"One of the most vibrantly alive and true characters in Ms. Binoche’s career, a résumé inundated with melodramatic tears, Suzanne invades the film like a hurricane, a riot of colors, textures, patterns and words," lauded Manohla Dargis in her New York Times review of Hou Hsiao-hsien's "The Flight of the Red Balloon." Making his French language film debut, Taiwanese director Hsiao-hsien creates a film that is pure cinema in the most Bazinian of defined terms. More interested in the quiet, surprising moments in the days of the life of a single mother struggling to balance work, home, her neighbors, and the battle of the day to day existence we all endure, Hou's rigorously observational eye and off the cuff vision allows an actress to reveal an electric and wholly maternal side. An actress of great diversity not only in her body of work and but her tenacious talents (she's been Steve Carell's romantic opposite and has appeared in a Michael Haneke film on more than one occasion), Binoche gives herself up for Hou and splendidly marches in a new direction, blonde hair and all. Binoche's bottled blonde pouf of a coif is immediately noticeable within seconds of her first appearance on screen. This isn't the tortured brunette we're used to seeing, now she's the torture blonde. Oscillating somewhere in between Marilyn Monroe in "The Misfits" (a stretch, but the hair comparison isn't far off) and Gena Rowlands in "A Woman Under the Influence", Binoche is madcap, loose, and frayed at the seams, sometimes what looks like literally in her bobo chic costumes. Hou didn't write a traditional script for his homage to the Albert Lamorisse 1959 film "The Red Balloon", and it shows beautifully in scenes that bounce along without any structure or real connective tissue other than forming an amorphous representation of bittersweet moments and moods. When Binoche lunges into a scene she's either screaming into a cell phone or scurrying around her cluttered apartment before work with cigarette dangling from mouth, Earth Mama cleavage on full display, and facial expression perma-frantic. It's a richly organic performance that is never quite sure where it's going, but then again that's the joy of the film. Watching Binoche argue on the phone, her son playing video games, and their Chinese babysitter off in the distance all the while a blind man tunes up their piano in one uninterrupted breathless shot is cinema at its best. It's such nuanced visual poetry and that's what makes Binoche and Hou such exceptional cinematic partners for this film. "A bit funny and a bit sad," chirps a child at the sight of a Félix Vallotton’s painting at the Musée d’Orsay in the film's last few minutes. The same could be said for Binoche's sublimely chaotic performance.
Thursday, July 31, 2008
performance: woman on the verge of a nervous breakdown
denim 360
Eureka! Whatever bright mind at Urban Outfitters that came up with the idea of featuring a three hundred and sixty degree view of their collection of skinny jeans is a bonafide genius. Online shopping is hard enough and now it's made a little bit easier with this feature for men and women. If only the rest of the online shopping community could catch up with such awesome technology.
P.S. Snaps to the other person who stole the Woody Allen font and has been using it all over the Urban website. Much appreciated.
first look: w.
"W."
directed by Oliver Stone
October 17, 2008 (limited)
I'm a liberal through and through, but doesn't this look pointless and absurd?
Wednesday, July 30, 2008
punch
A party is not a party without an official drink and to properly toast the last weekend in my apartment before I moved in with my dad to save and prepare for NYC, we gorged on wine slushies. Yes, wine slushies. Wine snobs we are not, we concocted a cool, refreshing drink appropriate for any summertime soiree. It's best enjoyed in the sweltering heat and amongst the highest quality of friends and neighbors.
Wine Slushie
1 12oz. frozen can of cranberry juice
1 cup of water
1 bottle of blackberry wine
1 cup of blueberry pomegranate juice
Pour all of the ingredients in a pitcher and freeze. Allow freeze for at least four hours. Ingredients can be adjust to one's own taste. Enjoy.
cuffed
Aren't shorts that appear cuffed by the wearer say something more personal than cuffs sewn on shorts by children in a Cambodian sweatshop?
i'm not there
Please excuse the absence. Moving, inconsistent internet access, and lots of champagne have ruled my life for the past week or so. It was all part of Phase One for my eventual move to New York City scheduled the first week of September. Yes, it's true that after a lifetime (all twenty-four years), 502 will no longer be my official area code. Expect more details to follow as well as well as a new look and possible new direction for The Look-See. For now, let your eyes wander...
"The Empire Strikes Back"
photographed by Mario Sorrenti
V, July/August 2008
For more, click here.
