Saturday, December 15, 2012

Cold Outside

Sadness does something to the way we see the world. In the experience of deep sadness, the world itself seems altered in some way: coloured by sadness, or disfigured by it. Rather than living inside us, as our normal passions do, our sadness seems to envelop everything: we live inside it, as if it were a cocoon or a prison. At such times we seem particularly aware of the world as a world, as a place where we have to live. This awareness can become artistic or political: artistic, when the world made strange by our own detachment and dissociation presents itself as an object of fascination; political when the difficulty of going on living in such a world begins to reveal its causes in the impersonal circumstances of our personal sorrows.

Both kinds of awareness have their origins in desolation, in the sense that the world is frozen and that nothing new is possible. Both can lead to terrible paroxysms of destruction, attempts to shatter the carapace of reality and release the authentic self trapped within; but both can also lead away from the self altogether, towards new worldly commitments that recognise the urgent need to develop another logic of existence, another way of going on.

Saturday, December 8, 2012


Already one year? Oh wow. Such an uneventful year. Both IRL and here. I.e., cam bate vântul pe-aici.

Stillness is the move.

Thursday, December 6, 2012

Love and Revolution (La flor de mi secreto)

(So glad I only saw La flor de mi secreto yesterday. I might have not been so responsive to it a few years ago, when I first fell in love with Almodóvar. This scene, for e.g., it simply breaks me.)

Monday, December 3, 2012

The Alchemist (These Four Walls)

Orbirea voluntară (Voluntary Blindness) - Gellu Naum

Bringing Cluj into my room, in between my four walls.

(Seriously did not expect December to be so eventful. I'd go to Cluj almost every day, but you know: train tickets - not that cheap when you add them up. Nts: get a weekly train pass for TIFF, next year.)

Sunday, December 2, 2012

One in a Million (Miss You)

Because tears in the middle of this song. (Barely 22 and so much more to say.) Because the use of the word "responsible" here reminds of Elaine Castillo's post about "love, inter-relationality, and inter-responsibility as the supreme (!) form of justice," which I have just re:read earlier this week. (Actually, it was reading Elaine's blog this year that I realized how much I missed Aaliyah's music.) Also because Aaliyah always reminds me of Tusa 2004.

Sunday, November 11, 2012

Pop Transcendence

Not being where I should be right now. (Ignoring the call. And feeling rotten about it.)

Monday, November 5, 2012

Lonerism (3)

Odishon/ Audition (Takashi Miike, 1999)

Tokyo.Sora (Hiroshi Ishikawa, 2002) / "Lonely", Yael Naïm

Friday, November 2, 2012

Enid Would Listen to This

From Discogs:
"A bewitching hour of pre-vamped vintage Hindi horror from the Desi-Dracula's music cabinet featuring rare tracks from Bappi Lahiri, R.D. Burman and Sapan Jagmohan" - butchered by resident werewolf Andy Votel.

Enid would listen to this. I think. Would she? I guess it's debatable, since this is a mix and not the original record. However, I'll go right ahead and say she would, vu que she herself is a crate-digger.

Thursday, November 1, 2012

The Essentials

Halloween - which, apparently, I'm celebrating? - essentials.


Horror movies. The classic. The j-horror. The Bitch-approved, female-centered horror.

Wednesday, October 24, 2012

Let's Just Hope That Is Enough

For CC, who is skyborne. And because I love Michelle Williams.

Everything was love.
Everything will be love.
Everything has been love.
Everything would be love.
Everything would have been love.

Let's just hope that is enough, Conor would say.

P.S. The book is A Word Child, by Iris Murdoch.

