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originalartblog · 6 months

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Im gonna cry all the tinies are just...so smol??? N cute??? I LOVE THEMB 🥺😭💕 -gently places an assortment of candies down for the tinies and leaves a bowl of Halloween candy for the ADA-

they'll still be working on their candy stash come December

#AT SCALE #bsd #bungo stray dogs #bungou stray dogs #tiny skk adventures #nawy's doodles #nawy's crafts #bsd dazai #bsd chuuya #bsd dazai osamu #bsd nakahara chuuya #skk #soukoku #ask answered

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grigori77 · 1 year

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2022 in Movies - My Top 30 Fave Movies (Part 2)

20. THE WOMAN KING – While Wakanda Forever was making a bit of a pig’s ear of things, this action-packed historical epic from The Old Guard director Gina Prince-Blythewood tackled broadly similar material and pulled it off without a hitch. I’ve been fascinated with the intriguing story of the Dahomey Amazons for a while now, even before I got into Black Panther and the Dora Milaje they inspired through the MCU, so when I heard there was gonna be a movie about them I got REALLY excited, so I was already pre-programmed to love this movie. Y’know what I’m like around strong woman … anyway, the story here is of the Agojie, the all-female warrior elite of the West African sovereign nation of Dahomey, circa 1823, when king Ghezo (John Boyega), new to the throne and determined to bring his people out from under the oppressive shadow of the slave trade, begins to clash with their aggressive neighbours and the Portuguese slavers who stoke the flames of war in order to grease the shameful wheels of their business. Boyega is, as ever, a noble and charismatic presence in the cast, but OF COURSE this film is dominated by the Amazons themselves – Viola Davis, it turns out, was BORN to play the role of Agojie General Nanisca, the army’s commanding leader, who’s forced to confront a troubling ghost from her well-buried past in the form of a new recruit, Nawi (The Underground Railroad’s Thuso Mbeda, a fiery and intense focus for the story’s driving narrative), a wilful young girl who dreams of becoming a mighty warrior rather than facing a life of drudgery in an ill-made marriage match; Captain Marvel and No Time To Die’s Lashana Lynch, meanwhile, essentially STEALS THE FILM from everybody else as genuine force-of-nature Izogie, a badass veteran fighter whose irreverence is matched only by her ferocity, and Sheila Atim (also from The underground Railroad) brings focus and stately grace to proceedings as Amenza, Nanisca’s close friend and trusted confidante. They’re a fierce and intimidating lot, raising merry hell in a series of explosively blood-soaked set pieces that stir the blood and whiten the knuckles, while the screenplay from Dana Stevens (Life Or Something Like It, The Nightingale) wears its standard historical adventure tropes on its sleeve, turning what could have become tired, rote cliches in the hands of a lesser writer into comforting strengths for all their familiarity. Certainly Prince-Blythewood is on fine form here, clearly having as much fun crafting a stirring epic actioner as she did with her Netflix-based breakthrough, further cementing her status as an emerging blockbuster director of genuine promise. I look forward to seeing what else she’ll deliver when the incoming sequel to The Old Guard arrives …

19. THE TRAGEDY OF MACBETH – this adaptation of one of my very favourite William Shakespeare plays is a particularly notable milestone in cinematic history, because for the very first time, writer-director Joel Coen has made a feature film without his ubiquitous filmmaker brother Ethan having anything to do with the project. That being said, Joel’s always been such a dominant force on the DIRECTING side of the Coen Brother’s output that, if you didn’t know this, you’d never know Ethan was absent on this one, because it’s still EVERY INCH a Coen film. It’s also Denzel Washington’s first time working for either Brother, but he’s SO magnificent as one of the greatest fictional villains OF ALL TIME that you won’t have any idea WHY they never worked together before. He’s absolutely MESMERISING as Macbeth, the doom-courting Thane of Cawdor, who decides to murder his way to the throne of Medieval Scotland after receiving a very tempting prophecy from a trio of creepy-ass witches right after a decisive battle sees him get one hell of a royal promotion – Washington sizzles and sears in every scene, whether he’s smouldering with pregnant understated menace or exploding with un-righteous fury as Macbeth is haunted by gruesome ghosts or egged on by his scheming, ambitious wife. Coen-regular Frances McDormand matches him in every scene as the DEFINITIVE Lady Macbeth, particularly as she crumbles spectacularly once the guilt of what they’ve done starts to weigh her down; Brendan Gleeson is typically grand yet cuddly as ineffectual ill-fated King Duncan, while Harry Potter star Harry Melling continues to prove that he's grown up into a truly DYNAMITE star-in-the-making as his untested but prematurely put-upon son Malcolm, The Boys’ Alex Hassell is obsequious but complex as duplicitous young nobleman Ross, and Straight Outta Compton’s Corey Hawkins makes for a suitably strapping and dynamic Macduff (ALWAYS my favourite character in the play and EVERY adaptation). Joel Coen has once again dropped a blinder on us, solo-effort or not, making Sakespeare’s text breathe in fresh and interesting ways while he weaves a beautifully bleak and haunting visual spell, unleashing compositions on us that recall the subtly unsettling weird mundanity of American Gothic art or the surrealism of German expressionist cinema, especially in the film’s very unusual interpretation of the supernatural, as well as framing the story’s bloody and decidedly non-glamorous violence with an almost clinical detachment which perfectly complements the gorgeously stylised world he’s built, all of it topped off with an unsettlingly lowkey atmospheric score from regular Coen collaborator Carter Burwell. Thoroughly deserving all the immense acclaim it’s had heaped upon it, this definitely proved to be one of the year’s early surprises and one of its most downright exquisite works of art. Most important of all, though, Joel’s taken what’s always been a definitive Shakespearean villain and turned him into one of the all-time GREAT Coen protagonists ...

18. DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS – Okay, maybe I am being A LITTLE hard on this year’s MCU offerings, I’ll admit this one IS pretty great. It’s not perfect by any stretch, but there’s no denying that it’s a PROUD example of its breed, and if I’m honest in some ways it’s certainly better than its titular character’s FIRST feature in the franchise canon. Ultimately a HUGE reason for this undeniable success is the triumphant return to the Marvel stable of Spider-Man’s original big screen shepherd, Sam Raimi, who MAGNIFICENTLY makes up for the shortcomings of his frustratingly muddled and underwhelming third entry for the Web-Headed-Wall-Crawler with this far more solid effort. Sure, it has its flaws and once again there are points where it’s clearly trying to do too much, but this time round Raimi manages to rein in the excess JUST ENOUGH to keep things consistent and coherent throughout, and the end result is one of the MCU’s darkest films to date. 2021’s Spider-Man: No Way Home saw Benedict Cumberbatch’s former Sorcerer Supreme tackle the Multiverse for the first time, and now he’s got his hands full dealing with the aftermath as the emergence of ‘Verse-hopping teen America Chavez (The Baby-Sitters’ Club’s Xochitl Gomez), a young superhero with the ability to “punch” through dimensional walls sets all his hard-earned efforts to repair the damage spinning into chaos. America’s been targeted by the Scarlet Witch herself, Wanda Maximoff (Elizabeth Olsen), who wants to use her powers to tear through the walls between worlds so she can be reunited with her “lost” children after the tragic conclusion of Wandavision, but Strange takes issue with her methods, foreseeing nothing but darkness and ruin across the Multiverse should she be allowed to pursue her insane plan, which sets them at loggerheads with the fate of all existence in the balance. Raimi’s presence in the director’s chair in lieu of original Doctor Strange helmer Scott Derrickson makes sense when you realise this is the MCU’s first true, full-blooded HORROR MOVIE, Marvel wisely bringing one of the greatest directors in the genre’s history onboard to usher in a pervading atmosphere of pregnant dread, chilling suspense and jolting terror to many of the set-pieces while one-time Avenger Maximoff has been ingeniously recast in the mould of a genuine horror movie MONSTER, frequently triggering some of the film’s most ruthlessly effective jump-scares. As a result, while this movie does (just) pull its punches enough for its PG-13 rating, it’s DEFINITELY NOT one for the kids, and while it’s certainly got plenty of the ubiquitous MCU heart, spectacle and winning sense of humour, this is sometimes pretty dark, hard-hitting stuff. (A good yardstick for you – remember that What If? Marvel Zombies episode? It's very much like THAT.) Cumberbatch is once again on TOP FORM as Strange, treading an admirably fine line between hero and prick as the erstwhile Master of the Mystic Arts navigates the murky waters between what’s right for the greater good and what he knows in his heart should REALLY be done, while Gomez is a phenomenal find for Kevin Feige and the other MCU bigshots, emotive, effervescent and often downright lovable as a simple teenage girl trapped by her unavoidable circumstances in the eye of a veritable hurricane of fate, and it’s wonderful to see Rachel McAdams return in more than one form as Strange’s one-that-got-away, Dr Christine Palmer, who brings an important grounding element to her scenes as the one entirely human anchor for the audience to experience all this craziness through, as well as the ever-reliable Benedict Wong as, ahem, Wong, once librarian at Kamar-Taj but now the CURRENT Sorcerer Supreme (because Strange got Blipped for five years), who’s just permanently done with all his shit, and always down to remind him not to be such a PRAT; there’s also a phenomenal who’s-who of supporting turns and cameos from new and returning faces I’d be painfully remiss in spoiling for anyone who wants to experience some of the Multiverse’s ingenious twists and turns, although I can say that’s it’s one of the film’s biggest momentary joys that Raimi even found time to get his old mate Bruce Campbell a fun little role in this too. The real runaway star of the film, however, is Elizabeth Olsen, who does a beautiful job of taking a heroic mainstay in the narrative of the MCU and, through some VERY clever screenwriting and character development, twisting her into something dark, dangerous, sometimes genuinely terrifying and ultimately heartbreakingly tragic in her paradoxical sympathy (I swear, your heart breaks for Wanda even when she’s scaring the wits out of you). Sure, at times this is glaring by-the-numbers MCU and there are times when it doesn’t quite work, but there are also moments of downright GENIUS on offer here, from some elaborately inventive action sequences (a scene involving music as a weapon is beautifully conceived), while the skill of everyone involved is certainly great enough to keep things on the right track and paper over the cracks when they DO appear. Certainly Raimi’s firing on all cylinders here, producing what’s most definitely his best film since the heady days of Spider-Man 2, and it certainly does an admirable job of establishing the Multiverse in the MCU in the interests of opening the franchise up to much wider scope in the interests of moving forward into its future. Maybe bringing him on again for another entry somewhere down the line might be a smart move for Feige and the boys if THESE are the kind of results he can deliver …

17. HELLRAISER – I’ll admit, when I first heard they were making a new soft reboot movie adaptation of Clive Barker’s classic cosmic horror novella The Hellbound Heart, which of course spawned a much beloved cinematic franchise (even though it ultimately went off the rails after the third instalment, albeit with a few decent blips in the interim), I was deeply sceptical. Then I heard that it was going to be directed by David Bruckner, who did such a phenomenal job with the spectacularly creepy horror flick The Ritual, and I started breathing a little easier. Then I heard about some of the casting choices, and it sounded like they were definitely heading in the right direction … and then I saw the trailer, and THAT had me frothing in my excitement. Needless to say when it finally arrived I POUNCED, and it did not disappoint me in the slightest, as you can see. XD Thankfully this has followed the smart move of taking things RIGHT BACK to the start, although this time round they’re trying things a little different, introducing a new, richer narrative take that expands on the established mythology while also carving a fresh path for the future. That being said, the classic ingredients are still present and correct – the lethal puzzle box, the Faustian pact, the Cenobites, it’s all there, and all handled exquisitely. Odessa A’zion (Fam, Grand Army) makes for a plucky and determined but also compellingly vulnerable lead as Riley, a recovering drug addict who stumbles upon the cursed box after one bad night drives her to do something really stupid, but then things go from bad to worse when the device is triggered, the Cenobites come calling and her brother Matt (13 Reasons Why’s Brandon Flynn) is taken. Now she must solve the mystery behind the box’s ever-evolving puzzle in an increasingly desperate bid to find her brother and save her soul from unknowable, nightmarish torments, tumbling headfirst down a dark rabbit hole of twisted conspiracy and demonic vice spearheaded by monstrous nihilistic playboy Roland Voight (Goran Visnjic). Your heart genuinely hurts for A’zion as she goes through hell, but she’s got some impressive steel in her when things get hard, while there’s interesting supporting turns from Adam Faison as Matt’s sweet, straight-laced boyfriend Colin and Drew Starkey (Love, Simon and The Hate U Give) as Riley’s twitchy enabling lover Trevor; Visnjic, meanwhile, brings his inherent edgy dark side to the fore as a suitably despicable, entitled villain, and the Cenobites are a spectacularly nightmarish bunch, especially Sense8’s wondrous Jamie Clayton, who brings us an intriguing and strangely sensuous new take on fan-favourite Pinhead. The horror elements are, interestingly, somewhat stripped back throughout much of the film, Bruckner again clearly preferring to value atmospherics and plot-based intrigue over gruesome shocks and cheap jumpscares as we follow Riley while she delves into a suitably labyrinthine mystery, although when the film DOES decide to get scary it sure don’t pull its punches, delivering some truly twisted moments that are sure to please the hardcore faithful. Gods know I was impressed throughout – no only is this a PHENOMENAL step back in the right direction for a franchise that’s been flagging for far too long, but it’s also a glorious tribute to the undeniable horror master who birthed the original. Clive deserves to be proud, from the looks of this his baby is in very safe hands indeed.

