#Schindler apartments

[theaskew]

Jonas Wood (American b. 1977, lives and works in Los Angeles), Schindler Apts., 2013. Oil and acrylic on canvas, 132 x 112 in. | 335.3 x 284.5 cm.

[germanpostwarmodern]

Sachs Apartment Building (1926-39) in Los Angeles, CA, USA, by Rudolph Michael Schindler

[alexanderwales]

The second chapter of Save the Cat! is about genre, titled "Give me the same thing ... only different!". The general principle is one that I strongly agree with, even if I don't always practice it in my writing: you must know how and why things work in fiction, you must be a student of the realms you're writing in, you must give your own twists on clichés if you think you might be writing them, and must be familiar with clichés so that you don't end up boring people. Study things that are like the thing you're trying to create. Analyze them, take them apart, understand how they work or don't work.

But then a lot of the chapter is taken up with Snyder's own system of ten genres, and when I was reading it I wanted to just stop him and say "hey, what the fuck, did you even watch that movie?"

Also I laughed for like five minutes at him putting Schindler's List in the "Dude with a Problem" genre, even though I agree that according to his typology it completely fits.

I'm a huge fan of making up arbitrary categories and then stuffing things into them. I don't think it's often very useful, no, but it's fun, and when you're done shoving things into boxes, you can pull them back out, find a new set of boxes, and repeat the process. I'm not going to repeat Snyder's categories here, but I think they kind of suck, and don't accurately reflect genre as we understand them, and the whole thing would have been better off is it was taking story archetypes and saying why they work and then what the usual deviations from them were.

Here are two examples that I take issue with, among others. First, by his accounting Planes, Trains, and Automobiles is a "Golden Fleece" movie, the kind of film centered around a hero's journey where what he ends up finding is, ultimately, himself, and every set piece along the way is important only in the way it relates to the hero's self-acceptance or whatever.

No. Wrong. Planes, Trains, and Automobiles is very very clearly a "Buddy Love" under this system. Look at this fucking image:

Could this DVD cover make this any more obvious? Literally all the promotional material is like this. It even says in the book that most "Buddy Love" movies start with the "buddies" disliking each other, and that their relationship is central to the movie. And if Snyder is getting this wrong, what else is he getting wrong about his own system?

Example two. I'm just going to quote it in full:

Now look at The Matrix and compare and contrast it with the Disney/Pixar hit Monsters, Inc. Yup. Same movie.

Fucking what do you mean.

Under this system of genres, Monsters, Inc. is very clearly another "Buddy Love" movie. There's a kid they have to deal with, but most of the movie is grounded in the relationship between Mike and Sulley. Like, what's the low point of the whole movie? They get banished to the Himalayas and then have a big fight! It's about their relationship to each other!

(I looked this up on the savethecat website and found an article claiming that it's an example of "Monster in the House", which is fucking stupid, because what's the monster and what's the house? Just does not apply. The child is takes the role of the "monster" for such a small amount of the movie, then they're looking after her and trying to return her home, and even before that it's not relatable as a monster to the audience. Blake Snyder didn't write the article, so maybe he had something different in mind.)

Meanwhile, The Matrix most closely falls into either "Dude with a Problem" (ordinary man thrust into extraordinary circumstances) or "Superhero" (extraordinary man in ordinary circumstances) and I would argue that it's actually neither of those because it's a goddamned hero's journey and those are their own thing and it makes no sense to try to split them into two parts because you don't get more explanatory power of what's working and what's not. His analysis of what he calls "Superhero" films also sucks for that reason and just totally misses the mark about what makes them tick.

So how are these the same movie? I don't know, it probably made sense to Blake Snyder. I have done my due diligence and searched for answers online, but haven't found much, just some weak ass defenses.

Also, I really hated that he says Chinatown and Who Framed Roger Rabbit? are basically the same movie because no shit. Who Framed Roger Rabbit? is a parody of noir, and was adapted from the script for a never-produced third film in what was supposed to be a Chinatown trilogy. But even then, I don't get how you can say they're the same movie without pointing out the strong "Buddy Love" through line in Roger Rabbit!

This whole chapter was a total miss for me. Decent advice at the start that I've been hearing and preaching for a long time, but this typology sucks and he doesn't even seem to understand it (or the movies he's putting in it) very well. And since the typology sucks, it's a bad lens for understanding the underlying rules of writing, of story structure, the components of story, etc.

