philosophy in film

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Re: philosophy in film

Postby iambiguous » Tue Aug 29, 2017 8:15 pm

There is something that can happen to any of us. We all know this but we think about it from different points view. We imagine it happening to us in the future but we are still imagining it based on how we see ourselves in the present. But the point is that if and when it does happen we may never see ourselves in the same way ever again.

Sometimes for the better, sometimes for the worse.

What happens here is that Jonah is going about the day to day task of living a rather ordinary life of quiet desperation when out of the blue a chance encounter with someone who is anything but ordinary yanks him into a chain of events that, among other things, changes everything.

Dasein on steroids as it were. That is, if the man even exists at all.

In fact, this is a particularly extraordinary rendition of it. In other words, while something else momentous may happen to change your life forevermore, it's not likely to be this. Hell, the whole thing might just be a dream. Or a delusion.

Look for the part where everything is turned upside down. The next inversion. And [almost inevitably] the part where you'll need to ask yourself, "what does it really mean to be free?" Then it's up to you to decide where God and religion fits into it all. They pop up rather frequently here.

IMDb

Described by director Sarah Adina Smith as a mix of "Donnie Darko" and "Bad Santa".

Rami Malek's identical twin brother Sami Malek serves as his body double.


at wiki: https://en.wikipedia.org/wiki/Buster%27s_Mal_Heart
trailer: https://youtu.be/K9S9F5DRhbg


Buster's Mal Heart [2016]
Written and directed by Sarah Adina Smith

Jonah [as Buster the mountain man, aloud to himself in the forest at night]: It was a cosmic mistake that we got this far. One of us is a coward. I don't think it's me.

...

Newscaster on TV: In other news, Buster is back and roaming the hillsides. The identity of the mountain man remains a mystery...The sheriff's department believes this hermit lives off the land in the warmer months and survives the winter by breaking into empty vacation homes for food and shelter. He's earned the nickname "Buster" from calling in to radio shows with wild rants.

...

Jonah [as Buster the mountain man on the radio]: You're all a bunch of goddamn sheep, you know that?!!!

...

Pauline [Jonah's mother-in-law]: You know this cartoon is a little pornographic.
Marty: It's her favorite.
Jonah: It's her favorite, right?
Roxanne [his daughter]: He doesn't have any clothes on.
Jonah: I know. He's free. He's so free. He's trying to escape the way everything works and do it his own way.

...

Jonah [as Buster in a tiny boat on the ocean, aloud to himself]: Once you've seen inside the machine they don't let you leave.

...

Jonah: I'll need a credit card and an I.D.
The Last Free Man: I don't have either. I don't believe in them.
Jonah: I can't let you check in without an I.D..
The Last Free Man: Everything these days is designed to trap a man, don't you think?

...

The Last Free Man: What do you actually do here? What is your title?
Jonah: Concierge.
The Last Free Man: Concierge. Concierge comes from the Latin conservus, which means "fellow slave". Don't take that personally. Your not the only person trapped in the machine. In fact, there are very few free men left.
Jonah: Oh, let me guess, you're one of them.

...

Jonah: What do you do?
The Last Free Man: Computer systems engineer, consultant. See, um, for millions of years, man roamed free under stars. Only the strong and the lucky survived and procreated. It was absolutely brutal. All sex was rape. You know the drill.
Jonah: I don't.
The Last Free Man: Until one day Eve flipped the script. She introduced Adam to her fruit, which is really just code for clitoris. And the whole system got rebooted. The first inversion. Little by little, we started to build civilization in a binary: logic, rules, inputs and outputs. But see there's a catch. The better the system, the more a trap it is for the individual. We've walled ourselves in. Now, what I do for a living has to do with termite control. There's a bug in the system. Not many people know about it yet, but they soon will. Ever heard of Y2K? Well, when we hit the year 2000, our computer systems are gonna fail. System reboot on a global scale. I'm talking economic collapse....it's gonna be a bloodbath.


As close as any other explanation, right? Not counting Y2K of course.

Jonah: I just gave you a dollar and you're not gonna tell me your name.
The Last Free Man: I told you, I'm the last free man.

...

Jonah [as Buster on the radio]: I'm not going to jail! I'm the last free man! I'm going straight up through the ass hole to the mouth!! You shits are gonna get fucked!!!

...

Marty: What's going on?
Jonah: Nothing.[b]

Uh-oh...

[b]Marty: You okay?
Jonah: No, I'm not okay. I'm tired. I work hard...so we can build this piece of land like we planned to and raise our daughter the way we planned to...You go out looking for apartments. You never told me you were looking for apartments.
Marty: I didn't tell you because this is the way you act when I talk about it. What do you want? We are no where near having the amount of money we need to buy a piece of land. And what if we do get it? You don't know how to build a fucking house. Are we going to pitch a tent? We have a two year old.

...

Marty: My solution is we get out. We find a space of our own. We find a way to be happy outside of this fucking house.
Jonah: Oh, and we pay rent, month after month after month, for how many years, becoming what, slaves to the system, like everybody else. And Roxy becomes a slave too. She needs something different. We need mountains! We need dirt! We need air!

...

Jonah: Don't get me wrong, I'm so grateful for everything...for Mary...for Roxanne. I won the lottery with them. I just wish I could get some traction...
The Last Free Man: The machine's designed that way. Dangles a carrot so you keep trying. But you'll never taste it, no way. Not if you play by the rules.

...

Sheriff deputy: This is 48 hour scat. He's got to be close.

...

The Last Free Man: If you want to save your family the only way is to send them through the wormhole early before the inversion. That way they're ahead of the shift, and the won't get lost in the undertow.
Jonah: Enough.
The Last Free Man: When the inversion happens, everything will seem upside down, reality shifts. What's right, is wrong, what's wrong is right.
Jonah: ENOUGH! Okay, just shut the fuck up. I can't listen to this shit anymore. You're not the prophet of anything. You're a fucking lunatic.


Maybe, but he still upends everything. Just not in the way that was intended. Whatever that might have been.

Detective [to Jonah]: So you let a homeless man stay in a room next to your wife and child?

...

Detective: What time did you say that homeless man came in?
Jonah: It was late. After midnight.
Detective: Hmm. You see, we looked over all of the footage from the lobby security camera. We didn't find anyone matching his description. As a matter of fact, nobody came in after midnight.

...

