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Celluloid Notes - what are you watching?
Goodbye from Celluloid Notes
Hello everyone. I know I haven't been posting very often, but that has been because I have been posting frequently at my other blog and working on a lot of articles. But I am back writing about films on my Celluloid Notes blog fairly frequently now. It's just that I have changed the location of Celluloid Notes. Due to some issues with Orble, that I don't think will be resolved, I have switched the location of the site to celluloidnotes.today.com.I'd like to continue posting here since I love a lot of the film blogs on Orble, but Orble just isn't right for me, and after nearly a year blogging with Orble I have decided that I must change hosts. I hope you will all continue to visit Celluloid Notes, as i will continue to check with Orble for some of my favorite film blogs. Thanks for your continued readership and I hope to see you at the new Celluloid Notes site.
-Dustin
-Dustin
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Review: Silent Light
Cows begin to moo, and birds chirp frantically, all off screen. Suddenly the mooing begins to sound painful, as though the cows are screaming. The sound continues through the cut as you see the family in their kitchen heads bowed in prayer. They sit silently as the retching sound of the cows, the sereneness of the birds are crickets are joined by the incessant ticking of the clock on the wall. Johan (Cornelio Wall), the father of the family, raises his head after many minutes of silent prayer and says “Amen.” Thus begins Reygadas (Japon, Battle in Heaven) beautiful opus. A simplistic, yet incredibly nuanced meditation on redemption and family, reminiscent of Tarkovsky or the great family dramas of Bergman
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Netflix Community
Does anyone here use the Netflix community features? I've been using them a bit more recently and I'm curious if anyone else has been utilizing the community features they've started offering, or if most of you are ignoring them...or maybe you don't use Netflix...
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InDigest Issue 5
Issue 5 of InDigest is up and online. So listen up best of the net. Maybe the first four weren't good enough for your hotsy totsy awards, but, oh, is Issue 5 something special. In the new issue we've got a gallery of sculpture from Alonso Sierralta, new poetry from Meggie Elder, and new fiction from New Yorkian Meakin Armstrong. We've added a new column called Is That Cowardly? where Jess Grover takes a look at new poetry. Also there are new columns from Bedside Stacks and Dorkolopogous.
Our big news, aside from the new issue, is we went clothes shopping and now we've got a whole new look. And damn we look good. Look at us[ Click here to read more ]
Our big news, aside from the new issue, is we went clothes shopping and now we've got a whole new look. And damn we look good. Look at us
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Review: Li Yu's Dam Street
Aside from all of this to do over the Chinese censors, and the difficulty Hong Kong directors are having filming in mainland China, a new filmmaker has popped up and is sure to be one of the stars of a new generation of Chinese filmmakers. Yu Li is quickly becoming one of China’s most intriguing and artful filmmaker. Making headlines this past year as she went through a “painful” process to get her most recent film exported to the Berlin International Film Festival. Lost in Beijing, was a beautiful piece of art, winning awards at festivals all over the world (read the review here).
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Some writing this weekish
A review of Fort Wilson Riot's Idigaragua. Quarteracre Lifestyle's Blood on the Lawn. The Pines The Pines' Sparrows in the Bell. That's all for now.
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