[haverst]

R.M. Schindler, The S.T. Falk Apartments, 1939-1940

source

Haverst on Instagram

[best-movie-ever-tournament]

Finals!

Pacific Rim was described as follow:

Gigantic monsters invade the earth and ginormous robots guided by DRIFT-COMPATIBLE THIS IS THE DRIFT COMPATIBLE WEBSITE PEOPS! people are sent to battle them.

Schindler's List was described as follow:

Holocaust-centered movie, heartbreaking but great. I know Tumblr is the colour theory website so they might appreciate the little girl's red coat being the only touch of colour of the whole movie (that and the last scene which happens in present times) but apart from that what can I say... Great performances by everyone, a small bit of humor (i think it was humor?) in the scene in the church where the guys from the black market are arguing, a very soul-shattering ambience (on purpose obviously) and i mean like i said, heartbreaking but great.

[denimbex1986]

'Over the course of his nearly 40-year career, Steven Zaillian has reinvented himself almost as many times as Tom Ripley, the indelible lead character of his latest project, Ripley. He’s written films about erudite cannibals, baseball statisticians, American gangsters, serial killers, and chess prodigies. “Each time I go out, I feel like I’m doing it for the first time and that it requires different material, requires a different approach,” Zaillian tells Tudum.

Zaillian is freshly nominated for both writing and directing Emmys for his work on Ripley — accolades that join a healthy group of previous awards (including an Oscar for writing Schindler’s List and a Directors Guild of America award for his direction of The Night Of)...

“You learn something new every time, but it’s impossible to learn everything,” Zaillian says. It may be impossible, but he’s still trying...

Ripley (2024)

For Ripley, Zaillian also had a new challenge to face: setting his work apart from what came before.

“When it was proposed to me as a series I felt, ‘OK, it’s dangerous because there have been films made from it.’ But this is a different form, and the approach is going to be so much different that I was intrigued by that idea. I didn’t feel like it was a remake. I felt like it was something new, and so that’s how I convinced myself to get involved in it. I wasn’t consciously trying to make it different, but I was consciously trying to make it in a way that captured what I felt when I read the book or how I saw things when I read the book, and just by doing that made it different.”

One new choice Zaillian made gave Tom Ripley a distinctly sadder edge: This iteration of the character is older than he’s ever been before.

“The idea that this person who’s a failure, this petty con man who’s got no future at 25, is not as serious as one who’s 35 or even late 30s. One of the themes of the show is that everyone is a fake. Tom is obviously a fake in every way. Dickie claims to be a painter and isn’t really. Marge claims to be a writer, and Freddie claims to be a playwright. So everyone is sort of a failure at what they want to be, and I just feel like characters in their 30s feeling that it makes more sense than characters in their 20s.”

You might ask yourself — does Zaillian see any patterns connecting the diverse projects that make up his career? Only one: hard work.

“I consider each project on its own. Do I respond to a particular story or characters, and do I think I can do a good job? That's always been my only guide really.”'

[mybrainismelted]

thanks for the tag @juliakayyy!

Tag-game twofer

✨✨✨✨

name: Kat

your birthday: Nov 14

where in the world are you? Ontario, Canada

when did you join tumblr? June 22nd, apparently

do you have any sideblogs? No

mobile or desktop? Both. mobile when I'm working or out and about, desktop in the evenings or to do text posts, ask games, tag games, etc.

your perfect sleeping conditions: QUIET and DARK, not too hot, not too cold... just right with a blanket to keep the night creepies away

a movie you think everyone should see at least once: Schindler's List

what shoes do you wear the most often? I work from home, so slippers. But if I'm going out lately I love my sketchers slip-ins. So comfy and I hate tying shoes

find the book closest to you. turn to page 7. what’s the 7th word? Too

describe your keys to me: I have one that pulls apart into 2 pieces. one half has the car fob, the other has everything else. Building fob, door key, mail key, storage locker key, etc

what’s your favorite snack? chocolate covered raisins or plain lay's chips with helluva good dip

one of your aspirations: to win the lottery

and finally, tell me a random fact about yourself: I taught myself how to crochet during the pandemic because I was bored out of my mind

✨✨✨✨

and a Picrew! Because they are fun.

tagging some people who may or may not have already done these, but who have made me happy the last few days! @spacerockwriting, @gallabitch73, @softmick, @jademickian, @suzy-queued, @gembu-tortuesouscafeine, @sweetbee78, @milkmaidovich, @auds-and-evens, @francesrose3, @scurvgirl, @redwiccanrobin, @miilkoviich, and @krystallouhoo

