#Darron Aronofsky

[morningradiopunk]

Movies That Made Me Fucking Kill Myself; Mid-July.

Good Will Hunting (1997, Dir. Gus Van Sant)

Eternal Sunshine of the Spotless Mind (2004, Dir. Michel Gondry)

Requiem For a Dream (2000, Dir. Darron Aronofsky)

Scorpio Rising (1963, Dir. Kenneth Anger)

Saturday Night and Sunday Morning (1960, Dir. Karel Reisz) [Fucking class book.]

Bones And All (2022, Dir. Luca Guadagnino)

Darling (1965, Dir. John Schlesinger) [Julie Christie. 💘]

Vanilla Sky (2001, Dir. Cameron Crowe)

Blue Velvet (1986, Dir. David Lynch)

Eyes Wide Shut (1999, Dir. Stanley Kubrick)

[agirlnamedbone]

a coming of age moment for me has been the wrestler becoming my favorite darron aronofsky movie. it’s all the suicidally self destructive themes of obsession with the creation of oneself but you have to look at mickey rourke’s desperate, mangled face of hopelessness instead of someone hot. plus bruce springsteen wrote a sad song for the credits. I have a film studies minor btw

[internationalnewsworld]

According to media reports, Hollywood studio A24 has acquired the rights to make a film on the life of Elon Musk.

According to reports, the film will be directed by Darron Aronofsky, who has previously directed films like The Whale and Black Swan.

The film will be based on the biography of Elon Musk written by Walter Isaacson.

This book was published Read More

[spazoutloud]

You ever go to wash your hands and discover something new about yourself? This is on my Etsy now. Masks made from cotton and lettering is hand done. https://etsy.com/shops/spazoutloud 

#spazoutloud #freelanceartist #costumemaker #handmade #masks #mask #etsy #blackswan #mirror #lipstick

[movie-shelf]

Black Swan

/

[crescentsun]

I felt it. Perfect. It was perfect. 

[lunarmote]

Requiem for a Dream - Visual Analysis

Just some comments on the cinematography of Requiem for a Dream (directed by Darron Aronofsky, cinematography by Matthew Libatique). On my second view of it, it was much easier to pick up on visual storytelling.

The film centers around the lives of four characters - Harry & his girlfriend Marion, his mother Sara Goldfarb, and their friend Tyrone. I feel like there aren't as many shots of Tyrone as the other three, so I'll be focusing on the character arcs of Harry/Marion and Sara. In particular, I'm interested in the way that the cinematographer uses techniques to depict the ways each character is alone in both their own "space" and shared space.

THERE WILL BE SPOILERS IN THIS POST. YOU HAVE BEEN WARNED.

Harry/Marion’s Arc

Summertime. Everything is bathed in a soft white light. Sara's friends sit on their lawn chairs in a row of pastels. The color green is abundant. In general, everything has a quality of brevity, ethereality to it.

This split screen does something interesting. The characters are lying right next to each other, but they are divided by the split. His hand reaches towards her face but can never make that uninterrupted journey. It’ll appear from the left side of her frame with no connection to the mass which is him. When we’re shown something that is happening concurrently (that is, which part of the lower body the hand is touching), it comes at the cost of replacing one of the close-ups.

As the characters descend into desperation and paranoia, all the greens leach out of the film. There is a heaviness to every shot.

If you know what’s happening in this scene, Harry is trying to convince Marion into prostitution to pay for their supply. His face is just barely out of the shot, but you only see Marion, alone.

Their relationship past the point of no return, both Marion & Harry have succumbed to their addiction.

Sara’s Arc

Summer, again. Moss green interior, daylight, plants. Sara’s house is full of miscellaneous collectibles, but at this point, they only show how ordinary her life used to be, and could have been. Tantalized by the prospect of losing weight, but not ready to commit, Sara runs her palm over the box of chocolates before popping one into her mouth. (Cue audio: Very very loud and slow chewing)

Sara looks over Harry’s graduation photo. The last time she, her husband, and Harry were together?

