#support viewer -> [darios]

[chryssaetos]

...Oh, yes, Sin can make every word Darios "says" out: He's always been well aware of just how sharp his sight is — A necessity on the plains of Sacae, certainly, but it'd be a lie to say it isn't a point of personal pride too.

Still, that evasiveness of his does little but grate on Sin's nerves; it's late, and even if they aren't strictly alone the room is hardly crowded — Just what the hell is he afraid of? That someone will overhear him talking?

Have you something to hide? Or are you just doing this on purpose?

"...If you're that curious about what I want," He grits, breaking the silence thrumming in the air. "Then just come here and say it. Otherwise... Don't pay it any mind."

@grxstnnefealltoir

soft now; should have sensed the sulfur smell.

(continued from here.)

[ninthprime]

severance 2x01 thoughts (spoilers)

bit late but i’m just throwing a few things down just in case

three things about the new MDR employees that stuck out to me: 1. mark w. and gwendolyn used to work in the same office (but not dario!); 2. mark w. states his old team (presumably also gwendolyn’s) never made quota; and 3. every bizarre thing that dario says about how low-tech his old office was. i don’t know how important these characters are or which aspects of this are relevant but they all feel like pretty purposeful lore details.

i’m like 65% sure on the “helena pretending to be helly” theory- it’s the occam’s razor explanation- but i think if that’s the case, we’re going to know about it within a couple episodes. the tension will be us as viewers worrying about what helena will do with the innies and whether helly can be helped, not about whether it’s helly in the first place. the other 35% of me thinks that’s helly but something happened over the timeskip that we haven’t seen yet, most likely some sort of threat or manipulation of her by lumon (maybe something on the testing floor?). my absolute wildest theory would be that they’ve reintegrated her, but i feel like something that big wouldn’t happen offscreen…

i also think miss huang’s deal is going to be either way more simple or way more complicated than anybody is guessing. my kneejerk thought is that she went to the same school as cobel did, but there’s gotta be something to that “crossing guard” line. the other scene that stuck out to me was her and irving glaring at each other for an extended moment before they went into the break room- but i can’t tell if that’s foreshadowing a later reveal or setting up a future connection/rivalry?/etc. (it does kind of remind me of that “irving used to have milchick’s job” theory)

i think milchick’s being purposefully messed with or tested somehow. being given a child as his new subordinate/replacement, his computer not being updated, etc. he probably knows or is at least guessing at it, too. why the board is doing that, though, is beyond me. maybe they think he could’ve been collaborating with cobel?

i keep seeing people asking why the outies would go back to work after the s1 finale. i actually think the guys, at least, all have good reasons- mark needs to understand what “she’s alive” means, irving has his lumon investigation, and dylan has to support a family (which i’ve been guessing is the reason he took a severed job in the first place). helena’s the only one who may have been reluctant, but the decision may not have been hers alone depending on lumon internal politics. i suspect what actually happened is lumon didn’t want them all back due to risk of another rebellion and either fired or suspended dylan and irving- but they let mark come back because they need him for whatever they’re doing with gemma/ms. casey. that’s also why they let everyone come back when mark started causing trouble; they want mark there and working specifically.

the easiest way for the MDR team to figure out how long it’s actually been since the s1 finale would probably be to find and talk with burt’s old O&D co-workers, but i’m not sure they’re still on that floor? it looks like we might have multiple basement floors now? not sure about that but then where did mark w., gwendolyn and dario go. are they just fired/dead

at the end of this season i need to make a compilation of every absolutely batshit milchick line that tramell tillman delivers with 100% seriousness. give him an emmy. we’re underrating the bit after the “throuple” line where he just follows it up with “thankfully, she failed at this” while the camera stays on mark’s baffled face. peak comedy.

i would kill and die for irving

[spook-study]

Desi, what do you know about…witches?

Harkening back to the lurid look of 70s European horror without leaving any modern sensibilities behind, She Will (2021) adds a much appreciated dose of technicolor mayhem to a rather monochromatic time in horror history. Combining the very same grey tones and foggy scenes that plague modern horror cinema with the heightened psychedelic reality of grim fantasy, it’s not difficult to understand why the likes of Dario Argento felt confident enough to sign his name on Charlotte Colbert’s first feature film. Wait for the dreams, they’re well worth it.

It’s not often the first outing of any director, let alone horror director, has a such a well respected name attached to it. The dreamlike quality of the narrative and the sometimes overwhelming level of inference over depicture smacks of Giallo, and of Argento in particular. Witches are old hat for the horror veteran, and She Will felt like a valiant effort in the continued tradition of witches as a source of influence over women and reality. Or at least, our perception of reality. Told with an undeniably female view, She Will may feel like it’s keeping a secret from some viewers. It’s “show-don’t-tell” delves deep into visual metaphor, and doesn’t give the audience much. At times, it felt like “show-don’t-show.” In fact, you might find something completely different than I did upon your own viewing. Maybe that’s the director’s intention, or maybe the blink-and-you’ll-miss-it plot is just too thin to support the framework of a sturdy movie that gives the viewer a bit more with the actual text.

At times, She Will felt almost like an endurance test, any given moment a toss up about whether or not I would walk away with something. Luckily, I absolutely did, and when we got there it felt completely intentional on the filmmaker’s part. While I did feel my fingers scrabbling for the kernels of a plot Colbert was giving me, at other times I let the splendor of the visuals wash over me and take me away to the foreign reality, to me at least, of the Scottish Moors upon which the film is set. Couple such clear and pointed hallucinatory storytelling with truly magnificent performances from Alice Krige and Kota Eberhardt and by the end, I didn’t much mind that I wasn’t 100% sure what happened. After all, it’s not a new notion that a high-concept small-script horror movie rely on its visuals, but rarely is it done to such excellent effect. Hypnotic and atmospheric don’t begin to describe the style of storytelling used throughout, and the unsettling quality of the visuals added value to an otherwise meager plot. It was restrained, and tense, but it didn’t feel boring.

It can be rather easy to use witches as a sort of catch-all explanation for strangeness. Unlike other films of the genre, however, She Will uses them as an explanation, but not an excuse. There are rules involved that don’t allow for just anything to happen. In fact, the vehicles of the ancient witchcraft that was sowed into the earth aren’t sure what is happening themselves. It’s a refreshing take on the empowerment of witchcraft that those who are gaining that power don’t quite understand what’s happening to them, only that they like it. What’s more, they seem to understand what they are experiencing isn’t entirely good. Rather than fighting it implicitly, there is a choice made to pursue it. Even then, the witchcraft, which had damned so many others, isn’t damnable by nature. Rather it is employed as a tool that one can choose to brandish as a weapon or leave to rust. Life, death, and torture all have roles to play in She Will, and the subtly with which these immutable forces are used permeates through every minute.

She Will is a movie that will let you feel the mud between your toes before the blood runs through your fingers. Slow, steady, and purposeful, it’s a movie about sacrifice, loss, and generational anger so ingrained in the earth that it will find any outlet to release that frustration. Warped perception and strange dreams plague both aging actress, and recent mastectomy patient, Veronica Ghent as well as her put upon young caretaker Desi, whose name we don’t even find out until a good chunk of the movie has passed.

The connection and chemistry the two actresses share is palpable, and each aids the scarcity of dialogue with subtle and nuanced performances that touch upon generational divide, beauty, androgyny, and self loathing. They are incredibly intimate with one another, verging on romantic in some instances, and the relationship felt real and deep. With lesser actresses, I’m sure the movie wouldn’t have fared nearly as well as it did. Whether these women knew each other in a past life, or were always destined to know each other in this one, you never wonder why it was these two women who are sharing in the madness of witchcraft. It’s the magic that blends itself into their separate past traumas that finally allows an outlet for that pain. Toss in an incredibly brief but very effective couple of scenes from Malcolm McDowell as an (allegedly) abusive Kubrickian-type director responsible for some unsavory things in actress Ghent’s past and you’ve got a recipe for success.

Still, I wish there had been a bit more script. The visuals were so wonderful it felt like I never wanted it to end, but the astonishingly short 95-minute runtime made it feel like the director knew what she wanted to show, but maybe not what she wanted to say. I’m sure this isn’t the case and was only how I felt about it, but the text left me a little wanting. Like I had eaten my dinner, but I was still waiting on dessert. Director Colbert got her start as a photographer after all; this, above all things, makes itself known throughout the movie.

But what can I say? I liked it. It’s a movie that made me want to watch it again, and in the modern age of cinema in general, that can be rather hard to come by. It was ravishing, delicious. I couldn’t look away. It took me on a journey, and it was unlike anything else I had seen in what felt like quite some time. Witches can be such a tired topic, but the amount of mystery surrounding them and their history in She Will left enough to the imagination for both dread and excitement. I can’t wait to see what Colbert does next.