[gmll1]

Let’s talk about the movie “Schindler list”

Release date; February 4, 1994

Rating: ★ ★ ★ ★ 4.5

Directed by Steven Spielberg won his first Academy Awards for Best Picture and Best Director with Schindler's List

Casting (Important Characters in the movie)

Liam Nelson as Oskar Schindler

Ben Kingsley as Itzhak Stern

Ralph Fiennes as Amon Goeth

Caroline Goodall as Emilie Schindler

The film's black-and-white cinematography, coupled with its haunting score, creates an atmosphere of solemnity and authenticity. The performances by Liam Neeson as Schindler, Ralph Fiennes as the sadistic Amon Goeth, and the entire ensemble cast are exceptional, bringing a depth and rawness that makes the characters feel vividly real.

Tackles the darkest chapter in human history with unwavering honesty and sensitivity. It explores themes of heroism, sacrifice, and the moral complexities of a world torn apart by hatred. The film not only depicts the horrors of the Holocaust but also highlights the moments of compassion and humanity that can emerge even in the midst of such darkness.

Spielberg's direction is masterful, capturing both the immense scale of the tragedy and the intimate stories of the individuals affected by it. The film's attention to detail and historical accuracy add to its impact, making it an invaluable historical document.

What does the girl in the red coat mean in the movie?

His image with a red coat in Schindler's List has become over the years a symbol of hope in the midst of a very hard and cruel reality.

But what makes "Schindler's List" so much more than just a well-crafted movie is its powerful message of compassion and umanity in the face-of unimaginable evil. By shining a light on the darkest chapter in uman history, Spielberg forces us to confront our own capacity for cruelty and forces is to question what we are willing to do to stand up for what is right.

In conclusion, "Schindler's List" is an extraordinary cinematic achievement that goes beyond entertainment. It is a visceral, emotional journey that confronts the depths of human depravity while also celebrating acts of selfless heroism. The film's impact extends far beyond its runtime, leaving an indelible mark on the viewer's consciousness and reaffirming the power of cinema to provoke thought and inspire change.

I recommend, a fucking masterpiece.

Pd: written by Martina

[elenichr]

Year of Lists

March Films

more awards-related stuff and then FREEDOM (what I chose to do with it is another thing but one thing I cannot be judged for is there are a LOT of movies this month, and that is positive)

must-watches in bold (these are in relation to other movies watched, and the time, not necessarily must-watches of all time)

Mighty Morphin Power Rangers: Once & Always (2023) *6ish, I guess? - does this count? It's nostalgia in an hour's worth. it's every bit as bad as you would hope. Great stuff.

American Fiction (2023) *7.5 - hell yeah. Finally, something important done in a pleasant, human, enjoyable way (see how much I sobbed during this awards season: so.many.super.sad movies - or if not sad, just.so.much, overall). Performances are out of this world; it has everything: humour, nuance, a bit of romance, a bit of sadness; it was so damn good to watch.

The Zone of Interest (2023) *6 - how do you rate this? that six is not representative of the movie at all, but here we are. Everything you've heard about this is true: it's masterful, definitely a gut punch, Sandra Hüller is having a great year; the sound(track) is out of this world. It says so much with so little. Yes, it's a movie about the Holocaust, but it's also, really, a movie about how we stand by and allow atrocities to happen. It's a movie about humanity's cruellest side: indifference - right now, and then, and always. There is much to be said here, a lot of conversation was around how Schindler's List worked as a movie, therefore, romanticised, by the movie lens, the Holocaust. I can see how The Zone of Interest tried really hard not to do that, and I can confidently say it's done so much for exposing how useless we can be in the face of tragedy, but with every day that passes, I keep thinking more and more that it hasn't escaped that movie lens. However, it does really well at asking the question of whether we can portray atrocities of this kind, and does it really make a difference when we try?

Dune: Part Two (2024) *7.5 - umm, this is so long I need to rewatch it to even have a formed opinion. In lieu of a rewatch, here are my current thoughts: it wouldn't have been half the movie it is without the soundtrack. Also currently my favourite soundtrack of all time. I could rave and rave about it. The performances were great all round. I really love that Villeneuve doesn't try to constantly capture people like the mega starts they are: see Timmy's double chin, constipated face, present in both movies, and at a close-up at that. Some scenes were visually and emotionally breathtaking but I'm not sure if this was the case because of the anticipation of seeing something loved in a book portrayed on screen. It felt busy and a bit disjointed, especially in comparison to Part 1. I so wish they'd done the romance differently. I was constantly thinking of The Bear and how well that worked there. I wish they'd let Paul and Chani's connection breathe and mature, taken us along for the ride.

