If Black People Said The Stuff White People Say

I get excited whenever my buddy Burl is featured in a project. Great job.


 If Black People Said The Stuff White People Say


Starring:
Burl Moseley
http://imdb.me/burlmoseley
https://twitter.com/BurlMoseley

Chelsea Harris
http://www.imdb.me/ChelseaHarris
http://instagram.com/ChelseaHarris31

Music:
Ridin High
Licensed via Warner Chappell Production Music Inc.

Sh*t Raw Foodists Say by Desi Domo

Hilarious.  A great example of not taking yourself too seriously.

(I can embrace this humor minus one comment about Lupus that I find to be a bit insensitive. I trust that there were no bad intentions from the actress.)

Don’t Call Selma Hayek a Feminist. She Doesn't Want You To.

 (source)

Per Jezebel

On Monday in Beverly Hills, Hayek was honored as a women's rights advocate at Equality Now's Make Equality Reality event. Despite that, and her continued work on behalf of women worldwide including co-founding Chime for Change, "a global campaign to convene, unite and strengthen the voices speaking out for girls and women around the world," Hayek does not want to be called a feminist. Via People:

Despite her passionate support for women, Hayek told PEOPLE that she does not consider herself to be a feminist.

"I am not a feminist," she said. "If men were going through the things women are going through today, I would be fighting for them with just as much passion. I believe in equality."

This is an example of a person giving into the myth that feminists are against men. This is in of itself  an example of patriarchy. she has been influenced as so many have, by the temperament of higher powers who believe it should be the logical thought that women who go against the grain, cannot be respected or desirable. This is largely but not always true. Being  feminist is hard. Her words tell me that her work for women has not been as involved, enlightened, insightful, eductional, or humbling as one would think.

I am not so much angry as I am sad. I can only hope that there are some around her who will address this with her lovingly, and will not let this issue fall to the wayside. We need more to use the word  "feminist", so  to squash its stigma.

Live and Let Live

Live and Let Live - 2013

facebook.com/letlivefilm
twitter.com/LetLiveFilm

Live and Let Live is a feature documentary examining our relationship with animals, the history of veganism and the ethical, environmental and health reasons that move people to go vegan.

Clockwork Orange County: The Rise of West Coast Punk Rock!

Finally out on DVD. Dropped earlier this month.


Clockwork Orange County: The Rise of West Coast Punk Rock!

"Southern California. The early 70s. Spike-haired kids with tattoos and a love for loud music stuck out like sore thumbs. These Punk pioneers found their only sanctuary at Cuckoo's Nest, a club in Costa Mesa. ""Clockwork Orange County"" chronicles this scene, where seminal Punk acts such as The Ramones, T.S.O.L. and Black Flag launched, and a west coast chapter of a global musical movement was born."

Love The Movie: THE ART OF BETH MOORE-LOVE

This is a Trailer for LOVE.
Release Date: February 14, 2014
Director: Larry Wessel
Music: Swan Lake Dub by DuBoLoGy (Album: Dub Lab on Angel Dust Records)

LOVE is here...
http://www.lovethemovie.org/

LOVE is Larry Wessel's new feature-length documentary about an extraordinary painter from New Mexico and her astonishing works of art.

Beth Moore-Love is perhaps the greatest living artist working in America today. Her works can be found in private collections throughout the United States and Europe. She is a national treasure and yet, she is virtually unknown. Filmmaker Larry Wessel is determined to change that with his nine year labor of love...his upcoming feature-length documentary called LOVE.


THE ART OF BETH MOORE-LOVE

"My 'artwork' has always been very cynical and ANGRY. I read a quote once, I don't remember who said it, something about the purpose of art being to soothe the spirit after a hard day of 'reality'. What does that mean? I once saw a two-page advertisement for some stupid car, on one side of the fold-out was a photo of Monument Valley, morphing into the skyline of Manhattan. On the other page, over Monument Valley was written 'The Dream', over Manhattan was written: 'The Reality'. And I saw right away that this was completely backwards. So my purpose as an artist is to soothe these people who turn our world up-side down for profit? These people who feel spiritually bereft after a hard day of raping and pillaging? F*ck that. I will NOT. I'm going to sneak it on the wall, and slap the sh*t out of them with the truth of it. Is there ugliness and horror in my work? Absolutely. Do you think that my work is distatsteful? You are correct!"

