Everyone knows that I am not and never was a Star Wars fan. I find the whole Star Wars Universe extremely childish and too theatrical. By the way, I belong to those who consider the movies to be a part of the fantasy, not science-fiction genre, and boy, do I not like fantasy.
However, there’s a new Star Wars series called The Mandalorian, and I simply love it. It is gritty, pretty serious, there are no stupid childish jokes, and it looks so beautiful. The acting is great, and so is (art) direction. I find the main theme legendary. It is retro (think 1970’s), which reminds me of old spaghetti westerns several decades ago. It is just a very good TV series, which I recommend. This is simply the best Star Wars work. They should just burn and banish all the previous works, and start with The Mandalorian. This should be the way.
I have this idea to travel to some places that I noticed while watching films. I watched recently a very good film called My Night at Maud’s (Ma nuit chez Maud, 1969) directed by Éric Rohmer. Most of the film took place in the city of Clermont-Ferrand (it’s referred to as Clermont only). I liked how the city looked (in the 1960’s), and how it was dominated by Cathédrale Notre-Dame-de-l’Assomption de Clermont-Ferrand. I also found out that the mathematician and philosopher Blaise Pascal was born there. His famous wager was discussed quite extensively in the film as well. So, maybe I will visit Clermont once. It would be nice, just as many other places from other films.
I hate the vastness of the Internet. There is just too much information. Most of it is junk that is standing in the way to the relevant information and knowledge. Here’s a fresh example.
I just realized that I couldn’t find my browser bookmark to a great website of an Indian film critic. It’s gone, and I just can’t remember his name nor the name of his website. I know that he is quite fond, just as I am, of Terrence Malick, Bergman and Tarkovsky, but for the life of me I cannot recall much of information about him. All I do remember is that his an older gentleman from India. He looks as an Indian, but I think his name or surname sounds Western. I tried to google and duckduckgo him, but I feel “film critic india tarkovsky malick” isn’t going to cut it.
I vaguely remember that he posted some of his reviews on IMDb, so I guess I will have to go through user reviews of films like The New World, The Mirror, The Red Thin Line and such. It would be nice to find his website again, since his reviews were always so eloquent, interesting and precise.
Luckily, I did find him while looking through the Malick’s The Thin Red Line reviews on IMDb. A great film critic Jugu Abraham.
Vrlo interesantan film. Gledao sam ga 2012. godine i moram reći da mi se ovaj put dosta više svidio. Holy Motors je djelo koje nije napravljeno da bi nam se dopao nego da bi ga doživjeli, te kao takav, naravno, ne spada u one filmove koji su dio zabave za šire mase. Upravo zato narativ nije u središtu pažnje, a ipak je bitan jer u njemu s vremena na vrijeme imamo priliku uočiti srž onoga čime se ovaj film bavi, a to je fluidnost (možda i nepostojanje) ljudskog identiteta u dobu sveopšteg neokapitalizma koji nam diktira kako da živimo, šta da činimo, pa i kako da odlazimo u smrt.
Lik Kylie Minogue nam, dok pomalo bizarno pjeva mjuzikl, uz to postavlja egzistencijalno pitanje “Who are we? Who are we?”, a onda nakon toga čini ono što čini, što mjenja njeno, hajde recimo, metafizičko stanje. Ona vjerovatno nakon toga spoznaje ko smo, dok smo mi i dalje osuđeni na mjenjanje identiteta koji nam je nametnut, kao što je to slučaj sa Monsieur Oscarom više puta dnevno.
Pitanje je ima li smisla ova egsistencija i ako ima, je li ikako u našu korist? Da li ćemo i mi jednog dana postati šapćući Sveti Motori, kao ona vozila na kraju? Pravi naslov je, naravno, Zastarjeli Modeli, baš kao i svi ti fluidni, prolazni identiteti. Mi nemamo sopstveni identitet jer nam je nametnuto da smo uvijek neko (i nešto) drugo. Skoro u svakoj situaciji nosimo tuđu masku i rijetko imamo priliku vidjeti sopstveno lice u ogledalu.
Bog nije mrtav, ali mi (who are we?) vjerovatno i ne postojimo.