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jezebelgoldstone · 10 months

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RRR (2022, dir S. S. Rajamouli)

things i am not now and likely never will get over from RRR

DRIFT COMPATIBLE BATTLE COUPLE DETECTED

queer? platonic? queerplatonic? who gives a shit no matter what it was it was AWESOME

Colonialism Is Bad Actually: The Musical

the symbolism. holy shit. every BIT of it was absolutely amazing.

wow all the mains in this movie are just, really hot? my poor lil pan heart had a rough time with this one ngl

the fact that someone (likely many someones) watched this movie about Colonialism Is Bad Actually and said 'you know what let's dub this whole thing into Hindi and English and then not give an option to watch it with the original Telugu dialogue' sure was,,,,,,,,, A Choice

THE MUSIC

by which i mean the actual song-and-dance numbers as well as the like story soundtrack all of it is going on my playlist asap

listen the spirk-behind-glass scene is awful. spock and kirk can't even touch. they can hear. they can see. but they cannot touch. and i in my sweet ignorant bliss thought that was as bad as it could get.

tonight i learned that holding someone in your arms through the bars of their cell is so much worse

I watched it on Netflix but i looked it up on a few other ahem websites and on EVERY SINGLE ONE Telugu audio wasn't even an option.

there was not one single chance to tie things together or make a connection or do a setup/payoff or callback that was not taken. not a single one.

everything about this movie is 100% Extra

in short: this movie is a masterclass

aaaaaand the rest below a cut because WOW i have a lot to say actually

which brings me to the dancing oh my gods. not sure i've ever seen such enthusiastic dancing in anything in my entire life. seriously by the final number i was exhausted just watching them

in general, this movie is: stunning

"RAM." "BHEEM." "SEETHA." IT'S ABOUT THE SYMBOLISM.

also this was kinda hilarious because i watched it in hindi [the least disorienting option] and they kept SAYING "ram" but in the subs it was always fuckin RAJU so like. again with the Choices. like seriously what was the thought process there. WAS there a thought process.

FIRE. WATER. STORY. I JUST. I. HELP ME.

i ADORED jenny. with my whole entire heart. she is one of the very BEST examples of Ignorance Is A Privilege and also At What Point Does Ignorance Become Malicious that i have ever ever seen. i loooooooooved it. i mean i hated it a whole lot while it was happening but also i am SO GLAD that now rather than trying to explain all of this to people i can just tell them to watch this movie and then sit them down and be like, so what are your thoughts on jenny's culpability in literally everything?

oh and how you can be a kind person and still do atrocities! like jenny is so sweet and so kind and you just like her so much and yet. and yet.

t h e s y m b o l i s m

i cannot remember the last time i saw a movie so visually stunning. the cinematography is breathtaking. pause on just about any random frame and it could be a movie poster or hanging in an art gallery or what have you.

they also dubbed all the lines that were actually in english? i mean i get it for the characters who spent most of the movie speaking Telugu because you'd need their voices to stay the same through the whole movie yeah fine whatever. but like. they dubbed all the ENGLISH characters, too? like literally dubbed them from english into english??? the dialogue matched their mouths except the timing was veeeery sliiiiiiiightly off but it SOUNDED really obviously dubbed??? Y THO???

HOLY SHIT THE FIGHT SCENES OH MY GODS

Malli. Malli honey i love you. i'm just realizing i don't know if that's your actual name gods damn it. but whatever your name is child i love you.

and did i mention that everyone in this movie is beautiful? like. seriously. Ram and Bheem especially holy SHIT.

Physics Does Not Work Like That And I Do Not Care Because That Was AWESOME: The Musical

oooohhhhh they re-recorded and dubbed the fucking SONGS too. i am so pissed about this y'all i can't even tell you.

oh i want to do a whole entire post that's even longer than this one about the symbolism. hell i could probably do a whole entire post just on the fire/water symbolism even without everything else. It was AMAZING.

okay ram is fire and bheem is water and ram's people go to a valley on the shores of a river and the river is in literally every shot of the village and just ram BEING fire but water being a place of HOME and SAFETY for ram

i'm not crying shut up

MALLI AND HER MOTHER TRY TO REACH EACH OTHER BUT THEY CANNOT TOUCH THROUGH THE GLASS

BHEEM AND MALLI HOLD EACH OTHER THROUGH THE BARS OF HER CONFINEMENT AND HE HAS TO LET GO AND LEAVE HER

BHEEM AND RAM HOLD EACH OTHER THROUGH THE BARS OF HIS CONFINEMENT AND BHEEM RIPS THE DOOR RIGHT OFF

ooooooohhhhhhh and people holding hands right before they part. oh that hurts. all of those hurt so bad.

how every single time people held hands when they parted they always held on till the last possible second EXCEPT FOR RAM'S MOM.

she lifts her hand away from him and then pulls back and it was devastating

Predators Do Not Work Like That But I Do Not Care Because That Was Awesome And Also They Ate A Bunch Of Colonizing Cops: Queercoded Edition (ACAB)

bheem with his arms spread and rope or chains around his wrists or in his hands. i just. the way it flipped back and forth from 'he has the power' to 'he is helpless' to 'he should be helpless and isn't' was just. breathtaking.

AND THEN. AND THEN RAM. CHAINED UP THE SAME WAY. DOING THE SAME GODDAMN THING AND USING THE FACT THAT HE'S CHAINED UP FOR HIS OWN FUCKING PURPOSES BECAUSE HE SAW BHEEM DO IT FIRST DON'T TOUCH ME

okay listen this movie would've been good no matter what but like. they really are just SO beautiful. and. when ram. with like the long hair. and. beard. and like. you know? like. his. his hair. his general. everything. um.

literally at the most emotionally inappropriate moment i literally thought about that whole 'i saw a man so beautiful i started crying' thing and like that almost literally happened literally

Why There Can't Be Any Such Thing As Good Cops: The Romance (ACAB)

and like here's the thing i'm not sure i would've even NOTICED this had it not been for the linguistic chauvinism with the audio and everything but like both of them were hindu and a lot of the symbolism though awesome was also really strongly hindu and i just i don't know nearly enough about hindutva to have any kind of opinion BUT i also feel like maaaaaaaybe there was something a little uncomfy about some of this

oh no wait the suspenders dance. that might've actually been the best part. yeah.

oh all the british actors did SUCH a good job being so eminently punchable

throw cheetahs at each other! and snakes! somehow have upper body strength greater than the force exerted by a 800+ lb tiger lunging! throw those motorcycles! punch through those walls without breaking your fingers! use herbal paste to heal broken bones in a matter of a minutes! break solid stone with nothing but the strength of your shoulders and gay love! i am so here for all of this!!!

Throw Rocks Marble Pillars Live Tigers Cops At Cops: The Movie (ACAB)

i love that jenny felt bad for the poor little girl who got kidnapped enslaved and imprisoned so she. bought her a dress and a toy.

you know, to make her feel better about the whole 'being kidnapped enslaved and imprisoned' thing.

instead of doing, i don't know know, literally anything else. like even just saying to her aunt 'hey this makes me sad' or something. #solidarity.

the violence was violent and the romance was sweet

okay so during the fight at the midpoint like i know that by the end of it ram and bheem are literal fire and water BUT ALSO. Ram enters the scene in a flaming carriage and from that point forward the fountain is in pretty much every shot of bheem. just sayin.

love that lachu (or whatever his name really is) told ram that there was no cure. like yes! you go man! ram may be so beautiful that in forty minutes i'm going to be in tears but that's no reason to tell a cop the truth about anything! you lie to that cop man!