- Beth Moore-Love
Follow LOVE...

Up to the minute LOVE News, LOVE Reviews, Screening and Film Festival Announcements and much, much More!!

Subscribe today!!

http://www.lovethemovie.org/
LOVE is here...
www.lovethemovie.org


The FaceBook Fan Page for LOVE is Facebookdotcom/LoveTheBethMooreLoveDocum

­­entary

How the Media Failed Women in 2013 -- The Representation Project

I've noticed that every year, someone posts a video of this kind. I can't imagine there will be a year where we aren't pushing against this, but I do hope we are moving forward. Tag you're it --pass this on.

Credits:

ORIGINAL: By The Representation Project.(Not to be confused with Miss Representation.)

Brave Miss World --Weeks Before She Was Crowned 'Miss World,' She Was Raped.

******TRIGGER WARNING*******

"I WANT THE SAME BASIC RIGHTS AS THE RAPIST." I shouldn't be crying because rape should not exist. As strong as these women are for banding together, they shouldn't have to know such strength. A man rapes & moves on w/marriage, kids, perhaps more rapes. A woman shatters & spends her life trying to sleep w/out nightmares, love w/out flinches, walk outdoors w/out fear. I want to roar, but all I have are these puffy eyes cradling tears. Can you imagine a world w/out rape? Neither can I. Pass this on.

Brave Miss World - Documentary - 2013

 Visit the official facebook page:

https://www.facebook.com/BraveMissWorldDoc

Black Fish

Black Fish: a doc from the perspective of former Sea World trainers speak about the deaths of whale trainers killed by the animals. The film was playing in select theaters only, but CNN debuted it last night, followed by 2 hour discussions by 2 panels. They debated as to whether Sea World & other sea parks should exist. I say NO. Surprised that even Jack Hanna believes that Sea World is safe for trainers, & healthy for whales. In the end $/entertainment wins. The trainers discuss whether a relationship exists with the whales or if they simply respond to food. They discuss separation of whales, mistreatment of whales, and realizing that the whales aren't theirs. They are owned.
  

Official Black Fish Trailer - 2013

Circus? No. Zoo? No. Sea World? NO! We would lose a historical staple of entertainment, & $ would be lost. So what? There are other ways to learn about whales, & it is soulless to think that whales should have to sing for their supper. The park uses the word "behaviors", but they are in fact tricks. There is no part of these parks that benefit the whales. What's in it for them? Nothing. 


Black Fish Looks at Whales in Captivity

To pre-order the film visit Amazon, here.

Unmanned: America's Drone Wars

Help ground-breaking filmmaker Robert Greenwald complete this documentary and help change the U.S. Drone policy

Daria Movie Trailer (with Aubrey Plaza)

If only this wasn't a spoof trailer.


Daria Movie Trailer (with Aubrey Plaza) - 2013

Cracking the Codes: Tim Wise Speaks of Fear, Envy and Bias

Cracking the Codes: Tim Wise, Fear & Envy
In this clip author and anti-racism advocate Tim Wise talks about that media plays in creating whites' fear and envy of people of color and other barriers that keep whites from developing authentic personal relationships with people of color.


Cracking the Codes: Tim Wise, Implicit Bias in the Age of Obama 
In this clip author and anti-racism advocate Tim Wise shares how white folks carry implicit negative bias toward people of color will carve out exceptions for those who seem different from the norm. For more information on Cracking the Codes: The System of Racial Inequity

Posted by WorldTrustTV
http://www.crackingthecodes.org

Film Trailer


Cracking the Codes: A film produced by Shakti Butler, Phd.