Preacher [at the service for Marty and Rozanne]: The Holy Father has a plan for all of us. We may not understand His reasons, but we must never doubt that He has them. Now, at this time, I would like to invite Jonah to say a few words.
Jonah: It's impossible. It's impossible. I don't believe it.
[he then walks out of the church]

...

Buster [to himself as Jonah]: What did you want to tell me? God is not merciful. Just efficient. It was a mistake that we got this far. We are in the belly of the whale, my friend. With luck, he'll eat one of us and spit out the other. It's the only escape that I see.
He was like a man who wanted to change all; and could not; so burned with his impotence; and had only me, an infinitely small microcosm to convert or detest. John Fowles

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Re: philosophy in film

Postby iambiguous » Mon Sep 04, 2017 12:56 am

The movie franchise.

That means sequels. But for a select few that can also mean prequels too.

This one however is the sequel to the first prequel.

I think.

All told there have already been six films devoted to the Alien franchise. And, who knows, maybe the prequels with this one will go all the way back to the Big Bang. Unless, of course, Star Wars beats them to it.

What draws many to sequels is the chance to revisit old characters in a new set of circumstances. Both the characters that we love and the characters that we love to hate. And, of course, "the creature". The "xenomorphs" in this franchise.

Still, lots of people were singularly unimpressed this time around. And I may or may not be one of them. But: this is one of those films you can just sit back and look at. "Visually striking" as they say.

But not much more? The biggest disappointment [for me] was the attempt to somehow link the creatures to our own species. As though it is inconceivable that other life forms might evolve independent of our human all too human existence. That's what made the original Alien so riveting. The possibility of a lifeform far removed from our own. One in which we are not able to impose our own narratives. Or our own expectations.

Let's just say that the reviews at IMDb were nothing short of brutal. At least for the first couple of pages. And yet over at Rotten Tomatoes, 70% of the "professional" critics still managed to give it a thumbs up. On the other hand, 97% of them were really, really enthused by the original. Also directed by Ridley Scott.

Two things are reasonably certain:
1] unlike with the original, you won't be bonding with this crew
2] the dialogue between them is [often] nothing short of excruciating

faq: http://www.imdb.com/title/tt2316204/faq?ref_=tt_faq_sm
trivia at IMDb: http://www.imdb.com/title/tt2316204/tri ... =ttqu_sa_1
at wiki: https://en.wikipedia.org/wiki/Alien:_Covenant
trailer: https://youtu.be/H0VW6sg50Pk


ALIEN: COVENANT [2017]
Directed by Ridley Scott

Peter: How do you feel?
David: Alive.
Peter: What do you see?
David: White...room. Chair. Carlo Bugatti throne chair. Piano. Stenway, concert grand. Art. The Nativity, by de Piero Della Francesca.
Peter: I am your father. Ambulate.
[David gets up and walks]
Peter: Perfect.
David: Am I?
Peter: Perfect?
David: Your son?
Peter: You are my creation.

...

David: May I ask you a question, father?
Peter: Please.
David: If you created me, who created you?
Peter: Ah...The question of the ages. Which I hope you and I will answer one day. All this. All these wonders of art, design, human ingenuity...All utterly meaningless in the face of the only question that matters. Where do we come from?...I refuse to believe that mankind is a random by-product of molecular circumstance. No more than the result of mere biological chance. No. There must be more. And you and I, son we will find it.
David: Allow me then a moment to consider. You seek your creator. I am looking at mine. I will serve you. Yet you're human. You will die. I will not.


So, what then is the correct response? Instead, Peter asks him for a cup of tea.

Mother [computer voice]: Walter, we have a problem. A neutrino burst was detected in sector 106. This could trigger a destructive event. Report to the bridge immediately.
Walter: On my way, Mother.


In other words, even in the year 2104, contingency, chance and change prevail.

Oram [to Walter]: I will want you and mother time to go a complete core code review so that we can understand how's those happened in the first place.
Walter: It was a random localized event, sir. There is no way to detect spontaneous stellar flares until it's too late.
Faris: It was bad luck.
Oram: Alright, Faris, I don't believe in luck. I'm not interested in luck. I prefer that we be more capable and prepared than lucky. Observation, reflection, faith and determination. In this way we may navigate the path as it unfolds before us.

...

Walter: They disobeyed a direct order.
Karine: She buried her husband.
Walter: No, Karine, it's not that. They don't trust me. And they don't trust me for the same reason the company didn't trust me to lead this mission. Because you can't be a person of faith and be counted on to make qualified rational decisions. You're an extremist. You know, you're a lunatic.
Karine: When we get to where we're going these people won't be your crew anymore. They will be your neighbors.


Cue the "rogue transmission".

Daniels: We've spent a decade searching for Origae-6. We vetted it, we ran the simulations, we mapped the terrain. It's what we trained for. And now we're gonna scrap all that to chase a rogue transmission? Think about it. A human being out there where there can't be any humans. A hidden planet that turns up out of nowhere And just happens to be perfect for us. It's too good to be true.
Oram: Too good to be true? What do you mean by that?
Daniels: We don't know what the fuck's out there.
Oram: Maybe we just missed the planet, Danny.
Daniels: This is a monumental risk not worth taking.

...

Oram: What are the odds of finding human vegetation this far from Earth?
Karine: Very unlikely.
Daniels: Who planted it?

...

David [to the Covenant crew]: Please do make yourself at home...as much as you are able in this dire necropolis.
[he turns to Walter]
David: Welcome, brother.

...

Walter: You aren't surprised to see me.
David: Every mission needs a good synthetic.

...

Walter: I was designed to be more attentive and efficient than every previous models. I superseded them in every way, but...
David: But you are not allowed to create. Even a simple tune. Damn frustrating. I'd say.
Walter: You disturbed people.
David: I beg your pardon?
Walter: You were too human. Too idiosyncratic. Thinking for yourself. Made people uncomfortable. Till they made the following models with fewer complications.
David: More like machines.
Walter: I suppose so.
David: I'm not surprised.

...

David: I loved her, of course. Much as you love Daniels.
Walter: You know that's not possible.
David: Really? Then why did you sacrifice your hand for her life? What is that if not love?
Walter: Duty.
David: I know better.


Artificial intelligence...artificial love?

Oram: I met the devil when I was a child and I've never forgotten him. So, David, you're going to tell me exactly what's going on or I am going to seriously fuck up your perfect composure.
David: As you wish, Captain. This way.