A BRITISH SOLDIER HIT LOKI IN THE HEAD WITH A BRANCH AND THEN STOLE MALLI AWAY

BHEEM HIT RAM IN THE HEAD WITH A BRANCH AND THEN STOLE MALLI AWAY

i know other people got hit in the head with tree branches too but STILL

honestly i really like that ram and bheem were, well, ram and bheem. but i mean im glad they weren't like ram and lakshman or bheem and arjun or something. not even just because that would've been brotherly like i'm glad they weren't arjun and krishna or something either. i liked that their names weren't from the same story. i liked it better this way and i can't even articulate why.

i am never ever ever going to get over the progression of part of bheem's introduction being something going wrong and him holding two ropes (he has all the power) with his arms spread and that being used to show us how incredibly strong he is -> something going wrong and bheem with ropes around his wrists (he shouldn't have any power at all) holding his arms spread and that being used to show how incredibly strong he is in a completely different way

like every time there were ropes or chains in bheem's hands or around his wrists it meant something, and it was a beat in the rhythm of a discernable arc, but now i can't remember all of them gdi

oooohhhhh there was SO much more symbolism i wanted to talk about but it's so late that i have a headache and this post is so long my computer's lagging like two sentences behind so i should stop and go to bed. sigh.

just go watch this movie, okay? pleae? I cannot IMAGINE who would've read this whole thing,m but if you did, just watch it, all rigth? (and if you happen to know of any site - ANY site - where i can watch it in FUKIN TELUGU kindly drop a link please and thank)

#rrr #queer movies #rambheem #i don't even know how else to tag this #op #rrr movie #ram x bheem #movie recs

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wanderlust-in-my-soul · 4 months

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Hello. 2023 top 5 BL visually stunning moments. Rose💜

Hello Rose 🤍 Thank you for this one!

There were some really pretty moments in 2023 and giffing them was so much fun. Working with the right coloring to make the scenes pop and to be satisfied with the result was so much fun (and some time a little bit frustrating!).

The following list is not complete, but those are the most visually stunning moments for me, for different reasons.

We start the list with a show I loved to look at but I didn't like to watch it that much after the first episodes:

Chains Of Heart

The cinematography was breathtaking! The coloring was beautiful and I had so much fun making my sets for every week. The story... well that is another story. Chains of heart brought us many beautiful, visually pleasing moments and I remember loving to gif this scene. I enjoy finding moments in series I want to put into a set. And this was one I totally fell in love with.

Next is part of a show I really hope we get some more stunning scenes in the future:

The Sign

Look at this beauty! This is art. This is so fucking beautiful and stunning! My jaw dropped! The coloring, the reds, it is just majestic! It looks so surreal and yet so cool! I am in love with the visuals of this show. There were so many more scenes, but this stood out to me!

And on we go with a series that left us all in pieces at times and also that flashed us with one of the best reunions ever:

The Eighth Sense

The coloring in this scene was so gorgeous (yes, for gifmaking really shitty, because some parts are overcolored and some are a little bit bland)! I was so excited for this reunion. The music, the whole feeling, the waiting, the happiness, just everything was so fucking perfect! And I do love myself a good little kissing scene. And this is one of my most favorite scenes. Visually just one of the most beautiful scenes ever!

And sometimes I am a simple girl and think a fish tank, some goldfish and a smiling Jimmy is stunning and visual perfection.

Last Twilight

This scene was so cute and so beautiful and yes, I might be biased because I am in love with Mhok and every moment of him looking at Day is visually stunning, but this scene... It is so soft and I know I will go back there from time to time. It was a good cinematic choice and I applause the creators for all these visual beautiful choices!

The last one might be just me crushing hard on the beautiful visuals:

Only Friends

I was lying on the floor, gasping for air and drooling after this scene. I needed to pause the series and rewatch it immediately. Visually one of the most stunning moments I saw 2023 on my screen!

Ask me Top 5 BL Anything from 2023

#asked #bl game #ask game #anything bl 2023 #bl drama #bl series #thank you so much for this ask 🧡#josi answers #chains of heart #the sign #the eighth sense #last twilight #only friends

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boozles · 22 days

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BL Challenge 2K24

I’m a day or two late with this and I wanted to write something profound and not just “yes sexy” but alas my brain doesn’t always work when I want it to.

Day Nine: most visually pleasing love scene in a series

Okay, so I managed to narrow my picks down to two:

Now, I think we’re all in agreement that this scene from The Sign was one of the most beautiful consummations of love ever to happen in a BL series. The lighting, the chemistry, the symbolism…it’s breathtaking.

My second pick is Jom’s self care scene in I Feel You Linger In The Air. I know some might not see it as a love scene but the way Jim touches himself as he thinks of Yai, the cinematography of the scene, the music and sounds, its so romantic but lustful all at once.

#blchallenge2k24 #drama #thai drama #bl drama #the sign #i feel you linger in the air #bl challenge

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absolutebl · 2 years

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hi! i graduated from film school this year & i've been reading thru ur blog for weeks now. u've talked abt cinematography before & it's a subject i'd love to hear more of ur thoughts abt. which shows do u believe use cinematic storytelling (framing, staging, symbolic parallels, lighting, color coding) to their advantage the most? shows which benefit from a rewatch/slower watch in order to notice visual details & which can be analyzed in terms of visual language. which would be ur top picks? ty!!

OOO, what a good question.

10 Best Uses of Cinematic Storytelling in BL

Okay, I should say up front that this is not BL's strength.

Second, I work tangential to ET but my degrees are not in film studies. So, much of what I know has been gleaned from coworkers and just floating constantly in and out of the industry, I may not always use the right terms.

The post where I get the most weedy about filming technique is actually the one where I talk about different directors in BL (their styles, camera preferences and camera angle choices, that kind of thing).

BL Directors - Overview

Finally, for each pick, I’m going to talk first about what I liked about the story, and then how the filming technique is used to serve that.

1. Restart After Come Back Home AKA Risutato wa tadaima no ato de

Atmospheric study in rural Japan meets complex family dynamics built on a romance framework of city boy meets country boy. It’s beautiful and icy sweet. Slow moving in places but ultimately worth your patience. Full review here.

This was the first BL that came to mind when asked this question. This movie highlights Japan’s sweeping atmospheric style (learned at the feet of Kurosawa) applied to a very simple little BL story about coming home. Like with HIs the move, the Japanese countryside itself is a major player and character, but unlike His this movie really makes use of its beauty as a metaphor for possibilities and acceptance. Some of the establishing shots are truly breathtaking. The use of color and shadow is also tailored without being brazen. The film uses it to contrast the the two leads, one of whom is closed off from his family and his home and, to a certain extent, life but open to love, and the other who is open to all sensation and the outside world, but closed off to love. How these two men are filmed, framed, and lit is interwoven with these traits - dependent on their internal emotional states and whether they are together or alone. Cold lighting, sometimes too direct, when they are feeling exposed or challenged, darker cool hues when they are internally reflective, warmer even angry reds and golds when they are coping with emotions around connection and intimacy with each other. And finally the closing shot of bright full day, revolving sparkles and lens flairs that’s implying a forthright acceptance and unity, not just of each other, but of themselves.

