#TaraSubkoff

[unblogparaloschicos]

Cine: All Over Me (1997)

A poco de comenzar las vacaciones, Claude (Alison Folland) se dispone a aprovechar el tiempo iniciando un banda de música con su mejor amiga Ellen (Tara Subkoff), por la que siente un profundo afecto que escapa a este rótulo. Sin embargo, ésta se le aparece con la noticia de que ha conocido a Mark (Cole Hauser), un chico que deviene en su novio, y en uno que ha resultado ser bastante tóxico y agresivo. 

Claude, que a sus quince años ya padece la desatención de una madre que parece preocuparse más de su última pareja que de su propia hija, inicia un camino de autodescubrimiento tras conocer a Lucy (Leisha Hailey), una cantante de grunge, mientras sufre al comprobar cómo el de Ellen es autodestructivo y cargado de violencia y adicciones. Una relación que acabará tensándose cuando aparezca la noticia del asesinato de Luke (Pat Briggs) un cantante gay vecino de Ellen cuyo victimario podría hallarse entre Mark y su banda.

La directora Alex Sichel y la guionista Sylvia Sichel (sí, son hermanas) se internan en el mundo de la adolescencia de fines de los noventa para reflejar con gran sensibilidad los sinsabores de los jóvenes de una época particular: los años previos a la llegada del nuevo milenio. 

[doomonfilm]

Thoughts : The Cell (2000)

Back in the early days of this blog, I briefly mentioned The Cell in passing while sharing my thoughts on Fantastic Planet.  This brief mention, however, does not do my feelings towards this film justice... from my initial viewing in theaters up through my recent re-watch in preparation for this blog entry, my enjoyment, devotion and fascination to this film continues to grow.

Dr. Catherine Deane (Jennifer Lopez) is a child psychologist who practices a controversial and forward thinking form of therapy where she neurologically links with her comatose patients in hopes of helping them regain consciousness.  Deane’s latest patient, a young boy named Edward (Colton James) who is suffering from a rare form of viral infection-based schizophrenia, presents a challenge to her and her team, fellow doctors Henry West (Dylan Baker) and Miriam Kent (Mariannne Jean-Baptiste).  The pressure is multiplied by Edward’s parents, who are funding the project, due to their demands for results and threats of pulling Edward from the project.  Meanwhile, a serial killer named Carl Rudolph Stargher (Vince D’Onofrio) is leading Special Agent Peter Novak (Vince Vaughn) and his team on a frustratingly wild goose chase, having just disposed of his sixth victim and kidnapped Julia Hickson (Tara Subkoff), his potential seventh, in rapid succession.  Novak and his team catch a break by recovering paint samples and dog hairs from the scene of the sixth victim’s disposal, but by the time they reach Stargher, he has fallen victim to the very same schizophrenic-based coma that Edward suffers from.  In an act of desperation, Stargher is taken to Dr. Deane’s laboratory with the hopes that her neurological linking treatment can uncover the location of Hickson before she becomes the latest victim, but the process quickly turns into a psycho-surreal nightmare for Deane, Novak and all parties involved.

As someone who is not only fascinated with the complexity of the human mind, but fascinated with true crime as well, a film like The Cell is a perfect intersection of these two elements.  The depravity of Stargher’s twisted methods are still shocking 20 years later, and immediately put the viewer in the shoes of our multiple protagonists by giving us a fly on the wall perspective to his sick madness.  Focusing in on the psychological and physiological quandaries of being unable to differentiate imagination from reality, as well as the theoretical dangers of inviting the unknown into your mind, are grounds for high drama and tension.  Tarsem Singh’s ability to include symbolism that alludes to both the human psyche and other films also play well, not to mention the warped representations of key clues that mirror reality.

For anyone who appreciates production design, this film is a playground of powerful visual elements.  From the ‘fileted body’ suits used to house those taking place in the process, to the transition from reality into the mind, even down to Stargher’s home and dungeon, there is rarely a dull visual environment presented to the viewer.  I do think that the case could have been solved prior to Novak diving into Stargher’s psyche, as it seemed that seeing the company logo in Stargher’s head suddenly reminded him that you could track down purchase histories, but honestly that’s just me splitting hairs... and it would’ve robbed us of some classic Vince Vaughn being Vince Vaughn moments while he is on Stargher’s operating table.  In all honesty, you could mute this film and be blown away by the set design, costuming and emotion that radiates off of the faces of the actors.  The visual representation of Stargher’s victims that Dr. Deane encounters on her first trip into his mind will forever haunt me.

