Rewind #1

Emiliana Torrini: Me And Armini (2008)

There's only one person in the world who could climb this high this past year and as soon as I saw that she was releasing an album, I got all worked up inside. Emiliana Torrini is it! She of the beautiful soul, of the lithe heart, of the honey lungs, of the princess of cool, of the magical spirit. For a few years now our house has been blessed with her presence. After hearing a remix of her song "Baby Blue" from her first album, anything that Torrini does is eagerly anticipated in CasaWeX. We even were surprised by her on stage when we went to see the Thievery Corporation a couple of years back. It was at that time that her full nature was unleashed upon us. She's a magical creature, a gift from the universe and it's vitally important that we embrace such a joyful spirit when we find one. There's so much tragedy and suffering in the world, so much hate that when we find people of a refined nature, a supreme delight bubble up from inside. Simply take a moment to immerse yourself into the sound of her music and you will comprehend the meaning of our existence, humanity's purpose. For the longest time, when I imagined the value of art and what I wanted to do with my creative spirit, I always felt that we artists needed to touch beauty and reveal it in amazingly profound and incredible ways. I want to show the world the meaning of life and it's glorious wonders. I'm still searching and struggling to portray that in my own art but I feel that Emiliana Torrini has discovered the formula. She is beauty.



Unconscious: Joaquin Oristrell (2004)

During the beginning of the 20th century, the world welcomed a new paradigm of regard toward human nature. Freudian analysis brought hidden desires to the surface and the demons at bay roared forth into a new modern era. In Spain a young woman on the verge of motherhood must track down a husband who burst from her life with no explanation. Who does she call to aide her with the quest? Why, her brother-in-law who's secretly madly in love with her while married to her sister who's secretly harboring an identity crisis of her own. What else would you expect from a movie secretly laughing at the heart of Freud? They ramble through the streets of Barcelona uncovering the strange new world of reckless uninhibited abandonment, dreams of vicious desires acted out without care and interventions into the human psyche that no one ever dared to uncover so openly before. Both the lead actors in Unconscious were adorable and any fan may have recognized their charm on the big screen before. Leanor Watling and Luis Tosar are icons in Spain and after watching this film it's easy to see why. For the entire move they flirt and dance and bounce off one another's characters with fluid generosity and you hope in your heart that they will ultimately end up in each other's arms. It's bound to be in the cards in the end because Joaquin Oristrell guides us down this labyrinth with a light touch and a joie de vivre that make the film shine brightly so that it resonates strongly in the viewer's soul. A beautiful film that chases its comedic spirit with an ounce of humanity that brings out the smile in an instant. There's no dark shadow floating around the aura of this movie, no matter how hard Freud may try to find it. It's a pleasant and joyful trip down a hundred-year-old trail and I, for one, hope that I can find more of them out there.

Rewind #2

Bassekou Kouyate & Ngoni Ba: Segu Blue (2007)

This record is brilliant. Late at night, with a beer in hand, I love to make a playlist with Segu Blue and a few other albums of similar character and drift through the night on wings of gold. Absolutely astounding harmonies and fluent rhythm that echoes the ghosts of a heavenly time and place. It's so easy to wallow in their sound and travel the across the universe, to discover that no matter where you look on this planet, someone somewhere is making music that absolutely expands over any border that might want to contain it. For the longest time I would only listen to one type of music, anything with alternative in it (alt-country, alt-pop, alt-rock), but when I met Xtimu, she would always push me to find a different sound. Not that she didn't like what I was listening to but because she grew up with a diverse awareness of what the world is capable of. So much of our culture is all about defining categories for people to feel comfortable in, to feel safe, but all that comes of that type of tinkering is wash out individual expression. That's the mentality that helped create the Clear Channel conglomerate and it's stifling the creative spirit. You will never hear Segu Blue on one of those outlets and it's an damn shame because if we opened our lives to the broad expanse of creative expression that is happening wide across the map, then we shall discover wonders that give new meaning to our lives.



4 Months, 3 Weeks & 2 Days: Cristian Mungiu (2007)

Uh...wow! Watching this film was like watching the type of place that Dick Cheney was trying to develop here in the United States for the past eight years. It's like flashing forward a couple of decades and witnessing what becomes of the ideas of freedom and liberty when the ruling class uses fear to implement oppression into the hearts of the people. It's damn scary. Here's why. Everyone in this movie seemed completely normal. Everything that happened in this movie was totally accepted without qualms. Everything just is. When you begin to allow the government to remove your basic inalienable rights for protection, then what you see in this movie is what you will get in your own country. It's happening all the time all over the planet, right now. And besides the fact that the characters were not speaking English, it didn't seem a whole hell of a lot different than the life I saw outside my window during the bush years. This movie felt real and honest, a portrayal of Romania in 1987 during the final years under the Nicolae Ceausescu regime as two young women attempt to obtain an illegal abortion for one of them. They surreptitiously maneuver around this oppressive environment, exploited and misunderstood, all the while waiting for the darkness to enclose them. It was difficult to try and grock the message of the film-maker, especially regarding the sensitive subject matter (movies so often wear their message on their sleeves) and so easy to misconstrue. From one angle, seeing as how much shit these two women have to go through in order to procure an abortion, you would think that's it's showing abortion as a terrible negative ordeal, which very well may be for some, but it's only due to the fact that abortion is illegal in their country that they're forced to do things against their will. Abortion being illegal is akin to raping women. Nobody should have to go through the type of things that these women go through in this movie. It's heartbreaking and tragic and you're just as exhausted as they are when they finally sit down at the end of the entire ordeal. But it's an incredibly well made movie that doesn't loosen its talens for a second during the entire two hours. It's a masterpiece.

Rewind #3

The Submarines: Honeysuckle Weeks (2008)

Did I say that I like pop music? This is the year that the popilicious groove has been intravenously infused into my psychic self. I've found myself singing along with rainbows and the sounds of love. Maybe it's because we were blessed with a little girl and my dreams of a perfect family has become true. Maybe it's because I can't help but feel love bloom in my heart when I look over at my wife of ten years. Maybe it's because I'm still a romantic after all these years. Whatever the reason, I gravitate toward these sunny songs of light, these tiny grains of sand that reflect the beauty of the world, the crisp way that the beat washes over me. The Submarines embody this spirit. I love to bounce with these precious tunes and dream of my youth. They say that those who stay young at heart live a longer and happier life. I use music like this to help me feel young again, touch the child inside. Whenever I hear the refrain for the chorus from You, Me & The Bourgeoisie, "Every day we wake up we choose love, we choose light...", I realize that I'm searching for that uplifting youthful spirit when I listen to pop music. John Dragonetti and Blake Hazard grew from a couple to a breakup, then wrote about their heartache and dreams that they left behind and it helped them become partners in music. The Submarines have found a part of me that I love and they commune with me so succinctly that I look forward to listening for a very long time. Plus, the song 1940 was my absolute favorite song from last year.



