HBO’s True Detective defacing double exposure effect used to create title sequence is hunting, enveloped by the music. The main title was designed and directed by Elastic‘s Patrick Clair and music by The Handsome Family’s “Far From Any Road.”
Outreau, l’autre vérité has chosen a defaced image of a child for their film’s poster. Learn more about the film here.
Check out the making of the film DADE directed by Françoise Ellong and shot by David Wolfer, they use print outs of my latest Defacing works.
Wake up and smell Gomorra
Don’t miss this animated movie Waltz with Bashir
Recently I saw This is England by Shane Meadows. I liked this film’s perspective so much… I sometimes get flashes from it… I always thought I had a punk attitude but not quite… before punk became white supremacist… it was for everyone who lived on the side of main stream everything… a rebellious attitude towards everything that was wrong… this days it seems that it is even more necessary… yet… this days we have the internet and the ideas go faster but do they really change anything? corporations rules us… even if we don’t want, my life experiences to go from Castro to Corpo seem funny now… mean while I am wondering if artbasel miami beach and my country are going to disappear thanks to the rising global water level.
My Blueberry Nights disappoints…, the latest film by Wong Kar Wai… his films have inspired some of my paintings in the past… even the ones I did not like… and this time the characters are weak, the music is too loud, the visual effects are over done and the film in general does not convey the strong feelings it tries to portrait… a bit like my work…
Last year and even this year I have continue to listen to Amadou and Mariam’s Dimanche a Bamako with Manu Chao. Today I just saw a video concert of them in paris, they rule.
Here is a trailer art piece that I liked from the same two artists I reported on yesterday. Please click on play now and please be advised the content is sexually explicit… and it is art.
Le dejeuner sur l’herbe (2006) by Ondrej Brody & Kristofer Paetau
Hommage to Edouard Manet
Here is the trancript of the trailer translated from the original French dialogues:
I undera • Me • I don’t understand • Contem…porla art • Contemporla art • Contempora art • Contemporary art • I need some action • What can I do? • Tina, do you want also? • Yes why not • These carrots are cold • I like it when it starts to glide • My am so blored • I am so bovrled • Bored • I am bored! • I also want to • Finally some action • Those young guys are crazy • I wait and see… what will happen • I know… what will happen • She sucks good this-one • Allright it’s blonde • Oh yes she’s blonde • Oh yes she’s hot this blonde • This old guy stinks • I know his dick by heart • I neam qua want it fuck • Now I’m going to fuck you • Like a dog • Camembert is so delicious! • I love cheese! • It starts to stink • To stink • At least I earn my five thousand crones • For moment it’s ok • For the moment it’s ok • I’ve had enough • I want to fuck • Not to eat the camendberts • The camen… cag… cagam… cam… mam… bert • Hopefully it’s will be over soon • Hopefully it will be over soon • Oh yes she sucks gool • She sucks gool • She sucks good! • They have no… imagination… these artists • It’s really terrible • Me, I like it! • Now we are going to eat… chocolate mousse! • It looks like poo • Go on, go on my dear… eagle! • Go on, go on my dear… eat it! • Go on my pig… eat the tomatoe! • He’s quite cute this pig isn’t he? • Bon appetit!
La Societe de Consommation (me) just bought the film La Societe du Spectacle by Guy Debord and all his other films (L’intégrale in a box) and I am very intrigue by their content. I would like to share this experience with you all in Miami when I return. I would like to invite my four readers and any body else interested on a screening of his films at my studio. All we need is a multi format dvd reader and projector.
Love of the year (and many years to come): Elisabeth G
Live Concert of the year: CSS Live in Paris
Kiss of the year: Elisabeth G
Podcast of the year: the chicklet show
Blog of the year: the next few hours
Crush of the year: Lisette G
Video Club of the Year: Netflix
Band of the year: CSS
Job of the year: Miami Art Services
Email of the year: Elisabeth G
Blogger inspiration of the year: Adler G
Surprise of the year: Elisabeth G
Dance Opera of the year: White Darkness
Gift of the year: Elisabeth G
Conversation of the year: Vickie P
Webmail of the year: Gmail
Cellphone of the year: Krzr
Artist of the year: Ida T & Wil M
Porno site of the year: soft-tits.com
Movie of my year: Le Samurai
Book of the year: L’art à perte de Vue
Museum of the year: Palais de Tokyo
Encounter of the year: Axel dC & Laurent dR
Sad School of th year: ENSA Dijon
Site designed this year: chicomalojay.com
Friend of the year: Isa M
City of the year: Paris
Town of the year: La Rochelle
Groove Music of the year: Mulatu Astatke
Video of the Year: Let’s make Love
World Music of the year: Amadou & Mariam
Recently (five months ago) I saw the movie Le Samourai by Director Jean-Pierre Melville recommended to me by a respected miami artist and seconded the same night by dig. So I eagerly put it on top of my netflix list. I saw it and made notes while I watch it in the hopes of making some comments about it here. Time passed and today I decided to do it with the music background of Cansei de Ser Sexy.