White Like Me: A 2013 documentary based on the work of anti-racist educator and author Tim Wise

White Like Me - Documentary by Anti-racist activist, speaker, educator, author, Tim Wise -- 2013

A 2-minute clip from White Like Me featuring Tim Wise. Available Fall 2013.

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning reassessment of the American ideal of meritocracy and claims that we’ve entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequality and race-driven political resentments today. For years, Tim Wise’s bestselling books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his work to the screen — to show how white privilege continues to shape individual attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others. - See more at: http://www.mediaed.org/wp/production-update-request-white-like-me#sthash.kWQs4op4.dpuf

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning reassessment of the American ideal of meritocracy and claims that we’ve entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequality and race-driven political resentments today. For years, Tim Wise’s bestselling books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his work to the screen — to show how white privilege continues to shape individual attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others. - See more at: http://www.mediaed.org/wp/production-update-request-white-like-me#sthash.kWQs4op4.dpuf

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning reassessment of the American ideal of meritocracy and claims that we’ve entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequality and race-driven political resentments today. For years, Tim Wise’s bestselling books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his work to the screen — to show how white privilege continues to shape individual attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others. - See more at: http://www.mediaed.org/wp/production-update-request-white-like-me#sthash.kWQs4op4.dpuf

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning reassessment of the American ideal of meritocracy and claims that we’ve entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequality and race-driven political resentments today. For years, Tim Wise’s bestselling books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his work to the screen — to show how white privilege continues to shape individual attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others. - See more at: http://www.mediaed.org/wp/production-update-request-white-like-me#sthash.kWQs4op4.dpuf

http://www.whitelikememovie.org

From the Website:

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning reassessment of the American ideal of meritocracy and claims that we’ve entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequality and race-driven political resentments today. For years, Tim Wise’s bestselling books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his work to the screen — to show how white privilege continues to shape individual attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others. - See more at: http://www.mediaed.org/wp/production-update-request-white-like-me#sthash.kWQs4op4.dpuf

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning assessment of the American ideal of meritocracy and claims that we've entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequity and race-driven political resentments today. For years, Tim Wise's bestselling  books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others.

White Like Me, based on the work of acclaimed anti-racist educator and author Tim Wise, explores race and racism in the U.S. through the lens of whiteness and white privilege. In a stunning reassessment of the American ideal of meritocracy and claims that we’ve entered a post-racial society, Wise offers a fascinating look back at the race-based white entitlement programs that built the American middle class, and argues that our failure as a society to come to terms with the legacy of white privilege continues to perpetuate racial inequality and race-driven political resentments today. For years, Tim Wise’s bestselling books and spellbinding lectures have challenged some of our most basic assumptions about race in America. White Like Me is the first film to bring the full range of his work to the screen — to show how white privilege continues to shape individual attitudes, electoral politics, and government policy in ways too many white people never stop to think about. Features bestselling author Michelle Alexander, Harvard law professor Charles Ogletree, legal scholar Imani Perry, and others. - See more at: http://www.mediaed.org/wp/production-update-request-white-like-me#sthash.kWQs4op4.dpuf

Cassette: A Documentary

Do you remember the first cassette tape you ever owned? I do. Are you a fan of mixed tape nostalgia? Definitely, sometimes.

I am eager to meet Cassette: A Documentary. Visit the website, and you will see the timeline of production. The film is scheduled to complete by later this year. The film that speaks to the history of the audio cassette, features some impressive musicians that reminisce about the tape days. In the trailer below you'll see some of worthy note. Daniel Johnston, Mike Watt, Ian Mackaye, and Henry Rollins.

Pussy Riot: A Punk Prayer - HBO Documentary

Pussy Riot: A Punk Prayer - HBO Documentary - 2013

Posted on Jun 17, 2013 by QMediaNews

HBO How and when did you get involved in the story?

Mike Lerner I started in February of last year when pictures of Pussy Riot started to appear in the London press, just before the cathedral event. I've spent my life making films about the place where art and politics meet and immediately was alerted to the potential for this story. Once they had been arrested, I knew for certain we should be making a film with these guys.

