1988 poll

[kanafani]

Yes, I've seen a bunch of Farockis. I love his essay films.

I shall check the Veuve

[cinesmith]

1. Women on the Verge of a Nervous Breakdown (Almodovar)

Camille Claudel (Nuytten)
Landscape in the Mist (Angelopoulos)
The Vanishing (Sluizer)
Time of the Gypsies (Kusturica)
Salaam Bombay (Nair)
Distant Voices, Still Lives (Davies)
Cinema Paradiso (Tornatore)
The Thin Blue Line (Morris)
Beetlejuice (Burton)
Hotel Terminus (Ophuls)
La Lectrice (Deville)
A Fish Called Wanda (Crichton)
The Moderns (Rudolph)
Adventures of Baron Munchausen (Gilliam)
Eight Men Out (Sayles)
Midnight Run (Brest)
Miracle Mile (De Jarnatt)
Frantic (Polanski)
They Live (Carpenter)


Still need to see:
The Cannibals (de Oliveira)
Damnation (Tarr)
Painted Faces (Law)
On The Silver Globe (Zulawski)
Heart of a Dog (Bortko)

[thoxans]

(Almodovar)

tcm has been showing his features this month during their early monday morning foreign bloc. have wanted to see wotvoanb for a long while, so now’s the perfect opportunity

[thoxans]

started albert pyun's alien from la. so far, so good. and this one is actually from '88! pyun's ed wood gravitas might make this one the trash of the year for me. we'll see...

[niminy-piminy]

1988 poll viewing No36:
THERE WAS AN UNSEEN CLOUD MOVING (Leslie Thornton)
https://letterboxd.com/film/there-was-a ... ud-moving/

https://www.eai.org/titles/there-was-an ... oud-moving
There was an Unseen Cloud Moving is part documentary, part personal meditation. The piece is the first in a series of Thornton's projects that focus on the life and work of Isabelle Eberhardt, an explorer who died in 1904 in Algeria while traveling in the Maghreb disguised as a man, and who recounted her journeys in journals published after her death. Thornton composes a collage of theatrical and filmic representations of Eberhardt, including archival photographs and footage, press documents, extracts from Eberhardt's journals, and voiceover narration by Thornton. Scenes from Julien Duvivier's Pépé le Moko punctuate the biography, adding a fictional dimension to the representations. The complex editing, rife with repetitions and digressions, reveals and critiques the univocal nature of historical and biographical narratives. Simultaneously, Thornton considers the role of women as explorers throughout history and investigates her own relationship to these heroines as well as the means by which identity is narrativized by oneself and by others.

https://en.wikipedia.org/wiki/Isabelle_Eberhardt
Isabelle Wilhelmine Marie Eberhardt (17 February 1877 – 21 October 1904) was a Swiss explorer and author.

[Lencho of the Apes]

I'm fanning hard for Gilliam's Munchausen... but I don't know anything about the earlier versions. If it were muchly similar to the 1942 version, that would work against it...

[rischka]

tiger on the beat was a lot of fun ...til chow yun fat beats up a woman causing her to fall in love with him... then he rather hilariously tells her that he prefers to sleep with multiple women. but she gets killed right after -- problem solved!! but ... his crazy wardrobe, goofy jokes, the underwear chase, lots of cool fights. the theme song.... *sigh*

[nrh]

tiger on the beat was a lot of fun ...

i find this movie totally fascinating but actually kind of awful to watch...lau kar leung really does not like the modern world, i think this is his only film that deals with the modern world without the balancing of past and tradition (and even then i think the only other example is lady is the boss?). there is just something deeply mean about the vulgarity, the harsh colors, the violence (lau kar-leung usually takes violence very seriously, even in his comedies, here it is almost off hand, part of the scenery), even the clothing, there is just a grotesque cloud over the whole thing. it's kind of incredible but at the same time not at all surprising lau kar leung just didn't really exist as a commercial filmmaker in the world after this.

[Evelyn Library P.I.]

I managed 2 poll viewings for this, both HK flicks. I didn't feel much affection for either, but I at least liked parts of Police Story 2 enough to recommend it.

