Sunday 25 February 2018

The Shape of Water and the politics of cinema



Guillermo del Toro, quoted in Playback: Guillermo del Toro on ‘The Shape of Water’ and Taking a Political Stance in Art, by Kristopher Tapley, Variety 
We told a story not through the agents and the scientists, but through the janitors, the cleaning women who had to wipe the toilets, emptying the trash bins, and from that moment, you are already taking a political stance.


Guillermo del Toro, quoted in Guillermo del Toro Explains How The Shape of Water Is About ‘The Beauty of the Other’, by Scott Huver, Vulture 
[The amphibious creature] represents ‘the other.’ We’re living in a time where we demonize the Other. We are told we’ve got to fear. [We’re being told] everywhere, constantly, why we have to divide the world between ‘us’ and ‘them,’ whether race, religion, government [,] sexual preference, gender — anything that creates this fake division between us and them, and there’s only us.  [...]
The movie tries to embody the beauty of the Other [...] What makes us different is what makes us great. It’s sort of Beauty and the Beast in a way that shows you that Beauty doesn’t have to be the perfect princess, she doesn’t have to look like a perfume-commercial model … and the Beast doesn’t have to be transformed to be loved, and he doesn’t have to turn into a boring fucking prince and renounce the essence of who he is. [...] Because, to me, love is not transformation. [...] Love is acceptance and understanding.


Excerpt from Guillermo del Toro's speech at the 2018 Golden Globes 
Since childhood, I’ve been faithful to monsters. I have been saved and absolved by them, because monsters, I believe, are patron saints of our blissful imperfection, and they allow and embody the possibility of failing.


Wednesday 21 February 2018

The keys to my half-lit fractured heart

Photograph by Geert Braekers [Geert Braekers Photography | Facebook]

Oathbreaker



How I envision this time with you 
In a half-lit hospital room 
I'm scared to lose 
The candle is about to be blown 
And I'll be left here alone 
With your words so strong in pools of gone 
I'm reaching out but you fall 

How I see a talk with you 
In a faint crumbling night 
I'm afraid to understand 
What we had last time 
When you pulled out of this life 

When your hopes were up high 
I'm reaching out by now you're gone 

Where will I find the nerves to ask 
In this clouded confused head 
I feel your doubts alone 
When it grasped you by the head 
All you could do was stare 
Your gaze so strong 
I'm still reaching out 

When will I retrieve the keys 
To my half-lit fractured heart 
I'd love nothing more 
Than to hear your withering voice 
How could you go without me
I reached out but it left you cold

Thursday 1 February 2018

Against fascism: Primo Levi



Excerpt from 'Preface to L. Poliakov's Auschwitz', in Primo Levi, The Black Hole of Auschwitz (Cambridge: Polity, 2005)
[E]very civilised man needs to know that Auschwitz existed, and what was done there. [...] Auschwitz is outside of us, but it is all around us, in the air. The plague has died away, but the infection still lingers and it would be foolish to deny it. In this book the signs of the infection are described: rejection of human solidarity, obtuse and cynical indifference to the suffering of others, abdication of the intellect and of moral sense to the principle of authority, and above all, at the root of everything, a sweeping tide of cowardice, a colossal cowardice which masks itself as warring virtue, love of country and faith in an idea.