Kieslowski - Three Colors Trilogy - Poll

Didn't even have to think for a minute.

Red, all the way.

Although The Double Life of Veronique (and Dekalog) are better.

I chose Red. I love how whenever the film threatens to get pompous life interrupts: light bulbs go out, local boys ("Turks," grumbles the building superintendent) put chewing gum in locks. And there's always Irene Jacob, drinking pear brandy and listening with the most beautiful concentration ever.

I like 'Blue' but 'Red' stays with you

Red.

Three words: Jean-Louis Trintignant.

irene fucking jacob, my god

since red's gonna win i'm throwing a vote white's way, since it always gets slighted

I haven't seen White since '94. At the time I thought it K's half-hearted attempt to make a film with an unfamiliar (to him) tone: wryness.

i once wrote an epic paper on Red, but tossed one to Blue, because it's the one i've seen most recently, and it has its moments of supreme beauty.

White, on the other hand...i...gosh, i don't even think i've been able to make it through that movie. and i love Kieslowski— the only DVD i own that isn't ripped is the big Decalogue box.

White is only 88 minutes!

Agree that the trilogy is no Dekalog, but there are plenty of Dekalog glimmers throughout. I'd have to say Red, of course, but I'm not sure Red would be as good without Blue and White. Blue, I seem to recall, is the most striking, visually.

I know I'm in the minority, but I'm going with White, the film equivalent of Zooropa. Of all three, the opening sequence of Blue, the final sequence of White, and the lightbulb in Red are my favorites.

blue w/o thinking probably red if i do

I know I'm in the minority, but I'm going with White, the film equivalent of Zooropa

wait waht

If you didn't know, The whole Trilogy coming from Criterion prob' by the end of this year.

haha i was chalking that one up to my poor familiarity w/zooropa but... yeah (xp)

I'm very curious about reading posters' experiences with these things over the years. Because I was nineteen when first released, they were the last word on Intelligent European Cinema. But Red still holds up. Blue too.

[x-post]You could make some arguement about these lining up w/the Achtung Baby, Zooropa, Pop run, but Pop doesn't = Red.

The psychological disruption resulting from the fall of the Iron Curtain and the cultural establishment of the E.U.!!!

^^if we were commenting on a YouTube clip

white. prefer la double vie to blue, which it strongly resembles. red's amazing, but not a personal favorite.

Red, but I hope White gets a few votes. I remember it had a goofy charm.

Red is the only one I've seen, but that's p great!

I thought I had read that Morbz hated either Red or Blue...probably none of my business...

No, he said on the Kieslowski thread that he liked Red.

My bad. I'm sorry. I thought he implied something disparaging on the Best Films of the 90s thread :(

that doesn't sound like him

i am and pretty much always have been a sucker for art about 'ideas' (and hence was hardcore on the kieslowski train already), was vaguely a cineaste at this time (18-19), and find beautiful women attractive so these films were pretty huge w/ me. had a definite crush on irene jacob (dating back to veronique), so much so i went to see that awful mid-nineties version of othello. i'm probably wrong (i hope so) but is this the last foreign/"art" film/set of films to attain this level of cultural currency/ubiquity? or at least that didn't owe its appeal to violence/action/date flick/whatever the appeal of amelie was? by cultural currency i basically mean 'this movie poster became a dorm room cliche' etc.

Unless you count some Aldomovar films...?

In my mind the "debate" in 1994 wasn't between Pulp Fiction and Forrest Gump: more like PF vs Red. Kieslowski's rep was such that he got Best Director and Screenplay nods that year -- and Tarantino himself was a fan.

*Alomodovar obv

heh - Almodovar

btw I don't think these films are as significant as defenders (like me) argued at the time. Blue and Red are cool, chic noodling, in which we stare at beautiful women for ninety minutes. Kieslowski was lucky in that he died before his style could ossify into a manner (and kitsch).

i dont think 'blue' is particularly radical or inventive & its in some ways p trite but i do think its p keenly felt idk if that makes it 'significant'

i'm probably wrong (i hope so) but is this the last foreign/"art" film/set of films to attain this level of cultural currency/ubiquity? or at least that didn't owe its appeal to violence/action/date flick/whatever the appeal of amelie was? by cultural currency i basically mean 'this movie poster became a dorm room cliche' etc.