Absolutely and irrefutably beautiful, if a little short on plot, She Lives gets an well earned 4/5*

[watch-something-special]

Joe Wright’s “Pride and Prejudice” as timeless classic

From the very beginning of its existence, cinema, in the best traditions, has translated the great works of literature into visual images, and even if the characters and style usually don't match with the world created by our own fantasy and don't correspond to our expectations, this film is an exception. Jane Austen's classic novel has undergone many adaptations, interpretations, and sequels over two centuries, inspiring generations of romance writers. The unusual pair of Mr. Darcy and Miss Bennett was told, written, and filmed everything that could be filmed, written, and said, in all sorts of times, countries, and contexts. But the new film, which had to compete with both the original and the acclaimed BBC miniseries, turned out to be worthy, albeit somewhat unconventional. The story takes place in Hertfordshire. Mrs. Bennett wants to marry her five daughters as profitably as possible in order to ensure a comfortable future for them. One of the sisters, Elizabeth, is in no hurry down the aisle, in which her father supports her. When a wealthy bachelor, Mr. Bingley, settles in a neighboring estate, there is a real commotion in the Bennet family. The eldest daughter Jane is considered the leading contender for marriage with him. After Bingley's unexpected departure for London, Elizabeth becomes disillusioned with Mr. Darcy, believing him to be guilty of leaving Jane alone. But the incident with her younger sister Lydia opens Elizabeth's eyes to the true nature of her relationship with Darcy.

It is worth paying attention to the form of narration rather than the plot that the viewer already knows. The movie starts with a long shot of Elizabeth walking and introducing us to the house filled with laughter and gossip, the magnetic nature, and the mesmerizing atmosphere where she is an observer. That is why it is fascinating to observe each character's reactions and life, which the director emphasizes. The whole family is a single organism whose instant actions have consequences in the socio-structure. The simultaneous development of mom, dad, and daughters' life is the basis of this film's realism, which captivates the viewer in the best way possible. He has nothing to do but believe in the integrity of what is happening. It is worth noting Wright's excellent taste for props and small details, as well as his outstanding stylistic feature and talent for creating subtle and quivering images based on the classic canons, which can already be read in each of his films. Keira Knightley combining her aristocratic facial features with the comic observations used in multiple scenes began her successful collaboration with the director, which gave her the leading roles in the next few years. And what seems to me to be a key moment in the film itself, but unfortunately, is deprived of attention is the music of Italian composer Dario Marianelli that creates a space between scenes and dialogues, giving a sense of flight. Summing up, it is almost impossible to refrain from repeating all of the above to express the admiration for the performers once again. Each of them brought something of their own, especially to understand the notorious characters of the novel. Perhaps to someone - who has already seen the series of the same name with Colin Firth - it may seem that Mr. Darcy is "slightly different." And rightly so - the owners of the huge fortune and the beautiful Pemberley estate, performed by Firth and Matthew Macfadyen, are slightly different from each other. However, it is worth noting that the latter managed to make his character more complex, even if slightly to the detriment of arrogance. It only remains to add that the feeling of lightness caused by watching "Pride and Prejudice" does not want to disappear after the session. On the contrary, in addition to it, there is a great desire to be there, in the place of these sisters, in place of Elizabeth Bennet. So that equally beautiful story, consisting of absurd accidents and good luck, would lead to the same happy ending.

[fearsmagazine]

CRUCIFIED - Review

DISTRIBUTOR: Uncork’d Entertainment.

SYNOPSIS: The apocalypse is brought on by a plague of unknown origins. A special police force, called The Exterminators, is in search of the source of this evil, patient zero. Lately they have taken matters into their own hands and anyone they find, infected or otherwise, they brutally crucify. A theologian, a young doctor, three women, two were former soldiers, are hiding out in the sub basement of an abandoned building. Guide by the theologian’s exhaustive research they hope to find the source of the plague before they fall victim to The Exterminators.

REVIEW: If you’re a die-hard horror film fan then you must have your favorite Italian horror films. There have been some great films, and most of those have been made by a select few Italian directors such as Mario Bava, Dario Argento, Lucio Fulci, Lamberto Bava, and Michele Soavi. Throwing his hat into the ring with his second feature film is director Claudio Lattanzi. The film was released in Europe in 2019 as “Everybloody's End” and here in the States its been retitled as CRUCIFIED. The title has more to do with the actions of the extreme police group in the film who basically crucify people and not really with the central plot. For that matter, the alternate title of ‘Everybloody's End” is more of a spoiler than a title.

CRUCIFIED comes in at a running time of around 72 minutes. If you factor out the opening and end credits, and you edited down the scenes where characters are walking or fleeing, with no other action and little dialogue, the film would be hard pressed to come in at about an hour. Given the plot, it feels like several of the characters are simply part of the story to add running time as they don’t really figure into the central theme, and endup the justification for the American title. In the end, the story could easily have been cut down to a short film and probably been more effective.

For a cast with no name cache for an American audience they deliver strong performances and make the moments when they’re interacting engaging. The two senior actors Cinzia Monreale and Giovanni Lombardo Radice anchor the film with the strongest performances of the cast. Monreale has more of an arch to her role and she really manages to see it and create an especially memorable scene in the film’s climax supported by excellent directing and visuals. Although it is a great scene, it makes no logical sense in the scheme of the narrative for multiple reasons.

In terms of the costumes and locations, the story is set in an apocalyptic future. The majority of the characters are either special police or military, and have been wandering around this world for sometime. However, their clothes appear to be brand spanking new with no wear to them. I like the design, but they didn’t appear stressed from wear. The filmmakers utilize many abandoned industrial locations. While they are clearly not in use, overgrown a bit, and tagged with graffiti, it looks like the cleaning crew gave it a once over before they started filming. Also, there are a few transition scenes and establishing shots that are obviously CGI images that are likewise a bit too pristine for all the chaos they present. Additionally, their design doesn't match the cinematography of other external live action sequences.

When the filmmaker plays his last card of a surprise reveal as to what is the key plot point I wasn’t that impressed. There’s an opening sequence that telegraphs it a bit, but I still felt cheated. I settled in to take this journey and the best you could give me was the equivalent of a stale baloney sandwich on day old bread? Really! It was too easy of an out. Granted it paves the way for the creative final scene, but there are aspects to it that make no sense.

CRUCIFIED is a film that clearly demonstrates talent by cast and filmmakers. However, there elements of the film that take the viewer out of the story and boggle the mind in terms of plot points. Lastly, given that the film will be available On Demand, I simply don’t feel the viewing price delivers all the bang for the entertainment buck given the running time.

CAST: Cinzia Monreale, Giovanni Lombardo Radice, Marina Loi, Veronica Urban, Lorenzo Lepori, Nina Orlandi, Sergio Stivaletti, and Francesca Orsini. CREW: Director - Claudio Lattanzi; Screenplay - Claudio Lattanzi & Antonio Tentori; Cinematographer - Ivan Zuccon; Editing - Michele Brogi; Score - Luigi Seviroli; Costume Designer - Francesco Bureca; Production Designers - Chiara Boe & Bianca Caciolli; Special Effects - Sergio Stivaletti. OFFICIAL: N.A. FACEBOOK: www.facebook.com/everybloodysend TWITTER: N.A. TRAILER: https://youtu.be/yoIXHZQHNg0 RELEASE DATE: On Demand March 9th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[geomiral]

Helix server medial

#HELIX SERVER MEDIAL PATCH#

#HELIX SERVER MEDIAL CODE#

#HELIX SERVER MEDIAL CODE#

The attackers code would then overwrite the saved return address and run with system privileges. The first flaw can be exploited by sending a large character string to the Transport field within a particular GET request. While they are all buffer overruns, each vulnerability has a different attack method. Its unknown whether any previous versions are vulnerable. The vulnerabilities, all buffer overruns, could enable an attacker to run code on remote machines.Īll of the flaws affect version 9.0 of the server running on all of the available platforms.