Sunday, October 21, 2012


A real linguistic rarity is hrepenenje. Contradicting the rules of logic, this Slovenian term expresses a feeling of longing for something that hasn’t yet happened. Therefore it seems that the word seems to be something totally opposite to here and now. According to some, the hrepenenja state is dangerous as it is linked to the necessity of staying out of touch with the reality and remaining in the undefined, fantasy sphere.
- Café Babel: Untranslatable words of ‘longing’ across Europe

Friday, October 12, 2012


Last weekend I finished marathoning yet another tv series. Catching up on The Vampire Diaries, more exactly - in the process remembering why I've first given up on it right in the middle of the second season. The writing on this show is embarrassing! The string of plot twists is absolutely ridiculous. I understand the need to keep the viewer engaged but there has to be a limit to how many times you can kill a character and then resurrect him/her, or to how many hidden "clauses" a spell can have. Yes, True Blood is even more ADD-like. The difference is: True Blood doesn't take itself too seriously. It doesn't spend too much time on, you know, FEELINGS and character development.

The writing aside, The Vampire Diaries has a serious witch problem. A very serious witch problem. Up until one point, all the witches on this show are black ('cause you know, Blacks and their voodoo and juju and all that. UGH!). Up until one point - because later on we find out that the original witch is... white. Of course! This makes me so angry that if I could cast a spell on this show, it would be a very dark one.

However, I must be the one under a spell, or under compulsion because I massively enjoy watching this show. So much that I've already re:watched the first season plus the first eight episodes of the second season. I'm not sure if mine is a teenage heart or a teenage mind. The former is not so bad, but the latter... The truth is that so and so tv shows are seem mildly better when marathoned. The explanation is a simple one. Marathoning a tv series - as opposed to watching one weekly episode and then waiting for the new season for months - allows you to really immerse into the story, as flawed as it is, and to better empathize with the characters. And to better notice certain things. With stories like The Vampire Diaries and Twilight, it's easy to focus only on femininity stereotypes. Damsels in distress, maternal to the point of annoyance, etc. But these stories also say a lot about masculinity as a - you know it's coming - a "social construct." Power, money, muscles, knight in shining armor. Boys are taught this is what girls want. Girls are taught to expect this from boys. In Twilight, all this is embarrassingly transparent, especially the money aspect. In TVD, it's a little more toned down, mainly because Elena also comes from a family with a lot of history, a family of aristocrats. So although she herself is not exactly rich, the class difference is not that obvious. Twilight, on the other hand, is a straightforward Cinderella story. Yes, Stefan also has the impressive mansion, the flashy sports car. However, it was smth less obvious that clicked, that directed my attention towards the construct of masculinity in these two vampire stories. The moment Stefan takes Elena for a private ride on the ferris wheel in the middle of the night reminded me of a similar moment from the first season of the Romanian version of The Bachelor, when this misogynistic a-hole, whose name will not be mentioned in this space, took one of the girls for a ride on a hot air balloon at sunrise.

The Vampire Diaries (season 2, episode 2: "Brave New World")

Obviously, I am aware it's not exactly the same thing. In TVD, this boy/man/vampire (whatever) is doing a romantic gesture for his girlfriend, whom he loves, because he knows that's what she wants. That's what she needs. In The Bachelor, there is nothing romantic about the gesture this man does, starting with the fact that the girl could have been any other girl - they were all interchangeable. The bachelor's purpose is strictly to impress, to show off his power. And that's exactly where these two gestures intersect: power. Money-power, to be more specific. In Stefan's case, compulsion is his currency. (IRL, he would have had to bribe the guard to let him use the ferris wheel.) Needless to say, that moment on The Bachelor was absolutely sickening. Well, everything about that show was sickening. What was particularly sickening about these big empty gestures on The Bachelor was that not only the girls on the show were expected to be impressed by them, but also the female viewers were expected to be impressed. The problem is: men who do big gestures like these to impress their dates are usually the men who treat women as accessories, as trophies. Ha. In a way, these men really are vampires. This misogynistic a-hole of a bachelor used to go on and on about how the woman on a man's arm represents him, about how he has to invest in her. Make her. Transform her. Call it however you like, but this jerk's views on heterosexual relationships is exactly what's going on in both Twilight and The Vampire Diaries. Edward's power is transferred to Bella. Stefan's power is transferred to Elena. Both girls are transformed. They become vampires. They become women. As if their transition to vampirism/womanhood would have been impossible in the absence of these powerful men. These might be another type of fairy tales, but the gender stereotypes remain the same. And don't be fooled, stereotypes is what they really sell. Love is just a cover-up. And yet: being aware of all this doesn't change the fact that I enjoy these vampire stories way more than I should / than it's healthy.

