AllIance The Backward Hypocrites

Alliance
Forward Thinking – Clueless and Backward.
To go North Go South. To go South Go North. Or stick.
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They are the Sectarian Glue.

Everyone of them a representative of nothingness. Filling a void they construct as the division.
They put it there instead of allowing the extremities of either side expose their own plain lack of values or ethics.
The outcome real political strength parliamentarianism and democracy.
Here the Alliance suggest the Ethics, the Moralities.
Consider their position on these issues if you need convincing they are the sectarian glue not the Alternative.
They never were.
Jo Grimond? Shetlands urbanite. Thorpe. Steel, Ashdown, Clegg.
Advancement impossible, Allies of none.
The Non Alliance – the Dividers. Counter intuitives.
Celebrated politicians foe change such as Roy Jenkins were at the fore front of advancement for
many human rights now taken for granted as were the charitable founding fathers of the Health Service.

They were Socialists.

The Liberal Party advanced little in the Modern Age and have been a failure up to and including the latest
morphic transformation in coalition.
Liberal is not Neo – politics it’s zero politics.
Their arrogance is outstanding. Ethics and Morality on the other hand are to be found in Parties with
People and the Environment in mind.
PBP and the Green Party.

Take a look at these issues.

David Ford.
Issues ignored and advanced – you determine which.
Equality and Human Rights – it’s Northern Ireland
We Alliance do not do the above.
Abortion Rights – 1967. I am no Roy Jenkins.
Civil Marriages. I as Minister will decide for you.
Resettlement of Paedophiles I as Minister decide, one location.
Third Party Prison Services on the cheap, sell out.
ROI stop, I as Minister carry on regardless.
They improve you fail.
Pander to greed. Fail the failed.
Destroy progress. Money fest for private service.
and remove the possibilities of reform of prisoners.
Provide Kincora No. Provide Church investigations?
Peace versus disclosure. One but not the other?
Whose country? GB or ROI or yours? None decide.
Two communities. Twice the U-turns. Sick.
Provide a Police Force? Provide Investigation?
M16 lawlessness. NIO means no. Cover up.
Business cartels and Public Service corruption ignore.
Taxes – what Taxes. Rates – What rates. Vat – Spend.
Speeches frequent, accomplishments infrequent.
Out of Office plus change?
Niaomi Long.
Own doorstep Kincora – twice around the Villiers
bush twice around the maypole? Local Politicians ignored.
Done what? You tell me?
East Belfast in the worst of worst limbo.
Pass the sick bag. Last heard re-electioneering.
Living off others accomplishments with Public Sector.
Stephen Farry.
Education on reduced resources. 3rd level take’s most.
70% of budget? so let’s reduce it further set up third party
Universities even get them designed externally.
No students Unions, no housing provision, no jobs.
Zero hours are OK so are student fees big them up.
Technology pays, provide the Corporates with Brain food.
Tear up curriculum on Teaching. Empty of vision?
That will be your Minister. No ideas is the Farry way.
Living Wage what’s that. Let’s subsidise the middle.
Ignore the workers. ‘Stem’ it for the corporates.
Here’s the keys to the Schools, Colleges and Universities.
Anna Lo.
Feng Shui the furniture. Forget the poles.
Protect and survive. Ignore the Sectarian it provides power.
Perpetuate division through development as you wish.
Segregation is our aim, races, tribes, colours, religions.
Rich, poor, unemployed, students we do them all.
Demean and survive. Hypocrisy duplicity a gift we pass on.
Frequent flyer. What achievements and for who?
Wing it, don’t bring it.
Paula Bradshaw Last time the UUP were wonderful out of Weavers Court.
Social Engineering special skills. Teaching provided.
Use unlawful means for Community Survey.
Hypocrisy, duplicity a gift we pass on.
Sham Public Planning Inqiures a speciality.
Divide and disintegrate. Do sectarianism a favour.
Demolish and destroy. Provide reduced housing.
One size fits all. Waste, materials, embodied energy.
Bring Bingo, Booze, Bookies, Bunting.
Community Garden? Military, Criminal whatever you want.
Sure Start not mine but we’ll close it anyway. Women?
Want the eighties? We’ve got it, we do it.
Feminism get stuffed. Try life insurance.
Dentists, Doctors Schools we’ll break them up.
Less Schools means more travel, get a Car.
Job provision. Zero. I’ve cost more than most.
New ideas. None. Unbelievable. Duplicity a speciality.

I could go on but these are the apparent key personalities and each of you will be familiar with their contributions as rinsed by the Press and the Agencies looking to destroy the extremes they created and to a large extent owe their own survival. Not much is new but the truth is they fashion nothing for society.
My class. No class. Try a fruit salad. Pineapple.

John Graham

14 April 2014

Belfast

Cobain : Montage of Heck : A Film Review

Dir. Brett Morgen, USA, 2015, 2hr 12mins. Cert. 15.
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Mood Intensities
Providing you have been a witness of the demise of innovation in music with its lost prophets Jeff Buckley, Tom Petty, Patty Smith, all reminders of the angst Garage bands of Americas wasted middle class promises, you will be aided to this scroll of devastation.

Banked is the music. Since Never Kurt Cobain choose his mix-tape after which this Brett Morgen named this long form documentary, for private consumption in the lead up to the composition of his own mental mixtape Neverland, it signaled intent if not direction. Never mind the Bullocks he scrolled. In the middle. Obscure local and lauded homies see the fillers radical and loudness overspill might liven a party on Wayne.

The opening of the film is instinctive at the heart of the machine. The filled stadium gig. Cemented as the like of festivals of summer, even the past lore of Reading Festival, over which the latter presence of his wife at the edge of deaths wormhole. Courtney Love laments at one point failure to fulfill a summers presence there. Brett takes us on stage with a mock bewigged KC gets into the stage prop wheelchair while the crew take him to centre mike.
Rumours of his demise are therefore both qualified and expanded.
Party on Wayne again. A familiar song then he collapses.

100,000 or so disappointed and embroiled in his familiar exposure and posture egos fighting for supremacy.
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Hard Rock and MTV
The commodity rock became was pervasive with Geffen/Sony Records thrusting the tours deals and churn of money with many punters buying up their identities simulacra. They had grown up on the same thing as Kurt and scribbled in the narrow feint notebooks ‘rock’ songs. Rent the cartoon brio gestural head monster of eating your neighbours pet tarantula or daughter for domestic sinful willfulness toreador reasons. Games are us letting down as their ‘Stagecraft’ or escapism sexist misogynist ‘Game of Thrones’ banter tamashanter. Brought from the Celtic isles by their forefathers. To be replicated centuries later in fantasy and Dark Hedges moons later for their consumption.
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Brett Morgen taps into the family archive from the beginning to give this very short creative life an impact deserving of screening and hearing accounts of. The mumsnet tale of safe housekeeping and child rearing is how it began in hopefulness.
Aberdeen, Washington State was a logging Mill town where ‘all our kids just loved growing up.’ Wendy Cobain explains while relating her downhill breakdown to alcohol dependency. Donald Cobain was a proud Everyman a Buddy Holly like easy going man so neither was aware of the intervention of the onset of genetic collision which firstly had them quack visit.
Kurt was born into a loving environment with few wants not satiated. He had so much he was inclined to generosity and giving things back or recirculating his joy.
The world could not have been simpler.
Along came other kids into his family world though and motherly affection was drawn in to provide at least rational boundaries.
Primal Teen
Intervention was sought when the hyper Kurt began acting out on siblings without warning and internalised rage. Quack saw the whites of his eyes flicker like a pinball machine and the creative forces were motoring alongside the destructive ones looking for bits of the same road.
Wendy went into a downhill mental health state and Donald could not handle and here Brett Morgen indulges in crap animation to tell a family story of destruction. The whole family have trials of dealing withe the now unhinged kid Kurt. Most times it is rejection. So persists pain and the director cuts in the appearances of nascent creative work while dropping in the Kurt sexual exploitation of loosing his virginity also a cartoon.
Sans judgement or analysis of any meaningful kind.
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Kurt Cobain had awoke to a caldron of Mayhem. Less Heck as Montage but fuck this is mental.
Garage face the wall
The triumph leads to him becoming even further isolated with him facing the wall in the Garage ‘bandroom’ and along with Seattles finest. Did Bill gates ever doorstep the dude? And other MTVs bands ever feel so less in control less commodified?
Metallica and Lynyrd Skynyrd are headliners and fellow nineties successes. Novoselic even compares their Hard Rock credibility.
Lynyrd Skynyrd drummer to ’74 Robert Burns Jr. (64) died on Friday last when his vehicle left the road at midnight on a Carsonsville bend hitting post-box and tree in a single vehicle accident. His Florida band were from an earlier era but fed the road Kurt Cobain, drummer David Grohl, (who only makes the briefest of statements – usually for a media channel in this film) bassist Krist Novoselic travelled as they were masters of the American mindset before Nirvana ever went near trying to re-root the rock and roll formula. Gimme three. Sweet Home (hole?) Alabama, – don’t forget these were Jacksonville art types of Southern indulgent rock!. Then Free Bird.
Interspersed with the early years footage are indulgent, not entirely or wantonly KCs doing, analogy essays of animation and wordplay association which are innumerable and interminable.
Keep OUT the Langers as they say in Kork
The collection is famous in any case as are the analysis so why the Director bothers and does not stick to the new archive opened is testimony to an indulgence. All looking good for an Anton Corijn photo shoot. Pinning the tail on the donkey which is shown as a family home movie is more telling of the intervention.
(Kids – it’s easy to memorise where the adults put the poster up by the pins in the corner so drag your knuckles Frankie and go stick it!)
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No one knows too much going into a film about, Billie Holliday, Duke Ellington, Oscar Peterson or their web of drug regression and repression but still get to respect and share the struggles they internalised up to a point of caring they are restored something less prurient and indulgent as a directors cut.