#HELIX SERVER MEDIAL PATCH#

has issued a patch for three newly discovered vulnerabilities in its Helix Universal Server media delivery software. Real, Unifi, RealNetworks, Helix and RealPlayer are trademarks or registered trademarks of RealNetworks, Inc.RealNetworks Inc. RealNetworks corporate information is located at. RealNetworks invented the streaming media category in 1995 and continues to connect consumers with their digital media both directly and through partners, aiming to support every network, device, media type and social network. RealNetworks creates innovative applications and services that make it easy to connect with and enjoy digital media. And with Helix's global customer support team, assistance is just a phone call or email away. Created by RealNetworks, the company that pioneered streaming media in 1995, Helix products provide a high-quality, scalable digital media experience. With Helix Producer, Helix Universal Media Server, Helix Media Library, and RealPlayer Enterprise – the core components of the platform – organizations can create, deliver, manage and play content. The Helix Media Delivery Platform is an end-to-end streaming media solution for government, education and enterprises that is multi-format, multi-platform, and multi-screen. More information about the Helix Universal Media Server family of products can be found at. Today, Helix products are leveraged around the globe by corporations, universities, mobile carriers and government institutions, among others. The Helix Universal Media Server is a key component of the Helix Delivery Platform, the flagship streaming media solution that pioneered the category in 1995. Our combined end-to-end solution is state-of-the-art, and could be useful for our clients who are interested in multi-lingual streaming, such as the European Commission, European Parliament and the Council of the European Union." John Vanhoucke, CEO at Streamovations also commented, "Streamovations is pleased about the plans to launch the co-developed Helix Multi-Track solution from RealNetworks. Our goal in everything we do is to make streaming digital media simpler." "And with content streaming globally, it's more important than ever that broadcasters are able to easily stream in multiple languages. "In today's multi-screen, mobile world, RealNetworks is focused on helping organizations easily and securely deliver audio and video content how and when viewers want to see it," said Martin Schwarz, RealNetworks Area Vice President of Helix and Digital Media Products. Closed captioning is also available with Helix Multi-Track. For example, a viewer watching the Indy 500 might opt to watch footage of Dario Franchitti's car (Camera 1) while still listening to the main commentary, and then flip to wide angle footage of the entire race track (Camera 7). Broadcasters are now able to provide new viewing experiences, making multiple camera viewing angles available to their viewers allowing for a personalized viewing experience, all complete with the main commentary audio coverage. Applications include sporting footage, such as Formula One racing, soccer, or track and field events, where different camera angles are frequently leveraged, allowing the broadcaster to select the coverage they wish to show on the fly, while still streaming the main audio track, such as commentator coverage. Helix Multi-Track is versatile, allowing organizations to shoot multiple camera angles while retaining the main audio track. With numerous languages spoken in Europe, and approximately 2,000 dialects in Asia and 1,000 in India, Helix Multi-Track is ideal for broadcasters, government institutions or global enterprises with a diverse multi-lingual audience. With the new Helix Multi-Track capabilities organizations are now able to use the Helix Universal Media Server to stream live and on-demand video with multiple language feeds. RealNetworks is launching Helix Multi-Track and launch partner, Streamovations, a Belgium-based company that focuses on delivering multi-lingual video solutions, will utilize Helix Multi-Track to enable organizations to broadcast multi-lingual live and on-demand content to their consumers, constituents and employees. ( Nasdaq: RNWK) today announced the launch of the first Helix Multi-Track solution, a product extension available for the Helix Universal Media Server. 9, 2011 /PRNewswire/ - RealNetworks, Inc.

[trespassingassemblies]

Horror, history, and Guadagnino’s Suspiria

There are a number of things that make a film particularly likely to displease me. Firstly, if it is boring. Secondly, if there is non-consensual harm inflicted on people (especially women) for the purposes of the arousal of the audience (director). Thirdly if it doesn’t let you know what it is trying to do. Fourthly, when it does let you know what it is trying to do, but it isn’t doing that. Fifthly, when I feel like a good 30 minutes could be cut from it without it actually losing anything. I would argue that Luca Guadanigno’s ‘cover version’ (his words) of Dario Argento’s 1977 horror Suspiria is certainly guilty of the last three listed above. Nevertheless, it engaged and provoked me enough to take the time to write this.

I am going to say a bit about what I think is good and bad about the movie as well, but I’m going to start in a different place. Several days after seeing the film and having many thoughts and questions about it, I end up here – why is it that Guadanigno chose to ‘cover’ (that is not merely to remake, explode, develop, pay homage to, intervene in) Suspiria, and not, say, a more ‘art house’ piece such as, say Andrezj Zulawski’s Possession (1981), a film with which Guadanigno is clearly familiar. In particular, Guadanigno borrows from Possession the explicit setting of Wall-divided Berlin, and the Wall’s presence in key moments of the film, and the colour changing eyes of key female protagonists. However, these aesthetic choices are not supported by a deeper cinematic integration of the political with the macabre/occult, about which I will say more further on (and if youu have never seen anything by Zulawski, please watch Possession and The Third Part of the Night (1971) at your earliest opportunity, they are in my opinion some of the most extraordinary films ever made).

Argento’s Suspiria is a film that shouldn’t (and in some ways doesn’t) hang together, but is nevertheless very affecting for many viewers. The impression it left on me felt due to its bizarre colour grading and set, the infamous soundtrack by Goblin and the moments where these two came together to produce a kind of grinding yet psychedelic vertigo and a gut-twisting violent death (of which, if I recall correctly, there are 3 in the film). In one sense, there is a great deal lacking in that 1977 version. Dialogue is sparse, poorly written, sometimes inaudible. Everything strong about it is in sound, colour and gesture. Guadanigno’s Suspiria, by contrast, has replaced the garish colours and the idiosyncratic soundtrack with a fuller script, new and deepened characters, several key subplots and backdrops which simply do not exist in the Argento version, a new, far more minimal soundtrack by Thom Yorke, and a different ending. This results in an overly-full setpiece which explicitly foregrounds Germany’s Nazi past, the present day of the film as the days in October 1977 when a plane was hijacked by the a Palestinian liberation group to try to secure the release of imprisoned leftwing German terrorists from a group known as the RAF, an (attempted) meditation on the limits and patriarchal force of psychoanalysis, and even non-conformist Christianity from the US Mid-West (in the new version, the main character, Suzy Bannion, is from a repressive Mennonite clan with a dying mother). An actually rather sparse and impressionistic film has been transformed into a portmanteau of concerns and allusions. 

Watching the new version, I wanted all this embellishment and expansion to ‘work’. But I think it doesn’t. One reason for this is that the aspects surrounding the space and subject at the heart of the film – the witch-led dance academy in which an ancient witch is being brought back to life – simply don’t seem to actually have much to do with the film’s centre. It’s not clear enough to me why the psychoanalyst Dr Klemperer (also played by Swinton, and an obvious nod to Jewish diarist Victor Klemperer, who documented everyday life in the Third Reich and survived to tell the tale) wants to protect the women Patricia and Suzy from both the clutches of the witches, and their own psyches, and the Baader-Meinhof gang. It’s not clear why we need to know so much of Suzy’s Mennonite backstory – is it just so we know she’s a virgin, and so she can deny her birth mother at the end in order to lead the coven? It’s not like Guadagnino isn’t capable of making a more spare film; I’m a big fan of his 2009 Io Sono L’amore (I Am Love) which also stars Swinton in a far more nuanced and multifaceted role. The world of Argento’s Suspiria is by contrast fairly hermetic. In the scene I find most upsetting, when the blind pianist’s faithful support dog turns mad and rips his throat out in a deserted square, the municipal buildings are distinctly fascistic. Nevertheless, I think this is an aesthetic and not narrative choice on Argento’s part. It isn’t meant to set us wondering whether his wife died in a concentration camp or not. As soon as you explicitly bring in history, the audience is waiting for a moral judgement – preferably one that has to be tied into the ending.  Here’s another theory as to why this doesn’t hang together. I actually think the only way to make good work that touches on History in the explicit way that this Suspiria does is to be, feel, or make oneself implicated in that history. And Guadagnino, unlike Zulawski, isn’t. So when Zulawski constructs a hidden world, a separate sphere of bodily and psychological horror as he does in the two films mentioned above, he does it as a person who has witnessed and suffered in something of the horrors he alludes to. By contrast, but side-by-side with this, is one of the early scenes in Germany in Autumn (1978) Rainer Werner Fassbinder, one of the contributors to the film (which like Suspiria 2018 is both set in the ‘German Autumn’ of political unrest the year before and in recollections of the Third Reich), plays himself, speaking on the phone to his agent (?) about the suicides of three of the imprisoned RAF members, a moment also touched on, and also through a radio broadcast, in Suspiria 2018. In a scene which I think about over and over, naked Fassbinder says ‘What I think or what I don’t think doesn’t make any difference at all’. Nevertheless, he expresses opinions and anxieties, with growing distress, about the resurgence of a repressive state and an acquiescent public in the middle of the uprisings of recent months. This ensemble film, part documentary, part drama, dominated by Alexander Kluge and Fassbinder, is about as far from a horror film as it could be. Yet it absolutely places this question of implication at its heart, and then proceeds to thread it through interpersonal violence, public mourning, border checkpoints, journalism and sex. And I think Zulawski, through both psychological and body horror, tries to do the same thing – to draw the audience into the problem of their own implication in the conflicts that he presents. In Zulawski, saving a person, or attempting to, from their own actions, has both a personal an a political aspect. In Guadagnino’s Suspiria, it is Madame Blanc, the senior teacher/witch, who provides the only obvious link between the world outside the walls of the dance hall and its interior. A former student, Patricia, who we meet in the first scene desperately seeking refuge from Dr Klemperer the psychoanalyst, is rumoured to have fled to join the RAF (although Sara later discovers her zombified semi-living form in the school’s charnel house of a basement). Commenting on this, Madame Blanc voices approval that someone should have gone to follow their calling, done something brave. It seems to me we are supposed to see Madame Blanc’s approval of Patricia’s actions both as an anti-authoritarian sentiment (the school, we are told, suffered immensely under Hitler but persevered) but also as a convenient cover-up for the coven’s incorporation of rebellious Patricia into their body. It’s unconvincing on either level. The worlds of Berlin 1977 and the Markos Dance Academy can’t be integrated.  