Fall. Scenes are now shot at night. I think the primary benefit of this is the use of elongated shadows changing the familiar into the unfamiliar. The house, once so tame and familiar, becomes a hostile environment. The TV happens to be right in the corner. Sara is smack-dab in the middle of the frame and would be looking up at it.

Descending into her delusions, Sara dances with herself.

One of many scenes that play with the characters’ skewed perception of time. Sara herself is shot at a regular fps, while all the people around her are sped up. She is surrounded by people but no one will be there to match her rate of operation. Incredibly tragic.

The Hug

I counted three times that Sara and Harry hugged in this film - the first time when Harry pulls up in a cab, the second during the visit before he leaves, and the last one in the very last scene.

One of the earlier hugs. The characters start off alone on either side of the frame and successfully bridge the gap.

The last hug.

[toxic-fucking-waste]

Nobody asked for this but here’s a list of movies that make my reality feel altered and of which I also thoroughly enjoy ~

• I’m Thinking Of Ending Things (Dir. Charlie Kaufman, 2020)

• Annihilation (Dir. Alex Garland, 2018)

• Midsommar (Dir. Ari Aster, 2019)

• Hereditary (Dir. Ari Aster, 2018)

• The Lodge (Dir. Veronika Franz & Severin Fiala, 2020)

• The Shining (Dir. Stanley Kubrick, 1980)

• Creep 1 & 2 (Dir. Patrick Brice, 2014 & 2017)

• The Blackcoat’s Daughter (Dir. Osgood Perkins, 2015)

• Assassination Nation (Dir. Sam Levinson, 2018)

• Mother ! (Dir. Darron Aronofsky, 2017)

• Casting JonBenet (Dir. Kitty Green, 2017)

Honorable Mentions ~

• Twin Peaks (Various Directors, 1990-1991)

•The Twilight Zone (Various Directors, 1959-1964)

[flashfuckingflesh]

Subliminal Evils Slithered Inside Your Head! "The Holly Kane Experiment" review!

Subliminal Evils Slithered Inside Your Head! “The Holly Kane Experiment” review!

The questionable techniques of radical psychologist Holly Kane have been effective in redirecting and controlling unconscious thoughts through sensory deprivation. Facing potential legal trouble even after a successful Hospital procedure, Holly Kane turns to the offer from Marvin Greensdale, a wealthy and well-known psychologist seeking to employ Holly for clinical trials that would lead toward…

[witnessthesky]

Supermother!, a lunar eclipse concerning the Sun, Ceres, and a special guest

Moon, 11 Leo - January 31st, 2018

At a time when our culture is maniacally fascinated with heroic motifs, why wouldn’t we grant our dear Luna the mantle of Supermoon, when she graces us with the closest, brightest mirror, reflecting our deepest desires, calling to the surface our greatest trials and fortuitous wishes. She might wonder, in a forlorn voice, “Am I not always super?”   

The moment when the super-est moon reaches its closest distance to the Earth is known as the lunar perigee, and if the moon is indeed a mirror, then this would also be a time when reflections appear larger than normal. Even without being full, this can be a time of electrified intent. Much to my irony’s chagrin, this is certainly a momentous occasion, the eclipse occurring at 5:27 AM PST, and the apogee thirty minutes later at 5:55, when the gong is struck, and the candles lit, a ceremony begins to summon a great, fiery goddess from her earthen slumber. Not only does she breathe fire, but she bends the element to her while at every corner of the sleeping globe.

Shiva, the Hindu deity, is often known as the Destroyer. Kali, an incarnation of his consort, dances atop his dead carcass, if that gives you any idea of the sheer wrath she is capable of dishing out for breakfast, second breakfast, elevensies, luncheon, afternoon tea, dinner, supper, and dessert. We are, according to the Hindus, living in the Kali Yuga, an epoch of time, the "throw of one" in their game of dice, the worst value out of four. This period is supposedly a heightened age of chaos. You tell me.