Max Pozdorovkin I grew up in Moscow and spent a lot of time there for work. I was always interested in them and Voina, the other performance group they were in, and their politics and the art. I was attending the trial and thought it was one of the most fascinating things I've ever seen. Once we found out a lot of the trial had been filmed by RIA, the Russian news agency, we made inroads in getting the material. We realized that the cameramen began rolling before the trial began, when the women were sitting in separate cells and speaking to each other. It was such an incredible window, we wanted to base as much of the film on that as possible.

HBO Was it the cathedral setting or that they were women that touched a nerve?

Max Pozdorovkin For the people inside the cathedral, the biggest offense was that they went near the altar. They trespassed where no one, except the patriarch, is allowed to go.

Mike Lerner That was their aim, to provoke a reaction. And part of their offense was not only being on the altar, but with bare arms and exposed flesh.

HBO How did you get their families to participate in the documentary?

Mike Lerner Masha's mother was very reluctant because she had been hounded by the press in a number of negative pieces about them. Nadia's father has been very vocal and open. The other two parents are very unused to being in the public eye. They really wanted to keep a low profile.

Max Pozdorovkin What's so rich about the parents is how their own transformations, especially Katia's dad and Masha's mom, say so much about the story. They weren't really happy that their daughters did what they did, but seeing how the system overacted, they understood the point of their daughters were making.

Katia's father, even before he knew about the film, said to me in the courtroom, "There are two Russias here and both sides hate one another. They refuse to speak to and understand one another." There was a great deal of truth in that sentiment. We really started to think about the film around this idea.

HBO How did the trial play in Russia?

Max Pozdorovkin It was a huge soap opera and there were protests outside of the courtroom, people both for and against them. It was like a miniature of the whole thing. Most Russians still do not like them and believed they should have been punished. But the consensus is slipping; people now believe the punishment was too harsh.

HBO So in Russia, are all defendants caged during proceedings?

Mike Lerner It does seem so incredibly medieval, three women in an iron cage. But they weren't getting special treatment. That is what happens in a Russian court. For us, it seemed like the perfect metaphor for martyrdom.

Max Pozdorovkin It ties into the idea of a public spanking. Public disgrace is significant for the film. In formerly Communist countries, the court system is used to perform these public punishments. That's why we use the show trial materials from 1937. This punitive mentality is still there and repellant; the cages, the aquarium, are testament to that. The only special treatment they got were vicious dogs to lead them in. Not all prisoners get the dogs.

Mike Lerner Only gangsters and terrorists.

HBO Did Pussy Riot ever expect to become an international story?

Max Pozdorovkin They had no idea. But they're media performance artists and they measure success by the degree of provocation. They probably couldn't believe they could cause so much.

HBO How do Nadia and Masha feel about Katia being out while they're still serving sentences?

Max Pozdorovkin Katia has worked tirelessly on filing appeals on all sorts of levels. Both for the original trial, based on improper process, as well helping with the appeals for early release of the women. In a guerilla group, there's no benefit to have everyone behind bars.

HBO Since the appeals continue, will you be making updates to the documentary?

Max Pozdorovkin I think if something extraordinary happened, that would be cause to go back. But the story is about what these women do in court during the trial.
Read more: http://www.hbo.com/documentaries/puss...

Lindy Hop at the New York World's Fair 1939

Lindy Hop at the New York World's Fair 1939

Thank you to Sharon Davis  for posting.

Description:
Excerpts (no sound) from amateur color footage in the Prelinger Archives, taken at the 1939 New York World's Fair, showing firstly the Savoy Ballroom exhibit, and secondly jitterbugs dancing to Glenn Gray and his orchestra.

Downloaded

An Alex Winter film. A documentary that speaks to downloading music that was sparked in the Napster era. Musicians weigh in. Billy Corgan, Lars Ulrich, Henry Rollins, and more.

DOWNLOADED from Trouper on Vimeo.
Downloaded

Stoker: A Review

Stoker is a film written by Wentworth Miller and directed by Park Chan-Wook. The film tells the story of  India Stoker and her devastating family.