Thursday, July 24, 2008
the duelists
Wrapped around city blocks and overflowing en masse in front of the concession stands are the droves of people fiendishly attending the church of Batman. Who would have thought a one hundred and fifty-two minute movie devoid of big name Hollywood dolls, rife with current political relevancy, and at its deepest core, a very dark, sadistic modern morality and existential play, would become the film that captures the cultural zeitgeist? Thousands, maybe even millions, of Americans have been giving their hearts and minds to Christopher Nolan's "Batman Begins" sequel, "The Dark Knight", since its mega-opening last week. It has broken every conceivable box office record ($200 million in five days! Highest grossing weekend for on IMAX screen! Biggest July opening ever! Cha-ching, Cha-ching!!!) and it could very well be on its way to becoming the highest grossing film of all time. According to a Fandango.com poll, sixty-four percent of people that have already seen "The Dark Knight" said they would see it again. Due to scheduling and life conflicts I wasn't able to see it until yesterday, but for many in the theater it was their third or four time. What is it about "The Dark Knight" that makes us hungry for more, eager to see it again and again? If art imitates life and what we see on the screen is a projection of us, then clearly we live in a new era where good and evil is no longer so cut and dry. To be the hero and the villain in the same flip of the coin (pun not intended) fits neatly into the current cultural fabric as well as pure pop entertainment at the megaplexes.
The idea of the superhero has never felt more poignant at the movies than in the last decade. At first what seemed like a trend like anything else, comic book movies have become an essential part of the summer movie experience. However, the new wave of superhero portrayal has become less idolized and more of an abstract to explore issues of identity, tolerance, classism, responsibility to one's community, and the struggle to use power for change. The reality-based leitmotifs might begin to explain why we project ourselves into the surreal world of these creatures. We don't want our superheroes to fight wars in some foreign universe. We need them now as reassurance that good can exist in the current world of terrorists, inept leaders, and a frantic sense that something ominous can happen next. The superheroes of today need to look like us and bleed like us. Tobey Maguire as Spider-Man is the perfect example of the geeky man-boy that fights the bad guys, but pushes his glasses up on his nose and doesn't know quite how to get the girl as Peter Parker. Jason Bourne is all brood and soulful reserve, but he can kick major ass in his capeless crusade of truth, identity, and goodness. Christian Bale's and Christopher Nolan's scripted version of Batman takes that same framework of ordinary man grappling with his power and place in the world and a breathed a new relevancy in him. He's a flagrant playboy, bored billionaire, emotionally inert due to the early death of his parents, and urban vigilante. The notion that political leaders are arbitrary comes across as clear as the mirrored skyscraper jungle Batman scales. Why allow the corrupt, inefficient leaders do the job when Batman can rid the streets of the vile crimes that plague Gotham? However, as he learns, it's not always so easy for the dark knight.
When we last saw Batman was in the early stages of understanding his power and importance in Gotham. He nestled in the smoke and shadows of Gotham before pouncing on his prey. That was my only minor frustration with "Batman Begins" is that you couldn't get a good full on glimpse of the winged one. However, Nolan established a good foundation for the re-definition of Batman. Every superhero movie has to create its own mythology and Nolan got that out of the way so that with "The Dark Knight" he can give Batman a context without having him to experience too overt of a character arch. "The Dark Knight" finds Batman wrestling with his status as hero. What does that role mean? Why him? How can he do good when people die due to his actions? Instead of demanding Bale chew such heady material, he's given two different villains to evolve his character. The Joker (Heath Ledger) is all anarchy and chaos. No rules, no rhyme or reason, constantly testing the limits of how far people will go are part of his code. Harvey Dent (Aaron Eckhart) is the good natured lawyer, desperately combating the petty criminals and big time mafia outfits. Batman tells Dent he's the hero Gotham needs, a real person, a real face to associate with optimism and change. However, through a heinous accident and a duplicitous conversation, Dent's role in Gotham quickly changes. What to do in the face of a killer without a cause and a once good man now bent on revenge? Become the hero Gotham will eventually understand, not the demi-god people think they deserve.