1. Hairspray (John Waters)
Gai tung ngap gong / Chicken and Duck Talk (Clifton Ko Chi-Sum, Hui Brothers)
Place Mattes (Barbara Hammer)
Who Framed Roger Rabbit (Robert Zemeckis)
Coming to America (John Landis)
Dirty Rotten Scoundrels (Frank Oz)
Ging chaat goo si juk jaap / Police Story 2 (Jackie Chan)

[rischka]

tiger on the beat was a lot of fun ...

i find this movie totally fascinating but actually kind of awful to watch...lau kar leung really does not like the modern world, i think this is his only film that deals with the modern world without the balancing of past and tradition (and even then i think the only other example is lady is the boss?). there is just something deeply mean about the vulgarity, the harsh colors, the violence (lau kar-leung usually takes violence very seriously, even in his comedies, here it is almost off hand, part of the scenery), even the clothing, there is just a grotesque cloud over the whole thing. it's kind of incredible but at the same time not at all surprising lau kar leung just didn't really exist as a commercial filmmaker in the world after this.

yes indeed. bitter aftertaste. now i'm watching Jane B. par Agnès V. i think i like varda's freeform docs more than her features at this point

[greennui]

Final List...

1. Drowning by Numbers (Peter Greenaway)

Akira (Katsuhiro Otomo)
The Lair of the White Worm (Ken Russell)
Salome's Last Dance (Ken Russell)
Iguana (Monte Hellman)
Ariel (Aki Kaurismäki)
The Last Temptation of Christ (Martin Scorsese)
Days of Eclipse (Aleksandr Sokurov)
Hairspray (John Waters)
Three Seats for the 26th (Jacques Demy)
The Short & Curlies (Mike Leigh)
High Hopes (Mike Leigh)
Camp de Thiaroye (Ousmane Sembène)
Talking to Strangers (Rob Tregenza)
Chocolat (Claire Denis)
Macho Dancer (Lino Brocka)
Distant Voices, Still Lives (Terence Davies)
Alice (Jan Švankmajer)
In Georgia (Jürgen Böttcher)
The Fourth Dimension (Zbigniew Rybczynski)

[niminy-piminy]

1988poll viewing No37:
THE LAST SEDUCTION OF EUROPE (Hans Neuenfels)
https://letterboxd.com/film/innocence-unknown/

1/
THE LAST SEDUCTION OF EUROPE also known as INNOCENCE UNKNOWN
(literally EUROPE AND THE SECOND APPLE / EUROPA UND DER ZWEITE APFEL)
is part of Hans Neuenfels' "Kleist Trilogy" consisting of...
A/ HEINRICH PENTHESILEA VON KLEIST (1983) — i watched it not long ago
https://letterboxd.com/film/heinrich-pe ... on-kleist/
B/ THE FAMILY OR SCHROFFENSTEIN (1984) — i expect to watch it rather soon
https://letterboxd.com/film/the-family- ... ffenstein/
C/ THE LAST SEDUCTION OF EUROPE (1988)

2/
It is an adaptation of Heinrich Kleist's essay called "On the Marionette Theatre"...

On the Marionette Theatre
https://southerncrossreview.org/9/kleist.htm

One evening in the winter of 1801 I met an old friend in a public park. He had recently been appointed principal dancer at the local theatre and was enjoying immense popularity with the audiences. I told him I had been surprised to see him more than once at the marionette theatre which had been put up in the market-place to entertain the public with dramatic burlesques interspersed with song and dance. He assured me that the mute gestures of these puppets gave him much satisfaction and told me bluntly that any dancer who wished to perfect his art could learn a lot from them.

From the way he said this I could see it wasn't something which had just come into his mind, so I sat down to question him more closely about his reasons for this remarkable assertion.

He asked me if I hadn't in fact found some of the dance movements of the puppets (and particularly of the smaller ones) very graceful. This I couldn't deny. A group of four peasants dancing the rondo in quick time couldn't have been painted more delicately by Teniers.

I inquired about the mechanism of these figures. I wanted to know how it is possible, without having a maze of strings attached to one's fingers, to move the separate limbs and extremities in the rhythm of the dance. His answer was that I must not imagine each limb as being individually positioned and moved by the operator in the various phases of the dance. Each movement, he told me, has its centre of gravity; it is enough to control this within the puppet. The limbs, which are only pendulums, then follow mechanically of their own accord, without further help. He added that this movement is very simple. When the centre of gravity is moved in a straight line, the limbs describe curves. Often shaken in a purely haphazard way, the puppet falls into a kind of rhythmic movement which resembles dance.

