X_VARIABLE | DISTANCE / ZOOM – Nora Muskering’s Movie Alphabet: Special: Artechock

I put a new cooling pad under my laptop and separate, as best I can, author and book, fact and fiction, watch the trailer

By Nora Muskering

One should follow small dashed lines to an X. There will be something, preferably a pot of gold. An X indicates the spot. Sometimes you can find an X in the sand in children’s playgrounds, otherwise the following would normally apply: “A blue dot indicates a spot.” Then the blue dot identifies a place that is known to someone, but one cannot find it without a tick. Or it refers to something unknown, as with Mr. Roentgen, who used X to irradiate or X files from “The X-Files – The Uncanny Cases of the FBI”. But you can also use X as a variable that stands forever as a proxy or you can replace it with something concrete. But what I write there, in fact, my head is as straight as possible, on vacation and working on equations with strangers is clearly not part of it, but I have read texts about comparisons to the Stiftung Warentest, for example chocolate creams, the sensation of ticks or novels.

I’m not such a skilled reader that I always read books that will soon be turned into movies. not at all. It was just a coincidence that I finished “The Lobster Song” when the movie started right away. But I haven’t seen him yet. I don’t know if I want that either, I’ll find out why a little later, before that I’ll make two points here, one where Chase’s body is in the swamp, under the fire watchtower, another cabin for Kia, Catherine, who lived alone in the marshes of North Carolina Since she was seven years old. She is accused of this murder and is in her early twenties and is facing trial. Also significant are her great love Tate, who taught her to read, and Jumpin, a merchant who is the only one from the neighboring town who supports her. In 2019, zoologist Delia Owens wrote the book, recommended it to Reese Witherspoon in her book club, and now she’s also producing the film. Owens masterfully blends everything that promises success: a love story, a thriller crime thriller and a tight drama, adorned with long distances of relaxing contact with nature. It never becomes so pathetic and never hopeless. Most of the dialogues, which are also fairly rare anyway, can be read quickly, spoken as in an explanatory movie, on the other hand, the descriptions of nature and Kya’s life in the marshes are very nice, especially if you look at the sky yourself and the trees are swaying Little children playing somewhere. It’s also an escape from reality and that’s another ingredient to success, because it’s set in the 60’s and 70’s, the world wasn’t feeling well back then either, but it’s still safe. What certainly hasn’t ended are the allegations against the writer that she may have been involved in a murder herself, and whether it’s morally acceptable to read the book, which may be based on more personal experiences than you otherwise would. Like this topic. I put a new cooling pad under my laptop and separate author and book, fact and fiction as best I can and watch the trailer. Where’s the mud, dust and swamp? Real dirt that settles everywhere: between the toes, the fingers, in the hair? Where’s the rickety, overgrown, dark and smoky hut in which Kya would rather sleep in front of than inside? Where is the girl, the young woman, who lives there alone for years, lives on oysters, wears old clothes and does not use a towel. Even in the book, one of her most mentioned traits is her beauty, and of course she is also super intelligent. In fact, she’s absolutely perfect, which is what it takes for you to turn into her as a heroine. This is what Daisy Edgar Jones, who plays Kia, looks beautiful with well-washed hair. But Chase and Taddy also look like male fans, but they also seem oddly uncharismatic. Well, yes, my judgment comes from the trailer.

Whether it is Witherspoon, he is already in Wild (2014), in which she also produced and plays the main role, and Gone Girl (2014), which she also co-produced, was looking for complex female characters, showcasing one here, or if Kya doesn’t do much more than that is the romantic concept of the woman who Merged with nature and thus desirable, but where nothing is complicated and everything is a facade, one can discuss this after watching the movie.

Moving on to people with XX chromosomes: sometimes there seems to be a point of view that somewhere in the second X it says that you like clothes, nail polish, wigs, and carry little bags. There’s nothing against all of these things, but of course it’s more complicated especially in a Bavarian village if you just want to dress up despite your XY chromosomes. In Anima – My Father’s Clothes, Ole Decker describes a father’s irrepressible desire to cheat afterwards. Even as a child he wore his mother’s clothes and later his own. In high heels he then tries to walk as best he can. He keeps all this a secret from his family. Two daughters, one of them Ollie, discovered his passion on his deathbed, the mother had known about him for a little longer. Decker has succeeded in describing this life and its environment in a very loving, detailed and imaginative way. She does not judge him because she is a part of him herself and does not separate from him and looks at him from afar. So it is always good to find “clothes” hanging from the wheel of fortune, for example: daddy, cowboy, white suit, armor, leather pants. Time and time again, we think about what he does to the family when one has a secret, conscious or unconscious, and the Decker family is definitely not alone in this. Da fliegt Uli in einer Animation an Häuserfronten vorbei und stellt sich vor, wie das Leben hinter den Fenstern läuft, als gäbe es da ein richtiges Leben, dem man einfach folgen könnte, aber na faht sürlich sie sie he is. By doing so, she deals with her own fears and those of others. She disguises, becomes her father, but at the same time speaks of her desire to be a part of the place, of tradition. Nothing is condemned, everything is considered and considered how and where one can fit in. The most important thing is that you can make the decision.