Alice, Darling (2022) *6 - this gave How to Have Sex vibes. I love when a movie addresses difficult subjects (in this case, abuse) in a slice-of-life, uber real, awkward way. It dexterously looks at the outward indicators of abuse, the responsibility of friendship - some mild body horror for both symbolic and literal purposes.

The Sixth Sense (1999) *7.5 - they don't make them like this anymore. Boy, do I envy anyone who hasn't watched this and doesn't know anything about it. If you know that person, please, make them known, I want to sit them down and pop this in the cassette player (Netflix or Prime or whatever, but you know). It's only the second time I watched this because I thought there wasn't much reason to, apart from nostalgia. Surely, it's just so worthy because of the set-up. Yeah, yeah, I was wrong. I had to pause a couple of times to allow myself to digest the mastery of what this movie is when YOU DO KNOW.

Scarface (1983) *7 - what can I say? Yup, it's great. Colours are a highlight, as is Michelle Pfeiffer.

A Time to Kill (1996) *6 - disclaimer: I am going through legal dramas, I love 'em. This was fun, much more timely than I expected. Samuel L Jackson has a beautiful, beautiful speech. A man fancies a woman that is not his wife, and she is pretty, and young, and smart, and she ignites a spark in him, and she believes in what he's doing in all the ways his wife doesn't, and yet, said man doesn't cheat on said wife. Woohoo. I'm all for complexity and non-monogamy (when both, or more parties, agree to it) but it is just so beautiful to see a good marriage challenged and withstand the challenge. Bonus points for young Matthew McConaughey and infant Sandy Bullock. It's serious, it's legal fun, a bit naïve; the nineties in a two and a half hour ride.

Rush Hour; Rush Hour 2; Rush Hour 3 (1998) (2001) (2007) *6 *6 *5 - WAR UGH ... SO MUCH FUN. Yeah, they shouldn't be bunched together, yeah, a lot of it reads problematic, yeah, I wish I'd been watching them all my life. Great stuff. Don't look away at all the racist jokes, both ways, and any other way you can imagine. This is a superb example of looking at what we made for fun: there's so much to digest, learn from, appreciate. I LOVE JACKIE CHAN. When I was a kid, it was considered embarrassing to appreciate his work. I had a stupid-ass, DUH, moment of realisation watching this: oh, that 'martial arts movies are sub-par' idea? Yeah, blatant racism. It feels so good to come to this now. Side-note: Zhang Ziyi showing up in 2, what a treat. I'm not one for recycling material but can we have Rush Hour 4 please, please, please?

Blow Out (1981) *6 - another Brian de Palma, another good movie with its merits. Some of it was delicious in a movie buff way, but I was bored nonetheless. If you're into your legal, crime, journalistic slow-burners, go for it.

Decision to Leave (2022) *9 - triple bold. This is my favourite movie. It has been since I saw it in the cinema and cried in the toilets after. It is a masterpiece, Park Chan-Wook might well be my favourite director. There are not enough good things or good enough words I could say. Here's the best I can do rn: noir at its best, romance at its most complex, human nature at its barest, lyricism, depth, story for days, really unapologetic storytelling, no infantilising the audience here, crime at its most beautiful, and potentially the best ending scene cinema has ever seen. Watch this, watch The Handmaiden, watch Stoker, watch Oldboy (when I watch more of his movies, they'll be added to this). They're all in my great movies of all time (fictional) list. Side-note: WE ARE SLEEPING ON KOREAN CINEMA. We're getting there, but we're not even close. Still underrated.

Joy Ride (2023) *6 - does what it says on the tin. Also SO MUCH FUN.

