#Candescent Films

[bkenber]

'Remote Area Medical' Exclusive Interview with Jeff Reichert and Farihah Zaman

“Remote Area Medical” focuses on the non-profit medical provider of the same name, better known as RAM, when they opened a three-day clinic held at the Bristol Motor Speedway in Tennessee, and we watch as hundreds wait by their cars in the hopes of getting the kind of health care they never have any easy access to. While there has been an endless debate in the United States about how to handle…

[agentnico]

Boy Kills World (2024) review

Voice of Archer inside Pennywise’s ripped body… I was surprised he at no point screamed “LANAAAAA!!”

Plot: Boy is a mayhem machine who's been training to assassinate the bloodthirsty Hilda Van Der Koy and avenge his family's murder; guided by his sister's mischievous spirit, Boy uncovers one stunning revelation after another as he barrels toward Hilda.

Let’s get real - a cheese grater in a horror or gore film is simply the worst. Just the thought of it scraping away a hefty chunk of flesh is nothing short of skin crawling. Evil Dead Rise and now Boy Kills World - you guys are messed up. Nevertheless, we have another funky revenge action flick, a genre of which has seen a real resurgence since the success of the John Wick franchise. And it stars in the lead one of the eight Skarsgard siblings, though when you think action star you usually would pick Alexander. Bill up until now has carved out a niche as the best one to hire if you’re seeking a creepy vibe, be it the mysterious stranger in Barbarian or a killer clown in the IT films. However that changes with Boy Kills World, as Bill Skarsgard, rippling with muscles, plays the typical I-am-an-instrument-shaped-for-a-single-purpose; essentially a killing machine who disposes of his enemies in a variety of bloody styles (like a damn cheese grater!!).

This would have been a generic example of the revenge tropes, however the movie has an interesting stylistic choice in that Skarsgard’s character of Boy is a mute, so we get to hear his thoughts through a voice in his head, who happens to be the same voice as Archer from the FX cartoon series. I admire that the writers were trying out something new, but I must say as much as I enjoy H.J. Benjamin’s candescent voice, it did become over indulgent. It’s as if they were trying to imitate Deadpool’s fourth wall breaks and profanities, but without it being that funny. I also found it difficult to reconcile them as being the same person, as the mismatch of Bill Skarsgard’s physical performance with Benjamin’s voice was so stark that it became a distraction. Again though, I admire the creative effort.

The action sequences are hyper stylised and fun, with plenty of CGI blood splattering about and the camera zooming in and out of the action like it’s high on cocaine. The cast all seem to be having lots of fun, with the likes of Sharlto Copley, Michelle Dockery and Brett Gelman giving energetic cartoony performances, and overall I enjoyed it. The story is as by the numbers as you can expect, and 99% of what you see on-screen has been done thousands of times before. I liked the plot twist at the end though it was no M. Night Shyamalan, and in the end, it was a decent way to disengage the brain. Will I remember it though? No chance! Minus a point also for boy not actually killing a whole world. Like I get that they didn’t have the biggest budget, but don’t give false promises in your title.

Overall score: 5/10

[bittykimmy13]

Drowsy (GT Fluff)

Some sleepy Lorelei/Andres fluff for a serotonin boost B) In case y’all were wondering if I’m still a sleepy GT slut, wonder no longer-

Print/trinket universe belongs to me and the magical @marydublin5​ / @little-miss-maggie​ <3

The Clandestine Queen // The Candescent King

~ * ~ * ~ * ~ *  ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ * ~ 

“Lore?”

“Mmm?”

She pulled a deep breath, reluctantly drawn out of her half-sleep. Rain pattered steadily against the expansive stretch of windows—a lulling sound that almost sent her dozing off again immediately.

A nudge at her side stopped that from happening. She lifted her head from her folded arms and blinked at her surroundings, finding herself curled up on Andres’ palm. The credits rolled from the film they had been watching. Unable to even remember him picking her up, she swore she had closed her eyes for only a second.

Her gaze trailed up to his face, and she found that his eyelids appeared as heavy as hers.

“Let’s get you to bed,” he murmured, shifting to stand from the sofa.

“Wait.” She tapped the base of his index finger. “Can’t we just sleep here?”

He frowned. “You’ll be afraid when you wake up. You’ll forget where you are.”

“I won’t.” She pouted at him with sleepy insistence. “It doesn’t always happen. I’ll know I’m with you.”