It is, simply put, a really beautiful movie to just watch as a visual piece of art, we are so lucky it also happens to be BL.

2. I Want to See Only You AKA Kimi no Koto Dake Mite Itai

This is a beautiful piece of cinema well acted, about two boys who are opposite personalities and grew up together. It is very pretty and this is the kind of atmospheric elegantly performed BL that only really comes from Japan (complete with dead fish kisses - what you thought Korea invented them? oh no). I felt like I was “supposed to like it” more than I did. Ultimately I was left feeling as if I had seen it all before. So for me this was lovely but slightly unmemorable.

Another show that is VERY similar is His the series (I Didn't Think I Would Fall In Love AKA His - Koisuru Tsumori Nante Nakatta). Only it has a beach setting.

I mention these two in this post and at this juncture, because they are very stylistically Japanese but lack intentionality to their filming. So they feel workmanlike in a way that I often accuse Thai BL of.. It’s almost as if in coming from Japan they can’t NOT be pretty about it. Like good filming technique is so expected, it’s part of the DNA. In actually, both these stories might have been served better if the filming were more gritty and raw, sticky, like BLs from Taiwan or the Philippines, but Japan (like Korea) doesn’t do that.

3. Seven Days

Never doubt my ability to recommend this show. One of the best live action yaois ever made, with perfectly structured angst, fantastic characters and acting, and no problematic tropes (rare in Japanese BL). The leads have excellent chemistry although it’s low heat there’s still some cute mutual kisses.

Seven Days pretty much used the original manga as a storyboard with just a few exceptions. And yet because it takes itself and it’s characters seriously (this in not a slapstick JBL) it’s softer and less cartoony than most Japanese live action yaoi. The color pallet is muted, and staging and farming is almsot too simplistic but somehow smooth and organic, rather than choppy or stilted. It looks genuine, not fantastical (see Korea coming up). The cuts are gentle with us, it never feels hurried or rushed, even though this is not a very long piece. It’s classy without being in your face about it.

This is spot on cinematography entirely subsumed by a story. It’s point (if ti can be said to have one) is that it doesn’t have a point of view, and therefore the story just shines. Never once will you feel thrown out by a perfect shot, and yet, every shot is perfect. This is cinema FOR story. This director trusted the script and the actors implicitly and did not feel the need to do anything fancy, which is, in and of itself, remarkable. This is like a perfectly executed piece of sushi. It doesn’t need anything, no sauce, no seasoning. The filming itself relishes its own simplistically.

I actually picked these first 3 BLs intentionally, and all from Japan. Because I feel like they kind of show the range of Japanese cinema has when it is being subtle. By which I mean less derivative of manga and owing much less slapstick. (See something like My Love Mix Up.)

So now let’s move into the relm of manga filming styles.

4. Minato’s Laundromat AKA Minato Shouji Koin Randorii

As of writing this post this show hasn’t ended yet, so not review, you can read my watch along here. But I am still picking it on the basis of the way they use doorways and transitional spaces to represent where the characters are in their different life stages and emotional development (and how they flipped that at the end).

Also this BL is cribbed directly from the manga, shot for shot in places.

This show is an exploration of how maturity is defined under the contest of an age gap romance, roles in society, and liminality - crossing the threshold form child to adult, from fear of love to acceptance, from immaturity to maturity. The series uses characters in doorway, reaching through them, crossing them, and notions of inside spaces versus outside spaces to represent this. I talk about it a lot in my watch along so I won’t rehash here but it is actually BRILLIANT.

5. Old Fashion Cupcake

This show had me from the moment they broke the egg yolk with the chopsticks in the opening credits. It’s about a younger man with a long cherished crush on his boss (who is ten years older and going through a midlife crisis) who decides to save and seduce said boss with pancakes. It’s wholesome, comforting, sexy, and a very necessary narrative about still having hope, interests, and openness to affection at any age. It’s coming of age/queerness packaged in a subtle critique of expectations around masculinity and love and loneliness... and it’s beautiful. Full review here.

The filming style is very much Japan’s close camera work, super tunneled into spaces, confined and almost, but not quite, claustrophobic. It’s using that to highlight how trapped by inertia Nozue feels, and how trapped by his feelings Togawa feels. Nozue in particular is filmed at home hidden, hiding, in the dark, shadowed, and withdrawn - as tidy as his place is, it (and how he occupies it) is an extension of his loneliness and self isolation.

The cinematographer is using that in contrast to the moments of pull back and central framing when the couple is shown sitting and eating together, usually brightly lit, showing them both opening up to each other and, in Nozue’s case, to sensation.

The very final shot of the series, with the big cheerful window, and Togawa feeding Nozue across the table is a representation of how freed they both are by their acceptance of each other.

Not to mention the way the food is shot in this show, and how food and openness to new sensation are used (and filmed) as an allegory for sexual awakening (lust in terms of indulgence - I will never get over those hamster cheeks) and consequently (ultimately) fulfillment.

More on Japan’s cinematic style here.

6. Cherry Blossoms After Winter

Korea took on early Japanese sweet yaoi but gave it their signature softness and precise production style with a STUNNING color palette (beautiful pastels and sun-saturated over-exposure), manga framing style, some traditional BL character archetypes, that tiny edge of bullying roughness and out-of-control seme, plus FINALLY a palatable take on the stepbrothers trope and it was, in a word, classic. Sophisticated and understated CBAW is not slow, it’s just subtle.

This show is dream-like, as if the whole thing took place under cold water on a warm spring day, dappled sunlight slanting through trees above. Is there plot or peril? Not really. Do we care? Also, not really. Look, I can’t help it, I’m old school and so is this show. I grew up reading sweet yaoi, and this was THAT YAOI just on my screen. There’s no objectivity with me and CBAW. It’s a beautiful pastiche and I loved it for how it made me feel and what it reminded me of. It’s not flawless, but it is a wonderful experience. It’s like a Maxfield Parrish BL. Is the filming style serving story, I’m not sure, but it is serving nostalgia.

7. Color Rush

A unique paranormal twist elevates this classic high school drama into a pitch-perfect allegory for the queer coming out experience and one of the best BLs of all time (I will fight you on this).

It’s no accident that I chose so much Color Rush for my screen caps in the post on yaoi framing styles. It is SUCH a manga (yes I know, it’s Korean). The cuts from one shot to the next could actually just have stepped off the page. If Wes Anderson did BL it’s be something like this.

Of course the use of color is just phenomenal - the range of hoodies, and the different backgrounds. The marriage of simplistic wardrobe with simplistic setting is about precision not the mundane. How Yoo Han is using color to seduce AT ALL TIMES is intentional brutal as we are never to forget the threat this entails (our POV and this movie’s is entirely Yeon Woo). Color is the vehicle and the predator, the danger and the light, it is sexual awakening, it is being gay, it is embracing the monster within - right up to and including the color rush itself as something essentially orgasmic. I can tell you, purely on the basis of the fact that the manwha was in black and white, that this BL must be better that its source because it had color to use in its storytelling. Because it had color to play with. If that’s not the visual voice of cinematography telling me a tall tale, I don’t know what is.

