quinta-feira, 28 de março de 2019

As 226 melhores canções dos anos 90. (127)

Censurar o Jacko? Not on my watch.

Mektoub: My Love: Canto Uno.

Um conjunto de putedo e de azeiteiros que não pára de zurrar (de forma sobreposta, a maior parte das vezes) durante três horas, com o embrulho final a levar o lacinho dessa doença cinematográfica chamada "naturalismo" (e cujos seus mestres são indiscutivelmente alguns franceses). Pior sequência de discoteca de sempre, o maior cu feminino jamais visto na "magia do cinema", uns pratos de comida bem jeitosos, nulidade quase absoluta. Este conjunto de letras deve ter-me dado mais trabalho do que ao Kechiche em fazer este seu longo pretexto para épica punhetaria. Parece que o segundo vai ter também três horas. Salve-se quem puder. 

domingo, 3 de março de 2019

Tabaco no cinema (24).

Ahlat Agaci, Nuri Bilge Ceylan

Tabaco no cinema (23).

Call Girl, Senhor Vasconcelos, Ex-Comentador Vasconcelos. 

Ja nao bastava ver o Conceicao a ser comido a bruta pelo Lage...

The pleasures at the heart of the old cinephilia are predominantly aesthetic. The new cinephilia has a broader definition of pleasure: it values the aesthetic experience of cinema, but it demands more. It finds pleasure, additionally, in a deep curiosity about the world and a critical engagement with it. Cinema teaches us about the human and nonhuman world in new and powerful ways. Traditional cinephilic pleasure is private, personal, inward; it is also what Laura Mulvey, in her landmark manifesto, wished to destroy. The new cinephilia radiates outward, powered by a spirit of inquiry and a will to social and planetary change. It is no coincidence that so many filmmakers valued by the new cinephilia—women, queer, Indigenous, people of color—have an interest in activism, and view cinema itself as part of a larger cultural-activist project. It is equally no coincidence that relatively few straight, white male filmmakers share this trait [...]

You shall know the old cinephilia by the sounds of its worrying: film culture these days is “too PC,” too “morality-driven,” and “all about identity politics.” Supposedly fragmented and atomized along identity lines, it is no longer unified the way it once was. For the new cinephilia, however, this unity of film culture is a figment of nostalgic fantasy: a fiction propagated and sustained by the imposition of a false universalism. By privileging certain identities (white, male, heterosexual) over others, Euro-Western film culture has historically constructed an illusion of wholeness and coherence. What is truly being mourned by the old cinephilia is the (tiny) loss of cultural authority and influence for its dominant identity groups [...]

“Life organized around films”: this is one widely accepted definition of traditional cinephilia. But at this moment, when the world is in turmoil and the planet on the edge of catastrophe, such a conception of cine-love seems narcissistic. What we need now is a cinephilia that is fully in contact with its present, global moment—that accompanies it, that moves and travels with it. No matter how ardent and passionate our love for this medium, the world is bigger and vastly more important than cinema."


Chegara o dia em que ser homem, branco e heterossexual sera o equivalente a ter entrada barrada nas esferas do cinema. Basta que continue a proliferacao destes Apus Shambus. O meu teclado ta todo fodido. Citar a Mulvey a proposito de qualquer cousa, num mundo justo, daria logo direito a uma noite nos calaboucos.