If he hadn’t been so tired himself, she knew he would have argued. But he buried a yawn into his free hand and sank back down. Lazily, he tipped her to his chest and gave her time to find her bearings. The moment after she settled down, his hand gently fell over her. The world shifted as he turned onto his side and got comfortable, tucking her under his chin.

She was all but smothered against him, but she felt secure rather than trapped. That didn’t stop her from teasing.

“I didn’t peg you for the cuddly type.” She nuzzled the side of his thumb resting beside her, grinning when he gave a huff of annoyance.

“I am not. I only don’t want you to fall to the floor if you panic when you wake up.” His fingers curled tighter at the very thought—an iron security blanket. 

“Sure.”

She smiled contentedly and allowed her eyes to fall shut. Between the steady movement of his breath and the drumming of raindrops on the windows, she drifted off in minutes.

[manahegy]

29 Christmas Nails Ideas - Perfect to Express December

29 Christmas Nails Ideas – Perfect to Express December

There are tons of ways to get into vacation mode. Sure, you can adorn your house to the nines and watch some stylish Christmas films on the reprise. But another way to bring the glitz, shimmer, and glamour of the leaves is with some super sparkly Christmas nails. Just suppose, every time you look down, an instant smile will come across your face when you see those candescent Christmas gel nails…

[chronocollective-blog]

Betty, Gentlecare. Britstown, SA. April 2017. • Hey lovely people, @jasminjelley here again, with the second portrait of my 'Candescence' series shot during my recent trip to SA, and my personal favourite image. Betty is an enigma- she's firey and filled with passion, and always a joy to be around. Unfortunately, she has recently become an amputee due to an infection which spread to her whole leg-but she certainly doesn't let it get in her way. This is one of my favourite portraits that I have shot to date, as I feel it really captures her glowing strength. This is Betty as I see her- not confined by her bodily or medical constraints, but beautiful, joyful and full of hope. • • • • • #chrono #chronocollective #collective #magazine #documentary #documentryphotography #docphotos #indiepublishing #photography #photojournalism #instagramtakeover #takeover #jasminjelley #candescence #betty #portrait #35mm #olympus #om2n #film #analog #filmisnotdead #strength #light #britstown #africa #southafrica (at Britstown, Northern Cape)

[ladyxanatos]

Anyway, Rey and Kylo vs. the Praetorian Guard is my favorite lightsaber fight of the SW films because even though the fight choreography is nifty as heck, it’s actually all about character. There’s not really any dialogue in it but it is literally all about Rey and Kylo being completely connected and in sync with each other in this beautiful moment of true, actual balance.

Because balance is not both of them being light or both of them being dark. Balance is actually the light and the dark together; two halves of a whole, separate yet existing as one.

And this is where both of them go a bit wrong, because after the fight they each expect the other to “turn” to “their side.” That’s not balance; that’s not the goal. That’s not how they’re going to win (and I want them to win so bad, but I don’t trust JJ one jot. This isn’t the post for those feelings, though).

Ultimately, their lack of compromise, their desire to fundamentally change the other person, their failure to accept each other as is, and their squabbling over that goshdarn Skywalker Legacy as symbolized in Anakin’s lightsaber, leads to them fracturing and throwing themselves (and the Force) back out of balance.

But that moment, that one candescent transitory moment, of the two of them back-to-back, light and dark in perfect balance, is absolutely stunning and is so, so satisfying on a very deep level as a long-time SW fan. Because YES FINALLY, that’s it, that’s balance. Balance isn’t wiping each other out; balance isn’t light over darkness or darkness over light - it’s both things together.

[Obligatory clarification: when I’m talking about darkness, I am not necessarily talking about “acts of evil.” I am not defending Kylo’s behavior or saying that somehow oppression and the murder of family members is necessary to balancing the universe or something. I’m talking more about spiritual principles and symbolism, etc.]

[devplace]

Custom Album Artwork for Candescent AD

I have previously created artwork for Candescent AD for their debut release “Napalm Gifter’; and the band asked me to shoot a commission concept for them for the next EP.

The new music focuses on the themes or mortality and uncertainty in health. The brief I was given was to use medication as a heavy motif. They also wanted to include a buddha figurine for sentimental reasons. I was asked to capture a homely, understated feel, which we also chose to uphold in the editing with a film-like stylisation. 

I appreciate having such trusting clients, who were happy for me to take my own spin on their ideas and to work remotely during this time with limited direction.

