After watching Hereditary – which I never blogged about, in part because of a perceived inability to say anything unique about it – I thought I’d seen it all. Hereditary is one of the most disturbing horror films I’ve seen in some time, a sickening romp through the cackling, bloody underworld of death, grief, and witchcraft combined. Nonetheless, Michael and I watched The Eyes of My Mother yesterday, a movie I decided to put on my list for comprehensive exams when I heard about it at a pop culture conference. Let me tell you: it was disturbing. Nonetheless, it was a fascinating film that said a lot about certain types of madness and (perhaps) about how such madness evolves. I’ll be including, in my piece, Michael’s take on the main character, along with my reaction to his opinion and some observations about the film in general. As a warning, this film is not for the faint of heart, and it may sit with you for awhile after you watch it. That said, let’s talk about, perhaps, the general experience of watching The Eyes of My Mother along with some of the questions it raises. Continue reading “Monstrous Undertakings in The Eyes of My Mother”
It was another day of mild to moderate chaos at the local video store where I work. Michael came in to procure movies that we would watch later that evening. He held up a few options in front of me and prompted me to pick the one in which I was the most interested. I immediately selected The Howling. Having never seen the film, I’d only heard it alluded to briefly in Scream, and I knew only that it was a canonical werewolf movie. I wasn’t really expecting to be scared, and to be honest, it didn’t scare me…that much. The film was a lot more well-made and in general a lot creepier than I’d anticipated. That aside, I kind of found myself wracking my brain for some sort of way to break the film apart or put it into perspective. As I watched I scribbled down notes, but I wasn’t getting the insights I’d hoped for. Despite my difficulties really analyzing this film, I think I’ll discuss in general why I like this movie, with an emphasis on the fact that it inverts the typical werewolf movie “rules” in a couple of ways and consistently highlights its own fixation on “the body” or “the flesh.” Continue reading “A Howl for the Howling”
I went into The First Purge with moderate expectations. The previews had revealed a significant amount about the film’s premise, and I’d seen the additional three Purge movies before. I didn’t have much hope that a prequel would be uniquely terrifying, but I was expecting it—especially, given its name—to contextualize the bizarre process of “purging” that these Purge films have contrived, to explain how “the purge” came to be in a world where we’d like to assume that most people are fundamentally good and basically non-violent. That expectation was definitely met, and I thought that in achieving this goal, The First Purge made some bold statements about problems in our country and where we could be headed. I argued in an earlier piece that I saw some “problematic presumptions” embedded in the originally released purge, (simply titled The Purge). Well, this film answered my qualms in a clever, incisive way. I should also warn you at the outset that my analysis contains a lot of spoilers, so only read on if you’ve seen the film, don’t plan on seeing the film, or aren’t bothered by rather specific previews!
What you won’t find in this essay: A really clever, insightful thought that combines the three parts of my above subtitle. I wish I could do it, really. I wish I were creative enough to analyze the divine, Lacan, and cargo pants in one seamless line of thinking and come up with a brilliant conclusion, but my mind hasn’t gone to those heights (or depths). Rather, as Michael and I sat down to watch The Crucifixion, which is partially based off real events that happened in Romania in 2004, I had a hodgepodge of thoughts about the film. My mind wandered from (novice) applications of Lacanian theory to the film, to my own faith, and how the film made me think of it, to early 21st century fashion, and how it deviates just slightly but perceptibly from what we wear almost 15 years later. To be honest, then, the three things are only connected in the title; I doubt these subjects will connect in the essay. But after finishing The Crucifixion, I had no idea where to begin writing, and these three elements of the movie came to mind. That said, I’ll begin this semi-foreboding essay-journey. Continue reading “Watching “The Crucifixion”: Thoughts about Lacan, Divinity, and Cargo Pants”