I will never get over this show.

8. Semantic Error

Korea hit it entirely out of the Parks with Semantic Error by doing a university set BL featuring everything we expect from BL just done exactly right. It has Korea's signature quality executed perfectly, and added bonus good story, great pacing, stunning visuals, and fantastic chemistry. You cannot ask for more from a BL, let alone a KBL. And the film team was part of this.

Frankly I would have used screen caps from Semantic Error as much as Color Rush in that post on yaoi framing techniques, but I wrote that post too long ago. This BL owes more to its Japanese roots than any other Korean BL I’ve seen: story, characters, and filming style. That image above with the backlit windows and the empty classroom? Could have popped out of Takumi or Boys Love (would have been more blue toned though), not just classic BL but the beginning of BL.

This is another KBL one where the use of color, particularly contrast, is incredibly strong. In this one cool vs warm tones are tools for characterization. (Usually they are used for mood, but not really in this show.) JaeYoung is usually wearing warm tones or shot in warm lighting and with warm backgrounds (reds, oranges, yellows), except when he enters SangWoo’s space. SangWoo is the opposite, almost always in cool tones and lighting (greens, blues, purples). So we get this fire and ice contrast between the two of them, with the lighting playing up who is “winning” the argument or the intimacy levels by being either warm or cool (or transitioning between them in the course of the shot). When JaeYoung manages to crumble SangWoo’s defensives, it gets warmer, when SangWoo is in charge of the narrative drive, it gets cooler. It’s very clever.

I think Korea is particularly good that this tonal character association and mood enhancement because they use it in high concept Kpop MVs all the time.

9. Cutie Pie

Very high production and a lot of visual references to yaoi gave this show a whiff of Japan but ultimately it stayed firmly in Thailand’s BL camp veering from absurd to appealing to annoying and then back to absurd again. If you can roll with the arranged marriage conceit and very lifestyle D/s relationships, the chemistry is spot on even if the plot is naff and sappy and driven by miscommunication. Watch this one for the pretty, give it a pass on depth.

But if it has so little story for the cinematography to support, why did I pick it?

I like the setting chosen (it’s no accent this is top of my list of best Architecture in BL) but I also love the clean filming style, it’s very very manga for Thailand. Cheewin does this well sometimes (see alos SCOY). Not really the best BL by any stretch of the imagination, but there is something candy bright about this one that really harkens to reading yaoi, and Thailand just doesn't do that very often. This is why I chose it.

Wardrobe, setting, and color choices are all used to really highlight the differences between the characters in terms of age and life stage. Also Zee has really learned how to push his physicality since Why Ru U? so that his body positioning in particular just looks EXACTLY like the seme of some 2000s yaoi.

10. Until We Meet Again

UWMA is a work of narrative genius, and all the actors all turn in stellar performances, it is the best Thai BL from a storytelling perspective. It’s two interwoven narratives, present and past, of lovers who have been reincarnated in order to find each other again and forgive each other (and their families) for that past.

But this is a strange one to chose for this list, since the cinematography is workmanlike at best. There’s repeat cuts and other annoying tics, and general hallmarks of New’s style as a director (which is, quite frankly not particularly stylish). BUT, one of the fun things to watch for in this BL is how New contrasts central framing with peekaboo (AKA dirty) framing with regards to the two lead couples.

Korn & In, the past selves, are secretive, scared, and hiding everything. They are usually filmed with things dirtying the screen: walls, and other objects, so we get this voyeuristic feeling of always peeking around a corner at them, and seeing something we shouldn’t. The few times we see their intimacy fully framed it’s at night, staggered, and/or off center. This illustrates not just the secrecy but the instability of the relationship.

Dean & Pharm, the present selves, the camera treats as a representation, in part, of Dean having learned from his past not to hide who he loves. They are often filmed full figure, and centrally framed, full lighting, bold and direct, standing upright, holding hands, or kissing.

In other words, New is using framing techniques to highlight in a way the couples “outness,” the state of their relationship, is related to the outside world and also how they feel about it and themselves.

And there they are, my 10 picks.

Honorable Mention: Light on Me

The filming in this show was precision engineered. The frame was kept uncluttered, characters appeared exactly in the center, there was little visual noise, and the lighting was full on, even in night shots. To me this reflected the character of TaeKyung - honest and almost stilted in his mannerisms. I feel like the director filmed this series as if the show itself were TaeKyung: careful and clear and specific.

This may come off as one-note or simplistic to a casual viewer but it’s actually quite difficult to film something so precisely and still make it interesting to watch. It forced the viewer to focus almost entirely on the actor’s faces, their nuanced emotion, and their interpersonal relationships to the exclusion of all else. Lucky for us those actors served the lens beautifully.

There is literally NOTHING distracting about this directing style. It’s like the camera was a neutral white room, a well-lit gallery in which the narrative hung suspended for us all to stand and stare at in hushed silence.

I mention not so much because it serves up story, because it doesn’t, but because it is the opposite, it allows the story to serve itself.

All my stuff on the BL filming side of things:

Yaoi filming, staging & framing techniques

Favorite Uses of Metonymy In BL

BL Directors - Overview

Lighting

Diffuse point lighting

Backlighting & Silhouettes

Unidirectional focused lighting

Spotlight on romantic couple moments

That lens flare moment

Framing

Staggered couple framing

Linear cinematography + near perfect framing, in distance shots

Central Aperture Framing

Peekaboo Framing

Acting

Favorite Subtle Character Attributes

Ohm’s Acting

Gun's Acting

We Best Love: Seme/Uke & Sam Lin’s Acting Screen Presence (Charisma + Experience)

Saint’s Physicality

OffGun & The Evolution of Chemistry for a BL Pair

Why Nanon Korapat's Acting is FANTASTIC

Meta Post - All My Stuff on the BL Industry - Master Post talking about financing & production: This is a complication by request of all the posts and discussions this blog has hand on the BL industry as an industry, includes studios, production, country analysis, actor and fan behavior

(source)

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waitmyturtles · 1 year

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I finished The Makanai: Cooking for the Maiko House this weekend, and I feel like I’m still laid out flat by what I watched. I’ve been so consumed with QLs lately, that jumping into a wholly different world of filmmaking was a touch of a shock. IT WAS ABSOLUTELY STUNNING, and I have to wholeheartedly RECOMMEND IT as a must-watch for 2023. LONG post!

First off: Koreeda Hirokazu. A MASTER director and screenwriter. His taking on the canon manga, Kiyo in Kyoto, had fans in anticipation for The Makanai to premiere on Netflix. My two favorite films of his are After Life (1998) and Like Father, Like Son (2013). He doesn’t shy away particularly from difficult stories about families and complicated relationships, and tends to cast familiar faces, especially Lily Franky. His latest film, Broker, has been on the awards circuit this season.

A couple of quick definitions and explanations before I move forward. This is a show about what us in the West called “geisha” culture in Kyoto. A maiko is an apprentice geisha, and geiko is the word for geisha in Kyoto’s dialect. A makanai means a person who cooks staff meals, say, at a restaurant or another kind of business where staffers get fed.