[theherblifeblog]

A Lifted Travel Guide to Three Days in San Francisco

By: Jessica Nudo

Travel is my jam, but I rarely prepare a proper itinerary in advance. Given my travel blogger background, this is a true but embarrassing fact, and quite telling of my laissez-faire attitude.

I recently took a trip out the beautiful Bay Area to visit a friend in San Francisco for a short but exciting stay. When I wasn’t sleeping, eating or getting up to naughty activities, you could catch me getting lifted, climbing hills or doing both simultaneously. After only three days of the lather, rinse, repeat, I can say without hesitation that this is how Californians stay fit and joyous.

Now I just need to move there…

Given all the takeaways from this adventure, it would be a missed opportunity not to share the restaurants, dispensaries, vape lounges, iconic landmarks and other touristy hot spots that warmed my wintery heart and sun-kissed my casper-like Canadian epidermis. So here it is, packaged into a neat digital guide for you to enjoy. Oh, and did I mention there’s a map?!

Fun fact: most dispensaries are in or around Market Street and with careful planning, you could check 75% of them off this list in one swift swoop of an afternoon. So, pack your walking shoes, a couple of snacks and a hydro flask. You’re going on a San Francisco dispensary tour!

Dispensaries

Moe Greens

Stop numero uno was probably the most epic. Bougie doesn’t even begin to cover it. Oh, You fancy Moe Greens! This was the jaw-dropping experience I had been waiting for, and it did not disappoint. The high-roller, Vegas-inspired smoking lounge vibes were some kind of culture clash between the 1950s and present day. Whether you’re a refined traveller or just backpacking along your journey, all are welcome here.

Grassroots

We thought the bar was set pretty high after Moe Greens, but Grassroots delivered their own classic décor with old-time flair. While it’s located in the heart of the Tenderloin, you wouldn’t know it from the inside.

The Apothecarium

This was one of the few that I had heard about before I even booked the trip out west. The Apothecarium had come highly recommended by several friends and colleagues, so obviously it made the top of the list. Design-wise, it was gorgeous. Along with the bud tenders ‘bar’, there was a well-curated display of accessories, a library, seating lounge and an art display wall with pieces produced by local artists. I was disappointed with the lack of selection for low-dose, CBD-only vape cartridges and flower, but still managed to pick up a couple of edibles (which came in handy when we later went to High Tops).

Barbary Coast Dispensary

Serving patients since 2013, Barbary Coast is another that I couldn’t miss. In fact, my friend and host insisted that I make time to see it during my trip. As soon as I stepped in, it was clear that this place was created by the same team behind Moe Greens (you really can tell by the classic ‘cigar’ lounge leather, wood and brick interior). Do yourself a favour and visit the dab bar and hit it for me as well since time was of the essence and I had to bow out.

Re-leaf

Another medical-turned recreational dispensary that boasts some great features, like a comprehensive menu and plentiful display which showcases more of SF’s popular weed brands. We picked up some infused beverages by Mood and drank them before heading to dinner in the Haight. While the bottle only read 10mg, I was high AF - and uncomfortably so.

Vapor Room

Vapor Room wow-ed me with the clean, Scandinavian-inspired interior and display walls. This boutique is a cannabis lovers minimalist dream come true and I would go back in a heartbeat.

Medithrive

Located in the heart of Mission District, Medithrive is a cannabis dispensary and delivery shop that spins a refreshing modern twist on the shopping experience. Their bud bar stations are situated throughout the main floor and provide a well-lit peep into the buds available on their flower menu.

SPARC

If a community-focused dispensary is something you’re curious about, SPARC is definitely a spot you’ll want to visit. It’s less bells and whistles and offers a more attractive price point than the others. I was feeling their volcano-inspired wifi flyer. Well played.

Bloom Room

Tucked away behind Mission Street in Mission District, you will find Bloom Room. I must say the placement is pretty darn perfect considering there’s a Blue Bottle Coffee right next door - and it must be darn good because the lineup to enter was around the block! Of course, we know how well coffee and cannabis go together, so you can thank me later.

Main Takeaways

The majority of the dispensaries are located in and around Market Street, including The Castro, Civic Centre, Mission District and Tenderloin. Popular brands included: Gold Drop concentrates, Bloom Farms, Mood beverages, Candescent, and Papa & Barkley (which was literally everywhere!). Staff and security were always very friendly and helpful - and loved the fact that I was visiting from Canada. That whole ‘we legalized it’ convo isn’t getting old anytime soon. However, I was disappointed by the lack of knowledge regarding a few topics, namely the number of times that bud tenders referred to CBD as “non-psychoactive”, which I kindly corrected them on.