[filosofitos-blog]

Esperanza

18 de abril de 1945, Plaszow

<<Nos acaban de comunicar que Herr Schindler ha publicado una lista con nuestros nombres y nos trasladarán a todos mañana a su fábrica en Polonia. Una oportunidad nueva para empezar nuestra vida. “Lo peor se ha acabado” >>

La esperanza, aquella pequeña luz que vemos al final del túnel por muy largo y oscuro que sea; ese rayo de Sol que te abriga durante los días nublados; lo último que se mantiene en pie cuando todo se derrumba…

Siempre se ha dicho que la esperanza es lo último que se pierde. Esta afirmación, repetida a lo largo de la historia, refleja al ser humano y su forma de pensar ”¿y si todo mejora?”, “¿y si sale bien?”. Esa mentalidad nos ha ayudado como sociedad a siempre seguir adelante y progresar.

Este dicho proviene de mucho tiempo atrás, del mito Pandora.

En la mitología griega, Pandora es la primera mujer de la Tierra. Cada uno de los dioses le otorgó un don. La creación de esta mujer fue la venganza de Zeus contra los hombres por la traición de Prometeo al robar el fuego sagrado y entregarlo a los mortales. 

Pandora llevaba consigo una caja en la que los dioses habían escondido todos los males. Presa por la curiosidad, abrió la caja, y su contenido se esparció por todo el planeta. Así es como surgieron las enfermedades y todas las calamidades que existen en el mundo. Pandora, asustada, cerró rápidamente la caja, pero en su interior quedaba únicamente la esperanza.

Una pelicula que refleja muy bien este asunto es la Lista de Schindler (de la cual hemos añadido algunas imágenes al final), pues trata de la segunda guerra mundial y podemos observar momentos concretos en los que se refleja la esperanza en la actitud de los judíos de ver la vida de una forma positiva a pesar de su situación.

Un ejemplo de esto en la película es la niña de rojo mostrada en la primera imagen. Este color, el único utilizado aparte del blanco y negro en la obra, se usa con el fin de simbolizar la juventud, la inocencia y la esperanza que percibe Schindler en la niña.

La esperanza se puede reflejar de forma opuesta. Es lo que denominamos desesperanza.

20 de abril de 1945, Auschwitz

<<Nos han llevado a todas a Auschwitz y nos han rapado el pelo. Según los soldados nos van a meter en unas duchas para desinfectarnos, pero yo dudo que vayamos a salir de esta. Temo por mi vida. “Todo se acabó”>>

La desesperanza cumple un papel protagonista ya que esta película intenta ser fiel a los hechos. En momentos tan extremos y duros como los que se reflejan, es imposible mantener un pensamiento positivo constantemente y la fe se acaba perdiendo en algún que otro momento.

En definitiva, ¿consideras que la esperanza es esencial en momentos difíciles? Este sentimiento es el pilar que sostiene el avance de la vida. Si no fuera por esos pequeños momentos en los que la esperanza de que algo funcionara motivó a las persona a construir, crear, intentar, progresar… la realidad en la que vivimos no existiría. Y por todo esto, consideramos que es lo más importante que hay.

[celeste-i]

why did they have schindler and the main ss guy look so similar. the only reason I can tell them apart is bc of the uniform

[historymakesmeangry]

Watched Schindler's List for my WWII class, as soon as it ended you could hear everyone in the room sniffling. I walked with two people back to our apartments and we were crying the whole time. Good movie, don't want to see it again any time soon

[moviewarfare]

A Review of “The Fabelmans (2022)”

The Fabelmans is a semi-autobiographical based on Steven Spielberg. Funny enough it is also directed by Steven Spielberg. I haven't ever seen a biopic story that is also directed by the person the story is about. That interested me a lot but knowing it was about the legendary director Steven Spielberg is what made me want to watch it. Is the movie an overly self-indulgent semi-biopic, or does Steven continue to show why he is such a great director?

The film is such an interesting piece as the characters themselves are fictional but based on real people. For example, the character that is meant to represent Spielberg is named Samuel "Sammy" Fabelman (Gabriel LaBelle). What I appreciate is that Steven doesn't shy away from the flaws of the character representing him. Sammy is very passionate about filmmaking but he loves it so much that he puts it above his own family. His conflict is trying to pursue his passion while his family is tearing apart. On that note, there is a complex family dynamic with the clash of the logical but stern yet loving Dad (Paul Dano) and the artistic but selfish yet encouraging Mother (Michelle Williams). Sammy inherits both qualities from his parents but also some of their worse. Seeing the struggle of chasing a dream and their isolation is such an engaging theme. None of the characters is terrible people. They do wrong things but there is a lot more nuance to them. The story is incredibly warm, funny, gut-wrenching and powerful.

