#1983-2022

[fashionbooksmilano]

Sybilla

El Hilo Invisible  The Invisible Thread

Luis Arias, Valerie Steele, Laura Cerrato et María Sybilla.

Ediciones El Viso, Madrid 2022, 160 pages, 215 illustrations, 22,5 x 25 cm, Couverture cartonnée, Édition bilingue en Espagnol et Français, ISBN  978-84-125528-0-5

euro 68,00

email if you want to buy booksinprogressmilano@yahoo.it

Sybilla. El hilo invisible (Sybilla. Le fil invisible) est le catalogue de l’exposition homonyme qui a lieu à la salle Canal de Isabel II de Madrid, du 27 septembre 2022 au 15 janvier 2023.

Sybilla monte sur la scène de la mode espagnole en 1983. Dès lors, la critique, nationale et internationale, la reconnaît comme la meilleure créatrice espagnole depuis Cristóbal Balenciaga. Il peut paraître mal aisé de trouver un fil conducteur dans son travail vu dans son ensemble. Toutefois, ce fil existe et il est présent sous la forme de langages qui permettent à Sybilla de désorienter et qui confèrent en outre une cohérence à ses créations.

Cette exposition entend mettre en lumière ces langages articulés autour de ce fil invisible qui donne une cohérence à l’ensemble de son œuvre. Des langages qu’elle paraît tisser sans le savoir, parce que Sybilla met les mots de côté pour exprimer la Vie qui la traverse.

31/01/23

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:         @fashionbooksmi

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

[groomoftiffany]

happy pride to queer horror and queer horror only <333

[themarvelproject]

Marvel house ad promoting its new cover format (1983) remastered by Marvel with digital colors for The Thing Omnibus (2022)  

[365filmsbyauroranocte]

The Boys from Fengkuei (Hou Hsiao-Hsien, 1983)  

[callsignmav]

➥ The Outsiders (1983) | Top Gun (1986)

[clitology]

saw this trend going around on the dash so here's my top 10 first watches of this year :)<3

[itsallmadonnasfault]

[albumarchives]

Boar's Hunter 1983 | Trick or Treat (2022)

[k-i-l-l-e-r-b-e-e-6-9]

Grim Reaper  -  See You in Hell

[arnie-cunningham-official]

God forbid men do anything

[booksivereadandwanttoremember]

Hayao Miyazaki’s “Shuna’s Journey” November 2022 (English Translation).

[cinematitlecards]

"A Christmas Story" (1983) Directed by Bob Clark (Comedy/Family/Christmas) . . "A Christmas Story Christmas: Ralphie Returns" (2022) Directed by Clay Kaytis (Comedy/Family/Christmas)

[zero-zoxx-international]

Der Sündenkelch läuft endlich über (The Cup of Sins is Finally Overflowing), 1983 by J.G.Wind

[themarvelproject]

Marvel house ad for The Thing by John Byrne and Ron Wilson (1983) remastered by Marvel with digital colors for The Thing Omnibus (2022)

[365filmsbyauroranocte]

“Do you believe in ghosts?”

Ghost Dance (Ken McMullen, 1983)    

[anhed-nia]

BLOGTOBER 10/7/2022 - GOLEMANIA! PT 2: THE KEEP (1983)

It's hard to know what to say about Michael Mann's famously benighted World War II fantasy THE KEEP, a film whose tortured production history seems to get more attention than its actual content. At this point nobody needs me to attempt to describe the shooting delays that plagued it, nor the constant re-imagining of the monstrous villain, nor the funds Paramount withheld from its completion, nor their forced elimination of 114 minutes from Michael Mann's lost 210-minute cut. It's hard to say which is a greater loss, that of Mann's total vision, or that of the FX planned for the crippled grand finale, as 2001: A SPACE ODYSSEY alum Wally Veevers took those secrets with him to the grave midway through production. The currently available version of the film is marred by bad sound, a mutilated narrative, and some will say cheesy creature design. However, a growing number of others (myself included) will tell you that THE KEEP remains beautiful and hypnotic, perhaps even because of—not in spite of—its dreamy anti-logic.

The plot, such as it is, involves a deployment of Nazi soldiers occupying a mysterious mountain citadel in the Carpathians. When some of these interlopers steal a silver seal out of its walls, they unwittingly unleash a demonic entity who begins to tear through the Nazi ranks. The mystified officers assume this bloodbath is effected by partisan activity in the surrounding village, and the resulting conflict between the humans disguises the existence of the creature, known as Molasar, as it grows in strength. Meanwhile, its activation has awakened an angelic being, Glaeken Trismegestus (Scott Glenn, sporting a pair of violet contacts that remind me of certain Barbie-inspired action figures I had as a kid), who soon arrives to put the monster back in storage before it can escape out into the world at large.

Even were the unnatural gaps in the narrative filled in, THE KEEP might still have the strange problem of lacking a clear hero. The film is populated largely by Nazis, and even the conflicted Jürgen Prochnow isn't much help to the side of good. The other non-Nazis squabble amongst themselves about whether to escape, or wreak a messy vengeance in cooperation with Molasar. (I feel really weird saying this, but the great Ian McKellen as the creature's embittered familiar, half-buried in old age makeup and forcing an "old man" voice, is the worst thing in the film) Molasar bears a tempting resemblance to the Golem, a powerful supernatural protector from Jewish folklore; it is outraged when it learns of the Nazi genocide and uses the words "my people" to describe their victims, although the exact origins of the being itself never become clear. The closest thing we have to a protagonist is Glaeken Trismegestus (whose name presumably refers to the syncretic Hellenic deity Hermes Trismegistus), who is so inhuman that it's hard to relate to him--and let's be honest, it's disappointing when he explains that Molasar is not an avenger who will put a stop to the Holocaust, which it seems genuinely upset about, but a force of abject destruction that must be contained.

When a story is missing a heroic center of gravity, it can be hard to say what it is really about--what are its moral or spiritual motivations. The strongest piece of direction we get here is actually from Jürgen Prochnow, who identifies the Keep as a place that brings primordial emotional material to the surface, defying the training of society and spreading madness. In the same fevered monologue, he further identifies the Nazi scourge in a similar way, as an uncontrolled expression of the worst elements in human nature. I suppose that, along these lines, Molasar is meant to be the embodiment of sinful wrath, a morally inferior, uncivilized response to adversity. It all sounds a little pretentious on paper, but the fact that THE KEEP is more about the conflict between archetypal psychic energies than it is about the trials of individual people may contribute to its unique dreaminess. When the baffled Sturmbannführer (Gabriel Byrne) asks Molasar where it comes from, the creature replies, "I am from you."

But, let us be real, THE KEEP's true motivation is aesthetic, and there it succeeds in spite of the many torments it faced in production. The gauzy shadows, lasers cutting through fog, Tangerine Dream's alien score, and the fabulous Molasar should still hold the attention even of viewers who don't care to deal with its philosophic underpinnings. It is painful to know that Wally Veevers may have intended to give us a 2001-worthy finale, but what remains in its place is not too shabby--certainly nothing worth rejecting the film over. If nothing else, THE KEEP remains a treat for the senses. And it would have given Carl Jung a boner.