It is no where near the stratospheric realism the life despite its unreal narrative – they are frequently interviewed repeating answers to the inanity of its locality, to be the last word on a brief firefly of a life.
Novoselic constantly pick out for Kurt Cobain the insufferable. He shields often the media necessary and despised and the overreactions, any reactions, to most puerile ranting or fettle ring rage or jealousy are commonplace.
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We see these as ‘representative’ but those knowing are aware through diaries of the over sensitivity Kurt Cobain carried and tried to quash with huge qua ties of commercially potent and well sourced narcotics he flailed in internal rage and written word, so much less capable due to the stage he had reached, than anything that may have recreated further as john Lennon or Bob Dylan epitomised for Rock and Art expression .
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Conclusion ### 3
This is a difficult film to harness as it exposes as much of the Directors take on the history of a very brief life and gazes into it using unnecessary devices which themselves are a mixtape.
The boundary between the authors own and Kurt Cobain’s work is infuriatingly blurred and the consequences are not insignificant to reading the story of the man. Even those familiar with what is original work and what is a plain piece of inane animation can discern and make out which is which but the letters rising off the page is pathetic directorial bile.
Many photomontages are brilliant. The frames are beautiful at times and the rare home footage insightful but rare has context been so insipid.
Had he been in an era which was less consumerist? Suddenly the 27 years pick up and theories appear and I have seen enough to seek out the songs of pre-1988 say and forget with having continual regret we never heard a change or found a way to indulge this talent to the foremost directions which a less damaged conscious might have explored. Art is never without its extent of madness not overcome but in faith assured it is characteristically abundant and filled to overflow when painters, classicists, designers, dramatists expose those parameters know to mere attuned minds and senses.

Kurt Cobain was and will be a constant fixed part of that eras cosmos and through time may be acclaimed as new people learn through the likes of this small narrative film of the symbolic American Everyman.

John Graham

9 April 2015

Belfast

Opening at QFT Belfast on Friday 10 April 2015.

There will be a pre-screening talk by OU lecturer Marcus Smith
on Sunday 12 April 2015 @ 8.15pm.

Closes on Wednesday 15 April 2015 with Saturday and Sunday matinee performances and screenings

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Then the conspiracy begins.

Easter Safety in Belfast

City Centre Opening and Closing Times for Bars Theatres,Clubs.
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Belfast Telegraph April 7 2015) ‘Safety fears for City a Centre
Respectfully there is concern by Declan Boyle of the SDLP for the man in his fifties whose early Easter Sunday attack injuries were extremely severe with him ‘battling’ for his life as the Belfast Telegraph page two article conveys.
We learn (Belfast Telegraph April 7 2015) ‘Safety fears for City a Centre‘ of the incident in Belfast City Centre and the fact there are continual incidents some also grave at the junction of Donegall Place, Castle Place and High Street at a food outlet open 24/7.

The Councillor it is reported is quoted as saying. ‘This part of the town has been well-known as a trouble spot as people gather there late at night. ‘While I don’t knowthe quote from SDLP Councillor, Declan Boyle goes on, ‘ if drink was a factor in this incident,’ clearly true, ‘broadly speaking when large groups of people gather like this at this time of night,’ the reported time in the Belfast Telegraph is 12.30am. ‘then they have been drinking and trouble can occur unfortunately.’ More quotes follow from the Councillor continuing with an appeal for witnesses to come forward with him sincerely wishing the man recovery.
SOS Bus
It is apparent the Police Service have not been a significant enough presence in this very central location to deal and control behaviours and also the SOS bus service etc. having its voluntary services curtailed is presumed to be another factor in Safety and Care. Every wish is held for the speedy and fully recovery of the injured. Other less reported incidents are most likely to have happened over the weekend.

The DUP Councillor Brian Kingston is alive to the fact.
It follows on from last weeks reports of Belfast having returned to a place where it is found unsafe to socialise regardless of the Councillors wishes for its ‘reputation’. The footage of a Bars increases in some areas and will get to have more dominance within the City with concentrations of populous in certain quarters. The eight quarter coming to the Council who can’t add up.
Except when it comes to pretentious rhetoric.

This is an act of violence perpetrated in our town at a time when many places are on the point of closing or when the clearing up process and transport connections, food outlets are at the peak of activity. With ‘Easter’ times of opening being different than other weekends it is probable the use of the public spaces is intensified.
Inadequate Policing
The Council have a close proximity of responsibility as in towns elsewhere in the UK they are paid for by the Local Authorities.
Here the problem might be the Police themselves becoming the target, so what do you do? You have to disperse the problem and close down excesses. Several layers of responsibility exist and need connected.

Responsible alcohol consumption is a recurrent theme of the reactionary Radio Programmes as are the feelings almost of helplessness when we hear of the loss of life on the Roads. This another seemingly helpless prospect.

On Northern Ireland’s Roads? City and Country?
Neither need be as the modification – albeit requiring severe measures.
Speed restrictions after dark can be implemented in rural as well as in City localities. Blackspots can have night only warning signs. Road conditions can be dealt with to their FULLEST road worthiness. There are numerous things to be done. A speed limit ‘A reducing by TEN’ scheme for night driving. Tardiness for Regional Development needs purged.

Those are but some. Speed and an amalgamation of factors not normally aligned could catch many out. Stray animals, deer, etc. All need to be thought through. The overtaking rules for night need revisted. Overtaking -double lights?

Far more easily can alcohol regulation and socialising normalities adhered to or adjusted for. The SDLP Councillor is one landlord among many whose idea of Student housing is that known as HMO’s which he has exploited to cram as many into houses once family homes and destroy as a consequence the balance of neighbourhoods.
Still it’s there. The saturation overcrowding is plain to all.
Houses of a Multiple Hypocrisy
Sponsored by MLAs and Councillors.
The fact is these HMO’s or Houses in Multiple Occupancy have as a pattern virtually no socialising space and a very small kitchen. The spaces are not there whether the students would like them or not.

They are in the two or three storey versions large enough for parties but the bigger ones have perilously more stairs and access with dangers of fire an obvious higher risk element.

They all have a miniature kitchen if not a full house share in the former let things principles, ie. not the sitting round a table even eating together scenario. No these are HMO’s where the exercise is cramming and pre-loading is a frequent flyer like a four by four.

That and the behaviours which the Councillor does not want ‘a safe place to visit’ reputation sullied becomes a farcical position for him to take given the Holylands St Patrick Days experiences year on year.
This years a near return to the bad old days.

One year the SDLP MP came out after a spate of people running up and down car bonnets to admonish students for their boorish behavior only to learn it was students cars being damaged. He sat on his hands while the Holylands got the run over with HMOs meanwhile.
The Universities Place
The Vice-Chancellors of Queens and Jordanstown may come and go, Lord Mayor this and Lady Major that come and go but the recycling of problems is continual. Demolish a festival why don’t you not build or focus on it.
MLAs are equally as useless as the Assembly has been in properly addressing neighbourhoods problems. Even the rubbish spills are not as the fancy brochures claiming reducing due to gating they are getting worse. Fact.
The University groups now assign Student Housing (private landlords now have at least 4 Social Housing sites as gimmes for Student without the safeguards of UK standards or any versitality and mix including within established neighbourhoods, with properly mandated standards)
Students Union Facilities (there is to be no Students Union in the New Uni. In Central Belfast) can you believe that. Not only is the a Education becoming Long – distance Learning, threatening the Education of youngsters with zero Hour jobs out of zero hours lectures? Here’s your course suck it up and don’t meet on the Union or you something of your fellow students may rub off. Societies now where are they to be held.
What spaces do they normally use?

