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dandanjean · 8 months
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L’énergie d’acceptation
Ce n’est qu’après ma maladie que je compris combien il est important d’accepter son destin. Car ainsi il y a un moi qui ne flanche pas quand surgit l’incompréhensible. Un moi qui tient bon, qui supporte la vérité et qui est à la hauteur du monde et du destin. Alors une défaite peut être en même temps victoire. Rien n’est troublé, ni au-dedans ni au-dehors, car notre propre continuité a résisté au…
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ebatbuok · 1 year
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Ce en quoi je crois... [:), sans dogme, rassurez-vous et un peu d'humour]
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Thoughts on ‘A Ghost Waits’
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Watched this for the third time in I think less than a year this past month. Since the first time I watched it, I've loved this movie.
The best way I can describe it maybe is that it's like "A major ghost movie directed by a Mumblecore / Dogme '95 team". With a haunted house story seemingly stripped down to the core. This is definitely helped by the decision to use a greyscale to create a black and white
'A Yellow Cotton Dress' by Wussy is a song introduced in the early goings as a soundtrack for Jack as he works on the empty haunted household, an indie rock piece probably reminiscent of many favourite songs. But its second utilisation is evocative of the entire movie, in that Jack plays a stripped down version on an acoustic guitar, giving new context to the song. Jack plays the song in a moment that coincides with Muriel the Ghost's first seeing of him, and unlike many first moments built on tension, this moment is built on a gentleness, Muriel almost inconsequential as just like the audience, she sees the depth within this individual first.
The song to me is talking about a house, a partner, a life, that until given true meaning is empty and devoid of life. A dress is pretty until you see a loved one wear it, and it becomes something actually worthwhile to you. A building isn't a home until you live in it, a partner is an idea until they become a reality, a life is worthless unless you have something to live for.
Jack is a blue-collar handyman who is wandering through life with little connections fixing houses, Muriel is a ghost (sorry, 'spectral agent') haunting a house stuck in a bureaucratical afterlife ala 'Beetlejuice' who has nothing beyond her role. They exist but are not alive, an empty cotton dress on the side with the nobody to fill it. Whilst not subtle in terms of Muriel's attempt to scare Jack off, the surprising aspect of Jack's awareness of his own faults and fears off-kilts the attempts to scare him. "Yeah, I'm a failure, you're right...so what should I do about it?"
MacLeod Andrews has a genial everyman quality that allows his transition between non-believer and believer to feel quick but believable, the sort of person who is open minded and comes to terms with the evidence displayed to him. Natalie Walker has this air of humanity to a spectral element, in that she also has a job to do and the ever growing frustration and bewilderment at its lack of success. The haunted who is more curious than afraid, and the haunter fuelled by KPIs and quotas than incessant rage and hated.
The minimal setting and setpieces actually works as a strength, being a physical representation of the placement both characters are in, while allowing the focus of the story to be on its characters and their relationship rather than special effects, jump scares or horrors. It's a non-horror examining the lives of two people defined by the simple drive of "I have a job to do", Jack to fix the house, Muriel to rid the house.
There is a fascinating comparison between the weariness of Jack / Muriel and the inclusion of Sydney Vollmer's Rosie, a more modern 'spectral agent' thrown in to force Jack out of the house at Muriel's expense. What in any other film would be a generic antagonist to be defeated, instead it reinforces the concept of being defined by a role attributed to you and the pressures of achieving the work given to you. By Jack and Muriel briefly venturing outside the lines of their set roles, finding a connection, it threatens those who have become defined by their roles, reinforcing the fears and loneliness of those involved. The biggest fear is maybe not loneliness, it's becoming aware of what is wrong and what is missing?
The most surprising element is not that the two begin to fall for each other, but the shockingly moving montage in the final act, as Jack's unquestionable loneliness culminates in the decision to join Muriel in the afterlife. He's found somebody he wants to be with, but she can't allow a human to stay within the house, so the compromise is to kill himself and they haunt the house together. They've both found a connection, he is no longer alone and drifting through an uncaring life, and she has a reason to enjoy being in her home.
