1. ”Bloodborne and the History of Horror.” For Kill Screen, David Chandler on the video game Bloodborne’s influences.
“The immediate accessibility of this aesthetic, however, hardly reflects Miyazaki’s now-infamous approach to game and narrative design. Bloodborne’s grotesque exuberance borrows the shallowest trappings of gothic literature with, presumably, none of those facets that make the genre so fascinating. Stoker illuminates the apprehensions running rampant at the turn of the century through a lens of horror, and I had hoped that Bloodborne would use its aesthetic trappings to attempt something similar or at least equally ambitious. Instead, these designs prove to be so much easy fodder to be consumed by a much grander narrative when Bloodborne invokes another giant of the horror genre: H.P. Lovecraft.”
2. “The Unbreakable Lily Tomlin: On Weed, Uppers, and Finally Taking the Lead.” In a freewheeling interview, Grace and Frankie star Lily Tomlin dishes on everything from aging in Hollywood to being Jane Fonda’s BFF and why she doesn’t go on benders anymore.
“I mean I’ve smoked on and off over the years. I like uppers more than something soporific that makes you a little mellow. But I don’t take anything anymore. Recreationally, I mean. I never ’took it’ or was addicted to and used it every day at all. I do know people who smoked every day and did stuff like that. I’m too wacky and nutty and foggy anyway. I don’t need to get too blissed out. I do like uppers though, but I don’t do that anymore. I never took those regularly, either. I was too interested in working and being. I might do it with friends hanging out. But it has to be a special mood or a special occasion. Oh my, I’m telling you everything.”
3. “Techniques of the Observer.” For Artforum, Hito Steyerl and Laura Poitras in conversation.
“Snowden contacting me out of the blue is an example of why I love doing work that is in dialogue with the world around me, because I literally could never have imagined Edward Snowden. The limits of my imagination are much less interesting than what I encounter going into the field and filming. So yes, it obviously changed the narrative. But part of vérité filmmaking, and documenting in the present tense as things unfold, is going where the story leads. It’s uncertain and scary at times, but that is why there is drama. It wasn’t difficult to shift the focus around something that obviously has a lot of gravitational pull, which Snowden had.”
4. “Stéphane Delorme Interview.” The editor-in-chief of Cahiers du Cinéma on Spielberg, politics, and the vitality of cinema.
“My call for lyricism in film was also a call to liberate emotions and stop being either cynical or overly modest. There’s really a very French problem with modesty and timidity. The French have a complex about powerful emotions and ambitious forms. What can we do in France to change the smallness in which we are immersed? I find it so painful to witness the lack of ambition in art and literature, not just in cinema. In my view, it’s everywhere, though of course there are exceptions. We salvage things in the name of exceptions. But after a while it’s tiring to save the exceptions.”
5. “Stolen Faces.” For Chiseler, Imogen Smith on cinema’s masks.
“The fullest cinematic exploration of the problems inherent in trying to make a new life through plastic surgery is Seconds (1966), John Frankenheimer’s flesh-creeping sci-fi drama about a mysterious company that offers clients second lives. For a substantial fee, they will fake your death, make you over completely—including new fingerprints, teeth, and vocal cords—and create an entirely new identity for you. There is never a moment in the movie when this seems like a good idea. The Saul Bass credits, in which human features are stretched and distorted in extreme close-up, instills a horror of plasticity, and disorienting camera-work creates an immediate feeling of unease and dislocation, a physical discomfort at being in the wrong place.”
Video of the Day: Ryan Gosling eats his cereal:
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