Compelling Brazilian Bacon.

So what is it needs to happen?

Act like a proper City. Plan with respect and not according to whose paying for the Electoral Parties largesse.

You need to get the priorities right instead of soapbox politics seen for all its gestural loathsome articulation as mere hypocrisy.

Do something with effect.

John Graham

7 April 2015

Belfast

Art : A Collaborative Monument

Örn Alexander Ámundason & Lof Nimar
3rd to 29th April 2015

Shown at Platform Arts Studio Belfast.

The two artists from Reykajavik, Iceland and Hjo, Sweden respectively, on October 28 2014 set up a collaboration from their respective studios in Malmo and Reykjavik for Belfast based local artists and identical twins Karen and Claire Gibson to participate in a live performance.

The aim was to have the Gibson sisters to read a letter of simple instructions and directions as the sat separately at flat drawing tables with a white A1 drawing sheet laid out in front of each of them and await verbal instructions while under live camera linked observation from the young Swedish and Icelandic Artists. After reading the simple instructions both right handed artists read and put aside the letter shortly before commencing. The letter observed they would be at times in receipt of contradictory instructions with both receiving the same verbal instructions simultaneously.

They commenced the collaboration.

The Gallery published an exhibition visitor information sheet fror the resulting exhibition. The Platform page shows a plan of the finished arrangements and the location of streams of video and audio.
The lighting arrangements are apart from diffused light from two windows entirely artificial.

See the Platform arts website platformartsbelfast.com and Platform Arts April June Newsletter for additional information and openings etc.
It notes the visiting artists websites ornalexanderamundson.com and olofnimar.com

It begins –
Some say that collaborations need leadership. Is this true? Or is it possible to collaborate in a completely non-authorative, equal way and still manage to reach your goal?

This response to the exhibition is entirely unconnected and not a collaboration of any kind. It is fictitional as an observation mechanism.

When words attributed as scripted by Olof, Õrn these are also fully fictional nor actually a record of which said what or any order of instruction.
It is possibly indicative of the process which has already taken place.

The monument is in existence. The process is present.
…………………………………………………………………………………………………………………….
No illustration or words are part of the exhibition or attributed and so are isolated from it.
Session. Run that past me again. Does the meeting of the times come across as historical enough?
Nicholas. It seems so from what there is initially.
Look at the field has it it been turned?
Session. It has disappeared. No trace.
Õrn.
Take a line from the brush and make it Sunglasses.
Karen drew first then Claire. It was less obvious to Olof why Örn wanted this. The glasses Claire quickly followed in drawing were ambitious of sun.
Örn put into his composition a bridge, his nose draw an m. A peak Olof thought. Each poke erasing this and that. Örn wanted a circle as did Olof
Fill one one said.

Session. Did he say which side? Where? Yes said Nicholas. The one Olof asked for, he instructed be filled. Claire filled hers with circles. Small ones, you know the ones becoming the bowl of green marbles under the toothbrush? Well those are how they sat on the table facing the West wall.

But the Solar Eclipse set in the East? Session asked Nicholas.
It’s represented by the Sunglasses placed in the West wall this Edison wanted. We set this up in Belfast don’t forget so the Sun was rising there.
That galaxy is often beset with the weather pattern delicately pulled at short speed as it does not travel in time very quickly on its own terms.
Edison should have been clearer. His little entertainments are the stuff of entering the gaseous extermination zone. Don’t forget these ancient gases they exist in are rarities and playing with them is only possible as lhe has dominion over the andromeda there.

The sunglasses kept out the rays of the Sun and they turned two lights into the Sun Moon as what they call metaphors. So they repeated the Moon twice? Session asked. Yes the drawing Claire produced was gas turned into water so Olof thought and he turned it into the Metaphor for liquid contained in Glass. Then the set designer could not keep them together because these primitive ‘marbles’ they call them had no electrons despite the potentiality of the gas and light the people themselves carried.
Sometimes the set was empty and the place chilled.
They went into a glass bowl on the table. Nicholas told Session.
And the two women were they in sink with this? Did they challenge any of this. No said Nicholas. They were sensible enough as collaborators to explore the process from the letter on the basis of the absent quality Edison believes we need to reform.
How encouraged is Edison?
I have yet to look back but he wrote this note I have in front of me.
Remotely recite it I don’t want to hear it directly.
You mean right now Nicolas asked?
Yes.
” the siblings are representative right brained about eighty or ninety percent. They were impressively different despite their genetic bond. They are very direct and inside the message once it is switched onto that art characteristic which seems to drive them as if they want experiences as well as reflecting experiences. They hold little fear once engaged.
The moons was the strangest part of it. I never realised or forgot the absence of knowledge of the young ones. They had just of course been distracted by the poorest auroras in their short lifetime so hadn’t looked up more than a thousand times that day.

The Moon became the M as metaphor which I forced on them as an instruction and told Oran to remove the false light bulb. He had strayed off message but I looked back at the footage, they have a recording which coincides with the memory bank I also looked at. The travel was a little arduous for them as they are only beginning to speed up their ascent into the art made outside the confines of experience. Even the sleep patterns were shortened and they argued to assert the collaborative context in preparation without noticing. They poked so much at the floor it became white in their installation.
I made I two and two collaborators. I had the set designer find his own way and though helped the four collaborators operated under recording and used data and paper devices to create drawings so the pencil maker, sight and sound artists are not for art works seen as internal. The foley artist is a good example as they cannot know if people will listen to their work or if the subtitles are enough. Oran and Olof direct, Karen and Claire interpret and invent the drawings which are the material record. The four of them had no idea how manipulated it has been. They don’t have to think of the eight moons and the Passover of the post production. It has spanned the last two moons and the eclipse was seen by many in the galaxy who looked back on it ands stood out side the light years.
Water featured between them which does not help.

The place and the population formed the third pair with a very sparse reaction to the art as it was beyond most in lots of ways. The ones I see developing it are the four collaborators first but first I see the line they produce hard to travel. The set was flawed the way it normally is and it had several levels which may occur in if the water returns. I looked at the reactions and central was the talk about and around it.
The public space it created was on the road to Damascus. The Palms were not there. The nearest became the brush. It hung over the seventh moon. The West wall thing was interesting as that provided the White of the Sun and the Black of the Moon both the same size.
The West wall was also without a perspective. The wall was uniform height.

Into the space the population passed under the M and some jumped and leapt. Some stood in the line of the Sunglasses on the East windows. They were almost taken way way back. They looked back at the black and white circles. Some lined up with the circles creating the Solar eclipse without a thought. They stood near the North water feature which some drank from. They withdrew sometimes and then went back onto the white floor.

The walls ran out on paper and the space remained black behind it.

The art was connected again by more collaboration, the seventh and eighth moons I initially thought were not connected and the population I initially thought were alone as the seventh.

That for now is not true. The eight is the population who are outside reading and never to be found near their ‘do.

The art of ‘the path, ‘the way, is nearly always within a split second of discovery and when discover happens it is gone again. The collaborators are easily closest to this art being fullest of the electrons passed out and those who jump are often lost and luck can be were and when they land or the time they spend in darkness. The set worked out this time as it was full of metaphor and the signals we’d made were accepted so fast it seems the flow at that time was energised by the moon exploration which was on the minds of the galaxy for a long time. It was outside the art which also seems to prove the explanation was never clear and the artists are the ones who wanted and in these formations aware of quarks and the split second connection is pivotal. It is so fleeting though it only lasts a billion years and a new golden age may swim back to us.

What became of these words?
Existence, Supernatural, Coincidence, Pattern, Thought, Truth, Nature, Universality, Philosophy, Materiality, Future, Forgoten, Metamorphic, Generic, Experimentation, Extensionalism, , Spirituality, Inspirational.
Are we all done with these?
Edison.

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Collaboration is everywhere and as the exhibition shows it in the confines of Art to be difficult and the realities are shifting.

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John Graham

4 April 2015 (7th Moon)

Belfast
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The seventh, the population. The eighth, the population.