This observation seemed to me to throw some light at last on the enjoyment he said he got from the marionette theatre, but I was far from guessing the inferences he would draw from it later.

I asked him if he thought the operator who controls these puppets should himself be a dancer or at least have some idea of beauty in the dance. He replied that if a job is technically easy it doesn't follow that it can be done entirely without sensitivity. The line the centre of gravity has to follow is indeed very simple, and in most cases, he believed, straight. When it is curved, the law of its curvature seems to be at the least of the first and at the most of the second order. Even in the latter case the line is only elliptical, a form of movement natural to the human body because of the joints, so this hardly demands any great skill from the operator. But, seen from another point of view, this line could be something very mysterious. It is nothing other than the path taken by the soul of the dancer. He doubted if this could be found unless the operator can transpose himself into the centre of gravity of the marionette. In other words, the operator dances.

I said the operator's part in the business had been represented to me as something which can be done entirely without feeling - rather like turning the handle of a barrel-organ.

"Not at all", he said. "In fact, there's a subtle relationship between the movements of his fingers and the movements of the puppets attached to them, something like the relationship between numbers and their logarithms or between asymptote and hyperbola." Yet he did believe this last trace of human volition could be removed from the marionettes and their dance transferred entirely to the realm of mechanical forces, even produced, as I had suggested, by turning a handle.

I told him I was astonished at the attention he was paying to this vulgar species of an art form. It wasn't just that he thought it capable of loftier development; he seemed to be working to this end himself.

He smiled. He said he was confident that, if he could get a craftsman to construct a marionette to the specifications he had in mind, he could perform a dance with it which neither he nor any other skilled dancer of his time, not even Madame Vestris herself, could equal.

"Have you heard", he asked, as I looked down in silence, "of those artificial legs made by English craftsmen for people who have been unfortunate enough to lose their own limbs?"

I said I hadn't. I had never seen anything of this kind.

"I'm sorry to hear that", he said, "because when I tell you these people dance with them, I'm almost afraid you won't believe me. What am I saying... dance? The range of their movements is in fact limited, but those they can perform they execute with a certainty and ease and grace which must astound the thoughtful observer."

I said with a laugh that of course he had now found his man. The craftsman who could make such remarkable limbs could surely build a complete marionette for him, to his specifications.

"And what", I asked, as he was looking down in some perplexity, "are the requirements you think of presenting to the ingenuity of this man?"

"Nothing that isn't to be found in these puppets we see here," he replied: "proportion, flexibility, lightness .... but all to a higher degree. And especially a more natural arrangement of the centres of gravity."

"And what is the advantage your puppets would have over living dancers?"

"The advantage? First of all a negative one, my friend: it would never be guilty of affectation. For affectation is seen, as you know, when the soul, or moving force, appears at some point other than the centre of gravity of the movement. Because the operator controls with his wire or thread only this centre, the attached limbs are just what they should be — lifeless, pure pendulums, governed only by the law of gravity. This is an excellent quality. You'll look for it in vain in most of our dancers."

"Just look at that girl who dances Daphne", he went on. "Pursued by Apollo, she turns to look at him. At this moment her soul appears to be in the small of her back. As she bends, she look as if she's going to break, like a naiad after the school of Bernini. Or take that young fellow who dances Paris when he's standing among the three goddesses and offering the apple to Venus. His soul is in fact located (and it's a frightful thing to see) in his elbow."

" Misconceptions like this are unavoidable," he said, " now that we've eaten of the tree of knowledge. But Paradise is locked and bolted, and the cherubim stands behind us. We have to go on and make the journey round the world to see if it is perhaps open somewhere at the back."

This made me laugh. Certainly, I thought, the human spirit can't be in error when it is non-existent. I could see that he had more to say, so I begged him to go on.

"In addition", he said, "these puppets have the advantage of being for all practical purposes weightless. They are not afflicted with the inertia of matter, the property most resistant to dance. The force which raises them into the air is greater than the one which draws them to the ground. What would our good Miss G. give to be sixty pounds lighter or to have a weight of this size as a counterbalance when she is performing her entrechats and pirouettes? Puppets need the ground only to glance against lightly, like elves, and through this momentary check to renew the swing of their limbs. We humans must have it to rest on, to recover from the effort of the dance. This moment of rest is clearly no part of the dance. The best we can do is make it as inconspicuous as possible..."

