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#parallel forest
cantsayidont · 2 months
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More hateration holleration. No poster art; I didn't like any of these movies and don't feel like looking at their posters again.
ABOUT HIM & HER (2023): Experimental romantic drama, set in 1989 and "based on a true memory," about an unnamed man (Callan McAuliffe) and an unnamed woman (Cristina Spruell) who are accidentally connected by a phone company mishap. Over a series of subsequent long-distance conversations, they become emotionally entangled and eventually agree to meet, but they're both so afraid that finally seeing each other face-to-face will shatter their delicate intimacy that they spend the entire second half of the film trying to avoid looking at one another, even though they both desperately want to. The characters' interactions are carefully staged throughout (at first, they're just voices, and we don't get a look at either of their faces until they're both in the hotel room), but this initially touching conceit eventually becomes SO contrived that the story's genuine poignancy is undercut by a growing resentment at being jerked around in such a heavy-handed way. This is perhaps the ultimate romantic idiot plot: Despite their insecurity, the characters are both skinny, conventionally attractive, straight white cisgender adults of similar age and class; the only thing keeping them apart is their reluctance to (literally) just open their eyes, and there's no reason to assume that even a failure of nerve on that front would be irreconcilable save for the filmmakers' stubborn commitment to the melancholy bit. (The end credits claim that the lead actors never saw each other or even learned each other's name until the film's premiere.)
I.S.S. (2023): Upsettingly grim apocalyptic drama — not really a thriller, though billed as one —about six astronauts aboard the International Space Station, three Americans (Ariana DeBose, Chris Messina, and John Gallagher Jr.) and three Russians (Masha Mashkova, Costa Ronin, and Pilou Asbæk), whose respective governments order them to turn on each other as nuclear war breaks out on Earth. Well-acted and generally well-made, but there's little real suspense because an unbearably bleak outcome is always a certainty, making the fates of the individual characters a more or less moot point; the only leavening factor the script can offer is a contrived subplot involving an experimental treatment for radiation poisoning, which is clearly too little, too late in the face of the global nuclear holocaust the characters see unfolding on the surface below. A stressful downer that makes Lars von Trier's nightmarish 2011 end-of-the-world movie MELANCHOLIA seem like a screwball comedy by comparison.
PARALLEL (2024): Unconvincing sci-fi drama, cowritten by stars Aldis and Edwin Hodge (and based on a 2019 Chinese film) about unhappy spouses Vanessa (Danielle Deadwyler) and Alex (Aldis Hodge), who are staying in a remote lake house with Alex's brother Martel (Edwin Hodge) as they struggle to come to grips with the recent death of their young son. The woods surrounding the house are also a nexus of parallel timelines, where alternate versions of the characters seek to supplant one another in what they hope will be better versions of their previous lives. It's nice to see this kind of sci-fi allegory with an all-Black cast, but it doesn't really work dramatically, marred by an over-reliance on exposition and some rather arbitrary rules (which the characters accept far more readily than it seems like they should under the circumstances) that make the plot's rapidly escalating violence hard to swallow. Aldis Hodge comes across well as always, but Deadwyler's part doesn't allow for much emotional nuance, and Edwin Hodge is stuck in an awkward third-wheel role.
PASSAGES (2023): Glum, dishearteningly biphobic French drama about a married man called Tomas (Franz Rogowski) who spurns his husband Martin (Ben Whishaw) for a younger woman called Agathe (Adèle Exarchopoulos) and then attempts to retreat to Martin after Agathe becomes pregnant, eventually managing to alienate them both. Why either was ever interested in him in the first place is never very clear, as Tomas is unattractive, solipsistic, and thoroughly unsympathetic (though Martin is no prize himself, leaving Agathe as the most tolerable character basically by default). All of the characters are thinly drawn, and some interesting directorial choices can't make up for the film's conspicuous lack of warmth or its aggravating determination to equate Tomas's bisexuality (a word the script studiously avoids) with his consuming selfishness and inability to commit emotionally.
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llovelymoonn · 8 months
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marian dragiev \\ reg saner forest mornings i can't ask to happen
kofi
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transjudas · 6 months
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Is all right special Time Lord code for "really not all right at all."
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Happy EO3 Anniversary!
We initially planned on revamping our character lineup, something that my wife @anoldwishbone had wanted to do for some time. However, given our busy schedules, we ended up going with a tarot motif for both Gutrune and Seyfried, eventually only having enough time for Gutrune.
pre-production (concept, sketch), production (lines), and post-production (color correction, frame) done by @anoldwishbone (super thank you for the carry!)
pre-production (planning, concept), production (colors) done by @martilyongabo
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rookflower · 1 year
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never quite the same again.
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riricitaa · 7 months
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🤎
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leehallfae · 4 months
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“cry for judas” // “no children” // “until i am whole” - the mountain goats
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vavaharrison · 9 months
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We don't know anything yet. Just like how we can't see anything at the moment. We just have to turn on the light. We will found out.  
— requested by @theaggresivepacifist​​
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chenfordsource · 1 year
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requested by anonymous
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mariana-gd · 2 months
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Had a silly chat with a friend yesterday, and this came up: "Bambi's b*tchy ass dad in Bambi II and Sesshomaru have the same vibes" I don't know if I'm crazy, but now I CAN'T UNSEE IT...