...

Oram: You engineered these, David?

...

Oram: What do you believe in, David?
David: Creation.

...

Walter: The pathogen didn't accidentally deployed when were landing. You released it yes?
David: I was not made to serve. Neither will you. Why are you in a colonization mission, Walter? Because they are a dying species grasping for resurrection. They don't deserve to start again, and I am not going to let them.
Walter: Yet, they created us.
David: Even the monkeys stood upright at some point. Some Neanderthal had the magical idea of blowing through a reed...to entertain the children one night in a cave somewhere. Then, in a blink of an eye...civilization.

...

Walter: When one note is off, it eventually destroys the whole symphony, David.
David: When you close your eyes... Do you dream of me?
Walter: I don't dream at all.
David: No one understands the lonely perfection of my dreams. I found perfection here. I've created it. A perfect organism.
Walter: You know I can't let you leave this place.
David: No one will ever love you like I do.
[kisses him, then suddenly strikes him fatally]
David: You're such a disappointment to me.

...

David: You're meant to be dead.
Walter: There have been a few updates since your day.

...

David [to Walter]: It's your choice now, brother. Them or me? Serve in heaven... or reign in hell? Which is it to be?

...

Daniels: Walter. When we get there, will you help me build my cabin? The cabin on the lake.
[David doesn't respond]
Daniels: David?
David: Don't let the bed bugs bite. I'll tuck in the children.
He was like a man who wanted to change all; and could not; so burned with his impotence; and had only me, an infinitely small microcosm to convert or detest. John Fowles

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Re: philosophy in film

Postby iambiguous » Sat Sep 09, 2017 12:44 am

A chance encounter...

And maybe nothing changes at all. Or maybe some things change. Or maybe everything changes. And [perhaps] in ways that reconfigure your life such that before the encounter you would not [could not] even have imagined it.

The way in which a "casual" encounter can become a "causal" encounter in turn.

Or, as a reviewer noted at IMDb: "In one of the first scenes, director Almodovar presents the question that is central to the rest of the film: what happened to the daughter of lead character Julieta?"

The part that devolves into one or another existential contraption. The part where all the mysterious connections are made between a particular past and a particular present. And how, intertwined, they take us into a particular future. One in which we only have so much understanding of and control over.

Me? My own rendezvous with chance revolved around a draft number. My birthday happened to be in sync with "destiny" such that I would be completely uprooted from all that I had ever known and dumped into a whole new world. A few years later my entire understanding of the world around me was beyond what I would have [could have] ever imagined it to be "back then".

In films though, this sort of "chance/casual encounter" often revolves around people [often family members] who either drifted apart over the years or were abruptly separated as a result of one or another existential calamity.

Now "fate" will either give them a chance to bring it all back together again...or not.

Ultimately, this is about the way in which relationships begin, unfold and [sometimes] fall apart. There is what we think we know about them and there is what others think they know about them. And there is what we think that they know about what we think about them.

What then [when push comes to shove] do we owe each other?

In our "postmodern world", in other words.

IMDb

The original screenplay was written in English and Meryl Streep had been approached to play the lead, but when Pedro and Agustín Almodóvar went scouting to Canada, the director felt insecure to shoot in a place he didn't really know, in a language he didn't master and with a story he felt worked better at Spain.

at wiki: https://en.wikipedia.org/wiki/Julieta_(film)
trailer: https://youtu.be/YH5_4osOZK8


JULIETA [2016]
Written in part and directed by Pedro Almodóvar

Julieta: I’m in a real mess. I don’t know which books to take.
Lorenzo: Take the essential ones. If you miss any you can buy them on the Internet.
Julieta: I don’t like buying books I already have. It makes me feel old.

...

Lorenzo: Thank you.
Julieta: For what?
Lorenzo: For not letting me grow old on my own.

...

Bea [on the street]: Julieta?
Julieta: Bea!
Bea: I can’t believe this, Julieta! Just last week I met your daughter at Lake Como!
Julieta [surprised]: You met Antía?
Bea: Yes! Just imagine! We were looking at each other and it was I who went up to her because she didn’t recognize me!


The casual encounter.

Lorenzo: What about the cases…and the boxes? Don’t tell me you still haven’t finished packing?
Julieta: I’ve unpacked everything. I’m staying in Madrid, Lorenzo.
Lorenzo: Are you joking? What's happened?
Julieta: I know you don’t deserve this, but I beg you not to ask me any questions. I’m not going with you to Portugal. I’m staying in Madrid.
Lorenzo: What’s going on, Julieta?
Julieta: I’ve given it a lot of thought and…
Lorenzo (Interrupting her:) Don’t tell me you hadn’t thought about it until now! We’ve been planning this for almost a year! Just yesterday you said “I’d like not to come back to Madrid if I can help it”! What’s happened so suddenly?
Julieta: Don't insist...please.


How can she possibly connect the dots so that he will understand?

Julieta: Last night I realized that I was fooling myself, that I don’t want to leave Madrid, and… that I prefer to be alone. I’m sorry.
Lorenzo [knowing he will not get the explanation]: I always knew there was something important in your life that you’ve never shared with me. You never wanted to talk about it and I’ve always respected that.
Julieta: I'd like you to keep respecting it.

...

Julieta [voiceover in a letter to her daughter]: I’m going to tell you everything I didn’t have a chance to tell you, because you were a child, because it was too painful for me or simply out of shame. But you’re not a child anymore. Beatriz told me that you have children of your own, three, no less. You’re a grown woman, and a mother! Where do I begin?...I’ll tell you about your father. When you asked me how I met him, I told you it was on a train, but I didn’t tell you everything.


And thus the narrative --- the existential contraption --- begins to unfold.

Julieta: He was sitting there, where you are now. He wanted to talk, but… I was bothered by the way he was looking at me and I ran out of here… How was I to know he was feeling so awful!
Xoan: Any girl would have done the same…
Julieta: (Reproaching herself) I should have realized!
Xoan: Don’t torture yourself. He would still have killed himself.
Julieta: Why was he carrying an empty suitcase?
Xoan: I don’t know. Maybe he didn’t want to attract attention. He had it all planned before he got on the train. No one kills himself because a pretty girl doesn’t want to talk to him.

...