India mourns the death of her father, Richard Stoker (played by Dermot Mulroney.) At the funeral her mother, Evelyn Stoker (played by Nicole Kidman) introduces India to her uncle Charlie (played by Matthew Goode.) A fourth major character within the film is the house in which they reside. This may or may not occur to the audience but in retrospect there is a reason as to why the house serves as such an important piece.


Stoker Trailer

It seems that the scene is set in the 1950s; but that is never established. The film smacks us in the face with tension from the get-go. Some of that tension is very much sexual, but for some time, we are unsure as to why.

India comes across as a modern Wednesday Adams: a young girl who is beautifully quirky, and doesn't know it. She is intriguing as much as she is intrigued. Introverted no doubt, and I find that marvelous. She doesn't have a carefree intrigue with the world: a childlike view. She does however, notice everything. She's not so pleased with her environment but it is curious how her personality might have differed before her father died. I don't think we are meant to invest in that idea too much, if at all.

Evelyn is a woman who is very concerned with appearances. Immediately I saw her as a woman who was depressed and lacking identity. She is also resentful and angry, and covers it well (or not so well) with a mask that is very Stepford wife-esque (and yes, she played one in the film Stepford Wives.) She is certainly thrown off kilter with the death of her husband, but you never get the sense that she truly misses him. She is left with a daughter whom she doesn't know what to do with.

Charlie is a devilishly handsome stranger. It is unclear as to why he is staying with them after the funeral had come to an end. India is unclear as well. She had not met him until now. We see life through her eyes, and her confusion is our confusion.

It is debatable as to who is the star of the show. I've teeter-tottered between Goode and Wasikowska. I think it is Wasikowska's character that is meant to be the focus, but my focus was on Goode. I believe I would feel this way even if I wasn't attracted to him.

In fact;  it took me quite a while to realize how attracted to him I was. This may be in part because his character is so cryptic that his persona kept me at bay. He is mysterious but certainly with the promise of impending doom. He has naturally large eyes; he leers and stares at his Stoker family, and speaks lowly and slowly. When he speaks it is as if he is rounding a corner and revealing himself into your vision with an intensity that you did not ask for and you may not welcome.

As pretty as his bright eyes are; I have a thing with eyes. Wide eyes -- which are often utilized when adding definition to a villain -- often frighten me. I still have squeamish memories of the wide eyes of every Disney villain I ever saw as a child.

Even so -- it is difficult to avoid how powerful Charlie's eyes are -- especially being that they add to the strong air of sociopathy. He is a person who immediately strikes as someone with an agenda, and someone who is incapable of empathy. As the film progresses you wonder if he truly has any authentic affinity for either of the women whom he temporarily shares a home with.

For a while it is uncertain as to where to place our emotions. Soon enough we see that the tension does not rest in benign territory. As mentioned earlier the tension is remarkably sexual. This is unsettling for the obvious reason: Charlie is family.

One aspect that drew me to Goode's character was his voice. I felt slightly deflated when I learned via online footage, that it was unauthentic, as he is an English actor. This feeling dissipated within seconds as I saw that not only does he have a handsome voice as an Englishman, but he has developed quite the talent. I am frequently impressed by actors not born in the states, who can create such bold and impressive American accents. Two more examples of this within the film, is the skill of Nicole Kidman and Mia Wasikowska; both born in Australia. Lucky ducks, they are.

In comparison, the American accent is not that keen. I imagine; to imitate an American accent is to produce a nasal effect. The tone and structure of American accents aren't always so impressive.


Stoker Featurette: Staircase Advantage

In most films there is someone whom we are rooting for. In this case it may be India, but there is a question that hovers. Charlie may be the devil but what exactly is inside of India?

India however, does have her defenses up: she has to. At times; watching her is like watching a whimsical fairy or curious girl who is smart beyond her young years. There were moments that were reminiscent of Frances Hodgon  Burnett's book, The Secret Garden. Ultimately, she's a tough cookie.