Adam Stovall has directed and co-written (with MacLeod) a surprisingly rich piece of film that could succeed transitioning to stage, or be expanded upon into a miniseries (there are several aspects of the third act that could have been expanded upon in more detail). It's refreshingly emotional and impactful, culminating into a gorgeous rendition of 'Years Go By' by The Bengsons, a beautiful song reminiscing of a moment that could last a second or a lifetime.
I love this film, it simultaneously feels full of subtext and yet barely scratching the surface of its possibilities. Its rich beyond its surface but full of potential. But more than anything? It hits you when you least expect it and finds the light within the darkness. Like Jack, Muriel, and even Rosie, this film offers something you need. A connection.
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fdx73 · 2 years
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La vie n’est ni mathématique
Ni biologique
Ni aux ordres d’une autre utopie scientifique
Ou romantique
La vie est poésie
C’est sa logique
Sa mécanique
Un rêve d’indépendance organique
Et peut-être même philosophique
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arsanimarum · 1 year
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“Everything lives by movement, everything is maintained by equilibrium, and harmony results from the analogy of contraries; this law is the form of forms.”
Éliphas Lévi, Transcendental Magic: its Doctrine and Ritual
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doesmadssurvive · 9 months
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Elsker dig for evigt (2002)
Character: Niels Film: Elsker dig for evigt (eng. Open Hearts) Year: 2002 Language: Danish Lenght: 113 minutes
Is he alive at the end? YES
Sidenote: This film is filmed with Dogma 95 rules.
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pathofregeneration · 2 years
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Hermeticism is the science of nature hidden in the hieroglyphics and symbols of the ancient world. It is the search for the principle of life, along with the dream (for those who have not yet achieved it) of accomplishing the great work, that is the reproduction by man of the divine, natural fire which creates and recreates beings.
Éliphas Lévi, Dogme et Rituel de la Haute Magie
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cetal · 2 months
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Lars von Trier - The Idiots, 1998
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capyrancher · 8 months
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music video i directed came out today
Ryder Bach - Need U
dir. Adam Leier
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dandanjean · 9 months
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Savoir
Le savoir est quelque chose d’énigmatique. Un peu comme l’amour, on a tendance à le définir par une forme. En amour, c’est le sentiment envers un autre humain, pour le savoir, le fait d’avoir la bonne information et les bonnes connaissances. Il faut considérer que les informations, tout comme les connaissances, sont éphémères. Parfois, au fil du temps, l’information ou la connaissance que nous…
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New fic up!!
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fabiansteinhauer · 10 months
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satoshi-mochida · 4 months
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Dragon’s Dogma II – 18 minutes of Fighter, Thief, Warrior, and Sorcerer gameplay.
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arsanimarum · 1 year
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“Weakness ever sympathizes with vice, because vice is a weakness which assumes the mask of strength. Madness holds reason in horror, and on all subjects it delights in the exaggerations of falsehood. The cause of all bewitchments, the poison of all philtres, the power of all sorcerers are there.”
Éliphas Lévi, Transcendental Magic: its Doctrine and Ritual
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atitudini · 4 months
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Pr. Arsenie Papacioc: „La catolici nu ştiu dacă mai fuge dracul de cruce”
Tradiție și unitate Părinte, cum să creăm o atitudine la nivel de mase atunci când este multă dezbinare şi între noi, ortodocşii? Ca să creăm o unitate între noi, trebuie să ne aşezăm pe relaţie de poziţie cu veşnicia. Continue reading Untitled
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sr-wicked · 10 months
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Mostrar à noite a luz aos pássaros, é ocultá-la, pois que ela os cega e torna-se para eles mais obscura do que as trevas
Éliphas Lévi; Dogma E Ritual Da Alta Magia
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