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On Arendt and Common Sense
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“…being bound to a rock is unbearable but being unbound is even worse” – On Kafka and his choice to live with his parents
“No Country For Old Men,” 2007. Coen Brothers. US. A signature Coen brothers film about the hunter and the hunted, a decaying world and the game of the hunt. Picturesque southwestern landscapes and chilling performances by Bardem, Brolin and Jones.
“Eraserhead,” 1977, David Lynch, US. David Lynch’s seminal body horror film about a man, his wife, a supposed child, his passions and delusions, and the bizarre, disturbing and dark world that oozes and flickers, and then consumes and regurgitates him.
“The Mountain,” 2018, Rick Alverson, US. An unsettling but visually-striking film based loosely on the work of lobotomist Walter Freeman and starring Jeff Goldblum and Tye Sheridan as traveling lobotomists whose physical journey is just as much an exploration of the human psyche.
“The Son of the White Mare,” 1981, Marcell Jankovics, Hungary. A charming and vibrant, if traditional, animated fantasy adventure film – that feels like an old fable – about a boy with immense powers who teams up with other elementals to save the three princesses from evil.
“GITS: Standalone Complex,” 2002, Kenji Kamiyama, Japan. A cyberpunk anime starring a kickass GI-Jane who leads a special police force composed of ex-military to secure Japan, investigating the ever-blurring line between human and machine.
“This Transient Life,” Akio Jissoji, 1970, Japan. An experimental film about forbidden love, faith and religion, art and creation, destiny and the morality of indulgence and passion. Striking images of a changing rural Japan, innovative cinematography and insightful monologues.
“Glass Life,” Sara Cwynar, 2021, United States. A short film essay collage brimming with social critique and philosophical musings on life, media, the ephemerality of digital spaces, the status of living in advanced capitalism and of our relationships to ourselves and others.
“Self-Portrait,” Joële Walinga, 2022, Canada. This non-narrative film is a collection of found footage from various security cameras across the globe: cities, mountains, backyards at daytime or night, with or without people. It has a serenity to it, a feeling of eternal watching.