I think Argento’s main aim in making his Suspiria was to shock and arouse, to transport people, and disconcert them. Guadagnino has grander ambitions, ostensibly; think one of these ambitions was to make the film ‘relevant’. At the end of the film I felt a kind of dull desire to say ‘Yes, this is a Suspiria for today’. But I don’t think it can – it so carefully attempts to fully allude to the pivotal moments of Germany’s self-horror in the 20th century that it seals them up and takes them away from us. As in the original, the strongest parts of the film are what aren’t fully explained and allowed to bear down impressionistically – the much-talked-about dance-torture ritual which kills Olga in the sealed mirror studio, Sara’s search which goes through that studio into the heart of the coven’s impressive selection of mutilated zombies. Oh, and as with Argento, the soundtrack is very creepy. Subtler, but the foley and sound mixing combined with Yorke’s sensitive and really multi-influenced music makes an excellent combination. I would have quite liked to have the images off for a while in places. Guadagnino should have had the confidence to make this sound a character too. There is a great deal said already, no doubt, about the relationship between horror as a cinematic genre and the matter of history, but I am not a film theorist. I just love film. And I do think at a time of deep political crisis, for Guadagnino to take this film and make it like this, is an audacious and unreflective act. He has tried to make Suspiria a more political piece, but in attempting to rethink and re-do it, no-one, not the audience, not the director, not even really the characters, is meaningfully politically implicated in totalitarianism, repression, fascism, justice, and so on. So it swirls around beautifully but never lands in a real (and by real I don’t mean realistic) moral and emotional place. The only place it can come to a halt, weakly, is the love story of the psychoanalyst Fritz Klemperer and his wife Anke – a story that has only really provided a kitschy Holocaust backdrop to the film, never the sense that the Holocaust existed in any present. The 1977 hijacking, too, is attractively dishevelled posters, some chanting, indistinct black-and-white faces of historical terrorists, attractively drab Osti set-dressing. When the ghost (?) presence (?) real person (? Who cares) of Suzy, now Top Witch, sits on the ailing Fritz’s bed and tells him that, contrary to the beautiful illusion of elderly Anke which brought him to the mouth of the witches’ Sabbath, Anke did in fact die in Terezin concentration camp (‘She was cold, but she was not alone’), I honestly just didn’t care. The world of the Markos Dance Academy is no more or less real than the Berlin Wall which runs parallel to its façade, and is constantly re-presented to us throughout the film with all the subtlety of a bull in a china shop. In Guadagnino, the personal and the political seem to continue to erase each other, and neither the matters of the state or the matters of the occult seem to have a convincing bearing on the lives and selves of the characters, however much gore and weeping transpires.  And though the 152 minutes I spent in this film were often engaging and enjoyable for me, as I curiously reflected on the above I couldn’t help wishing someone had just done a shot-by-shot remake, and that Guadagnino had kept his idealisations of national trauma and forgetting to himself.

[creativinn]

Tottenham host amazing modern art exhibition featuring 'The Longest Ball in the World'

8:00 AM ET

Chris WrightToe Poke writer

With multiple restaurants, Europe's longest bar and even a brewery on-site, many visiting fans have already sampled the top-notch hospitality on offer at Tottenham Hotspur's new stadium since the Premier League club opened it two years ago.

However, the North London side have stepped things up this summer by hosting their first in-house art exhibition. Spurs have allowed OOF, the art and football magazine, to host a soccer-themed exhibition within Warmington House, a Grade II-listed building beside the stadium which is connected to the club megastore and owned by Spurs.

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The space has been transformed into a contemporary art gallery that is accommodating its inaugural exhibition, "BALLS," a showcase of sculptures both inspired and consisting of footballs in various forms. "BALLS" features works by a number of established artists such as Sarah Lucas, Marcus Harvey and Abigail Lane, as well as pieces commissioned from local rising talents like Rosie Gibbens, Lindsey Mendick and Jazz Grant.

According to OOF co-curator Justin Hammond, the brief was to "sabotage" the conventional function of a football -- a concept that is no doubt familiar to Spurs fans -- and transform it into something spectacular, unrecognisable and completely unrelated to the game.

"These sculptures span the past twenty years and are monuments to political histories, childhood dreams and overwhelming desires," said Hammond, a lifelong Tottenham supporter.

With many pieces described by Hammond as "visual punchlines", BALLS brings the worlds of football and modern art together to create a light-hearted blend of introspection, nostalgia and fun.

- ESPN+ viewers' guide: LaLiga, Bundesliga, MLS, FA Cup, more (U.S.) - Stream ESPN FC Daily on ESPN+ (U.S. only) - Don't have ESPN? Get instant access

'The Longest Ball in the World' (Laurent Perbos, 2017)

Actually made from stitched leather, the longest ball in the world is exactly that. It would certainly be a challenge to send a free kick into the top corner using it, though Perbos' elongated ball is probably still more aerodynamically stable than the Adidas Jabulani. Former Tottenham captain Ledley King couldn't resist a cheeky little kick of it when he viewed the exhibition.

'Kipple #2: Mitre Delta, Nike Cortez' (Dominic Watson, 2021)

Two items of sporting gear that will induce pangs of nostalgia for many a child of the 1990s are recreated here, although we're don't recall here ever being a fashion for microwaving them.

'Self-Portrait as a Pheasant' (Abigail Lane, 2012)

Using real feathers, Lane has reimagined herself as a deflated, dilapidated leather football with beige plumage.

'You Make it So Hard to Love You (Tainted Love)' (Lindsey Mendick, 2021)

A turquoise ceramic football stitched together and decorated with jagged pieces of flora and fauna. Like a long-lost playground ball retrieved from a ditch after many years.

'Endless Column III' (Hank Willis Thomas, 2017)

Endless Column consists of a stack of fibreglass footballs piled high in a vertical column that, despite the name, does actually come to a fairly abrupt end after the 10th metallic sphere.

'Obverse and Reverse XXXI' (Dario Escobar, 2017)

Footballs arranged in clumps to give the impression of two moody clouds suspended in mid-air, with only the thinnest of tethers preventing them all from floating away entirely.

'The First Ball' (Kieran Leach, 2020)

Ouch. Now that's a career-ending injury if we ever saw one.

'Pre-Match Ritual' and 'Team Building Exercise' (Rosie Gibbens, 2021)

An abstract work that utilises footballs, baby bottles and fabric to create a colourful "energy drink dispenser" for players to sup from midgame while kneeling on the surrounding pads.

'Canary in a Coal Mine' (Jazz Grant, 2021)

A sprawling wall piece that uses the hexagons from an unpicked football to create a bustling collage of 1970s English footballing scenes, including the widespread hooliganism of the period.

'A Playground of Bubbleheads' (Paul Deller, 2020-21)

Looking like an entire school year's worth of ruined leather footballs cleared from the gym roof, Deller has turned 21 balls inside out and individually daubed them to create an intriguingly ragged wall mural.

'Celery FC' (Lana Locke, 2012)

This piece features a bronze cast of a celery stalk wilted over the top of an old blue football, in reference to a rather rude chant sung by Chelsea supporters.

'World Cup Again' (Sarah Lucas, 2002)

A concrete football. Hopefully King didn't try to give this one a kick.

'Victoria' (Marcus Harvey, 2008)

Harvey's bronze cast depicts an old-fashioned 1960s football slowly deflating in the middle of the room. It is said to be an allegory for the decline of the British Empire, though some viewers have also mistaken it for a large chair.

This content was originally published here.