Jennifer Lopez did a good job of balancing her character between mother/protector and professional therapist, and really allowed her thought process to resonate through her facial expressions.  Vincent D’Onofrio’s performance is minimal in terms of dialogue, but he puts on a true masterclass in terms of movement and blocking, especially as the idealized Godlike version of himself that inhabits the dream world.  Vince Vaughn allows himself room for a grounded and nuanced performance, specifically by using the comedic edge he normally exudes as inner turmoil and frustration that guides his devoted passion to catch Stargher.  Dylan Baker and Marianne Jean-Baptiste not only play well off of one another in their role as a medical team, but allow their concerns and fears to stand in as surrogate for that of the audience.  Vaughn is surrounded by star character actors that completely engulf themselves in their special agent roles, especially Jake Weber and Dean Norris, while James Gammon plays the grizzled veteran without falling into trope territory.  Jake Thomas is surprisingly confident for such a young actor placed in such fantastic realms, and it’s the way that he owns his space but shows his fear that endears him with the viewing audience.  Tara Subkoff also does a lot with a little, with her role as the captive easily setting her up for a one-note performance, but her acting choices bucking against that and making the audience buy into her danger.  Appearances by Catheriene Sutherland, Colton James, Musetta Vander, Patrick Bauchau, Pruitt Taylor Vince, Lauri Johnson, Kim Chizevsky-Nicholls and Gareth Williams round out the cast.

For those unfamiliar with this film, or for fans of films like Inception, The Cell is a mind-bending punch in the gut in all the most enjoyable ways.  The ideas that are presented and executed provide discussion topics that last long after the film has ended, and the visuals burn themselves into the memory quite easily.

[paysagesinterieurs]

/Texte 292 - fake Marilyn Deep Fake Tara Subkoff The Hole, NY

[gayerthanevertbh]

got it from @/tarasubkoff on insta!! her recent bday post for scar☺️☺️

I WENT FERAL SHE LOOKS SO BEAUTIFUL :(

[replikavintage]

#imitationofchrist #2003 #repurposed #deconstructed #reconstruction #chloesevigny #tarasubkoff #vintagedress for #acainthebay #acurrentaffair #june17th (at Replika Vintage)

[sscarlett]

tarasubkoff: Late night out with this one .. #scarlettjohansson late night out on the town in #nyc (17.12.12)

[instapicsil2]

Ten years ago today, we got married in southwest France surrounded by 200 of our closest friends and family who flew in to celebrate with us from around the world. I had just survived a car accident and was basically bedridden for most of the three months leading up to one of the biggest days of our lives. I could barely help with wedding planning, my dress all but fell off when I tried it on a few days before the ceremony (thank you, @tarasubkoff for finding the only available tailor in the villages surrounding Lectoure) and you pulled chunks of glass from the accident out of my back on our honeymoon. You called me the wrong name at the altar out of nerves—my sister’s name—and I laughed, because it didn't matter.  I knew how much we loved each other. Ten years, two children, two countries and six houses later, I still love you more than ever. Happy Anniversary, @pauldebendern Happy #independenceday photographs by the great @landonnordeman https://ift.tt/2FSoB5H

[carocat]