Who's Camus Anyway?: Mitsuo Yanagimachi (2005)

There's a sequence in Who's Camus Anyway? shot in an atrium at the school where in random people begin playing instruments and though they aren't in any cohesive song structure, seemingly unconnected, the entire scene ends up in a creative blend of perfect harmony (I wish I could find it on youtube it's so incredible). It's a wonderful metaphor showing the necessary cooperation needed in order to make a good film. Camus is a movie about that very subject, a student film project loosely based on the famous book "The Stranger" by Albert Camus. As the students try to cope with all of the convolution in their lives as well as within the structure of making a film, things don't go exactly as they planned. Yet, the one area that eventually evolves in an amazing way is the film within the film. It's interesting how Camus wrote about the indifference of human nature and this movie reveals how, in the process of making a movie, the principal people involved actually divorce themselves from the actual content. The director guides and the actors perform and everyone else builds the structure that provide the necessary environment to make a film come alive but in the end none of it is real. Yet, the films that affect us the most are the ones that convey some reality within its subject. By the time it reaches the screen, all of those names of people at the end on the credits have moved on in some way and are completely removed from that final product. They've created a masterpiece but someone has to clean up the mess and break down the set and print the film and do all the necessary things that get it to the screen. In Who's Camus Anyway the students end up making such a good film that there's a part of you that isn't quite sure whether it is real or not. They cross the line and pull you in with such proficiency that you are completely wrapped up in the lives of those who are in the movie as well as those who are making the movie. We've seen these types of films before and they always seem to have the same type of essence to them. Camus is unique in its approach and it's far from indifferent.

Rewind #4

A. A. Bondy: American Hearts (2007)

"We were raised by wolves, but we are still wild and we howl when the troubled winds blow."

So begins the amazing song, American Hearts, from the amazing album, American Hearts, by A. A. Bondy. He makes such absolutely perfect country music. I mentioned the way I view country music earlier and Bondy's music sums it all up perfectly. It's a sound I've heard throughout my life, blending with the years as I grew into a cohesive entity. The first time I heard this album I knew what it was trying to convey instantly, a reach for a loving harmony inside the confusing, aching heart of this damn place. Bondy mixes the gold spirit of the landscape that's still alive in this country, open fields and flowing water through the gentle mid-west, with honest lyrics that expound to those who want to find an generous path for tomorrow. We've been damned by all of the white-washed patriotic fervor of the brash voices of country that discovering a humble, blessed soul in the midst of it all is like finding the garden of eden in the midst of the desert. A. A. Bondy is a beautiful man who simply wants to make beautiful music.



I'm Not There: Todd Haynes (2007)

Todd Haynes really knows how to capture the essence of music up on the big screen. He did it earlier with his movie, "Velvet Goldmine", and now he takes the life of Bob Dylan and flips us and spins us and caresses us and blinds us and opens our eyes. I'm Not There is a poetic vision of an elusive creature who has scrambled around our consciousness for four decades now. Dylan has gone from being the savior of folk music to a prophet to a visionary to a poet to a humble voice to just a musician. He's been so many things to so many people that it's impossible to narrow him down into one epic bipoic. Don't you hate those biopic films anyway? The incredible genius who has the touch, the gift and power to change life with whatever medium they happen to have mastered but then fame gives them a larger than life persona and the only way that they can deal with it is by abusing massive drugs, until they must overcome that horrible handicap in order to become a complete person. Bleh! Enough already, just give the damn guy the oscar ahead of time so we don't have to get caught up in all the formulaic crap that comes with it. Todd Haynes would never do that and he doesn't do it here. He gives us a magical flowing picture that captures so much of the entity that is Dylan but also so much about what he's meant to all those that have been touched by his music. Somewhere in this film, there will be a moment when the cinematic experience, along with the music, that will flash with comprehension. Yes, that's the Dylan I know and love. Yes...

Rewind #5

Headlights: Some Racing, Some Stopping (2008)

This is music that caters to my pop-flash sensibilities. Sometimes soft and lazy, other times pulsing with a pleasant frenetic energy but in the end always easy on the ear, Some Racing, Some Stopping quickly became one of my favorite albums of the year. Hailing from the mid-west, Headlights have a sound that blossoms in my mind with the colors of life. It's like that movie "Waking Life", how everything has been animated via photoshop and you can make it reflect any color strata you wish. You walk around experiencing everything anew and learning from each interaction. Headlights' music climbs right up into the sun with warm hues that then refract, emanating right out from your chest. It makes the vision in your eyes gloss over into wonderful dreams of hope that you've always knew would come out one day in the future. You've waited for that day all your life and now, with this blessing resonating from your speakers, you realize that it was forever with you and will forever be, just as long as you listen to the rhythm of your heart.




Two Days In Paris: Julie Delpy (2007)

Here's why this movie is so great. It's a creative indie film about a person who takes their significant other home for a couple of days to meet the family and friends from the old days, who eventually gets caught up in the nostalgic appreciations of their youth (as well as the attention of distant lovers) while the person who came along suffers dramatically, feeling out of place, disconnected and worried about losing their partner. It's not very unique idea, especially for an indie film (I think that's the general description of the requirements for being able to submit to Sundance), but a couple of things that make it different is that it's filmed in Paris and it's from the perspective of a woman. Julie Delpy directed Two Days In Paris and starred in the leading role and she gives us such an honest portrayal. All of the conflict that arises throughout the film centers on the way her character must deal with these mixed up emotions, while her boyfriend stumbles around trying so hard not to be overwhelmed by everything that's happening to him. It's so refreshing to view this story through Delpy's perspective. She's confident and charming and afraid of love and eager for attention and supportive of her family but exhausted by them after only a couple of days and confused and wild. She's like so many thirty-something leading guys that we see all the time who don't know what they really want out of life but they're getting closer to middle-age than they probably want to be and now it's time to actually make some definite decisions but it's all so easy to just pretend that they'll never be ready to be so responsible. A basic quandary for so many of our generation. Delpy gives us an intimate film (even using her own parents) that allows us to get deeply into these people's lives and hurt and laugh and smile and cry with them. I knew the moment that it ended that it would be right up here on my list.