The performance here is terrific and worthy of an Oscar. Michelle Williams gives an unforgettable performance as the mother, Mitzi. She shows how caring yet weird of a mother she is but shows how she is gradually getting more and more broken as the movie progresses. She could have easily made her character incredibly hatable but her performance succeeds in making the audience sympathize with her despite her being the main cause of the rift in the family. Paul Dano is also terrific as the dad, Burt. His performance is less eccentric and more subtle but he perfectly conveys the internal struggle of the character. Gabriel LaBelle plays Sammy and he is great. His character is sort of arrogant and Gabriel manages to convey that without being overly pompous and annoying.  LaBelle is terrific at communicating a young kid whose emotions are on the verge of exploding. He is a very promising young actor. In terms of supporting actors, Judd Hirsch appears for only two scenes yet he gives such a strong performance that takes over the scene. David Lynch also appears in just one scene but his scene might be the most memorable moment in the film.

The music is composed by legendary composer John Williams and he continues to do a great job. Although, the score here isn't his most memorable. The cinematography is done by Janusz Kaminski of Schindler's List fame and he continues to be great here. There are tons of great and memorable shots that capture the essence of filmmaking in The Fabelmans. There is an amazing shot that has Sammy using his hands as a screen with a projector aimed at his palm which is stunning. If I had any issue with the film then it has to be the 2nd act with Sammy in high school. Scenes concerning Sammy's romance and his bullying are a little uninteresting compared to everything else. It doesn't help that his girlfriend feels very over the top and the bullies act like all the generic jocks you have seen over a dozen times. Fortunately, the high school stuff have a strong landing.

Overall, Steven Spielberg continues to show that he is still one of the best directors out there. Despite the film being a semi-biographic on him, he doesn't shy away from the flaws of him and his parents. He shows the struggle of chasing your passion which might resonate with a lot of people. If Spielberg decided this was his last film then this would've been a great final outing. However, from this film alone, I know he loves making films and he won't stop here. I can't wait to see his next work.

For more reviews like this visit:

https://moviewarfarereviews.blogspot.com/

[best-movie-ever-tournament]

Semi-finals 2/2!

(remember this is a War Movie tournament not just a movie tournament)

Schindler's List was described as follow:

Holocaust-centered movie, heartbreaking but great. I know Tumblr is the colour theory website so they might appreciate the little girl's red coat being the only touch of colour of the whole movie (that and the last scene which happens in present times) but apart from that what can I say... Great performances by everyone, a small bit of humor (i think it was humor?) in the scene in the church where the guys from the black market are arguing, a very soul-shattering ambience (on purpose obviously) and i mean like i said, heartbreaking but great.

Mulan was described as follow:

The film's plot takes place in China during an unspecified Imperial dynasty, where Fa Mulan, daughter of aged warrior Fa Zhou, impersonates a man to take her father's place during a general conscription to counter a Hun invasion.

[weaselbeaselpants]

K, I really REALLY don't mean to lecture everyone here, but, a few things. Keep in mind this is from the perspective of a white western gentile (non-Jewish person, alt called 'goyim' but I use 'gentile').

Firstly, white people, especially white gentiles HAVE historically hated and/or gotten on Maus's case. No outright Holocaust deniers ftmp, but like w people censoring Anne Frank for mentioning genitals and sexuality- people have gotten on Art's case for being "too graphic" with aspects relating to the Holocaust like the nudity or him recounting his mother's suicide.

Someone who's better at this kind of discourse could find the receipts to prove it, but there's a thing gentiles do where they expect Holocaust victims to be "perfect" and for there to be 'good' and 'bad' factions of stories about them, w in reality and what Maus proves is there were no cushy liberators. Heroes like Oscar Schindler weren't able to save everyone. The Holocaust wasn't evil because the people who suffered were all goodie-two shoes it was evil because it was a GENOCIDE. Art Spiegelman's whole point was to illustrate his father as a person and that includes his father's racism. He even despairs in the book about depicting Vladek's thriftyness and hoarding because he KNOWS that antisemites will gobble that up for the wrong reasons and he would be accused of antisemitism by other jews (he was).

The other user brings up "Boy in the Striped Pajamas", which is a movie+film a lot of Jewish critics consider in poor taste. It was written by a gentile and pushes the narrative that children are uwu innocents who had no idea what was happening to Jewish people right in front of them. Spiegelman's work is one of many books about the Holocaust that aims to illustrate how that's just burying one's head in the sand AND ALSO antisemitic.