Restaurants + spiritual Shopping

Okay, so now that you’re probably feeling relatively lifted after walking up and down hill for the better part of the day, there’s a good chance that you’ve worked up an appetite. Well friends, there’s good news: San Francisco has an impressive food scene and I’ve included a few suggestions to get your munch-on.

If Filipino food is high on your list, Senior Sisig’s food truck came highly recommended to me, but was unfortunately (randomly) closed the day I passed by. You can find it around Market and 10th during lunch hour. Apparently their garlic fried rice is something to write home about.

While searching Yelp on an empty stomach, Gracias Madre was a recognizable option so we opted to nosh on some delicious Mexican food and splurged on $20 CBD cocktails. While we ate beyond our physical means, I’m proud of us for accepting the challenge. Clearly, our parents didn’t raise quitters.

Speaking of infused cocktails, Flore on Market is a must visit in The Castro, and it’s corner-placement on Market is great for people-watching.

As a plant-loving, crystal collecting hippy, this trip wouldn’t have been complete without a stroll through the place of origin for hippy counterculture, Haight-Ashbury. This brief yet awe-inspiring evening included tapas and drinks at The Alembic, followed by a shopping trip into what can only be described as the holy Mecca of spiritual paraphernalia, The Love of Ganesha. Safe to say it was overwhelming and real challenge to refrain from spending all the money on such beautiful and affordable crystals.

Parks and Recreation

Finding fun outdoor activities isn’t a chore in the Bay Area, especially when you’re surrounded by hills (best leg day, IMO). Whether you’re feeling coastal or city adventures (or both!), San Francisco has a whole lot to offer.

Sunset Beach & Golden Gate Park

Ride the MUNI out to the end of Sunset and go for a beachy stroll and unwind by the water. If you can catch it on a sunny day, why not plan it during…sunset? After your stroll along the beach, take in the beauty or the pan and the pan handle and a moment to admire the towering, majestic redwoods. While it seems much larger than it is, the 4.1 km² park features many hidden gems.

Golden Gate Bridge

We know, this one is a no-brainer, but it would be silly not to list it. It is to the west coast what the Brooklyn Bridge is to the east.

Alamo Park + Painted Ladies

The iconic landscape that us ‘80s kids recognize in an instant. The opening trailer to Full House, a TV show that wasn’t even filmed in San Francisco, forever looped in nostalgia. These beautiful victorian row houses are decorated in a complimentary colour palette that reflects the architectural beauty that this city in the Bay Area is known for. On a sunny day, this is the perfect place to hike around post-sesh. We heard Aunt Becky was in trouble, but she was nowhere to be found…

Dolores Park

Located at the end of Mission District, Delores Park is something of an iconic landmark. This expansive green space hosts a diverse array of visitors, ranging from curious world travellers to locals, and it’s a popular recreation spot amongst the LGBTQ community.

MAP Legend

Blue Markers: did not visit but came highly recommended Purple Markers: dispensaries Teal Martinis: eateries, drinkeries Pink Squirrels: parks, hikes, outdoor activities

[how2to18]

IN JANUARY 1924, David Hilbert gave a lecture on infinity. To his listeners, the mathematician offered a parable of hospitality unhinged. Hilbert described a hotel with a countably infinite number of rooms, each occupied. The trouble comes when a new guest arrives: where, he asked, do we house her? The trick, infinity being infinitely capacious, is to move the guest in Room One to Room Two, the guest in Room Two to Room Three, and so on and so on, moving those in Room x to Room x+1. But don’t get too comfortable. Soon an infinite number of guests arrives all at once. Again, the solution is reassuringly, almost bathetically, uncomplicated. Each guest simply doubles their room number, moving from Room x to Room 2x — leaving an infinite number of odd-numbered rooms, a miracle of interstitial abundances.

