As the year reaches its twilight, it is becoming clear that 2017 was the year of iconoclasm. The wave of scandals and shocking revelations (shocking to those unaware of the habits of the elite) has cracked the great marble edifices of many a celebrity or political persona. For a population as addicted to social media and the religion of fads as ours, it is very telling that it has taken sex to shock the public consciousness into the realization that fame is a mask, popularity a vulgar makeup. But the current, lurid headlines still distract from a truth everyone knows but would prefer to whisper: There are darker ceremonies taking place in the deepest, darkest chambers of the American halls of power.
Great and terrible has been the year of 2017, midnight in the century approaches and war clouds faintly gather on the horizon. From the dim light of a mausoleum in Moscow, the corpse of Vladimir Lenin remains still, silent and hollow amid polished stone. What power can a corpse wield long after the state founded by the man himself has ceased to exist? Yet the new Russian Tsar fears this corpse. The Putin government has hesitated, in fact refused, to officially commemorate the event the once living Lenin took part in 100 years ago — the October Revolution of 1917. [Read more…]
One of the great oddities of our present moment is the overwhelming sense of stubborn conformism. The need to relish in specific designer trends and pose in the aesthetic of the middle or upper class is so strong that the rebels now find themselves shunned in popular media. The pressures of establishing oneself in a solid career and making a respectable income have turned collegial life into a Darwinian landscape of predatory competitiveness, where attainment of status supersedes any real intellectual growth. Do your homework, prove you can recite what the lecture told you, and off you go. [Read more…]
Cinema in our time is almost completely dominated by aesthetic. This has curiously been the case with both Hollywood mastodons and lower budget fare. The look of a film now supersedes its narrative, as evident in much of this year’s offerings ranging from Blade Runner 2049 to Wonderstruck. But Loving Vincent, an elegant and enrapturing film experience, proves that when approaching the life of a great artist, aesthetic is key — the trick is how to fuse the gesture with an engaging narrative. The film is an exploration of the cryptic life of Vincent van Gogh, his dark aura and wondrous talent, brought to life through his own visions. Here is a film worth seeking out in whichever local arthouse lucky enough to be showing it. I am grateful I accepted an invitation to see it from a dear friend who had just returned from those burning lands in the Middle East, who confessed Van Gogh was her muse and so was drawn to this film like a moth to flame. [Read more…]
Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you. — Friedrich Nietzsche.
It is hard to doubt that many inhabitants of the American imperium are going insane. The irrational nature of sudden, public outbursts of violence escalates to new levels of horror every year. The recent bloodbath in Las Vegas has raised many, quite necessary, debates over the gun-crazed culture that frames the American mindset, but little attention is being paid to the actual mental state of the republic. Surrounded by hyper-capitalism, predatory competition, and an increasingly isolated way of living, new monsters are being bred and formed, to roam the countryside and inflict new body counts. It is almost fitting that the current White House occupant is himself deranged, because shouldn’t a leader be a mirror image of his people? [Read more…]
There is a sense in our increasingly electronic era that everything is surface. We are defined by our social media pages and herd to the gym to look a specific way. What defines us is becoming an increasingly complex series of ponderings based on many material factors. It is only appropriate then, that Warner Brothers would decide to revive Blade Runner here and now. Denis Villeneuve’s new Blade Runner 2049 is a film that is indeed all surface, with the cold heart of an android, but this makes it a fitting fable for its audience.
In the age of spectacle the icon is as durable as ancient marble. Ernesto “Che” Guevara, the exterminating angel of the Cuban Revolution, comes down to us half a century after his CIA-backed execution in Bolivia as a Janus figure — a pop icon which nevertheless provokes fierce political debate and fears. His death in October 8, 1967 set aflame waves of indignation among the world’s revolutionary fronts. [Read more…]
Madness grips the airwaves like a deafening transmission, and the overlords of the earth seem to speak in terrifyingly grim visions. Thank the gods that every age produces its own soothsayers. It is fitting, then, that just as a surreal state of affairs takes hold, David Lynch returned to us with Twin Peaks: The Return, a continuation of his landmark cult 1990s series that combined melodrama with the director’s brand of surrealist imaginings. But not only did Lynch return, he also shows himself to be fully in tune with these new dark ages. Episode 8 of the revival in particular goes beyond television or even cinema — it is one mad flow about our civilization’s communion with dark forces to unleash absolute destruction. [Read more…]
While most of the republic’s cinema-goers flock to local theaters to indulge in the new incarnation of Stephen King’s It, your local RedBox is harboring a deliciously wicked and original work of cinematic viscera, Julia Ducournau’s Raw. This cannibal parable created quite the stir at the 2017 Cannes Film Festival, where audience members were reported to have fainted due to the movie’s bloody moments. As with most movies of this type, the gore doesn’t do justice to the hype. The film’s power resides in what it has to say as opposed to what it wants to show. Like all good satire, it knows that showing too much ruins the effect. Like American Psycho, Raw gets under your skin by casting a mirror. Ducournau is essentially putting on display a civilization eating itself, like Goya’s painting “Saturno devorando a su hijo (Saturn Devouring His Son).” Raw is art as splatter, capturing in its own special way those moments when youth, sexual awakening and finding one’s place in the social labyrinth all crash together. [Read more…]
The music of The Doors seems to find its place in every era since the band’s stirring debut first appeared fifty years ago. Spawned in the era of Vietnam, revolution and technological innovation, The Doors dived into a dark, literary well that is timeless and always relevant. Jim Morrison alone introduced a manic onstage persona that has influenced every rock genre to emerge since the 60s. He was Dionysus meets Rimbaud, hedonistic jester meets feverish wordsmith. Because the band was fronted by a figure who viewed himself foremost as a poet — the rare rock star who even wrote fan letters to literary scholars — their music endures much the same way the edgiest of classical literature still finds devotees. [Read more…]
In Alan Moore’s superb and baroque graphic novel From Hell, Jack the Ripper is quoted as saying, “One day men will look back and say I gave birth to the 20th century.” If such bloody and fevered characters can be set to frame a century, then Heath Ledger’s incarnation of The Joker in The Dark Knight is the cinematic icon that frames the 21st century thus far. Christopher Nolan returned to theaters over the summer with yet another big, loud opus, the World War II epic Dunkirk. Yet his most successful film has not only aged well but has gained a potent and disturbing relevance. [Read more…]