Rewind #6

Dengue Fever: Venus On Earth (2008)

I've been waiting for Dengue Fever to release another album for awhile now. We first discovered them by watching the Jim Jarmusch film Broken Flowers, which has the song Ethanopium, along with much more fabulous music, on the soundtrack. When Venus On Earth was released early in 2008, it quickly became a mainstay in our listening repertoire and definitely exceeded my already lofty expectations. Based in Los Angeles but residing in the spirit of Cambodian rock, Dengue Fever flies through the sun-drenched heat wave of Southern Californian culture to mix with the humidity of Indonesia folk. Chhom Nimol mesmerizes with her sweet voice as she often sings in her native language, though a few tracks are also in English. Her lilting presence above the rollicking music flows effortlessly throughout your auditory sensibilities. It's a magnificent sound that wafts from the east and we're extremely lucky to have them right here in the west, just a jaunt from San Diego, to witness and enjoy whenever we feel like it.



What Time Is It There?: Tsai Ming-liang (2001)

What Time Is It There? is a film that is about as perfect as any film can be. Perfect in the way that a film-maker knows exactly what he wants to portray with each and every shot. Nothing in this movie is messy. Filmed entirely in wide shots that are steady as ice, no gimmicky hand-helds for Tsai Ming-lian, every scene plays out as short film all by itself and, with very little dialogue, tells a complex and revealing tale. All of it revolves around the story of Lee, a watch vendor, following the death of his father who sells his personal watch to Chen, a woman who is leaving for Paris the next day. Lee must deal with his own mixed emotions and his Mother as she tries to assuage the spirits of her husband. Soon, Lee feels the impulse to run around Taipei and change all the clocks to Paris time with strange consequences. Meanwhile Chen is feeling disconnected from her environment while sightseeing in Paris and restlessly moves about town trying to find home. It all winds around with precise purpose until the revealing ending. Tsai Ming-lian has such a beautiful eye with the camera that each moment completely mesmerizes. Every shot is perfectly framed so that the horizontal lines in the frame are perfectly level. It was a lesson in the mastery of film-making, that a movie can carry so much weight with a little attention to detail and a whole lotta love.

Rewind #7

Bill Evans Trio: Waltz For Debby (1961)

What can I say about Bill Evans. Never heard of him until Xtimu begs me to find some of his stuff. Now, everywhere I turn, I'm reading about him in novels or hearing comparisons to greatness or simply learning more from the sound of his music. What beauty resides through the air when Waltz For Debbie dances. I can't shower enough praise on this amazing album. My father often would listen to jazz stations when I was a little boy and, though much of it was the lifeless maneuverings of techno-glitz freedom found in the eighties, there were moments when a show would delve into the genius madness of Coltrane and Monk. I was so reluctant to embrace this new sound but I'm sad to think that I may have missed the type of beautiful aura embodying the Bill Evans Trio circa 1960. Well, over forty years later, it has now entered our conscious awareness and the love that accompanies it lifts us to such great heights. As with so many great artists from time ago, we are so fortunate to have the avenues of discovery available to us in this modern life. We can learn so much and devour such beauty in the heart of life's greatest composers.



There Will Be Blood: Paul Thomas Anderson (2007)

The movie (which won't be named here at this time as it doesn't deserve any more attention) that we watched directly before seeing PTA's There Will Be Blood was a unique film that had an interesting concept with a seemingly powerful story but turned out to be total shite. Simply because the people who made the movie had no concept on how to create a visual wonder for the audience. You won't have that problem when it comes to a PTA film. There may be annoying intricacies that grate on some viewers nerves and I don't begrudge anyone that truth, but no one out there can say that he doesn't know how to make a movie. The guy is a cinematic genius. Take Blood for example, it's a film about a complete megalomaniac who has absolutely no endearing qualities whatsoever. He strives toward one purposeful goal, to make more money and have more power than anyone else and damn those who will stand in his way. He's played by Daniel Day Lewis who brings this character to life in all its magnificence. It's a brilliant study and visually unmatched in it's grandeur. It's incredible to just watch the camera pull the audience into this beautiful and harsh world. It's the complete opposite of the movie we saw before it, doesn't have a typical story that we normally follow or an idea that could initially be considered dull. But instead it's captivating and engrossing and beautiful and the only reason for it is due to the people who made it. They are true cinematic masters.

Rewind #8

Burial: Untrue (2007)

Every generation must come to face the moment when they realize that the world will become their responsibility. It's a daunting thought and one that our culture doesn't adequately or honestly stress or prepare for. That's usually when a lot of people become their parents worst nightmares; experimenting with drugs, turning into alcoholics, or thriving on the fear and learning how to be consummate assholes. The rest of us try our best to make it through without descending into madness. There comes a time when we need a transcendental soundtrack that elevates us beyond the mundane, above the squalor. But it's such a struggle to overcome this heavy burden of expectation, to see beyond the inherent apathy that society passes down again and again. A tone resonates throughout Amerika and it holds the malaise of one purposeful intent; crushing the spirit of youth. Yet, through the foreboding that resides within the heart of every generation comes a beautiful sound that rises like a phoenix, burning bright in the dark. As Burial's Untrue closes with the continuous plea for those who listen to dream, generation zero has found its voice. With each thumping speaker pouring ominous sound into our heads, we are reminded that life is not an easy process but if we give strength to hope, discover the optimistic human spirit, then our voices are as powerful as angels. We can lift our precious lives into heaven and find paths that are empowering and creative and imaginative and loving and hopeful and beautiful and full of wonder and everything that we've always wanted. It's all in there, just close your eyes and feel the music, let it give you strength.