My reply was that, no matter how cleverly he might present his paradoxes, he would never make me believe a mechanical puppet can be more graceful than a living human body. He countered this by saying that, where grace is concerned, it is impossible for man to come anywhere near a puppet. Only a god can equal inanimate matter in this respect. This is the point where the two ends of the circular world meet.

I was absolutely astonished. I didn't know what to say to such extraordinary assertions.

It seemed, he said, as he took a pinch of snuff, that I hadn't read the third chapter of the book of Genesis with sufficient attention. If a man wasn't familiar with that initial period of all human development, it would be difficult to have a fruitful discussion with him about later developments and even more difficult to talk about the ultimate situation.

I told him I was well aware how consciousness can disturb natural grace. A young acquaintance of mine had as it were lost his innocence before my very eyes, and all because of a chance remark. He had never found his way back to that Paradise of innocence, in spite of all conceivable efforts. "But what inferences", I added, "can you draw from that?"

He asked me what incident I had in mind.

"About three years ago", I said, "I was at the baths with a young man who was then remarkably graceful. He was about fifteen, and only faintly could one see the first traces of vanity, a product of the favours shown him by women. It happened that we had recently seen in Paris the figure of the boy pulling a thorn out of his foot. The cast of the statue is well known; you see it in most German collections. My friend looked into a tall mirror just as he was lifting his foot to a stool to dry it, and he was reminded of the statue. He smiled and told me of his discovery. As a matter of fact, I'd noticed it too, at the same moment, but... I don't know if it was to test the quality of his apparent grace or to provide a salutary counter to his vanity... I laughed and said he must be imagining things. He blushed. He lifted his foot a second time, to show me, but the effort was a failure, as anybody could have foreseen. He tried it again a third time, a fourth time, he must have lifted his foot ten times, but it was in vain. He was quite unable to reproduce the same movement. What am I saying? The movements he made were so comical that I was hard put to it not to laugh.

From that day, from that very moment, an extraordinary change came over this boy. He began to spend whole days before the mirror. His attractions slipped away from him, one after the other. An invisible and incomprehensible power seemed to settle like a steel net over the free play of his gestures. A year later nothing remained of the lovely grace which had given pleasure to all who looked at him. I can tell you of a man, still alive, who was a witness to this strange and unfortunate event. He can confirm it, word for word, just as I've described it."

"In this connection", said my friend warmly, "I must tell you another story. You'll easily see how it fits in here. When I was on my way to Russia, I spent some time on the estate of a Baltic nobleman whose sons had a passion for fencing. The elder, in particular, who had just come down from the university, thought he was a bit of an expert. One morning, when I was in his room, he offered me a rapier. I accepted his challenge but, as it turned out, I had the better of him. It made him angry, and this increased his confusion. Nearly every thrust I made found its mark. At last his rapier flew into the corner of the room. As he picked it up he said, half in anger and half in jest, that he had met his master but that there is a master for everyone and everything - and now he proposed to lead me to mine. The brothers laughed loudly at this and shouted: "Come on, down to the shed!" They took me by the hand and led me outside to make the acquaintance of a bear which their father was rearing on the farm.

"I was astounded to see the bear standing upright on his hind legs, his back against the post to which he was chained, his right paw raised ready for battle. He looked me straight in the eye. This was his fighting posture. I wasn't sure if I was dreaming, seeing such an opponent. They urged me to attack. "See if you can hit him!" they shouted. As I had now recovered somewhat from my astonishment I fell on him with my rapier. The bear made a slight movement with his paw and parried my thrust. I feinted, to deceive him. The bear did not move. I attacked again, this time with all the skill I could muster. I know I would certainly have thrust my way through to a human breast, but the bear made a slight movement with his paw and parried my thrust. By now I was almost in the same state as the elder brother had been: the bear's utter seriousness robbed me of my composure. Thrusts and feints followed thick and fast, the sweat poured off me, but in vain. It wasn't merely that he parried my thrusts like the finest fencer in the world; when I feinted to deceive him he made no move at all. No human fencer could equal his perception in this respect. He stood upright, his paw raised ready for battle, his eye fixed on mine as if he could read my soul there, and when my thrusts were not meant seriously he did not move. Do you believe this story?"

"Absolutely", I said with joyful approval. "I'd believe it from a stranger, it's so probable. Why shouldn't I believe it from you?"