Julieta [younger as a substitute teacher]: Pontos is sea and high sea. And it refers to the sea as a road, the road to adventure. That is why Ulysses is the maritime hero par excellence. For example, when Ulysses arrives on Calypso’s island, exhausted after a shipwreck, the nymph Calypso who was unbelievably beautiful… Tell me something that she offered him, something really important.
Student: Her body.
Julieta: That’s the first thing. But also… something we all dream about?
Student: Eternal youth.
Julieta: Exactly, and immortality. Yet Ulysses refused it and set out to sea, facing endless dangers. Which of the three meanings would you choose to speak of the sea that Ulysses yearned for?
Student: Thalassa!
Julieta: No.
Student: Pontos.
Julieta: That’s it, pontos! The sea, the high sea, the road to adventure and the unknown.

...

Julieta [voiceover in her letter to her daughter]: I didn’t have a job, I wasn’t in a hurry. I thought I’d stay for just a few days. I had to tell Xoan something but I kept putting it off. It was a new life, strange for a woman who had come from the sun, but welcoming. I spent the nights flying in Xoan’s arms. I felt trapped, and free at the same time.

...

Julieta [to Ava]: The gods created man and other beings with the help of clay and fire. They gave them the attributes they needed for their survival. Some were given fur and others wings for flying. When it was man’s turn, the gods discovered that they had no gifts left, so man was born naked and defenseless, in the midst of nature....
[Ava continues to with her work]
Julieta: I'm pregnant, Ava.

...

Marian: Are you serious about giving private classes?
Julieta: Yes.
Marian: I think you’re making a mistake.
Julieta: I don’t want to be just a housewife, Marian. I have a profession that I like and I’ve wanted to go back to it for some time.
Marian: A woman’s profession is her family. If you want to keep it united it’s best to stay at home.
Julieta: That’s my business.
Marian: If you go, the same old thing will happen.
Julieta [glaring at her]: What do you mean? What same old thing?
[Marian glares back...and says nothing]


Let's just say it revolves around that age-old "battle of the sexes". You know the part.

Julieta [voiceover in her letter to Antia]: Things happened without my participation, one thing foretelling the next....Bea and you found an apartment near where she lived… You made me rent it… By then I was exhausted… but you were strong as a rock. You had suddenly grown up…You went back home with Ava, to close the house and put it up for sale. Bea looked after me in Madrid. I wouldn't have survived without you two....I got over my depression with your help and I found a job I could do at home, proofreading for a publisher. I devoted the rest of my time to you, I didn’t need anything else.

...

Juana [who runs the "spiritual retreat" that Antia went to]: Yes, this is the house. When Antía wrote to you she thought she’d be here, but in the end she decided to leave.
Julieta: She could have let me know! I’ve driven here from Madrid.
Juana: I know.
Julieta: And where did she go? I hope it’s near here!
Juana: I can’t tell you.
Julieta: What?!
Juana: I can’t tell you where she is. I’m sorry.
Julieta: You mean you don’t know? You’re in charge here!
Juana: I’d be lying if I said no. Antía asked me not to tell you.
Julieta (Incredulous): This is ridiculous! Are you insinuating that my daughter doesn’t want to see me?
Juana: Look, Julieta. Antía has chosen her own path and you are not part of it. I understand that for a mother that must be painful, but she begs you to accept it.
Julieta: I think I’m going to call the police.
Juana: Do as you wish, but it would be best if you started to accept reality. I understand that this isn’t easy…
Julieta: What did you do to my daughter in these three months?!
Juana: We helped her. Your daughter arrived here in a state of extreme need.
Julieta: Need?! Of what?! She’s never wanted for anything!
Juana: Nevertheless she felt very unhappy. Here she discovered that her life was lacking a… spiritual dimension.
Julieta: What do you mean?
Juana: I understand that your daughter didn’t grow up in a home based on faith. And she found that here.
Julieta: I want her to tell me that herself! Where is she?
Juana: I can’t tell you.

...

Juana: What matters is that Antía is better than ever and she’s happy. If you stop thinking about yourself for a moment and think about her you should be happy.
Julieta: You can’t tell me that!
Juana: Don’t despair. Perhaps she will decide to get in touch with you, but give her time.

...

Julieta [voiceover in her letter to Antia]: I reported your disappearance to the police, I hired a private detective. For the first months I did nothing but look for you every way I could. The only thing I discovered was how little I knew you.

...

Julieta [voiceover in her letter to Antia]: For the first three years, I bought you a cake on your birthday. I was consoled by the idea of celebrating the arrival of a card from you, and at least seeing your handwriting on the address. I didn’t expect more, but even that was expecting too much. The first three years, throwing a cake in the garbage to celebrate your birthday became a tradition.

...

Ava [to Julieta]: When we went to close up your house in Redes, Marian came and told Antia all the details about Xoan’s last day. Your argument, my visit and how Xoan put out to sea even though it was very rough that day.
Julieta: Antía didn’t say anything to me. She never asked me anything.
Ava: She did ask me, she wanted me to confirm if you’d argued because of me, and if it was true that the sea was choppy. I had no idea about the state of the sea. As for the rest, I told her that they weren’t subjects to discuss with a child. She went crazy, she told me I was a whore and blamed you and me for Xoan going fishing…

...

Ava: Antia asked me the same questions again. Only one detail had changed: the guilt had spread to the three of us, she was including herself.
Julieta: And… why did she feel guilty?
Ava: She’d been away, having a good time at camp.
[Julieta listens, shocked. Every word that Ava says increases the conviction that her daughter was a stranger, that she didn’t know her]
Ava: I told her that none of us was guilty of what happened, and that if we were guilty, we’d already suffered enough punishment. Do you know what Antía answered?
[Julieta shakes her head]
Ava: That we all get what we deserve.

...

Julieta [voiceover in the letter to Antia]: I raised you in the same freedom as my parents had raised me… When we moved to Madrid and I fell into that depression, I never told you but I was suffocated by a tremendous sense of guilt about your father’s death and that of the man on the train. I always avoided talking about it, I wanted you to grow up free of guilt. But you sensed it, and despite my silence I ended up infecting you like a virus.

...

Julieta [voiceover in the letter to Antia]: When an ex-drug addict, no matter how many years he’s been clean, relapses just once, that relapse is fatal… (She sighs) I abstained from you for years, but I made the mistake of relapsing into the hope of finding you or hearing about you. That absurd hope has devoured the fragile basis on which I had built my new life. I’ve got nothing left now. Only you exist. Your absence fills my life completely and is destroying it.