Hero acceptance aside, the film is flat out one of the best of the year. Nolan has a perfectly tuned and entertaining predilection for stories about the dualities of man. His breakthrough film, "Memento", was about a man existing in the now but no memory of the past. In the process of realizing himself he was at constant odds with the unknown self and the aware self. In "The Prestige" warring magicians competed for the ownership of the ultimate hat trick, disappearance. A machine capable of duplication played a significant part in the tale of two men obsessed with besting each other. The paradox of killer and protector is the dueling issue at stake in "The Dark Knight." Bale plays it just right, but clearly this is Eckhart's and Ledger's movie.
Eckhart hasn't quite found the right film to display his chiseled chin and ability to plunge into the dark abyss. His devilish turn as an office guy bent on destroying the life of a deaf woman in Neil LaBute's "In the Company of Men" showcased his charm, wit, and palpable nastiness. Since then he's been stuck in forgettable romantic comedies ("No Reservations"), movies that don't connect with audiences ("The Black Dahlia"), or supporting roles in big Hollywood spectacles ("Erin Brockovich", "Paycheck"). His classic looks and square dimpled chin immediately evoke a young Kirk Douglas, whose career also got more interesting when pushed to his limits (see "The Bad and the Beautiful" for evidence). Eckhart imbues Dent with a Kennedy-like believability and ease, but when scarred for life as Two Face, the transformation Eckhart undergoes is terrifying. His star will surely resonate with audiences to come.
One star that unfortunately won't be able to continue growing, shifting, surprising is that of Ledger. His performance has been effusively lauded in the same canon of work Pacino and Brando. These aren't entirely unfounded, but The Joker is another stratosphere unrelated to Michael Corleone in "The Godfather" or Paul in "Last Tango in Paris." The level of commitment might be similar, but what Ledger is doing is so singular and personal that comparing it to anyone else is a lazy observation. All hunched shoulders, hangdog eyes, acid green-soaked hair, and Alice Cooper meets Theresa Russell's ghoulish face paint in Nicolas Roeg's "Bad Timing", Ledger goes to new depths than we've seen from previous movie baddies. As an arbiter of whim fueled nihilism, Ledger flits about the screen with nightmarish joy as he steals, kills, and terrorizes without motivation. He's phenomenally scary in the scene with Maggie Gyllenhaal at a penthouse party as he holds a knife to her face. It's almost uncomfortable to watch, not because Ledger is not with us anymore, but it's an exercise in dedication an actor can take on. His tongue darts out of his mouth to slap his wounds as he peers into Gyllenhaal's sparkling eyes, all at once dashing and demonstrative. Watching him silently dangle from a cop car amidst the blur of Gotham in the background is the shot that in a way defines the movie. He appears free and unfettered as his greasy hair flaps in the wind, but as the anti-hero to end all anti-heroes, he'll always have to have an audience or an enemy at his gates to fulfill him. A villain can never exist without a hero and Ledger purges it from every actable bone in his body.
Gary Oldman, Michael Caine, Morgan Freeman, and Gyllenhaal all fit very nicely into their roles. Kudos to Gyllenhaal for giving the Rachel Dawes character some much needed personality and strength. Nolan's confident orchestration of actors and material is the key to the success of the film. Encouraging Ledger to make The Joker a Johnny Rottenesque sociopath or giving the Batman saga a real world context are inspired decisions that pay off in the way most big summer popcorn movies never dream of. The production design, moody score, and taut editing pace are praise worthy as well. Wally Pfister's breathtaking cinematography only adds to the visceral feeling of being enveloped in the Bat world. "Batman Begins" was all darkness and shadows, where as "The Dark Knight" is all clarity and light. Most of the action happens in window-walled offices in high rises that Pfister renders as a world of glass boxes constantly on the verge of breaking. Shots of Batman alone on a skyscraper in Hong Kong or feeling conflicted about his purpose in a sparse, minimalist apartment call to mind the poetic visual symbolism of Micheangelo Antonioni's "La Notte" or King Vidor's "The Fountainhead" where skyscrapers and its inhabitants are evidence that life above the clouds is not without its own problems. I'm glad I saw it on IMAX where the humongous screen made the cinematography really pop and the action more immediate, particularly the epic truck chase sequence that climaxes with a showdown as classic as any duel in from the wild west.
A flawless masterpiece it's not, but "The Dark Knight" is a movie for its times. The hunger people have for this movie will surely contribute to the canonization of what is one of the most unusual and satisfying popcorn movies in sometime. Audience members were literally on the edge of their seats when I saw it, which is a testament to the DNA of film. It's pop art for the masses meant to connect and allow people to discover a possible identity on the screen. This particular piece of pop art has audiences enraptured by the promise and complexities of a modern hero. And if America, and the world for that matter, has ever needed a reliable hero it's right now. Who's to say who are the true, well intentioned leaders in this world, but at least the movie superheroes can provide a sense of hope and optimism.