I was in this wardrobe fitting two days ago. And I am in the deepest gratitude. So profound, it is, I have decided to share. The brilliant costumer #Allisaswanson not only designs the pieces #harperglass will wear on this new #Netflixshow , but she carefully gets my legs in my pants, pulls my tops over my head, buttons my coats and offers her shoulder to steady myself. I have #multiplesclerosis . I am in an exacerbation. By the grace of the lord, and will power and the understanding producers at Netflix , I have a job. A wonderful job. I am disabled. I fall sometimes. I drop things. My memory is foggy. And my left side is asking for directions from a broken gps. But we are doing it . And I laugh and I don’t know exactly what I will do precisely but I will do my best. Since my diagnosis at ten thirty pm on The night of August 16, I have had love and support from my friends , especially @jaime_king @sarahmgellar@realfreddieprinze @tarasubkoff@noah.d.newman . My producers #noreenhalpern who assured me that everyone has something. #chrisregina#aaronmartin and every crew member... thank you. I am in the thick of it but I hope to give some hope to others. And even to myself. You can’t get help unless you ask. It can be overwhelming in the beginning. You want to sleep. You always want to sleep. So I don’t have answers. You see, I want to sleep. But I am a forthcoming person and I want my life to be full somehow. I want to play with my son again. I want to walk down the street and ride my horse. I have MS and I am ok. But if you see me , dropping crap all over the street, feel free to help me pick it up. It takes a whole day for me alone. Thank you and may we all know good days amongst the challenges. And the biggest thanks to @elizberkley who forced me to see her brother #drjasonberkley who gave me this diagnosis after finding lesions on that mri. I have had symptoms for years but was never taken seriously until I fell down in front of him trying to sort out what I thought was a pinched nerve. I have probably had this incurable disease for 15 years at least. And I am relieved to at least know. And share. 🖤 my instagram family... you know who you are.

[paysagesinterieurs]

Texte 292 - fake Marilyn

Tara Subkoff Deepfake The Hole November 5th _ Pourquoi je me sens si bien parmi ces gens.  Est-ce à cause de ce jeune rouquin à casquette qui semble sortir d’une peinture de Norman Rockwell. Ou cet autre jeune, brun, cheveux ébouriffés, skate au bras. Ou cette rouquine d’environ 22 ans, cheveux courts, mince, à grosses lunettes, aux Big mocassins blancs des années 60, qui semble sortir de chez pas où, pour aller je ne sais pas où, mais qui fait étape à la galerie The Hole comme elle l’avait programmé depuis son studio situé dans le quartier. Bowery! Ben, elle a l’air bien sympa, elle aussi. Et le jeune avec qui elle cause, stylé « rock », casquette posée sur sa touffe brune, je pourrais aller lui demander chais pas quoi. Tellement qu’il a l’air gentil, il ne me prendrait pas pour une débile malgré mon anglais de merde. Et ce trentenaire, plutôt petit, casquette de marin avec des strass, capuche du pull par dessus, il voit que je trouve ça chouette, il me sourit, je lui souris. J’aurais été en La Bambina on aurait fait un selfie, on aurait discuté de Los Angeles que je vais bientôt visiter, que dis-je, pénétrer! On aurait échanger nos idées et nos mails. Et ce monsieur d’environ 65 ans, qui passe à côté de la pianiste en montrant avec son tel SATIE écrit en gros alors que c’est du Debussy, Clair de Lune précisément. À chaque fois que je l’entends je pourrais crever sous la grande émotion, c’est ce son que je veux quand on m’enfournera, c’est sur ça que je je veux redevenir poussière. Mais tu vois, ce mec aussi il a l’air sympa même si il se goure il le fait humblement, simplement. Tout le monde diffuse des étoiles, des arc en ciel et des cœurs dans cette galerie. C’est une écurie de ce genre qu’il me faut. Chez Jeffrey Deitch c’est un peu cette ambiance aussi. Y’a bientôt un Opening ce sera l’occaz’ de comparer. C’est La Bambina qui vérifiera. Dans cette galerie la bienveillance prime. Ça fait du bien. De toutes façons, les New Yorkais sont bienveillants. J’aime être ici. Faut que je gagne du fric, parce qu’il est hors de question que je ne revinsse pas. Tara Subkoff, joyeuse en robe fluide rosée erre parmi les performeurs et les visiteurs avec sa petite fille, danseuse de claquettes. Gloire aux arts vivants! semble clamer Deepfake. Choper d’ici-delà des émotions qui nous appartiennent. Une Marilyn sublime qui fait face à un miroir déformant, me stimulera énormément. Je l’observerai comme pour trouver des réponses à mes nombreux questionnements? À quels moments la fake-Marilyn est-elle la plus proche de la vraie? Quand elle prend la pause pour être photographiée? Ou dans ces moments transitionnels entre ces différentes pauses? Nano secondes où tête baissée, les yeux regardant le sol, il semble possible de percer des mystères de Marilyn, de la performeuse et de moi-même l’ayant incarnée à Carcassonne, à Albi, à Art Basel Miami Beach, à Toulouse et ailleurs. Ne cesser de filmer la fake pour accéder à la vraie. Même parmi les gens, derrière un menton, un iPhone, un cou, un coude, une main, la capturer. Les autres, et cela ne concerne que moi, ont assez peu d’écho en moi, je raffole peu du cirque, j’apprécie de les voir bien sûr, mais ça ne me transcende pas, en comparaison à Marilyn. Qui me fait délirer total. L’étrange bruit que font les pas des performeurs sur le revêtement plastifié argenté, ça fait comme un bruitage drôle qui ajoute au « fake ». Y’a un décalage sonore : le pas est fait, le bruit vient après, c’est la bulle d’air qui pète en se recréant après avoir été écrasée par les poids des corps se déplaçant dans l’espace. Ça c’est top. Genre le détail qui tue.

