#bizart

[killer-catchy]

okay lige for bare at komme af med det

er egentlig ret glad for de først 50 sekunder af 'tænker ikke på andre' og så kommer suspekt og fuldstændig smadrer flowet

downer man ... emil det er ik god stil, det ødelægger hele nummeret det der

[inspirednarcissus]

Joseph Bach in Narcisse by Julie Marie Gene Gobelin for Bizart Magazine.

[steelbluehome]

Variety

January 22, 2024 2:30am PT

‘A Different Man’ Review: Is Sebastian Stan the Right Person to Play This Part? You Decide in Daring A24 Drama

Featuring boundary-defying performances from both Stan and 'Under the Skin' actor Adam Pearson, director Aaron Schimberg’s dizzyingly rich think-piece raises bold questions about representation.

By Peter Debruge

Here we are, three weeks into January, and the Sundance Film Festival has delivered what promises to be the year’s most uncomfortable date movie: a grubby New York-set fable about a facially distinctive actor (modeled on Adam Pearson) who undergoes an experimental procedure that leaves him looking like Sebastian Stan — presumably an improvement, until he realizes that under the skin, he’s still the same miserable loser.

The kind of oddball satire only indie studio A24 would dare to produce, Aaron Schimberg’s “A Different Man” asks what it means to be “normal,” and whether, if we could wave a magic wand and “correct” those same aberrant qualities which set us apart, that’s really something we’d want. “Twilight Zone”-level weird at times, “A Different Man” suggests the bizart-house version of a Woody Allen movie, wherein traditional jokes have been axed in favor of long, cringe-inducing scenes between a nervous shlub named Edward (Stan, disguised to the point of unrecognizability) and the out-of-his-league neighbor on whom he has a crush (Renate Reinsve of “The Worst Person in the World”).

If you’ve seen Schimberg’s previous feature, “Chained for Life,” or Jonathan Glazer’s out-there “Under the Skin,” then you’re already familiar with Pearson, a British actor whose unique appearance — the result of a condition called neurofibromatosis, incorrectly associated for years with “Elephant Man” Joseph Merrick — made him just right for a handful of incredibly specific film roles.

Now comes Edward, the character Pearson was born to play. Except Schimberg casts Stan instead, hiding him behind an elaborate mask for much of the film. Makeup pro Mike Marino’s mostly convincing prosthetics replicate many of Pearson’s signature features — the asymmetrical brow, swollen lips and loose jowls — which inevitably invites the question why Schimberg didn’t simply ask Pearson to play Edward.

“Exactly!” the writer-director would surely reply, pleased to see that his thought-provoking project has audiences engaging with the kind of issues the looks-conscious film industry is still trying to wrap its head around. Here’s one, straight out of Schimberg’s script: “Do you cast someone with a condition even though it’s not the right fit?” And who gets to tell such stories anyway? (Schimberg, for the record, was born with a cleft palate and focuses much of his work on shifting cultural views of such conditions. To his credit, he imbues even the smallest supporting characters with the sense that their lives continue off-screen.)

With “A Different Man,” Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a postmodern meta-film mold that few (apart from Charlie Kaufman, perhaps) have managed to make tolerable. Add to that Schimberg’s Brechtian way of cueing audiences to interrogate his choices as they go (the makeup is deliberately imperfect, the script brazenly self-conscious), and you get an exercise more appealing to film critics and academics than to an amusement-seeking public.

Embodying an aspiring playwright and not-especially-good actor, respectively, Reinsve and Stan could be two sides of the self-loathing character Nicolas Cage plays in “Adaptation”: artist and muse, splintered into separate personae, both struggling to find the appropriate/ethical/respectful way to communicate the experience of someone with a conspicuous physical deformity. Expecting the pair to also be romantic partners is asking a lot of a movie that crams a seminar’s worth of representation issues into two hours (which can feel like years, the way Schimberg draws out the discomfort).