Our full moon is, of course, in Leo, the beast who commands the creative power of the Sun. The Sun is the primary caretaker and fulfiller of life on our planet, but its power may also burn, even from 93 million miles away. You will read a thousand posts today asking you to channel the moon’s creative flow, but you might also consider the power to light an entire house on fire and watch it burn to the ground. I’m just saying, these eclipses don’t come around that often. Burn a house down when you can. Proverbially--dig?

Kali will act as a violent Supermother, burning all in her path to get to the heart of the truth. There will be nothing left until your beating heart, pulsating, brightly aware of all the pretending you are/were doing. “You” are truly ash in her visage, as she is the one who steps in when Shiva’s slightly less savage ego-burns can’t get the job done. Do you want to create? Oh, do you? Great. Go ahead. Create. Create. From what is left of you.

This moon echoes maternal vibes, nestled in the harvesting scythe of Ceres, both at 11 degrees Leo, god of the seasons and mother of Persephone. I’m usually one to veer on the side of the child goddess, captured by Pluto and taken to the underworld to eat pomegranates, but in this case, the message is clear. Mother, I feel thy wrath. Upon learning her daughter was missing, what was once thriving and green turned dead and desolate. She refused to return life until her daughter was returned, and made a pact with Pluto to trade Persephone every six months, thus establishing the four seasons. Of course, no one asked Persephone what she wanted, but that’s another story.  

Darron Aronofsky’s controversial film, Mother!, depicts a goddess frustrated enough with her world that she is willing to burn it to the ground. It also shows an angry mob eating her child. If that makes you uncomfortable, good. What else are you turning a blind eye to in the world? What would you do if an angry mob was eating your baby? Here, wrath is duly served, a satisfying act that is completely undercut by the film’s resolution, which returns power to the tyrannically omniscient “Him,” who happened to be the main source of her perpetual abuse. 

Lucifer, an angel once known as “God’s" right hand, is a word that means “bearer of light,” and was a name originally given to Venus rising in the eastern sky. Venus’ dance with the Sun—gazing from the Earth—creates a five-pointed star, a pentagram, every six years. Do you see the pattern? Once sacred, feminine symbols became roused in manipulation and twisted to mean something different. Why wouldn’t a devil emerge when the light has been snuffed, trampled upon, raped, abused, dismissed, beaten, bloodied, tormented, for so long? Would you do as much protect your child? Yes, the lioness bears her teeth, and rightly so, for enemies of life proclaim to walk in the light. 

Ceres is retrograding, which may point to a resistance in claiming this maternal empowerment. The pain will only become more real, as a red moon implies. The more you wait to recognize and nurture your inner child, the more you bleed. Yes, males, you too have a duty to protect, feed, shelter, and bear fruit. Recognize where you have done wrong, where you have ignored, where you have continued to pretend. There is only one goddess, and she is right beneath our feet. 

Kali, the true Supermother!, swiftly decapitates all that is unnecessary, including you, as your complicity has allowed the charade to continue. The moon will burn, burn, and burn. Ignite the fire, yourself. Watch it terrorize the illusions that have wrought your imprisoned life, depriving them of all oxygen, a fire so pure that no dust remains. There is no time left for coddling education. We are all suspect to die in her flames—figuratively, right?—and be reborn as the unapologizing, pure, powerful, delighted, enamored, primal, ecstatic, joyous beasts that we were born to be. Create what you will, but know that only the truth will survive. 

And, of course, Luna, you are always super.

[hellterskelter]

just found your blog, awesome stuff! what is your top 5 horror movies?🦇

ooh that’s tough! My top 5 movies are Natural Born Killers, Halloween, Heathers, anything Darron Aronofsky, and Tales from the Darkside. A couple aren’t horror - I also really love all campy 80s horror like Friday the 13th etc. and Jennifer’s Body. I’m curious what everyone else likes too. Your favs?

[jackisreallycool]

I guess mother!’s Oscar chances aren’t dead after all. How ‘bout that.