[ofsilverevents-blog]

DATE: March 22nd TIME: 6:00 PM LOCATION: El Corazón Bordello

       Faces both familiar and not seem to crowd the thick, cloying air of the bar. The lights are low and the seats are full -- standing room only, the man at the door says, and still they come, packing in between chairs and finding a place wherever they can. Though there are drinks to be had and revelries to be enjoyed, as they say, every face seems half-turned toward the massive viewing screen behind the bar. It was installed only in the past few weeks, as new management has decided to make an event of the spectacle -- those Silvers with their poisonous luxuries and deceit. Watch how they dance for the cameras, spinning tales and exerting their power. Watch, and learn. 

       RYN ANDROS has been working a double. Their very eyes seem to ache in their head, yet they cannot help but linger as they flip the switch to turn the screen on. It flashes for a moment before flickering to something boring, some trivial propaganda about the war. Everyone is used to these sorts of broadcasts. It’s one comes on next that takes hold of their interest. Someone taps on the bar, all irritated impatience, and they whirl, ready to serve them whatever it is they’re so desperate to poison themselves with. Their hands are nimble around the neck of a bottle and they pour, but their ears are trained on the programming behind them. Everyone waits for the pin to drop.

       On the opposite end of the bar, a man sits on a stool, all casual demeanor and observant eyes. He scans the room in seconds before returning back to a few key people, people no one else would pick from a crowd -- but NATHANIEL MOORE knows that they are more than they appear to be. He watches, waiting, tense despite his calm appearance, for their reactions. Reds have never been invited to vote on a Queenstrial before, but everything about this one seems... different. Isla had said the new King would help them, but Nate has reserved judgement, and now he watches, waiting for some sign that he would be right to place his trust. He doesn’t take leaps of faith. Not anymore.

       Seated beside each other, with silk falling into their laps and luscious smiles on their lips, AURORA DEVERA and DARIO WILKS entertain and dazzle their clientele. Las mariposas have a reputation to uphold, whatever is playing on the video screen, and they do it with grace. Aurora laps up attention like a cat with cream, while Dario’s genuine smile causes cooing from a host of Reds and lower house Silvers alike. Even their eyes waver, though, drawn to the spectacle to come. No one knows what to expect anymore, and it makes customers as nervous as it makes them. Will this new venture succeed? Will the Reds truly get a say? Who can tell, when they still know so little of what’s to come?

       All at once, the lights flicker off as a passing server notes the time. The war broadcast ends and a new one begins, with a face both familiar and not -- Atalanta Thany has been mysteriously replaced by her predecessor and cousin, AMBROSINE. With a warm yet impersonal smile, she welcomes her viewers across the nation amid gasps of surprise from all corners. ❝ Good evening citizens of Norta! It is my duty and pleasure to present this year’s Crownstrial, an event to be remembered across the land. The moment our Flame in the North, King Orion Calore, will establish and cement his reign. At the end, he will crown a fellow ruler, to share with him the trials and tribulations of governing our grand country. Now, I could talk on and on, but I think I know what you’re all waiting for. As our Red population will be voting for this Crownstrial competition, the crown thought it would help if you got to know your competitors a bit better. Without further ado, I present to you this year’s Crownstrial -- let the ceremonies begin! ❞

       The screen fades to black before slowly focusing in once more. Faces flash by one at a time, each with a chance to introduce themselves -- 

                    ❝ My name is Prisha, representing House Arven. ❞                     ❝ I am Lady Sofiya, female heir to House Provos. ❞                 ❝ I am Lady Leira, first daughter of House Osanos. ❞               ❝ I am Cyrene Nor, untitled, baseborn daughter to House Tyros. ❞             ❝ I am Lady Romilly, first daughter of House Gliacon. ❞           ❝ I am Lord Slate, lone heir to House Blonos. ❞         ❝ My name is Valeria Macanthos, and I am King Orion’s personal guard. ❞           ❝ Hello citizens of Norta, I am Lady Calista of House Eagrie. ❞             ❝ I am Zaira Anais of House Samos -- twenty one years of age. ❞               ❝ My name is Lei Nolle, and I will be competing for House Nolle. ❞                 ❝ My name is Vezina, first daughter of House Carros. ❞                   ❝ Citizens of Norta, my name is Nyssa of House Samos. ❞                     ❝ I am Lord Emory, heir of House Osanos. ❞

       One by one they say their names, their titles, and each face holds a different story. Vezina Carros captures both casual and calm, Zaira Samos holds a secret in her smile, and Lei Nolle cannot quite catch your eye, even when staring into a camera. The brightest flash of personality hides within these introductions, and as they come together, a simple black screen shows clean, white text. Simple. Not flashy. CROWNSTRIAL. 

       No questions are answered on camera, yet a narrative may be drawn from the answers nonetheless. ZAIRA SAMOS speaks with the Silver tongue of one born to rule, and her answers are as pretty as the pale flush to her cheeks. There is a warmth to her that has never been present when she’s physically in the room -- but for the broadcast, for the crown, she shines as brightly as the metal she controls. For those who look and listen deeper, they notice that her words are quite pretty -- and equally vague, promising change but not the direction she looks toward. She is quite careful, but the message is clear: do not underestimate me. 

       The unsure bachelor rises next, from the ashes Zaira has left. SLATE BLONOS is sincere almost to the point of liability -- and in truth, there are many who will not believe it at all. He is simply too honest, his eyes too wide, and his impression of a deer caught in the headlights ( as genuine as it might have been ) is cut together so masterfully, it casts just a hint of suspicion. There’s something in the way he looks to the left of the camera, sometimes, or maybe something in the way he stumbles over his answer about telling the truth. The cut is imperceptibly fuzzy around the edges, and it’s clear the video maker has plans in store for him. 

       Combating the unsure footing left by the Blonos heir, the camera cuts to a woman with such confidence it sears through the camera. It surprises anyone watching that the interviewer didn’t step back, with that fierce gaze piercing theirs. CYRENE NOR does not bandy for the cameras, yet she commands presence and interest nonetheless, her voice holding the purring edge of mystery and adventure that fascinates. It doesn’t matter if she’ll make a good queen -- she makes good TV. She says she can do what no one else can thanks to information no one else can reach, and when she does, her eyes meet the camera for the first time. It’s a clever spell, one that will fool most, but not all who watch her as she promises to bring forth the darkness of the city and eradicate it.

       A smile is the first thing that catches attention as the camera cuts to SOFIYA PROVOS, clad in daring fashion and straight, white teeth. She talks fast enough that she gets out the most information about her platform, and for those who understand rule and politicking, it is intelligent, straightforward -- hell, it’s damn near brilliant. Her words, however, bore the crowd that watches for entertainment. She wins approval just a bit, because the excitement in her eyes shows promise, and because they’ve seen her before, on the screen beside the Princess. Beyond that, she speaks over the heads of most of the citizenry she wishes to rule. If Sofiya wants to rule, she will have to do more than that to impress the masses.

       It takes a moment to recognize the competitor that follows. Many are still reeling from the introduction to Sofiya’s sharp mind, and when LEI NOLLE introduces herself, she’s so soft spoken almost as to go unnoticed. It’s clear that they had little footage to work with, yet the elders, the traditionalists, see something in her. A queen who would bow to her king in all things. A submissive queen who would bring them back to what they were, before this young ruler and his foolish idealism and naivety. She earns some haphazard support in that regard, but not enough to make her memorable. The moment her clip flashes from the screen, she is forgotten, notable only in passing as the person to replace the storm that is Kassiopea Nolle.

       VEZINA CARROS half-lounges in her seat, though she doesn’t mean to -- she doesn’t exactly present herself as a regal persona. Her dialogue, however, is moving. There’s something in her raw honesty that captivates more than Slate’s had -- and her speech about her mother tugs on the heartstrings of the nation. Through the Feats, even the Red population has been able to see the truth in her words. Vezina has never done what her family wanted from her, and now that she is, it’s an arc that the people can rally behind. Those who lost friends or family to the bombing feel in their hearts the same message she’s giving now, and it garners support with many of them. Besides, everyone loves a tomboy-turned-princess, and what’s better than princess unless you’re being Queen? 

       The interviewer has not been a presence thus far, so it surprises many to hear them addressed in the next fade in from black. NYSSA SAMOS sits with regal bearing and her head held high, admonishing rudeness that none can see. It leaves her vulnerable to vitriol, and the crowd is affected by her anger -- a queen should not be angry, after all. The speech cuts to her discussion of how she once manipulated others, and the hatred grows in many hearts, her assurances seeming weak in the wake of her own admitted dishonesty. It seems as if she will be cast the villain, but the tone shifts slightly, and the music softens. Nyssa speaks of her admiration of Orion and his goals, and when she describes change, she means it. She leaves them waiting on the edges of their seats, wanting to know more, wanting to know who to believe. The girl with stars in her eyes or rage in her heart? Only time will tell, the video seems to tease.

