When you are young, new in all aspects, you think you know how to love, but you don't. We love at that moment with all the forces of our being concentrated in our heart, a heart that beats with restlessness, but in search of a north.
Cuando se es joven, nuevo en todos los aspectos, uno cree saber amar, pero no es así. Amamos en ese momento con todas las fuerzas de nuestro ser concentradas en nuestro corazón, un corazón que late con inquietud, pero en busca de un norte.
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IN THE CUT’S FIRST LOOK INSIDE THE WILD MIND OF DAVID LOWERY’S SUPERNATURAL DIVINE MASTERPIECE, THE GREEN KNIGHT--- DEV PATEL GETS MEDIEVAL IN ARTHURIAN LITERATURE
THE GREEN KNIGHT (2021); directed by David Lowery
As a budding filmmaker and journalist, one of my favorite classes during my studies was Arthurian Literature. Throughout the course, the class read and compared the medieval stylings of Sir Thomas Malory's definitive collection of Arthurian Tales, LE MORTE D' ARTHUR, and the mid-Victorian poetry of Lord Alfred Tennyson's IDYLLS OF THE KING.
The mythological stories paint a canvas of King Arthur and his valiant Knights of the Round Table and the beautiful Guinevere and the magician-wizard Merlin. Both variations serve various retellings of treasured folklore, embalmed inside the catacombs of archived literature forever cemented in the pantheons of history.
David Lowery's THE GREEN KNIGHT, starring the beguilingly blindingly beautiful Dev Patel, takes on a PAN'S LABYRINTH approach to the story of Sir Gawain, and The Green Knight runs parallel to that of the biblical David and Goliath. Sir Gawain, one of the greatest knights to have ever lived and the nephew of King Arthur, accepts the challenge to behead The Green Knight, for which the mysterious beast reminds him of the pact they made to meet in a year and a day. Struggling to keep his end of the bargain, Gawain never backs down from his chivalry and loyalty to the crown and the Kingdom of Arthur. But, soon, even that comes into question, leaving the knight in doubt.
The cinematography, jewel-toned and dripping in mustards, rubies, forest, and cerulean, bleeds through the topography of the screen canvas. This decadently enriching display of color, plus the breathtakingly haunting performance of Dev Patel, has made the trailer shoot up to one of my favorite trailers, alongside Leos Corax's HOLY MOTORS, ever.
IN THE CUT's zine is thankful that David Lowery found another story within Aruthian Literature to retell. We don't need another Holy Grail, Excalibur, and indeed, not another King Arthur movie like that abominable Charlie Hunnam starring Guy Ritchie directed one. He found a relatively untold story of one of the more underrated knights and designed a fantastic world. We dream out about it.
We also love that a stiff-upper-lip white British male does not play Sir Gawain's protagonist. Seeing as the British Empire spend 89 years colonizing India, it's about time to see a bloody brilliant British actor of Gujarati Indian descent lead a film based on Arthurian Literature. They found the Holy Grail in Patel. He's the real deal, a genuine artifact of old school good looks and acting skill, with the newness of the future.
Gawain grips his ax and smites the Green Knight, beheading him, and forevermore the images of the dreamy darkness live within the silver screen.
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Rape-revenge films aren’t feminist, per se, but rather they represent the “way in which Hollywood can be seen to be making sense of feminism,” argues scholar Jacinda Read in her 2000 book, The New Avengers: Feminism, Femininity, and the Rape-Revenge Cycle. The films resist broad characterization, notes Alexandra Heller-Nicholas, the author of Rape-Revenge Films: A Critical Study. Taken as a whole, she wrote in an email, the films “articulate just how confused and hypocritical our broader attitudes to gendered violence and sexism in general are.”
Diverse as these stories may be, they tend to present a similar sequence of events, Read points out: rape, transformation of the victim, and then revenge. In several post-#MeToo iterations, the avenger targets not only a single perpetrator of rape, but rape culture more broadly. Such is the case in Promising Young Woman. Cassie unleashes on lascivious men, witnesses, lawyers, and school administrators—an entire network that legitimized her friend’s rape and others like it.
It’s also the case in Lisa Taddeo’s new novel, Animal. Taddeo made waves with her 2019 nonfiction book, Three Women, a masterful portrait of sexual desire and abuse. It’s as if she inhaled the cruelties her subjects endured in her first book and exhaled Animal’s protagonist, Joan. Taddeo told audiences at a May book event that while writing about “all the trauma, rage built up in me.” In Joan’s world, husbands always betray wives, and fathers their families; young women left alone fall prey to seedy men who are constantly circling. “Honestly, sometimes I think it’s the only recourse,” her friend Alice comments, “killing men in times like these.”
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And Éowyn looked at Faramir long and steadily; and Faramir said: 'Do not scorn pity that is the gift of a gentle heart, Éowyn! But I do not offer you my pity. For you are a lady high and valiant and have yourself won renown that shall not be forgotten; and you are a lady beautiful, I deem, beyond even the words of the Elven-tongue to tell. And I love you. Once I pitied your sorrow. But now, were you sorrowless, without fear or any lack, were you the blissful Queen of Gondor, still I would love you. Éowyn, do you not love me?' Then the heart of Éowyn changed, or else at last she understood it. And suddenly her winter passed, and the sun shone on her."
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