Monday, July 21, 2008
the man who fell to earth
It's a mixed up, jumbled up puzzle of a world in the cinema of British filmmaker Nicolas Roeg. Time, sex, obsession, and the psycho-sexual savagery that can exist between a man and a woman take on hypnotic and iconoclastic new meaning in his films. A true and punkish visual artist, Roeg's visual schema is a cacophony of disorienting, challenging, erotic images intended to fill the mind in a non-linear way; daring his audience to absorb the rush of images in a way that more closely evokes how we actually digest memories and thoughts. His films confidently and consistently establish their own vocabulary, a vocabulary that never leaves the mind no matter how confusing or vexing his stories play initially. An alien-looking David Bowie spreadeagle in front of a wall of television screens in "The Man Who Fell to Earth" (1976), Theresa Russell taunting Art Garfunkel with the sight of her exposed crotch in "Bad Timing" (1980), and the ingeniously elegiac sex scene between Julie Christie and Donald Sutherland in "Don't Look Now" (1973) are moments in which artist and chosen medium seemed destined to create such profoundly bizarre and rousing results.
As a recent guest on BBC'S "Film Programme", Roeg discusses the issue of time on film, censorship, and his latest mind-binding work, "Puffball." To listen click here.
gladiatrix
"Champion", photographed by Michael Thompson
W, August 2008
Why did she stop modeling?
For more click here.
Thursday, July 17, 2008
psycho
Prada fall/winter 08
Is it just me or does this have a certain "American Psycho" vibe to it?
Tuesday, July 15, 2008
in memoriam: charles h. joffe
directed by Woody Allen
produced by Charles H. Joffe
1977
The enduring relationship between filmmaker Woody Allen and producer Charles H. Joffe has come to end with the death of Joffe, at 78, due to lung disease. Joffe won an Oscar for "Annie Hall" and has since produced nearly every film Allen has made since. No longer will the titles that have become an Allen trademark in their white lettering and black backdrop, read: "A Jack Rollins and Charles H. Joffe Production." Their last film together, "Vicky Christina Barcelona", will be in theaters this August.
a tribute: "the swimming pool"
"Is it hot out?" inquires a bronzed Romy Schneider. Without missing a breathless beat, an equally tawny Alain Delon replies, "Boiling!" Bluntly titled "The Swimming Pool", Jacques Deray's 1969 scorcher concocts a morality tale about devotion, relationships, and the desires that percolate beneath the surface. The action is hermetically set around an ominous swimming pool at the Riviera estate of a sun-kissed couple, Marianne (Schneider) and Jean-Paul (Delon). The action in question is the unexpected arrival of an old friend (Maurice Ronet) and his gamine daughter (Jane Birkin). What results doesn't really matter so much. How can you concern yourself with a plot when Birkin is traipsing about a party in high-waisted jeans, plain white tee, and no regard for a bra? Schneider is a sensuous vision in a mod André Courrèges confection for a dinner party scene that is fueled by so much sexual tension and repression you'd expect smoke rings to find their way out of someone's ears. The real star of the show, Mr. Delon, is the epitome of casual summertime male glamour. Sunglasses, basic tees, jeans, an endless array of swim trunks--what more does a man need for a weekend spent by the pool? To see Delon looking so relaxed in a denim jacket or short sleeve linen shirt is a bit jarring for those of us who are more familiar with the elegant coolness (René Clément's "Purple Noon" and Michelangelo Antonioni's "L'Eclisse") or the hard as nails killers (Jean-Pierre Melville's "Le Samourai") and cops (Deray's "Flic Story") he has iconically played. The film is permeated by a loose, beachy breeziness that befits the ease of its otherwise ultra glamorous stars, and yet intrinsically connects the literal heat to the primal sensuality each of the leads are more than capable at exuding. Clad in only their bathing suits while intertwined on a couch like some tanned, knotted, beautiful sculpture, the repartee between Schneider and Delon during their discussion of the heat outside is not only a scene that thrives on its palpable sexiness, but it's also style at its summery best.
