Computer Hearts

Ne izledim bilmiyorum

Ne izledim bilmiyorum

i wanna fuck my computer or whatever ninajirachi said

i wanna fuck my computer or whatever ninajirachi said

Harsh, ugly, suffocating and gross but it’s all good fun in spirit. It’s kinda hard to talk about Computer Hearts as on one hand it’s classic grimy body horror exploitation approach to dealing with how males explores their sexual fantasies and identity online at the cost of everything, growing something toxic and damaging from underneath to bubble into a psychical change can be argue to be confronting and revealing as much as its rawness can be taken as offensive and repulsive. For better or worst as a experience it is so direct and assaulting, not shy to veer at the most visceral manifestations of our character’s existence and desires that some will find it difficult to connect beyond that level or others (specifically trans people who has this experience of using the explicitness of certain corners online to engage with that confusing but euphoric feeling inside) will find this therapeutic, a way to make sense of that ugly time most wanna forget about.


I love how you can feel the isolating but thus special comfort the digital girlfriend Venessa2 gives to our protagonist who’s name we come to know is the one Venessa2 give him Albert-Kun (for the character I will be using He/Him pronouns) it’s his indulgence into something instantly satisfying, gratifying yet growing into something sentient, alive and demanding that immediately mirrors how that’s the most interesting and evolving part of the film while the Albert-Kun’s life outside the computer screen with his decomposing relationship with his girlfriend is captured with student film unrefined clunky siltedness we come to expect, the dialogue is forced and slightly melodramatic as much as the relationship depicted is forced and heighten so again the form unintentionally or otherwise manages to match the overall atmosphere of the disconnect between one self with others and starting to conjure a different person, a different body, a different sensation to make sense of it all but of course it’s all through the computer screen, how far can it really go? Computer Hearts let it goes there. 


Watching the behind the scenes to this, it’s hard not to call Computer Hearts a miracle because so much could have gone wrong especially the direction this could have taken but it’s Louise Weard’s and Dionne Copland’s uncompromising and focused vision and heart that proves unpredictable yet coherent in their intentions and expression. I can speak personally that art created during the pre egg cracking often comes out extremely sensitive and difficult to deal with retroactively, the confusion of male and female as not just gender but identity is a big part of that and how it reflects onto the work can be heartbreaking maybe even dysphoria inducing for the viewer and the creators, sometimes I feel like I didn’t even made my own films from back then but what helps Computer Hearts stand this difficult condition is that it is a genre piece, a really creative one at that with impressive special effects and ultimately what we have here is a portrait of digital fantasy and digital transformation, the decay of one identity and the birth of another. You can read the finale in many different ways but the emotional visceral reaction is still consistent, I think that’s the best you could ask for from a horror film.

Harsh, ugly, suffocating and gross but it’s all good fun in spirit. It’s kinda hard to talk about Computer Hearts as on one hand it’s classic grimy body horror exploitation approach to dealing with how males explores their sexual fantasies and identity online at the cost of everything, growing something toxic and damaging from underneath to bubble into a psychical change can be argue to be confronting and revealing as much as its rawness can be taken as offensive and repulsive. For better or worst as a experience it is so direct and assaulting, not shy to veer at the most visceral manifestations of our character’s existence and desires that some will find it difficult to connect beyond that level or others (specifically trans people who has this experience of using the explicitness of certain corners online to engage with that confusing but euphoric feeling inside) will find this therapeutic, a way to make sense of that ugly time most wanna forget about.


I love how you can feel the isolating but thus special comfort the digital girlfriend Venessa2 gives to our protagonist who’s name we come to know is the one Venessa2 give him Albert-Kun (for the character I will be using He/Him pronouns) it’s his indulgence into something instantly satisfying, gratifying yet growing into something sentient, alive and demanding that immediately mirrors how that’s the most interesting and evolving part of the film while the Albert-Kun’s life outside the computer screen with his decomposing relationship with his girlfriend is captured with student film unrefined clunky siltedness we come to expect, the dialogue is forced and slightly melodramatic as much as the relationship depicted is forced and heighten so again the form unintentionally or otherwise manages to match the overall atmosphere of the disconnect between one self with others and starting to conjure a different person, a different body, a different sensation to make sense of it all but of course it’s all through the computer screen, how far can it really go? Computer Hearts let it goes there. 


Watching the behind the scenes to this, it’s hard not to call Computer Hearts a miracle because so much could have gone wrong especially the direction this could have taken but it’s Louise Weard’s and Dionne Copland’s uncompromising and focused vision and heart that proves unpredictable yet coherent in their intentions and expression. I can speak personally that art created during the pre egg cracking often comes out extremely sensitive and difficult to deal with retroactively, the confusion of male and female as not just gender but identity is a big part of that and how it reflects onto the work can be heartbreaking maybe even dysphoria inducing for the viewer and the creators, sometimes I feel like I didn’t even made my own films from back then but what helps Computer Hearts stand this difficult condition is that it is a genre piece, a really creative one at that with impressive special effects and ultimately what we have here is a portrait of digital fantasy and digital transformation, the decay of one identity and the birth of another. You can read the finale in many different ways but the emotional visceral reaction is still consistent, I think that’s the best you could ask for from a horror film.