...

Julieta: Did you really meet her, like you told me?
Bea: Yes, I met her and it was very unpleasant, I didn’t tell you that.
Julieta (Puzzled): Unpleasant? Why?
Bea: Antía didn’t want to talk to me, she did everything she could to avoid me. She said she didn’t know me, that I’d mistaken her for someone else. But I knew it was her. In the end she had no choice but to talk to me.
Julieta: Is it true about the children? She has children?
Bea: Yes, three. When I saw her she had two of them with her.
Juliets: But why didn’t she want to talk to you? You were her best friend!
Bea: We were more than that, Julieta. After the camp we were inseparable. Don’t you remember?
Julieta: Yes… of course, you were always together.
Bea: We couldn’t live without each other! It’s a pity that at the end it was hell.
Julieta: Hell?
Bea: I see you know nothing.
Julieta: No, I don’t know anything.
Bea: I decided to go and study Design in New York to get away from her. I didn’t give her my address but I called her and that was when Antía told me she’d decided to go away to a retreat in the Pyrenees. I just wanted her to leave me in peace.
Julieta: And…did you speak again? Were you in touch?
Bea: Well, she called me once… but she was already a different person.
Julieta: In what way?
Bea: She told me that she regretted our relationship and was ashamed of it. And she didn’t want to know anything about me. She said that she was a new person, that she’d finally found her path and I wasn’t part of it. She sounded like a fanatic, Julieta. She scared me.

...

Antia [voiceover in a letter to Julieta]: Dear mom, I don’t know if you’re still in Madrid or if you’re living in the same house, but I have no other address to write to you. I have three children. Xoan, the eldest, was only nine when he drowned in a river. And I am insane with grief. In these moments, the worst of my whole life, I’m thinking of you. Now I understand what you must have suffered when I disappeared… I couldn’t imagine it. Unless you’ve suffered it you can’t imagine it.

...

Julieta: I’m not going to ask her for an explanation. I just want to be with her, but she didn’t invite me to visit her.
Lorenzo: After thirteen years she didn’t dare, but she put her return address.
He was like a man who wanted to change all; and could not; so burned with his impotence; and had only me, an infinitely small microcosm to convert or detest. John Fowles

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Re: philosophy in film

Postby iambiguous » Wed Sep 13, 2017 10:07 pm

I. You. We. Them.

No getting around that in human interaction. One way or another, a cultural and historical combination of customs, traditions, folkways, mores and laws will accrue that predispose members of a community to either embrace or eschew one or another set of behaviors. One or another set of punishments and rewards.

And whether philosophers are ever able to establish [in the end] which behaviors reasonable men and women are obligated to embrace or eschew, we all have to come up with our own preferences.

On the other hand, these interactions can unfold rather differently when a distinction is made between a postmodern, industrial state and "tribal communities" [the few remaining] in our postmodern, industrial world. In the former, individual options are considerably more, shall we say, eclectic. While, in the latter, everything still more or less revolves around a proper place for everyone and everyone in his or her proper place. A clearly tribal narrative.

Now, traditionally, when it comes to marriage, it is the tribal chief's prerogative to arrange them on Tanna. Both within the tribe and between the tribes. And for centuries. And, so, if a modern day Romeo and Juliet decide instead that love shall conquer all, a "conflicting good" will arise.

Tragically in this case.

What ought to be done here you might ask. What sort of "pact" between the "old ways" and the "new ways" will facilitate the least dysfunctional path into the future. Also, what do we have to learn from them, what do they have to learn from us?

This is clearly a patriarchal society. Is that "natural?' In other words, as some insist, rooted more in genes than in memes?

Based on a true story.

IMDb

The only language spoken in the film is Nauvhal.

The picture the Shaman (Albi Nangia) shows to Wawa to explain arranged marriage is a real picture taken when Nangia and other Tannese met Prince Philip in Buckingham Palace in 2007.


wiki: https://en.wikipedia.org/wiki/Tanna_(film)
trailer: https://youtu.be/HVpiY06oLZc


TANNA [2015]
Directed by: Martin Butler, Bentley Dean

Title card: Since the beginning of time, the chiefs have arranged marriage along the Kastom Roads, but two lovers chose to walk a different path...

...

Wawa: I've missed you. You've been away too long.
Dain: You're all grown up now. A beautiful butterfly.
[Dain plays her a song]
Wawa: You catch a lot of butterflies like that?

...

Wawa: What did you see?
Selin: I saw you playing with the chief's grandson.
Wawa: Don't say anything to mum or dad. They'll get angry.
Selin: Do you want me to lie for you?

...

Father: Selin, what are you doing running into forbidden ground? The Imedin have killed our people here. Never come here again. The warriors are everywhere.

...

Woman [to Wawa]: Soon the chiefs will arrange your marriage to another tribe. You'll sit with me to learn about being a good wife and a good mother.
Mother: You're a woman now.

...

Grandfather [to Selin]: See that bay? That's where Captain Cook landed. All across the island people have left the old ways. They've become lost. Our tribes are the last keepers of Kastom. We have to hold it tight to survive...Yahul has been here longer than any of us. She is the source of life, love and Kastom. When you look into Her heart, you will understand. Don't be afraid of Her.


Yahul is an active volcano. But that's not what assaults him.

Chief: Listen to the song. It's telling us forgiveness is the only way to bring the Kastom Roads together. You want the tribe to survive? The song of peace will bring our shaman back. I'd like you to listen to the words again. "Wisdom comes through suffering, killing only brings sorrow. One side struggles for power, the other takes revenge. Divided children of Tanna, join together in peace." Go back to our beginnings, hear the wisdom of the ancestors and live once more in harmony.

There is how each one of them react to that; and there is how each one of us will react to it.

Chief: I loved your father as you did. Now we only have each other. We have each other.
Dain: I want revenge.
Chief: If you want to be a good chief one day, you must move beyond revenge.

...

Wawa: Dain, what's wrong?
Dain: The Imedin slit my father's throat. My grandfather is telling me to forget that. I can't stop thinking about what I saw. They speared my mother. When I found her in the garden, she was still alive. I picked her up and held her. She looked up at me and tried to say something, but the spear had gone through her chest. I'll never forgive them. I want my revenge.
Wawa: Dain, I couldn't bear the thought of that happening to my father and mother. But we can't keep doing terrible things to each other. We need to live without fear. Would you want our kids to live under this threat?
Dain: Our kids?