"The Swimming Pool" is available on DVD now.
never too much
Feist
"1234" on "Sesame Street"
In a lot of ways she may be very last year, but doesn't this melt your heart just a little bit?
Monday, July 14, 2008
in the mood for pie
The only scene worth a damn in Wong Kar-Wai's misbegotten "My Blueberry Nights."
first look: hamlet 2
Sunday, July 13, 2008
the clash
I am still without an official summer song and seeing as how there are only about eight weeks or so of summer left, I think it's safe to assume this won't be the summer like 2006. I won't ruminate on that perfect summer of pop, but I really do long for a summer that does not include Coldplay, Lil Wayne, or Rihanna. If there is one person that could provide the ultimate summer song, or at least get the party started with a collection of the best summer songs, it would be Girl Talk. His feverish ode to pop music, "Night Ripper", was a stunning, complex, and modern take on the joys of music everyone knows and loves. His latest album, "Feed the Animals", doesn't disappoint or let up from his last. It's available for whatever price you want to pay at Illegal Art.
Top 5 Mashups from "Feed the Animals":
- Jay-Z, "Roc Boys"/Radiohead, "Paranoid Android" (from "Set It Off")
- Mary J. Blige, "Real Love"/The Guess Who, "These Eyes" (from Set It Off)
- Missy Elliott, "Work It"/Faith Evans, "Love Like This"/Nu Shooz, "I Can't Wait" (from "No Pause)
- Stardust, "Music Sounds Better With You"/Yo Majesty, "Club Action"/Genesis, "Invisible Touch"/Michael Jackson, "Wanna Be Startin' Something" (from "Hands in the Air")
- M.I.A., "Boyz"/The Cranberries, "Dreams" (from "Let Me See You")
Thursday, July 10, 2008
performance: a woman under the influence
No one does bored bourgeois like Jeanne Moreau. Monica Vitti comes close, but it was Vitti as the seductress and Moreau as the wife with the empty marriage when they were paired together in Michelangelo Antonioni's ode to the beautiful and the damned, "La Notte." Moreau's steely reserve is held so intensely in those eyes that are always in search of something, someone, or some place other than her current state of ennui and frustration. That restless quest for something to take her away from the meaningless appearances of the thoroughbred set comes alive in moments that are as hot as the spark of a firework explosion in Louis Malle's "The Lovers" (1958). Moreau crafts another unforgettable performance as the unhappily married wife of a newspaper editor (Alain Cuny) who departs for Paris at any chance she can get to carry on her unfulfilling affair with her polo-playing lover (José Luis de Villalonga) and gab abut the details with her best friend (Judith Magre). It's not until the third act when the film really gets into surprising and complex territory when Moreau finds herself attracted to a new, random stranger (Jean-Marc Bory) she meets on the highway when her car unexpectedly breaks down. He gives her a ride to her palatial country estate where she's hosting the lover and friend for the weekend, per the encouragement of her not-so ignorant husband. A house full of lovers, friends, husbands, and wives sets the stage for the perfectly executed and Brahms-infused melodrama.
The film's many layers are rooted on the character of Jeanne played by Moreau. It's an interesting decision because Moreau is wealthy without shame, achingly beautiful, has an envious social life, and cheats on her husband. She should be villified or punished , but the film is more interested her self-discovery, not judging or condemning her, and the audience does the same. Moreau is an emotional cocktail of resentment, curiosity, sexual fire, desperation, and desire, all of which Moreau controls very tightly until her character begins to take a fancy to the new stranger in the house. A tryst in the middle of the night with this stranger sets the action into an entirely different direction for the rest of the film and we can only be so glad with how Moreau reacts. She becomes more loose, natural, and impetuous, qualities she never knew existed. Watching her floating down a creek in a small boat with her new lover is pure poetry. They stay up all night making love while the husband and other lover are asleep in the same house. Moreau makes on-screen love in with such singularity and convincing vulnerability without being theatrical or improbable, a rare combination. She looks like she's not acting. Maybe that's great acting, but I found myself feeling like a true voyeur when she orgasms with such fury while clasping to the free hand of her lover. It's the earliest film I can think of where the image of a woman deriving honest sexual pleasure had such profound connotations. The film pre-dates "women's liberation" and offers a more in-depth filled portrait of a woman in spite of the Madonna/whore dichotomy that existed in cinema at that time and still persists today.