[azra-idek]

The Fountain is the worst piece of garbage I've ever seen and all of his movies are overrated junk. Fuck Darron Aronofsky.

favorite story: apparently, while filming “black swan,” the director would try to pit mila kunis and natalie portman against each other, telling them that the other woman was doing a better job, in hopes of making their characters’ rivalry seem more authentic. but it completely backfired, since instead of getting angry or competitive, natalie and mila would just congratulate each other on doing such good work.

[carsenandmovies]

Suspiria (2018)

Much akin to Darron Aronofsky’s mother! last year, Suspiria isn’t what it appears. It’s a puzzle and a commentary on something dangerously different than dancing witches.

Set in a split Berlin in the 1970s, Suspiria is a tale of its time. A tale of a war torn world at the hands of those who survived. The film represents much more than a dance company, a distressed woman, a psychologist, and a coven. It represents the war itself, and each character plays a role in this retelling.

The witches and the coven itself represent Nazi Germany, where they want complete control over their dancers and the perception of the dance company. We see that in the way the girls live and are paid, and the way they entrance the police to believe the goings on at the company are perfectly normal. They also wish to sacrifice certain girls, picked seemingly at random, for the greater good of the coven and its survival. The building can be perceived as Europe as a whole during the war as well, where there are places of hiding and places that are occupied but need finding to understand its true fulfillment.

The sacrificial lambs, the girls we see in the deep pits, including Patricia, can be argued are the Jews in this representation. They are without fault here, and stripped of their talent, their lives, their families, their money, and their freedom in order to satisfy their captors. Patricia says in our first introduction to her in the doctors office that Blanc can see where she is through her own eyes. Nazis would say to think like a Jew, in order to find one. Patricia thought there was no place to hide because she would always be found out. A true fear that Jews in the war also felt and documented throughout.

The dancers, the ones who aren’t sacrificed, are Germans. Sara doesn’t believe Susie that she “felt something” during her solo, and brushes her off and says that’s something Patricia would say as well. At this point, Susie has planted herself right where she can reach both sides, and isn’t able to explain to Sara that she is about to unleash a fight on the coven and the dancers. She is just getting stronger. Once Sara starts poking around the company, she learns that the dancers weren’t just telling tales. They were suffering and it’s because she witnesses and empathizes that she then suffers, too. A big argument for complicity in the Germans is that they would have received the same punishment had they helped Jews either escape or hide. Sara wanted to help Patricia, but found herself in a world of hurt as soon as she discovered the terror within the walls.

Nearing the end of the war, Blanc represents a resistance within the Reich. Something of a Ludwig Beck. She didn’t want to see Markos continue to rule, and she didn’t want to see Susie fall. But she was without power to stop either from happening. She was complicit in the planning of the fall of Susie and was something like spellbound to see it through.

Susie is America. She ultimately wins. Her flashbacks to her childhood represent a hardship that she had to endure in order to help those when she was needed. She mother represents an oppressive atmosphere that can be likened to a pre-civil war era in America. They’re Mennonites, for crying out loud! When Susie takes interest in Berlin and Germany during her studies, she is scolded. America first, she’s told. She is able to play both a spy and an operative in the company.

The final battle in the basement could represent the Invasion of Normandy. It was a bloody battle that required a fucking load of work, and as Susie instructs the dancers to continue to dance, she is also taking the lives of her allies and enemies. She is working double time to ensure the battle is won.

Just as the battle is represented, I think Olga’s contortioned body is France as a country. The country was completed ravished in order for the war to be won and it was a sacrifice that wasn’t appreciated at the time. France was left wrecked, and they had to completely rebuild. Just as Olga was still breathing when they picked her off the studio floor, France still had a pulse and a desire to live after the war as well.

The dance itself is the art that came out of the war, and more specifically, the art that came from Nazi Germany. Hitler hailed himself something of an artist and a cultural gerrymanderer. Blanc, the general in this context, was expected to produce art in both a figurative and literal sense. The Third Reich picked Europe apart to find the art that Hitler wanted to surround himself with and also to show the world how stylish they thought of themselves. Susie infiltrates the dance and places herself directly in the center of it, and ultimately ruins the last act by showing off. The graffiti outside can be seen as faux art. That of the resistance, and therefore unworthy of explanation or recognition by the company.

