Path

Movie-wise personally the 2022 was marked by the sign of genre change. It has started with the Witch Burned Alive enchanting piece. It progressed into the dark-aesthetics and contrasting world of Mariken van Nieumeghen.

Then I hit the inverse apex of anti-aesthetics in re-watching some old clip on some odd verses by Epifancev. Given new tools this was readable and superficial/catchy but with presence of relatively sophisticated technology. Surely there can be different readings but I got one slice that makes experience easy and does not cause any kind of stackoverflows while having enough consistency and enough new learnings. Given me being outsider to these crafts I got impressed by the experience technology used there. Both in verses and the video on top of them. This time the experience was without the “noise in torn-out ears without head” in the process and this more professional-like clear-minded look produces no less impression. Although I still visibly have a prejudice against this approach maybe because it is finite, maybe because it implies some level of organization.

Then given enough of diversified input irregardless of flashiness or smartness of images this kind of apex looses it’s magics and is understood more as a corner. Brighter genres are seen with new eyes. And the reversal of a kind is there.

The turn was crowned by the Chaplin’s A Days Pleasure. It is fun, more than smart and has just enough depth. The depth is created by different axes and different freedom.

Abstract

I must say that it is a perfect sequence. The negative apex when seen already from the right context is recalled as interestingly directed right by incorporating disgust response. I highlighted only more monumental points in the post and all evaluations are context-dependent.