I like these movies but I think the 'trilogy!! colors!!! do you see!!' gimmick is probably responsible for a lot of the interest?

I voted blue but I haven't seen white for a long time, barely remember it.

i'm probably wrong (i hope so) but is this the last foreign/"art" film/set of films to attain this level of cultural currency/ubiquity? or at least that didn't owe its appeal to violence/action/date flick/whatever the appeal of amelie was? by cultural currency i basically mean 'this movie poster became a dorm room cliche' etc.

Alfred OTM on Almodovar. Might not meet your criteria, but what about Y tu mama tambien or Amores perros?

x-posts

yeah i guess almodovar, i'm one of those ppl that forgets that alot of ppl like his recent stuff as much as/more than his 80s stuff.

o duh the three amigos also

didn't like blue at the time, v disappointing after double life
liked white but it felt slight at the time, my opinion of it greatly improved after *rescreening* it
loved red

i don't know how i forgot almodovar since when i thought about irene jacob and her floudering in hollywood i thought of penelope cruz temporarily (and on occasion still) suffering the same fate

In my mind the "debate" in 1994 wasn't between Pulp Fiction and Forrest Gump: more like PF vs Red. Kieslowski's rep was such that he got Best Director and Screenplay nods that year -- and Tarantino himself was a fan.

IIRC, it's mentioned in Criterion TDLoV book that Tarentino wanted Irene Jacob to play Mia Wallace, but she was already commited to Red.

and thus a life was saved

They certainly did have cachet. I wasn't the only guy at the time who bought the Blue score (by "Van Den Budenmayer").

also:

Van Den Budenmayer[After Kieślowski's death, Harvey Weinstein (then head of Miramax Films, which distributed the last four Kieślowski films in the US) wrote a eulogy for him in Premiere magazine. In it he said that Quentin Tarantino saw The Double Life of Véronique at the 1991 Cannes Film Festival and took note of its star, Irène Jacob. He apparently wrote the part of Bruce Willis's wife in Pulp Fiction for her, but she was unavailable for the shoot.

If you didn't know, The whole Trilogy coming from Criterion prob' by the end of this year.

I'm going to have to buy it again??

Thanks for the PF clarification Alfred!

blue had a huge impact on me when it came out. I went back and saw it a second time with a date. that date became my wife.

a couple years ago we were having a yard sale and an old lady pulled a vhs copy of blue out of a box. my wife described the movie to her and how it was our first date. the old lady said, "and you still married him? must've been love."

so yeah, blue.

happy birthday krzysztof kieslowski!

Red probably the most powerful of these movies, but I have seen White the most.

BLUE BLUE BLUE

white. white is hilarious. none of the others are hilarious.

when i was a teenager my favorite was red hands down though, mostly cuz of irene jacob and her bubble gum.

White, I think. Struggled with the other two to a certain extent, but always liked the closeness of death to the humour in White, the melancholy, and the portrait of adult male companionship.

Red

saw em all just once.

Automatic thread bump. This poll is closing tomorrow.

Red is one of my favorite movies of all time.

Blue!

I wish I could remember them. Don't remember anything, really. Hardly remember Double Life of Veronique either.

juliette binoche furiously eating a lollipop

the scene where juliette binoche drags her knuckles along a rock wall is weirdly hard to take for me

^^^^ the most memorable image.

Veronique is dulllllllllllllllllll.

sound design in blue is so well done

that part where she throws the sheet music into the garbage truck

xxxp i guess that's true as i think about it literally every time i walk past a rock wall

many many memorable moments/images in blue

lollipop wrapper blowing in the wind, kids jumping into the pool, the sugarcube, the final montage

The lollipop wrapper in the wind is luscious. I don't dislike anything you mentioned, but when I think of Blue the first thing that comes to mind is Binoche scraping her knuckles, and those stabs of classical music.

i like the kids jumping into the pool too but honestly it is pretty hard not to roll your eyes at juliette binoche floating in the FETAL POSITION in a pool which is GUESS WHICH COLOR and then agreeing to hang out with the prostitute after which A WHOLE BUNCH OF YELLING PEOPLE PILE INTO THE PREVIOUSLY EMPTY POOL DO YOU SEE

I love the expression of silent contempt when Binoche watches that old woman struggle and fail to stick her plastic bottle in the recycling bin.

nah even that's better in white -- his reassured smirk at knowing that there are people worse off than him.

