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Continuing my series exploring YouTube with Ask a Mortician and Obsolete Oddity, I will now focus on Maya Deren, since many of her films can be found there. This isn’t so much of a review, or a foray into film criticism, symbology, theory or meaning (there is plenty of that out there if you wish to seek it), but rather a personal exploration of a late great filmmaker. Born in 1917, Maya Deren was a Ukranian-American filmographer best known for her film and choreography work in the 1940s and 1950s. She was very involved in the amateur film movement (focusing on the edge & fringe stuff, kind of like punk in its day), experimental film and the avant-garde.

What I appreciate most about Maya Deren’s films is that they have a rather disturbing surreal quality that is further enhanced by how scenes are cut and transitioned, their timing and perspective, and a more conceptual influence rather than a focus on space and time as we perceive it physically. Every movement has a sense of meaning and significance. Actions, costuming and backdrop become very impactful, not because of high budgets or involved underpinnings, but because of how things flow together. The result feels accessible but not entirely tangible, like a journey into the subconscious or a dream-like reality.

I am including three of Maya Deren’s films here for you to enjoy, starting with the most iconic Meshes of the Afternoon and then including my personal favorite At Land and also Witch’s Cradle, a collaboration with Marcel Duchamp.

If the video doesn’t load properly, you can find it on YouTube here. https://youtu.be/dWQcJyn981M

If the video doesn’t load properly, you can find it on YouTube here. https://youtu.be/dWQcJyn981M

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Meshes of the Afternoon was Maya Deren’s debut film and has been considered among both the best and worst films ever made depending on who you ask. The first time I saw it, I was transfixed. I felt a personal kinship with this filmmaker who lived and worked decades prior to myself for, despite my lack of awareness of her work, I was using many of the same symbols. I had even created a mirror mask that I could wear to engage in performance art – a one-way mirror that from the outside reflected the viewer’s visage back at them while I could see everything through it and engage accordingly. Other references and relationships with objects (broken glass, mannequins, flowers, keys, possible suicide) had also appeared in my work. I had also experimented a bit in video in film speed and intentional repetition. I watched the film over and over again, each time picking out more details than the time prior.

If the video doesn’t load properly, you can find it on YouTube here. https://youtu.be/aW7fhlJgmwI

If the video doesn’t load properly, you can find it on YouTube here. https://youtu.be/aW7fhlJgmwI

At Land is my personal favorite of Maya Deren’s films. I can relate all too well to some of those high class socialite dinner parties where you feel out of place, trying to crawl your way through all of the artifice. I love the transitions and the sense of journey that comes across. The joy, the anxiety, the betrayal… seeking that which you thought you had lost. To me, it’s the ultimate dreamscape adventure-quest, but then again my dreams are not ordinary. Again note: I am not trying to interpret or examine symbology so much as share my personal reaction.

If the video doesn’t load properly, you can find it on YouTube here. https://youtu.be/NkMfRVaA6fs

If the video doesn’t load properly, you can find it on YouTube here. https://youtu.be/NkMfRVaA6fs

I love all of the occult references and the repetition of time in this. The exploration of time plays a critical role in all of Maya Deren’s works, but it strikes even more so in this one in particular. Having originally majored in Fiber Arts, I also enjoy the strings that weave through and intertwine between everything. But more than anything, I love “Is The Beginning Is The End…” I have used a similar mantra before in several performance art pieces as a chant, and also as a written work, to further explore narrative as just something one enters into and slips out of, not anything with a definitive start and ending. Like Schmendrick in The Last Unicorn movie says, “There are no happy endings. Because nothing ends.”

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Anyway, for all that this isn’t technically a review, I give Maya Deren 4.5 Cthulus. 4.5 out of 5 stars (4.5 / 5)

You can take it or leave it. Personally, I love her work but I know not everyone shares this sentiment, especially anyone who didn’t want to go so much in depth into older works and found themselves in a film criticism class devoted to such pieces. Because if you were expecting to analyze Don’t Hug Me I’m Scared and then wound up back in the 1940s and 50s, that may not have been your cup of tea (for all that the historical references and symbols can shed more meaning on the current). And please be aware: I posted all of these links to silent versions of the films because those are truer to the original, but there are many lovely interpretations involving various soundscapes and audio interpretations if you prefer, just look on YouTube.

Still from Witch's Cradle by Maya Deren & Marcel Duchamp: Is The Beginning Is The End...  pentacle drawn on woman's forehead
Still from Witch’s Cradle by Maya Deren & Marcel Duchamp: Is The Beginning Is The End…

Jennifer Weigel is a multi-disciplinary mixed media conceptual artist residing in Kansas USA. Weigel utilizes a wide range of media to convey her ideas, including assemblage, drawing, fibers, installation, jewelry, painting, performance, photography, sculpture, video and writing. You can find more of her work at: https://www.jenniferweigelart.com/ https://www.jenniferweigelprojects.com/ https://jenniferweigelwords.wordpress.com/

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Movies n TV

Cadaver (2020), a Film Review

Cadaver (2020) is a Norwegian post-apocalyptic thriller directed by Jarand Herdal and currently available on Netflix.