16. BULLET TRAIN – The award for the year’s most spectacularly OTT blockbuster went to the latest magnificently bonkers darkly comic action-packed thrill-ride from hot shit stuntman-turned-director David Leitch (the first John Wick, Atomic Blonde, Deadpool 2, Hobbs & Shaw), which has a title which tells you pretty much all you really NEED to know about this going in. Convinced? Then just go and WATCH IT, you won’t be disappointed, and there are plenty of neat little twists and turns in this that mean this is best watched going in good and cold (ESPECIALLY if you haven’t seen any of the trailers yet). Still with us? Well all right then … adapting Japanese author Kōtarō Isaka’s popular black comedy novel Maria Beetle, it follows a disparate collection of contract killers and a professional thief onboard a speeding Japanese bullet train who are brought into frequent violent collision by a series of bizarre events and the deadly machinations of a brutal legendary crime boss known as The White Death. Brad Pitt is already well-established as a bankable action hero who can easily pull off the physical requirements of his leading man role here, but once again he shows us that what he TRULY excels at is COMEDY, winning us over with brilliant hangdog exasperation as Ladybug, the thief in question who’s long suffered from BIBLICAL levels of bad luck, hired to go onboard purely to steal a briefcase full of money, only to find his personal curse keeps throwing him into increasingly crazy confrontations while he’s desperate to just GET OFF THE TRAIN and deliver his ill-gotten cargo; Kick-Ass’ Aaron Taylor Johnson and Atlanta’s Brian Tyree Henry, meanwhile, are an unapologetically chaotic pair as Tangerine and Lemon, “twin” British hitmen who’ve been charged with rescuing The White Death’s son (Percy Jackson’s Logan Lerman) from kidnappers and returning him to his father, although their constant bickering quickly lands them in much deeper shit once Ladybug’s stolen the case-full of ransom money they liberated while they were at it; then there’s the Father (Snake Eyes’ Andrew Koji, hard-bitten and magnificently vulnerable throughout), who boards the train with the intention of killing the person responsible for putting his young son in a coma, only to fall foul of the devilish machinations of The Prince (The Kissing Booth’s Joey King, manipulative and frequently downright CHILLING in her sociopathic Machiavellian brilliance), a mysterious young woman plotting something truly TERRIBLE when the train reaches its destination; and finally there are excellent supporting turns from the likes of Deadpool 2’s Zazie Beetz, Michael Shannon, Sandra Bullock (wonderful as Ladybug’s much put-upon handler Maria) and the legendary Hiroyuki Sanada in a variety of rich and meaty roles I really couldn’t begin to get into because of, y’know, SPOILERS … needless to say Leitch and his crew are on comfortably firm ground to bring more of their patented overblown mayhem to bear in a series of explosive and frequently batshit mental set-pieces that also play beautifully into the film’s jet-black sense of humour – this is a story that SHOULD NOT be taken seriously for a second, and the hit-rate for the substantial procession of quickfire gags, skits and ingenious call-backs and references is one of the highest I’ve ever seen in an action comedy. The end result is a work of pure mad genius, and despite the critical detractions (and somewhat surprising accusations of whitewashing given the author himself gave the adaptation his full blessing) this is about as close to perfect as an action movie can get, a precision-crafted masterpiece you need to pay close attention to since there’s so much going on and it’s all so intricately important because every brilliant little detail ALWAYS pays off in the end. This is BY FAR the most fun I had at the cinema all summer, some of the most fun I had with a movie ALL YEAR even, and I can’t recommend it enough.

15. DC LEAGUE OF SUPER PETS – My animated favourite of the summer is a pretty interesting beast (yeah, I know, cute choice of words in this context, ha ha ha, etc). I’m sure it was originally conceived as an amusing little distraction for DC Universe fans while their favourite properties’ futures are in such great upheaval on the big screen, but ultimately I think this is actually the one DC flick I’ve come across that most perfectly GETS the overblown hilarity at the centre of the whole property. Certainly Jared Stern (who co-wrote The Lego Batman and Ninjago movies, here marking his second feature as a director after his debut with Netflix romantic comedy Happy Anniversary) understands this better than some, having expertly lampooned (and somewhat perfectly captured) the inherent truths behind the classic core members of the Justice League of America and their encompassing universe in a 105-minute animated comedy adventure that focused everything through the simplified viewpoint of Superman’s beloved pet dog Krypto. Dwayne Johnson (who got his own major DCEU debut when Black Adam hit our screens in the Autumn, for what it was ultimately worth) is a fine choice for the vocal role of the super-pooch in question, who finds himself suddenly de-powered and forced to enlist the help of a quartet of rescue pets who’ve just been “gifted” with superpowers by a tiny fleck of orange Kryptonite – Johnson’s Central Intelligence co-star Kevin Hart is Ace, an independent but loyal boxer dog who becomes super-strong and indestructible, I Love You For That’s Vanessa Bayer as PB, a Wonder Woman-fangirl potbellied pig who develops the ability to grow or shrink to insane degrees at will, Natasha Lyonne as Merton, an incredibly old, extremely near-sighted box turtle who inherits super-speed, and Rogue One’s Diego Luna as Chip, a neurotic squirrel who’s granted lightning powers – acquired by Lulu (Saturday Night Live legend Kate McKinnon), a megalomaniacal hairless guinea pig obsessed with Lex Luther (legendary stand-up comic Marc Maron), whom the shard grants terrifying telekinetic abilities which she uses to imprison the Justice League and kickstart her own plans for world domination. Yeah … sounds pretty bonkers, right? Thing is, anyone who really knows DC Comics knows how this really is pretty par for the course with a lot of DCU backstory, which is definitely something Stern and his regular co-writing collaborator John Whittington totally understand and definitely ran with here – the inherent batshit craziness of the premise is milked for all the comic genius it’s worth, with the film paying delightful homage to the JLA, the titular pets themselves and a whole raft of other brilliant little winks, nods and easter eggs along the way, while also ruthlessly lampooning the DC Universe with utmost love for the property itself. The voice cast are all ON FIRE here, with Johnson and Hart again hitting it off magnificently as a thoroughly entertaining canine odd-couple, while McKinnon consistently steals the film right out from under everybody with her unabashed comic genius, and Lyonne is an absolute delight all on her own; the Justice League, meanwhile, are brilliantly realised in a delightfully skewed comedic take that nonetheless does them all (ahem) justice, pitched to perfection by the likes of John Krasinski (Superman), Jemaine Clement (a cracking piss-take on The Water Guy, Aquaman) and, best of all, Keanu Reeves (a glorious deconstruction of Batman at his broodiest). The animation is some of the best CGI work I’ve seen from the Warner Animation Group to date, the set-pieces are definitely pitched for laughs but surprisingly well-done in pure action terms, and the humour levels really are full-on OFF THE CHARTS here, but Stern and Whittington have also wisely injected a whole lot of emotional heft and pure HEART into the film too. The result is an animated feature that’s a thorough joy to behold, keeping you gripped, entertained and stuck in the feels right through to the end. This is definitely a film anyone trying to make a GOOD DCEU movie NEEDS TO WATCH, because it’s about as true to the Universe as I’ve EVER seen a movie get … even while mercilessly spoofing it …