I kinda feel like blue as a whole is kind of eye-rolly? could write the whole thing off like eh europeans are saddo classicals but for me you either go with the melodrama or not and I'm all in

http://i5.photobucket.com/albums/y176/edwardiii/sugar.jpg

I kinda feel like blue as a whole is kind of eye-rolly? could write the whole thing off like eh europeans are saddo classicals but for me you either go with the melodrama or not and I'm all in

― snowball's epc in hell (Edward III), Wednesday, June 29, 2011 9:49 AM (16 seconds ago) Bookmark

yeah this is all true and sometimes i am in too.

That's why I prefer Red.

A review at that time called Blue "an exquisite tone poem." Then added: "But movies aren't poems."

no movies are pineapples made of sound and images

intellectually it's easy to reason out why red is the better picture but blue works on my emotions like music and that's a magical thing so it gets the banana

(last minute campaigning)

my only bit of last-minute campaigning for white would be to remind people of the line "my god... home at last" followed immediately by the awesome theme song

Yes, that was a beautiful scene, including the leadup to it: Karol fighting, "Look out! He has scissors!" The gulls swarming above the field.

Also great: Karol and Mikolaj sliding across the frozen pond, Mikolaj screaming wordlessly.

Think White could pull an upset here.

yeah that's not gonna happen

it will be red blue white

but everybody feel free to prove me wrong

I'm going to count 2nd as an upset, if it happens. Still a slim chance I know.

white will not pull an upset here, but i really do love it, so much more earthy, sardonic and spirited than the other two

somehow when i opened this thread i knew 'veronique' was gonna come up and that alfred was gonna deem it dull!

voted blue, which i remember chiefly for juliette binoche's incredible performance and the masterful way that kieslowski stages the opening car crash - lyrical and terrifying cinema.

veronique is my favourite, i;m total sucker for 'supernatural' art movies

I didn't find the "metaphysics" of Veronique compelling, and without that armature the two stories weren't either. He paced the protagonist's musing and noodling more interesting in Blue and Red.

Moreover, maybe it's her age but Irene Jacob's guilelessness was less sticky in Red.

Automatic thread bump. This poll's results are now in.

I didn't find the "metaphysics" of Veronique compelling, and without that armature the two stories weren't either. He paced the protagonist's musing and noodling more interesting in Blue and Red.

it's the storytelling that's so beautiful in veronique, i think; kieslowski's so confident, and thinks highly enough of his audience to tell the stories v sparely + elliptically, leaving us to fill in the jumps and blanks. seeing her musing + noodling, detached and inert, pretty much separated from the urgency of the guys she hangs out with and the transience of everything else going on, becomes this compelling, involving focus, to me. it's one of my favourites, on account of just how well it's accessorised & presented & what it elicits in me as a character study.

nah even that's better in white -- his reassured smirk at knowing that there are people worse off than him.

I may be mis-remembering, but I thought Karol was asleep, no?

wiki sez:

A recurring image related to the spirit of the film is that of elderly people recycling bottles; in Three Colors: White, an old man in Paris is trying to recycle a bottle but cannot reach the container and Karol looks at him with a sinister grin on his face (in the spirit of equality). In Three Colors: Blue, an old woman in Paris is recycling bottles and Julie does not notice her (in the spirit of freedom); in Three Colors: Red an old woman cannot reach the hole of the container and Valentine helps her (in the spirit of solidarity).

so it may be blue you're thinking of; i think binoche's eyes are closed.

Saw Blue for the first time ever tonight (another one I taped years ago, but held out for a chance to see all three in a theatre). I guess I was in just the right mood; liked it a lot. Looking forward to White tomorrow and Red on Sunday.

i think blue is the weakest, white is v underrated

I'm gonna buy all three of these this week, I'm thinking...

The Criterion box is due in November...

White ambled along and held my interest, but I didn't like it nearly as much as Blue. I found the ending puzzling, unless I'm trying to read too much into it. Glad I'll get to finish with the one that won this poll.