Going on a rant about the freaking Vampire Diaries was not my intention when I started this post, though. (There is actually another theme I was surprised to find in the third season of TVD: domestic violence. But I'll leave that for another time.) This was supposed to be just a quick post about the patterns formed by my pop cultural consumption.

(Later edit: the photo recaps are hilarious!)

Found on The Vampire Diaries Facebook page earlier today:

According to an article I found flipping through an old magazine last night, Damon is right. Dracula is a she.

Strange that I should stumble upon this exactly when I'm reading Dracula.

Thursday, October 11, 2012

Dark Shadows (8 October)

Eternitatea, Iaşi (October 8, 2010) / Dark Shadows Mixed Tape (October 8, 2012)

(I'm all about vampires and witches these days. Must be Halloween month.)

Sailor Moon (dubbed in Italian) (season 1, episode 1: "Una guerriera speciale")

Twin Peaks (Pilot)

Varjoja paratiisissa/ Shadows in Paradise ( Aki Kaurismäki, 1986)

Friday, October 5, 2012

True Love

Andrea Arnold's Wuthering Heights is making the rounds on American film websites, which reminds me: I cannot believe I haven't even mentioned this adaptation here. Also: I can't believe I still haven't read Wuthering Heights in original.

Wuthering Heights means quite a lot to me as it is the first book I picked up from my parents' book shelves and read and enjoyed after four years of not reading, of dreading any reading assignments. Although I didn't start devouring books immediately after having read Wuthering Heights, it certainly opened up my appetite for reading smth else besides silly magazines.

Until this year I have successfully avoided any movie adaptations, but Andrea Arnold's sounded too interesting to ignore. I loved her emphasis on the visual, her raw aesthetic. In this case, I wasn't interested in the narrative because I already knew the story. What I expect from a movie adaptation is a visual enhancement of that story that I already know. Unfortunately, I can't really say I love Andrea Arnold's Wuthering Heights in its entirety. There's one scene that kinda ruined the whole movie for me. I don't even think that scene is in the book, I certainly don't remember it being in the book. Whether or not that particular scene is in the book is not the problem, though. At first, I wasn't even sure that what I thought I saw was exactly what I thought I saw. But I googled it, and others have seen the same thing. So um yeah: spoiler! I'm talking, obviously, about the necrophilia scene. Necrophilia is so wrong that I don't even like it in my fiction. Well... except for vampire stories - loving the undead and all that. Certainly, you can talk about a necrophiliac aspect when it comes to Heathcliff's obsession with Catherine long after her death, his seeing her ghost. But to take that in the most literal sense goes a little beyond my limits.

Besides the aesthetic, and besides the fact that Arnold didn't play the Hollywood whitewashing game, one other reason for which I was looking forward to seeing this adaptation of Wuthering Heights was the beautiful Kaya Scodelario. I was curious to see if and how she could embody a character other than the now iconic Effy. There are actors who play a character so well that their careers will forever remain defined by that one character. Luckily, that won't be the case with Kaya Scodelario. Playing a classic role was a smart move on her part.

Kaya Scodelario as Catherine in Wuthering Heights (Andrea Arnold, 2011)

Heathcliff: "My plan was to see your face [...]"


More recently, I've seen Kaya Scodelario in the third episode of True Love, in which she plays Karen, a high school student who falls for her teacher, Holly, played by Billie Piper. (Can't believe I'm old enough to remember Billie Piper's music beginnings!) Though poorly, I've explained before my stand on student-teacher love relationships in fiction vs. IRL. The cheapness of this cliché is emphasized when it's used in literature, but for some reason, it doesn't bother me at all when used in tv series or movies. This episode of True Love is probably the first scenario of this type - that I've ever seen - in which the nature of the relationship is not straight. I don't know why I find that surprising, though. It's a shame the episodes of this series are so short. Things feel a little rushed. The way this script is written, I don't quite understand why Holly would fall for Karen. Genuinely fall for her. Holly seems to be a magnet for inappropriate relationships, thus making Karen look like just one of her bad choices, one that she could leave behind at any moment. In the end, Karen is the one that holds on to her, to their love.