14. BELFAST – Kenneth Brannagh’s an interesting duck. As an actor, I love his work, he’s consistently impressed me over the years, blowing me away with some truly spectacular performances, whether in his favoured territory (essaying Shakespeare) or doing something fun and different (such as The Road to El Dorado), or even just providing some solid support to other stars in a smaller role (Dunkirk instantly springs to mind); as a director, on the other hand … yeah, the results have been mixed at best. For every masterpiece like Henry V, Much Ado About Nothing, Thor or Murder On the Orient Express, he’s also brought us dreck like Dead Again, Mary Shelley’s Frankenstein or (gods help us) Artemis Fowl, and a fair amount in the middle ground that’s either kinda meh or actually not too bad if you just go with it (Hamlet, Jack Ryan: Shadow Recruit and Peter’s Friends are certainly ones I actually kinda liked). Approaching a new release, therefore, is always a trepidatious business, you never know what you’re gonna get … so you can probably imagine my surprise when his OTHER latest offering (JUST preceding the pretty decent Death On the Nile) ACTUALLY turned out to be the very best feature I’ve ever seen from him. Then again, this is BY FAR his most personal film to date, Brannagh going RIGHT back to his roots with a semi-autobiographical story which is HEAVILY based on his own personal experiences as a boy growing up in the titular city in Ireland at the height of the Troubles, specifically the August Riots of 1969. The film is told largely from the point of view of nine year-old Buddy (newcomer Jude Hill), the younger son of a small working class family living on a mixed denomination street, who find themselves in the middle of a powder-keg when anti-Catholic resentment starts to boil over in their neighbourhood. His dreamer “Pa” (Jamie Dornan) is looking at the possibility of a brighter future for him and his family if they move abroad to greener pastures, but forceful and pragmatic “Ma” (The Beauty Inside and Ford V Ferrari’s Catriona Balfe) just wants to stay put, and both are forced to make hard choices that directly affect the family’s future as the Troubles start to impact their lives as a whole. Dornan and Balfe are both exceptional throughout, Balfe in particularly shouldering a lot of the film’s heavy lifting with spectacular skill and undeniable talent, while Dame Judi Dench and Ciaran Hinds warm our cockles and pluck at our heartstrings in equal measure as Buddy’s grandparents, two people who are clearly still deeply in love even in the twilight of their time together, and Merlin’s Colin Morgan brings a charged menace to proceedings as the film’s nominal villain, Billy Clanton, an up-and-comer in the local sectarian movement who wants Pa to join The Cause. Buddy’s the undeniable beating heart of the film, though, Hill instantly showing he’s gonna be a star in the future as he essentially brings a young Brannagh to life, a deeply imaginative boy who loves movies and science fiction (especially Star Trek) but is struggling to find his place in the world and what’s going on around him. The director shows as much skill with his writing as he does behind the camera, weaving a compellingly rich tapestry out of a deceptively simple storyline and bringing some genuinely palpable, fully realised characters to vital breathing life (although I guess he had STRONG inspiration to draw from), as well as paying frequent, loving respect to all the massive influences he’s drawn from over the years, from the films he grew up with (Chitty Chitty Bang Bang and One Million Years BC among others) to the music his parents taught him to love (the soundtrack includes several gems from the great Van Morrison). The resulting film is a powerful and rewarding experience, a clear labour of love which is equal parts dramatic, moving, heart-breaking, warmly funny and deeply inspiring. Brannagh wins our hearts by wearing his on his sleeve.

13. THE BLACK PHONE – I see now why Scott Derrickson pulled out of directing the second Doctor Strange film – he had to get what was ALMOST the horror highlight of the summer out of his system. Adapting Joe Hill’s short story with his Sinister co-writer C. Robert Cargill, Derrickson’s comfortably ensconced back in the genre he clearly resonates with best, crafting a fiendishly complex and spine-chillingly intense suspense thriller out of a deceptively simple premise that, at least on the surface, has been reworked more than once before on the big screen. The year is 1978 (that’s when I was born!), and a serial killer is stalking the suburban streets of Denver – the Grabber, a mysterious man-in-a-van who kidnaps teenage boys who are never seen again. His latest victim is Finney (For All Mankind’s Mason Thames), who wakes up in a basement with a defunct payphone on the wall before being periodically visited by the mysterious masked killer (Sinister’s Ethan Hawke) who repeatedly tries to involve Finney in his wicked, sadistic mind-games … only for him to be warned of his fate and coached on how he might escape by the spirits of the Grabber’s previous victims, with whom he communicates through the broken phone (yeah, I know it sounds like a bonkers premise but it’s portrayed in such an ingenious way you never once fail to swallow it hook, line and sinker). Meanwhile his younger sister Gwen (The Mandela Effect’s Madeleine McGraw) is trying to find him with the help of her wildly unpredictable psychic dreams, despite the consternation of her troubled father (the incomparable Jeremy Davies) and the deep scepticism of the detectives assigned to the case. Hawke delivers what’s definitely his most unhinged performance to date, taking his charismatic, likeable leading man persona and tearing it to shreds by investing the Grabber with an air of unpredictable menace and sadistic malevolence that frequently chills the blood even though he spends essentially the whole film with his face obscured by an intriguingly malleable demonic facemask; the two young leads, meanwhile, are both an absolute revelation, with Thames bringing an unbearably palpable uncertainty and vulnerability to Finney which makes his ultimate manning up so deeply fulfilling, while McGraw is a sweet but decidedly salty (and sometimes VERY SWEARY) joy in a rewarding turn which steals every scene she’s in; in the supporting stakes, Davies is enjoyably complex, a drink-addled bad-dad who nonetheless has a good heart beaten down by powerful personal tragedy which ultimately makes us root for him, especially when he finally starts to open himself up to the possibility that Gwen might actually be onto something, while Sinister and It Chapter 2’s James Ransome delivers a delightful crackpot turn as a local conspiracy theorist who thinks he’s got it all worked out. This is a beautifully written film, skilfully realised by a marvellous up-and-coming talent of literary horror and then further refined by a true master of the genre on the big screen, Derickson constantly defying expectation as he throws perfectly pitched twists and turns at us before finally bringing the film to its nail-biting, piano wire-taut climax. Far as I’m concerned this is the best film he’s ever made, and with his track record that’s an impressive feat – I can only hope this is a sign of even greater things to come from him in the future …

12. KIMI – we were already getting movies about the COVID outbreak and the resulting chaos that the Coronavirus has wrought upon us around the world as early as late 2020, but for the most part it’s largely been small, under-the-radar indie stuff. Now we’re starting to get BIG stuff, and the latest from Steven Soderbergh is one of the most impressive offerings I’ve seen to date. Written by thriller cinema extraordinaire David Koepp (Carlito’s Way, Panic Room, Stir of Echoes), this is a spectacularly taut and blissfully streamlined suspense thriller that not only brings the impact of the Pandemic into sharp perspective, but also our growing overreliance on smart device technology and social media – altogether then, fertile ground for a socially-conscious filmmaker like Soderbergh, who essentially PREDICTED all the shit COVID just put us through with 2011’s terrifyingly prescient outbreak-thriller Contagion. The Kimi of the title is the latest creation of the film’s fictional tech conglomerate Amygdala and its visionary CEO Bradley Hasling (Derek DelGaudio), an all-encompassing smart speaker which revolutionises the technology by taking the potentially controversial step of having live human moderators overseeing its operation instead of AI in order to cut down on potential voice recognition-based cock-ups. The film’s main narrative focuses on one of these moderators, Angela Childs (Zoe Kravitz), whose long-standing social anxiety and agoraphobia have been immensely exacerbated by lockdown to the detriment of many aspects of her life. Then a routine review of some of her daily moderations uncovers something deeply disturbing – what sounds to her VERY MUCH like a break-in and the murder of a Kimi owner. Under pressure from Amygdala to bury the information but driven by her own conscience and personal trauma from a similar incident, Angela decides to take matters into her own hands instead … this might be the best performance I’ve EVER seen Kravitz deliver (which is definitely saying something when we just saw her PERFECTLY embody one of my favourite comic book characters of all time), as she invests Angela with twitchy awkwardness but also fierce, unshakeable determination when faced with insurmountable obstacles, creating one of the most refreshingly compelling and resourceful lead protagonists I’ve come across in cinema, and since big chunks of the narrative are a one-woman show with many of her interactions with other characters playing out through phones and computer screens, this means she largely DOMINATES the film. That’s not to say there aren’t other great performances in this – DelGaudio does a lot with quite a small part, while there are excellent turns from Byron Bowers (The Chi, Honey Boy) as Angela’s occasional casual friend-with-benefits, Terry, who wants to become something more to her, Devin Ratray (Blue Ruin, The Tick) as Kevin, a fellow shut-in neighbour, and Rita Wilson (Runaway Bride, The Good Wife) as Natalie Chowdury, an executive with Amygdala to whom Angela attempts to blow the whistle on her findings. Soderberg and Koepp have crafted a spectacularly suspenseful thriller which expertly ratchets up the atmospheric dread of Angela’s situation from the slowburn scene-setting start to the fraught and harrowing climax, the film’s determination to keep its focus squarely on Angela meaning that we’re right there in the thick of it with her throughout all her anxiety, paranoia, terror and downright feral fight for life. This is one of the best films either Soderbergh OR Koepp have delivered in a good while, and definitely one of the year’s top big screen thrillers. Not bad for something which was inspired by and executed entirely in the midst of COVID.