In deepening Hilbert’s paradox, we might think of the symbolic status of the hotel in the years after World War I, when he conceived of and presented his work. A kind of chrome-and-bubble cosmopolitanism gleams in the lobbies of the fictionalized Grand Hotel. Its semi-publicness, internationalism, its connotations of locking, leaving, and lust on the lam, all mark the hotel as a supremely resonant topos of the interwar imaginary. Think of Jean Rhys’s Left Bank Stories (1927), Vicki Baum’s Menschen im Hotel (1929), and even Ernst Lubitsch’s Trouble in Paradise (1932), in which the hotel is the meeting place of strangers, lovers, soldiers, thieves, playboys, debtors, vamps, and queers. Remember, too, the soaring immigration rates, the flurry of border-crossing by those bereaved, displaced, or disaffected. Despite its sometimes vicious glitz and posh exclusion, the hotel whispers an urgent, plangent question: where do we put our guests? Hilbert supplements the query with vertiginous utopianism: by what ingenuities could we house the whole world’s dispossessed?

Darren Aronofsky’s mother! is about a house that is also the world, where a poet (Javier Bardem) flounders in a protracted state of creative sterility while his wife (Jennifer Lawrence) does all the emotional heavy lifting that brooding male artists require from their ladies. She is lovingly remodeling the house after a mysterious fire burned it to its foundations; since the film’s opening shot is of Lawrence herself, red-eyed and wreathed in CGI flames, we know where we are going and where we have been.

The couple trudges on in edenic boredom; he stares at blank pages and goes for long walks, while she mixes pigments and paints walls with an ardency we understand to be displaced. Suddenly, a stranger arrives: Ed Harris, at once alarming and charming. (We know from A History of Violence (2005) that it is bad news when Harris shows up unannounced.) The men talk to each other and take to each other, and, through the poet’s generosity — a generosity that is really self-loathing, alchemizing under the gaze of admiration into something fleetingly like self-love — the uninvited becomes the guest. Lawrence plays this first act with fragility, restraint, and desperate self-possession. Her house violated, her husband distracted, she suffers the accelerating encroachment of the exterior on her interior, a pressure which finds its formal correlate in cinematographer Matthew Libatique’s steel-tight close-ups and unrelenting panning. We get the sense that Lawrence would escape our scrutiny if she could.

Once the guest arrives, a logic of exponential duplication sets it: one guest becomes two, Michelle Pfeiffer playing the gloriously catty Eve to Harris’s chainsmoking Adam. They find the god/poet’s forbidden fruit (a mysterious glass memento from the house that had burned down) and unceremoniously destroy it. Two guests then become a family plot; the plot swiftly dilates and delivers an inheritance, then a murder, then a wake, and then a party. One becomes two becomes too many. The unwilling hostess, yanked into a celebration that is really a siege, kicks everyone out in an almost campy revision of Aronofsky’s own Noah (2014) — the guests break the sink and flood the kitchen, then are forced to leave en masse. Candescent with mutual resentments, the couple fuck for the first time in ages, and Lawrence’s never-named character leaps to eponymity: she is pregnant, and the second act can begin.

The party/wake is merely a rehearsal for the pandemonium of the second act, when the poet’s masterpiece — his scripture, achieved as if exogenously after the flood — fills the house with fans who quickly turn fanatical. Aronofsky’s allegorical imagination is most exuberant in this final act: logos and allegiance, word and bond, metastasize into ideology and violence. That once unwelcome Adam has produced an entire genealogy of human malice. The house swells with a history too compressed to be distinct: cross-cutting iconographies, the whistling shrieks of bullets, the ambient sounds of degradation, fear, and subjection.

The aesthetic mode here is that of the combat sublime: a shuttling between the overwhelming immensity and visceral particularity of armed conflict, simultaneously mapping war as a system and surviving war as a terrain. Think of Emmanuel Lubezki’s unending tracking shots in Children of Men (2006), the way one body set in motion is made to navigate unnavigable scenes of terror. Both films take the problem of the untrained civilian in the warzone as the grounds for their most astonishing technical virtuosity. Amid the dazzling, dizzying vicissitudes of modern warmaking, Aronofsky and Cuarón foreground pregnant women’s bodies as the privileged site for the crisscrossing temporalities of crisis: a double-pulse in the berserk distended present, where the future is continually foreclosed. In both cases, pregnancy is exceptional, overdetermined, Rosemaryesque, and already and forever the film’s, not the mother’s own. Indeed, mother!’s only mother cannot mother, placing her among the many women who would flee the regulating frame of patriarchy’s close-up if they could.

