timespace coordinates: December 2004, small village in the Alaska wilderness (Keelut)
‘Green Room’ filmmaker Jeremy Saulnier’s art-horror adaptation of Arctic Noir novel is bloody, brutal, bleak and Freudian as hell” (rollingstone review)
The film is about the violent conflict between three bootlegging brothers–Forrest (Hardy), Howard (Clarke), and Jack Bondurant (LaBeouf)–and the ruthless Deputy Charley Rakes (Pearce) and his men, who try to shut down the brothers’ Prohibition-era moonshine business after Forrest refuses to pay the cops off. (wiki)
Sicario: Day of the Soldado (released in the UK as Sicario 2: Soldado, also known as Sicario 2: Day of the Soldado and Sicario 2) is a 2018 American thriller film directed by Stefano Sollima and written by Taylor Sheridan. A sequel to 2015’s Sicario, the film features Benicio del Toro, Josh Brolin and Jeffrey Donovan reprising their roles, with Isabela Moner, Manuel Garcia-Rulfo, and Catherine Keener joining the cast. The story relates to the drug war at the U.S.-Mexico border and an attempt by the United States government to incite increased conflict among the cartels. The film is dedicated to the memory of Jóhann Jóhannsson, the composer of the first film, who died in February 2018. It received generally favorable reviews from critics, who called it a “brutal-but-worthy” follow-up to the first film. (wiki)
The Pagan King (Latvian: Nameja gredzens – ‘Ring of Namejs‘, initially The King’s Ring) is a historical fiction action film directed by Aigars Grauba and co-written by Max Kinnings and Grauba.
Making Sense of “The Weird and the Eerie” By Roger Luckhurst
(…) “You have probably heard of “the weird” by now, but you may not quite know what it is, or why so many genre critics, cultural theorists, and philosophers are keen to engage with it. It might once have been quarantined as a subgenre associated with sullen Goths and all those arrested-adolescent readers of H. P. Lovecraft, but it has long slithered free of those confines, and now leaves a trail not just straight across the internet, but on the page and in mainstream TV shows and movie screens.
Fisher’s guide to this terrain is an excellent place to start your orientation. The book displays his signature knack for reading popular culture (principally music, fiction, and film) in an expressive, demotic way that is still vigorously political and philosophical. Somehow, Fisher magically renders post-Lacanian, post-ŽižekianMarxism and the radical anti-subjectivist philosophy of Gilles Deleuze entirely accessible. Only Fisher can enthuse about old QuatermassTV shows in terms of their “cosmic Spinozism” and still (mostly) make sense. With typical disdain for cultural boundaries, Fisher moves crab-wise from Lovecraft and H. G. Wells to the impenetrable mumblings of punk band The Fall; obscure Rainer Werner Fassbinder TV shows from Germany; Lynch, Stanley Kubrick, and Andrei Tarkovsky films; NigelKneale TV series from the 1970s; the music of Joy Division; The Shining; the unclassifiable fiction of Alan Garner and Christopher Priest; Jonathan Glazer’s extraordinary avant-garde SF film Under the Skin; and surprising appearances of Margaret Atwood’s early fiction Surfacingand Christopher Nolan’s portentous quantum SF blockbuster Interstellar(which receives a great defense).” (read morehere)
(…) “In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Such concerns are not new, but there is a distinctive intensity and variety to their contemporary address. This eerie counter-culture – this occulture – is drawing in experimental film-makers, folk singers, folklorists, academics, avant-garde antiquaries, landscape historians, utopians, collectives, mainstreamers and Arch-Droods alike, in a magnificent mash-up of hauntology, geological sentience and political activism. The hedgerows, fields, ruins, hills and saltings of England have been set seething.”
“What are those pressing concerns, though, and what are the sources of this unsettlement? Clearly, the recent rise of the eerie coincides with a phase of severe environmental damage. In England, this has not taken the form of sudden catastrophe, but rather a slow grinding away of species and of subtlety. The result, as James Riley notes, is “a landscape constituted more actively by what is missing than by what is present”. This awareness of absence is expressing itself both in terms of a vengeful nature (a return of the repressed) and as delicate catalogues of losses.”
“Digging down to reveal the hidden content of the under-earth is another trope of the eerie: what is discovered is almost always a version of capital. Keiller’s Robinson tracks the buried cables and gas-pipes of Oxfordshire, following them as postmodern leylines, and tracing them outwards to hidden global structures of financial ownership. Wheatley’s deserters rapaciously extract “treasure” from the soil, by means of enslavement and male violence. In his cult novel Cyclonopedia (2008), the Iranian philosopher Reza Negarestani figured oil as a sentient entity, developing Marx’s implication that capital possesses emergent and self-willed properties, that it is somehow wild.” / see: 771-robinson-in-ruins-2010
Daft Punk’s Electroma (also known as Electroma) is a 2006 science fiction film directed by the French electronic music duo Daft Punk. The story revolves around the quest of two robots (the band members, played by Peter Hurteau and Michael Reich) to become human. The film premiered at the 2006 Cannes Film Festival, and was later released in France on March 24, 2007. While initially receiving mixed reviews, Electroma has gained a cult following.
Hold the Dark is a 2018 American thriller film directed by Jeremy Saulnier from a screenplay by Macon Blair. It is based upon the novel of the same name by William Giraldi. It stars Jeffrey Wright, Alexander Skarsgård, James Badge Dale, Riley Keough, Tantoo Cardinal, Irene Bidel and Julian Black Antelope. (wiki)
TimeSpace Warps 