Thursday, October 4, 2012

Lonerism {reprise}

A quote ("refugiarse a leer en un buen sofá mientras fuera el mundo se derrumba") from this article in El Pais tweeted by sm in Spain (@cajadecerillas) reminded me of this Italian song from a band I was obsessed with during my last year of high school.

Flashbacks to nights spent in front of the computer, starring at a video (this one, that now loads in an instant) that was buffering, and buffering, and buffering... Dial-up is what they used to call it. Kids today have no idea how lucky they are, right? And finding their album, Dieci motivi - how complicated that was. First, I asked a classmate to ask her sister who was living and working in Italy to look for their album and also for Francesco Renga's(*) Camere con vista. She only found a pirate copy of Francesco Renga's album. Soon after that, my dad visited Italy for two weeks and of course I made a list for him. He finally found Velvet's album in Venice. I almost feel guilty about not listening to them anymore considering how difficult it was to find their music. Then again: Velvet's music is transitional music - exactly that type of music you listen to in high school, in your first year of college, when you're still figuring out what music you like. But maybe that's just me. Kids today *grandma voice* are certainly more advanced - at 15-16 they listen to music I barely listened to in college.

(* ) Ah, Francesco Renga! That voice! That hair! Angelo used to give me chills. I wish I could go back to those days when a song like Angelo could still give me chills. Chills and tears. Oh, wait. I figured out what the problem is. I guess it's just the official video that doesn't work for me. I guess I need to see the live version of this song, to see him feeling the song, to see his intense gaze, to see all the effort he's putting into this song. All the effort and all the love - because Angelo is dedicated to his love, Ambra. (If you don't know who Ambra is you're either too young or too old.)

"Siamo soli... è questa la realta?"

Tuesday, October 2, 2012


Living Alone

is easy, no one
telling you what to do
or when to do it

no one questioning why
you’re eating M&Ms
so early in the morning

or peeling a potato
with your fingernails
instead of a knife

no one watching you forget
to screw the top back
on the coffee maker

or put the glass pot under
the spout, spraying coffee
all over the kitchen

no one asking what’s for dinner
as you walk through the door
no one there

to see that living alone
is as easy
as landing on the moon

every night, looking
to claim your place
on an empty planet

with every tentative
step you take.

by Elizabeth Burk

from Rattle

+ First listen: Lonerism, Tame Impala

Monday, October 1, 2012

Ghost Records

(Watching Ghost World again and thinking: if it didn't mock feminism, it would be perfect, I could love it without any reservations.)

This Indian song and Enid's consequent interest in old Indian records always reminds me of my unconsumed obsession with old Cambodian records. This started with an article from Republik (April 2008), thanks to which I started listening to Dengue Fever. But Enid wouldn't listen to Dengue Fever. She would go straight to the source, to the original. There are were a lot of music blogs that digitized old records from around the world but I had never found what I was looking for on these blogs. Turns out: they were on youtube all along.

+ Dengue Fever - A Go-Go (live)

Sunday, September 30, 2012

Define "Productivity" (I Watch Too Many TV Series)

This month I've finished watching two tv series, and I feel quite good about that. I have very low productivity standards, I know, I know. Underachiever, try harder etc. etc.