The story is really the muddled love story of Josef and Anke. It’s bogged down by the war, just like the lives of actual people during this time. Josef, also played by Tilda Swinton, believes his wife to be alive, and goes on living a life he thought she would approve of. He doesn’t remarry. He doesn’t sell their house. He lives his life as if she is still with him, with a scar where she once was. The war tore their life apart and he is forced to revisit it by becoming involved in the company’s business, and one could argue its his way of becoming involved with the Red Army Faction that many believe Patricia is involved in. This would require two timelines, and a second watch for me to complete this argument.

Judaism and feminism collide in a big way here as well. There are so many mentions that women are strong and should be believed, and that delusions equal lies. Coming off the MeToo movement, I think we can all agree that women are to be believed. This film constructs feminism in a way that leads me to believe they are alluding to the fears many Jews had leading up the war that weren’t given a global voice like women are demanding in 2018.

Aside from all this, the film is beautiful. It reminds me so much of Rosemary’s Baby is the fading transitions, use of mirroring, the conversations overheard, and the musical tension. There is so much attention to detail here and I’ll point out just a few of my favorite aesthetics.

The film is very textured, and we see that by way of hair, both on heads and in “hairballs”. The hair plays a big role in the femme fatale vein and when Susie’s hair is cut, we see her tense for a moment, like she’s afraid of losing it. She ultimately embraces her new look and doesn’t lose her strength like she’s supposed to.

The use of language is interesting as well. We aren’t given an idea of which language is superior, although we see Susie using English, German, and later, French. The languages represent a global community and tell us that pain and prosperity both transcend communication.

We also get small details, like the beds, the music, the lack of music, the dream holograms, and the color palette. The colors are very muted until we get to red, and then it’s a massacre of both bodies and colors. I enjoyed the coloring of this film very much.

I’m happy to see Dakota Johnson break out of her 50 Shades shell and into a more noir setting. She’s a terrific actor. If she doesn’t get nominated, I’ll be disappointed.

5/5. I will watch this again and again and again. Thank you for coming to my Ted Talk.

[njawaidofficial]

Amy Schumer Had Some Pretttty Harsh Words For Jennifer Lawrence After Her Break-Up

https://styleveryday.com/2018/03/04/amy-schumer-had-some-pretttty-harsh-words-for-jennifer-lawrence-after-her-break-up/

Amy Schumer Had Some Pretttty Harsh Words For Jennifer Lawrence After Her Break-Up

“Love, Amy.”

On Thursday, Jennifer Lawrence stopped by Watch What Happens Live, where she talked about Red Sparrow, Real Housewives, and a little bit about her breakup.

Bravo

She said after she and director Darron Aronofsky broke up, she told Amy Schumer she was really sad.

Bravo

The next day, she had a delivery…

Bravo

The bouquet of flowers was from Amy. Attached was a note:

Bravo

LMFAO…only true friends tell each other they’re going to die alone after a break up.

Handout / Getty Images

Classic.

MTV

[stuffaboutsatan]

#2

Mother!:

Over the weekend I saw the movie, Mother! This was a very intense, graphic movie accompanied by many high pitched shrieks from Jennifer Lawrence. I knew nothing about the movie going into it, so I started off extremely confused and it only got worse as the story progressed. Throughout I struggled to find the meaning of the story, I juggled round a couple ideas: The representation of misogyny or maybe the way the director views the world. Since watching the film I’ve learned that the purpose of the exclamation in the title is to foreshadow the end, which quite literally goes out with a bang. Spoiler alert: The film is actually alluding to the book of Genesis and “mother” is referring to Mother Earth. 

I found it fascinating that Darron Aronofsky portrayed this story is such a brutal and disturbing way. It exposed the fact that the people living on Earth are truly idiots who have no respect for anyone but themselves. They have no idea what havoc they’re wreaking until it’s too late. At the end, the character playing God, decides he must set fire to the home (world) they’ve created and start over to make it perfect. Just like in the book of genesis when Yahweh floods the world to create a new one.