Monday, January 17, 2011

Discovery #17

Gonjasufi - A Sufi and A Killer (2010)

Crazy, mind blown halfway across the planet, on an ethereal desert drift that snakes its way through the landscape with transformative migrations, hallucinatory warp speed crunch graveled awareness that echos the underbelly ribcage distortion of organic fear, blocked by the mind's ravaged confusion, hurtled across the fiery lake into the eye of some hellish prison only to come out the other end with a humanistic heart, wallowing in the upper atmospheric revolutionary brain, angled toward the sun until it burns right through the retina and blinds everything in its path, destroys all of the fallacies that control our existence, making everyone come to a new realization that one day, in the all of the madness, we may find the truth, one day it will come to pass and that which lays bleeding back in the shadows was never worth the anguish and falsely titled god whose name we gave, it was never meant to provide any redemption or hope or joy, it was only meant to burden us with its degenerative disease, so we leave it back there, squishy in its own entrails and we walk out into the light and view the world through a divine lens.

Hiroshima Mon Amor - Alan Resnais (1959)

You know nothing of Hiroshima. These words follow us around during the opening sequence of madness that was the aftermath of the worse attack on human life ever known. It's vivid and nightmarish but the screen provides such wonderful gifts that you can't help but appreciate the kind of beauty that we sometimes find through the lens of a camera. Alan Resnais has a reputation of transforming the cinema and bringing a new awareness to the masses. It's amazing to view such a profound film that is over fifty years old but is every bit as unique as any masterpiece made today. The history of Hiroshima is one that brings fear into the mind, it's a warning of our modern existence that relies on the massive machinations of war that came out of this great destructive act. Resnais captures that feeling very well early in the film but he cross-references it with two lovers who are caught up in a moment of lust, two adulterers from the opposing cultures that fought in the war, as they come to terms with despair that is caught up in their own lives, in their past and possibly the future. It's a poetic film that immerses the viewer underneath the surface of guilt that consumes peoples lives but the entire time it's trying to lift us up to break through and breathe the fresh air once again, to feel the sun on our faces. We may know nothing of Hiroshima all these years later but the human spirit is dynamic and it does have the power to overcome such horror.

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