One: The Mary Tyler Moore Show. I've been wanting to see this show ever since I saw the first episode of America in Primetime, "Independent Woman," in which The Mary Tyler Moore Show is cited as the show that paved the way for other women in television. It was around that same time that I saw Miss Representation as well. These two documentaries about representations of women in the media got me all excited about media criticism, especially at a time when I was doubting my own media criticism, my own writing on media representations from a feminist perspective. I actually haven't written anything that can qualify as media criticism since the end of last year, so... I guess that ship has sailed. Anyhow. So excited was I about media criticism after having watched these two docs that I completely forgot to watch them critically as well. It was this post at Masha Tupitsyn's Love Dog, back in July, that reminded me about America in Primetime's "Independent Woman" and opened my eyes about its shortcomings. Shortly before reading this I had seen The Hollywood Reporter Comedy Actresses roundtable and I was more disappointed than pissed off about how the conversation went when they finally got to talking about women in comedy, women on tv. Pretty much everything that upset me about this conversation is in MT's text. It's so sad to hear Julia Louis-Dreyfus say all she cares about is making a funny show. She's playing the American VP in Veep and she's not thought of the issue of women in politics before doing press for the show?! Seriously?! This roundtable just goes to prove why media criticism is necessary. If the actors haven't thought of the political implications of their shows, then it's the critic's job to make them think of that. I haven't seen the Drama Actresses roundtable, I guess I will at some point. But I don't have any high expectations. I'm pretty sure they play the same record: "I'm not a feminist." / "I only care about making a good show." etc.

At the time I saw America in Primetime, I couldn't find the Mary Tyler Moore Show. Then I sort of forgot about it. It was the Girls pilot that reminded me about it.

Lena Dunham: "The first scene that I thought of for the pilot was a shot that tracks up Hannah and Marnie's legs to their faces. I love the idea of a shot where you for a moment couldn't tell if these were lovers or friends. Hannah and Marnie are seeing guys but the true romance of the show to me is their relationship."

Girls (Pilot)

Marnie's boyfriend: "You guys fell asleep to The Mary Tyler Moore again, huh?" And: "It's a very odd show to hear through a wall."

Luckily for me, by the time I saw the Girls pilot, a kind stranger had posted the entire series on youtube. With the exception of a few episodes that were taken down before I got the chance to see them, I have seen all seven seasons of The Mary Tyler Moore Show. The show is rather uneven, but I guess that's to be expected. The writing got better during the 5th season, the jokes were better. Unfortunately, they were not able to keep up the good work until the end of the show. Won't give any spoilers, but there was a particular story line right towards the end that I was not interested in at all, and I doubt anyone else was. A few other things I did not like about this show: the constant emphasis on Rhoda's need to lose some weight (this really pissed me off), Rhoda's sudden disappearance (I get it, she got her own spin-off, but there should have been some sort of transition instead of this "new season, no Rhoda" thing), and sometimes I didn't like Mary that much. Although I don't plan on watching the spin-off, I definitely liked Rhoda more than I liked Mary. But the one who truly made the show funny was Ted. Ted Baxter, the greatest worst anchorman in the history of television. If you've paid attention to The Newsroom, you'll remember the episode in which Will is compared to Ted Baxter. (Just to be clear: I've watched the entire first season of The Newsroom, but I am not a fan, oh no!)

So: Girls, The Newsroom and now The New Normal is the latest tv show to mention The Mary Tyler Moore Show this year. What is going on?
Bryan: "A question for you: are you sure I don't look like Mary Tyler Moore in these?"
Shop assistant: "Do you want to look like Mary Tyler Moore?"
Bryan: "Well, not the hair, obviously, but yes. Yes, I do."
The New Normal (Pilot)

Home Movies (season 4, episode 11: "Definite Possible Murder")

Two: Home Movies, about which I found out thanks to Lena Dunham. It took me a little while to get used to the oversimplified animation, but once I got past that I could not get enough of it. This show is sooo much fun. There's a ton of film references. Now that I think of it, the filmmaking process in Home Movies (especially during the 4th season) is a lot like the one in Be Kind Rewind. Basically, these 8-year-olds are (re)making hundreds of movies in Brendon Small's (the director) basement. It's a must-see for cinephiles. It would actually make a good pair with The Critic.

(One other thing I love about Home Movies is the hilarious kids-adults dynamic. Wondering if the soccer coach (btw: soccer in an American series?! how amazing is that?) is slightly based on the football coach from Ken Loach's Kes.)

Here's "Definite Possible Murder," in which Rear Window is spoofed:

Attack the Kingdom

Earlier this month, I took V. to see Attack the Block for his birthday. It was playing at Casa TIFF as part of a Luna Plină retrospective - a film festival that a few years ago I would have gone to no matter what. Won't go again into what ruined my love for the horror genre. Suffice it to say that I'm still readjusting to horror. I'm definitely more selective when it comes to horror movies.

