearted enriching anticipation, comfortably rewarded for investing their time while convivially considering the mischievous details.

Part 1 as accidentally compartmentalized offers a chase as previously mentioned around the world, as a romantic artful passionate soul sets out in search of a would-be lover.

He's stolen some money from her which she borrowed from thieves who stole it from Nice, and as she keeps finding him and he keeps escaping dynamic love blossoms with fugacious flurries.

The second act is much more settled as the lively couple finds rest in Australia, several characters who came along for the ride jocosely joining them then forming a band.

The destruction of a nuclear satellite has knocked out communications around the world, with practically no machines in working order it's time to jam sit back and enjoy life.

The last act sees the principal characters become addicted to an ingenious device (global power restored), which records your dreams and plays them back for you to freely watch throughout your day.

Unfortunately, the dreams become reality and those taking part refuse to do anything else but watch them.

Drifting into cerebral psychosis. 

Like turtles all the way down. 🐢

If searching for an offbeat romance that celebrates active unorthodox lives, improvisationally following their own distinct paths, Bis ans Ende der Welt is worth seeing for sure.

My favourite scenario was the chillaxed jam where music reimagines being and nothingness.

Reminded me of old times in the countryside.

Laidback livin'.

Kitchen jams.

Alice in den Städten (Alice in the Cities)

A wandering writer discovers photography while driving around the United States, and takes sundry pictures his editor rejects when he attempts to submit them instead of his article.

He couldn't help not writing it, he was inspired by a different idea, and even though a task had been definitively set, he seductively swerved and creatively reimagined it.

He's out of money nevertheless and his editor won't give him any more, the decision to return to Germany suddenly presenting itself with frank appeal.

While purchasing his ticket he meets a single mom and her curious child, both of whom can't speak English yet also want to return to Northern Europe.

He agrees to awkwardly assist and then finds himself with no place to stay, the mother and daughter agreeing to put him up his habitual thanks most unpresuming. 

The mother is still in touch with her new partner who wants to remain in the United States, and leaves her daughter with the travelling writer and they proceed to sightsee around New York.

They agree to meet at the airport but surprisingly the mother doesn't show up.

But sends word she'll meet them in Europe.

When the next flight arrives, she's not on it.

The child doesn't remember where her grandmother lives and the two have quite the confusing adventure, the writer learning not to be so grumpy as he tries to accommodate youthful maturation.

It's an oddball misfit scenario the oblivious trio not consciously registering, the bohemian lifestyle making bold decisions through spontaneous planning as they make their way home.

As luck would have it, youthful spirit blossoming in friendship unceremoniously wins the day, the artist reluctantly embracing formalities to amusingly calm down the frightened youngster.

She notices his random scribblings and childishly wonders what they might be.

He bashfully plays the absent-minded father.

To improvise with unkempt austerity. 

Der Amerikanische Freund (The American Friend)

Playful deceit with murderous intent wickedly tricks resigned desperation into committing uncharacteristic crimes in Wim Wenders's Der Amerikanische Freund (The American Friend), the lucrative potential payoff producing imaginative cures for dissembled diagnoses, beforehand, while innocence still tenderizes, while conscience remains impenitent, while a child acknowledges fraternity, while a wife willingly confides, the sudden possibility, the imposing tactile ease, inherent obscurities coaxing refined obsolescence, disappearing into the fold, in possession of purist panacea.

Concurrently, a fraudulent easel facilitates brushstrokes which comfortably pay the bills for both facsimilator and procurer, a man of the world always eager to make new friends, his kaleidoscopic contacts adroitly brimming with opportunistic fervour.

Begrudged meetings of minds.

Corruption classed exclusive.

The film's mix of grizzled despondent frightened action and curious childlike malevolent pause maliciously meows with tantalizing solemnity, like you've been dating a cool partner for a while and have run out of ideas, your whiskers rustling with uncertainty as you acquiesce to their control.

Cat style, things are still rather loose knit and unconcerned but the spontaneous bursts of profound inspiration startlingly ignite uncharted expeditionary crazes.

Visceral emotions.

Subconscious realization.

Like the ingredients for grandma's seductive shepherd's pie, Der Amerikanische Freund reflexively socializes with clandestine variability, each mouthful uniquely pronounced, the devouring of morsels plain yet sublime.

Taken in its entirety, it timorously yet nonchalantly plays dangerous games as it heuristically high jumps, surprisingly settled with enterprising leaps and bounds, intuitively melding cautious authenticity with bold improvisation, it angelically clasps demons, in cloaks of aspen rue.

