#I'm an artist an animator a filmmaker at the very most - I feel like that's almost a stretch

[galoosreblogger]

I got one of those automated job offer emails that was made with AI and they even generated a "profile" for me based on information scraped from my various online accounts (I assume). It said I prefer locations outside of where I currently live and that I'm willing to relocate for the right opportunity.

I never said that. If anything, I only ever said the opposite of that. You tried, Word-Order-Machine, you tried.

[firstdivisiongirl]

hi! i was wondering if i could get male tokyo revengers matchup? perfect match please!

ᓚᘏᗢ general info:

/ she/her / enfp / 7w8 / leo /

𓆈appearance𓆈

𓆈 i'm tall, taller than most of my friends → i'm 6'2. my figure is hourglass shaped, something like models in 50s/60s fashion magezines, i think. i have shaggy golden blonde thick curls, my hair is long so i usually tie it up in two buns and two braids (like goldilocks from puss in boots: the last wish). my eyes are amber. i have skinny hands with long fingers

𓆈 my clothing style is mix of whimsigoth, cryptidcore and grandmacore. i really like unusual jewelry → weird shaped rings, earrings, brooches (i especially love the insect shaped and art nouveau ones)

𓆣personality𓆣

𓆣 i'm positive and upbeat person, i try to see the bright side in most situations. i'm friendly, cheerful and bubbly. i'm full of energy and i can be a bit chaotic, but i try to be as responsible as possible, i want people to feel that they can rely on me

𓆣 i'm really confident and i'm not afraid to express myself

𓆣 i care about my friends and family a lot, and go out of my way to show it. i love making people smile

𓆣 i'm super kind person, but won't take any nonsense

𓆣 i have morbid, dark sense of humor. sometimes i randomly say a weird obscure fact in the middle of conversation

𓆣 i'm kinda struggling with taking rest, doing nothing, because there is always something to do, something new to learn, etc. → i'm afraid of stagnation. i overwork myself a lot

𓆣 can't think of anything that i don't like, guess i'm so fixated on my hobbies and passions, i don't pay any attention to other things

𓃹 my hobbies 𓃹

𓃹 dancing and performing. i'm ballet dancer since i was a kid. i also try my skills as figure skater

𓃹 sewing and knitting. i sew most of my clothes and i made for myself tons of sweaters, with most silly patterns like characters from old cartoons, for example "wilk i zając" or "krecik"

𓃹 playing on instruments. i can play on violin, cello, piano, guitar, saxophone, harp and drums, i'm currently learning how to play on trumpet

𓃹 learning. about world and universe or learning new skills. i'm deeply fascinated by space and oceans, they're still unknown to humanity, learning about them makes me sigh in wonder and admiration. i also love nature, i could spend days wandering in forests, observing and learning about animals, insects, plants

𓃹 doll making. i love making dolls, puppets, marionettes. wooden, porcelain, rag, basically every type. i organize puppet theaters, sometimes i give my works as gifts to my loved ones

𓃹 art, any kind of art actually. i like to learn about artists and their work, and i like to try different types of art. sculpting, painting, ceramics, photography, filmmaking, i adore them all. i work as illustrator for fantasy books and books for kids (and honestly this job is dream come true for me!)

𓃹 gardening and herbalism. i work on in garden a lot, i grow flowers, vegetables and herbs. i know herbal medicine, i make my own infusions and tinctures

𓃹 cooking and baking. i learn new recipes whenever i have the opportunity. my favorite things to bake are bread and cookies. i also pick mushrooms, dry them or pickle them

sorry if it's too long or too chaotic (⁠･ั⁠ω⁠･ั⁠)

thank you so much for even reading this! (⁠ ⁠╹⁠▽⁠╹⁠ ⁠)

Hello. It isn't too chaotic at all. I think I found the perfect match for you! I hope you like it!

You Got...

South Terano!!!

Would love to have you play music with him. He himself is a pianist.

Would love to watch you perform by yourself. Having a talented S/O would make him a proud man.

Would love how artistic you are. It makes him happy (wanted a music pun but could not think of any. Ten years of piano lessons down the drain)

He is a very dark person. So you're sense of humor would be something is loves.

Loves your confidence and how cheerful are. He is also like that too, so I think he wouldn't want someone timid. He loves chaos.

I think dates would be piano bars...or art galleries. Just be warned, he may get kicked out.