“A Different Man” shares how it feels to be ogled and avoided by strangers as Edward rides the subway home, relying on Umberto Smerilli’s score to amplify our uneasy sense of identification. He startles Ingrid (Reinsve) the first time she sees him, moving in next door to his filthy apartment (there’s a disgusting black leak in his living room ceiling). But she shows no sign of unease when she stops by later that day to borrow detergent, which Edward isn’t sure how to interpret. Stan’s body language — stooped shoulders, hesitant gestures, ducked head — positions Edward as a pitiful character, which in turn is how Ingrid depicts him in a play written expressly for him to play the lead.

But before she can finish, Edward agrees to participate in a medical study that could potentially reverse his condition. (In reality, there’s no known cure for neurofibromatosis, and it’s a smart move on Schimberg’s part to keep the science/sci-fi to a minimum.) Soon enough, Edward’s face starts to peel — a gory process that involves stripping away Stan’s makeup to reveal the conventionally attractive mug underneath.

Suddenly, Edward has no trouble picking up women. He tells people that Edward died and invents a new name, Guy, landing a lucrative job in a real estate office. When he learns that Ingrid finished her play, he shows up to audition, bringing a mold of his old face and wearing it as a mask. The lead role was literally written for him, but he’s no longer right for the part. And then Pearson shows up, playing an upbeat, outgoing guy named Oswald who is the opposite of “Guy” in every way except one: He has the same face that Edward did, only more expressive.

“A Different Man” could have ended there, but Schimberg digs deeper, embracing the increasingly unhinged, high-concept absurdity that follows. Judging by the one screen credit pre-transformation Edward had to his name — a sensitivity-training video about working alongside people with facial differences — acting is not this guy’s calling. The audition finds this movie-star-handsome man going out for the same role that people with unconventional features seem ideally suited to play.

Whereas the cultural conversation can be suffocatingly one-sided on these issues, Schimberg invites all perspectives in a movie that risks offending so-called political correctness. “A Different Man” finds room for both Stan and Pearson to play characters with the same physiognomy, and it takes the bold route of making both men insufferable in different ways. Oswald is charming and charismatic to a fault, insinuating himself into the stage role Guy hoped to play.

Meanwhile, Reinsve delivers on the promise of her “Worst Person” performance, playing another casually seductive young woman with a capacity to hurt the things she loves. Shortly after meeting Guy, Ingrid throws herself at the actor (who’s the same person he was before in all but the most superficial sense). Once she gets him in bed, Ingrid asks Guy to put on the mask, adding still more layers to the film’s most vulnerable scene. Things get a bit more confused as “A Different Man” enters its final stretch, effectively testing the limits of Stan’s acting ability — whereas no one but Pearson could have played the doppelganger smiling him in the face.

[denimbex1986]

'...A Different Man

Aaron Schimberg’s thought-provoking fable asks what it means to be “normal,” as an actor with facial deformities (modeled on Adam Pearson) undergoes an experimental procedure that leaves him looking like Sebastian Stan. The kind of oddball satire only A24 would dare to produce, it suggests the bizart-house version of a Woody Allen movie, wherein traditional jokes have been axed in favor of deliciously cringe-inducing scenes between this guy and the playwright next door (Renate Reinsve), who writes him a role he’s no longer right for. Born with a cleft palate himself, Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a sly, Charlie Kaufman-esque project. The postmodern meta-film finds room for both Stan and Pearson to play characters with the same physiognomy, and it takes the bold route of making both men insufferable in different ways...'

[dagbogsbloggen]

I dat brænder lysten i mig, og det er frustrerende. Lyst til intimiteten, lyst til varme. Lyst til at det er vådt og omsluttende. Og det er rart at mærke lyst.

Men i dag er der for meget. Jeg kan ikke tænke, jeg er bange for at skrive upassende til dem jeg kender, og måske har jeg endda allerede?

Jeg ved jeg ikke dyrker det vilde nok, og jeg ville ønske jeg kunne. Det slukker virkelig tørsten, og får hele mit system til at være stille og behageligt at være i.

Floggere, spanskrør, kæppe, piske, paddles... Måske mere med kæder eller læder bånd og manchetter. Mere der er bizart og perverst. Jeg kan godt skamme mig over alle mine lyster, og hvor voldsomt de kommer op i mig, men mine venner og partnere siger det er okay og det prøver jeg at tro på.