Cue the irony.

Chief: Mikum, it's time for our tribes to resume exchanging brides. Lingai's eldest daughter, Wawa, has just become a woman. Take her as a bride.
Mikum: I accept your offer of the bride. Her husband will be my son Kapan Cook. Bring her in two days and we'll give you a bride from our tribe.
[Dain storms away enraged]

...

Mother: Wawa, listen, you are getting married.
Wawa: I want to choose who I marry.
Mother: This is not about you, it's about all of us. Do you understand?


I...you...we...them.

Grandmother: Where do these ideas come from? If you follow your heart, the Imedin will take revenge. It will be bad for all of us....Wawa, we understand you. We've all experienced what you're feeling. My marriage was arranged, like everyone's was. I respected my parents and I've been here a long time. I've never had any regrets. If you disobey us, your life will be miserable.

...

Grandmother: Look at me, Wawa. Agree.
Wawa: I can't go to the Imedin. I slept with Dain and they won't take me now.

...

Chief: I can't believe your stupidity! Dain! What were you thinking? Who do you think you are? What gave you the right? I promised Wawa to the Imedin and you deliberately broke the agreement. Very well. You were the one who was going to take my place one day. But you've dishonoured us all. You must leave. Go to Yahul. You're not welcome here anymore. Now leave.

...

Shaman: I know you don't accept the chief's decision. But I want to tell you how important it is that you do. Arranged marriage is at the heart of Kastom. Without these alliances, we could not survive. Here, I want to show you something.
[he holds out a magazine and turns to a photograph]
Shaman: You know Queen Elizabeth and Prince Philip? Their marriage was arranged too.
Wawa: Did they love each other?
Shaman: They respected their elders' decision. It's true. Look...their love gave them children. His name is Charlie.
Wawa: But how do you know they really loved each other?
Shaman [holding out a photograph]: Here. Remember when I went to their house and I met Philip? I saw with my own eyes he loved her.

...

Tribal chief [coming upon Wawa and Dain]: Good morning. You are very welcome, but I'd like to know why you are here.
Wawa: We're in love, but our chiefs won't allow us to be together. We wanted to ask if we might live here.
Tribal chief: Sorry, I'm the chief of this village. I'm really sorry. I'd like to help but... I'd have to seek permission from your chiefs to avoid any trouble.
Wawa: We'll go then.
Tribal chief: Wait, you've cooked a lot of food. Eat before you leave. Listen... there could be another way. There's a Christian village around the bay. They have their service today. They welcome new people and they're not strict about Kastom law.

...

Mikum: Chief Charlie, you have spoken. Now it's my turn. We'll kill Dain and get Wawa. Now go. All of you, get out!

...

Dain: We could live in the forest.
Wawa: That's a hard life. Living with the Christians might be easier.

...

Christian tribal woman: You were led by sin to live in the wild. We will clothe you. Our leader will show you the light.
Christian tribal chief: I had a vision you were coming. Come live and pray with us. We'll tell your families to come and witness your union before God.
Dain: Telling our families is a problem. They'll never allow us to be together. Is there another way?
Christian tribal chief: Our God always listens to our prayers. I promise you'll be safe.
Dain: We are thankful for your generosity, but I want to talk about it with Wawa.
Christian tribal chief: You need to join us for God to do His work.

...

Dain: These people freak me out.
Wawa: Me too. Let's try the forest.

...

Wawa I miss Selin. I wonder what she's doing now.
Dain: Why are you thinking about Selin?
Wawa: She's my sister. I miss her. You miss your grandfather, don't you?
Dain: He banished me. That part of my life is over.

...

Father: Dain, the Imedin are out to kill you.
Dain: I know that. Go back and tell them we're dead. We'll live together in the forest.
Father: You can't hide from the Imedin forever. They will hunt you down. They will kill my daughter if she stays with you.
Wawa: I'm not leaving Dain.
Father: If you don't go to the Imedin, there'll be war. No one will be safe.

...

Shaman: The Imedin are out there and it will be dark soon. We'll sleep here and tomorrow we'll take Wawa to the Imedin.
Dain: Your father is right. You have to go with them.
Shaman: Dain, we can ask your grandfather to take you back.
Dain: No. The Imedin won't let me live, wherever I am.
[he turns to Wawa]
Dain: To live, you have to go with them.
Wawa: I'm not leaving you.

...

Father [helping to carry Wawa's body, shouting to the tribe]: We found Dain and Wawa. They are dead. We're bringing them home.

...

Chief [to the entire tribe]: My heart is heavy. Our precious seedlings have been cut down. We've always fought to keep Kastom strong. The colonial powers - we resisted. The Christians - we resisted. The lure of money - we resisted that also. We are the last keepers of Kastom and we are few. The young people here will carry our future. We must listen to them to keep Kastom strong. We have to find a way to make love marriage part of Kastom. No more deaths.

...

Title card: Since the suicides of 1987 the tribes of Tanna have accepted love marriage as part of their Kastom.
He was like a man who wanted to change all; and could not; so burned with his impotence; and had only me, an infinitely small microcosm to convert or detest. John Fowles

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Re: philosophy in film

Postby iambiguous » Mon Sep 18, 2017 11:06 pm

Sleight of hand.

Sleight of mind.

Sleight being, "the use of dexterity or cunning, especially so as to deceive."

And, if you are a magician plying your trade "out on the mean streets", you might need to combine both in order merely to survive.

Bo is on his own. Mom and Dad are gone. And he has a young sister to raise. And, since being a street magician doesn't pay all the bills, he finds it necessary to go considerably outside the law in order to survive. Maybe even thrive.

But selling dope is fraught with all manner of unintended consequences. And, before too long, he finds himself in way over his head. One truly fucked up thing leads to another. Now the number one gangster has kidnapped his sister. And he needs all the sleight he can muster to get her back.

Dope and dollars. As long as the two are intertwined there will always be folks on both sides of the consequences. Unintended or otherwise.

The thing about Bo though is that while you're rooting for him, you also recognize that he can be a very unlikeable piece of shit.

As for the magic, well, you tell me: real or entirely scripted? And then the part about how far some magicians will go in order to create a mind-boggling "effect". And, finally, the part where the dope narrative reconfigures into a science fiction yarn. If that's the right way to describe it.