The Fall: Tarsem Singh (2008)

Tarsem Singh's The Fall is a magical epic journey that astounds with every click of the reel. Alexandria, a young daughter of migrant workers in 1915 Los Angeles befriends Roy, a fellow patient in the hospital where she is receiving treatment. They've both suffered from severe falls and it appears that Roy, who does stunts for the studios, may never walk again but even worse, his heart is just as broken as his back and he no longer has a lust for life. Seeing an opportunity, Roy engages Alexandria's confidence by telling her an extraordinary tale of heroes and love and adventure. He hopes to manipulate her into helping him get the necessary drugs so that he can kill himself. Half the story is told through the mind's eye as we follow the tale that Roy regales for the young girl and the other half is within the walls of the hospital. Watching the landscape of this film unfold is so unbelieveably fantastical that you start to question the reality of this world. Everything seems so magnificently perfect that it hardly seems real but it's so enormous that it can't possibly be a sound stage somewhere in a back lot in Hollywood. Well, apparently every place shown in the movie exists out there on this Earth, some of it man-made and some completely natural. All of it is beautiful and magical and it gives this film enormous heft. But the true wonder of this story boils down to the relationship that develops between Alexandria and Roy. Eventually the lavishness of the imaginary world doesn't compare to the emotions that our two heroes must face within the confines of these hospital walls. The two worlds overlap and develop cohesively into a wonderful film that ends with an incredible collage of old stunts from the golden era of movies. Singh is a true master and I'm already searching to learn more about him. Hopefully he continues to astound us with his amazing vision.

Rewind #9

Adele: 19 (2008)

Adele has such a sweet thick voice that resonates timeless in its perfection. Another Myspace success story, Adele has catapulted into fame before she could even leave her teens. Already her album has debuted at number one in her home country (UK), been nominated for a few Grammy Awards here in the states, played SNL and made my top ten of the year. So she's got a lot going for her. Her honey-soul sound is one that's been getting some attention over the past couple of years, especially following the success of Amy Winehouse but so far Adele hasn't gone down the train-wreck path just yet. I love this type of music, old and new, and Adele's 19 has been stuck in our stereo for months now. I'm not sure when I plan on taking it out. For the moment it'll remain and her essence will fill our living room with soft but elevated bliss. Her husky heart-wrenching voice will serenade us across the gap of the world, through time and space, a rising star that is shining bright in the night sky.



Persepolis: Marjane Satrapi & Vincent Paronnaud (2007)

Marjane Satrapi went through hell, some of it in Iran. She put it all down in her autobiographic novel, Persepolis and gave us all an incredibly wonderful visual journey through the heartland of a country that lost its way. Coming of age during the Islamic revolution Satrapi reveals a terribly oppressive environment in a dark but also endearing and comical way. It was a time when so much promise ended up bringing about so much suffering, a continuous human undoing. It also made Satrapi suffer tremendously as she entered her adult years and even though she managed to escape the confines of the Islamic Republic of Iran, her life continued to devolve until she reached the dregs of existence. Eventually she found a way to return home for herself and her parents and now she's made a movie based on her novel. The entire ordeal is played out in the same black-and-white visuals of her graphic novel to perfection and it carries the essence of Satrapi's story. She's a woman with such a beautiful and dynamic heart, who had the fortitude to strive through her suffering and give the world a film that needs to be seen. When I watch movies like this, I always get inspired to create. I want to give something to world that might give it a sense of balance. Humanity suffers so much through the years but always manages to keep going. It's because of these humanistic beings who only want to bring love to the world, the type of love that overcomes all obstacles, the spirit of life that thrives against the storm. We need to keep that fighting creative spirit alive because even though the thunder may wane at times, there are always dark clouds on the horizon and there will always be a need to help others find shelter.

Rewind #10

Milosh: Meme (2006)

Xtimu discovered Milosh online somewhere and told me that we needed to get some of his music. I went out and found this album without having any idea what to expect. I simply wanted to bring a smile to Xtimu's face because that brings a smile to my face (she has a really great smile). Well, it turns out that he's quite a musician and producer. He started playing the cello when he was three and eventually studied music in college. Lucas recently started to play the violin and one of the reasons is that we wanted his life to be grounded in music. I've always been drawn to music. I can devour endless hours of music, continuously listening to any and all types. I walk around constantly creating mixes in my head. I read about music. I ask people I know about music. I am forever trying to become in-tune with the flow of the aural roll of the universe. I am music...but I never learned how to play. I knew that if I was to ever have children, they would learn and they would play. So now Lucas and I are learning together and as soon as Quinn is old enough, she's going to jump right in as well. The reason we're learning the violin is because I've always loved the beauty in the instrument. There's such an incredible lift that overtakes your spirit when you hear a violin played properly. Milosh is like that. His music has a beauty that elevates the human heart. It's such a pleasure to feel the drift wafting from our speakers and it was a nice surprise to discover this unknown aficionado creating such beauty for all of us.



Slumdog Millionaire: Danny Boyle (2008)

So we went to see Slumdog Millionaire because the hype was just too much for us to avoid. We normally don't go out to the movies anymore (which is why the list doesn't have so many movies from the past year on it) but from all that we read, it seemed like the exact type of movie we would love. It practically felt mandatory that we go. Now, when it comes to film, I want to know as little as possible about the movie before I see it. I don't like to read critiques or analysis that reveal too much about the structure of the film. I usually just need to know who made it, who's in it, maybe a quick concept to draw my interest and that's about it. With Millionaire, though I had read a lot, I intentionally went out of my way to know as little about the story as possible. But damn the hype! Sometimes the hype can overwhelm everything about the movie and that's what happened for me here. I still think it was a good film and it may very easily be the best movie of 2008 (like I said, I haven't seen many of those) but it's definitely not the best movie I saw this year. It just managed to squeeze into my top ten. Since "Shallow Grave", I've always liked Danny Boyle and generally want to see his films when they come out. Millionaire was no different but I don't think it's his best film (Uh...Trainspotting anyone?). Don't get me wrong, it's a good movie but...here's the way it works. A friend of mine received a text message the other day and here's what it said, "Slumdog Millionaire, far and away the best movie of the year." But this guy who wrote that text had no clue what Slumdog Millionaire was, had no idea when he bought the ticket, only went because the person he was with said let's go see it. He hadn't heard one word of the hype and that was the crucial difference. So yeah, it's a great film...but...