Mild spoiler, but the ending of White is explained a bit at the end of Red.

Look forward to it. I missed Delpy's character in Blue--where did she appear?

i don't think you see her, but you hear karol's voice (poor Polish Guy Who Played Karol, doomed forever to be called "karol" by westerners) when binoche sticks her head into the wrong courtroom.

IIRC, you don't really see her, as she isn't in Binoche's pov when she walks into the courtroom. She may just be out of focus.

X-post

That's funny--so I was right when I thought I saw Binoche stick her head in the courtroom in White.

I almost walked out of Red tonight, knowing I could watch my old tape at home; for the first half-hour, there was some technical issue where every couple of minutes the image would scramble for a few seconds. The rest of the way it only happened a couple of times.

I liked Blue the best, then Red, then White. I knew very little going in, so the ending was a complete surprise. You could almost run a separate poll for Binoche/Delpy/Jacob. That would be a tougher call for me.

Is the Criterion box only going to be released on Blu-Ray?

...still looking forward to the Cyan, Magenta and Yellow film cycle trilogy.

Criterion box will be on both standard & blu. Aside from the odd special feature, they have yet to do a "blu only" title.

Looking for it on Amazon and coming up only with bluray, but maybe I should check their website...?

Cyan, Magenta and Yellow

Colors asscoiated with what, policially?

Found it on Amazon. It was probably just a glitch.

xp
Don't forget the tragically unfinished Black.

Thanks loads Grisso. Probably just had problems bcz I'm on my phone.

After I saw Blue last month, I was thinking about how its ending would seem to be the basis for similar scenes in Donnie Darko ("Mad World") and Magnolia ("Wise Up")--the camera gliding over various characters in different places as pretty music plays in the background. I like all three scenes a lot. Is there anything that predates Blue in that vein, or is it the blueprint?

Around the same time, Altman did it with "To Hell with Love" in Short Cuts.

how totally weird this thread exists and i see it - i watched blue for the 2nd time yesterday, pretty much depriving myself the next day (today) of a couple hours sleep so i could watch it continuously. i loved the movie the first time and really came to appreciate it this viewing. i really thinks its mostly for reasons of subject matter, whereas i find white/red to be interesting stories; there was just something so utterly ridiculous yet so, so, so believably about juliette binoche's performance as a woman who grieves in all the wrong ways. i'm honestly obsessive enough that i've rewound to specific points of the movie in which she cuts a person off squarely with a solid, curt "No". Jesus.

After I saw Blue last month, I was thinking about how its ending would seem to be the basis for similar scenes in Donnie Darko ("Mad World")

one of the things I liked about donnie darko was the clear nod to blue

according to imdb blue and short cuts screened at the venice film festival in '93, though blue was shown earlier in jan at the warsaw film festival

had no memory of red bowling-ball shot

(or much else)

I like all three scenes a lot. Is there anything that predates Blue in that vein, or is it the blueprint?

My question, a few posts above. I found something earlier that is very similar; there's a sequence in Welcome to L.A. where you go from character to character while one of Richard Baskin's (horrible) songs plays. Each character's turn ends with him or her staring directly at the camera. I doubt very much that Kieslowski would have been influenced by Welcome to L.A., but I can definitely imagine P.T. Anderson having seen it.

do you have to watch these in order?

im currently reading the wikipedia plot synopsis for three colours blue and i cant remember if i have seen it

You don't need to see them in order.

kieslowski seems so early 90s

he even died in 1996 just to enhance the feeling

ha ha
he is the best though
even just thinking about kieslowski films is nice
watch them in order if you can, 乒乓, there are some echoes between that would make sense in any order but which have some kinda sequential pay-off imo

blue and white are probably interchangeable but red's best last

You had to be lolninteen in 1994 to understand the impact of Red and Pulp Fiction in the same season.

stephen king is writing a 1000p speculative-historical novel about what would have happened if red won the palme in 94

things to do in zurich when you're disassociated

Jean-Louis Trintignat plays a Rotter for the ages

still all about white. "i'm afraid the office may be bugged." "by whom?" "who knows?"