Kiyo in Kyoto is about the teenage protagonist, Kiyo, becoming the makanai of a maiko lodging residence in Kyoto, after she follows her best friend, Sumire (later known as Momohana), to Kyoto to apprentice as maiko. Sumire has a natural talent for this work, while Kiyo is a carefree, unburdened soul who isn’t committed to much in her young life. Kiyo is expelled from her maiko apprenticeship, but asks to become the makanai of the lodging house, and is able to stay in Kyoto, and close to Sumire, as Kiyo had promised to remain by Sumire’s side during their journey into apprenticeships. Both Kiyo and Sumire are from the same town in Aomori Prefecture, the northernmost prefecture on Honshu island, just south of Hokkaido. In Aomori, Kiyo lived with her grandmother, a local doting soul, and her grandmother’s kitchen is where Kiyo first found her passion for food and cooking. Finally, Sumire is in love with their mutual friend, Kenta, who is a high school baseball star in Aomori. It’s not clarified directly, but it’s apparent that Sumire’s love is unrequited, and indeed, it’s indirectly indicated that Kenta might be more inclined towards Kiyo. Kenta is shown sitting with Kiyo’s grandmother for many meals, including holiday meals, without explanation as to his own family.

So that’s already A LOT to manage, and still, Koreeda takes on more -- he takes on the unbelievable setting that is Kyoto and the Gion district, as well as flashbacks to winter-strewn Aomori; he takes on rivalries, regrets, sisterhood, and more among the women of geiko and maiko culture; he takes on the breathtaking theme of unrequited and resistant love, and he takes on the theme of complicated -- very complicated -- friendship, leveraging Kiyo as an unburdened foil and mirror to reflect on the complicated natures of the people around her.

First off, if you are at all inclined to be taken away simply by cinematography, you MUST WATCH THIS SHOW. I haven’t watched anything more beautiful in a VERY long time. This brings up for me the wonderful conversation that took place last month regarding the sense of space in QLs; in regards to the sense of space and how ma (that very intricate concept of place, time, and space) is incorporated into doramas -- I haven’t seen a show that does it better than The Makanai at the moment.

The way Koreeda captured seasons. The way he incorporated fashion -- what geikos and maikos wear during performances, on their off-time, during celebrations -- my GOD. The way he used COLOR. The way he used quiet, and sound, to lift up conversations outside in spectacular settings. The way he held shots. SUMPTUOUS. I was totally taken away.

Two shots that moved me: Kiyo in a sento bathhouse, humming to herself. (She’s later teased, without her knowing, by some of the maiko, for being like an old man, scrubbing and humming in the sento.)

Kiyo, Kenta, and Sumire, a flashback to Aomori, Kiyo and Kenta shoveling snow while Sumire built a snowman. And an immediate cut to Sumire watching Kiyo shovel snow in Kyoto. The quietness and the beauty gave me physical chills.

Kiyo as a free soul, moved by her passion for cooking and not much else, is leveraged so beautifully as a means of a young woman being in a place at a particular time, without carrying the emotional burden of existence that many of us place on our shoulders. She’s not the person who asks why something is happening in her life. She’s the one who’s feeding the people who are doing that asking unto themselves, and suffering either because of that inquiry, or suffering simply because of an inability to transcend what they’re going through. Kiyo is clearly a Zen-like foil -- even though she’s treated often as someone “with a screw loose,” as the geiko Momoko says to Sumire in the last episode. But I think Kiyo is far more in touch with the world than anyone else that surrounds her in the show. She’s the human embodiment of ma.

So, speaking of cooking: the reason why I picked up this show is because friends of mine recommended it to me as a cooking dorama, and certainly, a lot of news coverage in the West focuses much on the food of the show. Many of the Western articles, I think, miss many points about the show, and I think it’s in part for a lack of understanding about how food and cooking are so emotionally interwoven in unspoken aspects of Asian cultures. (A lot of commentary I’m reading just focuses on the dishes -- and the dishes are incredibly important, especially in how Kiyo interprets them from her Aomori taste, adjusting seasonings and techniques for the group of maiko she’s serving who hail from across Japan. But the dishes are not the only, or the most important, aspects to this show.)

Kiyo is often asked if she’s okay with being the makanai. She kept her promise to her friend, Sumire, Sumi-chan, to stay by Sumire’s side. Sumire would ideally like to keep Kiyo by her side -- if Kenta likes Kiyo, it’s better to keep Kiyo in Kyoto. But also: Sumire is primed to be the next best maiko and geiko in Gion, as Momoko predicts (Momoko is the star geiko of Gion), and Sumire will need an ally. Kiyo is Sumire’s ally -- and we’re not sure if Sumire has Kiyo’s best interests at hand.

But Kiyo insists that she’s okay, that she wants to be the makanai. Even at 16, she says, this may be the job I was intended to have. Kiyo radiates simplicity in a fantastic, uplifting way. I think Western critics are missing this. Western food media tends to absolutely glorify, many times in horrific and ignorant ways, dishes without the cultural context of the cooking, preparation, or history of those dishes. In other words, Western media erases the stories behind the cooking.

The Makanai is ALL ABOUT THE STORIES BEHIND THE COOKING. Kiyo is a makanai, and to Kiyo, that’s just fine. She doesn’t find it demeaning because she is not demeaned. She even seems surprised when she’s asked by a lodge okkasan if she’s okay with this job.

Food brings comfort, memories. It satisfies hunger, needs. Comfort, memories, hunger, needs -- these are HUGE, huge. Kiyo does that? That’s massive emotional work. She knows exactly what she’s doing.

So, what all does this show have? Absolutely EXQUISITE cinematography, and an unwinding, mature story focused on the journeys of two teenagers, with ambition, rivalry, regret, love (requited, unrequited, unresolved), and beyond unbelievable acting.

It’s an absolute CRIME that I can’t take screenshots (eff you, Netflix), but here’s two. Hashimoto Ai, as Momoko, is on the right of the first shot. Imagine her kimono as brilliant sky blue. The fashion choices and colors in this show were mindblowing. Hashimoto Ai, by the way -- I STAN. What a CONCRETE performance.

The reason why I chose the second shot, of Sumire in her daily lessons, is because the light from the windows reminds me of when I first started to learn how to meditate years and years ago. The Makanai is one of the most meditative shows that I’ve seen in years, and I CANNOT recommend it highly enough. Utterly breathtaking.

#the makanai cooking for the maiko house #mori nana #natsuki deguchi #hashimoto ai #tokiwa takako #hirokazu koreeda #after life #like father like son #broker #netflix #netflix japanese dramas

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yukipri · 1 year

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The Bad Batch Season 2 Wrap Up Thoughts

I never ended up sharing my thoughts on the Bad Batch S2 finale. Since we're hopefully getting news of S3 tomorrow, this seemed like a good time?

First, to be clear, I love so much about the show. This is not meant to be a complaint thread. But I'm also critical of certain aspects. You're warned.

This is also a compiled Twitter thread!

Spoilers through the end of Season 2!

First off, I can't understate how beautiful the show was, just as an experience. The cinematography, the visual designs, the music. The unique worlds and unique characters. There were so many shots that were breathtaking, haunting. When a scene hits, it HITS.

I love both TCW & Rebels dearly, but cumulative skills + experience as well as new technology clearly shows. TBB, TotJ (and of course TCW S7) are just so captivating to watch as works of art. These shows are, frankly, worth it for that alone. But of course that's not all.