Rewind #11

Bats For Lashes: Fur And Gold (2007)

Natasha Khan is sexy. Her voice, her music, her sense of the world, her entity. When I first heard the song "What's A Girl To Do?", I thought to myself, this song either really sucks or it's amazing! Well, after subsequent listenings (about five hundred at this point), I've come to the conclusion that Khan is a genius. Her music is haunting and ethereal and celestial and it's within my weather, soft and brooding. I really love singers who have a deep pleasurable presence to their voices, the kind that drag me down into a morphine haze as I wallow in the thoughtless realm of my inner soul, a place where I've always felt an extreme sense of comfort. Ever since I could remember, I've found outlets that allow me to escape from the world, into fantasies that blossom in my mind. That's why I've always loved books and movies and stories and art and music. These avenues of creative input take us into otherworldly places, transcending our mundane lives in beautiful and philosophical ways. Bats For Lashes does all of this very effectively for me. I read about her album in some obscure songwriting magazine and the description made me want to go out and get it right away. There will always be rays of light that descend from on high, which are meant for your eyes and when you see them, you must take a moment to give thanks to the universe. This one is mine.



Cache/Funny Games: Michael Haneke (2005/2008)

Michael Haneke is evil. That's the thought that I had after watching the movie Funny Games (the remake with Naomi Watts and Tim Roth). But then I started to think about the the director and his whole perspective on film. Earlier in the year, we watched another Haneke film called Cache (Hidden), which is about guilt, the type of guilt that rises up from some deep bellowness place and the way that it makes you act. It was a surreal minimal film that forced the audience to think about the nature of their lives long after they left the theater. It was the type of movie that I ultimately come to appreciate for all of the underhanded subtle techniques that make it stick to your hide. I love stuff like that when it's done supremely well, and xtimu and I spent days having dialogue about it. Well, with this in mind, I began to digest what was happening in Funny Games. I realized that Haneke was making a commentary about the type of film-goer who loves to watch movies like Scream or Saw, the type of movie-watchers who need to see breasts during a rape scene, the type of people who want their movies to stay inside the theater, the type of people who want to regale you with morbidity just to see the reaction on your face. I understand these type of people because I used to seek out those types of films as well. They're people who can't escape their miserableness and unconsciously search out for more shit to make their lives even more miserable. It's a vicious cycle and we all know that there are film-makers, musicians, politicians, corporations and just people out there who will take advantage of the lower nature of human beings. Well, not Michael Haneke. He doesn't want you to feel comfortable with your lesser self. He wants you to look through that viewfinder where you've always found sick pleasure and he hopes that when you see it through his filter, there will be a big fat middle finger stuck in your face saying "Fuck You!". I highly recommend his movies.

Rewind #12

Samantha Crain: The Confiscation (2008)

Samantha Crain has a voice that's full of ethereal magic. You hear it and the first thought is that it belongs to someone you know or you've heard it somewhere but can't quite place it. Once you realize it's Crain who's wooing you with her precious chemistry, everything begins to blend into a comfortable room that you never want to leave. That's because she weaves right down through your soul as if her voice has resonated for ages, across the cosmos and finally has reached your lovely brain. It's timeless and will never be forgotten once it crosses the threshold. I find myself constantly putting The Confiscation into every playlist that I conjure for my listening pleasure and I've yet to have it disappoint. In these endless days that spread beyond tomorrow, let's hope that Samantha Crain has discovered a path into our consciousness because the world will never be the same once her presence is known. Here's to seeking that light of truth.


Berkeley Square: Lesley Manning (1998)

Berkeley Square is a mini-series (or a seriously long-ass movie) from our friends across the atlantic, the BBC. The story follows three nannies who, near the beginning of the twentieth century, move into upscale Berkeley Square to watch over the children of posh families. It has terrible production values, looks like it was shot on video and completely lacks the beautiful faces of today's media outlook, but this film is simply wonderful to watch. The way the film-makers weave the story through the households, creating remarkable characters struggling with the wickedness of classism and every other natural desire and temptation that comes with the territory. Each nanny's tale is engaging and completely honest and the actors work magic with a script that is flawless, pulling us back into the world of old that is slowly beginning to crumble beneath the modern era that is rapidly blossoming with the turn of the century. What I truly loved about this series is that everyone is so completely human that it almost feels like someone went back in time with a video camera and recorded it for posterity, finding a way to sneak into the intimacy of these people's lives. No one jumps off the screen with a larger than life persona or movie-star credentials but everyone is absolutely wonderful in their roles, outperforming all of the pompous asses who grace the silver-screens on this side of the water. Hats off to everyone involved. I didn't want it to end.

Rewind #13

Tapes 'N Tapes: Walk It Off (2008)

Walk It Off was deeply anticipated ever since Tapes 'N Tapes left their mark with their first album, The Loon, which absolutely blew the roof. Many people hoped that they could follow with an equally impressive display of raw nerve and stone shuddering strength but there were others who imagined a fall off from these guys. Quite often, through the annals of music history, we've seen the faltering of bands after flashing like a supernova right from the beginning and from the look of all the lists from the respectable crowds out there, Walk It Off didn't measure up. Well, I'm here to say that I like it a lot. It has many of the great elements we've heard before with Tapes 'N Tapes, from the blasting genius of "Headshock" to the cool wanderings of the song "Anvil". It's a blissful package they delivered to my ears this year and just about what I was expecting. I remember standing around a ringed light underneath the stars near the breath of midnight almost a year ago whilst listening to the first Tapes 'N Tapes album. It was a magical moment and a friend of mine asked me what I thought would come from these guys in the future. He was unsure that they'd give us more of what we were searching for, but I looked deep into the flames and listened to the blood pumping from the speakers. Then, in a moment, I knew that, even though everything shifts with change, we were in for a pleasant journey.



Earth: Deepa Mehta (1998)

Earth is the second of her elemental trilogy and, as with her movie "Fire" which I saw a couple of years ago, Deepa Mehta has made an astounding film that touches something vitally human and brutally honest. It's about the partition of India, a difficult time of transition for a nation that grew up never knowing independence. What are Muslims, Hindus, Sikhs, Parsees, even Christians going to do about this new-found reach for power? That's exactly what a group of friends, all hailing from a different theological background, must come to face as their world quickly begins to crumble around them. Told through the eyes of a young girl, Lenny, as she watches her nanny try to navigate the carnage of love and violence that envelopes all of them, we are witness to the tragedy of ideologies that will kill at will and the ripple effect that each death leaves in its wake. Friends who once loved each other dearly, turn into enemies and no one is left unharmed by the entire ordeal. Even Lenny must ultimately come to terms with a choice that she makes, which appears innocent to her but eventually burns with betrayal after everything is said and done. We've seen a few movies about the partition era in India here in America but even "Ghandi", which garnished such acclaim, doesn't delve deep into the truth of how humanity viciously tore out its own heart. Today, we still catch glimpses of the Indian world and the fighting that has ceased to quiet. Deepa Mehta has gorgeously revealed the roots of that struggle and effectively points out that if we can't even love those who are sitting at our table, family, friends, then all we will ever have is a world full of suffering.