[yourecutewhenyoudontsmile]

Vi tog på eventyr

Og så sagde hun

Jens Jens

det her er for bizart til mig

[notravian]

jojos bizarte adventure.... the legend ot eh joestar ga

[bodhi-ryuchai]

XMarishitenX performs in two weeks here in Paris at Bizart Cafe at 2000hrs (8pm) on Saturday, December 16th.

Prix Libre (Free admission).........

There will be some Ambient Communion cassettes available for 5 euros!

[politirapporten]

Ved et bizart tilfælde opdagede politiet en skunkproduktion torsdag morgen klokken 07.13 i Lundby. Et alarmselskab kontaktede politiet, fordi alarmoperatøren kunne se, at der var et indbrud i gang efter aktivering af tyverialarmen. En ukendt gerningsmand havde skaffet sig adgang til huset og gik forbi kameraet i kælderen. Politiets patrulje ankom kort efter til stedet og afsøgte huset, hvor indbrudstyven dog var sporløst forsvundet igen - men i stedet fandt betjentene et skjult skunk-væksthus i kælderen. Husets ejer, en 36-årig mand, blev sigtet for overtrædelse af lov om euforiserende stoffer, og samtlige planter og udstyr beslaglagt.

[444names]

middle telerin dictionary + berber forenames

Aamut Abba Abha Abhabala Abhanissa Adalweler Adda Addle Adefoamel Adlasmu Adun Aghat Aghmuda Aghmuk Ahax Ahissa Aken Akfaks Akfalit Aklilled Akor Alpani Amalana Amasa Amassaaza Amat Amazegdud Amazziga Amdele Amezwar Ammed Amraisan Amriza Amrulust Anculla Angamuh Aqqassal Aqutu Aqutuc Arine Assilas Awla Awna Awnas Axamdel Ayando Ayant Ayghmu Azam Azigmi Azousan Azza Bakli Bakor Bakord Bakorrum Beada Bear Beat Beken Bekkawla Bekku Belkanda Bellan Belli Bellidda Bervernel Bezwandja Bibiza Bizart Boysinna Brari Braspal Bred Brel Burboysa Burboysi Bure Buren Buxtu Buxtucal Búroth Búrothe Búrothed Cavernima Clara Clofty Clouield Clouiele Crecit Crel Crem Crendo Cucave Dada Dang Dangth Dania Deja Dejat Dejda Dejdir Dele Deouield Dhax Dihe Dihysa Dimaturbo Dimmi Direcit Diri Drinasi Elda Eler Ellal Elpa Ennamirat Exces Fage Fagessa Faghady Fakku Fakor Felt Fendch Feng Feran Ferge Feri Feribiza Ferriza Finanyar Finesces Finin Firaghmuh Firiwel Fitellid Fixferri Flya Foloftel Folone Fora Form Forrine Frakku Fran Fronel Frood Gazu Geldund Ghadled Ghir Ghnnatur Glumbel Glun Gluna Glunim Gnoble Gnomeja Godo Graja Grandja Grat Guagh Gulga Gunimya Guturaks Gwejdas Gwen Haba Habayagha Heades Heat Heatu Hedeja Hera Heri Hidas Hilla Hing Hinna Homele Homen Homer Hoth Hádalit Hádan Ibbaysin Ibya Iccaamall Ickur Ifalpalda Ifar Ifaraged Ifnia Ifninas Iheddun Ihen Ihennat Ihya Imya Irard Ixfenna Ixfer Ixzigaya Ixzilla Izam Izayaa Jdihyagha Jemmen Kaha Kand Kani Kawra Keng Kenna Kennasi Kerve Kina Kinisend Kulaya Kurboys Laghidel Lalla Lart Laud Laudala Laudja Lickingth Lilerit Linasmas Lodo Louenzar Lound Lutter Lwayassa Lwejda Lwejdiri Lwel Lwirel Lyar Mades Malilla Mando Mania Masgan Maspania Massiphat Maturt Maytaks Maza Mazzi Medduda Mega Megazzi Mejat Mejda Mejdihys Mejdired Meld Mele Melt Mend Meyda Meydali Mezwa Mezwiza Mileddan Mone Monel Mostre Mouda Mouen Mouieler Moun Mounda Muttem Myan Nadanan Nasteat Nomer Nounel Onel Ongaya Peta Petrussal Pila Pilant Pild Pilga Pilya Poweribya Pánellat Raspania Rassa Ratigmi Rent Rumbeecit Rusa Ruzmi Sekkur Sendo Senzuzmi Sernisa Shana Silda Sildjat Sipha Siphya Sive Smaya Smuda Solk Solod Solone Solonga Spala Spalasaas Staken Stal Star Stelt Stem Streat Strel Stremmuh Strooch Suffinna Suffir Sugda Sussaasi Sutto Swariyaa Tadja Taduda Tadunia Tafa Tafro Tafsuf Tafsutuc Takfa Taklin Takor Takoraga Takormega Taks Talauda Talgum Talicku Talickur Talilana Tallan Tallaya Talpa Talwishir Talwiza Tama Tamasp Tamdejda Tamgh Tamid Tamiddlal Tammi Tamra Tanasga Tang Tantaduda Tanya Tari Tase Tasilat Taspa Tawni Tazi Teart Tegdud Telgulga Temmida Tenia Terancuc Terin Tfir Tfira Tfixferga Tigmily Tikine Tikines Tikingum Tilassa Tinna Titeraja Tone Toneld Tredda Treech Trel Trem Trenna Trine Trone Trooch Ugda Ugduna Ugga Uggulla Umbe Umsi Umsile Umsireat Urajatuc Ureech Urtitel Uzmi Vassa Vile Vily Want Wejda Wend Wirmele Wnines Wora Woragayaa Xama Xammes Yagesces Yandch Yang Yellit Yelpanna Yund Zega Zegan Zera Zibler Zibya Zigam Zilviriza Zily Zirassa Zunasifa Zuza Zwirella Zwiza