¤

In January 1996, Jacques Derrida gave a lecture on hospitality. To his listeners, the philosopher offered a pun, what he called the pas d’hospitalité, where pas means both “step” and “no” — describing, therefore, the guest’s arrival as a transgression in two senses. The pas d’hospitalité is both a crossing of the threshold and an unstated but lively threat to the host. It is both the enactment of hospitality and the articulation of its eternal internal antagonisms:

It is as though hospitality were the impossible […] as though the categorical imperative of hospitality commanded that we transgress all the laws (in the plural) of hospitality, namely, the conditions, the norms, the rights and the duties that are imposed on hosts and hostesses, on the men or women who give a welcome as well as the men or women who receive it. And vice versa, it is as though ‘the laws (plural) of hospitality, in marking limits, powers, rights, and duties, consisted in challenging and transgressing the law of hospitality’, which would command that the arrivant be offered an unconditional welcome.

No matter how welcome you are, selon Derrida, you are never really as welcome as you ought to be. For Derrida, our “laws (plural)” remain conjugated, perversely, in both the imperative and the conditional. If a society comprised of latched doors still clings tenaciously to the idealized values of sanctuary and succor, then that society must create protocols and customs, “limits, powers, rights, and duties,” that constrain and qualify the relation of the guest to the host. In service of an ideal, expected, unconditional hospitality, we list provisos and set restrictions. Derrida’s deconstructionist brio is subtended by a dark, almost tragedian, understanding of the encounter between strangers: to enter the home of the host is to implicitly threaten her life; to greet the guest is to implicitly court disaster. Derrida’s hotel is Hilbert’s through a glass darkly: yes, there is always another room, but not because of some insatiable itch for infinity. The Derridean hotel would be an endless series of transgressions and impositions which pull taut the tensions between the imperative and the condition. Vigilant, cagy, the concierge watches to make sure you don’t pull a knife when you reach for your keys.

Combining Hilbert’s interminable guest list with Derrida’s robust cynicism, mother! literalizes the pas d’hospitalité, the step forward that is also a resounding negation. Every guest in the film’s house carries ruination like poison in her pockets. In interviews, Aronofsky has stressed that his film is “actually” about ecological devastation, but he either misses or dismisses the intimate link between climate change and refugeeism (the latter being the condition out of which Gilbert’s hospitality experiment could emerge). Instead, Aronofsky fixates on a woman’s body, her baby, and the house she attempts, with such futile resolve, to refurbish and renew. Far from fevered or obscure, the message is actually quite clear: protect the synecdoche, our mother earth — protect this beautiful, fragile house. Under this interpretive schema, the guests in mother! are the anthropocene: the great and ghastly pressure of humanity on the world’s ecohistory.

Phantasmatically transforming refugees into insurgents, Aronofsky turns need and supplication into theft. This is the symbolic work of xenophobia. But Aronofsky’s screechy eschatology, his telos of a house/world on fire, disregards the subtler and more urgent implications of climate change. An emergent and unfolding cluster of phenomena, not some pyrotechnic narrative climax, climate change affects the globe’s most vulnerable populations and thereby produces the sanctuary-seeking peoples whom Aronofsky would depict as labile fools, cannibals, and vandals.

What could it mean for this story to be one of abundant refuge rather than home invasion? How must we reinvent hospitality now that rates of homelessness, landlessness, will only continue to rise exponentially in the wake of climate devastation? In The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins, Anna Lowenhaupt Tsing describes a mode of survival she calls “contamination as collaboration.” Tracing the matsutake mushroom across the globe because she hopes to draw both inspiration and theory from this hardy and adaptable fungus, Tsing insists that “staying alive — for every species — requires livable collaborations. Collaboration means working across difference, which leads to contamination.” This contamination is both transformation and loss: according to Tsing, we must risk our integrity and self-possession if we wish to live. This is what queer theorist Tim Dean calls the “ethics of the stranger” and what Judith Butler emphasizes in Precarious Life when she asks her readers to return to the state of vulnerability we could never really escape to begin with:

For if I am confounded by you, then you are already of me, and I am nowhere without you. I cannot muster the “we” except by finding the way in which I am tied to “you,” by trying to translate but finding that my own language must break up and yield if I am to know you. You are what I gain through this disorientation and loss.

This mutual undoing is where hospitality begins: not despite or instead of but through disorientation and loss. What’s certain is that we need films that cook up collaborative contaminations — not xenophobic paranoia. Films that can think with the roomy, rangy zest of a mathematician chasing infinity — which is to say, with love.