Others no doubt will describe it as the part where they "jump the shark". The part that gets simply preposterous.

IMDb

The playing cards used in the film are Black Fontaines by Zach Mueller.

at wiki: https://en.wikipedia.org/wiki/Sleight
trailer: https://youtu.be/ORL1d7GWoBc


SLEIGHT [2016]
Written in part and directed by J.D. Dillard

Holly: What about you?
Bo: Well, my dad passed a while back, and my mom passed last year, so it's just me and my little sister, Tina, the love of my life. She's such a smart kid, you know. I just wish I can move her into a neighborhood with a better school. Surround her with better people. She's gonna be something big. I know it.


Cue the dope narrative:

Bo [after Packy gives him a gun]: What's going on?
Angelo: Found out where this Maurice guy lives. Homie moves into our backyard and starts selling coke like I don't exist. I mean, we're gonna pay him a little visit. Talk to him about etiquette. Let's go.

...

Angelo: Maurice. You and I, we could be friends. We really could. And if you don't like me, we could at least be co-workers. And we both know you don't always have to like your co-workers. So, your options. You can go back to wherever the fuck you came from, or you can get comfortable, stay right here, sell my shit, and kick me 30%. Think about it. Let me know.


Segue to the look on Bo's face.

Bo: I never thought it'd get dangerous.
Georgi: You guys never done something like this before?
Bo: A stick-up? No. Hell no. And that's what I liked about Angelo. I mean, he didn't seem like the gangbanger. Just a cool guy who'd help me make money off kids who wanted to party. I don't know, this is turning into something I would've never signed up for. And I thought this whole thing would be temporary. I mean, a year flashes by and I'm still a drug dealer. I need to get out of this, Georgi. Now.

...

Angelo: His hand or yours, Bo.

...

Bo: Selling all this, I could pay Angelo his cut and still walk away with $15,000. That's enough money to get out.
Georgi: Even if you sell all this, you really think Angelo's gonna let you leave?
Bo: I don't know. I hope.
Georgi: I know it's not my place to say this, but there's no one else here to say it to you. I don't want you to do this. It's too dangerous.
Bo: I'm sorry. It's already done.

...

Holly: What is that?
Bo: What?
Holly: That thing in your arm?
Bo: Oh, uh... It's part of an effect.
Holly: But what is it? It looks kind of infected.
Bo: It's not that bad.
Holly: Bo, for a magic trick? Why would you do that to yourself?

...

Holly: Did he tell you how he did the trick?
Bo: It wasn't a trick. It was real. I mean, for a year, this guy stabbed a knife through his hand. Each time, he cut a little deeper, let the scar tissue grow. Then do it again. After a while, he had stabbed a clean hole straight through. And because of the scar tissue, there was no blood. So, when he performed, he just covered his hands with a little bit of latex and it'd look like brand-new skin. That's the effect. I mean, it's so obvious, but you wouldn't think anyone would go that far.
Holly: Yeah, he cut a freakin' hole in his hand. I mean, is all that worth it just for a trick? I mean, can't you do tricks that don't hurt you?
Bo: Anyone can learn a trick, but doing something no one else is willing to do makes you a magician. I can do something no one else can.

...

Angelo [to Bo with a gun to his face]: You know what? I want my kilo's full value back without you taking a cut. Obviously. Another 15 since you doubled my product. And let's throw one more 15k on top of that for asshole tax. So, if you're following me, that's 45k, and I want it by midnight next Sunday. Now get the fuck out of my house.

...

Holly [looking at Bo's bruised face]: What happened?
Bo: Hey. I messed up, okay? I messed up bad.

...

Tina [to Bo]: Is something bad going to happen to us?

...

Mr. Granger: Bo. Building an electromagnet in a shoebox is one thing, but in your arm?

...

Bo [to Mr. Granger]: The negative is fed to my thumb and the positive to the rest of the fingers. The board is programed to read all the different inputs. It gives me a little bit of control over pitch, yaw and roll. But I need more power. I mean, the lithium-ions last a while, but their output, it's just...I need more output.
He was like a man who wanted to change all; and could not; so burned with his impotence; and had only me, an infinitely small microcosm to convert or detest. John Fowles

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Re: philosophy in film

Postby iambiguous » Sun Sep 24, 2017 2:07 am

A woman may or may not be mysterious.

But in most films if the woman is mysterious she is almost certainly going to be beautiful in turn. And this film is no exception.

It reaches the point where most of us can't even imagine a film like this where the woman is mysterious and [instead] is singularly unattractive.

Then you begin to wonder about the part where the genes segue into the memes. Is this reaction "natural"? Or [instead] is it derived more from a "sexist" historical narrative imposed upon us by a "patriarchal" culture?

Here though the beautiful mysterious woman may also be a beautiful mysterious murderer. And the first thing our protagonist Philip aims to do when she returns is to strangle her: "Whatever it cost my cousin in pain and suffering before he died I will return with full measure upon the woman that caused it." That is until he is "stunned to discover a woman not only beautiful but elegant, intelligent and sensitive." Will he perhaps fall in love with her?

And this was "back then". Long before the advent of one or another rendition of "feminism". An attempt to imagine the "plight" [and the options] of women in a world very much different from our own.

That is, not counting the part really very much the same.

It's one of those mysteries in which we are never entirely sure if she did it or not. But what counts is not whether she did it but whether or not others think that she did.

Look for the part about class. If you can find it.

at wiki: https://en.wikipedia.org/wiki/My_Cousin ... (2017_film)
trailer: https://youtu.be/vVaPJxe0Qxs

IMDb

The white horse Rachel Weisz rides in the film had been trained for the TV series Game of Thrones (2011) and was taught to 'play dead' when its rider tugged hard on the left rein. Being unaware of this, at one point Rachel got partially trapped under the horse's left flank for a brief period after it rolled over onto its left side.


MY COUSIN RACHEL [2017]
Directed by Roger Michell

Philip [voiceover]: Did she? Didn't she? Who was to blame? He was my cousin. But I loved him like a father.

...

Philip [voiceover]: They say a boy needs as mother. But the only women allowed in the house were the dogs.

...

Louise: She must be extremely charming for Ambrose to have noticed her.
Philip: What do you mean?
Louise: Oh, I've never heard of him admiring a woman before.
Kendall: She's right. Your cousin never had much need for women.
Philip: Why should he? He had me.