"buy a car! a new tv!" "what for? i never watch it. always the same crap. or... i could bury the money. put it in a little jar." "sure!" "that would be nice."

but you're a russophile -- how can you love a Polish movie

i dunno if "phile"'s the right suffix really

or do you gobble Polish movies as if they were Polish officers and you were the Red Army

actually one of the reasons i dig the movie so much is how 90s-ex-eastern-bloc it is, the way karol attains equality w his estranged french wife by becoming a kinda sleazy capitalist whose actual business is never concretely explained

looks like I'll be seeing Red first

I've always liked books that start at the end though

I think you should watch them in order

but it wouldn't make a huge difference

film forum isn't showing the other two

o

are they on netflix streaming

blue would prob be really really gorgeous in a theatre now that i think about it

perhaps

I think I'll just time machine myself back and watch them before I watch Red in a few days

it's not like there is some spoiler that ruins the other movies or anything

okay cool just got back, blue was a lil' better than white can't wait for Red now

I also made it so that romney won, has it worked yet

film forum is now only showing mormon movies so you tell me

damn ... a bridge too far

brb

okay cool I changed it back everything should be cool now

I had forgotten that Emannuelle Riva is in Red (rewatched a few months ago)

She plays Juliette Binoche's mother in BLUE.

Riva and Tringtignant talk about working with Kieslowski and Haneke here:

http://www.guardian.co.uk/film/2012/nov/08/emmanuelle-riva-amour-michael-haneke

blue would prob be really really gorgeous in a theatre now that i think about it

― difficult listening hour, Saturday, December 8, 2012 8:43 PM (2 days ago)

saw it twice during its original run, it is. also incredible - the sound design. car crash sounds very real, then when the teen runs towards the accident and throws aside his skateboard, you can faintly hear it land in the field.

sometimes I suspect if someone else pulled half the stuff kieslowski does it would be unbearable but he's so damn good, who cares?

irene jacob is so pretty u_u

I'm no authority on such things but in '94 she was the Most Beautiful Woman in the World.

no doubt

also the cinematography, the motion of the camera, simply outrageous

This refers back to something I posted about twice last year: the scene near the end in Blue where a song links all the characters and subplots together at a critical moment. I wrote at the time that I'd seen this device used in Donnie Darko, Magnolia, and Blue; I later added Alan Rudolph's Welcome to L.A. I found an earlier use tonight: Demy's The Young Girls of Rochefort. It's like Magnolia in that the characters are actually singing; in the other three films the music is background. My friend, who immediately shoots down every theory I have linking certain disparate films together, assures me that this is probably a very common device used in lots of musicals from the '30s and '40s. But she couldn't name any offhand.

Oh god I just saw a 35mm screening of Blue (whilst high and devouring Dr. Pepper and popcorn that I snuck in) and I think I had a religious experience. What a fucking masterful film!

http://strangewood.tumblr.com/post/90098472452/krzysztof-kieslowski-photographed-by-piotr-jaxa

what an artistically intimidating assignment

I guess I should point out that I was supposed to watch Blue at AMC Cocowalk at 10:05 in February '94 but arrived late; instead, my friend and I went to the 10:35 showing of Reality Bites.

Sorry, didn't get a lot out of A Short Film About Killing. Garishly-toned art-splatter film for a while, then it's Dead Man Walking. I suppose it's meant as a carefully constructed test for how one feels about capital punishment. Make the killer as loathsome as can be (he's even ready to hijack his mom's grave), leave you to gauge your reaction when he's executed.

"buy a car! a new tv!" "what for? i never watch it. always the same crap. or... i could bury the money. put it in a little jar." "sure!" "that would be nice."

― difficult listening hour, Saturday, December 8, 2012

laughed at this now

The Criterion box set defines "gorgeous."

btw: https://www.ica.org.uk/whats-on/seasons/krzysztof-kie%C5%9Blowski-decalogue-25th-anniversary-retrospective

That's an unfortunate encoded URL with the Blowski.

forgot about that sequence in which Julie and the boy who took her husband's Christ pendant fruitlessly tries to return it

Newest addition to something I've posted about a few times in this thread, sequences where a song plays as the images link together a number of different characters: the folk song that plays at the end of Mad Men's sixth episode, season one. (New for me--just started watching.)

http://vimeo.com/29164651

Feels like that happened at the end of every third episode ofHouse, Sex and the City, even Entourage...?