       The warm eyes and soft curls of VALERIA MACANTHOS greet Nortans next, as she proves her devotion to the crown on national television. It’s a romantic premise, a guard falling in love with her then-prince, now king, but the way she says it with no romance involved only intrigues them further. It isn’t a fairytale -- it’s more of a soft thing, a protective thing. Valeria’s eyes seem to flash when she mentions it. All remember the tragedy that struck the royals over a year ago, when Prince Orion’s guard was killed. Valeria gathered a sympathetic cause during that time, and that carries forward even now, as the people feel a soft spot within their hearts for her once more. Perhaps not love, yet, but what a perfect love story it would be, no?

       The fiery river of her hair preceeds LEIRA OSANOS, as personable as she is not. There is a force to her personality, to be sure, but she is unconvincing when asked if she agrees with the changes the king is bringing forward. This intrigues many, for the simple fact that it will produce televised drama, but it does not endear them. She captures the minds of the old world Silvers as easily as she loses the Reds who will vote for Orion’s consideration. With every word, something is gained and something is lost. It’s clear that Leira has made her decision on what is most important to her to keep. The question becomes, is it the right one? For many, the answer is no -- she earns friends and enemies alike by the end of it, a polarizing force.

       It’s almost impressive, how the following competitor manages to terrify despite her petite physique. On camera she looks almost frail, but when she moves, there’s a strength to her that defies all sense of logic. PRISHA ARVEN is a power and she makes it known, early on and without mercy. She doesn’t pretend to smile and preen -- she commands respect on reputation alone, and the Arvens have always been something to be feared. She does not try to win hearts, but she does want to win minds -- and her devotion to the crown is nothing less than ironclad. She speaks of a united front, a formidable force, and to those who have been caught on the war front, the idea of a stronger ruling duo appeals greatly... if only for the opportunity to scare their enemies.

       The screen cuts once again to someone new, someone far more believably delicate than the last. CALISTA EAGRIE holds her hands in her lap, her posture pristine and her smile soft. The footage is cut together to illustrate her almost dream-like description of Norta’s future, her admiration for the king, and the far-off stare she sometimes gets, one heavily associated with House Eagrie. There is a mystery to her -- what does she know, what will she know -- that earns her support, a dark horse with a white light shining from her heart. She seems naive but devoted, open-hearted yet mysterious, and the contrast between what is expected of her House and what she’s delivered keeps people on their toes. Everyone wants to know the future, and especially to Reds who don’t really understand how Eyes work, the idea of a Queen who can see what’s coming appeals greatly to them.

       ROMILLY GLIACON is the next to pop onto the screen, with a cold distance that no one can truly be sure is an act. Is she playing up the nature of her House, or is she always so removed, even as she speaks of the future? She talks about understanding how to build strength even from the weakest of points, about how watching Princess Adeline and the other royals all her life has garnered an interest in ruling in the future. About how fire and ice make a great pairing, and when she laughs, the country laughs with her. She is a little bit awkward, a little bit cold, but she is beautiful and she is close to the royals. She might have been forgettable as Lei, if not for those, but they will elevate her into the middle of the pack.

       There is a sultry laugh that comes before the vision of black has truly faded, and AREUM MARINOS is behind it. Her eyes are on the camera as she speaks, and her voice, for all that she is a Banshee, is neither grating nor foul. Instead it is hypnotic, almost, purely of her own charisma as she discusses the joy it brings her to compete in a Crownstrial of her own free will. The choice is a powerful enough one that it has certainly swayed her to the King’s side, and her approval of his future decisions seems clear, just as it is clear that she will not take a back seat to them. In Areum, it is obvious that Norta would find a leader, rather than a follower. Her celebrity, beauty and charm appeal to very many.

       Last but not least, EMORY OSANOS comes to life before all of Norta. His smile is all charm, but his shoulders hunch in slightly, unconsciously -- and to those who are looking for it, he is nervous. It’s a sweet tale, best friends who may become more, but when Emory licks his lips and begins to speak about truth and omission, every room falls silent. I am in love with him, and I want to be with him, and he does not know. Crownstrial has always, even as Queenstrial, sold the illusion of love, but never has it been so plainly stated from the outset. There is a flurry of sound as whispers and shouts roar into life, everyone with something to say on the matter. Some are outraged that the King’s personal guard would take advantage of his station -- others are swooning at the star-crossed lovers they’ve found in this tale. Emory has stolen the show, for good or ill, and as the broadcast fades to black and Ambrosine fans her face, it’s clear that this was the climactic ending she was waiting to reveal.

       ❝ And there you have it! Your competitors for the Crown, your future King or Queen, perhaps, has spoken. The battles have been selected and will now be revealed -- place your bets now, and don’t forget to tune in for the main event! Round One begins in two days time. ❞ With that, the ending theme plays, and Ryn flicks off the screen to the sound of furious discussion behind her.

THIS IS THE START OF CROWNSTRIAL. We will be releasing the four linked biographies within the hour, all of which will be open for application. Things to keep in mind:

Stay tuned to see the bracket of who has been paired for opening battle royale. When the bracket is released, we will also be releasing how the scheduling and the actual fights will progress both IC and OOC. This will come later today.

Starters from this point to the beginning of Crownstrial will be dated between March 22nd and March 24th. You are more than welcome to place starters anywhere in flashbacks as well, as long as they are dated for the accurate timeframe of the plot you want to start in.

[thewolfmancometh]

Suspiria (2018) [REVIEW]

The original Suspiria is one of my favorite horror movies of all time, thanks to Dario Argento‘s moody color palette, Jessica Harper‘s frantic performance, Goblin‘s hypnotizing score, and, well, I love witches. In that regard, you’d think, “Wolfman, you must be so pissed that the movie is getting a remake!” In some cases, you’d be right to try to warn me about not seeing movies, but with Tilda Swinton and director Luca Guadagnino on board, I had faith that the final product wouldn’t merely be a cash grab. I even watched the Fifty Shades movies because Dakota Johnson was starring in the remake! FIFTY SHADES, I SAY! Luckily, I was right to be hopeful, as this year’s Suspiria takes the core components of the original that intrigued audiences and reimagined them in fresh ways to deliver one of the most captivating and horrifying theatrical experiences of the decade.

Susie Bannion (Johnson) has dreamed her whole life of becoming a student of world-renowned ballet instructor Madame Blanc (Swinton) in Berlin. When she finally manages to score an audition, she demonstrates her impressive abilities while Blanc sees that she has potential not only as a dancer, but also as an integral component of their coven comprised of dance instructors. As the training gets more intense, Susie’s abilities, both of the athletic and otherworldy varieties, grow as the coven prepares to fulfill their master plan of mayhem.

In a loose narrative sense, this film is absolutely a Suspiria remake. I mean, it features a ballet school in Germany in the late-’70s that is run by witches, so you can’t argue with that. In execution, however, there’s little about this film that resembles Argento’s original and, in this humble Wolfman’s opinion, that friggin’ rules.

When people look fondly on the original movie (such as I), it’s less about the narrative beats or the dialogue and more about the atmosphere, the colors, the music, and the overall dream-like quality that Susie herself seems to be experiencing as she visits a foreign land. This remake feels almost nothing like Argento’s, as many of the colors are muted, the music is more melancholy, the characters are more layered, and the horror elements are cranked up by a thousand. The original is unequivocally a horror film, yet few horror fans I’ve encountered are actually scared of it. Guadagnino’s Suspiria is a fucking nightmare. While he uses violence and graphic imagery sparingly, when he does, it goes for broke with its disturbing visuals and bodily disfigurements.

Despite how effective the horror iconography might be, the film is also incredibly human, thanks in large part to Dr. Josef Klemperer, aka Lutz Ebersdorf aka Tilda Swinton. From the moment Susie arrives at the school, it’s clear that she’ll stop at nothing to become the best dancer she can be, while many of the characters she encounters are there to either support her journey or to warn her about the witches. Klemperer was tipped off to the nefarious activities that take place at the school and, with little else to live for, devotes much of his time to investigating these claims. We ultimately learn that Klemperer was separated from his wife in World War II and was never able to reunite with her, his lifelong regret. Those regrets prevent him from giving up on any poor souls who might be in danger at the dancing academy. This character was completely absent from the original and juxtaposes Susie’s descent into darkness with humanity, making both characters’ journeys much more emotional for the viewer.