One of TBB's strengths is the depth it gives the worlds the characters visit, as well as the side/guest characters. Perhaps due to the nature of many of the episodes being more of an exploration than straight up war like TCW, but we can see more of these places. TCW also had so many neat planets/aliens/cultures, but due to the constantly pressing war, we were only ever allowed a glimpse and I constantly wished there was more. TBB really scratched that itch. I'm thinking specifically of Kashyyyk, with its fauna and wookiee traditions.

The same with side/guest characters. They all had such great flavor, with fun designs and motives. Phee was a standout among the non-clones. I also loved how it gave us such a personal exploration of characters we knew and loved before, like Riyo.

The thing about TBB is that it's set in such a fascinating time period that we don't have too much media of, at least in new canon. The formation of the Empire is a time where we know all these other characters must be alive and working hard, but we haven't seen it before.

This leads me to the writing. Oh, the writing...

How do I say this. The writing in this show gave me whiplash. Some of the episodes were beyond brilliant, giving us deeply personal character moments, layered metaphors, and context in how it affects the greater SW universe.

Others...not so much.

I understand this is not the case for everyone, but for me personally to enjoy a story, when there are any stakes involved, I need the characters to show some awareness of them, and for these to affect their actions. There are a limited number of episodes and that time must be spent wisely. I don't mean this at all to say that I didn't enjoy the lighter fun adventure missions with the Batch, nor do I think these episodes can't be used productively.

But TBB S1 started off with Crosshair siding with the Empire.

I kept waiting for them to *show* that the others cared. It could be they were troubled, it could be they missed him, it could have been shown in so many ways. I kept expecting these brief moments in the Fun Times episodes, which would have given me some emotional continuity.

The writers are absolutely capable of it! After Plan 99, when Echo glances at the co-pilot seat—stuff like that, I was personally expecting it through all of S1 and S2. I get that the Batch feel they have to do other things and Crosshair made his own choice, but I thought the point was they care about their brother regardless.

Mind you, I'm not the biggest fan of Crosshair, but I do find him interesting. And I felt that in the two episodes most centered around him, he had such tangible growth that was depicted so well. He went from stating that the Batch are superior to regs in S1 finale, to having clear doubts after working with Cody, to shooting a natborn officer because he didn't help a "reg" he'd just met. We see Crosshair being included by the clones he disdains, we see how it compares to the Empire he thought he wanted to be a part of. The writing in Crosshair's episodes were tight, and he went far within them, few as they were.

In comparison, the rest of the Batch...with their far greater number of episodes...what were they doing??

I love character-centric eps, but even on a personal level, I wasn't sure what the charas gained. Tech is the sole exception; he was given many introspective moments, from Sorenno, to Phee, to the cave talk with Omega. Not sure how much he changed, but he expressed himself.

To also be clear, I'm also not including Echo in any of this. He has been the voice of trying to get the Batch to do things, to *change*, since S1. I felt his frustration keenly. Which is why I felt that when he left to go with Rex...I sort of left the Batch with him.

I mean this in the sense that Echo didn't *want* to leave the Batch, not necessarily. He wanted, and he *did* try to get Hunter to care about what their brothers are suffering, and he has been since S1. Echo can't stand to leave them chipped when he could do something.

He wanted the Batch to feel the same. *I* wanted the Batch to feel the same. But they didn't. I see Echo breaking with them less as him leaving, and more as they (or at least Hunter) firmly telling him that that's not their fight, and they're not going to do it.

This isn't the Batch going out of their way to help, or not knowing how. Echo and Rex have given them an open invitation. The Batch know how to help, who needs it, and why. They know their "reg" brothers don't have many if any others fighting for them. The Batch (Hunter) have these opportunities to help and know they are among the few positioned to offer it...and they still walk away.

The Batch (Hunter) sees the other clones fates as none of their business. On one hand, I get that they never fit in, were called names and weren't allowed to sit with the cool kids at lunch. On the other, "they were mean" and "therefore they should be mind-controlled slaves" is grossly disproportional. Likewise it's not as though this fight doesn't concern them. Even if they can't find it in themselves to care about "regs," it's Rex who told them to remove their chips and went out of his way to make sure they did based on info that Fives gathered, without which Wrecker would have killed Omega. Perhaps I wouldn't go as far as to say they *owe* other clones, but my opinion of them certainly continued to drop as they made explicitly clear that they're fine with this being the fate of other clones.

So okay, fine. TBB isn't a story about the Batch discovering they have more alike with other clones than they first thought (other than Crosshair, who actually does get that story). That's what I wanted, alright, I know I'm not getting that at this point.

But then, where does that leave them? What do they care about, what do they fight for?

Their brother...right?

Except...they don't really do that either??? (points at earlier in this rant) At least, until the very last episodes, where an opportunity presents itself, and most of the Batch jumps on it...except Hunter.

The way he's written just *baffles* me. I can't say anything about his personality other than "he cares about Omega," but even that, when at the expense of his other brothers, is tiring. Immediately after Tech gives his life on a mission he wanted to go on to try to save Crosshair, he suggests they all hide away on Pabu (even with the knowledge that Omega is wanted and they're being hunted). I get that he wanted to hide from the pain, but in that context?? Even then, he can't care about Cross??

And then when Omega is kidnapped, the difference in his reaction between that and what happened with Crosshair...it was, frankly, painful.

I feel like by the end of the series, Tech would have been more open to joining Echo/the clones' fight. Wrecker will just go along. Echo has already plunged headfirst into helping others, Crosshair got character growth and defected from the Empire. And Omega has always wanted to help even strangers, but only doesn't when Hunter tells her no.

I feel that Hunter's the one dragging his heels for the Batch to progress, and he's supposed to be the leader.

All of this to say, I've been trying so hard to like the Batch since S1, and they didn't really click for me (other than Echo, who I don't count since I loved him from long before, and still consistently have). But by the end of S2, I think I've concluded that I'd like the others perfectly fine if they were under different leadership that encouraged them to care, to act.

I don't want to say I *dislike* him, but man...I'm super disappointed in Hunter, and I'm not sure if/how that might change.

This leads me to my final thought, which is: I would strongly prefer if "the Clone Story" be told from a different lens than Hunter-centric TBB.

What I mean is, throughout the show, there have been multiple pivotal events that affect all clones, not just the Batch.

The fall of Kamino, the failure of the clones' rights bill are the big ones. But even without those, through the glimpses of the "regs" like Howzer, Gregor, Wilco, Cody, Slip, Cade, and Mayday, we see how the Empire is treating the rest of them as a group.

I'm deeply invested in these boys and their stories, and frankly, all of these boys instantly became my faves in their few moments of screen time. I want more of these, and it feels deeply unfair that they've done so much to tell compelling stories but have so little time.

They are an extension of the clones I love from TCW in a way that the Batch just aren't, and don't seem to be interested in becoming.

Not even that, but we know from Hunter's rejection of Echo that the Batch (Hunter) don't *care.*

Fine, they don't care. But I'm admittedly deeply concerned about how S3 will go, because even if the Batch doesn't care about the Clone Story, they (Hunter) don't seem to be doing a great job progressing their internal story either (Crosshair).

I understand Omega has some crucial background we're *finally* getting to. I want to know why she's special, why she's unaltered. I want to know what she has that Boba doesn't, or if she's just Nala Se's favorite. Maybe that's relevant to the Clone Story.