(Checking my memory records, i.e. Twitter, I see that my first encounter with Attack the Block was last September. Full half: nice little one-year anniversary, it makes this viewing a bit more special. Empty half: life's a carousel. Going in circles, going in circles.)

I would have liked to write smth about Attack the Block by now, maybe contrast and compare it to Super 8, maybe even see E.T. (yet another movie I've been avoiding) - also for the sake of contrasting and comparing. The thing is: Kartina Richardson has already written such a good text about Attack the Block. I just wouldn't have anything valuable to add to the conversation. It was thanks to this text that I watched Attack the Block in the first place. If it weren't for it, I would have probably ignored it. Alien movies? Not really my thing. Well, not till recently.


Nice to see Attack the Block mentioned on one of my favorite blogs. I don't usually listen to Basement Jaxx, but I really liked their music on this soundtrack, so I just have to post "The Ends" as well.


There's another one of Kartina Richardson's texts that I love, the one I've mentioned in my latest text published at Projectorhead, one that I appreciate even more now that I have seen the movie. Wes Anderson's Arrested Development. I was so looking forward to seeing Moonrise Kingdom that the first time I read this text I was convinced I would see it and absolutely love it despite being aware of Anderson's shortcomings. (Not that I wasn't already aware of his shortcomings prior to reading this text.)

So last Saturday I finally see the movie and surprise: it's a bit of a let down. I don't know if it's the kids' acting, or the cartoonish special effects, or the fact that it seems like a lesser version of The Royal Tenenbaums. Most of what I like about Moonrise Kingdom is connected to its aesthetic and its characters' quirks. In some cases, that may be enough. Thinking here of Les Amours imaginaires. Actually... in terms of diversity, for instance, Les Amours imaginaires is doing a lot better than Moonrise Kingdom. But the point is: Xavier Dolan is very young and Les Amours... is barely his second feature. Anderson, on the other hand, is at his seventh. I'd expect a little more substance from sm who's been around for that long.

Then again: I've only seen Moonrise Kingdom once, and with Anderson's films, it's mostly been love at second viewing, so who knows? Maybe I'll watch it again and end up loving it and embracing all its silliness. Till then, I guess I'll just listen to its soundtrack. I certainly don't have any objections regarding the soundtrack.

Wednesday, September 26, 2012

Be Kind Rewind {reprise}

This title was, of course, borrowed from Michel Gondry's filmography. What I hadn't noticed the day I bought those VHS tapes was that a Michel Gondry movie was sitting right there under Alien! Yep. Eternal Sunshine of the Spotless Mind - right there in front of my eyes and I don't see it. And I keep bragging about my attention to details. Ha. Ha. What a good joke. Naturally, I'll have to go back to the tiny store and get it.

Meanwhile, I was reading last week's edition of Les Inrocks and found this sync:

It's been happening more and more. Synchronizations, that is. To the point where I'm starting to wonder whether or not I'm imagining things, or at least: making false associations. Maybe I shouldn't use this word, "synchronization" - it seems too big, too charged with meaning. So let's just say that my (pop) cultural consumption has been forming easily traceable patterns. Does that make any sense? For example: I finally start reading Dostoevsky. I start with The Idiot. Then: I finally see Bresson's Le Diable, probablement and I notice the similarities with The Idiot: similar theme (money), characters with similar worldviews (there are some dialogue / monologue lines that I'll have to go back to). Then: I find out that this fall, the Romanian theater in Cluj is premiering a play based on The Idiot. I don't have a ticket yet (btw, since when has it gotten so expensive to see a play from a good seat? ugh & grrr!) but will hopefully see it soon.


"It could be that the photographers' aesthetic - their tacit sense of what they were looking for - was partly formed by Stalker, so that the film has helped generate and shape the observed reality that succeeded it."

- Geoff Dyer, ZONA: A Book about a Film about a Journey to a Room

Things that have given me a ZONA-feeling lately:

The Tunnel of Love, Ukraine
(1) source / (2) source

Revolution (season 1, episode 2: "Chained Heart")

Tuesday, September 25, 2012

Broken Friendships

Ginger and Rosa (Sally Potter, 2012)
source: The Playlist

"I've loved you, Rosa. But we are different."