[bizarrekairaart]

Me, after binging three seasons of the og winx club after 10 years of not touching it: mhhhhhhhh I wonder how I can make this gayer

Me, after three days: canon after s4 does not exist, the winx club is a queerplatonic polycule, bloom/stella/brandon with platonic bloom/brandon is a thing, gay Queens and shit, roxy is amazing and baby, every planet of the magical dimension has actual alien features because ✨worldbuilding is fun✨

Bonus sketches under the cut

unfinished and messy but i like them, ft. Redesigned daphne too

[por-ahi-yen]

Bizart

[eddroseart]

kanta

23.5 x 33 in.

acrylic on board

etsy.com/uk/shop/EddRoseArt

[denimbex1986]

'Here we are, three weeks into January, and the Sundance Film Festival has delivered what promises to be the year’s most uncomfortable date movie: a grubby New York-set fable about a facially distinctive actor (modeled on Adam Pearson) who undergoes an experimental procedure that leaves him looking like Sebastian Stan — presumably an improvement, until he realizes that under the skin, he’s still the same miserable loser.

The kind of oddball satire only indie studio A24 would dare to produce, Aaron Schimberg’s “A Different Man” asks what it means to be “normal,” and whether, if we could wave a magic wand and “correct” those qualities that set us apart, that’s really something we’d want. “Twilight Zone”-level weird at times, “A Different Man” suggests the bizart-house version of a Woody Allen movie, wherein traditional jokes have been axed in favor of long, cringe-inducing scenes between a nervous shlub named Edward (Stan, disguised to the point of unrecognizability) and the out-of-his-league neighbor on whom he has a crush (Renate Reinsve of “The Worst Person in the World”).

If you’ve seen Schimberg’s previous feature, “Chained for Life,” or Jonathan Glazer’s out-there “Under the Skin,” then you’re already familiar with Pearson, a British actor whose unique appearance — the result of a condition called neurofibromatosis, incorrectly associated for years with “Elephant Man” Joseph Merrick — made him just right for a handful of incredibly specific film roles.

Now comes Edward, the character Pearson was born to play. Except Schimberg casts Stan instead, hiding him behind an elaborate mask for much of the film. Makeup pro Mike Marino’s mostly convincing prosthetics replicate many of Pearson’s signature features — the asymmetrical brow, swollen lips and loose jowls — which inevitably invites the question why Schimberg didn’t simply ask Pearson to play Edward.

