#I love film analyse

[basicallymikewheeler]

Byler has some of the most obvious colour coding ive seen, like ever in teenage-adult media.

and one of the scenes that feels like they are dangling them right infront of them

okay so, mike = blue and will = yellow, we all know this. and the two times they were wearing eachothers colours simultaneously, they fought.

rain scene:

and the other time being what im talking about rn, is the rinko mania fight.

as the fight begins, we can see the obvious blue and yellow lights in the background, which are also accompied by pink/purple colours (els typical colour that she is coded with)

i think this scene was a bit of mixed perspective of both will and mike, so im going to talk about it like its from both their povs

It feels like the yellow and blue lights are further down on the wall, almost like they are making their way up into both of their thoughts. But they are still worried about eleven, so her thoughts stay above

and here, we see all three colours in wills frame. like hes still worried about his sister, but also the flaming hot garbage can of a friendship both he and mike have

also to mention- contrast - as the scene progressed the blue and yellow stop fading together on their faces, they start to contrast, symbolising the clash of characters

and then we switch to mike, who is quite literally ALLL blue and yellow. after will brought up their relationship, its all hes thinking about. all hes concerned about. and he clearly doesnt like the thoughts hes having because he become quick to be defensive, “WE’RE FRIENDS…. we’re friends.”

and when will follows up with “well we used to be BEST friends,” mike suddenly retracts, realising hes overthinking it, and will is being purely platonic. realising that he had those thoughts that will was talking about a friendship. and that he shouldnt have thought like that. WHICH TO IMMDEIATLY FOLLOW THAT FUCKINNNNG CONVERSATION

AS SOON AS HE STARTS TALKING AGAIN:

A STRANGER THINGS CUSTOM SONG CALLED “IN THE CLOSET” starts playing. (a double meaning song cus el is literally in the closet as they’re arguing.)

and then mike gets defensive, taking the blame of these queer thoughts off himself.

then after his defensive outburst, he feels guilty. And his mind goes immediately back to el. “lets just find el”

and then theres this frame that i dont even have to fucking say anything cus wtf

[io-lu-art]

"Well then, your hands are cold."

After the obligatory annual rewatch of Pride and Prejudice my father asked me: "Why does Lizzy tell Mr Darcy that his hands are cold after he confesses his love to her again?"

And I didn't know how to answer that - UNTIL. I. REALISED.

WILD GUESS, but if I recall correctly from my limited experience of 21 years on planet earth, your hands get cold when you are anxious about something or nervous or what not (excluding the cases of external temperature change or sickness, we are talking pure emotions here).

Now watch this:

Throughout the movie there are 3 deliberate closeups on Darcy's hands before the climax, all of which occur in immediate proximity to Lizzy. And I cannot help but notice, without wanting connect one with the other right on the nose...

...look at his hands! He is SO. NERVOUS. around her it makes me wanna scream and giggle and cry-

Now, I hope it is not too bold of me to assume, but...

...I mean you clearly see where this is going...

When he helped her onto the carriage...

...when they were dancing, when they finally meet on the field at dawn.

You put everything together and you've got your answer.

So, what's my theory? Darcy's hands have been cold all this time when we see him around Lizzy. And Lizzy has been paying attention.

That's it. That's the juice.

You may go on with your normal life now while as you still can.

Pls tell me someone else figured this out before me and I am just late to the party.

[jessieren]

Further to my analysis earlier in the week of evans and the way he holds glasses/other receptacles I thought I would add these additional items..

1. The ‘we don’t trust that fidgety Evans with liquids and have put cling film over his mug…’ *

*(Yes I know it’s probably some sort of submarine thing to make it realistic but it made me laugh far too much..)

2. The trying to look chill whilst being interviewed two handed hold

3. The ‘I have a special Oxford mug and take it everywhere with me’

Note: pic at Manor rehearsal. This is an Emma Bridgwater mug of Oxford. I find it utterly adorable that he has this… (I’m choosing to assume it’s actually his)

[weregonnabecoolbeans]

I went to see challengers however long ago going in almost completely blind to what it was.

Someone please tell me why I haven’t stopped thinking about it since seeing it?!?

[love-rats]

i am quickly becoming sick of the new 'media consumption' phenomenon. like congratulations we invented another swagless phrase

[pegasusdrawnchariots]

Poetic cinema: when Cyrano starts hallucinating (?) in Act V & eventually faces the front of the stage & says...

"Qu'est-ce que c'est tous ceux-là ?—Vous êtes mille ?" "Who are you all? Are there a thousand of you?"

...at the audience. Staring out at the crowd as if seeing them for the first time.

On the one hand, it's always good for a nervous laugh for the audience to break up a bona fide four-hanky finale.

