staged

Fulana Strikes Again!

2005-03-01T06:24:00.000-05:00

Latina video collective, Fulana, has done it again.

fulana.org/projects.html

(click on AMNEZAC)

Guaranteed to make your day, set you right, and cure your ills.

She was speaking English, so perhaps there was a French accent...

2005-02-28T13:21:00.000-05:00

"Everywhere she walks, Jeanne-Claude is followed by a constant stream of thank yous and butchered mercis. She smiles back, but won't sign autographs and stops for photographs only grudgingly. In a whisper, she explains that the gratefulness is misplaced. The whole project, all $21 million of it, was of, by and for themselves, Jeanne-Claude and Christo. If the public happens to like it, well, that's a bonus. Any artist would tell you the same, she says."

This according to the the NY Times, so maybe, how do you say in English, they paraphrased?

Borges said...

2005-02-26T21:40:00.000-05:00

"I write for myself, and for my friends, and to ease the passing of time."

La mala educacion

2005-02-23T18:35:00.000-05:00

This is supposed to be the one no one likes. I think folks who came to his work via the last two are surprised to see the punk rock art fag from Madrid never went away. Don't mind the naysayers, the film is intelligent and sharp.
There's a coldness in the film that I haven't seen in Almodóvar's work before. A cruelty. The film is very unique, a kind of post-modern film noir in Technicolor. You won't have seen anything like it before. People have talked about how the narrative structure moves back and forth between 'real' time and 'story' time, ultimately leaving the boundaries between the two ambiguously defined. But the narrative is also interesting because, unlike the last two films, it doesn't exactly have a catharsis. A brilliant and cruel choice on Almodóvar's part because as a consequence you have to take the film with you. It lingers not only because of the power of its images, but also because you walk out of the theater still having to sort out your feelings. The film is also a return to his earlier work, it explores queerness head on, instead of obliquely, and also Catholic fetishes, but with a pronounced humanism that he's picked up in the last decade. I hope this film encourages people to reevaluate his early films, which I feel have been misread as zany or campy, but which I have always felt were much more emotionally complex.