The Tale of the Princess Kaguya : A Film Review

The Tale of the Princess Kaguya
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Director : Isao Takahata Japan 2013
2hrs 17mins. Cert. U.
For matinees at QFT on Saturday 11 (3.25pm) and Sunday 12 April (3.15pm) the English dubbed version will replace the original Japanese with English sub-titled version shown at all other times.
There will be a pre-screening talk given by Laura Shearer, Film Blogger, on Saturday 4 April at 6.00pm.
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Story telling in Long form Cartoon
This is a tale of discovery. Set a child down in front of it without them able to understand language, subtitles or the mixture of both with an English version thrown in and for two hours they will be mesmerised.

Albeit very confusing to see a child grow into a juvenile, be taken from what seems like a paradise and to see them proudly develop opportunities such as skills with music they could relate to the grim Lady hired teacher of all things proper. At every opportunity Takenoko (the name meaning L’il Bamboo) refuses to be Bidden by the Lady of her parents choosing. This Governess is caught between the post and the willfulness of the child.

The kids will relate to this. They may find the halting nature of the progress and attainment of happiness and may recall and miss the rural bliss left very much behind after Takenoko has become nearly woman.

One part of this Japanese animation directorial dynasty is Seventy Three the other Seventy Nine.
They give us a vision of indescribable Japanese culture. It assumes the form of the simplest graphic. Such that two dimensions seems a moving book opens in front of you.
The sweep of a pen lovingly held just so on the page where it is not word as Kipling choosing … don’t look too good .. Watch the things you gave our life for … of the story travels.
Miyazaki, who directed Spirited Away and studio’s acclaimed chief, retired last year, at 73, with his ninth and final film The Wind Rises.
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Drawing it out
Takahata’s time at 79 do the same arrives to this extraordinary painstaking animation drawn as an exquisite allegory for Japanese minimalism which I discovered in the Japan Exhibition some decades past in the British Museum compellingly exotic.

As mythical and as maddening as any Irish Lore
Around the same time I was considering how Yeats was drawn to No theatre and what that said about the theatre of Ireland as well as contemporary Beckett plays.
Did we citizens of the world recall through minimal line and mythological thanks portrayed to a creation we so fragile hold? Yes. The escape into imagination is ours to perceive.
Isao Takahata the renowned Director finds here the tradition of Studio Ghibli’s animation technique as ancient scroll-painting coming to life in water painting as a fusion of air and balance of colour and line.
Put over as charcoal it becomes recognition of our carbon, the human element of these sketches.
The mystical properties of the story are very evident. Even in the final act. The narrative is serious and altogether on the fine line between sadness and acceptance.
The charcoal emanates from the willow bamboo an internal minutiae seldom visited. The evocation of landscape also brings memory of forest smells.
The willow is, I call it whittling, cut to reveal not a point but an inhabitant.
Our Jonathan Swift is Lilliputian and visceral complexities – this is instead 10th century fable.
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Has it moral and folkish lore?
Out of the bamboo the whittler finds a naid to be taken home to his family home. The Mountain from which the Bamboo is drawn has but a short time to provide and a decade is required once a harvest by the population is gathered in. Those ten yars occupy the middle segment and the Mother and Father recreate for themselves, selflessly in the midst of their new surroundings some representations of the old life.

The parents are endearing and also confounded by what this peculiar world they are encouraged into developing as though given instruction from the Heavens.

They are unquestioning.

The children find the earth full of things which renew whereas the uh obtainable is how the wider world sets out its goals. Takenoko sets a task once the skills and assertiveness of her life takes hold.
That is in order to have someone win her heart which is the dearest wish of her family and the city expects she puts out a call impossible to answer but the elitist suitors overwhelmed in expectation of the hidden love of The Princess go forth on the task.

The kids have seen it all before in many a movie and cartoon. The floundering of adults in pursuit of the impossible and the inevitable volte face in failure.

But is it learning and why is it the insistence of The Princess who surely knows their is that thing called love to be satiated.

Beginnings
There the foundling becomes Takenoko who within a very short period identifies as a fully grown Princess.

Discounting thus rural bucolic existence as being her real life or natural home she veins to observe otherness laying beyond this majority view of Japan.

So what Japan do we see?
What psychology of Japan rises above the personal?
What authority of restraining the personal growth Takenoko is privy to there in the space frame of this illusory vestage of Japan’s primary pathos and art form. The format of Scroll enveloping the No dynasty of story telling in fable as religious instruction.
Variously within this genre is encountered all of Japan’s life. It’s corpuscles amphibious then earthen and token pots mathematical guile as form arrested on geometry.
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Pots are formidable excelling art trusting in simplification as domestic, well what is it rectitude, certitude, alacrity, hubric control?

That is an entire subject 73 and 79 year olds are familiar in exhausting but not running low on cabling their story driven creation of illusory cultural landscape.

The pen fades out the image of landscapes as they escape from or reach to the edges of Cinematic frame. It is reduction in cerebral thinking brought to make space for another non realised or unseen presence.

Where Gilbert and Sullivan feared to venture with their Mikado Emperor, looking like a Seventies power dressed pirate here, in the attempt of the Honoured family who take their dared for charge to the city begin to find
Takahata put back the child into the Princess whose rejection of the material forms advanced by city and patronage as her beauty revered and sought becomes burdensome is curated Japan in the animator a hands.

Takahata requires and sees this water level tunnage.
The under cut line of human the frog eye cut by a sight line we know – when we observe it split by the horizontal – it has both in mind.

Two parts to us Takahata’s us that is here imparted through timeless skilful animation.

Only animation could show this flourishing as Takenoto becomes a custodian of flowers for the life makers here prescient ancient creators planting her in minutiae along with the dreams to fulfill it are not dream archers but come to retrieve the life lived once the dream has another form to return her to her true will. The return to childness forever – Buddas are Indian and the Angel’s Christian emblematic symbols some are familiar with in these allegories.

I find this aspect of glory very wishy washy – all the films colour has gone – the new moon (and on 4 April 2015 a seventh appears!!!!!) is benign and over white and and primarily tiresome.

The world is not only screamingly beautiful in so many contexts – not this one – we manage not to see, the image of arrows as flowers penetrating solids or what lies next to the bedrock of trolls and goblins harvested in greater and more formidable accounts. The likes of Brian Cox need do the kids a programme on this one or Matthew MaConaghy explain how he manages to traverse the wormhole or black hole of whatever it is he finds in space outside his space suit in ‘Interstellar’.

Other Narnias are available as are quasi religious symbiotic attempts at national analysis fastened to cultural expression.

The immersion is acceptable but without the ability to feed the senses the Japanese themselves are advantaged in staging their exploration of their gathered historical collections are we westerners ever likely to presume anything other than a cursory appreciation.

Configure. Go figure.
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Conclusion ### 3.
It is a shape shifting movie in the sense it is splendidly harnessing a genre of which there is no equivalent. It is beautifully and evenly rendered throughout and sees us disappear for a while going along with its long depredation of a life long tale. It encompasses the entire ‘universal’ life of Takenoko – variously L’il Bamboo, the Princess of Kaguya and we spend quality time with her lovely parents.

We also learn crafts never dreamt of and the axiomatic of beauty in the simplest forms of nature as well as the most complex unknowns we encounter and appear to ignore that concept of for our immediate gratification. The splendid rendering is what acts as a cohesive form and in the story is to be found many meanings some inpenetratable and some no doubt traditional faithfully held forms of expression/belief.

Be careful you seek some prior story heads up if you intend to have it as children’s cartoon entertainment. Or use it to ask them what it’s all about.

But don’t be daft.

John Graham

3rd April 2015

Belfast

On at QFT from Good Friday onwards SEE QFT CALENDAR FOR EASTER CLOSING DAYS IF ANY. A SPECIAL SCREENING TAKES PLACE ON SATURDAY 4 APRIL 2015. With an introductory talk.

The following is useful for kids show times though a child’s ticket price is not advertised or is it?!

For matinees at QFT on Saturday 11 (3.25pm) and Sunday 12 April (3.15pm) the English dubbed version will replace the original Japanese with English sub-titled version shown at all other times.
There will be a pre-screening talk given by Laura Shearer, Film Blogger, on Saturday 4 April at 6.00pm.

Sent from my iPhone

Wild Tales : A Film Review

Animal moralities.
6 linked films written and directed by Damián Szifron;
Director of photography, Javier Juliá; Music by Gustavo Santaolalla; production design by Clara Notari; costumes by Ruth Fischerman; produced by Hugo Sigman, Pedro Almodóvar, Agustín Almodóvar, Esther García and Matías Mosteirín; released by Sony Pictures Classics. In Spanish, with English subtitles. Running time: 1 hour 54 minutes.
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This is off the clock face
Forget the mores of life as lived in relatively civilized times.
The daybreak hours spent twisting and turning over the compass you use and the nighttime curfew of the soul before the deep sleep takes you into any surreality you may obtain or embrace.

