Having only seen the Mann works shot on film (okay, I saw Public Enemies when I was much younger, but don't remember anything), watching this was a bit of a Dylan going electric moment.
"As a composer of music, I soon found that I enjoyed playing the drawing parameters in real time like a musical instrument. I could move around in an image and change the size, color, texture, color and other parameters in real time as I drew it, using knobs and switches just like those the GROOVE music computer down the hall. I would draw with one hand while manipulating the various visual parameters with my other hand using the 3D joystick,…
The struggle to place the shared experience of a queer life (together) between the spaces of a heteronormative routine. Its ending lies somewhere beyond hope or despair—it felt like I was seeing them slide into an acceptance of this asynchronous love, fractured by time and circumstance, and mended in equal capacity by the wordlessness of physical contact. On the one hand, an unsparing depiction of the day-to-day oppression that threatens to tear queer love apart, perhaps without end, and on the other hand, the affirmation that even despite this, queer love can and will persist.
For how minimalist it is, this movie packs a huge punch.
Before my sophomore year of high school, I went to China for a few weeks with my parents. We stayed with my grandparents in Qidong. At the time, they lived in an incredibly shabby apartment—residents don't pay a maintenance fee and the whole building is left to crack and crumble. They had bought a new apartment in a nearby development that was nearing completion, however, and were planning to move there in the near future.
Initially, my grandparents suggested we…