[mi4011hemanshapeiris]

Reworking a camera angle + Extra research

(When you're desperate, you venture to the second page of google search results)

I want to change a camera angle for one of the panels of the animation.

During my stage 2 presentation, I was advised to highlight this scene more as it's an important part of Isha's journey. Since the shot is very confusing and visually convoluted, I want to show this idea differently. Instead of showing a full body shot, I want to first show a closeup of her hand and she draws the bird, to give more emphasis to the rainbow chalk, and the form of the bird. Since the next shot is of her looking up at the bird, I feel like it would flow better. It will also create anticipation, and would be less boring than the original shot. Something like this

Since I'm putting more emphasis on the hand, I ha to figure out if Isha is left handed or right handed. I watched a youtube video of her speaking to see which hand she uses to gesture most often, but found out that she uses both hands equally when speaking.

When this didn't work I tried to find a picture taken of her while she's drawing.

Well...this link would have come in handy during march😐 https://www.psychologytoday.com/us/blog/cutting-edge-leadership/202005/10-ways-test-how-leftright-dominant-you-are https://www.wikihow.com/Determine-Your-Dominant-Hand#:~:text=People%20who%20are%20right%2Dhanded,their%20left%20hand%20on%20top.&text=Fold%20your%20arms.,put%20their%20left%20on%20top.

According to these articles, humans tend to lay their dominant hand over their nondominant one when crossing their arms.

So either she's left handed or ambidextrous, in which case I can just use the right hand for this part of the animation. -----------------------------------------------------------------------------

While I was doing this research, I found her pinterest account as well.

[sirikenobi12]

In Defense of New SW Makeup:

(From a special FX Makeup Artist)

There has been a lot of contention going around with regards to the look of certain characters in the "Disney Canon" - it's all Lucasfilm friends, it's got the same teams George Lucas had...but that's another argument for another day.

I'm not going to harp on the fact why most of these characters can't look like their stylized animated versions because I feel that point has been made by others already, no I am going to point out why they look the way that they do and why it is actually a positive thing.

In the late 2000's (after the prequels) high definition television and film completely changed the Fx Makeup industry, facial prosthetics could not hold up under the now crisp eye of the new technology and it looked incredibly fake on screen - Silicon prosthetics were the exception of course but they were relatively new and VERY expensive and hard to use. And because they were heavier they still didn't work for big pieces like lekkus and other headpieces.

And because of this CGI became the norm for fantasy and horror characters for most (if not all) of the 2010's.

FX makeup artists truly thought their positions were obsolete in this new high-def world and that they would have to settle for B-movies for the rest of their careers.

But then Disney came along with both the MCU The Force Awakens and totally changed the game, they found a way to mix practical effects with digital and made in my opinion a beautiful blend of the two arts in a really wonderful way.

But let's dig into why everyone needs to stop dumping on and instead appreciate these makeups, first off blaming Disney for these makeup choices shows how little anyone knows about the filmmaking process. I have been on multiple film sets where I have had to explain to Directors and Producers why they can't have exactly what they want due to the physical restrictions of makeup applications. Trust me, Disney would rather the fans be happy because it means more money. These were production restrictions and needs for these makeups, not an evil corporate decision.

AHSOKA TANO:

What a GORGEOUS piece of art that is!! It looks like an extension of her head while still holding up to demanding physical stunts. If either her lekkus or montrals had been any longer they would've started bending due to their weight or you would've seen more seams on the prosthetics. They are also painted beautifully and wrinkled just right to show some age on the character.

CAD BANE:

He is TERRIFYING in all the best ways!! People complain that he's not the right color blue but did you take into account that he's standing beneath 2 bright suns in a washed out environment that would reflect off his skin?? He's also aged which most people and creatures lose pigment in their skin tones as they get older.

You probably didn't think about that, but trust me the makeup artist sure did.

GRAND INQUISITOR:

The issues that I'm seeing people have with his makeup are similar to Ahsoka's. But a huge elongated head prosthetic would limit the mobility of your actor/stunt person. I keep seeing it compared to the same species in ROTS, but again keep in mind they didn't have to do stunts, in fact they barely could move. Also, the actor chosen for the role will impact how a prosthetic sits and behaves so maybe we should appreciate a good performance over tearing down someone's hard work.

At the end of the day all of these makeups are fantastic and I'd like to acknowledge the teams of artists and performers who bring these beloved characters to life!! Thank you!

And may the Force be with you!

[anhed-nia]

BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment. 