This film embraces the Wild tormented animalistic side of what some people may do when an emotion goes as I say ‘off the clock face’ it is a sextet of monstrous bizarre primordial tales of the unexpected conceived and played for us with amazing brilliant extra tic verberance.

Be prepared to be shocked half a dozen times and then multiply each internal narratives nerve tangling, jarring, comedic black spots and violence aplenty. Be prepared for the metaphors to pour onto you from the shattered glass. Stacked and starred into fragments I seems to one thread each of the otherwise completely separate stories needs to expose our nerve ends.

What a start.
Before the initial credits have arrived we have a story already told. It is superb and from the get go ‘remark’ “do I get air miles with this ticket?” or something of that ilk at the Argentinian airport lounge – it’s all beautifully Spanish in language and coloring.
Shiny bonnets and gloss faced sun kissed with drenches of mostly radiant heat.
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Film One. ‘“Pasternak” with : Dario Grandinetti (Salgado), María Marull (Isabel) and Mónica Villa (Professor Leguizamón).

The first story is a group who have never met, meeting at the behest of a former acquaintance they have shared. One or two of them sharing significant relations with the invitee then there are others with a less touching aquaintance. High helped model Isabel (María Marull) is the one who makes the enquiry at the airport departure lounge and she saunters down the aisle of the half full aircraft. She strikes up a conversation after take of and well the plane kicks off into mayhem.
That’s all you are getting out of me! The playing of the actors is full o black comedy, peril and jeopardy with plausible backgrounds implausiblely knitted int a picture of human nature gone ‘of the clock’.

Off the Clock.
I am getting used to this phrase. It’s like a car which has much more than the dial n front of you admits too. It is as humans we are capable of much, much more than the sterility and civilised constraints might decide on our fates disposal or our internal imagination would have resigned to as a moral compass. Off the clock in a Spinal Tap squared way. This is just way beyond a set of frameworks.
####+ 4.Primordial Madness. Up there and may spoil this years holiday if you plan flying.

Polymorphic Kaleidoscopic
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Film two. “The Rats” with : Rita Cortese (Cook), Julieta Zylberberg (Moza) and César Bordón (Cuenca).

Rita Cortese and Julieta Zylberberg are Spanish roadside diner workers plot who encounter a diner late at night when their are just idly wishing the wet night to turn the clock to the closing hour. It is a vast empty car-park of a transport cafe. The tumble weed has even gone to rest.

The kitchen is a culinary wasteland with most food packed away and into this scene comes a man from the past. Into it further down the narrative his son turns up off the municipal bus from which he alone alights.
###+ 3. Fright factor low but tale wise and not served cold.
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Film three. “Road to Hell” with : Leonardo Sbaraglia (Diego) and Walter Donado (Mario).
Chris Rea had something other than this in mind with his tuneful look at driving alone can do to the mind. This is a molehill turning into an erupting volcano. In fact it would have been no surprise to see the reprise of Mount Croscat, is that one? Take out the road and the road bridge which is and arch too far. The acting and directing in this piece alone is worth the ticket price believe me. The ratcheting up of the opposing forces and their extent of anger is practically unbounded. It is dynamic contorted and black.
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##### 5. This is a sock full of stones in which a bruising encounter shows up masculine boundaries set off the clock. None makes sense but the ratchet is the central instrument of this duet of the Sagra to Cayrette road trip which invites road rage between the sunny beautiful valley drive.
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Film four. “Bombita” with : Ricardo Darin (Simón) and Nancy Dupláa (Victoria).
This one is back to the city and everyone, well practically everyone is involved. It has a communal feel to it it and it has family life and contemporary problems to deal with. The director and writer has caught the device of a road clamping municipal scam and turned it on its head.
Car parking was never meant to require a clamping compound in a city suburb, handy for visiting and chock a block with the comings and going of a park and ride scheme. Engineer of the municipality. Wise and rule obedient has his limit stepped on so what do he do, well he gets out of his zone and off the clock facecloth his thinking and cleverness. Not before many family anxious moments which make it even more convincing as calamity.
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##### 5. Impressive sets, acting, believable, Clarksonesque is a new derivation. I wish uplifting and politically astute as well as a tale for our times. This one was a cut above, there is satisfaction overkill of broken glass and not too much civil harm done and violence. Well listen to a legal Sheila who is apt to hyperbole and you will see what a girl has to do to get a career going. On a personal level you understand, not helpful legal ethics intertwined.

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Film five. “The Deal” with : Oscar Martínez (Mauricio) and María Onetto (Helena).
In this one there is the sleaze of ‘business’ politician with the box fresh cashmere cardigan. His son messes up up and being apparently an only child his protection is amplified as there is a strong likelihood his misdemeanor could see him in prison which is not liable to have any sense of right or wrong and seen as a fate which the father will do anything to keep his son away from. The tale involves the family lawyer. He is a piece of corrupt work. There is the prosecutor, immediately on the tail of the young boy or the family at least and he is likely to and willing to cut The Deal. There they are in the picture above. They find a stool pigeon who himself wants in on the deal making franchise once he gains some bargaining balls. It all cuts up a bit decidedly inwardly compromising and it shows up the vagaries and short lived value sets adopted.
Where will it all end.
These actors Argentinas finest give it al and are very good for their fees. The middleman especially has to be sharp and the facial expressions and posturing alone make this little short film great value alone.
It’s portal is different and it too has wild aspect but this time as a family tale is dealt with in a very loving, convincing challenge set before us. The poor man rich man is driven not so much selfishly but has his wider reasons.
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Film six. “Til Death Do Us Part” WITH: Érica Rivas (Romina) and Diego Gentile (Ariel).
Into the huge ballroom with six shiny disco balls spin two large families intertwined in a wedding of a couple of thirty year olds whose blend is one of union of love as well as their own past histories.
They are on top of their day enjoying it and a bit of a problem arises when a suspicion of unfaithfulness appears.
Then a spiral up down left right, roof to basement, sends both families into the cruel face off of a certain reality none expected. The colour candour, sex, violencee, recall, recoil is fast and every little twist is full of tension as we watch not believing what we are seeing.
This is a couple who act as though they will not have a future unless they can work out the bit in the middle that set off the mad wedding function.
Lots of flying glass and broken dreams. Beyond repair?
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All to be seen from next week at QFT Belfast.
Grab a Groupon ticket for Annual membership next Monday 3p March one day only for £10 pound for one year!!!

John Graham

26 March 2015

Belfast
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Solar Eclipse 2015 March 20

The Deadly Sun
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For us to have sight of the sun we are first told the light from it will destroy our vision. We are in the light everyday without fear we are accustomed to protecting our eyes by using an aid such as the Ultra violet ray’s filter incorporated in glasses.

Straight away the strength of the sun and it’s association to us is present.

Sunlight emitted from the Sun takes Eight and a third minutes to reach us. The light from other planets is traveling from billions of light years before though we can look through the night sky at this ancient light.
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The distance between the earth and sun is around 93 Million Miles.
In kilometers is 150,000 million kilometers which divided by the speed of light, 300,000 kilometers per second then the eight seconds shows the proximity of this major planet in our solar system.
Celestial once uniform
Our solar year comprises the 365 revolutions which brings around each season of our calendar.

Into this derived calendar over millennia these behaviours of the sun have been become patterns which our presence on earth has consumed and adapted to then recorded.
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Only since the discovery of notation have we discovered how far back the recognition of the solar effect had celestial realisation, entering into how we explain to ourselves the continuation of our planets as a system both fluid and static.

The static meaning is used to highlight the times preheating us, in which the sun will have crossed the moon and the earth comes between the sun and the moon.

Numerically the latter is highly frequent whereas what we witnessed on 20 March 2015 is not only very infrequent it has a set of appearances which the Jewish faith have taken to signify the timely extrapolation of their Biblical history. The patterns are so pronounced they appear as visionary.

The occurrences of Jewish upheavals are seen in Biblical texts with Israel affected by the events known and actual have almost formed, co-inciding as a will or expectation that at times The Jewish faith believe they will be challenged and confronted with fundamental elements and outcomes as is present at the point of the celestial indicators of the eight moons.
Eight Blood Moons
This year contains eight blood moons in sequence of which the eighth is after our common week of seven duration predicates the new day of learning or reckoning.

So Exodus and various religious tracts are unfolded to bear witness on us.