Where will this love affair, if that's what you want to call it, go? Malle doesn't want to spoil it for us, and neither does Moreau in that unreadable look on her face at the end. Questions of sexual power, monogamy, and class come across so clear in Moreau's provocative performance. The film as a whole is fantastic, but it's Moreau that you, or at least I, can't take your eyes off of.
"The Lovers" is available on DVD now.
they won't be taking requests
Photographer Nick Knight and his SHOWstudio team have commissioned a three day long celebration of fashion and music. Although peons like myself who can only view fashion through the images on the internet, there is a level of performance or exhibition that is inherent with a fashion show presentation, and music is such an integral part of that equation. Sometimes the music can really explain or enhance a collection. SHOWstudio has been streaming a live broadcast since yesterday of the DJ sets of fashion notables such as Naomi Campbell, Jefferson Hack, Boudicca, Stella McCartney, and Tim Blanks. You can watch them in the Abbey Road studio or listen to them at SHOWstudio's website.
Speaking of fashion shows and music...
Isn't that "Flashing Lights" remix perfect for those clothes?
Sunday, July 6, 2008
ladies and gentleman, introducing...
Vogue Italia, July 2008
Thursday, July 3, 2008
summer madness
Another head spinning couple of weeks of fashion are behind us. Sigh. Milan and Paris and men's wear shows and the couture shows (too lazy to touch upon those, but I did love Lacroix's and Givenchy's) just blurred right into each other. I can't imagine actually being in the thick of it (actually, it's one of my eventual goals), but there were some interesting trends and shows along the way that really stood out amongst the glut. Shorts, loose shapes, pajama style dressing, and monochromatic looks (namely in day glo colors) were the general trends from the Milan and Paris shows. With men's wear it's important to note that men dress in a primarily conservative and simple way. Shirt, pants, suit, casual wear, and shoes are pretty much the bare bones of men's wear. That might sound like it's stifling to a creative mind, but working within that box can produce rich and exciting results. Here are my ten favorite shows that captured that essence of the tradition of men's wear but introduced something relatively inventive along the way:
To read more of my men's wear show coverage at the 212 Dressing Room blog, click here.
copy cat
It's one thing that Clive bit off my shades of gray look, but dang Kanye, you had to go and steal my shorts, jacket, summer scarf, and smart glasses look too? I guess my bag of tricks is officially empty.
paris: givenchy
Justin Timberlake is the face of Givenchy’s latest men’s fragrance. In the ads he’s casually relaxed while jet-setting from concert to concert, recording new music for his adoring fans, and listening to the delightful tune on some mp3 player. Blah, blah, blah. How could such a safe ad campaign come from a house that’s currently creating some of the most goth, sexual, religious inspired, masterfully tailored clothes? I, for one, would think Mr. Timberlake crooning about his sexy back in leather cuffed shorts, leather leggings, a sleeveless button down shirt, and sleeveless double-breasted waistcoat/jacket would be a revelation. That was only look two in Riccardo Tisci’s brilliant spring men’s wear collection.
Tisci has endured a rocky tenure since taking over the women’s wear side of the brand. Pleasing critics here and there and confusing fashion followers with shows so cerebral it was impossible to fall in love with the clothes. However, he has proved he is an electric force in fashion, giving the Audrey Hepburn version of Givenchy an edgy, raw, and dark, and more recently focused, makeover. For his first men’s wear collection it’s in Tisci’s bones to give his audience something they’re not quite sure they’ll like at first, but it soon will resonate and becomes highly influential. Black and white was his base as well as the proportion of shorts over leggings with a structured top. A traditional two-button suit looked sensational in the same breath as a monochromatic hot pink look that included a daring lace button down, shorts, leggings, socks, and shoes. Transparency and density were at odds as were romantic and sporty in this collection. Warring ideas that confidently complement each other in the most complex of ways gives Tisci’s collections such freshness and excitement. Where else would you see such a dramatic and severe and yet soft and pure look on a tattooed punk?
paris: yves saint laurent
Spring/Summer 2009
Who needs a runway show when you can have a pretentious video installation in its place?
Tuesday, July 1, 2008
first look: quantum of solace
"Quantum of Solace"
directed by Mark Forster
November 7, 2008
GREAT GOOGA MOOGA THIS MOVIE LOOKS GOOD!
shorts or leggings? how about both!
Spring/Summer 2009
Next spring keeps getting trickier and tricker.