Op is conflating all white people w liberals and gentiles (they are a Jewish anti-zionist). I'm not personally a fan of this, for reasons that deserve it's own post on the subject, but,

I looked up OP's handle. The dude is VERY passionate about Jewish identity being used to spread hate andor push neoliberal propoganda. He hates white supremacy and white fragility to ignore white supremacy. I don't know if he mentioned if he himself was white or not, but honestly he is kind of spitting sum facts here here:

The "white person = everyone I don't like"-talk is again it's own discussion to be held apart from this. Tbh, think the man's just harsh but deservingly mad. More importantly, from what I can find, OP's using Maus and Spiegelman's words in the context of Zionism and how people are using the trauma of the Holocaust to campaign for another genocide - that of Palestinians. In anti-Zionism and anti-Colonialist circles, there's a point ppl making that the European-backed state of Israel use the "survivors of holocaust need a place to go"- as an excuse to colonize the West Bank and Palestine, all the while spitting on actual Jewish heritage and even Holocaust survivors who are calling out the genocide. There's a reason talking about zionism is super difficult and hard for Jewish people of all nationalities and ethnicities rn- the Holocaust WAS evil and for years Israel has used the Holocaust to rectify it's own racism and right to colonize Palestine. If you all loved Maus so much, you'd have recognized the scene posted at the end there w Art even talks about Israel in the book and how he thinks Israelis should be porcupines and are fat, priviledged people according to his drawing.

I'm sorry but by reducing this argument into a "you're being judgemental of white ppl in the same way this is happening in the book"- you're all neglecting the message that OP is trying to dish out.

[tomorrowedblog]

Friday Releases for October 25

Friday is the busiest day of the week for new releases, so we've decided to collect them all in one place. Friday Releases for October 25 include Conclave, Magpie, Before, and more.

Conclave

Conclave, the new movie from Edward Berger, is out today.

From director Edward Berger (All Quiet on the Western Front), CONCLAVE follows one of the world’s most secretive and ancient events – selecting the new Pope. Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope’s wake, secrets which could shake the foundations of the Church.

Magpie

Magpie, the new movie from Sam Yates, is out today.

Magpie is a stylish neo-noir thriller centered on married couple Anette (Daisy Ridley) and Ben (Shazad Latif), whose lives begin to fracture when their daughter is cast alongside a glamorous movie star, Alicia (Matilda Anna Ingrid Lutz). As Anette’s suspicions of Ben’s infatuation with Alicia intensify, their secrets and lies threaten to burst to the surface and destroy them all.

Don’t Move

Don’t Move, the new movie from Brian Netto and Adam Schindler, is out today.

A grieving woman in a secluded forest encounters a killer who injects her with a paralytic drug. As her body shuts down, her fight for survival begins.

Memoir of a Snail

Memoir of a Snail, the new movie from Adam Elliot, is out today.

Grace Pudel is a book-loving, snail-collecting misfit that falls into a series of misfortunes after being separated from her twin brother Gilbert. Despite her hardships, inspiration and hope arise when Grace begins a friendship with an eccentric elderly woman named Pinky.

Venom: The Last Dance

Venom: The Last Dance, the new movie from Kelly Marcel, is out today.

Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie’s last dance.

Your Monster

Your Monster, the new movie from Caroline Lindy, is out today.

After her life falls apart, soft-spoken actor Laura Franco finds her voice again when she meets a terrifying, yet weirdly charming Monster living in her closet.

DAHOMEY

DAHOMEY, the new movie from Mati Diop, is out today.

From acclaimed filmmaker Mati Diop (Atlantics), DAHOMEY is a poetic and immersive work of art that delves into real perspectives on far-reaching issues surrounding appropriation, self-determination and restitution.

Before

Before, the new TV series from Sarah Thorp, is out today.

“Before” stars Billy Crystal as Eli, a child psychiatrist who, after recently losing his wife, Lynn (Judith Light), encounters a troubled young boy, Noah (Jacobi Jupe), who seems to have a haunting connection to Eli’s past. As Eli attempts to help Noah, their mysterious bond deepens.

Hellbound S2

The second season of Hellbound, the TV series from Choi Gyu-seok and Yeon Sang-ho, is out today.

As the chaos deepens, lawyer Min Hyejin, The New Truth and Arrowheads get entangled anew amid the sudden resurrections of the formerly condemned.