¤

Nolan Gear is a PhD candidate at Columbia University, where he researches the relays between early film and literature. He will be teaching a course on cinema and modernism this coming spring.

The post “mother!” and Her Guests appeared first on Los Angeles Review of Books.

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[ecufilmfestival]

For our last Spotlight, we’ve chosen Matthew Heineman, this year’s Candescent Award winner at the Sundance Film Festival. His new documentary, City of Ghosts, takes a chilling look at war-torn Raqqa and tells the story of RBSS (Raqqa is Being Silently Slaughtered), the group of journalists who risked their lives to smuggle out footage of ISIS atrocities so that the world would know the truth. Click on the link and read about one of today’s most important documentary filmmakers: http://bit.ly/2lHe5m8

Pour notre dernier Spotlight , on a choisi Matthew Heineman, qui a récemment gagné le Candescent Award au festival de Sundance pour son nouveau documentaire, City of Ghosts. Celui-ci raconte l’histoire incroyable de RBSS (Raqqa is Being Silently Slaughtered), le groupe de journalistes qui risquent leurs vies de faire sortir clandestinement des vidéos de Raqqa sous l’occupation du Daesh pour le monde sache la vérité. Cliquez sur le lien pour lire notre article sur Matthew Heineman :http://bit.ly/2lHe5m8

[human-relationships-stuff]

Sundance: Documentary ‘City of Ghosts’ Wins Candescent Award (EXCLUSIVE)

Sundance: Documentary ‘City of Ghosts’ Wins Candescent Award (EXCLUSIVE)

Matthew Heineman’s documentary “City of Ghosts” has won this year’s Candescent Award at the Sundance Film Festival. The Candescent Award was created by actress-producer Lilly Hartley in partnership with the Sundance Institute Documentary Film Program. The award goes to a powerful social-issue film that has been supported during production by the DFP and premieres at… Read more »

[chronocollective-blog]

Valley of Desolation, Camdeboo National Park. Graaf Reinet, SA. April 2017. • • @jasminjelley here again with the third image of my 'Candescence' series. This landscape shot was taken at golden-hour which enhanced the already staggering natural beauty. We rushed up the ropey mountain roads in our little blue Nissan to catch this view. The landscape in shot is the expansive territory of Camdeboo National Park, which completely surrounds the town of Graaff Reinet, and is particularly unique in its landscape and ecosystem characteristic of the great Karoo. The rocks contained within this park were formed hundreds of millions of years ago- making it one of the most foundational rock formations, and transcendent of time. It is considered one of the most significant natural wonders of the world, and as the sun set over the landscape I was totally overwhelmed by it's incomprehensible vastness and serenity. • • • • • #chrono #chronocollective #collective #magazine #documentary #documentryphotography #docphotos #indiepublishing #photography #photojournalism #instagramtakeover #takeover #jasminjelley #candescence #landscape #nationalpark #goldenhour #35mm #olympus #om2n #film #analog #view #africa #southafrica (at Camdeboo National Park)

[amberreedca]

Sundance: Documentary ‘City of Ghosts’ Wins Candescent Award (EXCLUSIVE)

Matthew Heineman’s documentary “City of Ghosts” has won this year’s Candescent Award at the Sundance Film Festival. The Candescent Award was created by actress-producer Lilly Hartley in partnership with the Sundance Institute Documentary Film Program. The award goes to a powerful social-issue film that has been … from International Live News http://internationalnewslive.com/sundance-documentary-city-of-ghosts-wins-candescent-award-exclusive/

from International News Live http://intlnewslive.tumblr.com/post/156074008102

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Sundance: Documentary ‘City of Ghosts’ Wins Candescent Award (EXCLUSIVE)

Matthew Heineman’s documentary “City of Ghosts” has won this year’s Candescent Award at the Sundance Film Festival. The Candescent Award was created by actress-producer Lilly Hartley in partnership with the Sundance Institute Documentary Film Program. The award goes to a powerful social-issue film that has been ... from International Live News http://internationalnewslive.com/sundance-documentary-city-of-ghosts-wins-candescent-award-exclusive/

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Candescent Films announced today a multi-year initiative with the Tribeca Film Institute to support documentary film through the Candescent Award. Candescent Films produces and finances social issue films–as well as champion the passion projects of actors and filmmakers committed to raising awareness through film–and was founded in 2010 by creative producer Lilly Hartley. Upcoming releases of films the company supported include WHO IS DAYANI CRISTAL? starring Gael Garcia Bernal, FED UP, REMOTE AREA MEDICAL, HBO’s PRIVATE VIOLENCE, E-TEAM, and MARMATO, as well as 1971 and ART AND CRAFT, both of which will premiere at the 2014 Tribeca Film Festival. Candescent Films. Through compelling character-driven documentaries, Candescent Films aims to ignite conversation and create positive change.