But how this is known is the greatest question of all. God only knows.
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It is not known but merely the very creation by giants of imagination, the authors of our historical revelation, recording for themselves the events of Christian thinking, told with the narrator not Jesus but Moses.
The Israelites being so outside of The Lord God, could not themselves listen directly to God but were totally reliant on the words given to Moses.
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Jesus was on the side of God and Gods word was the word Jesus taught us.

The words of Moses deserve and are worthy of faith but are not the entirety of faith nor is the word of The Lord set to divide or set apart some from others. Jesus told us to be aware of the simple truth and reject all other things.
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The Easter Time
We are coming towards a time, Easter, when we again realise the world is of our habitation not our making and until we return to God forsaking all sin of war, hurt and harm, from ignoring our love for our neighbour as given us then we are on the path away from God and the pain of the crucifixion is our eclipse.

We are not in the sight of God when we ignore the wisdom given. We are in anticipation of of the words of the Lords Prayer.

We are in the hearing of the sound of the world washing us in the water here since the world became.

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Within air, the air, nitrogen, oxygen carbon monoxide and other spoiling polluting gases in which we reside silently breathing until God takes us away from this life and returns us to his.

Other Occula

We see as we have seen on the Sun the formation of Crescents. Some called Occula.

Occula
This a protrusion on the occipital bone of the skull that forms a joint with the first cervical vertebra, enabling the head to move relative to the neck.
On our nails are a crescent shape. The fingernail from under our skin revealing an inner fixed point.

The edge extends the crescent stays within us at the finger and between the head and body there is this Occula bone being a sign of the two elements most evident and whole being joined.

Across the world we explore connections with even wider universal discovery exciting and forever making us totally in search of inexplicable and forever creating insights to sit around and explain the order our planet may find itself in at this moment and the next.

John Graham

22 March 2015

Belfast

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X+Y

Director : Morgan Matthews. UK. 2014. 1hr 51mins. Cert. 12a rating TBC.
Cast. Asa Butterfield as Nathan, Rafe Spall, Sally Hawkins, Jo Yang, Eddie Marsan, Edward Baker-Close, Percelle Ascott, Alexa Davies, Alex Lawther, Jake Davies, Martin McCann, Tasha Connor, Paul J. Dove.
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Natural Intelligence.
Beyond the realm of most people neurological uses for their brain comes another group of humans whose functioning on pattern reasoning and personal development are caught in a maelstrom of immensity of brain capability and of mental incapacity.

X+Y refers to a rational theory recognition which is non-numerical but hinting at the 26 letters of the English alphabet it has been the authors, writers dominion in which to describe ourselves and our realism.
1. + 2. Premise and Plot
The whole film is a conveyer belt of elite education taking on the form of competition between nations in loosely moralistic or ethical educational terms but effective as a driver both metaphorical and actual for exploratory developmental reasons of 1. + 2. Premise and Plot.
It has as a nice counter foil to the potential lack of exploratory visual content the school of learned Mathematicians gets to train in Tiawan where there is a love interest to create even further mind athletics within the head of Nathan and his contemporaries.

The 59th International Mathematical Olympiad is mind games of the intellect for the savant flexible youngsters from all over the world. Nothing decisions just slightly unhinged and unbracketed until the human mind comes up with a better than advanced Eurovision Song Contest type evaluation model for the brain.
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The future sings.
So we enter the world of a juvenile brain developing from the age of nine.

His name is Nathan Butterfield, if I’m not mistaken he resides in Sheffield, or is it possibly Derby. There is a train journey taken on the Glorious East Midlands Railway, through the Glorious English rolling green fields to give a flavour of the land of giants where walked before us.
After the team return to England the niece of Chinese team leader who is equally gifted but more emotionally cognisant than many of the other prodigies, the girl Jo Yang is given sight of the significance of the world of education, seen from the former regal heights of the Cambridge centrality of advancement in their field. The academic milieu is now spread into every crevice of the developing world with integers belonging through the crescendo and avalanche of information once until the last twenty years executed at millisecond speed to all the new custodians of the future.
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Wordsworth, Darwin, Babbage, Turing, Perkins, Stephenson, Shakespeare, Blake, Newton, Faraday and many many others. The sense of England and the United Kingdom all to presently blighted by the richest rapacious from all in the neighbourhoods known as earth choosing to plunder that Glory for all it’s worth.

Nathan, an only child, is at nine beginning to show his enthusiastic parents, Michael played by Michael McCann of local origin, and Julie played by Sally Hawkins. The film is directed with small but detailed regard to carefully minimal chosen flashbacks, of the origins of the growth Nathan and the characters witness very ably and with equality of intelligent for us to gain insight and our sense of kindred fellowship by the astute Director
Morgan Matthews in collaboration with the pacing pattern forming Writer and story teller James Graham.

The acting is superb and fairly flawless. The resonances for families, especially one child, one parent families, savant teachers! as well as the families of nations striving to interact with our brains and that university of a thing we carry round in our head called a brain is insightful.
Library closed today. Back at four. Study after dark required. Forgotten non returned books and knowledge passed on intuitively or by the consumption this film centers on is like time itself. Unchanging. Unmoving. Unfilled. Uncaptured. None is unedifying but it, the film, shows us the huge gulf in human understanding of ourselves. Again it enters last years obsession from ‘Her’ through to ‘Still Alice’ of this cinematic travel of now.

There is no theory for everything, no Turing, Hawking turning point but the vastness yet unknown. Mr Humphreys, Rafe Spall hands his pupil over to an excited troop controller for the trip to Taiwan where the culture is vibrant and shown linear, meaning it is deeply fashioned by its culture and here holds onto its identity unlike the majority of the West.
The expandable University of our minds
Nathan is confronted by limits. His limits are extended and extended by firstly the immense capacity of his parents to love within their means.
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Then next by the teacher savant , Mr Humphreys, Rafe Spall, recommended to them by the upper school he is taken to once his prodigious talent for Mathematics and pattern recognition is signified and singled out for treatment by that other set of pattern recognisers, whose actual strength lie in the more obtuse and less challenge blue parameters of the Medical facts, the Doctors.

They know less about the brain than can be needed for a human to function at the given pace of genetic and scientific discovery. Patterns are now dual aspect. Intellectual/Medical
Once the plain area of the skills displayed by Nathan would tenuate around mere mathematical prodigy.
Now they encompass duality of mental frameworks and in the case of his savant teacher! – apologies for not having mentioned him sooner – as he is a wonderful key in unlocking the unfurling genius – Rafe Spall as Jamie Humpreys, whose portrayal of a Mathmatics tutor is well, masterful.
His incumbency is in a shape shifting parallel to Nathan’s and provides a hook to claw into the emotional narrative so deftly and for the most part uplifting lay, heartwarmingly and rivetingly strong in cinematic value.
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Parental demands.
Sally Hawkins as his mother is painfully dealt with some times in excoriatingly painful mental torment. It is felt deeply through her raw acting and the directorial and writing treatment, delivering us a hard tough film.
Less prominent but as important is father Michaels own view of his sons ability and their strong bond is evident throughout for different and scarring reasons.

We are sums as maths servants. (used with a singular verb) the systematic treatment of magnitude, relationships between figures and forms, and relations between quantities expressed symbolically. It commands our will to obtain reason and introduces at every moment beauty of existence in the relation of 1 and 0. Sally Hawkins, Martin McCann are us as representatives of the normal state of things.
Rafe Spall and Eddie Marsan are the ‘Mind’ trainers relatively at home on the outside of the drudgery of earth bound subjectivity we rarely encounter, with their reverence to the higher authority, mathematics.

Zhang Mei (Jo Yang),Orion Lee ( Deng Laoshi, both as the Chinese elements of the cast have the ability to run the line of believability of this strange world of weird uplifting scope and potentiality. They inhabit the mathematics as is a relatively dominant pattern formed elasticity of nature which they, Chinese and Eastern philosophy find as their societal fabric.
They have innate human tensions and have beliefs and traditions.
They are exposed and again the emotional development of mankind shifts from extreme accomplishment to inept irrationality, as we are, as the commercial world of ever driven neon exclamation marks and transit modes the Director shows abound, the mass population, despite increasing, evaluates through retention of values and fellowship.

Conclusion. #### 4.
I liked this film without loving its obvious uplifting sensibility.
The very shape of the story was the central competition motif of which there a television, monthly, weekly, annual diet of comparative analysis is always on somewhere. Here we gain insight to the University of our brains and the limits of expression of the higher plain it has, relatively untouched capability within. The diversity along with developmental hope is the message here I feel.

