i do love it when dennis cooper characters start talking exclusively in riddles

i do love it when dennis cooper characters start talking exclusively in riddles

Among quiet, still performances, the shots that stay not on faces, but whatever the character is apparently considering (illustrations, animated gifs, art) remain especially stark. As objects they can't so easily betray our expectations. We can make a meaning for them, meaning for the people in the film, with little chance of direct contradiction.

Sublimation so desperate & sincere it breaks.

Among quiet, still performances, the shots that stay not on faces, but whatever the character is apparently considering (illustrations, animated gifs, art) remain especially stark. As objects they can't so easily betray our expectations. We can make a meaning for them, meaning for the people in the film, with little chance of direct contradiction.

Sublimation so desperate & sincere it breaks.

el pestazo a edginess y ternura barata de Dennis Cooper la hace infumable, aunque es fuerte lo bien que funciona, punto por punto, como complemento de Ontología del accidente de Catherine Malabou, que casualmente estoy leyendo ahora mismo y que fue publicado, en Francia también, unos años antes que la peli. de hecho, lo referencia tan bien que es difícil no verla a ratos como una adaptación narrativa de ese ensayo. no es que eso la haga menos bodrio, es sólo un dato curioso y seguramente deliberado.
busca desesperadamente redimirse en la escena final, y casi lo consigue, pero el resto es tan malo que para entonces ya es insalvable

el pestazo a edginess y ternura barata de Dennis Cooper la hace infumable, aunque es fuerte lo bien que funciona, punto por punto, como complemento de Ontología del accidente de Catherine Malabou, que casualmente estoy leyendo ahora mismo y que fue publicado, en Francia también, unos años antes que la peli. de hecho, lo referencia tan bien que es difícil no verla a ratos como una adaptación narrativa de ese ensayo. no es que eso la haga menos bodrio, es sólo un dato curioso y seguramente deliberado.
busca desesperadamente redimirse en la escena final, y casi lo consigue, pero el resto es tan malo que para entonces ya es insalvable

noel gallagher once said if thom yorke shat in a lightbulb it would still get a 9/10, which is exactly how i feel about dennis cooper. from the perspective of the one giving the 9/10, not noel gallagher. not calling this shit in a lightbulb obviously but moreso me being so biased towards him any review i give will be clouded judgment to some degree.

the only bresson film i’ve seen is the devil probably, even so the influence bresson and that particular movie has in dc’s work is so huge and penetrating and clearly reflected here. honestly that movie should be a prerequisite to understanding any of his stuff. so slow, monotone, poker faced, yet the entire time nervously anticipating something with thumbs crossed. at least in PGL our protagonist gets to finish his monologue before dying/ending.
the aspect of roman being this centrifugal force, pulling everyone around him inward with something they desire from him reminds me a lot of closer, yet here because of his imminent explosion into possible nothingness, it creates almost a black hole around him that leaves him unknowable. funny how the entire point of roman blowing himself up was so his friends could see it, yet the only person who actually does see him explode is the one that never wanted anything from him.
the desaturated grading is not for me personally, but that’s about it. though my review ends here, know there is no end to the glaze. i don’t care what shit is in the lightbulb, I WILL BE THERE. #DCGLAZERFOREVER

noel gallagher once said if thom yorke shat in a lightbulb it would still get a 9/10, which is exactly how i feel about dennis cooper. from the perspective of the one giving the 9/10, not noel gallagher. not calling this shit in a lightbulb obviously but moreso me being so biased towards him any review i give will be clouded judgment to some degree.

the only bresson film i’ve seen is the devil probably, even so the influence bresson and that particular movie has in dc’s work is so huge and penetrating and clearly reflected here. honestly that movie should be a prerequisite to understanding any of his stuff. so slow, monotone, poker faced, yet the entire time nervously anticipating something with thumbs crossed. at least in PGL our protagonist gets to finish his monologue before dying/ending.
the aspect of roman being this centrifugal force, pulling everyone around him inward with something they desire from him reminds me a lot of closer, yet here because of his imminent explosion into possible nothingness, it creates almost a black hole around him that leaves him unknowable. funny how the entire point of roman blowing himself up was so his friends could see it, yet the only person who actually does see him explode is the one that never wanted anything from him.
the desaturated grading is not for me personally, but that’s about it. though my review ends here, know there is no end to the glaze. i don’t care what shit is in the lightbulb, I WILL BE THERE. #DCGLAZERFOREVER

Incredibly meaningful, very clearly queer and this benefited SO much after a rewatch. This film was clearly done by a writer, and it shows so well with the symbolism and the direct, purposeful dialogue

One of my favorite movies I've ever seen. I watched this days ago and I have been thinking about it nonstop. Simply incredible

Incredibly meaningful, very clearly queer and this benefited SO much after a rewatch. This film was clearly done by a writer, and it shows so well with the symbolism and the direct, purposeful dialogue

One of my favorite movies I've ever seen. I watched this days ago and I have been thinking about it nonstop. Simply incredible