This image released by the Tribeca Film Festival shows Nas in a scene from the documentary, “Time is Illmatic.” The film, which follows the trajectory of Nas’ 1994 landmark debut album, “Illmatic,” will open the 2014 Tribeca Film Festival on April 16. The festival will run through April 27. (AP Photo/Tribeca Film Festival)

Earlier films supported include QUEEN OF VERSAILLES, Javier Bardem’s SONS OF THE CLOUDS, GIDEON’S ARMY and AFTER TILLER both nominated for Spirit Awards, and LIKENESS starring Elle Fanning.

The Award’s inaugural recipient will be TIME IS ILLMATIC, which is opening this year’s Tribeca Film Festival®. The award is a grant given through the Tribeca Film Institute.

TIME IS ILLMATIC, from director/producer One9 and producer Erik Parker, delves deep into the making of Nas’ 1994 debut album, Illmatic, and the social conditions that influenced its creation. Twenty years after its release, Illmatic has become a hip-hop benchmark that encapsulates the socio-political outlook, enduring spirit, and collective angst of a generation of young black men searching for their voice in America.  TIME IS ILLMATIC examines the social conditions and environmental influences that contributed to Nas’ worldview.

“TIME IS ILLMATIC is a lyrical film that inspires us to overcome social and economic challenges and celebrates cultural history.   I am honored to support the heartbeat of this film through the Candescent Award.  Candescent’s partnership with the Tribeca Film Institute is exciting to me as they provide vital resources to emerging artists and the documentary community,” said Lilly Hartley.

“As with all of our grantees, Tribeca Film Institute is honored to have had the great opportunity to work with TIME IS ILLMATIC throughout the film’s creative process – from giving it a Tribeca All Access grant for production in 2013, through choosing it for a Tribeca All Access Alumni grant for editing in 2014, to now with this Candescent Award to help get it to the finish line,” said Ryan Harrington, Vice President, Artist Programs, Tribeca Film Institute. “We are proud to be partnering with Candescent to support more important documentaries in the future.”

I want to thank the Tribeca Film Festival for supporting the film with the incredible platform they’ve built over the years,” Nas in a statement. “It’s an honor to premiere this film in my hometown,” says Nas. “I also want to thank One9 and Erik Parker for their persistence and hard work. Those guys and I come from the same place and era, which gives the doc an authenticity that is important to me. We wanted this film to represent the real, from the storyline all the way down to the directors and producers.

The Tribeca Film Institute champions storytellers to be catalysts for change in their communities and around the world.  Through grants and professional development programs for narrative, documentary and new media projects, TFI supports a diverse, exceptional group of filmmakers and media artists, providing them resources needed to fully realize their stories and connect with audiences.  The Institute’s educational programming leverages an extensive film community network to help underserved New York City students learn filmmaking and gain the media skills necessary to be productive citizens and creative individuals in the 21st century.  Featuring hands-on training and exposure to socially relevant films, the Institute administers programs to more than 30,000 students annually.

Erik Parker is a graduate of the Columbia School of Journalism.  He served as Music and Senior Editors for The Source Magazine, Director of Content for music news site, SOHH.com, and Music Editor forVIBE Magazine. He has also written for XXL, RollingStone, The Village Voice, Latina, Glamour andMTV.com. Aside from his work as a print journalist, Parker has produced and hosted MTV Jams’ “The Parker Report,” a groundbreaking talk show that gathered hip-hop’s leading voices to discuss issues surrounding music, culture and politics.

One9 is an award winning multimedia artist, director, producer and editor. His clients included Google, PBS, Viacom, Sony Music, and several non-profit organizations. As an artist One9 was selected by Barclays Center in Brooklyn, New York to create an original series of artwork presented to their selected music talent in 2013-2014.

Tribeca Film Festival 2014 Preview: ‘TIME IS ILLMATIC’ TO RECEIVE CANDESCENT AWARD WITH TRIBECA FILM INSTITUTE® Candescent Films announced today a multi-year initiative with the Tribeca Film Institute to support documentary film through the 

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Self perception.