The exam, the numbers game. The task. The enumeration.
When a world of figures appearing as columns and accreditation is taken at the flood.
From climate to climax a score is attributed. Then the table of caution, of risk is formulated.
Do I need a mathmatical prodigy film? Is it a bit like the Turing film?
The young Alan Turing actor Alex Lawther, incidentally, does another artful rendition of a personable youth in the agreeable character of Issac.
He is of a cooler intellect with emotional reasoning, relatively unselfish.
In other roles some of the young actors find themselves acting as one dimensional and misunderstood (other reviews to call them geeks/weirdos,) and in one instance you have to feel for the challenge of bringing out believably, the restrained emotionally harmed prodigy of a pupil whose misfortune turns in on himself. The young isolated, overtly irrational boy is a subject in himself.

I guess this is also like Whiplash in the sense it involves talent and teacher.

The demand for excellence and how mankind must in order to survive and sustain, be motivated to expand into those cells unused in the university sitting in our heads those resident dormant cells.
Cell theory currently explores our ‘longevity’ by considering the time and effort the cells into destroying – not themselves but by brokerage from another messenger – or pushing up into life regeneratively or emerging as alien to be the life force. The switching off and on being something we aim to eventually control!?

If only we understood how the mind accepted knowledge and natural concealed and hidden properties that may allow us advancement out of a primordial garden.

Those prepared to give room for the development of the story and appreciative of learning techniques will see another narrative opening levels of theory and equations somewhat tangential. It is in the vicinity of too contrived but I accept the plot, premise on the basis the theory of life needs a heads up and assist of filmic pattern making. It is where we are.

John Graham

11 March 2015

Belfast.

A BFI and BBC Film. Producers Laura Hastings-Smith, David M. Thompson

Opening at QFT Belfast on Friday 12 March 2015 to end on Thursday 23 March 2015.

Wider outlets. 12a rating.

It Follows : A Film Review

Dir: David Robert Mitchell. Starring: Maika Monroe, Keir Gilchrist, Jake Weary, Olivia Luccardi. 94 min.
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Wicked.
The terrifying thing that is the teenage mind adjusting to a largely unknown inexperienced world. Born in the USA is a paradise for the horror genre.
Firstly the terrifying Brady Bunch and all the generalities made can be chewed up and spat out with undue repentance to harm and the devil take the hindmost John Carpenter sense of freedom of suspense driven drama.

Spooky and hooky all the teenager vulnerabilities are played upon with a force and vitality which brims with jeopardy.

The horror opens as the child becoming a teenager in an instant, Maika Monroe as Jay , takes on and into her life through the opening terrifying incident at her home, the stricken future promised to her by this it thing.
It is the shape of things to come.

Deliciously and delightfully the standard United States of America suburban landscape is visited once again, not by hurricanes, the industrial implosion, the swathes of reposed houses and the shopping mall culture but by the vicissitudes of the any town pathway between the green blades scorn to a certain height. Even Dallas Buyers Club had this suburban presence.
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The landscape is purposely the container of more than.
Landscape
The film club wishing for reality through the morality of recent movies from Twelve Years a Slave, Selma, Boyhood, Still Alice, Her, The Theory of Everything, even Dallas Buyers Club and with relevance here drawn to the studious Under the Skin – identified here! In a previous critique as a certain cult classic is restorative like a new age enlightenment – showing the questions are astute and plentiful.
Oscar my dear
Julianne Moore has secured an deserved Oscar. So many years a custodian of the woman’s voice of filmic portrayal of – remember the Short Cuts legacy as a reality check. We are in a period of perturbed America. Still Alice is persuasively what the title projects and Julianne portrays.

Unexplained It Follows is a Horror movie of studious independence and holds no golden moment of revelation so standing apart from this reality fix found across the Film industry.

This should be a modest box office for its (normal meaning inferred) set of deserving collaborators. The credit list for extras is practically the entire roll call of a school which I didn’t see coming but shows these days everybody counts.
Horror maketh the known
Except it is all a lie over a truth never revealed.
Not when the puerile lapped up diet of Sniper and the passable comedic escapism of sentimental passage of youth films which are every young persons diet of cinematic large screen initiation.
We of later years use cinema for different purposes. Listening to the traffic of themes passing we are underwhelmed often by genre pics.

That said this is a film intelligently drawn and delivered. It is widescreen America as well as the manicured lawns of middle America. The claustrophobic nuanced interior life’s are quickly brought to the filmgoers attention with the preoccupation with the ordinary disrupted.
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Director excels
The writer-director, David Robert Mitchell has excelled in adding to the stalker in every guise and at every possible inconvenient moment.
The pass it on theme is quickly up and running.
Is it running in the terrified mind of the teenager, is it a part or deposit of life which must be cast off or erased? The horror requires an entourage to protect the followed Maika Monroe. They come in the form of her friends with a newish older friend whose few years advantage later becomes a more assured voice of the possible reach of the follower.
Nighty Nighty
Firstly there has to be, one third in the sleepover to stay within the home of dreaded encounter. The sleepover follows on from the Educational Campus of State education. The Pavlovian essentials of the locked doors and the experience within and between the walls is extremely well delivered and built around the experience only being felt initially by Maika Monroe.
The Relay of Horror.
And then some. It is on the prowl and becomes the unseen except by the Maika playing visually her literal disturbed self with deft darkness and dark sorrowful eyes often wet with crying. Her mind implants these figures as we see them getting closer and closer in their relationship to herself. They are progressively from her past.

The old woman who appears early I was unsure of, except it being Carpenteresque. The indulgences only heighten Horror movies it (normal use) seems, it is the enhanced carried knowledge. Like a relay of Horror. I love this exhibit of entailing dragging film cross fertilisation. In terms of Under the Skin we are between the lens and film, between the innovation of inverted thought. The prospect of reading in our purview these recollected reflections are very artfully profound occurrences. This is what the Croneburg, chronological contextual shifting verb and adjective. The piece of derision laden depiction of failed and troubled humanity is absolutely spine tingling in places when it gathers on the senses.

DisasterPieces is the music ensemble that delivers a score which is modern tone shifting tension riven rifts and shifts true and plentiful. It requires it’s auditory piercing stabbing, point making double six hit. It carries.

The work becomes a journey between past places revisiting the past and the left behind desolated part of any town another place destroyed and the reverse side of the coin.

The deeper reading of this is the stripped back past place which is in the present time replaced by relative comfort.
It may represent the Troll. After I was musing on the internalised Ibsen like influence of narrative taken along a path. Such as the Wild Duck. The inescapable place within that we reside alongside buffered by the use of conformity as well as the device of useful escape mechanisms.
Ibsen Ipso Facto
Why did the mind attack Maika Monroe so? Why do the appearances occur within one without another. They are alone not shared (often the genre requires bulk packaging so resorts to it it The Damned etc.!) there you have it – one genre deconstructed as I do with the mighty Ibsen once more my compelling lead to this place.
The Lady from the Sea anyone?

Talking of which water and swimming feature. There is a visit to a pool and you can mix music with water.
Local band featured here are Go Swim. They are cool to explore the water environment but the film takes on water in an entirely unmethaphorical way. It provides the close to dangerously good cinema wished for but shocking in its effect.
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For Go Swim Go See.

Death of the Pilgrim? Death of the Follower? Death of the Followed?

The irredeemable inexhaustible truth is that before long someone else will be along with an even better version of the stalker as self or unself.

To visit the place first try the widescreen of the world.

Conclusion. ###+ 3+
How is the shape of the film let of the hook by being similar in its (normal use) trace to Horror films familiar and of the recent past?
The famille is everything for the genre. The psychosis a very confrontational deep dish. We eat of the plate from the forest floor and survive the increasing complexities and more conflicting stories the senses take in.

This is a film with plenty of shocks and conveyed terror. It is not a slasher context movie but handled with dexterity and skillful ness by its young cast, the exception being the old lady whose part is all make-up! And a meander through the sets. This is a continuum narrative with no (apparent) flashback. It follows the film is a notable watch. Be watchful.

John Graham

26 February 2015

Belfast
The purview is laid out in the shape of cartoons storybooks, space age science interlocked to the bourgeois system that divides down the line whatever your background the curriculum becomes you unless your mind has opened

What is more terrifying than growing up believing the World is a b

The Duke of Burgundy : A Film Review

Dir. Peter Strickland, UK, 2014. Cert. 18. 1hr 44mins.
Cast. Sidse Babette Knudsen, Chiara D’Ana.
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Cherií as in Burgundy
Some strong hints, in fact heavy hints are deployed by Writer and Director Peter Strickland in positing his films theme.
It is a poor and lame set of metaphors unnecessarily deployed.
The simple fact is most viewers relying on this inroad to the story are not in need of this engagement let alone the subject plainly central, the sum of insects and chiefly the butterfly are infuriatingly numbing.