There are never any comfortable moments in the film. We don't rest; we don't have any moments of, "ah okay, I understand this." This is not a criticism of the film. This is what makes it great.

The film speaks to a larger issue, in my opinion. Death and the sexualization of it. I think many of us are guilty of appreciating this. Many of us accept this, and move on. I wrestle with it, and ultimately move on. I will repeat.

In some films, the sexualization of death is not so obvious. One could argue that the death that occurs within this film is not what attracts us; but speaking for myself, I am attracted to a character that wreaks of it: screams it. Is it so terrible that I'm attracted to the bad guy? Probably.

I've never been attracted to the bad boys in my personal life. Ever. I'm not drawn to loud men on Harleys; the hard-to-gets; unstable jocks; the emotionally unavailable, or aloof personalities that are vacant of substance.

Charlie Stoker is not a tough guy. At least not in the traditional sense. He certainly doesn't look the part. He's got the sinister thing down and that is powerful; but he doesn't have brawn or the sense that he could stand up to someone who does. He picks on those who aren't his own size and he is clever: that is his advantage. He is not courageous as there is no frightening obstacle to overcome or conquer. He has goals but his inner struggle is selfish and ridden with insecurities that he could never cop to. He doesn't have the insight to do so. He is fearless and is so, because sociopathy steams from his pours.

 Although he doesn't harbor the stereotypical version of a bad boy, he is certainly bad. Bad news, ten-fold.

What certainly adds to his intimidation factor is that he is older than our young India. Being that we are meant to be most connected to India as we see things through her eyes; we feel younger than Charlie, because she is younger than Charlie. I am a woman in my early 30s. Matthew Goode is only 2 years older than I, but when watching the film, I felt like a young girl, stretching to be as tall as he, embarrassed that I am not on the same level. Unevenness does not sit well with most people and this is inflicted upon the audience. Charlie is man who is taller, mysterious, and one that promotes conflicting feelings of resistance and relish. He makes India -- the audience -- and myself -- feel dwarfed. It's not a good feeling. Yep, you're probably paging Dr. Freud by now.

The scene I most lavish is what I consider to be the best part of the film. It's interesting to unfold its layers.
 

















"To be friends" is executed with intensity that is strategically sexual. Most people do not propose friendship in a way that is crafted with the intent to make the other feel uncomfortable, yet intrigued.


Stoker Featurette: What Do You Want From Me?

India seems to feel vulnerable but gains her confidence when she assures herself and Charlie, that they are family and nothing more. She needn't be intimidated by his charm, nor drawn to it. She can leave it across the dinner table as he is merely her uncle. There is no obligation and she can thus use that comfort as a defense. She is back to being a creature of aloneness: something she suffers from but enjoys as there is no other way to be. Everything else seems superficial. But perhaps Charlie doesn't fit into that category. Hmm? She tinkers with this idea.

If Charlie wasn't pure evil, I'd have to take him home. Good tea and good talk, would be in order.


Stoker Featurette: Director's Vision

In the above featurette we see that it took a melting pot to create the film. Various cultures, languages and accents, boosted the film into its finished product. It is a film done so well, that I almost wish I was a part of it.

In addition to the camaraderie of the production team and the cast; the director captures amazing angles. Some are confining, and some give space, but never much. There is no distinct feeling of being suffocated, but when you are in it, you are in it. When you are involved in the experience, when you are a participant, you are served up an opportunity to assess your own take on family, fear, sensuality, love, loss, danger and whatever else you find tugging at you. It is in front of us on a platter.

It's a film that is probably deserving of a second watching, in order to get the full taste of it. I'm only on the first bite.

I'm a fan and I will certainly purchase the film when it is made available.

For more information on the film visit the film's microsite, Letters to India.

yep

Adam Yauch recognized for film work at 85th Academy Awards

Happy that the Academy acknowledged Beastie Boy Adam Yauch aka MCA as a film maker. Yauch credited himself in film projects with the moniker Nathaniel Hornblower.

 August 5, 1964 – May 4, 2012