But on the other, in the midst of Cyrano's dazed ramblings — the chant of the Gascony cadets, Copernicus this, Molière that — blindly addressing a "vous" that no-one else can see — speaking to the Grim Reaper as if there, tangible & visible before him — in the midst of all this, this line is a piercing moment of clarity between us & him. We've been getting a very good look at him for quite a while. We see him, naturally. But now, for the first time in 3 hours, he sees us.

(& on a third hand, bring out another hanky for when this line is addressed to a packed theatre. Cyrano, who's convinced that everyone finds him repulsive, sees that a thousand people have paid & stayed to see his story. Doubly poignant that Edmond Rostand wrote this thinking that Cyrano de Bergerac the play would be a flop ;-;)

Praise upon praise to productions who cause Cyrano to stare out into the auditorium at this line & sweep his gaze over the audience members 🤍 In a witty play full of subtle asides, a play that starts in a theatre (!!), this is the only 4th-wall break we have, & even then it can be played off as solely within the storyworld if the director wishes. Cyrano has a fatal head wound. Of course he can't see us, this is just part of his hallucinations.

In either case, the next line pointed at the audience is also good for a fond chuckle for our favourite bataillard, whose self-professed pleasure is to make new enemies:

"Ah ! je vous reconnais, tous mes vieux ennemis !" "Ah, I recognise you all, my old enemies!"

It segues us gently back into his delusions as he starts slashing at phantoms.

But there was a moment of doubt before! Was that really a delusion? A theatre character with one foot in the grave (or one foot on the other side of the curtain, so to speak) starts losing his mind & catches a brief glimpse of the audience. Of course, as the monologue continues, it's revealed exactly who/what Cyrano is addressing & he is safely enclosed back in the storyworld. But that shimmering moment, that stunned "who are all these people?" compels me 💗

[wyldfell]

we talk a lot about media literacy in this fandom and usually it has to do with the words that are being spoken or the acts that are done onscreen, but media literacy also involves knowing how to interpret the construction of a scene! why did the camera move in that way? what is the lighting doing? why did the editor cut to this particular person? what emotion is the score attempting to elicit? film and television are a symphony of parts. you can't properly interpret what you're watching if you ignore the how and the why! and yes, interpretation is subjective, but the camera? never lies

[wizardfigurine]

also i'll say just for myself, maybe revealing that i sorely missed the point, but a lot of elements in the movie had no contextual ties to anything. i might be biased but i hate when media throws symbolism and allegories at me for it to have no reasonable connection to the story. it seems meaningful, but on further analysis there's nothing there to think about. i won't make any specific references because i might make connections that i missed on my first viewing, who knows. the elements that were really obvious, though, were the lighting and the religious imagery. something that flew past me completely was how emesis pharmaceuticals tied into any of this? also, fun fact, valium and diazepam are the same thing!

and of course it's horror. it's going to be vague and mysterious for a lot of it, because the best part about the horror genre is that you can freely interpret it. but you need to answer some questions. the audience expects pay-off for their investment in the form of clarification of the inner-workings of the created world

besides my complaints, i do think it's extremely well-crafted!! the cinematography is on par with a theatrically released movie. plus, considering the blocky and goofy nature of the TF2 models, they did a beautiful job at keeping the atmosphere serious. and all the references were cute because you can tell my guy chad payne is an absolute film nerd.

[emblazons]

I thought I was nearly done with this Prisoners analysis...but then I realized that the maze imagery I was exploring for non-linear/unclear narratives for Mike actually has yet another film parallel—

—aka two of the paintings has hanging in his room (Relativity and Hand with Reflecting Sphere by M.C. Escher) are of great import...so much so that one of them is just fully identical to the painting hanging on the wall of the main character in the movie Labyrinth?

You know. The movie released in 1986 (the same year ST4 is set in) with David Bowie (og singer of the song Heroes) as its main antagonist (with a maze in his castle, similar to prisoners & the mazes in the lab with El/the numbers) who holds a crystal identical to the other painting Mike has hanging up in his room?

The one about a girl who is coming of age while looking for someone she loves in an alternate dimension...who uses fantasy as an escape mechanism and eventually learns to be responsible but never forgets how important the party of people she met in this fantasy universe mean to her?

You know. That Labyrinth?

I'm gonna scream

[lionofstone]

at the end of the day, i’m a fan of silly little action movies. that’s just how it is

[doctorbrown]

God this is one of the first days I'm not buried in the guts of my car trying to figure out what's wrong with it now and I'm catching up on my Doctober prompts but I also keep thinking about Doc's brainwave analyser and like, there has to be some degree to which it worked, right?

I mean, all of his guesses related to events that had happened to Marty prior to his arrival on Doc's doorstep.

The great distance? He ran to town and drove from Peabody's farm and travelled thirty years into the past.