Le sel de la terre (The Salt of the Earth)

The cultivation of astonishment, the realization of a vision, concerned dedicated multifaceted compassion takes on the most heartbreaking commitments with a tender immediacy humanistically begetting loyalty and awe, Sebastião Salgado, born on a farm in Brazil, spending his life directly embracing the tumultuous and the taciturn, having given up a prosperous career as an economist to do so, in isolated forgotten lands, to create the most stunning collection of photographs I've ever seen.

Famine, war, genocide, helplessness, poignantly captured to reveal true horror, life still attempting to flourish amidst the carnage, herculean patience, aphroditic ascendency.

Taking great personal risks and sacrificing familial leisure and comfort to dodge helicopter gunfire and shed humanitarian light, offering a voice to the downtrodden and the dispossessed, celebrating their courage and resiliency, their unshaken resolute cries, as a matter of conscience, a pact with will, he modestly proceeds, and fascinatingly portrays.

While also visiting remote geographical locations to illuminate unmitigated terrains.

Innocence.

Passion.

Regrowing a forest, battling wits with a polar bear, suffering as his subjects suffer, living, growing, evolving, Sebastião inspires through his erudite humility, naturalistic charm, incomparable humanity, and consummate sagacity.

Transcendency.

Wim Wenders makes the perfect directorial companion to Sebastião's son Juliano.

Le sel de la terre (The Salt of the Earth) is a must see for aspiring artists, for students, for anyone.

To see again and again.

Life force.

Genesis would make an excellent wedding gift.

Paris, Texas

The most beautiful film I've seen since viewing Emir Kusturica's Underground is Wim Wenders's Paris, Texas. It felt so great to be watching a movie where the soundtrack, cinematography, direction, editing, script and acting are harmoniously united and thought provoking throughout.

Two brothers, both married, one with a child, one without. One brother is successful and living the suburban dream, the other suffers a breakdown when his marriage collapses and disappears for four years, leaving his son in his brother's care.

He suddenly surfaces after collapsing on the floor of a rural diner in Texas, the attending doctor finding his brother's phone number on a card in his possession. Contact is made and his brother (Dean Stockwell as Walt Henderson) arrives to convince him to come home. But Travis (Harry Dean Stanton) refuses to talk and is reluctant to return as he can't find the psychological means to face the pressures of the life he left behind.

But Walt slowly and patiently encourages him to forgo his fear and travel to Los Angeles to be reunited with his son Hunter (Hunter Carson). As the two hit it off, Travis begins to dream of the family life he left behind, and his thoughts turn towards a rapprochement with love interest Jane Henderson (Nastassja Kinski).

Two dimensions subtly and shyly debate throughout, both in relation to what's best for Hunter. He's living a happy life with Walt and Anne (Aurore Clemént) and was basically ditched by Travis who mysteriously disappeared for 4 years, contacting no one. But Travis is his father and not everyone negotiates the trials of a struggling marriage convoluted by an unrewarding professional life seamlessly. He obviously lacks certain qualities that are traditionally aligned with conservative conceptions of maturity. But his endearing childlike gentle curiosity is matched by his modest caring dreamlike individuality to encourage you to hope that he can raise Hunter and be a strong father whose sympathetic disposition nurtures his son's gifts.

Suddenly you find yourself embodying the symbolic, keeping your dreams alive through the related possibilities presented by the imaginary. But the real's presence remains a consistent challenge as unforeseen developments, financial predicaments, and social consequences consistently demand dynamic discursive responses, from which a new set of circumstances arises, wherein the framework has been realigned yet is still dependent upon historical spectres whose often misremembered anti-contextual vitality refuses to easily permit any stable sense of well being, and so on. The weight of these power struggles can often be too much which results in a victory for the real who consequently presents a means by which to attain the imaginary whose potential objectivity is decreased significantly (you have neither contacts nor resources but are free to consider whatever you like).

And time passes and co-habitation becomes impossible and the bitter force of the split internally collides with the initial passion of the romance at indeterminate intervals throughout the course of the day resulting in a potential psychological stalemate if there's no alternative which presents itself, whatever it might be.

And time continues to pass and realities continue to exist and forgiveness and explanations begin to discover an outlet which wasn't present during the height of the competition and the option for peace unexpectedly presents itself.

In an exceptionally touching scene Travis and Jane discuss what happened, why it happened, how. Leading up, Wenders's direction leaves us in a state of incredibly anxious anticipation before delivering a patient, stunning, tear jerking piece of temperately crafted cinematic perfection, as the real, symbolic, and imaginary momentarily crystallize.

Soundtrack by Ry Cooder, cinematography by Robby Müller, editing by Peter Przygodda, adapted by L.M. Kit Carson, written by Sam Shepard.