Harsh, ugly, suffocating and gross but it’s all good fun in spirit. It’s kinda hard to talk about Computer Hearts as on one hand it’s classic grimy body horror exploitation approach to dealing with how males explores their sexual fantasies and identity online at the cost of everything, growing something toxic and damaging from underneath to bubble into a psychical change can be argue to be confronting and revealing as much as its rawness can be taken as offensive and repulsive. For better or worst as a experience it is so direct and assaulting, not shy to veer at the most visceral manifestations of our character’s existence and desires that some will find it difficult to connect beyond that level or others (specifically trans people who has this experience of using the explicitness of certain corners online to engage with that confusing but euphoric feeling inside) will find this therapeutic, a way to make sense of that ugly time most wanna forget about.


I love how you can feel the isolating but thus special comfort the digital girlfriend Venessa2 gives to our protagonist who’s name we come to know is the one Venessa2 give him Albert-Kun (for the character I will be using He/Him pronouns) it’s his indulgence into something instantly satisfying, gratifying yet growing into something sentient, alive and demanding that immediately mirrors how that’s the most interesting and evolving part of the film while the Albert-Kun’s life outside the computer screen with his decomposing relationship with his girlfriend is captured with student film unrefined clunky siltedness we come to expect, the dialogue is forced and slightly melodramatic as much as the relationship depicted is forced and heighten so again the form unintentionally or otherwise manages to match the overall atmosphere of the disconnect between one self with others and starting to conjure a different person, a different body, a different sensation to make sense of it all but of course it’s all through the computer screen, how far can it really go? Computer Hearts let it goes there. 


Watching the behind the scenes to this, it’s hard not to call Computer Hearts a miracle because so much could have gone wrong especially the direction this could have taken but it’s Louise Weard’s and Dionne Copland’s uncompromising and focused vision and heart that proves unpredictable yet coherent in their intentions and expression. I can speak personally that art created during the pre egg cracking often comes out extremely sensitive and difficult to deal with retroactively, the confusion of male and female as not just gender but identity is a big part of that and how it reflects onto the work can be heartbreaking maybe even dysphoria inducing for the viewer and the creators, sometimes I feel like I didn’t even made my own films from back then but what helps Computer Hearts stand this difficult condition is that it is a genre piece, a really creative one at that with impressive special effects and ultimately what we have here is a portrait of digital fantasy and digital transformation, the decay of one identity and the birth of another. You can read the finale in many different ways but the emotional visceral reaction is still consistent, I think that’s the best you could ask for from a horror film.

Harsh, ugly, suffocating and gross but it’s all good fun in spirit. It’s kinda hard to talk about Computer Hearts as on one hand it’s classic grimy body horror exploitation approach to dealing with how males explores their sexual fantasies and identity online at the cost of everything, growing something toxic and damaging from underneath to bubble into a psychical change can be argue to be confronting and revealing as much as its rawness can be taken as offensive and repulsive. For better or worst as a experience it is so direct and assaulting, not shy to veer at the most visceral manifestations of our character’s existence and desires that some will find it difficult to connect beyond that level or others (specifically trans people who has this experience of using the explicitness of certain corners online to engage with that confusing but euphoric feeling inside) will find this therapeutic, a way to make sense of that ugly time most wanna forget about.


I love how you can feel the isolating but thus special comfort the digital girlfriend Venessa2 gives to our protagonist who’s name we come to know is the one Venessa2 give him Albert-Kun (for the character I will be using He/Him pronouns) it’s his indulgence into something instantly satisfying, gratifying yet growing into something sentient, alive and demanding that immediately mirrors how that’s the most interesting and evolving part of the film while the Albert-Kun’s life outside the computer screen with his decomposing relationship with his girlfriend is captured with student film unrefined clunky siltedness we come to expect, the dialogue is forced and slightly melodramatic as much as the relationship depicted is forced and heighten so again the form unintentionally or otherwise manages to match the overall atmosphere of the disconnect between one self with others and starting to conjure a different person, a different body, a different sensation to make sense of it all but of course it’s all through the computer screen, how far can it really go? Computer Hearts let it goes there. 


Watching the behind the scenes to this, it’s hard not to call Computer Hearts a miracle because so much could have gone wrong especially the direction this could have taken but it’s Louise Weard’s and Dionne Copland’s uncompromising and focused vision and heart that proves unpredictable yet coherent in their intentions and expression. I can speak personally that art created during the pre egg cracking often comes out extremely sensitive and difficult to deal with retroactively, the confusion of male and female as not just gender but identity is a big part of that and how it reflects onto the work can be heartbreaking maybe even dysphoria inducing for the viewer and the creators, sometimes I feel like I didn’t even made my own films from back then but what helps Computer Hearts stand this difficult condition is that it is a genre piece, a really creative one at that with impressive special effects and ultimately what we have here is a portrait of digital fantasy and digital transformation, the decay of one identity and the birth of another. You can read the finale in many different ways but the emotional visceral reaction is still consistent, I think that’s the best you could ask for from a horror film.

Why, god tell me why did i watch this on my tv with my parents at home

Why, god tell me why did i watch this on my tv with my parents at home