11. ENOLA HOLMES 2 – Back in 2020, while we were waiting for Guy Ritchie’s long-mooted but still conspicuously absent third Sherlock Holmes movie, we got a welcome surprise from another quarter – director Harry Bradbeer, taking a break from making TV shows like Fleabag with something a good deal more ambitious, and screenwriter Jack Thorne (His Dark Materials, Wonder). Adapting the intriguing “AU” young adult novels of Nancy Springer, they brought her intriguing character to the fore, unleashing Sherlock and Mycroft’s previously unknown kid sister Enola Holmes upon the cinematic world in fine style in the form of Stranger Things’ Millie Bobby Brown. The resulting breezy, cheeky and enjoyably irreverent mystery adventure was, rightly, a major hit for Netflix when they released it in the middle of the Pandemic, so it was a no-brainer for them to order a sequel right away, and having had a ball on the first, Bradbeer and Thorne were HAPPY to deliver once again. Better yet, the resulting sequel is JUST AS GOOD as its predecessor … after the events of the first film, Enola’s trying to carve out her own career as a sleuth-for-hire like her brother, but the inherent prejudices of Victorian society regarding her youth and, more importantly, GENDER are very much working against her … until she finds herself called upon to help a young matchgirl who wants to find her missing sister, and once again Enola finds that her seemingly simple case is, in fact, just the tip of a massive conspiratorial iceberg, one which also relates to her brother Sherlock’s own latest case, one which seems to be vexing him like none before. Once again, it’s an absolute joy to join Brown on her adventures, the immensely talented ingenue perfectly portraying a fiendishly brilliant, naturally-talented mistress of detection whose frequent fourth-wall-breaking asides always tickle me; Henry Cavill, meanwhile, is once again clearly having immense fun as the most famous gentleman sleuth of all time, as well as getting to bring an intriguing new dimension to his portrayal as we see Sherlock revealing frustration and ennui for the first time as he has to deal with a mystery that just doesn’t make sense. When they’re together they’re a joy to behold, and I truly hope we’ll get to see more of them working as a team in the inevitable follow-ups, while the other returning faces from the first film are all given plenty of time to shine in their own right here too, from Louis Partridge (Pistol) as sweet but quietly determined young Viscount Tewkesbury to Helena Bonham Carter as Enola and Sherlock’s wayward revolutionary mother Eudoria, while there are some equally talented newcomers to enjoy here too, with David Thewlis’ brilliant but hateful corrupt Scotland Yard Superintendent Grail particularly impressing here, while the film does a brilliant job of introducing a couple of other key characters from Arthur Conan Doyle’s pantheon for future instalments in suitably interesting ways. As with the first film, this is a bright and breezy adventure that rattles along at an impressive clip, Thorne’s razor sharp script sparking and fizzing appropriately as the story unfolds, while we have plenty of fun following Enola as she navigates her world’s various social pitfalls and idiosyncrasies with her usual irrepressible determination and exasperation. Once again, it’s also frequently LAUGH-OUT-LOUD funny, from Brown’s adorably playful narration to the perfectly observed social satire … that being said, there’s also a good deal of HEART here too, with the central story dealing with some very potent hot button subject matter which is as relevant today as when it was actually happening (no I WON’T say what, you’ll just have to watch it and find out). Altogether this is another phenomenal instalment in an already brilliant new franchise, and one which EASILY rivals the other popular, established adaptations we already know and love regarding Conan Doyle’s more famous Holmes sibling, and I for one cannot wait to see what Bradbeer, Thorne, Brown, Cavill et al are gonna bring us next …

#the woman king #the tragedy of macbeth #doctor strange in the multiverse of madness #hellraiser #hellraiser 2022 #bullet train #bullet train movie #DC league of super pets #belfast #belfast movie #the black phone #kimi #kimi movie #enola holmes 2 #2022 in movies

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fallonmaree · 5 months

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Women King

The 2022 film,"Women King" is an historical drama film that tells the story of the Dahomey Amazons, an all-female military regiment in the Kingdom of Dahomey (present-day Benin) in the 18th and 19th centuries. The film stars Viola Davis and Lupita Nyong'o, two incredibly talented actresses who bring depth and power to their roles.

One of the most striking aspects of "Women King" is its exploration of female empowerment and resilience. The film showcases the strength and bravery of the Dahomey Amazons, who were renowned for their military prowess and played a crucial role in defending their kingdom. It sheds light on a lesser-known piece of history and celebrates the fierce determination of these women.

The performances in "Women King '' are truly outstanding. Viola Davis, known for her incredible range and emotional depth, delivers a captivating portrayal of Nanisca, the general of the Dahomey Amazons. Lupita Nyong'o, on the other hand, brings a quiet intensity to the character of Nawi, a young warrior who becomes a key figure in the fight for freedom. The chemistry between Davis and Nyong'o is palpable, and their performances elevate the film to another level.

The visuals to "Women King" are amazing. The film beautifully captures the vibrant colors and landscapes of Dahomey, immersing the audience in its rich cultural heritage. The battle sequences are choreographed with precision, showcasing the Amazons' fighting skills and creating moments of intense action and suspense.

The screenplay of "Women King" is well-crafted, blending historical accuracy with compelling storytelling. It dives into the complexities of power dynamics, loyalty, and sacrifice, exploring the personal journeys of Nanisca and Nawi as they navigate their roles as warriors and leaders. The dialogue is impactful and intriguing, shedding light on the struggles and triumphs of the characters.

The “Women King” has some fun facts…

1. "Women King" is inspired by true events and the historical Dahomey Amazons, an all-female military regiment in West Africa.

3. The film will be directed by Gina Prince-Bythewood, known for her work on "Love & Basketball" and "The Old Guard."

Overall I rate this film 10/10.

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thebestdigitalgraffitigroup · 3 years

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Digital Graffiti Manifesto

Key elements:

Created for digital devices /screens/cyberspace

Made to be interacted with by the audience

Purpose of social intervention or provocation

History:

In the 1960s and 1970s, the creation of the personal computer allowed people to begin expanding literature into the electronic realm.

Evaluating:

Readers come to digital work with expectations formed by print, including extensive and deep tacit knowledge of letter forms, print conventions, and print literary modes. Of necessity, electronic literature must build on these expectations even as it modifies and transforms them.

Manifesto Points:

Digital Graffiti can take any form. It's not about the style, it's about the meaning.

Start off with no expectations.

Allow the form to dictate the content

Digital graffiti isn’t about what it means, but what it does to the addressee. There is always a targeted audience.

Allow the audience the freedom to interact with the medium.