“Exactly!” the writer-director would surely reply, pleased to see that his thought-provoking project has audiences engaging with the kind of issues the looks-conscious film industry is still trying to wrap its head around. Here’s one, straight out of Schimberg’s script: “Do you cast someone with a condition even though it’s not the right fit?” And who gets to tell such stories anyway? (Schimberg, for the record, was born with a cleft palate and focuses much of his work on shifting cultural views of such conditions. To his credit, he imbues even the smallest supporting characters with the sense that their lives continue off-screen.)

With “A Different Man,” Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a postmodern meta-film mold that few (apart from Charlie Kaufman, perhaps) have managed to make tolerable. Add to that Schimberg’s Brechtian way of cueing audiences to interrogate his choices as they go (the makeup is deliberately imperfect, the script brazenly self-conscious), and you get an exercise better suited for film critics and academics than for an amusement-seeking public.

Embodying an aspiring playwright and not-especially-good actor, respectively, Reinsve and Stan could be two sides of the self-loathing character Nicolas Cage plays in “Adaptation”: artist and muse, splintered into separate personae, both struggling to find the appropriate/ethical/respectful way to communicate the experience of someone with a conspicuous physical deformity. Expecting the pair to also be romantic partners is asking a lot of a movie that crams a seminar’s worth of representation issues into two hours (which can feel like years, the way Schimberg draws out the discomfort).

“A Different Man” shares how it feels to be ogled and avoided by strangers as Edward rides the subway home, relying on Umberto Smerilli’s score to amplify our uneasy sense of identification. He startles Ingrid (Reinsve) the first time she sees him, moving in next door to his filthy apartment (there’s a disgusting black leak in his living room ceiling). But she shows no sign of unease when she stops by later that day to borrow detergent, which Edward isn’t sure how to interpret. Stan’s body language — stooped shoulders, hesitant gestures, ducked head — positions Edward as a pitiful character, which in turn is how Ingrid depicts him in a play written expressly for him to play the lead.

But before she can finish, Edward agrees to participate in a medical study that could potentially reverse his condition. (In reality, there’s no known cure for neurofibromatosis, and it’s a smart move on Schimberg’s part to keep the science/sci-fi to a minimum.) Soon enough, Edward’s face starts to peel — a gory process that involves stripping away Stan’s makeup to reveal the conventionally attractive mug underneath.

Suddenly, Edward has no trouble picking up women. He tells people that Edward died and invents a new name, Guy, landing a lucrative job in a real estate office. When he learns that Ingrid finished her play, he shows up to audition, bringing a mold of his old face and wearing it as a mask. The lead role was literally written for him, but he’s no longer right for the part. And then Pearson shows up, playing an upbeat, outgoing guy named Oswald who is the opposite of “Guy” in every way except one: He has the same face that Edward did, only more expressive.

“A Different Man” could have ended there, but Schimberg digs deeper, embracing the increasingly unhinged, high-concept absurdity that follows. Judging by the one screen credit pre-transformation Edward had to his name — a sensitivity-training video about working alongside people with facial differences — acting is not this guy’s calling. The audition finds this movie-star-handsome man going out for the same role that people with unconventional features seem ideally suited to play.

Whereas the cultural conversation can be suffocatingly one-sided on these issues, Schimberg invites all perspectives in a movie that risks offending so-called political correctness. “A Different Man” finds room for both Stan and Pearson to play characters with the same physiognomy, and it takes the bold route of making both men insufferable in different ways. Oswald is charming and charismatic to a fault, insinuating himself into the stage role Guy hoped to play.

Meanwhile, Reinsve delivers on the promise of her “Worst Person” performance, playing another casually seductive young woman with a capacity to hurt the things she loves. Shortly after meeting Guy, Ingrid throws herself at the actor (who’s the same person he was before in all but the most superficial sense). Once she gets him in bed, Ingrid asks Guy to put on the mask, adding still more layers to the film’s most vulnerable scene. Things get a bit more confused as “A Different Man” enters its final stretch, effectively testing the limits of Stan’s acting ability — whereas no one but Pearson could have played the doppelganger smiling him in the face.'

[ssrare-remade]

just a doodle i love her a lot and i think she deserves to be w christine

[space-junk-comics]

Steve Pertson