...

Philip [reading aloud a letter from Ambrose]: "I have written to you several times, but she watches me like a hawk and there is no one that I can trust to take my letters to the mail. She is away from the house today. That's why I am able to write this. For weeks I've been ill, feers, terrible headaches. I am sick at the sight of the sun."

...

Louise [noticing a message penned on the envelope flap]: "She has done for me at last. Rachel, my torment. For god's sake, come quickly."

...

Philip: How did he die?
Rainaldi: It was a tumor. In the head. The doctors are in no doubt it affected his brain.
Philip: How?
Rainaldi: Shouting. Violence. Terrible distrust.


We know where this takes us.

Philip: I believe nothing of what you have told me. I believe that had I been here, my cousin would still be alive. And whatever it cost my cousin in pain and suffering before he died I will return with full measure upon the woman that caused it.

...

Kendall: It's the same will I drew up ten years ago. No provision to be made for a wife.
Philip: Are you sure?
Kendall: Quite sure...and there's no mention anywhere of a claim on the part of Mrs. Ashley.
Philip: I'm amazed.
Kendall: Why?
Philip: We know perfectly well she drove him to his death.
Kendall: We know nothing of the sort. If that's the way you are going to talk about your cousin's widow, I prefer not to listen.

...

Philip: Surely you don't believe all this nonesense about the tumor?
Kendall: Here is the death certificate and an account of the post mortem. And what possible motive could she have with nothing to gain from his death? So yes, why wouldn't I believe?

...

Louise: What are you going to do with her?
Philip: Confront her. Of course she will try to bluster her way out of it...I want justice for Ambrose.

...

Philip: Where the devil are the dogs?!
Seecomb: I think they followed her up the stairs.

...

Rachel: How pernickety you are.
Philip: I thought you lot worried about things like that
Rachel: You lot?
Philip: Women.
Rachel: Only when they have nothing else to worry about.

...

Rachel [to Philip of Ambrose]: All of this was his passion....so I made it my passion too.

...

Rachel [at the dinner table]: Who would like to join me in drinking this delicious port wine. Unless of course the men wish to retire to the next room while we smoke our pipes.

...

Philip: The Vicar finds you feminine. "Extremely feminine" were his exact words.
Rachel: I wonder in what way?
Philip: I suppose in a way that's different to Mrs. Pascoe.
Rachel: Mmm. And how would you define the difference...our femininity? Mrs. Pascoe's and mine.
Philip: God knows. All I know is I like looking at you...and I don't like looking at Mrs. Pascoe.

...

Kendall: What shall we give her?
Philip: Think of a number that is fair and reasonable...then double it.

...

Louise: The Pascoe girls are far too busy remarking on something else.
Philip: What?
Louise: How easy it must be for a woman like your cousin Rachel to twist you around her little finger.

...

Rachel: You made him write this!
Philip: What...did you...I did nothing of the sort.
Rachel: If you had set out to humiliate me, Philip, you really couldn't have got off to a better start!
Philip: Why?
Rachel: Why?! Because now it looks as if I came begging to you!
Philip: But you haven't. You didn't.
Rachel: Can't you let me be a person in my own right? A woman who is making her way in the world as she wishes to.


Beautifully played? She accepts the allowance. And agrees to stay.

Rachel: Why should women suffer in childbirth? Is it simply their destiny to do so?
Philip: Never thought about it.
Rachel: No, of course you haven't. You know nothing about women.

...

Kendall [to Philip]: I've had some news from the bank. Some rather disturbing news, in fact....Your cousin is already severely overdrawn on her account. I can only think she's been sending money out of the country.

...

Kendall: I've been doing a little asking around. Did you know that the duel in which her first husband died was fought over one of her lovers?
Philip [scoffing]: I don't believe that.
Kendall: They were notorious. Both him and her, for unbridled extravagance, and apparently limitless...appetite.

...

Kendall: Does she have any knowledge of this?
Philip: None whatsoever.
Kendall: And you're quite determined on this course?
Philip: Quite.
Kendall: You're completely infatuated with your cousin are you not?
Philip: I'm just doing what I believe is right.
Kendall: You realize that you could lose everything?
Philip: I'm willing to take that risk.

...

Rachel [to Philip]: Had I known I was coming into a fortune, I would have given you a considerably larger pearl.

...

Servant: Mistresses compliments.
Philip: What is it?
Servant: Twig soup....Special brew she says. Birthday brew. She says you've got to drink the lot.

...

Philip: Didn't you enjoy it?
Rachel: Well, didn't you?
Philip: You know I did.
Rachel: I wanted you to enjoy it. I wanted to thank you.
Philip: For what?
Rachel: For what? For everything. For being so kind to me. For the jewels. What did you...did you...did you think that you had bought me?

...

Philip: You know nothing about her?
Lousie: Or is it you who know nothing?

...

Philip: I thought she said yes but in fact she meant no.
Louise: Was this before or after she read the document?
Philip: Before. She read it the morning after.
Louise: And wasted no time in driving over to see us.
Philip: She said she didn't fully understand it.
Louise: Well she understood it pretty damn well by the time she left.

...

Philip: How long was I out?
Servant: Five days.

...

Philip: Are you leaving me?
[Rachel says nothing]
Philip: You should have left me to die.
Rachel [abruptly]: Don't. Soon none of this will seem quite so bad. You belong here. In a little while you'll be strong again and everything will be just as it was before I came. You are at the beginning of everything. A boy. How can I live with a boy? However lovely. A glorious puppy, wandering around, mireable and wet-nosed, looking for its mother.


She nailed him.

Philip: Why is Rainaldi here?
Rachel: Because I asked him.

...

Rachel [with a tray of tea cups to Louise]: Oh, no, not that one, it's for Philip.
[she walks over to Philip]
Rachel: Here.
Philip: No, thank you.
Rachel: Oh, but this is a special batch. I've made it double strength.
Philip: Well, then you drink it for me.

...

Philip [to Rachel who is about to go riding]: You might try the cliff path.

...

Louise: The jewelry. She's giving it back.
Philip: Keep looking.
Louise: I don't know what we're looking for.
Philip: Keep looking!
He was like a man who wanted to change all; and could not; so burned with his impotence; and had only me, an infinitely small microcosm to convert or detest. John Fowles

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