Rewind #14

Immortal Technique: The Third World (2008)

Welcome to the underground. Welcome to the third world. Immortal Technique invites you into a realm that exposes the American Hierarchy and its true purpose; EMPIRE! He quickly disseminates the nefarious activities propagated in the name of freedom and reveals the roots of anti-amerikanism from the oppressed around the world. I often hear many voices around my community; at work, on the radio or blogosphere, even in my own family; espousing the great virtues of this country and though I truly believe in the ideals of our forefathers (flawed though they may be), I know that we still have a lot of work to do. The one refrain that I often get regarding America's fabulousness is that it's the best country in the world or the best system of governance our world has ever known. First of all, probably most of the people shouting out this thought, have never known another system and ignorance rears its ugly head when we speak of that which we don't understand. How can you possibly resolutely claim to know something is the best without experiencing something else? But the true fault with these kind of statements lives in the idea that we need look no further beyond what is already great. It discourages self-reflection. Even if America were the greatest country ever (but how would I really know that), that doesn't mean that we can't be greater, right? The one thing I do understand is that there is a lot of suffering in this country and in the world. For my entire life I have met very few people who truly understand happiness. Isn't that the entire purpose for living? To become happy? How can we appreciate the world that we live in when so much of humanity suffers on a daily basis. It's our responsibility as human citizens of the world to create an environment where everyone may find a path of discovery that leads them to find a wonderful existence full of physical and spiritual blessings. Right now that world doesn't exist and has never existed. America is a powerful presence in the world today and it has become very apparent that our influence isn't leading down a path of enlightenment. Immortal Technique uses his voice to shout out that very truth and even though it may be a message that is hard to listen to, it is vital that we hear it because the only way that we can change the future is if we change ourselves for the better. It's what we must do.

P.S. On that note, there is something I would like to say to Immortal Technique. You have power in your voice and in your lyrics but you diminish that power when you don't recognize the oppression of women in your message. Your mission loses strength when you fall back on hip-hop cliches with regards to women. They've lived in the third world for generations upon generations and they understand what it means to be dispossessed. There's great power in the struggle when we unite together as human beings first and foremost, and we treat everyone with respect.



Encounters At The End Of The World: Werner Herzog (2008)

Werner Herzog makes films that don't fit into any known category and live on the fringes of the film community. So it isn't surprising to find him making a movie about the most remote community on this planet. Encounters is a documentary film about McMurdo Station, the largest human enclave in Antartica, which is based on an island in the middle of the Ross Sea, a frozen body of water the size of Texas. As the camera descends, we discover a world of immense beauty underneath a "frozen sky". The images from beneath ice are worth every second, incredibly evocative and magical. But it takes those with a strong constitution and a strange soul to inhabit a place at the end of the world. Many of the people that Herzog interviews are the types of people who don't fit into the everyday societies of our cities around the planet. These human pariahs seem to need a place where they can perceive the universe through a unique lens. Herzog knows exactly where they're coming from and where they want to go. From scientists studying single-cell lifeforms that show evidence of intelligence, to volcanologists studying one of the most remote and most active volcanoes on the planet, to a man who communicates with penguins better than he does with humans, to a scientist studying the spiritual aspects of the beginnings of life by perceiving neutrinos, to many others who simply need to exist somewhere off the map, all of these people are extraordinary individuals and Herzog brings them and their environment to us with great clarity.

Rewind #15

Yelle: Pop Up (2008)

Shout it out! That about sums up the energy of Yelle. Anything that you might want to do that requires notching it up to the next level? Well, pop this into your headphones and bounce. French kick-ass dance club euphoria grooves right along with the shake in your leg, hums right with the roll of your step, thrives deep down in the teenage love of rattling the windows at full volume. Julie Budet is a self-made genius as she rose from the MySpace world into pop heaven and I, for one, am so grateful. I need this stuff every once and awhile. We all need it. No matter how much it feels good to relax with our drugs of choice listening to the greatest down-tempo lounge rhythm or space out to hazy mellow atmosphere of ambient culture or cruise with the casual sounds of indie music bliss, there will always be a place in our lives for the type of music that makes you grab the person right next to you and dance with abandonment. I often find myself screaming at Lucas to "TURN IT UP PAPA!" (he tells me it hurts his ears if it's not loud enough, go figure), throw Quinita up into my arms and bounce off the walls! Yelle's music embodies that spirit, just try it out and watch the smile grow upon your face.



The Passenger: Michelangelo Antonioni (1975)

Michelangelo Antonioni is a freak. About a year ago we watched this movie called "L'avventura" and I did not know what to make of it. I'm usually into movies that don't seem to make sense but resting beneath the surface is a wicked snake that can reach out and sink it's fangs, secreting an undue pleasure. On the other hand, I really don't like films made about complete assholes. So the entire time that we watched it I was conflicted. I knew that I was supposed to like it but I kept thinking to myself, "Fuck this prick!" The dialogue Xtimu and I had afterwards made me realize that I missed all of the cool shit Antonioni does on film simply because I hated his main character. Well, once we watched "The Passenger", I got it. Antonioni creates vistas, magical landscapes visually with the eye of the camera. It's a meditation of sorts and as you wander through his movies you discover a world that is elevated beyond the mundane. Even though the stories and characters of the films aren't very complex, they're interesting enough to hold you and pull you into his world. He's very much into revealing the architecture of the universe, man's version as it meshes with the natural one and in "The Passenger" it's dramatic and grandiose at times, while also very subtle as well. By the end of this tale that follows a man who adopts the identity of a dead man in order to escape his own life, I was completely haunted by Antonioni's witchery. I actually rewound the final scene of the day vanishing outside a ramshackle desert town just so I could feel the essence of that moment. It was incredibly stunning and the movie couldn't possibly have ended any other way. I think that there was a moment in 1975 when this movie called "The Passenger" saw through to the other side. It was absolutely in rhythm with everything.