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Cadaver (2020) is a Norwegian post-apocalyptic thriller directed by Jarand Herdal. This unrated film stars Thorbjørn Harr, Gitte Witt, and Thomas Gullestad. As of this review, the film is available on Netflix.

After an apocalyptic event, the survivors endure in a hopeless world. Among these survivors are Leonora (Gitte Witt), Jacob (Thomas Gullestad), and Alice (Tuva Olivia Remman), a family fighting the hopelessness of a lost world. Leonora desires to keep her daughter (Alice) hopeful, and when a theater opens in their decrepit city, she thinks she has found the solution to their despair. However, they will all soon learn how desperate people have become.

Golden masks hanging on meat hooks over a dark background. Below reads: "Netflix: Cadaver."
Cadaver Netflix Promotional Art

What I Like from Cadaver

Cadaver takes on a unique focus for a post-apocalyptic movie. While most in the genre tackle the question of where you find hope, the theatrical lens is not one I’ve seen before. It blends these two unique environments together for a pleasant concoction. As a fan of the post-apocalyptic genre, I must admit I find my niche in the everyday lives of someone in such a world.

Leonora’s (usually called Leo in the film) dreamer nature in this horrendously hopeless environment creates a sympathetic contrast. This dreamer nature doesn’t excuse some of her choices, but she evokes sympathy. While most post-apocalyptic entries provide this balance of hope and survival, Leo’s creativity and passion for the arts give her hope and a more focused ideal.

The relationship between Leo and her husband also creates a nice contrast, as Jacob plays the rationalist and survivor. In this decision, both characters provide that post-apocalyptic dynamic of survival and hope. These interactions allow both actors opportunities to create friction as they pull the plot from their differing perspectives.

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I had the chance to listen to the dubbed version, which sounds good. I’m not much for dubs, especially on Netflix, but they did Cadaver with respect and a focus on quality. At the very least, it’s competent and doesn’t distract from the viewing experience.

White background, rubber stamp with disclaimer pressed against the white background.
Disclaimer Kimberley Web Design

Tired Tropes and Trigger Warnings

As hinted at earlier, there are some dumb decisions in the plot. While many fall within character traits, the actions don’t escape criticism. This flaw becomes incredibly repetitive when characters make the same mistake.

Implied suicide occurs throughout the film with one shown incident, but there are circumstances that change the context slightly. A world this bleak invites this depressive and dangerous state as a normality. However, one should prepare if this is a trigger.

A girl to the left most side holding her mother's hand. Their father walking on the right most side. All wear golden masks as they walk a hallway.
Cadaver Family

What I Dislike or Considerations for Cadaver

Again, some decisions had me roll my eyes and endure the plot. This reaction isn’t exactly the experience I seek out in my horror. It’s more haunting to make sensible, or even intelligent, decisions and still endure unavoidable or unforeseen consequences.

It’s likely that nothing in Cadaver surprises you, which underutilizes the interesting premise. There are unique elements, certainly, but never a twist I didn’t see coming. It’s in that execution that Cadaver falls flat and fails to engage a viewer.

The film doesn’t exactly haunt the viewer, but the bleak world effectively depicts the hopelessness of a post-apocalypse. Don’t expect much genuine horror, but you can expect an appropriately uncomfortable and unnerving experience. In short, viewers of Cadaver likely want a unique twist in their post-apocalypse, not a traumatic horror.

Final Thoughts

Cadaver remains a unique viewing experience by adding a slight twist to its post-apocalyptic story. While not a haunting masterpiece, this bleak film will have you feeling the characters’ struggle. While lacking sensible decision-making skills, they are certainly sympathetic survivors struggling in a hopeless world. If this is your niche, it’s certainly worth a view.
3 out of 5 stars (3 / 5)

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Movies n TV

Wheel of Time, What Might Be

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Episode three of Wheel of Time was easily my favorite so far. It’s dramatic, dark, and speaks to the growing concerns about evil invading the world.

Let’s discuss.

The Story

Let’s begin with Nynaeve. After showing little to no progress, Liandrin thinks she’s ready to go through the Trial of The Arches. This is an initiation that all Aes Sedai have to go through to become a sister. It’s dangerous, not totally understood, and doesn’t have a great survival rate.

One would think some cooler heads would prevail and not let the very new person do this so early. Especially since Nynaeve seems to have some issues with impulse control.

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But she goes into the trial, seeing first a scene from her childhood where her parents are attacked. 

The point is to walk back through the arches, leaving her family behind. This she does, but doesn’t look very happy about it. Her second trial involves finding herself back in Two Rivers, where a horrible plague has ripped through the people. Again, she has to walk away from the people that she cares about and come back to reality.

Zoe Robins in Wheel of Time

The third test is a little more tricky. It appears that Nynaeve comes back covered in blood, with no memories of what happened. 

Terrified, she runs from the castle only to find Lan waiting for her. 

In the real world, where Liandrin and the others are waiting for her, she simply never returns. 

This shakes Liandrin. She decides she’s done holding Mat against his will, and lets him leave. Excited, but also smelling a trap, he takes Min with him. 

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Still not sure why she had him to start with, but I guess it’s cool that she let him go.