Anima was shown at Filmkunstwochen in Munich, which ended in mid-August, but will be shown in cinemas in the fall (maybe October 20). I ran Sunday morning and had to maneuver my way around closed roads first. The European Championships made their way around the main train station with a cycling track. Confused, a little excited, but I got to the cinema on time. Sports don’t interest me much, but I love it when unknown but positive and surprising variables emerge, like closed streets where people stand at the edges, wave and clap and cyclists drink. I also like when there are rock walls or ferris wheels on Königsplatz, when I hear music from distant concerts in the Olympic Park, when you get stuck on a guided tour of the city, or when you go to the medieval market with Mead. It is nice when the public space is occupied. Groups of people who gathered to watch a movie and then stood in front of the cinema on the street or in the small city courtyard and talking about the movie, like post-anime, definitely revived it.

This is exactly what the latest event of Cinematic Art Weeks, designed by REVÜ – Cinema Bulletin, was all about. The film Zero Fucks presented by the director duo Emmanuel Marre and Julie Lecoustre was shown, after which a script was read and a conversation began. From the beginning, it was a matter of meeting in public space and whether in a time of individuality or solitude or as Andreas Reckowitz calls it: singularities, cinema can again be a space for community, and the other thesis was that individuality leads to the full realization of capitalization.

Every time I looked at Cassandri’s face in the movie, I also had to think of a title for Ja, Panic: “The Embodiment of Capitalism in Our Lives is Sorrow.” Cassandre, Adèle Exarchopoulos (who won the Palme d’Or at Cannes for her game), works for Wings (another Ryanair company) and dreams – the word doesn’t fit her Bulgarian case – to fly for Emirates, which is more like rising up the flight attendant hierarchy. Many of the flight attendants in the film are actually flight attendants, and documentaries mingle with feature films, and real people’s experiences with Cassandri’s story. Cassandra/Cassandra looks so tired and exhausted that she doesn’t have the strength to predict things anymore: she is of no use and so responds to the older attackers that she has to take care of herself. Flying isn’t the best way to prevent the apocalypse either, but this constant movement, getting nowhere (the desire to), but still in motion, at least seems to calm Cassandri or keep him busy. Visiting all these unreal places, other than places as Mark Auggie calls them, and all meant only for transit, is a symbol of her feelings. The film itself is divided into two parts. The first part, which was hot and sunny, resembled motion pictures taken by British photographer Martin Barr, in that the brightness, light and flicker promised something akin to luster, but in reality more wasteful. There’s now Cassandra performing above the clouds, in the stewardess suit who always seems a little out of time, her sales talent is valued and she resists rising up the hierarchy meaning her co-workers are no longer their teammates. The second part: She is with her father and sister. The deceased mother is above all, but it seems that she had an accident after Cassandra’s departure, so the accident cannot be taken as a real shock and justifies her departure and grief. It is something original, against which she also defends from time to time, for example by visiting the place of her mother’s accident, which, however, does not help her in the rain and in her frivolity. X, well, the point Cassander could be seeking or returning to, is completely lost.

After the film, Camille Tricaud, who filmed the artist’s video “Apocalypse Airlines” with Francesca Unger in 2019, reads her script in the film: A moment of reflection, of bending over and inserting ideas that someone else had while watching the movie was while one was organizing one’s thoughts. Then the conversation took place, which succeeded, as with the anima, was fun and made its way into conversations in front of the cinema and in the public space.

By the way, Apocalypse Airlines is a commercial for a fictional airline that invites us with a pop song to get on board, or to think about the price we and the environment pay for our individual pursuit. They also wear these uniforms and try to sell us something, but then they go so far as to put gas masks on us at some point: Enjoy! This is an activist, pop, and a different approach than Zero Fucks Given. Generation also consists of variants that are assigned differently.

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