Filmosophy

A revision of our society at large. The stunning cinematography in this film guided me throughout it. From the opening scene, with the Osage dancing to the findings of oil, through the idyllic moments of the wedding where the light hits the characters and the water just right, to the doomy feeling of the final funeral, every scene creates an atmosphere that adequately depicts the overall tone of it. Thematically, at least at first, this is close to There Will Be Blood (2007), where we see DDL create an empire disregarding human lives that may be affected by it. The Hale family is doing the same: running after money without any concerns towards human life, especially because that life is not a life of people they can relate to. The people they affect are in no way close to them. Not historically, not genetically, not religiously. It is only in this juncture of time that they meet one another, and their goals in life are diametrically opposed: while they white folks want to gather as much money as possible, their Osage counterparts just want to live their lives in peace. ...

The Silence Of God The second entry in what has been dubbed as the “Silence of God” trilogy is hard to describe in itself. 80 minutes packed with the most profound type of crisis: that of faith in a modern world with a beautiful cinematography that is characteristic of Bergman. Bergman worked repeatedly with the cast of this film, namely, Björnstrad, Thulin, von Sydow. I believe they just shared some of the concerns Bergman himself had for they portray these characters so vividly that it is hard to think of other actors for the roles. ...

Psychoanalysis and Marxism In Freud’s psychoanalysis, the father is the quintessential cultural bastion, for he is the one who introduces his children into the cultural world, by allowing his son to have any woman he desires, except for his own mother. This is the simplest formulation, but more kin is introduced in more complex societies and one cannot have sisters or cousins. It is hard to dissolve Freud’s theories from its own cultural background: raised in a victorian era, the Judeo-Christian thought pervades him in ways he could not even see. His attempt is a proto-scientific, but it ultimately fails. ...

Much is said about Whiplash (2016) regarding the acting of its two main characters: the young man trying to be the best he can be, and the old man breaking souls in search of that one great student. The pain Andrew Neiman has to go through to be considered decent by Fletcher, the literal blood he has to give, the relationships he has to give up on, and of course the psychological intensity he is subject to. All those themes have been addressed. ...