Rewind #16

13 Ghosts: The Strangest Colored Lights (2008)

Every year it seems like a band comes to me through vacant force, like there's an empty spot inside me that needs to be filled. A good wind blows through town and suddenly there they are, smiling at me like someone who knew me in another life. 13 Ghosts slumbered into my consciousness and, like a dream that lingers, never gave me up to the wanderings. I've become completely devoted to them. They don't have a specific sound that can be categorized within one precise genre. From the spacey time traveling opening "The Lonely Death Of Space Avenger", through the gorgeous horns of "Riverside", onto the hushed intimacy of "Soon When I'm Gone"and plunging with the gravity of "Beyond the Door", they traverse the poetic ache of Uncle Walt, live off the land like HDT. Through all of the pain and hope they exhibit in their creative spirit, these guys are reaching out to touch life, searching for the thrum that pulses under the surface. I hope to find it along with them because there's beautiful gems in this country and discovering 13 Ghosts this year has been like digging up something priceless from right out of my own backyard.



My Family And Other Animals: Sheree Folkson (2005)

A film made for Masterpiece Theatre, it reveals the tale of Gerald Durrell when he was a ten-year-old and the family moved to Greece during the thirties. From the book of the same title that Durrell wrote in 1956, we follow the clan on their comical wanderings around the island as they try to find a place that suites their eccentricities. Gerald slowly morphs into a boy out of Lord Of The Flies as he wanders the landscape obsessing about the wildlife. While his brother Larry, who later became a famous author, imagines himself a genius and annoys everyone with his pompous attitudes about everything. Then his sister Margo hunts for men and his other brother Leslie simply hunts, killing the wildlife almost as fast as Gerald can adopt it. It's all held together by his widowed mother who accomodates the lot of them with her guidance and wisdom. The great joy about My Family And Other Animals is that, throughout the entire film, it cherishes a sense of discovery. Even though they are all flawed people in many ways, they all are totally embracing this fantastic new world around them with such an open devouring spirit. And their mother has the warmest heart that every parent should give to their children. It's no surprise that these kids grew up to be famous authors. They were allowed to follow their hearts to the fullest. It's a sweet movie that gives a glimpse of a time when the world still held some innocence before the second world war.

Rewind #17

Ida: Lover's Prayers (2008)

Ida has been a perennial favorite of mine but for some reason it often takes quite a long while for each album to register in my conscience. I first fell in love when I heard the song "Maybelle" off their album "Will You Find Me". They have a beautiful soft sound that lulls you into a pleasant state of euphoria. Bordering on dream folk chasing the blues, Ida weaves a blessing upon the ears and I don't think I've ever heard something by them that I didn't appreciate. The albums all have the same feel to them and I suppose that's why it takes so long to really love them after first dropping them in your stereo. But it's a relentless sound that you can't quite shake and after a few months of constant listening, you've realized that they've moved in and have been sleeping on your couch for awhile. It's all good though because they are wonderful housemates that always produce wonderful background music for sitting around, drinking a good beer and indulging in conversation that elevates your soul. In the end, it's simply an exquisite sound.



The Diving Bell And The Butterfly: Julian Schnabel (2007)

What an imaginative film! I am a huge Julian Schnabel fan. His repertoire isn't very long but it's so obvious that he's only interested in making good artistic movies. "Before Night Falls" absolutely blew me away and I was so excited to see "The Diving Bell And The Butterfly" that I was almost shocked by it, the reason being that it isn't a very accessible film. The movie starts out from the point of view of Jean-Dominique Bauby, a popular journalist and editor of Elle magazine, who has suffered a massive stroke that paralyzes his entire body except for his left eye. His brain is entirely aware but he's completely locked-in to his body. Eventually the movie expands outside his body and mind but the movie holds you enrapt within Bauby's perspective for so long that you become a bit claustrophobic. The imagery that Schnabel uses to reveal Bauby's POV is unique and interesting and the running commentary keeps the viewer locked-in to Bauby's pain and frustration and wit. The story of his life isn't so dramatic but what he does after the stroke is amazing. Narrating his life through an interpreter, he writes an autobiography simply by blinking his left eye. Eventually we fall back to his life before the incident and his superficial existence that all gets wiped out in an instant. What becomes of the person after falling through the rabbit hole is a strange and disconcerting examination to watch. Yet, Bauby manages to discover hope and beauty within this new world and Julian Schnabel is the perfect person to help show us that world up on the screen.

Rewind #18

The Ting Tings: We Started Nothing (2008)

Pop perfection! Every time a song from We Started Nothing pops up on my stereo, I'm transported back through time into a culture vacuum of teenage pop pleasure coursing through my sugary veins. The days are full of sundrenched chlorinated bodies splashing in crystal cool water. The nights are full of kids in shorts chasing moths under the street light as the shadows swallow them in massive games of hide and seek. It's basketball courts full of boys with muscle shirts and painted chalk lines in the cul-de-sac that play out fantasies of major league dreams. It's bouncing on the beds after parents have gone asleep and sleepovers with revelations of junior high crushes and locker gossip. It's full of summer and blinding with the washed out hues of the seventies and eighties. It's the scent of grass lying in the breathe of nostrils as we find time for dozing in the middle of the afternoon. I've always been attracted to this type of pop music. The kid in me wants to bounce off the walls and scream the lyrics at the stars, totally pulled into its vortex with each hook and snag. They create a pleasant nostalgia that entraps my soul.



Stranger Than Fiction: Marc Forster (2006)

Each movie that is made has a certain pace. Depending on who they're marketed toward or simply due to the person who made it, the energy that moves the film is so important in showing its personality. The pacing isn't just based on the flow of the story either. Movies have so many other elements that make them a compound whole entirely. Just the visual structure of a film has an enormous affect on it. How quickly do we cut within scenes? What type of shots are used? Are we close, far away, moving, zooming? Everything gives the movie a certain feel. The sound of a film is dramatic at creating what type of emotion the audience will feel. Are we being manipulated by soaring dramatic sound or does it take a more minimalist approached? The color of the film. Some film-makers even continue to use black-and-white so that their film will carry a sense of nostalgia to the viewer. Films are broad majestic strokes of art that require intense attention to detail in order to speak with a language that makes it unique. Maybe that's why Xtimu and I are so annoyed when we watch a movie that reverts to generic concepts or simplistic ploys to tell the story. It's a lazy artistic eye that cannot think for itself. Marc Foster is not lazy and Stranger Than Fiction actually is a wonderfully paced film. Every time that I thought the movie was going to slip down useless terrain, it ultimately never crossed the line (the DVD box itself had some cheesy ass photos on it, so it was a pleasant surprise to miss all of that). Even Will Farrell, who can go off the deep end sometimes, completely immersed himself in the role and was charming, funny and a delight. In fact, though the movie was star-studded, which quite often terrifies me as well (too many egos in one room can make for a very crowded environment), everyone excelled in their role. And the story of an uptight man who has never followed his heart until he hears a voice navigating his life to him inside his head from an author who always kills her main character and that's how he discovers that he's going to die so what better time than now to live your dreams is such a great concept that, with the right pace, it all comes together very well.