As you can imagine, Swinton is great as Madame Blanc and Helena Markos, with her performance as Ebersdorf as Klemperer receiving mixed reactions. While I understand why people may have been distracted knowing that there was something “off” about the doctor, I was totally willing to suspend my disbelief because, well, it’s a movie. Hopefully those who were frustrated with the decision to have Swinton play three roles can give the film another watch and appreciate what Swinton and Guadagnino were going for by having her play these three important characters. I’m not super familiar with Johnson, but her hollow and mostly lifeless performance worked for the role, as it demonstrated her tunnel vision towards becoming a great dancer, a far cry from Harper’s manic paranoia in the original film. Mia Goth as Sara, Susie’s classmate who tried to reveal what the teachers were up to, was an emotionally complex and endearing performance.

I haven’t listened to a new Radiohead album in the past decade, but I can’t stop listening to Thom Yorke’s score for this movie. It definitely sounds like a Thom Yorke album at times, yet it also delivers music that feels intrinsically linked to events that unfolded on screen. The released album feels like a combination of a soundtrack and a score, with some songs feeling like they could be released as singles while other tracks are unsettling and sound like they were created by demons. In particular, his track “Volk” and the accompanying sequence in the film is one of the more intense and terrifying scenes of the year.

As someone who regularly claims the original film as one of my all-time top five favorite horror movies, my expectations for this film were quite high and it still managed to exceed them. Much like the 2012 Maniac remake (based on another top five favorite horror movie), Suspiria boiled down the core components of narrative, tossed aside the elements that couldn’t be replicated, and completely reimagined new ways to convey those horrors. A truly exhausting experience at two-and-half-hours long, I am both in no rush to subject myself to the assaulting ordeal and can’t wait to witness it again. Not only is Suspiria one of the best horror remakes and best horror films of the year, but I also have no doubt that it could go down as one of the best horror films of the decade.

Wolfman Moon Scale

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[sequentialartistsworkshop]

A Walk Through Comix 2000 - Episode 004 - Dario Adanti

Tom Hart guides viewers through each story in the 2000 page compilation of international, silent comics, "Comix 2000", published by L' Association in the year 2000. This episode, #004 by Dario Adanti

Support Tom Hart on Patreon: https://www.patreon.com/hutchowen

[365footballorg-blog]

World Cup 2018: Football showpiece set to begin in Russia

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2018 Fifa World Cup Venue: Russia Dates: 14 June-15 July Coverage: Watch live on BBC TV, Red Button and iPlayer, BBC Sport website and app; listen on Radio 5 live; follow text updates online.

The 2018 Fifa World Cup gets under way on Thursday when hosts Russia face Saudi Arabia following an opening ceremony at Moscow’s Luzhniki Stadium.

Football’s showpiece event features 32 teams, including holders Germany, competing in 64 games over 32 days.

The 21st edition will be played out in 12 stadiums, across 11 cities, spread over 1,800 miles.

England, winners in 1966, are the only team from the home nations to qualify and start against Tunisia on 18 June.

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Germany, who defeated Argentina in the 2014 final, are looking to become the first team to win back-to-back World Cups since 1962, while Brazil seek a record-extending sixth world title.

The month-long tournament is expected to attract one and a half million fans to Russia and an estimated global television audience of over three billion viewers.

There are eight groups, each containing four teams, with the top two advancing to the last 16. The final takes place at the 81,000-capacity Luzhniki Stadium on 15 July (16:00 BST).

What’s on when: fixtures, kick-off times, venues

BBC Sport’s coverage: times and channels

2018 World Cup: venue guide

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Who will win the World Cup?

World Cup holders Germany, five-time winners Brazil, Euro 2016 winners Portugal, 2014 runners-up Argentina, Belgium, Poland and 1998 winners France are among the eight seeded teams.

Hosts Russia are also seeded, even though they are the tournament’s lowest-placed team – 70th – in Fifa’s world rankings.

England, who have won only one of their past eight World Cup matches, are unseeded, as are 2010 champions Spain.

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Germany have reached at least the semi-finals in each of the past four editions of the competition and, after being the only team to progress through European qualifying with a 100% record, are expected to be in the shake-up again. They are in Group F with Mexico, Sweden and South Korea.

“Germany will be hunted like never before,” said head coach Joachim Low. “Only us, as world champions, have anything to lose.”

How can you predict who is going to win the World Cup?

Brazil are the only nation to have appeared at every single World Cup but they have not won the tournament since 2002, while you have to go back to 1958 to the last time they won it on European soil.

Yet the Brazilians will fancy their chances, particularly as Neymar, who cost a world record £200m when he moved from Barcelona to Paris St-Germain in August 2017, has returned to action after a broken foot.

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Spain feature several Champions League winners from Real Madrid in their squad as they look to recapture the magic that saw them crowned world champions eight years ago and European champions in 2008 and 2012.

Meanwhile, Cristiano Ronaldo will be hoping for a first World Cup winners’ medal after helping Portugal win Euro 2016, while Lionel Messi is hoping to win a first major trophy with Argentina.

France boast a young, exciting squad which includes 19-year-old forward Kylian Mbappe as well as a number of familiar Premier League names including Tottenham goalkeeper Hugo Lloris, Manchester United midfielder Paul Pogba and Chelsea forward Olivier Giroud.

The coach who has modernised Brazil

‘When you win the World Cup, you could hug the world’

Which players are going to Russia – all the confirmed squads

How are England expected to perform?

The closest England have come to repeating their feat of 1966 is a semi-final appearance at Italia 90.

With an average age of 26 years and 18 days, the Three Lions have the third-youngest squad in Russia.

Only three of Gareth Southgate’s 23 players are aged 30 or over – defenders Gary Cahill and Ashley Young, both 32, and 31-year-old forward Jamie Vardy – while defender Trent Alexander-Arnold is the youngest at 19.

Cahill, Jordan Henderson, Raheem Sterling, Danny Welbeck and Phil Jones are the only survivors from the squad that finished bottom of their group at the 2014 World Cup under Roy Hodgson.

After their opening game in Volgograd (16:00 BST), England face World Cup debutants Panama in Nizhny Novgorod on 24 June (13:00 BST) before rounding off their Group G campaign in Kaliningrad against Belgium four days later (19:00 BST).

While England comfortably qualified for Russia – and enjoyed friendly victories over Nigeria and Costa Rica in recent weeks – former Three Lions captain Alan Shearer does not believe they will win the tournament.

Current skipper Harry Kane is more upbeat.

“It’s impossible not to dream about lifting the World Cup. I believe we can win it – anyone can,” said the Tottenham forward.

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One thing England will have to address if they want to go far is their poor record at the knockout stage in major competitions.

They have not won a knockout match at a tournament since defeating Ecuador in the last 16 of the 2006 World Cup.

“Yes, we have a great record when it comes to qualifying, but since the 2010 World Cup our record at finals has been poor,” added Shearer, who played alongside Southgate at the 1998 World Cup.

“That’s why we should concentrate on getting out of our group first before we worry too much about who we could face in the next round, because doing that has been difficult enough in the past.”

Five reasons to be optimistic about England’s World Cup chances

How much do you know about the England squad?

Throwback to when England won the World Cup

Who are the new boys?

Panama and Iceland will be competing at their first World Cup, which is held every four years.

With a population of approximately 335,000 people, Iceland are the smallest nation ever to qualify.

They will hope to repeat their exploits of two years ago, when they lit up Euro 2016 by reaching the quarter-finals in their first appearance at a major tournament, humiliating England en route.

Iceland’s first game in Russia is against 2014 runners-up Argentina on 16 June.

A national holiday was declared in Panama after they qualified for the World Cup for the first time.

The Central American country, 55th in Fifa’s world rankings, boast an experienced coach in Hernan Dario Gomez, who was in charge of his native Colombia at the 1998 World Cup and Ecuador at the 2002 edition.

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There are several teams back on the world stage after lengthy absences.

Peru return to the finals for the first time since 1982, while north African nations Egypt and Morocco are back for the first time in 28 and 20 years respectively.

Will an African team reach semi-finals for first time?

However, there are some notable absentees.

Four-time winners Italy, South American champions Chile and African champions Cameroon all failed to qualify.

The Netherlands, runners-up in 2010, also missed out while the United States are absent for the first time since 1986.

Referees to get VAR help

Video assistant referees (VAR) will be making a debut at the World Cup.

The technology will be used to help officials avoid making potentially match-deciding mistakes when it comes to such important issues as awarding goals, penalties or red cards.

VAR has been trialled in some domestic English cup games this season, and has been used in Germany and Italy.

“We wanted to give the referees tools so they can make better decisions, and in the World Cup some very important decisions are made,” said Fifa president Gianni Infantino.