Tear down the walls “traditional writing” puts between the writer and audience.

Open your mind to bypass “the story” and allow yourself to make available to the unexpected.

Play with the content by enhancing, manipulating, or exaggerating.

When creating digital graffiti, don’t try to have a specific message or meaning. The emptiness of it gives it strength, and lets the reader/viewer make their own statement about the work.

Digital Graffiti should challenge bourgeois identity and anonymity. Finding a new name/identity for one self.

Digital Graffiti isn’t meant to be lasting or on display. Digital Graffiti, just like its physical counterpart, exists in an ephemeral dimension.

Don’t be afraid of transformation or of new perspectives.

Digital Graffiti can be used as a social form to aid the community.

Sources under the cut.

Mitman, T. Kick the hive, get the bees: graffiti writers as assemblage and direct action political actors in their battle against H&M. Palgrave Commun 4, 128 (2018). https://doi.org/10.1057/s41599-018-0179-4

Bee Choo, Yee & Abdullah, Tina & Mohd Nawi, Abdullah. (2020). Digital Storytelling vs. Oral Storytelling: An Analysis of the Art of Telling Stories Now and Then. Universal Journal of Educational Research. 8. 46-50. 10.13189/ujer.2020.081907.

MILLER, BRENDA. “The Shared Space Between Reader and Writer: A Case Study.” Brevity, 2015, brevitymag.com/craft-essays/the-shared-space/.

“Imprint and Trace: Handwriting in the Age of Technology.” Killing Kool: The Graffiti Museum, by Sonja Neef, Reaktion, 2011.

#graffiti #digital graffiti #electronic lecture #manifesto

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dzeikobb · 6 years

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23.03.2018

Czarny piątek. Miasto przepełnione na głównych komunikacyjnych szlakach. Ludzie jakby aktywniejsi, bardziej pobudzeni, częściej ze sobą rozmawiają. Czuć, że coś się dzieje, nawet jeśli nie wszyscy biorą w tym bezpośredni udział. Jak zwykle w Polsce przy takich okazjach, wszędzie, w korytarzach metra, nad potokami pieszych między Patelnią a Dworcem Śródmieście, na peronach Zachodniego - unoszą się dziwne opary asekuranckiej ironii.

Idę na północ. Wszyscy w inną stronę. Dawno mnie nie było na Krakowskim. Ostatni raz z Ł. Mam wrażenie. jakby było tu więcej przestrzeni, jakby wycięli drzewa i zarośla, Mickiewicz bardziej widoczny z pomnika. Nie wiem, gdzie są te protesty. Wszyscy idą w inną stronę. Kobieta to człowiek, wyobraź to sobie. Rewolucja jest kobietą. Flaga czarno-różowa. Czarna parasolka Lee. Wieszak druciany. Policja pod Aquarium Jazz Club. Niebieska flaga Polska Laicka. Prawa kobiet, nie kościoła. Flaga lgbt. Fotoreporterzy na murkach, na ławkach. Długi czarny transparent. Kino Kultura. Reklama McDonalds 800m. Słowa z ambony to zabobony. Wyremontowany kościół karmelitów. Rower z czerwonymi kołami. Sukienka w kwiatki. Polska Laicka, nie katolicka. Chinka robiąca zdjęcie Nikonem. Turysta w stroju jednorożca. Chcemy lekarzy, nie misjonarzy. Spacer z rowerem. Na ulicy wciąż puszczony ruch. Nie mów mi co mam robić na kartonie. Moro spodnie, odpalił papierosa. Hańba! Ręce precz od naszych macic. Słucham Hallelujah Junction. Flaga czerwona z zaciśniętą pięścią. Przejeżdża elektryczny 222 na Konwiktorską. Kartka: kobieta z profilu, czerwona błyskawica Ziggy'ego Stardusta. Coś mówią, nie słyszę.

Pod Bristolem człowiek z laptopem na ziemi. W hotelu za szybą starszy człowiek w koszuli, swetrze, trampkach z telefonem. W Winebarze siedzą bogaci ludzie, za nimi szampany. Kobieta wrzuca winogrono do ust. Nieatrakcyjny mężczyzna podnosi kieliszek. Europejski na ukończeniu renowacji. Cafe Bristol: Fenomenalne słodkości, wykwintne desery. Wisienka z czekoladką wywieszona w witrynie. Transparent: Pójdziecie za to do piekła! Śmieją się, trzymając go. Różowe kaptury na głowach. Starsza para na przejściu, on przez telefon, ona je ciasteczko. Rzędy czarnych latarni. Siedzą na przystanku. Dzieci, dziewczyna w dresach. Szkolne wycieczki. Europejski Boutiques już zawieszone. Dosyć Polek na kolanach. Flaga Unii. Pracownicza Demokracja. Jakaś kotwica Polski Walczącej. Z dala widać Batidę, żółte lampy cukierni. Szklany nawis nad hotelem. Wyczyścimy rzeczywistość z waszej przemocy (zawieszone na szczotce). Znak kierujący na bulwary wiślane. Wystrojone elegantki z Azji mijają z uśmiechem. Piknik z okazji Światowego Dnia Wody. Wyspiański na przystanku: Macierzyństwo. Secesje, pastele, policjanci i kobiety. Kawiarnia Dwóch Takich. Pomnik Wyszyńskiego. Rząd ludzi pod pomnikiem. Mówią o podpisach. Odnowione pałace wymarłej arystokracji. Ostatni na skwerze księdza Twardowskiego. Ktoś wyrzucił papierowy kubek po kawie. Z tyłu starsza kobieta w bordowym płaszczyku wspiera się na metalowej lasce, trzyma w dłoni kwiatową torbę z zakupami. Przed nią kroczą rzędem piękne, młode, pewne siebie. Zdezorientowane dzieci. Dziewczynka na hulajnodze. Czarne, jeszcze nagie drzewa. Słucham Blade Runnera.

Polska flaga na hotelu Bristol. Ciekawscy podjeżdżają rowerami. Policjanci rozmawiają, dość wyluzowani. Zatrzymamy fanatyków. Zielony hełm Świętego Krzyża w tle. RODO. Prawo do bycia zapomnianym. Wystąp z KK. Browarmia w Kopniętym Domu. Bierhalle. Polska Opera Królewska: Mozart Le Nozze Di Figaro, 23, 24 marca. Lunch pieczarkowa, pierogi, makaron, kompot 19 zł. Słowa z ambony to zabobony. Zakaz wstępu psom do restauracji. Ci za szybami siedzą, rozmawiają, śmieją się, nie patrzą. Ja tu tylko sprzątam hipokryzję. Lunch w Ceprowni 25 zł. Reklama Instaxu. Wypróbuj for free. Pan z pracowni złotniczej wygląda zmartwiony. Sucre szarlotka 14.90. W księgarni Nowy Prometeusz, próba porozumienia polsko-ukraińskiego w Galicji, Zmień swój mózg, nie licz na szczęście. Dieta Sirt. Ale także Tyrmand i Madame Libery. Nowy autorytaryzm: twarz Kaczyńskiego złożona ze zdjęć. Miasta wyśnione. Księga zachwytów. Lem, Ogród Ciemności i pokój na ziemi.