In desperate need of a film like Ginger and Rosa. Friendships you thought were going to last forever but died exactly when you needed them to become stronger. One of my to-be-written essays. And now that I've merely mentioned it, I'll probably never write it.


I've said this before (when I had just seen Phoebe in Wonderland) and I'll say it again: it's scary how good Elle Fanning is. Scary as in "I'm in awe, but also: it's depressing the hell out of me." Misspent youth, wasted hours, and all that.

Monday, September 24, 2012


Sade is punk as fuck! I could not stress enough how much I've enjoyed this text. What a wonderful, fresh perspective!

For the past couple of years or so I have often found myself in the mood to listen to Sade, but instead of going through all her discography, I keep going back to the same old songs. So to discover "When Am I Going to Make a Living" now, when I need it so much, almost brings tears to my eyes. Actually, I'm pretty sure I'll be listening to it on repeat while doing some serious crying. Not right now because right now I'm bursting with resistance-excitement. But soon.

Speaking of résistance:

Saturday, September 22, 2012

Mouse Rat

Speaking of rats, Parks and Rec is back!

Parks and Recreation (season 5, episode 1: "Ms. Knope Goes to Washington")

Glued to the Shadows

Cosmopolis (David Cronenberg, 2012)

"I like that bookshop. Do you know why? It's semi-underground."

Elise: "When are we going to the lake?"

Eric: "Fuck the lake!"

Elise: "I thought we liked it there."

That "we!"

"We" is "you." I like it because you like it. If you don't like it anymore, I won't like it anymore. This "we liked" says Elise is open to the idea of love. But she's met by Eric's complete disinterest in loving her. In loving.

(Shane would hate that "we.")


Wish I could one day say: "I deal in theory."


I need to read the book. I have the feeling I'll like the book more. And I want to know more about Elise. If there is more to know about her. Also: White Noise. I've been postponing reading Don DeLillo for years. Ever since I got my bright-eyed obsession.

It was Don DeLillo, whiskey neat and a blinking midnight clock. Speakers on a TV stand just a turntable to watch. Only smoke came out our mouths on all those hooded-sweatshirt walks. We were a stroke of luck. We were a gold mine that gutted us.

Monday, September 10, 2012

Be Kind Rewind

I hate this place. No. I hate it that I live here. I hate it that I had to come back here after Cluj. Wonderful, exciting Cluj. I hate it that living here makes me sound like a whiny teenager. Though that's what I am (like).

Then: there are days like today and I think: why would I wanna leave a place where you can still find movies on VHS tape? This is no Stars Hollow. No. Definitely not. But for a tiny second, it sure felt like Stars Hollow.

I already have enough junk in my room, but I just could not help myself when a saw those stacks of VHS tapes. And ALIEN! I kept postponing watching this one and now, with the release of Prometheus, watching Alien became inevitable.

Watching a 1979 movie on VHS tape in 2012 lends this viewing experience a time-traveling dimension that I find irresistible.

Can't wait to spend Saturday night with all these four movies (I'm wild like that). Like in high school, when I would rent four movies over the weekend and watch them all on Saturday night.

Sunday, September 2, 2012

She Was My Memory

"She was my memory. There was no one else to remember." (Jeanette Winterson, The Daylight Gate)


Ukigumo/ Floating Clouds (Mikio Naruse, 1955)

Sunday, August 19, 2012

esc {reprise}

"mă duruse întotdeauna gîndul la tristeţea vieţii ei provinciale" (Roland Barthes, La Chambre claire)


Here: suffocating. Nowhere to go to. Not enough energy to find a somewhere to go to. Besides: for a somewhere to even exist, there first must be a something to go to.


"But how to escape one's city? How to wake oneself enough for the frightening task? How to find one's way out?" (My Winnipeg, Guy Maddin, 2007)

Tuesday, July 31, 2012


For letting it all out.

For defending what was rightfully hers. Until they had to drag her away from the piste.

And again, for letting it all out.