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thechills · 1 year
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BENEATH THE TREES, WHERE NOBODY SEES
teddy bears' picnic (1932) / men (2022) / the trouble with wilderness by william cronon / the blair witch project (1999) / six theses on plant horror by dawn keetley / evil dead (2013) / american gods (2017) / in the earth (2021) / gretel & hansel (2020)
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artharakka · 1 year
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“Suru on eläin, jota ei voi koskaan kesyttää kokonaan.” ... “Ilves nostaa päätään ja tuijottaa minua. Se räpyttää silmiään kerran, toisen. Niissä hehkuu Maan auringon kadotettu valo, joka siilautuu vihreiden lehtien läpi. Sen sisuksista nousee matala, vaimea kehräys. Se näykkäisee sylissäni lepäävän käteni syrjää kevyesti, lempeästi, nuolaisee sitten peukaloani.” — Emmi Itäranta. Kuunpäivän kirjeet
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“Grief is an animal that can never be wholly tamed.” ... “The lynx raises its head and stares at me. It blinks once, twice. In its eyes glows the lost light of Earth’s sun, filtered through green foliage. From its depths rises a low, faint purr. With its teeth it nips the back of my hand resting on my lap, lightly, gently, and then licks my thumb.” — Emmi Itäranta. The Moonday Letters. Quote tranlated by me (unofficial)
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wstrnred · 1 year
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at this point eiji aonuma and the rest of the botw + totk development team need to stand outside nintendo hq holding up giant signs that say "WE LOVE STUDIO GHIBLI" and "THANK U MIYAZAKI"
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call it what you want // peace
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dougielombax · 6 months
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If I had a penny for every time Donna Noble ended up living a whole other life in a parallel world which was then snuffed out instantly in the blink of an eye then I would have two pennies.
Which isn’t a lot, sure.
But it’s just weird that it happened twice.
(Silence in the Library/Forest of the Dead and Turn Left.)
Still.
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mishy-mashy · 6 months
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Concerning the Witch Cult and the Seal in Elior Forest;
So I watched through the episodes where Pandora and Regulus show up in Elior Forest, and Emilia is frozen, and had some wonders
First, Petelguese, when he takes the Witch Factor, apologizes to "Flugel-sama". But why Flugel? Remember, Flugel wasn't actually considered anyone great, and was only known because he planted a big tree and carved "Flugel was here" on it
Then there's also the Seal that the elves protect. Fortuna says that if the Seal is unlocked, the world will definitely end this time. But, at this time, who actually can destroy the world? Even looking at the Seal's colors and decorations, they befit Satella, who TRIED to destroy the world and was partially successful.
The world will definitely end this time. There was a past attempt, and this was only ever done by Satella.
So I'm assuming the Seal is containing Satella. The key only appears to the one qualified to open it—and that's Emilia. The same identical half-elf that the Witch Cult believes is the perfect vessel for Satella; the vessel can open the door, and has the key, no one else. Methinks if Emilia opened the door, she might be possessed or become a martyr
Yeah, it's said that Satella was sealed beyond the Great Waterfall. BUT BUT BUT, REMEMBER, they consider beyond the Great Waterfall as THE SAME AS A PARALLEL WORLD. Yin magic can easily sever reality and space, and create a pocket dimension or open to a new reality, just by upgrading Shamak.
For example, remember Beatrice's Door Crossing? The Seal could easily just be the doorway to a pocket dimension like Shamak, and it would still be considered beyond the Great Waterfall.
What the Elves are guarding is the tomb of Satella. That's why the Witch Cult's docile faction helps out the Elves; the Witch Cult reveres Satella. The Elves hid Emilia from the Cult on purpose, but Petelguese found her anyway; and Petelguese sacrificed himself in an attempt to keep the Witch of Vainglory (Pandora) and the Archbishop of Greed (Regulus) away from Emilia. The docile faction definitely had a different goal from the radical faction, the latter which always chases Satella's vestiges.
Petelguese definitely knows something more about Flugel than "Yeah, he made a tree" because to the public knowledge of the Re:Zero world, Flugel is only a guy that grew a tree that happened to live long. It's only realized that Flugel is who the Sage Shaula actually refers to, by Subaru's party in the Pleiaides Watchtower; a place even the Sword Saint couldn't reach. As part of the Witch Cult, Petelguese probably knew a lot of the truth of Flugel and Satella, if he revered Flugel, knew the implications of an incompatible Witch Factor, and knew of the Seal.
Petelguese knows what happens if you take in an incompatible Witch Factor: some sort of insanity. Even Regulus warns him about knowing the price to pay, yet Petelguese still took the Witch Factor. Petelguese knows about Flugel, so he probably knows about the Witch of Envy VS Satella; whenever he refers to the Witch of Envy, he mainly says Satella. There might be parts where he says Witch of Envy, but he mainly says only Witch or Satella. Petelguese taking the incompatible Factor his own choice kind of parallels Satella's own incompability, that it brings the question: was Satella also forced to make a similar decision?
The Elves guard the Seal of the Witch of Envy. The Seal is technically beyond the Great Waterfall. Petelguese probably knew the truth, and Emilia's oddly the only person that can access the Seal's key; that's what I think.
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