Na tle plakatu otwartej na nowo Eufemii plakat koncertu dedykowanego uczestnikom wydarzeń marca 68. Eufemia, Fritz-Cola, craft beers, food workshop, rowery miejskie z reklamą City Handlowy. Ulica Traugutta, rowery, samochody, stary bank, kościół ewangelicki z nową miedzianą kopułą, wieżowiec Deloitte daleko we mgle.

Nad głowami tych, co protestują: Dominium, Jajko, będziemy walczyć o należne nam prawa. Teatr Narodowy repertuar marzec 18: Dziady, Śmierć Dantona i Śluby Panieńskie. McDonald 400m Świętokrzyska.

Na okrzyki wodzirejki potrząsają grzechotkami. Syntezatory Zimmera zagłuszają mi okrzyki. Teraz po angielsku. Siedź w swojej kaplicy, a nie w mojej macicy. Przechodzi irlandzka drużyna rugby z bagażami, zielone berety. Wystawa w Zachęcie: przyszłość będzie inna. Studenci z filozofii wychodzą na chwilę przed wydział. Czarny Chrystus na szczycie schodów kościoła, jego wyciągnięta ręka nad kolejnym protestem w ciągu ostatnich lat. Sursum Corda. Kopernik i żuraw, szpital w rusztowaniach. Apteka otwarta, w soboty do 16:00. Wszystko tak spokojne, ruch niezakłócony, nie ma armatek wodnych i czołgów pod kinami. Autokary turystyczne, taksówki i miejskie rowery. Nadreprezentacja znaków drogowych. Wystawa zdjęć studenckich pokojów w oknie wydziału socjologii i politologii. Słucham Sea Wall. Przyszłość jest teraz.

W przeciwną stronę przeciskają się ci, co się spieszą. Nie ma szans na strajk powszechny, zbyt późny kapitalizm. Wszyscy grzecznie czekają na światłach.Chopin concert today 5:00 pm. Brudnożółtoniebieska perspektywa Świętokrzyskiej. Kawa na wynos, Jean Louis David. Dostawa Sushi, Majowie, Chrześcijaństwo. Grycan, Karmello, wyprzedaż kożuchów. Happy Friday w Grey Wolf: balony, druga rzecz 50% taniej. Smaki tworzą ludzie, klientela w kawiarniach zajęta tylko sobą. Dalekie okrzyki z początku Nowego Światu. Sowa bar, Soplica x5 15 zł. Klienci sklepów na Chmielnej, turyści z walizkami, dostawcy Uber eats niezainteresowani, mają własne życie. Hipsterzy wchodzą w bramę. Lśniące kieliszki w Petit Apetit. Starszy człowiek w kawiarni pochyla głowę, wpatrzony, jego towarzyszka oparła policzek na palcu. Pijalnia wódki i piwa najbardziej zatłoczona. Słucham Electric Love. Teatr Powszechny: Neron. Bank Pekao na szczycie dawnej siedziby KC. Biją w bębny. Strajk kobiet pod Palmą. Czarny neon MNW. Tramwaje zatrzymane. Kawa, woda w plecaku, papierosy. Dzieci w wózkach. Cały Naród Bvdvje Swoją Stolicę.

Patrzą z okien Banku Gospodarstwa Krajowego. Macica królowa Polski. Marsz przechodzi pod podświetlonymi witrynami Vitkaca i Louis Vuitton. Idą z psami, z wózkami, z torbami. Złoty transparent: I tak to zrobię. Biją w bębny. Ludzie patrzą z tramwaju. Czarny Balon jak z pana Kleksa. W Zapiecku uwijają się dziewczyny w ludowych sukienkach. Przeciąga się pies. Pan sprzedaje książki ułożone na parapecie. Reklama Pitbulla. Odbudowany Smyk, kontenery na Brackiej, Auto Nostalgia, stają na kwietnikach, żeby lepiej widzieć. Robotnicy ze Smyka wyszli, wstrzymali budowę i patrzą. Ludzie patrzą z Bulldoga, z kebaba, popijając piwo, wgryzając się w ciasto. Patrzą z salonu kosmetyki. Uwięziony w tramwaju patrzy na telefon. Reklama Serii Niefortunnych Zdarzeń. Kolejka do lady w Cafe Nero, świąteczne promocje w Żabce. Słucham Borns American Money. Ekspedientki zajęte kapeluszami, torebkami. Zapatrzeni ze Sphinxa, martwy gołąb. Szkielet Rotundy w rekonstrukcji. Plakaty: Progresja, Tomasz Stańko, Xanax, Black Films Matter. Top Chef i dym w Jerozolimskich.

Tramwaje stoją na Marszałkowskiej, robotnik z Rotundy patrzy pod nowym dachem. Na ścianie Metropolu uśmiechnięci kucharze. Odkryj nową fuzję smaków. Dług publiczny rośnie, nad nim reklama spektaklu Goplana. Ludzie patrzą, przechodzi Homo Patrol (okulary aviator, zielona czapka od munduru), tłoczą się by robić zdjęcia, w tle niewzruszone wieżowce i secesyjne kamienice. Niektórzy biegną, jakby gdzieś spóźnieni. Policjanci przechadzają się spacerowym krokiem. Przy dworcu Śródmieście uwaga skierowana na coś innego, ale nie wiem co. Idący mówią, że wezmą sobie subwaya. Czarny balonik kontynuuje podróż. Policjanci przez krótkofalówki ustalają, że zatrzymają całość, bo wejdą sobie na plecy. Z dala reklama wycieczek do Maroka oraz Paderewski. Widziałem Sebastiana z Artes Liberales. Czerwone dłonie z napisem stop.

19:43. Your opiniom does not fit. Partia Razem. Wszyscy razem ręce w górę, obalimy dyktaturę. Varso w budowie, odległe Kocham Warszawę. Stoją tramwaje na Jana Pawła. Reklama Maroko: I świat jest piękny. Biznesmen pali papierosa na tle rozświetlonego Rondo 1. Aleje Jerozolimskie wydają się być nieskończone. Ludzie robią sobie selfie, trzymają długie kije z aparatami. Muzyka jak z Wakandy. Żurawie i wieże na tle ciemniejącego nieba; Poczuj dziecięcą radość. Biegną ludzie z walizkami. Telefon od muzyki padł, w drugim nie działa LTE, rozświetlone Śródmieście, wszyscy zaraz zaczną tańczyć. Nie wiem, dokąd idą. Pod nami jadą pociągi. Nowe biura wszędzie wokół. Pokrzykują wesoło. Kawy, telefony, zgrabiałe mam palce. Ciemno się już robi. W biurze Samsunga świecą nowe modele i zestawy VR. Pracownicy zapatrzeni w ekran komputera, coś sobie na nim pokazują. W Copy General siedzą czekając na swoją kolej. Atmosfera na ulicy robi się fiestowa. Potrząsają monetami w butelkach po wodzie. To już Żelazna, dokąd oni idą. Podróżni zmierzają na dworzec centralny. Światła radiowozów mrugają w rytm bębnów. Mijam sprzedawcę wuwuzeli. W wykopie przejeżdża pociąg intercity. Każdy kij ma dwa końce. Uderza blaszanymi pokrywkami. Głęboki, głośny, równy rytm. Na Warsaw Spire: Chwyt za chwyt. Światła wieżowców mrugają w rytm muzyki. Podskakują, potrząsają kartonami na kijach.To jest absurd, że znów muszę protestować na tle warszawskich wieżowców. Idę po plątaninie torów tramwajowych. U wrót Ochoty. Hotel Sobieski. Zakręt w Nowogrodzką. Cieszą się z frekwencji. Skrzyżowanie Tarczyńska, Raszyńska. Czarny balon się zmultiplikował.