[oneporktaco-blog]

nyfw: imitation of christ

(images via ny mag)

depending on whose review you read, the spring 2012 re-launch of tara subkoff's imitation of christ label was either the follow-up to a real fashionie knot-tying (for model lydia hearst, at bottom), or simply staged as a twenties/thirties exhibition that resembled a wedding.  but no matter.  we're here to discuss the clothes and, considering that these were reconstructed vintage pieces, it was in multiple ways quite a shakeup to the norms at new york fashion week. 

as style explains, "(t)he prevailing look was dressed-up Depression-era, with lots of pastel lace bias-cut dresses and drop-waist chiffon florals, plus occasional forays into flapper silhouettes."  with models dressed up to resemble (or perhaps they really were) bridesmaids, flower girls, and revelers of all kids, wwd was correct in asserting that "each look had its own personality," giving one a bit of a feeling that the links between retaining your (slightly aged) pieces of the good ol' days and trying to forge ahead a fashion path in the days of so much deprivation was a stronger point than the designer simply shaking a vintage shop for whatever pieces of around a ten to fifteen year period might fall out. 

the pieces themselves were described as "'tea' dresses in pastel and dusty colors adorned with flower and bird appliqué details," by the ny post.  and though feelings of the jazz age heydey (i'm wondering if we're not due by now for a resurgence of those styles) were tempered by the occasional aforementioned more austere thirties silhouette, it was hard not to appreciate the romanticism and stunning detail that went into even the simplest of clothes some three-quarters of a century ago. 

style, however, wasn't particularly convinced of the show's merits, nor its place in the nyfw lineup, sniping at one point "(o)n some items it was hard to discern what renovation had been done, while others, like a beaded flapper dress, looked made from scratch" (given their derisive tone, it would be difficult to view the latter as a compliment), and later commenting "But what Subkoff is up to here isn't quite art for art's sake. It's more like craft for craft's sake, which is a perfectly noble pursuit, but one that didn't necessarily square with the pomp and circumstance of the presentation." 

of course, that's all a matter of perspective, and how important it might be for a designer to re-introduce historical costumes as valuable contemporary fashion (not to mention, part of a recycling effort) is debatable.  many of the fashionies wouldn't necessarily see it as such, not the least because vintage pieces render much of their work...well, i suppose i'd like to see how a modern dior garment measures up to one of the pieces from the forties, but perhaps that's debate for another time.   suffice it to say opt found ms. subkoff's work both an diverting lesson and innovative idea for the week. 

another point, of course (and here one can imagine the mainstream press none-too-impressed once again), was on the charm the show exuded in including 'real' people among the models.  if there were some professionals (including the bride, below), with the variety of races, ages, and body types, one certainly got a different image from the standard catwalks, and something i've long advocated--the display of how good clothes could look on 'regular' women.  like chloë sevigny's oc resort 2012 show, this helps us to imagine what the pieces might look like on us, rather than teenagers, stretched and pulled beyond anything we are.  all of which was just too real for the likes of style.  i get it.  but perhaps for those of us complaining we never see these things, ms. subkoff's show would be a chance to celebrate...and tout to other designers as a positive example. 

[instapicsil2]

#Repost @tarasubkoff (@get_repost) ・・・ Here’s to 38 years of friendship 💫✌🏽love you @lynseyaddario xooxx http://ift.tt/2BJDQtm