pathologic but it's a lost 1920s german expressionist film [id under cut]
[id:
image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.
images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads:
'Pest', a film by Robert Wiene
Alfred Abel as Victor Kain
Ernst Busch as Grief
Lil Dagover as Katerina Saburova
Ernst Deutsch as the Bachelor
Carl de Vogt as Vlad the Younger
Marlene Dietrich as the Inquisitor
Willy Fritsch as Mark Immortell
Alexander Granach as Andrey and Peter Stamatin
Bernhard Goetzke as General Block
Dolly Haas as the Changeling
Ludwig Hartau as the Haruspex
Brigitte Helm as Anna Angel
Brigitte Horney as Maria Kaina
Emil Jannings as Big Vlad
Gerda Maurus as Yulia Lyuricheva
Lothar Menhert as Georgiy Kain
Asta Nielsen as Lara Ravel
Ossi Oswalda as Eva Yan
Fritz Rasp as Stanislas Rubin
Conrad Veidt as Alexander Saburov and Tragedian
Paul Wegener as Oyun
Gertrud Welcker as Aspity
image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).
image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.
end id.]
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"But Lokius isn't even canon! Stop making everything gay!"
...
The Loki series isn't just about romantic relationships and shouldn't be seen as so. However, there is a lot of subtext. Maybe this ship is not canon, but it was intended to be seen as so by the fans.
If Lokius isn't canon, then why were the last two shots of the series showing Mobius and Loki?
If Lokius isn't canon, why would there be so much touching and scenes so physically close to one another? (believe me I know they're friends. that just offers a solid base for something more)
If Lokius isn't canon, why is there an OFFICIAL track named like that?
Why is said track played or incorporated in different scenes of the series? like
-the first McDonalds meeting with Sylvie,
-the back-in-time conversation with Kang
- the ASCENSION to the throne?
Why is the Sylvie and Loki kiss never mentioned, by the producers, in the series per se, or even in the season 1 recap?
Why is Mobius the only one looking at Loki when he leaves down to the temporal loom?
And the other way around, why did Loki only make eye contact with Mobius in that scene?
Why is Mobius the only one to notice there is something wrong when Loki is still trying to fix the Loom?
Why did Mobius/Don on the original timeline, mention he's single, trust a complete stranger, invite him for a drink, AND offer to sell him a quite personal jet-ski?
Why did Loki, the LITERAL GOD OF MISCHIEF stutter and fix his hair and coat for no one else but Mobius (who by the way is just a jetski salesman on that timeline)?
Why is the timeslipping Loki had to go through directed to Mobius twice, him being the the only one he doesn't need a TemPad to "recruit"?
Why would Loki bring up Thor and Jane if it wasn't to mirror him and Mobius? (because, as he already was talking to Sylvie, he certainly wasn't implying it's about her. They were arguing, AND Mobius was implied in the conversation. Loki defended him in front of Sylvie, in case you forgot.)
Why would Mobius's voice be the one to echo back to Loki on his throne? let time pass time pass time pass
Why the RAINBOW?
WHY DID LOKI LOOK AT MOBIUS RIGHT BEFORE THE FAMOUS LINE "IT'S ABOUT WHO"? (important mention: Sylvie was behind him when he said that. why didn't he just turn around when saying it? nope, they know what they're doing)
Why is the shot cut to Mobi after Loki's "it was more about what I wanted" line?
Why the shot where 7 characters could've been showed (Mobius, Loki, Sylvie, B-15, Casey, O.B., Victor Timely) there are only 2: Mobius and Loki?
Why is Mobius the only one to tell Loki he can be someone good, and the first one Loki actually believes despite his tendency to do the other way around in the past?
Why does Mobius finally find insight, and reinvent his whole life at the TVA because Loki helped him do so? (they're not even the first Loki variant he faced, but something clicked this time)
Why does the bloody sleeve, representing Loki being hurt by Sylvie just because he "wore his heart on his sleeve" disappear on episode 2? (because he finally understands who he needs to be next to)
Why did Mobius risk his life on the first episode?
Why did Loki go to past Mobius for the final advice, not to the present one, not to Sylvie?
Why did Loki ultimately sacrifice his life for the ones he loves?
And why is Mobius left alone, with the door locked, after Loki leaves in the Loom's radiation?
Why would there be so much endearing looks, and smiles at each other, if not for a conscious acting choice?
Why why why why why if it isn't canon?
Nothing is for nothing. Especially in television, where everything counts from the light to the angles and the way the lines are spoken.
We don't need to see two characters kiss to know they are made for one another. In fact, I think implied canon is so much better for now, because it leaves free interpretation for the fans, and nothing to strike on for the haters.
Of course, that doesn't change the fact that the ending is still tragic, although it holds its sweet from bittersweet. But remember: there aren't tragedies without love.
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me last weekend, about to see Nope: hehe hoohoo, this’ll fuck me up good
me, after watching Nope: This thing punched through every callus ever hardened over the calcified pit of my desensitized horror movie-saturated heart, grew an entirely new spectrum of terror, then beat me into a fine pulp with it. My brain chemistry is permanently altered and I can never trust the sky again. The screaming. God, please, please, the screaming. All of them up, in a line, shrunk in flesh and light, and still screaming,
me, less than a week later, about to see Nope: hehe hoohoo, this’ll fuck me up good
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Someone brought up the lack of scope people have in regards to the 'Animation is Cinema' sentiment. Or, how people who make those tweets or posts always point out the same four American CGI movies.
So, with that in mind, let me offer:
Millennium Actress (2001)
WolfWalkers (2020)
Persepolis (2007)
When the Wind Blows (1986)
Please feel free to add any other strong pieces! Remember, try to aim for animated films that are either traditionally animated or a from foreign (specifically not Disney/Disney-affiliated) studios.
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