But frankly, personally, I would prefer if TBB S3 goes full in focussing on building Hunter and Wrecker up emotionally, and just going full in on what it means for them as a Batch to be there for each other. They need that, desperately, without distractions.

I would prefer if the Clone Story (frankly, the story I'm far more invested in) is told through Rex and other clones, who passionately care and are in the fight. If Echo jumps between the 2 groups and links them, great! I think the Batch would make excellent guest characters. But NOT protagonists of a story where they don't care while everyone else does.

I guess all of this to say, it's sad that I think I liked the Batch the most in TCW S7, and my impression of them as a group (which I recognize is largely due to Hunter) has only gone downhill since.

Again, to be clear, I did enjoy the show.

I LOVED eps 3, 7, 8, 12, 14, to the point I'd say they're possibly my favorite eps of any SW show. These eps are conspicuously non Batch-centric. I loved many *parts* of other episodes.

The *show* has given me so much to love. Unfortunately, none of those things are Hunter.

#YukiPri rambles #TBB #The Bad Batch #Spoilers #the Bad Batch Spoilers #TBB Spoilers #TBB S2 #The Bad Batch Season 2 #longpost #rant post

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thatsrightice · 2 months

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About half way through part five and can I just say this episode is a freaking beauty. Literally stunning. The cinematography, the little details, literally everything. It’s breathtaking. One of my favorite so far for sure.

EDIT: omg yall this shit is heavy. way more than episode three for me personally

EDIT 2: go watch it please

#mota #masters of the air #like my god guys this is beautiful

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suchamiracle-does-exist · 11 months

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Dear @faisonsunreve thanks for the tag. This was definitely a time taking task but so much fun to do. A true time travel to your watching history. To my surprise there are three French films and three Tom Hanks films included. 😄

A few comments about certain choices.

Favorite film of all time: The Thief of Bagdad (1940): The jewel of the film is Conrad Veidt’s insane Jaffar dressed up with the turban.

Best script: Some Like It Hot (1959): The story about two antihero musicians trying to make a living and avoiding gangsters by dressing as women and joining a female band and traveling to Miami is still unique to watch.

Favorite poster: The Empire Strikes Back (1980): Memories from the childhood. Darth Vader’s perhaps a little too epic posture promises you an emotional adventure and that promise will be fulfilled.

"I’ll watch it some day": Napoléon (1927): @missholson and I were introduced to this 6-hour biopic of Napoleon and we were stunned by the shots of the twenty-minute triptych sequence, where widescreen panorama is made by projecting multiple-image montages simultaneously on three screens. Blu-ray is waiting on the shelf.

Big personal impact: Elvis (2022): I wasn’t prepared for the narrative where female gaze and male vulnerability are allowed and validated.

You like, but everyone hates: Angels & Demons (2009): Don’t know today’s reception but when it was released the film was heavily criticized by the critics and the audience. I like both this and The Da Vinci Code (2006), but having more convincing characters, plot and hold for the entirety makes it better than the first one.

Underrated: The Ninth Gate (1999): Polanski is a very contradictory director for his sexual abuse charges, therefore it feels shameful to admit liking his films or considering his films to be valued. Many find Gate as a dull thriller. The film doesn’t rely on jump scares or gore but the mystery around the occult books and the things you can’t see.

"Why do I like this?": Bachelor Party (1984): This is my favourite question of them all. I discussed with @faisonsunreve about on what basis you should answer this and does it reveal your true movie taste. The 80’s crazy comedy is a silly and out-dated genre and that is why the films of this era fascinate me. Bachelor Party is full of lame humor and over-the-top characters. Yet the storyline is versatile and entertaining. Young Tom Hanks embodies the past.

Great soundtrack: La Cage aux Folles (1978): Ennio Morricone has said first he has to understand the film, the images, the story and the director’s intentions before starting to compose. I would like to know his study for Folles, because the soundtrack has such a humorous, characteristic and warm sound.

That cinematography: Furiant (2015): I was balancing between Tinker Tailor Soldier Spy (2011) and La double vie de Véronique (1991), but this short film stands out with the way the rural landscapes, the dimly lit rooms and the unspoken moments are visualized (and edited) by the producer, director, writer, cinematographer and editor Ondřej Hudeček.

Criminally overlooked: Angélique film series (1964-68): Yes, you could put almost any Conrad Veidt film here, however I chose this. I have been fond of Angélique films since I was a child. These spectacles tell the story of Angélique in the time of King Louis XIV of France. Romance, adventure, scheming with breathtaking soundtrack and costume design, beautiful Michèle Mercier in the leading role and the flashy way of speaking French offer us an exquisite interpretation from the 60’s.

Favorite active director: Peter Strickland: I have seen only The Duke of Burgundy (2014) and Flux Gourmet (2022), nevertheless his style of using the aesthetics of Italian genre films and the intimacy he creates is just heartwarming.

Anyone who wants to make their own version, please do and let me know. 📼📀📦🔦

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stormyoceans · 1 month

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Mon mon mon your top 5 vice versa quotes/ top 5 visually pleasing vv scenes

ISMAY THESE ARE SUCH INTERESTING QUESTIONS BUT I HOPE YOU KNOW THEY MADE ME GO THROUGH AN EXISTENTIAL CRISIS ESPECIALLY THE SECOND ONE (hence the really late reply SORRY!!!!!!!) SO HERE GOES NOTHING I GUESS

TOP 5 VICE VERSA QUOTES

1. “even though there’s only a little pink, jigsaw completed his drawing with other colors, just like our story. we might focus less on our love one day, but i’ll still understand you, care for you, and want the best for you.” “are you trying to say that one day we’ll love each other less?” “that’s not what i mean. im saying, even if one day you have to devote yourself to what’s really important to your life, rather than spend your time thinking about me, i’ll understand and give you my full support.” – puen in our skyy episode 2 [just for this dialogue alone i had to accept the fact that i will never love a pairing this completely in my life ever again literally no one compares to puentalay]

2. “and he paints my life pink forever.” – talay in episode 12 [QUITE POSSIBLY THEE MOST LINE OF ALL TIME]

3. “if this can be used to wipe away dust, i should use it with your heart. i think your heart hasn’t been used in a long time.” – puen in episode 3 [LIFE ALTERING TRANSCENDENTAL MOMENT IN HERSTORY IM SORRY BUT THIS IS SIMPLY HIGH ROMANCE TO ME]

4. “we all have our own pain that we are enduring. you can’t compare your life to theirs and judge them on what they should do.” – kita in episode 9 [KITA THE UNSUNG HERO OF THIS SHOW I LOVE HIM SO MUCH]

5. “whoever puen is seeing is his personal business. im his fan, not the master of his life.” – gyo in episode 12 [print this line, project it on a wall, make a powerpoint out of it, tape it everywhere, put it in a billboard, spread it]

TOP 5 VISUALLY PLEASING VICE VERSA SCENES

(i ended up going with a mix of colors and framing and cinematography to pick these and IM STILL NOT FULLY CONVINCED)

1. the bucket hat reveal in episode 10. not only this is one of the most scenes in television history (second only to puentalay reuniting in episode 11), but it also takes the crown as the most visually stunning. the pink/red contrasting the black/blue is simply beautiful.