"Now, my excellent friend," said my companion, "you are in possession of all you need to follow my argument. We see that in the organic world, as thought grows dimmer and weaker, grace emerges more brilliantly and decisively. But just as a section drawn through two lines suddenly reappears on the other side after passing through infinity, or as the image in a concave mirror turns up again right in front of us after dwindling into the distance, so grace itself returns when knowledge has as it were gone through an infinity. Grace appears most purely in that human form which either has no consciousness or an infinite consciousness. That is, in the puppet or in the god."

"Does that mean", I said in some bewilderment, "that we must eat again of the tree of knowledge in order to return to the state of innocence?"

"Of course", he said, "but that's the final chapter in the history of the world."

3/
It's an "esoteric wft movie" at its finest!
Europa is adorned with horns and Irm Hermann plays harp there...


In the grand finale, puppet-like (automaton-like) newly-born superhuman raises from the coffin (heralding the advent of new innocence)...


In my ballot, it will take the venerable place right next to CANNIBALS.

4/
I must admit I have a weakness for Heinrich Kleist transposed on screen.
Besides HEINRICH PENTHESILEA VON KLEIST (1983) and THE LAST SEDUCTION OF EUROPE (1988), both by Hans Neuenfels,
I already watched two delightful Rohmer adaptations: CATHERINE DE HEILBRONN (1980) and THE MARQUISE OF O (1976).
Also two Helma Sanders-Brahms' films: EARTHQUAKE IN CHILE (1975) and HEINRICH (1977, biopic).
And also SAN DOMINGO (1970) by Hans-Jürgen Syberberg.
I might take "Personal Chalenge, 2021" to watch as many other "Kleist movies" as possible, starting with...
THE FAMILY OR SCHROFFENSTEIN (Hans Neuenfels, 1984)
THE MARQUISE OF O. 'FROM THE NORTH TO THE SOUTH' (Hans-Jürgen Syberberg, 1989)
THE PRINCE OF HOMBURG (Eckhart Schmidt, 1994)
MAN ON HORSEBACK (Volker Schlöndorff, 1969)
THE SEED OF DISCORD (Pappi Corsicato, 2008)
AMOUR FOU (Jessica Hausner, 2014)
LIKE TWO MERRY AERONAUTS (Jonathan Briel, 1969)

[niminy-piminy]

Btw. I suspect Keith Flint of Prodigy took inspiration for his self-stylization
from the outlook of the new-born (risen from the coffin) puppet superhuman of THE LAST SEDUCTION OF EUROPE...

[thoxans]

night of the demons (kevin s. tenney) list-worthy! strong night of the creeps/the return of the living dead vibes, with a little bit of carp's prince of darkness' slowburn buildup into relentlessness. even allots a few min in the middle for amelia kinkade to put on an impromptu dance routine like some deleted scene of isabelle adjani's possession metro freakout sequence

[nrh]

Btw. I suspect Keith Flint of Prodigy took inspiration for his self-stylization
from the outlook of the new-born (risen from the coffin) puppet superhuman of THE LAST SEDUCTION OF EUROPE...

maybe a hint of klaus nomi's most iconic look as well?

[niminy-piminy]

yea, Nomi is probably closer to Prodigy look.
all three of them would make a cool band!

[Curtis, baby]

Precious firestarter

[thoxans]

aakhri adaalat (rajiv mehra) sadly not list-worthy. idk probs didn't get the full effect, since i had to watch it in little bits and pieces over a couple weeks. and while it's got that cool bollywood style of action that looks like some teenagers took their parents' video camera to film lots of kicks and punches and karate chops, it feels wildly disconnected and padded, and not in that charming tapestry-type way that many indian flicks are able to pull off. though i will say that while watching, i thought 'man this reminds me of ram jaane,' and sure enough it ended up being a rajiv mehra movie, so that must say something about the dir's consistent sensibilities...?

alien from la (albert pyun) sure. list-worthy. why not? reminded me in an offhand way of bava's planet of the vampires. it's an audio-visual treat first and foremost, with the emphasis on the visual. what we have here is a color-coated claustrophobic steampunk fairytale. kathy ireland goes down a quasi-rabbit hole into a world full of clearly marked good guy and bad guy caricatures. and it's always great to see thom mathews getting work. the flick seems to be pretty roundly despised, but i imagine those are peeps who go into this assuming, if not relishing, that they'll hate it. everything is so purposefully and meticulously highly stylized that this isn't some piece of throwaway garbage though. there may not be a lot more than meets the eye, but i'll be damned if there's not a ton meeting the eye, which was more than enough for me to find interest in the end product. out-gilliam's gilliam in a lot of ways tbh

[St. Gloede]

I just heard about Talking with Strangers today, when I read that Godard presented it in Toronto (along with Forever Mozart) in 1996. Interesting!

