Rec | THE MOVIE ASSASSIN BY SARAH MILLER

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Rec'd on 🗒️ 11/12: ARTICLE RECOMMENDATIONS

Really funny and surprising article about how reviewing the 1996 film The English Patient for a small newspaper in the 90s basically started the chain of events which led to the author becoming a Marxist It’s also about how getting all the things you thought you wanted—then losing them—might be the best thing that ever happens to you ‘I used to think I thought the right way, like, who cares if everyone does bad things, because bad things are just what important people have to do. Who cares if Barack Obama bombs people and doesn’t even try to prosecute bankers, because that’s all just his job, and he loves gay people and yells at bigots and his wife is smart and has great arms. Who cares if Hillary Clinton is best friends with Henry Kissinger, because she is a woman and so am I, and she stands up to men, and isn’t that what feminism is all about, finally getting into the rooms, finally getting to be the one to kill the people who don’t matter? Since my life was a fantasy, I had no trouble inhabiting a larger one.’

@2666

Nov 12, 2024

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@taterhole

May 27, 2024

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Too Much for one post

In short: I view it as a contemporary take on a modernist interpretation of Goethe’s Faust, in extremely short: - corruption through seeking of power - part one making deals with the devil - part two reconciling with those deals Overarching metaphors for the “american dream” and zionism; both beliefs are success at what costs, exploiting others for power Capitalism is inescapable “you think you fell out of a coconut tree? You” (all expression, including the movie you’re watching) “exist in the context of all in which you live and what came before you?” those are some of my broad takes, also watched the movie a couple weeks ago so there might be more that i’m forgetting but also that’s just like my opinion man

@_aidan

Mar 2, 2025

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image without metaphor

“Dune Part Two and the Return of Socialist Realism” didn’t agree with everything in this essay, but osterweil makes some fascinating observations about contemporary cinema, the rising tide of “lore” & relative ebbing of ambiguity, abstraction, mystery