Jayce

@jayceb.bsky.social

They/them 🏳️‍🌈 Free Palestine 🇵🇸 https://boxd.it/a5mTX

A Palestinian father has opened an indoor play centre in Gaza to give children a sense of normality as they continue to endure near-daily Israeli attacks, with free entry for families who cannot afford to pay.

Jane Schoenbrun’s first two hybrid horror-dramas amazed Martin Scorsese, Paul Schrader, and Emma Stone. Their third film, a highly anticipated meta-slasher starring Hannah Einbinder and Gillian Anderson, already won over Cannes. What’s next?

The Dawn of Jane Schoenbrun

Jane Schoenbrun’s first two hybrid horror-dramas amazed Martin Scorsese, Paul Schrader, and Emma Stone. Their third film, a highly anticipated meta-slasher starring Hannah Einbinder and Gillian Anderson, already won over Cannes. What’s next?

vulture.com

Favourite horror movie for every year of the 1990s: 1990: The Exorcist III 1991: Hiruko the Goblin 1992: Twin Peaks: Fire Walk with Me 1993: Cronos 1994: In the Mouth of Madness 1995: Gakkō no Kaidan 1996: Scream 1997: Cure + Perfect Blue 1998: Ring 1999: Gemini

Hiruko the Goblin (1991), Shinya Tsukamoto Cronos (1992), Guillermo del ToroGakkō no Kaidan (1995), Hideyuki HirayamaGemini (1999), Shinya Tsukamoto
Kane@demikane.bsky.social · 12h ago

Favourite horror movie for every year of the 1990s: 1990: The Exorcist III 1991: Silence of the Lambs 1992: Twin Peaks: Fire Walk with Me 1993: Darkness 1994: In the Mouth of Madness 1995: Bloody Muscle Body Builder in Hell 1996: Thesis 1997: Cure 1998: Disembodied 1999: Sleepy Hollow

that specific feeling when u need to leave town for 2.5-3 days and find yourself going down on a mysterious older woman in her mansion so much you get brain damage from oxygen deprivation

Bild

Kagero-za (1981), Seijun Suzuki A sort of reversed, cracked open Vertigo of evaporating geographies and shapeshifting framing. Folklore magic and the culturally supernatural sequestering, sneaking, and seeping into hidey holes and nests and shelters from Taisho temperament

A woman on stage overlaid on a similar image of herself A firework sparkler held over a plate Close up on a woman holding a bag of flowers A gruesome, but beautifully colored, painting of a decapitated head 

Kagero-za (1981), Seijun Suzuki
Jayce@jayceb.bsky.social · 2d ago

Zigeunerweisen (1980), Seijun Suzuki If King Hu’s mountainous and monumental ghost fu epics and Jacques Rivette’s labyrinthine Parisian intersections of magic and improvisation latched onto and merged fleshily to an evil Nobuhiko Obayashi. A lush curdling, sours as you watch.

A child’s hand laced with red thread

Reality as suggestions of night and day riddled with the burrows in which the phantoms coil. Self-exoticizing. Self-harming. Retreat within the hole of the doll. Theatrical vibrancies and passion fruit reds on the underbelly and beneath the carapace of verdant, humid, greycloud gloom.

A woman descending stairs from nowhere and surrounded by fluttering flower petals A letter attached to a cord for bell ringing 

Origami paper A child doing and unnerving kabuki performance as the stage “snows” 

Kagero-za (1981), Seijun Suzuki

Truth be told I don’t think I care too much for what Suzuki has to say about women and loving them, but you really drift and doze and dream in this screen economy of lulling realities. The imagery, and how it all MOVES, of those consecutive finale sequences will just about send you over the top.

A couple on stage artifice snowscape Two men on a bridge leaning as far back as they both will go A man in white aiming a gun at a man in a suit A beautiful purple flower 

Kagero-za (1981), Seijun Suzuki

I need to rewatch Tokyo Drifter fucking immediately, Suzuki’s Branded to Kill (1967) is just straight up being locked in someone else’s concussion while mainlining a TCM noir marathon. An anti-formalist meat grinder, a “No Soap, Radio” joke at its own genre’s (and production company’s) expense.

Horny in ways I’m definitively not, but so singular in its film grammar and tricks. Match cuts as actual jolting teleportation and narrative leaps that the characters find as disorienting as we do, tosses back and forth in time. The black and white is SO fucking crisp.

An assassin out of focus Apartments and office buildings against white skyA city scape in negative A man watching in horror at a projector’s image of roaring flames 

Branded to Kill (1967), Seijun Suzuki

It’s pretty nuts that Suzuki is so influential while so rarely actually emulated (that I’ve seen)? You see the Wong, the Kitano, the Jarmusch, the Tarantino, all of it from miles away and in the broad strokes, but the actual nitty gritty is pretty untouchable?

A dead body lying under an overpass right at the edge of another road A man’s lips in a sniper’s scope A man cast in dramatic noir shadow and light A sniper aiming his scope out of a window, barely in frame 

Branded to Kill (1967), Seijun Suzuki

Zigeunerweisen (1980), Seijun Suzuki If King Hu’s mountainous and monumental ghost fu epics and Jacques Rivette’s labyrinthine Parisian intersections of magic and improvisation latched onto and merged fleshily to an evil Nobuhiko Obayashi. A lush curdling, sours as you watch.

A child’s hand laced with red thread A sickbed lit an eerie green Trees cast in negative, appearing blue Ghost like figures as a floor for a man towering over them 

Zigeunerweisen (1980), Seijun Suzuki

The Taishō era as a breaking point treated as eerie stillness in wilderness, the collapse of isolationism and the arrival of Western howdo driving an already insane nation into subatomic quantum schizophrenia. The dead haunt the living, the living haunt the dead.

Beautiful white blossom trees Two men whacking each other with sticks violently while they are waist deep in the seaside sand A man crossing a bridge, his entire body other than his legs out of frame A wave crashing spectacularly on rocky shore 

Zigeunerweisen (1980), Seijun Suzuki

Broken time not just in the past pooling into the present but also in the very continuity and stagings of the frame. You feel actively unsafe from that very first gramophone scuff.

A giant red grab hovering over a woman’s dead body washed up on the beach A man and woman standing at the eerie fire of a manor’s paper doors The woman eerily hovering over the man’s shoulder A child beckoning to someone with a coffin and funeral arrangement at an evening beachside 

Zigeunerweisen (1980), Seijun Suzuki