Rewind #19

Invincible: Shapeshifters (2008)

Over the past few years I have been trying to shift my perspective about this American Culture that raised me and molded me with clay fingers. One of the most profound inequities in our culture (and in life for that matter) is the way that women are treated. Long perceived as the inferior sex who need a man to protect them(wasn't Eve actually created from the rib of Adam?), we imagine that everything has changed in our enlightened land of prosperity. But did you know that the way that the Constitution is worded doesn't actually allow women the same rights as men in this country. Sure, they have the Nineteenth Amendment and the right to vote, but there is no amendment that gives all rights to people regardless sex, race or creed. In fact, the Declaration of Independence doesn't even include women in its glorious vision of freedom (We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness). So it isn't hardly surprising to notice that the majority of musical acts out there getting big play just happen to be male dominated. For every Feist that busts the scene there are ten Ryan Adams getting just as much airtime. Because of this I have made it my mission to create a more balanced listening experience for myself and with this countdown, for you, as well. It makes for great discoveries, like Invincible, who may have slipped below the radar otherwise and because of a focused drive mixed with incredible talent, Ilana Weaver, who is Invincible in more ways than one, is making it work despite the oppressive culture around her. Turning down record contracts from major labels and clashing with studios, Invincible pushes back against mainstream culture with a discordant rush that refuses to recognize the status quo. Until the world makes a seismic shift regarding the most savage inequality ever known to the human community, voices like Weaver's must continue in their fight for truth. But the most profound truth to come from all of it, is that the creative spirit is always more powerful when it comes from an independent part of the artist, free from the culture of money that corrupts everything that it touches. There's a reason we still refer to certain music as independent or underground (even though that moniker has also been co-opted too), it's something that feels genuine, feels like it actually came from the heart.



Salt Of The Earth: Herbert J. Biberman (1954)

Salt Of The Earth was a movie made by blacklisted film-makers who wanted to create a vision of a better America. In a way, they may have been allowed to make a much more real movie because of their banishment from the studio system. Addressing issues like worker's rights, racism, sexism all in one motion picture in 1954 would have been impossible in Hollywood. But Biberman and company accomplished an amazing feat and it has now become a cherished iconic landmark in American film. The movie follows the plight of a group of zinc miners as they go on strike and shows how they and their family react to the ordeal. Amazingly, many of the themes in the film are absolutely relevant to the modern life of today. When Esperanza, the narrator of the film, must have a new radio bought on credit, her husband bemoans credit as the downfall of the working man. Over fifty years later our economy is crumbling under the weight of extensive credit and financial industries the world over, built entirely on credit, are crashing. Not surprisingly, the working class is suffering the most. Another moment in the film, the wives of the miners must stand up and demand an equal voice in the direction of the strike and when it looks like the strike is going to be silenced because of a court injunction, the women step into the picket line to carry on the fight. A powerful feminist image during a time when the movement was trying to regain its footing in American culture, a similar problem for the feminist agenda today as the Supreme Court gradually removes the basic fundamental right of a woman to own her own person. Salt Of The Earth was a powerful film back in the fifties when nobody saw it and it's even more powerful today because people now have the opportunity to learn something about our culture and hopefully do something about changing it.

Rewind #20

Deerhunter: Microcastle (2008)

A denizen of my favorite local rag once spoke about "snap", a little something that bands have when they make music that just clicks. Sometimes the music is just amazing and there's no getting around it, but other times there's something about it that you can't quite put your finger on. I, mean, it's good music but nothing that upon listening differentiates it from so many other bands gracing the halls of the underground. That's when you realize that it's beyond reasoning and it's flirting in-between the ordinary lines of the sound waves crushing at your ears. It's buried deeper and that means it has to go deeper within to register. It goes further than conscious thought. It's "snap" and Deerhunter has it. It's big and vital and it has an energy that comes right through the floor. Some bands have it when they start, crashing upon the scene with an enormous creative spark only to fade into apathy as the need for "snap" demands too much. Others take some time to develop it, learning as they go, blasting and flaunting their souls with age. Deerhunter feels new, fresh and though they've been around for a few years, it seems like they've finally crashed the party. They're playing with an epic sound, lasting and effortless. They've got that "snap".



Margot At The Wedding: Noah Baumbach (2007)

Noah Baumbach is a writer and that's why I probably like his movies so much. They have the heart of a literary geek. His movies, which he both writes and directs, are full of characters who are multi-faceted and raw. Watching his movies, I often think about all of the times I've loved the intricate content that you find in a book; the nuances of character's thoughts and emotions that spring off the page with poetic insight. Well, Baumbach's movies have all of that stuff in them. They are little blessings in disguise. Not to say that his movie are all pleasing and joyful. In fact, he often portrays the aspects of human nature that tend to make us digress in life. Yet, even though so many of his movies have characters that can only be described as "shits", they're still so engrossing. Nicole Kidman plays one of these people in Margot At The Wedding. In fact, she plays Margot who drags her eleven-year-old son along to the wedding of her free-spirited sister. All of the adults in the film are neurotic or psychotic or delusional or simply assholes. The only sane person aboard seems to be Margot's son, Claude. When we look at the grand culture of film-making, there are certain actors who are gigantic personalities and who never seem to escape the celebrity that has surrounded them. Well, I always put Nicole Kidman in that category, especially over the past ten years or so when she couldn't make a movie without the word, oscar, being attached to the back of her name with a hyphen, like she married the damn statue. Not to say that she's a bad actor because I used to be enamored with her after watching "Dead Calm" when I was still a teen but she'd just grown larger than any role that she played. She was never simply the character but Nicole Kidman playing the character. Anyway, by the time I was thoroughly immersed in Margot At The Wedding, I had completely forgotten that Nicole Kidman was playing this person. She ceased to be Nicole Kidman and had evolved into this crazy person named Margot. So, after all of those years lugging around (and eventually grabbing) that oscar burden, I think that she's finally played a role that deserves it. We can thank Noah Baumbach for writing and directing a character that was larger than Nicole Kidman.