the children you don’t have will one day come
across a basil plant. they’ll sing to it, hope it
grows into something more than it will ever
be. the sky will rain and the ground will turn
a familiar black. you’ll say, ‘don’t worry, kids.
we have roots, anchors, duct tape, each other.
you look at the puddle of grease that forms
around your pizza. you wonder, ‘if i take my
fingers can i make two separate puddles?’
you don’t want to lose yourself though, find
that every effort you’ve made to take control
has been unproductive, a fruitless endeavor.
these are thoughts for the future, you think.
'right now i must sift through all the nonsense.'
strangers make their way to your bed, kiss the
sinkhole that formed between your nipples. their
lips tickle and then burn. the wet is hot and then
it’s cool and then it’s gone—a vague, soft memory.
Flash Review: Manakamana
Manakamana, a documentary film that had a limited release last year, is a sensory experience, a film that requires patience, love for the miracles of cinema and—most of all—an appreciation for a world outside our own. Every year, thousands upon thousands of pilgrims journey to Manakamana, an ancient and sacred Hindu temple located in the mountains of Nepal. It’s altitude makes it a rather inaccessible site, which forced the Nepalese government to build a cable cart system to take visitors up and down the mountain. The film looks at a group of these pilgrims who make the journey (the film focuses on 11 of these trips), which is about ten minutes long, up and down the the mountain that houses Manakamana. We see these voyages in long, uninterrupted takes—almost as if a camera were hidden somewhere inside the car. Manakamana is a mostly silent feature, a contemplative film that allows us to see the old, the young, the rural, the urban—every type of person who comes to make the trek. It’s a stunning and warm feature, a documentarty that simply observes. We lose ourselves in the jungles of Nepal, in the faces of the pilgrims and in the film itself. Manakamana transcends traditional documentary filmmaking and is among the greatest documentaries released in the past couple of years.
my roommate is out of town and i’m naked in the kitchen heating up pizza
i think i told my parents i liked guys a year ago today lol
Flash Review: The Two Faces of January
The Two Faces of January, an adaptation of Patricia Highsmith’s famed novel, is a crime drama directed by famed screenwriter Hossein Amini (Drive) that tells the story of a beautiful American couple who are vacationing in Greece in 1962. We soon find out that the twosome, played so wonderfully by Viggo Mortensen and Kirsten Dunst, are actually on the run—Mortensen’s character is a con-artist whose misdeeds are finally catching up. While exploring the Parthenon they encounter a young, handsome American (Oscar Isaac), an Ivy League-educated man who finds himself attracted to Dunst’s character and later joins the two as they attempt to escape from authorities and start a new life. Highsmith, who also wrote the novel that inspired the renowned The Talented Mr. Ripley, has a knack for creating captivating mysteries, but there’s something almost too generic about Amini’s film. Yes, it’s pretty enjoyable to watch, the performances are wonderful across the board (particularly Isaac’s) and the shots of the European landscape (Greek ruins, Turkish bazaars, etc) are stunning/magical, but otherwise Two Faces is a rather forgettable and ordinary mystery film.
Trying to have a more stable Internet presence. If you want to read about my work, my interests and some sadness (yeah, ok) follow @ericeidelstein on Twitter.
Top 10 Films Of 2014 (So Far)
With awards season about to begin, I have decided to create a list of the ten best films I have seen in 2014 so far. I’m sure there are other greats to come, but these are the movies that I have found to be particularly special this year.
2) A Girl Walks Home Alone at Night
3) Stranger by the Lake
4) Under the Skin
5) Appropriate Behavior
6) The One I Love
8) We Are the Best!
9) Only Lovers Left Alive
10) Tie: The Immigrant and White Bird in a Blizzard
making myself indifferent to most people unless they give me a reason to feel otherwise. i’m not wasting my energy on friendships, collaborations, romances with people who don’t reciprocate in an appropriate way. and i’m not gonna feel down in the dumps about rejection or other people’s indifference either. this is how things are. i can’t continue to destroy myself over things that are just part of life. no more melodrama, no more over-emoting, no more attempts to love people who can’t or won’t love me back.
NOTE: i don’t mean to sound mopey, gossipy or passive aggressive towards anyone. i’m gonna make a real solid effort not to post things like this in the future. no more wallowing in self-pity. i deleted a twitter account because it was becoming that sort of place. that’s not who i want to be. i don’t wish ill upon anyone—even those who hurt me. if anything, the people who hurt me are the ones i care about with all my being.