Bosch, Garden of Earthly Delights | La planète sauvage (1973) | The Holy Mountain (1973)

The Garden of Earthly Delights Triptych

Hieronymus Bosch, Garden of Earthly Delights, 1503-1515

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Fantastic Planet (by René Laloux) is an animated film of an allegorical story about humans living on a strange planet dominated by giant humanoid aliens who consider them animals. It’s based on the 1957 novel Oms en série by French writer Stefan Wul. (wikipedia)

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(The mermaid in The Shape of Water (2017) seems to be a modern variation of the humanoid [the blue creature] in Fantastic Planet.)

It’s one of those films that creep its way from beginning to end. The images and plot seem very biblical but there’s evidently something more.

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Clown School

The-Clown-Ethel-Franklin-Betts-Nuar-Alsadir

by Nuar Alsadir

After my first day of clown school I tried to drop out. The instructor was provoking us in a way that made me uncomfortable – to the nervous smiley woman, ‘Don’t lead with your teeth;’ to the young hipster, ‘Go back to the meth clinic,’ and to me, ‘I don’t want to hear your witty repartee about Oscar Wilde.’

I was the only non-actor in the program and had made the mistake, as we went around the circle on the first day, of telling everyone that I was a psychoanalyst writing a book about laughter. As part of my research, I explained, I’d frequented comedy clubs and noticed how each performance, had it been delivered in a different tone of voice and context, could have been the text of a therapy session. Audience members, I told them, laughed less because a performer was funny than because they were honest. Of course that’s not how all laughter operates, but the kind of laughter I’m interested in (spontaneous outbursts) seems to function that way, and clown pushes that dynamic to its extreme – which is why I decided to enroll in clown school, and how I earned the grating nickname ‘smarty pants’.

But if I dropped out, I’d lose my tuition money. So I decided to stay, and, by staying, was provoked, unsettled, changed.

 

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There’s a knee-jerk tendency to perceive provocation as negative – like how in writing workshops participants often call for the most striking part of a work to be cut. When we are struck, there’s a brief pause during which the internal dust is kicked up – we lose our habitual bearings, and an opening is created for something unexpected to slip in. Habit protects us from anything we don’t have a set way of handling. As it’s when we’re off-guard that we’re least automatous, it’s then that we’re most likely to come up with spontaneous, uncurated responses.

It turned out the perpetually-smiling woman was sad, the hipster (who didn’t even do drugs) acted high as a way of muting the parts of his personality he was afraid we would judge, and I found it easier to hide behind my intellect than expose myself as a flawed and flailing human being. Each role, in other words, offered a form of protection: by giving off recognizable signals to indicate a character type, we accessed a kind of invisibility. We cued people to look through us to the prototypes we were referencing. When the instructor satirized those roles, he defamiliarized them so that the habitual suddenly became visible. His provocations knocked the lids off the prototypes we were hiding inside of, in a similar way to how many psychoanalysts, in the attempt to understand a person’s conflicts, begin by analyzing their defenses – what is being used as cover – before moving on to what is being covered up and why.

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The Silent Child (2017) | shorts

The Oscar’s nominations for the shorts of this year are disappointing. Especially for live action, compared to how I felt in the cinema last year, this year is a total let-down. The Silent Child is the only one that I think attains to the level of quality that I was expecting. And it won. The heart and soul of the film (from people who made it) are very much palpable, so much so that the feelings easily reach you and it all becomes comprehensible.

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