I have to say that these are the type of movies I need to see. It confirms the idea in my head that there is art cinema out there to be explored. Since, I have seen many other Melville movies, but none is as good as Le Samourai. The first thing I noticed about the first shot that lasted like an eternity, it was a movie painting without the moving. Little by little I notice someone on the right side of the frame. It was Alain Delon, other than being one of my mother’s idols, I always noticed that many talked about him as if he was a joke because he starts every sentence about himself with “Alain Delon thinks …” all in the third person sentences, and always about himself. At least that was the way he was portrayed by Les Guignols and it always made me laugh about Delon. Yet this movie changed all that. This movie is a Masterpiece.
I think Melville was influenced by Luchino Visconti’s The Leopard and I can imagine movies by Jim Jarmusch’s Ghost Dog and John Frankenheimer’s Ronin are influenced by this one. This movie definitely did not have any blah-blah. There was not dialog during the first 10 minutes. There was a very Japanese / American thing to this movie. Every car and the clothes were very Americana while the personality of the protagonist was very japanese Bushido style. He spoke with few words, filled with passion and straight to the point. He was detached from everything and everybody. A scene where he is stealing a car is so powerful it needed to be seeing many times. He seems lost, without hope, or future, suicidal… it ends with a suicide by cop scene. Every frame seems pure. There is an elegance of iconography that lets you know everything without words. A bit like a medieval church in film. It is 1966 but it feels like it happened at any time. The solitude feeling of this movie is universal and timeless. At one point during the movie I wrote in in my notes “he is me, I am him” I do not feel that now but apparently while I was watching I did. The formal beauty of this movie makes it a kind of cinema that I would like to shoot myself. It was in my opinion a controlled form of minimalism that we don’t see today in cinema, a very silent movie that focused on masculinity and the beauty of being a true gentleman. What can I say, I admire being gentile and true, as it is hard to do that these days where everybody is right and there is not need to have guilt or personal regret for anything we do.
The more I see movies that include Isabelle Huppert’s talents, the more I realize that she can easily be the subject of inspiration for infatuation, crazed, fascination and obsession. As redundant as all these adjectives may seem, I do mean their subtle and different meanings.
The more I see her movies, the more it is evident to me that the following characteristics appear again and again. She knows what she wants; she seduces à volonté, she is always ready to make herself happy, to fulfill her sexual desires without a care of her love ones, basically ready to deceive. She is smart, witty and manipulating. She is always ready to smile at a joke and play with hidden and private humor. She is always lovely. She feels her emotions all the way without self-consciousness. She is always ready for the unthinkable. She is trully all the way or no way, ready to play. She is ultra human. I have the impression that her true personality is not far from her multiple representations of herself in other movie characters.
Now, before starting this text, I of course googled her and found, not to my surprise, that she has being used for multiple infatuation acts by contemporary artists for what seems a couple decades already, many artists have capture her magic in photos and the latest seems to be Roni Horn where she portraits Isabelle in only facial expressions of her different movie roles, truly a masterpiece idea. Please visit the examples here to see my point: a, b, c, d.
Not realizing this, when I started this text, I had already painted her, well only her legs in a scene from I Heart Huckabees. I painted that painting because of the extreme erotic desire I felt when I saw that scene, which of course was not properly translated to oil but I felt this image could decipher as a single icon a part of our existence as well as going towards my wish of the portrayal of today’s desires.
I first heard of Mishima from a friend I loved, she told me that he was one of Japan’s greater writers. Time passed and I later purchased in an impulse many of Philip Glass’ recordings. One of them was Mishima, I loved the music and listen to it for more than a year… and one day I had the curiosity of renting the movie (only to be found on netflix, of course). Well, watching a movie when you know all the music by heart is an exhilarating experience, like feeling more every musical accent, or experiencing more of the frames. I have not read any of his books, but now I have a reason to do so. Does anybody know which book of his would be good to start with?
I later saw Glass in concert in Miami with the Screens, good stuff.
As I just reached 2000 movies watched in netflix and I just watched my first Fassbinder movie Love Is Colder Than Death (1969) by Rainer Werner Fassbinder recommended to me by colleague Vince, I wonder, how many other great directors am I missing out on? Probably lots, but can anybody recommend me anything amazing like Fassbinder?