Agreed, re: Wuthering Heights. I wish Yoshida had done more period pieces - and it is absolutely stunning. So many of his colour films (and B/W films) are though. Not sure if I could truly give it the edge over Farewell to the Summer Light (though it really needs a restoration) - but certainly up there.

[rischka]

The worst I've seen is Die Hard, on account of being probably evil and accordingly no fun.

But it is possible for a thing to be possibly problematic/evil and still be fun, no?

no for me that movie is cop, d. james b harris

camp thiaroye is amazing. to quote Augie@hsufeng79: fuck the french!

i still intend to watch the oliviera and greenaway

[thoxans]

20min into mani ratnam's agni natchathiram, and i've already experienced enough drama for two weeks' worth of soap opera eps, not to mention the single most michael-jackson-circa-the-'80s-inspired choreographed dance routine ever. now we're talkin! (and this will get me up to seven mani's, almost enough to start making a mani minipoll interesting)

[niminy-piminy]

Mother's Mask (Christoph Schlingensief) - A madcap send-up of Veit Harlan's Opfergang. It had one or two neat moments but...it mostly just felt like a bunch of normies trying their hands at transgressive camp stylings, with an end result that was mostly cartoonish and devoid of any real sensibility. I was delighted when Udo Kier showed up halfway through but then it turned out to be only a cameo.

tried that too. would have to repeat ↑

[Lencho of the Apes]

Om Dar-B-Dar is amazing -- there's India-specific stuff about caste identity and folk religion that I may not be able to unpack, but the content overall is anti-rational/surrealist at almost the RRuiz level. I was too tired to finish it last night, but I'll be on it... Most characteristic scene so far was a classroom full of children dancing and fooling around while a non-diegetic narrative voice read a fable about frogs and tadpoles, terrorists tadpoles who refused to grow up and the actions they took to destroy nitrogen in their environment. ("Nitrogen" is a running joke of some kind...)

Why is it I never find the exciting ones until the last days of a game?

[thoxans]

Why is it I never find the exciting ones until the last days of a game?

cuz you're nothing but a big withholding tease, but that's why we love you

[rischka]

drowning by numbers

os canibais
camp de thiaroye
crossing delancey
wuthering heights
distant voices still lives
the eye above the well
my neighbor totoro
ariel
hotel terminus
une histoire de vent
landscape in the mist
ashik kerib
chicken and duck talk
histoires du cinema
superstar
july
hairspray
the girl from hunan
iguana



these people have actual servants who stand there and hold candlesticks can u believe it

i will watch drowning by numbers tmrw

[Lencho of the Apes]

that's why

If you really loved me, you wouldn't have made me watch Yacht-Rock: The Movie Cocktail. It might be a WBA movie, but it wasn't for Lencho. Though I really admired the aplomb with which the movie pwned itself when that character said "and our children will be adorable with dreadlocks."

[Curtis, baby]

drowning by numbers

i was about to make some STUPID joke about how you can only drown in a liquid...but then i realized, it's drowning BY numbers, not drowning IN numbers. considering greenaway is grammatically precise, like all brits who drink tea, i guess the title refers to hella people drowning concurrently or consecutively

but that of course raises a new question: drowning in what? because, you know guys, you can only drown in a liquid...

[nrh]

drowning by numbers

i was about to make some STUPID joke about how you can only drown in a liquid...but then i realized, it's drowning BY numbers, not drowning IN numbers.

it's specifically a pun on painting by numbers if i recall, and then a more abstract joke about narrative logic since the whole thing is a count down throughout...probably greenaway's most english film, there's a whole elaborate plot thread about cricket injuries.

[rischka]

and yes, there are consecutive drownings in liquid

[Curtis, baby]

count down, hey?

I almost, for the Cup, picked:

Three Bewildered People in the Night
We Make Couples
Alone in the Wilderness

but i couldn't find a good film for 0... was gonna use Nobody Knows but Everybody Knows about it. i was then seduced by Seduced and Abandoned, but lots have seen that too so i abandoned the idea

really had to stretch for that one hey