2. the glasshouse kiss in episode 4. I SWEAR IM NOT JUST FINDING EXCUSES TO KEEP POSTING THIS SCENE IT'S NOT MY FAULT IF IT'S PERFECT IN EVERY SINGLE WAY. one may ask, 'why didn't you pick one of the two other glasshouse scenes then', to which i say ONCE AGAIN NOT MY FAULT IF THE OTHER SCENES DON'T HAVE PUENTALAY DRESSED IN CONTRASTING COLORS AND PUEN HALF HIDDEN BY THE GREENERY BEING SLOWLY REVEALED.

3. talay drowning in episode 1. I KINDA FEEL BAD PICKING THIS SCENE SINCE IT’S TALAY DYING BUT. look at how pretty it is. when i see all these gorgeous shades of blue (with a hint of pink in some shots!!!!) i can understand talay saying “let me appreciate these beautiful colors a little longer.”

4. the secret island in episode 10. at first i didn’t want to put the same episode twice, however i just can’t leave out this scene if we’re talking about visual elements. color wise it may not be as remarkable as other moments (although the touch of green against the neutral tones of the sand and the sky and the water is [chef’s kiss]), but the cinematography here is honestly breathtaking.

5. friend credits reuniting in episode 6. this is a shorter scene compared to the others but i absolutely love the way they were able to highlight the yellow in such a clever way, not only with the lights but also with the sparklers and the curtains against the black and the white/light blue.

#THE FACT THAT I DIDN'T PUT ANY PINK SCENE IN THE TOP 5 IS KILLING ME #but unfortunately i don't think they can compare to these five #ANYWAY VICE VERSA THE MOST BEAUTIFUL SERIES OF ALL TIME SO TRUE #thank you so much for asking me these ismay!!!!!!#hope you're having a wonderful day!!!!!! 💜💜💜💜💜#vice versa #ismay 🤍#m: ask

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thekyterion · 1 year

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TOP 10 FILMS OF 2022

In a year full of huge blockbusters, record-breaking indies and a sequel for just about every movie ever made, here are my top 10 films of 2022.

“Aftersun” (dir. Charlotte Wells): An incredibly personal, poignant and heartbreaking directorial debut with performances for the ages from Frankie Corio and Paul Mescal. Following a father and daughter on holiday, the film’s editing and sound design also stand out in this 96 minute emotional masterwork. I’d type more but I’d start crying. Seriously.

“Babylon” (dir. Damien Chazelle): A three hour spectacle of filmmaking and the perils of transitioning through one’s career as the environment around you shifts uncontrollably. Chazelle goes back to his “Whiplash” roots, with tension dialed up to 10 for most of the film, especially the final hour. Diego Calva leads the film perfectly, Margot Robbie gives one of the best performances of the year, and the entire supporting cast (especially Jovan Adepo) are phenomenal. Brilliant crafts and one of my favorite endings in recent memory. Definitely worth the big-screen experience.

“The Banshees of Inisherin” (dir. Martin McDonough): The perfect encapsulation of the deterioration of a friendship that should not go to the levels it does. The entire cast is superb, with all four stars (Colin Farrell, Brendan Gleeson, Kerry Condon, and Barry Keoghan) deserving of awards recognition and will likely be huge threats in their respective acting categories. It’s a gorgeous film that is absolutely hilarious and heartbreaking at the same time, with a thesis that leaves you questioning everything but also never once lets you pick sides in the central battle. And it only gets better and funnier on each rewatch.

“EO” (dir. Jerry Skolimowski): One of the most immersive cinematic experiences I have ever had. The film, Poland’s submission for Best International Feature, places you directly in the eyes of a donkey named EO as he ventures across Europe and the many types of people and perils the world requires you to face, should you be brave enough to venture outside into them. Despite never saying a word, the film uses its breathtaking cinematography and sensory-inducing editing to allow you to understand everything EO does on an incredibly emotional level unlike anything I have ever witnessed.

“Everything Everywhere All at Once” (dirs. Daniel Kwan & Daniel Scheinert): The best and most original film I’ve seen in years. I’ve spoken so much about my absolute love for this film. I saw it 8 times in theaters in 2022, including one screening in IMAX at the TCL Chinese Theatre (which was life-altering). The multiverse masterpiece follows Michelle Yeoh playing a woman who just wants to do her taxes, but finds herself trapped in an inter-dimensional war that affects her current universe all too much. Stephanie Hsu and Ke Huy Quan deserve Oscars for the heart and soul they are able to bring to the film, and Yeoh is my pick for Best Actress, brilliantly balancing every version of her character within a film that changes genres so quickly and dramatically. A brilliant feat of filmmaking.

“Living” (dir. Oliver Hermanus): Based on the 1952 Akira Kurosawa film “Ikiru”, “Living” centers on a man (Bill Nighy) who is coming to terms with his impending death and understanding what it means to be alive and live. Nighy is brilliant and leads the film with impeccably perfect acting, and the film ponders and allows for many questions about life. It’s simply beautiful and never goes where you think, despite being given a road map at the start of the film. If I left the film with anything, it’s that what we choose to do with the time we have matters.

“Marcel the Shell with Shoes On” (dir. Dean Fleischer-Camp): A feature length film based on the YouTube short films, Fleischer-Camp returns to the world of Marcel with star Jenny Slate back as the voice of the a tiny shell you will instantly fall in love with. It’s a stop-motion animation marvel that is able to beautifully combine genres together and never once feels like the bit is going on too long. You’ll want to stay with Marcel for a very long time, and he, once you see the film, will stay with you.

“Nope” (dir. Jordan Peele): Yep. Peele leads Daniel Kaluuya, Keke Palmer, Steven Yeun and Brandon Perea, among others, in this beautifully complex and terrifying thriller that never once goes where you think it will. Peele gives all the puzzle pieces to us in the first watch, but repeated viewings continue to make the puzzle more complete. With some of the best crafts and scenes of the year, especially the score, “Nope” proves that Jordan Peele isn’t running out of brilliant ideas anytime soon.

“TÁR” (dir. Todd Field): Cate Blanchette is terrifying and brilliant as Lydia Tár, a conductor preparing for one of the biggest career achievements of her life while also dealing with the consequences of her previous actions. The film asks some incredibly difficult questions and, even with a daunting 158 minute runtime, doesn’t leave anything unanswered. The film at times feels like a horror film, and is incredibly tense and filled with flashes and visions of the past. Repeated viewings will reward with hidden ghosts and a greater understanding of Todd Field’s vision as a writer and Blanchette’s performance, both of which cannot be praised highly enough and will be huge and deserved contenders during awards season.

“Women Talking” (dir. Sarah Polley): The ensemble of the year, the film follows a group of Mennonite women who are discussing the best course of action to take after an incredibly dark discovery. Polley bakes in the questions of what it means to have a voice and how it can be silenced without realization. The entire cast is absolutely astounding (Claire Foy, in particular, gives a stellar performance), and the score and cinematography are simply stunning. It’s a film that asks hard questions and deals with even harder subject matters, but still remains hopeful even in the darkest of moments.

Score: “정훈희” (Jeong Hun Hi or Jeong Hoon-hee) (안개(Fog) 1967)” from “Decision to Leave” (dir. Park Chan-wook)

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