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

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PS Here, have this stuck in your head for the rest of your life.

[rainydawgradioblog]

a covidsation with august

Max Moore is a Vashon Island based artist, who just released stunningly ethereal album called Trust under the moniker August. Check it out-- ya won’t regret it! Thank you so much to Max for taking time to answer these questions and providing wonderful insight on this crisis and how we can all support each other!

Lola Gil: Tell me about your project. How long have you been making music (as August, or otherwise)? Which artists are you most inspired by? How would you describe your sound?

Max Moore: i started making music under the name august only this year ! for a long time i have been searching for a project and creative space that felt both personal and truthful, it just happened to all come together with the release of my ep, trust, in february ! i have released music under many other names over the years as i experimented and dipped my toes into different sounds and styles, my first releases on the internet were from when i was like, 12 !!! as far as musical heroes, the list is long but at the top would be arthur russell, bjork, brian wilson, arca, nick drake, sophie, elliott smith, autechre, harry nilsson, burial ... i really could go on forever. i think a lot of people try to hide their true influences but i feel there is something sexy about putting it all out there and referencing them as would an author, filmmaker, painter etc. my "sound" these days seems to be quite amorphous, it really is shifting from minute to minute. i would like to think it would sound like some amalgamation of the artists i listed earlier but it's hard for me to tell. 

LG: How long was the process of making and producing your most recent album, Trust? How do you feel now that it’s out? Are you planning on releasing any new music soon?

MM: the process was looooong, like really long. i didn't release any music "seriously" for 3 or 4 years ! trust came out of a sudden, brief moment of clarity and surrender, as cheesy as that sounds. i was able to overcome a lot of the blockages i face in my creative process and just assemble this thing, and it just fell together ! i had all of these bits and pieces and sketches and ideas that never fully developed into anything, so i decided to compile them into one continuous piece of music. i was really into this idea of sonic miniatures or vignettes, short and sweet but with a depth that's only barely touched upon before moving on to the next. it was so incredibly therapeutic and wonderful to put it out into the world, so much support from friends and peers all around me. for now i'm still incubating but am hoping to see new music taking form this year :)

LG: As an artist, how have you been affected by COVID-19? You mentioned you had a handful of shows cancelled-- what has your experience been/what are your thoughts towards live streaming?

MM: like many artists in the community, i had a good handful of shows, contracted work, etc. canceled as a result of the virus. i am lucky enough to be in a position currently where i did not have to take a significant financial hit due to this (i work a day job at a record store & cafe) but i know many artists who now are struggling to make rent and stay safe through this pandemic. i think live streaming is a beautiful and special way for artists to connect with fans, especially in a time like this ! but there are so many aspects to a real, alive, performance that just can't exist in that digital space. for example, making friends and connections, selling merch, interacting face to face with fans, etc. though there is something beautiful about people from around the world being able to tune in to a livestream and make song requests, leave a nice comment, confess their love lol

LG: Apart from August, have you been involved in any other creative projects recently?

MM: recently i have been moving into more sound design work ! i was recording and mixing sounds for a play that was to run in june i believe, which just today was postponed until next year. that was my first *official* sound design job, i was really looking forward to it :(

LG: How have you been personally affected by COVID? What has your quarantine experience been like so far? 

MM: aside from being out of work, and not being able to connect with friends, i feel very privileged as i am with my family, in my home. i have had a lot of time to do things that normally i am barely able to squeeze into my day like journaling, going for walks, extensive music writing sessions, playing video games. i think a lot of us are facing serious anxiety and depression right now, so i am really prioritizing my mental health, and making sure my friends and family are well. also, this new animal crossing game really could not have come at a better time, i don't know where i would be right now without it to be honest. 

LG: What music have you been listening to recently? What has been your go-to quarantine album/song?

MM: in any times of crisis, confusion, sadness, happiness, really in any time at all i always turn to the same album: arthur russell's 'world of echo'. to me it is the perfect record, i aspire to make music that makes me feel the way that album does. it is a great listen if you need some time to reflect, or need something reflected back at you ! another favorite right now is bo en, he's done some incredible video game soundtracks (i'm playing through one right now called 'pikuniku', soooo sweet) and just has the most brilliant ideas. ooo and alice coltrane !!! special music only right now.

LG: Were there any spring shows that you were particularly looking forward to that got cancelled?