“It’s not possible that in 2018 everyone in their living room knows a few seconds after the play whether a referee has made a mistake and the referee doesn’t.”

VAR was first used at the Club World Cup in December 2016, and trialled in the 2017 Confederations Cup.

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Fan safety and security

Russia is hoping to put on a tournament to remember after beating England – as well as joint bids by Spain and Portugal, and the Netherlands and Belgium – to stage the tournament for the first time.

While about 10,000 England fans are expected to travel to Russia, a number are likely to stay away because of political tensions between the two countries and safety issues.

There were violent clashes when Russian fans charged England supporters in the stadium when the two countries played each other in Marseille at Euro 2016. Trouble was also reported in the city’s streets between England, Russia and France fans.

“One thing supporters need to do when they go is be a good guest, behave themselves,” said Mark Roberts, Britain’s lead officer for football policing.

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Deputy Chief Constable Roberts warned acts of disorder will carry “severe” sentences in Russia although Alexei Smertin, the anti-discrimination chief of Russia 2018, played down concerns and said the atmosphere around World Cup venues will be friendly.

“It definitely won’t be stressful and we let everyone feel comfortable and safe in our country,” said the former Chelsea midfielder, capped 55 times by Russia.

How to follow the World Cup on the BBC

The BBC is the only destination for coverage 24 hours a day, seven days a week, on television, radio and online.

We will have 33 matches televised live while BBC Radio 5 live will provide live commentary of all the games.

England’s first two World Cup matches will be shown exclusively live on the BBC, starting with the game against Tunisia on Monday, 18 June, and then the match versus Panama on Sunday, 24 June.

Before the tournament starts, a World Cup preview show will be broadcast on BBC One at 22:45 BST on Wednesday, 13 June.

Meanwhile, fans will be able to watch the tournament in Ultra HD and virtual reality as BBC Sport trials cutting-edge technology.

Users will be transported to a fully immersive stadium experience, through headsets, as if they are sitting in their own hospitality box.

All 33 matches broadcast by the BBC will be available for free on BBC Sport’s VR 2018 World Cup app, and the 29 matches on BBC One will also be available in Ultra HD.

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Ultra HD TV can be accessed through a high-speed internet connection and will be available on a first-come, first-served basis.

The HD stream will be available from the BBC iPlayer home screen as soon as programme coverage begins but the number of users granted access will be limited to “tens of thousands of people”.

Click here for a comprehensive guide on how to follow the World Cup across the BBC

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BBC Sport – Football

World Cup 2018: Football showpiece set to begin in Russia was originally published on 365 Football

[houstonlocalus-blog]

Film In Focus: ‘Where the Buffalo Roam’ and More

  I never wanted to compare Bill Murray to Johnny Depp. After all, these are two different talents with two different trajectories. However, both actors have played Hunter S. Thompson in three different films.

Certainly Depp has the inside track, having been a personal friend of Thompson. And he certainly nailed down Thompson’s mannerisms and manner of speaking in Fear and Loathing in Las Vegas (1998) and The Rum Diary (2011). But Murray seems to get to the spine of Thompson in what was his follow up to Meatballs, Where the Buffalo Roam, which was released to little fanfare in 1980.

And that’s a shame because Where the Buffalo Roam stands the test of time, all while revealing the activist slant of a previous time to a new generation.

Like Fear and Loathing, WTBR also has Thompson’s lawyer and spiritual advisor, Lazlo, portrayed as a character in the plot. Peter Boyle brings the special magic that made him the go-to supporting actor for unusual roles in the years leading up to Where the Buffalo Roam. And that’s not to take anything away from Benicio Del Toro’s take on the same person (although called Dr. Gonzo in that incarnation).

Long story short, Where the Buffalo Roam displays Murray operating on all cylinders, and it’s a preview of his movie-stealing prowess in films to come, like Stripes (1981), Tootsie (1982), and Ghostbusters (1984).

Frankly, as funny as Where the Buffalo Roam is, it’s hard to fathom that it totally bombed upon initial release.

Murray as Thompson deals with demands from his Rolling Stone magazine editor (homage in Almost Famous) while he also covers the Nixon 1972 campaign. Even when Thompson is kicked off the Presidential jetliner and onto the second-tier journalist airplane, he still finds avenues of anarchy.

Perhaps not oddly, Murray’s career after Ghostbusters saw him try straight leading man roles (The Razor’s Edge) and eventually co-starring roles working with renowned directors like Tim Burton in 1994’s Ed Wood. Murray’s biggest films of the ‘90s would be Groundhog Day, followed by 1998’s Rushmore, which took years to find its deserved cult status.

Back to Where the Buffalo Roam. Seldom has there been a marriage of absurdity and physical comedy the likes of which when we see Murray firing his trusty side arm into his fax machine. Murray’s dalliance with a nurse ranks amongst his best scenes. Peter Boyle also delivers the goods.

A featurette has WTBR screenwriter John Kaye laying bare the existential dilemma of being paid to be creative and yet hanging out with the ultimate enabler (Thompson). At one point Thompson had used his salary as seed money for a large cocaine deal and ended up doing most of it with Kaye and a few select others. When the dealers became threatening, Thompson tried to get producer/director Art Linson to advance him a high five-figure amount and got shot down.

The Tonight Show starring Johnny Carson: Johnny and Friends Featuring Steve Martin, Robin Williams and Eddie Murphy sums up this three-disc set with its lengthy title. Every episode unwinds in its entirety, including commercials.

Each disc has three shows with Martin, Williams and Murphy each. Martin’s appearances range from the mid-’70s to the early ’90s and include other guest stars like Jimmy Stewart, and in another episode, Sylvester Stallone. Williams also appears with Jonathan Winters in one episode from 1991. There’s little doubt that Williams was influenced by Winters.

Most telling are the Murphy guest slots, his first three times on The Tonight Show and all during 1982. Murphy had literally launched into the stratosphere as a leading actor that year in 48 Hours, and his three appearances capture him before, during, and after his instant stardom. On one episode Murphy leads the entire audience on a N-word chant that would just be so out of place in todays super heated politically correct environment.

    Dario Argento literally burst onto the scene with his debut feature, The Bird with the Crystal Plumage, an Italian “giallo” genre thriller. It only takes one glance to realize that this film not only made advancements in its particular genre but also inspired such films as De Palma’s Dressed to Kill.

An American living in Italy (Tony Musante, quite convincing) witnesses an assault and becomes involved in the mystery. The local police pull his passport so he has no choice but to stay and comply. Eventually Musante is drawn into the killer’s complex web of deceit.

While Argento may have been a freshman director, he had previously worked as a writer on Sergio Leone’s Once Upon A Time in the West. Argento’s artistic vision, along with his twists and turns, can only be overshadowed by such collaborators, also early in their respective careers, such as composer Ennio Morricone and cinematographer Vittorio Storaro.

At times the tension becomes unbearable, as Musante constantly puts off having sex with his girlfriend (Suzy Kendall) so he can obsess over his eyewitness experience. The Blu-ray restoration at 4K helps define the mood with varied textures of interior darkness.

Great extras include new interviews with Argento; Gildo De Marco, a dude with an odd face (who appeared in a couple of three Argento films); a brand new audio commentary by expert on Italian giallo film, Troy Howarth; a thick sixty-page booklet on the film and genre; and “The Power of Perception,” a visual essay that takes the viewer up to date on Argento’s cinematic output.

A Quiet Passion unwinds with the unique pedigree of English art film director Terence Davies helming a story on the life of poet Emily Dickinson (1830 – 1886). Dickinson wrote almost 1,800 poems, however, only a handful were published in her lifetime. In other words, how many poets are mentioned in Simon and Garfunkel songs?

    In the film, Davies introduces us to young Emily and her family. After a first act that displays Emily’s complete rejection of established paternal religion, we morph into the mature versions of the Dickinson family: Cynthia Nixon as Emily Dickinson; Jennifer Ehle as her sister; and Keith Carradine as her father. Emily asks her father permission to write in the middle of the night and he consents, but later in the film a supposedly friendly femme companion admonishes bachelorette-verging-on-spinster, Emily, for doing something that no wife would ever dream of.

The arrival of the Civil War allows Davies to display his directorial chops, and the story allows Nixon to paint a complete portrait of a conflicted character.

One great extra has Nixon and Davies and two other members of the cast at a Q&A after the film’s NYC premiere at Lincoln Center. Another lengthy featurette has Nixon as a guest on a LGBT friendly radio talk show.

  Film In Focus: ‘Where the Buffalo Roam’ and More this is a repost

[megashinigamime-blog]

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[stevehansalo-blog]

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