Meanwhile, Rand is working with a familiar face at his hospital. It’s Logain, who we might remember as the false dragon from season one. 

Rand would love some advice about channeling as a man. But it appears that Logain might really have lost his mind.

What worked

My favorite scene in the episode was the one involving Perrin and Lady Suroth. This scene was perfect. 

First off, the character design for Lady Suroth was just perfect. Without moving more than a hand and the crook of her mouth, she manages to be terrifying. 

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The massively scary nails help, as does the headdress that is both beautiful and reminiscent of an insect. The sort of insect that seems likely to bite and lay eggs under the skin of a victim. 

Her absolute authority was terrifying. Uno certainly learned that. 

What was more scary, of course, was who was standing next to her. Does she think she’s the one in charge? Or is she perfectly clear on where stands?

What didn’t work

One thing that I don’t love about this season is, unfortunately, not likely to change. It’s true in the books, and it’s true in the show.

Daniel Henney in Wheel of Time

The ensemble cast structure doesn’t work for me. 

It fractures the story in too many directions. It’s too busy, there’s too much going on. At the same time, there isn’t enough going on with individual characters for me to establish an interest in all of them. 

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I care what’s happening with Egwene and Nynaeve. I care what’s happening with Perrin.

I don’t care as much about Rand right now. And she wasn’t as involved in this episode, but I don’t care about what Moiraine is going through either.

That could be because the world is coming to an end and they’re refusing to be team players. But maybe that’s just me. 

Overall, this was a fun episode. It feels like pieces are being put into place. The characters are getting ready for something big. Something that we can only see the beginnings of. 

Something that they clearly don’t think they’re ready for. 

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3.5 out of 5 stars (3.5 / 5)

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Movies n TV

American Horror Story Delicate, Multiply Thy Pain

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American Horror Story Delicate began last night, Killer Queens. And it was, well, a complicated episode. This makes sense because this season is about a complicated topic.

Just in case you didn’t know, this whole season is based on the novel Delicate Condition by Danielle Valentine. If you haven’t read it yet, you should. 

The Story

Anna Victoria Alcott is an actress who just got her big break. She was in a horror movie that no one can stop talking about.

Emma Roberts in American Horror Story Delicate

Except Anna herself. Because this career success couldn’t have come at a worse time. She and her husband Dex are in the middle of the difficult IVF process. It’s expensive, time-consuming and painful. Ironically, so is trying to win an Oscar.

But Anna has other things to worry about. Someone is messing with her. Several women are watching her in public. Worse, someone appears to be getting into her home, slashing notes she leaves for Dex, and removing her vital IVF medication from the fridge so it spoils. Her calendar is hacked to move her doctor appointments around so she misses them. Worst of all, someone broke into her home and crawled into bed with her.

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Of course, no one takes any of these concerns seriously. Her agent, Siobhan, is focusing on getting her an Oscar. Her husband, Dex, doesn’t seem to give a shit about her except for when it comes to having a baby. He’s frequently dismissive of her concerns and only seems to want her around when it’s convenient for him. He goes so far as to kick her out of his show opening because she’s on edge.

You know, maybe because she’s clearly being stalked by someone who is trying to keep her from having a baby. 

What worked

AHS Asylum had a lot of dark and important things to say about mental health care in America. AHS Coven had a lot of dark and important things to say about race and gender relationships.

Last season, AHS NYC wasn’t so subtle. Yes, there was a killer. But the real historical horror of the AIDs epidemic in the 80s was the focus of the season. And that worked very well.

This season, the story is clearly about female body autonomy. Anna is a woman struggling with so many issues that modern women face. The balance between our careers and our families. Feeling like growing old is the most unforgivable thing a woman can do. And of course, the fact that our bodies often feel like they don’t belong to us. 

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I was also pleased to see some AHS alumni. Denis O’Hare as Dr. Hill was delightful. Leslie Grossman and Billie Lourd will be involved soon, and they never bring anything less than their A-game.

This episode also did something I never thought could happen. It managed to scare me with a calendar notification. That was a special moment for me as a horror fan and calendar-obsessed person.

What didn’t work

Here are some things I didn’t love. First off, the main character Anna is a pushover. She can’t say no to Dex, Talia, Dr. Hill, or Siobhan. No one gets a no from this woman!

Anna didn’t act like that in the book. She stood up to everyone all the time, it was great. She wasn’t getting any support, but she was advocating for herself! That was such an important part of her character, and I’m sad to see that she’s lost that here. 

I also hate the changes made to Siobhan and Talia. Now, please understand that this isn’t me complaining that the book was different. That’s not my point. Siobhan was a kind, loving woman who supported her best friend even while dying of cancer. Talia was a smart, business-oriented woman who was still kind. She was trying to start a family with her transgender husband, and bonded with Anna over their IVF journeys. These were vital characters in the story.

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Juliana Canfield in American Horror Story Delicate

I feel like they’ve been railroaded. 

All that being said, this was a decent start to AHS Delicate. It’s not the best start of a season we’ve had. But it’s okay. I’m looking forward to seeing what the rest of the season is going to bring.  4 out of 5 stars (4 / 5)

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