MM: i have been waiting to see arca in seattle since i was a sophomore in high school, and she announced a tour only a few weeks before all of this went down ! hopefully there will be a rescheduled date that i will be able to attend ... fingers crossed

LG: How do you think the Seattle/greater Seattle area music scene is going to shift post-COVID?

MM: i think coming out of this time we will see an enormous influx of events as we all recognize how special and necessary these sorts of things are. i know i will be so grateful to be able to run around and dance and meet up with friends, all of that good stuff. i am hoping that we will not forget these times though and can sustain that excitement, we really will need it moving forward. there will be many more bumps in the road and we need to be prepared (as a community) to address them together !!!

LG: In this era of social distancing, how do you think artists can support each other during these weird and difficult times? How do you think social media is facilitating and/or inhibiting connection within Seattle’s creative community?

MM: luckily thanks to the internet there are SO many ways to support our artist friends, if anybody is unsure of how to do so please reach out to me or any other artist, they will be so happy you asked ! whenever i can i try to purchase merch, support on websites like bandcamp where money goes (for the most part) directly to artists, and promote + support bipoc, trans, & queer artists. it never hurts to reach out, connection is so important to sustain any way possible right now. i think social media can be dangerous as far as connection goes, but right now i am seeing a lot of openness and offering of resources as we all wake up every day into the reality that there is this crazy virus taking over !!!!!! the internet and technology are completely shifting the direction of art and community, in some good ways and in some bad ways. we need to remember that social media is a tool and a resource firstly, and also that the people who designed these apps we use purposefully made them addicting, mostly through analyzing our own data and habits ! my hope is that as our brains gradually begin to adjust to these new devices and systems, we can let go of some of the isolation and anxiety that they bring up in us.

-Lola Gil

[terribletoonietuesday]

Pink Rabbit (2022) Here at Terriblefest and Riot at the movies we have met some very interesting and dare I say strange German filmmakers. None strange in the stereotypical way North Americans would assume either. Which makes them very interesting. Zetkin Yikilmis, who asked me to review her recent self produced film, proves that even more. Pink Rabbit is a very strange film indeed. Zetkin directed and wrote the movie while also starring in it , she even appears as more than one character. That's what you gotta do when you're a self produced film. Though for being such a budget film the lighting, camera work and set design are very good, professional, artistic and consistent. As will come as little surprise a movie called Pink Rabbit is in its most simplistic form a nightmare take on Alice in Wonderland but after that it becomes very unpredictable. The lead character is Marsha who is overworked at her office wanting to get home to see her husband and son but is over tired and over stressed. This is a simple scene but already starts to feel surreal but I am not sure if that's on purpose or not. Marthas boss appears on screen but with no face and his voice seems to come from the sky. Marsha talks to her son on the phone and her son is over-dubbed and says some very odd things, for a child anyways. Again I'm not sure if this is on purpose or not. Everyone in this film is German but they are speaking English.Maybe they should have just spoken German but the odd cadence of speech in this movie was hypnotising to me even if it did make the pace feel very odd. Regardless, the plot only starts to get weird after she leaves her office. That's when she is haunted by the Pink Rabbit. Appearing as a nightmare child and later as a large menacing man. The pink rabbit takes Martha on a nightmare trip into several difference scenarios and worlds all while acting like a large demented magical jester. The Pink Rabbit feels very similar to the clown Stitches (if you know you know) Things get extra weird when Marsha is kidnapped by civil war cannibals (yes you heard that right). One of them is directly referencing the idiot that called himself the Shaman, who raided the White house in that stupid momment in recent history. Seeing that that guy is even known by Europeans should be very embarrassing to Americans. But this is only one of the strange characters Martha would meet. The pink rabbit is basically putting Martha through a game with levels. Seemingly to inspire her and make her stronger but instead just seems to be driving her into damn madness. There are several cute animals in this film but because this movie is so dark deep down while still being silly and funny, be prepared to see awful things happen to stuffed animals when the cute real animals move off screen. Each scene gets weirder than the last and as soon as you think you're getting used to the movie it goes in another direction just to mess with your head. The other thing to take from this is that basically the maker of this film Zetkin wrote this movie to basically beat the living shit out of herself. Each scene in the film has terrible things happen to Martha. By the end she is battered , bloody and bruised. Pink Rabbit is actual art and may suffer from a bit too much deep talking as we witness Martha's suffering but this movie was wild, creative and weird with a title "creature" that is funny as he is scary and weird that I would be interested to see more of.