The sole characters are, save a few lecture hall speakers and a distant neighbour given to leaf sweeping are Cyntia, a dominatrix role playing Lepidopterist – that of said butterfly motif, by Sidse Babette Knudsen, and Evelyn, played by Chiara D’Ana, the younger hireling.
It is almost a costume drama as the clothes Sidse wears are vintage decent decadence and poor Chiara gets to don the simple peasant dressing befitting her sub-servant role. You can never be certain what in the spaces between is offered as equalityoutsideof the roles.

The only thing not depicted in metaphor or on the deployment of graphics is the possibly phallic slim antennaed body of the butterfly pairing the stations of the dual wings. The absence of maleness is opening of the forebearing recurring receptiveness of the gynaeceum. The host and house.

An Ottoman becomes the house. Becomes the chamber and is deployed into action in the more illuminating scenes of relationship needs.
The levels of entry to the story are vexed and misshapen male concepts reporting on the female attitude to her sexual role. That role is well evoked in some of the sado-masochistic approaches.

Both women wish to experience the interior lives of their own sexuality each needing different urges to be satiated.

The Fall to Winter
Now it is the season of love, a love for all seasons is as inextinguishable. For most encounters encountered are inhabited timelessly making anything possible if one closes another season of loves fervour responds to the sun or moon also rising. The Duke of Burgundy opens in the fall.

The landscape is European. The atmosphere is surreal. It is dense, forested, isolated, with in the choice of cinematic excursion here set in Hungary. The place able to offer the unusual heightened but faded opulence with a strangely unregarded temperature. Clothes are mere adornments, uniform for signatory place.
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Filmography
So it is excusable, given the subject of love, to begin with an Audrey Hepburn anecdote. The one – according to Hepburn herself, of her discovery when she was stationed with the 1952 film production company of ‘Monte Carlo Baby’ in the south of France for brief location filming, the fairly unnoticed assignment part of a standard contract. Hepburn at the time little known after the Armistice in a European film industry devastated by World War II. This week her co-star in ‘Gigi’ Jean passed away aged 93.

The springboard for exploring the relationship between two women is the entwined shared domesticity and setting found in all relationships eschewed or avowed. Either that or the external issued fan tasty world of ‘Gigi’ were one the fabric is lifted on demand and at a price. Similar fantasy role play is engaged here in this film taking its name from a rare butterfly.
Is there a further feminine Cher, Central France it’s being Bourges?

Cheri is the colour of Burgundy. The least said about that apocryphal use the better. It didn’t appeal on any level as a movie device.
Was it in the least necessary as the thoughts and portrayals were – when you leave and set aside thoughts of the butterfly – more productive.
Butterflies may be ephemeral and beautifully corporeal but that is baggage whereas this film has two sets of thought contesting each other’s extent of loving.

The loving felt is at its tenderest in the bed and touching is singularly a recovery for their relationship. It is also a place of command and struggle but is a place of recoiling physical bonding.

Colette chanced to see the young Hepburn walking across the lobby of the hotel and immediately said to her companion of the moment, “There is my Gigi!”
Colette whose 50 something novels were the French antidote to war and they created the ‘Belle Époque’ world as escape and no one came close to the wise naturalé, evocative, erotic, gravitas with which the French traverse as a fine line between hypocrisy and cant and are able negotiated inside and outside reality, with of course due recognition to Colette.
Léa, in what some regard as the finest of all novels Chéri she demonstrates all the survival skills which Colette associates with femininity which this Duke of Burgundy lesbian affair courts by introducing us to an (unknown?) element of seduction and control which is another inbound s+m chase.

Butterfly Error
The negotiation of romance, intrigue is the whole quotient vessel filled to near overspill in the tumbling dice world of The Duke of Burgundy.
It may involve the fragility of a butterfly.
In the acting of role play inevitably, given time, given devotion, flaws creep in and that grates alike with the viewer and the pair. The imperfections show up the love and utter dependence on this device as a focal part of their loving. It exposes the dynamic a little but not the intrinsic belonging which obviously exists between them.

Perfection is often implied as a goal and the butterfly has this consciously but, well, it’s best left alone. Go onto pleasure in its messy way seems to be one outcome, one possible learnt path on which we happen to tread.

Filmmakers find little to do when love making is underway except use genitailia as the excursion trip without being inside or outside the carriage.
Therefore the use of nudity is ignored so we can use the imagination from early on and absorbing the style of ‘reveal’ the author has chosen.

The actors are blessed with separate forms of beauty. One waif like, suitable to play the submissive. The other more mature, more curvilinear, suited to the solid mind games.

It is where pornography lives, repeat the feat, repeat the feat, are you finding this repeatative, but without the porn. This film does repetition in an entirely provocative way and through strangeness.

Bound over
Colette has given her characters feelings recognised everywhere, by that literal skill she deployed in life and literature. “What a beautiful life I’ve had.” Is her reported reward despite her later life being wheelchair bound.

Feminine Guile
The Duke of Burgundy is not an old fashioned tale of courtesan and pupil.
The femininity is capital currency taken at a slowness, the Milan Kundera slowness lovingly French again, with space and air between the bodies sufficiently involved to suspend, put time away.

One leads, petit mort, the Colettish murder of the passion enflamed.
It is one who leads who falls into the trap set by the victim who in the words of Bukowski suggests ‘Find what you love and let it kill you.’

The game awaits
Ways is there. There never is anything but a complicit and propulsion for the sexual frisson to take the external internal. Have a same word and act out the game. Who is the finest? Who loves the most in whatever role? The play you need to find the deepest pairing without measure is what challenges them? To know how far it can go.

This is a game based film. The erotic of an internal but visually consumptive union replaces repeative sexual performance that film after film produces as the literal filler content. Seed planted, bread rises. Will you do that again? Also the written story they have constricts their reaching their goal.
It is not that straightforward.

Firstly do not ask. It is not for you to ask. You need to listen for the instruction. Do it again. Then the previous interaction is repeated.
Same timeline, touch, pace, continuity precisely as before.
Here it is marked on the floor. The scene has a theatre direction, the Film Director aware of the frame line as well as the entire appearance.
It is exquisite compelling controlled love and the ultimate join up.
Sometimes I found myself analysing the occasions went outside, the nature and occasional v shaped frames of the descending stairs, steps down from the house. The wide cinema and the dense heavily wooded body of the frame.
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Does the film work?
Perhaps it does but it is at times very structurally slow. It through the narrative of role play accounting for nearly two thirds of it highly repeatative. The descriptive tale told is of the proximity of the antecedents of the developed and developing relationships and who chooses the effects physical and mental. The music by ‘Cats Eyes’ is Schrodingers Cat. It is at times excruciatingly over indulgent as soundscape as are the clouds of the flights of insects. Overblown.

Is it quotidian?
Certainly the beauty of the spaces in which these beautiful habitations are not. The quotidian is the place in the minds seeing what eaches need is.

Conclusion. ###3.
What is a film without a few kinks?
The strangeness of certain relationships are worth looking at for how well drawn they are as explorations of unique sexuality.
To communicate this simple two woman chamber piece ponderously slow, repeatitiveness is almost pathological. Prudent in dialogue and each character, I don’t recall even a name for the principles, – they have them of course, Cynthia and Evelyn – the butterflies get the names is unfortunately for me not convincing but a worthy attempt and anti-dote to other cinema treatments gotten into with the self same subjects.
It is very, very watchable with the portentousness of over visually satire like? approaches it becomes relatively indulgent.
It is not markedly English or European even. The book I am reading currently is Henry Fieldings, Joseph Andrews and Shamela (1742) which is full of firm settlements and ejectment all in the course of a virtuous life sought. The plainer it is written the more complex it’s direction becomes and is well equipped for our own obedience to our times?

The playing is tangentially cool and neatly if not inescapably drawn – they are after-all actors acting people acting role play. A candour exists.
A safe word exists! The actors have the burden of constraint heaped upon them unfortunately but deal with it decorously, methodically and beautifully.

Love sometimes passes you by. Only when its past will it become clear?
Can I leave that as an note from which to seek your own tuth?

I’m off to see if I can find where the Chalkhill butterfly, (its one in a frame above their bed) lives it’s short life.

John Graham

19 February 2015

Belfast

Opening at QFT Belfast this Friday 20 February through to Thursday 5 March 2015
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