Using as her source material a segment of 1970s European softcore pornography, Naomi Uman created this derived piece by painstakingly removing the female from each frame using bleach and nail polish remover, thus presenting the viewer with a bizarre, ghostly effect of a figure; a blank void of a woman.
Pretty sure this says it all. If you were on the side of the supposed “complexity of ZD30’s torture scenes” you were wrong. They’re so irresponsible Liz Cheney praised them.
Mom did FaceTime for the first time.
Jeff Wells from Hollywood Elsewhere, a blog I’ve been reading for years enjoyed our conversation. That is it.
My segment today with Rich Juzwiak and LLOYD KAUFMAN of TROMA!!
Badlands on BluRay in March. Wondering when pre-ordering starts and if I can book a segment with Martin Sheen JUST so I can get a free one.
Look, Afghanistan, I’m sorry to tell you, I’m old enough to remember, forty years ago, Afghanistan was arguably the most tolerant Middle East Muslim country, with a pro-Western technocratic king, with a very strong local communist party and so on. And then, we know what happened. Communist party tried to took power. They did. When they started to fail, Soviet Union intervened. Then Americans backed the Muslim fundamentalists. In other words, always bear in mind this: Afghanistan is not an old fundamentalist country that we should enlighten. Afghanistan was quite a nice, tolerant country. Its fundamentalization is precisely the result of being caught in the global politics. We, the global liberal system, generate fundamentalisms.
The scene is a perfect representation of Gordon Willis’ cinematography that employs the use of light and color to bring forth the unseen . Known as “the King of Darkness,” he shoots scenes that live inside of shadows and blur the lines between what you can see and what is hidden. In this scene, the room is bathed in a deep red light, making it difficult to distinguish between Francine and Elgar’s skin-tone. She is a light-skinned woman and without the lights on, everyone is the same. This use of red lighting neutralizes the situation and we realize that Elgar is allured by more than just the fantasy of “having a bit of the Other.” Francine confesses that her husband, “Wishes she was blacker,” to which Elgar responds, “That’s ridiculous.” She inquires just why he thinks that is ridiculous, assuming his response with be something demeaning about darker-skinned women but he simply says, “Because you’re beautiful.” She tells him, “It’s just the red light.” Although the words they exchange are genuine, it is evident that Francine is attracted to the way in which Elgar looks at her and the acknowledgement of their differences. She is, “able to embrace this sense of specialness, that histories and experience once seen as worthy only of disdain can be looked upon in awe.”
Love The Landlord.