Przemawia kobieta z Wrocławia. Jesteśmy u siebie. Płócienne torby, psy, Polsko-Japońska Akademia Technik Komputerowych. Brak refundacji leków po przeszczepach. Samotne matki nie dostają 500plus. Episkopat coś powie, to oni hyc jak zajączki. My coś powiemy, to tup w drugą stronę. Pajace, dorośnijcie. To my wiemy, co to jest człowieczeństwo. Przyjdzie dzień, kiedy Polska będzie dla wszystkich. Tego nie jesteście w stanie pojąć. Państwo stało się domeną łupów. Co z was za patrioci! Przyjdzie jeszcze czas, kiedy Polska będzie dla wszystkich!

Wolne media, wolne sądy i wolne wybory. Polska dla wszystkich to Polska w Unii, w której nie ma miejsca dla faszystów. Ludzie wciąż idą, jeszcze od Żelaznej. Mariel Branco, brazylijska działaczka na rzecz praw kobiet została zamordowana, prosimy o minutę ciszy. Coś nie wyszło mamy jakaś awanturę, prosimy policję która ma nas ochraniać żeby nam pomogła. Krzyki. Syreny z dala. Wytrzymali. Bardzo dziękuję. Oklaski. Do zobaczenia przy następnej okazji!

Irlandzka aktywistka mówi o zakazie aborcji w irlandzkiej konstytucji. Wiktoria Guggenheim, przyjechała na Dni Ateizmu. Artystka, performerka, feministka. Przyjechała z UK by wyrazić solidarność. Do not allow the fanatics to win. Get your Jesus away from our genitals, your rosaries away from our ovaries!

Katarzyna Kołodziejczyk, z Radomia, Radomska Inicjatywa Kobiet. Zwraca się do Jarosława Kaczyńskiego. Jakim prawem posłowie odbierają głos polskim kobietom! Jakim prawem uzurpujecie sobie głos do decydowania o nas. Kobiety, siostry, przyjaciółki. Ty nas nie znasz i jednocześnie się nas boisz. I słusznie. Ustawa która niewoli i torturuje kobiety. Pakt z episkopatem nie ma nic z ochrona życia ludzkiego. Tobie chodzi tylko o zwycięstwo w wyborach. Nie wiesz jakim dramatem dla matki jest śmierć i cierpienie dziecka. Zafałszowana wiara wykorzystująca cudze cierpienie dla własnych zysków. Nigdy tego nie zapomnimy. Dziękuję. Solidarność naszą bronią! Myślę, czuję, decyduję. Chcemy zdrowia, nie zdrowasiek!

Obywatelki! Jest nas więcej w tym kraju, a oddajemy władzę mężczyznom. Dość tego! Mamy rok wyborczy. Stulecie uzyskania praw wyborczych kobiet. Nie pozwólmy im sobie odebrać! Weźcie sprawy w swoje ręce bo mamy dość! Zacznijcie szukać ludzi z którymi możecie iść do wyborów. Zacznijcie tworzyć komitety. To nie jest trudne. Budżety miast, kraju to nasza kasa. To wy decydujecie, na co ona idzie. Czas najwyższy podjąć kolejny krok. Zapraszam do kontaktu z ruchami miejskimi. Chcemy kochać, nie umierać!

Oksana z Ukrainy. Jestem obywatelką Polski. Wszyscy jesteśmy tutaj, nie tylko Polki w Polsce. Kobiety w Polsce są dyskryminowane. Mniejszości, ateiści też. Nie wyobrażacie sobie jakie przeżywają koszmary. Moje dziecko boi się zadzwonić z autobusu do mnie i mówić w naszym języku. Hańba! Jak się czuje kobieta-obcokrajowiec, uchodźczyni. W ośrodkach nie mają antykoncepcji. Kobiety z całego świata, walczmy razem i nie ma bata!

Wolność, równość i siostrzeństwo.

#dzeikobb #2018 #czarnyprotest #czarnypiątek #marzec #strajk #strajk kobiet #dziennik #wpis #notatka

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architectnews · 4 years

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Plesner Architects builds Six Senses Shaharut hotel in the Israeli desert

Tel Aviv practice Plesner Architects has built a hotel in the Negev desert of Israel harnessing local materials and regional craft like limestone walls, ceramics and pergolas.

The hotel Six Senses Shaharut spans 46 acres (18 hectares) in the tiny desert community of Shaharut in the far south of the country.

Pleaser Architects designed the resort on a sandy site that includes 60 suites and villas with expansive views of the Arava Valley and ridges of the Edom mountains.

The studio partially buried many of the buildings into the ground and built them with rough-hewn limestone and flint excavated from the site, as well as thatched roofs, outdoor walkways and swimming pools.

"We wanted the stones, the patterns, the textures and the colours to be omnipresent, resulting in architecture that is woven in with the natural elements," Pleaser Architects said.

The design is intended as a modern interpretation of architecture from the region's ancient civilisations, particularly the nomadic Nabataeans who were skilled traders and specialised in carving their capital city Petra into the rocky cliffs of nearby Jordan.

"The design of the property is the result of a dialogue between protecting and taking advantage of the unique characteristics of the site, which together build the memory and experience of visiting the Negev," said the studio.

"This manifested in a concept that is a modern interpretation of nomadic structures, reminiscent of the Nabataean community which occupied the area over 2000 years ago."

Local craftsmen also worked on the Six Senses hotel, including carpenters, welders and masons, and a nearby kibbutz or collective Neot Smadar supplied glass-reinforced concrete for the construction.

All of the hotel suites have private patios, and the large villa offerings have indoor living rooms and private swimming pools. A three-bedroom villa is outfitted with a spa, steam room, gym and Boffi kitchen.

The interiors have a minimal, pale aesthetic with white linens, plaster walls using the traditional Moroccan technique Tadelaktand, and sliding glass doors to usher in views of the desert.

"An intentionally restrained base palette of stone, wood, copper, and fabric is used to reflect the natural surroundings of weathered rock, vibrant sunsets, and minimal vegetation," the studio added.

Colourful details reference the ancient trade routes that passed through the region to connect Asia to the Mediterranean Sea and include pottery by Tel Aviv artist Rachel Elimelech Urbach and textiles by artist Erez Nawi.

Several doors were custom-made from teak that was rescued from houses, boats and footbridges.

Six Senses Shaharut is complete with several restaurants, a spa, hammam, indoor pool, outdoor lap pool, gym and yoga studio. It is an hour drive away from Israeli resort city Eilat and Ramon airport designed by Amir Mann-Ami Shinar Architects and Moshe Zur Architects.

The project is part of Six Senses Hotels Resorts Spas' international portfolio which includes Six Senses Bhutan that was awarded this year's AHEAD Asia prize for best resort.

Danish architect Ulrik Plesner founded Plesner Architects in Israel in the 1970s after working for Arup in London, and the studio is led by his daughters Daniella and Maya.

Ulrik himself designed an addition for a brick house in England by Danish architect Jørn Utzon in 1961 that has been renovated by British studio Coppin Dockray.

Photography is by Assaf Pinchuk.

The post Plesner Architects builds Six Senses Shaharut hotel in the Israeli desert appeared first on Dezeen.

#Architecture – Dezeen

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