The Saturday Evening Post? Sure, he was reading the Hill Valley Telegraph when he plucked the discarded newspaper out of the trash bin to confirm today's date but those two are still within the same vein.

The Coast Guard Youth Auxiliary? How many people told Marty upon his arrival in Hill Valley he was wearing a life preserver and that he must have jumped ship or been a sailor? Several! And he even tells his to-be grandmother that he's in the Coast Guard.

Also in the novelisation he talks about selling peanut brittle and I love that in conjunction with the deleted scene from the film in which George gets bullied into buying all that peanut brittle and Marty's just like come on, dad.

[redshoes-blues]

We need to talk about the anchovy scene in Goncharov and how brilliant it truly is.

Anchovies are not your typical aphrodisiac, in fact, I would say they are viewed in quite the opposite way. But what Goncharov (1973) does brilliantly, in the infamous homoerotic anchovy scene, subverts our expectations about cinematic depictions of romantic love. By doing so in a homoerotic context, the scene becomes inherently queer-coded within the text as the viewer’s expectations are subverted. The anchovies aren’t just anchovies, they are a larger symbol of what the film as a whole attempts to achieve: the subversion of Russian media tropes, the mafia genre as a whole, and the inherent queerness of men who wield weapons. When Andrey feeds Goncharov the fish out of a cold can, he declares that they will not play into traditional heteronormative relationship structures. They choose their own path.

It’s truly one of the most brilliant pieces of symbolism in the film as a whole, and really goes to show the amount of care and attention which went into crafting each scene. Props to the writing team for showing us that the largest ally of queer love has, and always will be, anchovies.

[longagoitwastuesday]

I love the Goncharov meme conceptually. It feels like classic academia perhaps, definitely like studying ancient philosophy at times. You get a fragment (knockoff boots), a general context (Martin Scorsese films existing), and then a very long discussion about nothing starts. But the nothingness isn't entirely nothing, and there are still limits to what can and cannot be said framed by both the existence and non-existence of that which is being discussed. Hilarious, truly, and the fact itself so very interesting to analyse in so many ways.

[robobee]

something something Declan living his life as false as possible because loving is real and it hurts but in his quest to escape the pain of love he's ended up in a fake stage play of life just like the Barns just like his father

[imabiscuitinthousandworlds]

my dad recently made the mistake of quoting roy's last words to me and had to endure my ten minute obsession-fuelled dissection of the ending and that scene in particular and all the symbolism. and i have come to the conclusion that i need to rewatch bladerunner NOW. ASAP. or i might actually start biting furniture

[mxtxfanatic]

omg so sw is my other obsession besides mdzs, so i have Opinions on the whole "who in wangxian would go dark side" question, and i'm sorry if you are sick of hearing about this but i have nowhere else to scream. so basically, in my view, wwx is the more likely of the two to use dark-side techniques, because lwj would obviously not be that motivated to even look past the orthodox path. but the problem with these discussions is that there's always a light side = good, dark side = bad mentality that sw itself doesn't seem to share. like it LOOKS blacknwhite on the surface, but it's actually not!! the pure, light side jedi are just as incorrect in their usage of the force as the pure, dark side sith are! i think wwx would see this, and he would start incorporating techniques from both the light side and the dark side into his use of the force and of course end up maligned by the orthodox (jedi) followers of the force. but the force can do So Much, and wwx is such an intelligient guy as well as an inventor, i can't logically see him not looking into the immense possibilities of the force without pulling from both sides

Oh no anon, rant away! While I never watched any Star Wars movie and don’t plan to after how Disney and fans treated John Boyega, I will say that I’ve watched Quinton Reviews tackle the movies’ themes of fascism and complacency. (If you haven’t seen them, they’re really great and not his 5+ hour long videos, if that’s not your thing lol) So going purely off of his analysis, I would agree that neither side is purely good/correct or evil/bad; they just each have the potential to be depending on the material circumstances that they derive their authority from.

So adding that to mdzs: Wei Wuxian isn’t “tempted” into the unorthodox path because he was swayed by power; the only reason why he went that route is because he was in a life-or-death situation. However, his theoretical path was first brought up to challenge Lan Qiren on his high horse so that he could get out of class where he was being unfairly picked on. In a Star Wars au, I think that a Jedi!wwx would still bring up the dark side as a means to challenge the “accepted canon” of the force, but he probably still wouldn’t use it unless forced to. Not sure if there could really be a sw-equivalent situation that would force wwx to go to the “dark side” for his own safety… And we’d also have to accept that the rest of the cultivation world would be considered Jedis, the Jin would be knowingly working with Sith in full public view, and the rest of the Jedi would do nothing about it because it maintains a status quo.

Anyways, seriously, go watch Quinton Reviews if you haven’t, particularly his analyses of the prequel films.