I know for sure it happens at least once in Exotica c v possibly it happens every time you hear the song "Everybody Knows". But Egoyan actually does a really good job of using his montages to play up very pointed contrasts not between scenes that seem superficially different but are similar at the core but instead between ine scene which seems superficially innocuous but divulges a very different meaning when viewed closer, a deeper meaning that is parallel to what seems to be the obvious meaning of the second scene that it us intercut with (though that scene also has a secret meaning that is not yet divulged as well) Such as Eric's first trip to the ballet/the introduction of regular Exotica customer Francis

Lol Merry Christmas ILX

Ending of most (every?) season of The Wire does this.

Maybe it's becoming a TV cliche--so many acclaimed series I still have to catch up on (my seven-year delay in starting Mad Men being a case in point).

Added to the Criterion channel on Hulu:
The Scar (1976)
Camera Buff (1979)
No End (1985)
Blind Chance (1987)
A Short Film About Killing (1988)
A Short Film About Love (1989)

I rewatched all three colors this week and for me it's Blue >>>>>>>> White > Red.

otm

though I prefer Red they're pretty even, Blue towers over both

I finished the Dekalog yesterday

The cinematography in Blue by Slawomir Idziak is just so great. Though perhaps it's even better in The Double Life of Veronique. The two other cinematographers aren't as good.

red is finally my favorite

can't believe i've never posted in this thread before

"buy a car! a new tv!" "what for? i never watch it. always the same crap. or... i could bury the money. put it in a little jar." "sure!" "that would be nice."

― difficult listening hour, Saturday, December 8, 2012

this scene is so fucking funny

this is not directly trilogy related but man Blind Chance absolutely rules. I really need to find a copy of No End as well

i saw no end at the momi a few years ago. not a great movie for a first date but still: wonderful, kind of like if blue were a ghost story

can anybody vouch for the movie he wrote but didn't direct? title escapes me rn

heaven. never seen it

nah it was this one, 'Big Animal' https://www.imdb.com/title/tt0246593/?ref_=nm_flmg_wr_7

thought about renting it but wasn't sure

oh huh there was one that wasn't heaven???

The only parts of Red for which I'll make allowances are the phone conversations with the boyfriend.

Otherwise my god Jean-Louis Trintignant.

Three Colours trilogy is on Amazon Prime at the moment, btw, in the UK at least.

I chose Red. I love how whenever the film threatens to get pompous life interrupts: light bulbs go out, local boys ("Turks," grumbles the building superintendent) put chewing gum in locks. And there's always Irene Jacob, drinking pear brandy and listening with the most beautiful concentration ever.

― The Edge of Gloryhole (Alfred, Lord Sotosyn), Monday, June 20, 2011 3:02 PM (seven years ago) Bookmark Flag Post Permalink

this is otm

I know!

i think the film's construction is remarkable. all those echoes in the images and dialogue, from scene to scene practically; with a heavier touch they'd be unbearable, with a lighter touch they'd be invisible

a little nervous about this one still but https://www.brightwalldarkroom.com/2019/03/28/sonata-on-human-connection-red-1994/

lol i forgot i cannibalized my last post in this thread for a sentence in this piece

only got to this now but really wonderful piece, risk pays off imo

yeah White is the best one

hm!

White was certainly may fav back in the day, for the humor. Funny, I almost revisited Red last night, for the first time in 15yrs or so.

Blue was one of the first movies I went for when the pandemic hit, I think it has an amazing opening sequence and stays good but nothing lives up to that tunnel or the extreme close up of the eye... Ditto for opening of Red, which is also funnier than I remember. White is just the most consistent one imo, and it's hilarious, with the other two I find myself looking at the cinematography, sort of disengaged from the story.

like when he gets dumped out of the suitcase and looks up and says "I'M HOME!" and it's the most drab ugly looking patch of mud and snow with a bulldozer, and then cue the orchestra. lmao

xxp I watched Red last night and White the night before--I watched Blue all the way back in March and for whatever reason didn't feel compelled to rewatch, glad I did

xp i don't particularly like these films but this is for sure the best moment

red is stacked with amazing moments but i always enjoy hearing from white truthers

The Double life of Véronique was really beautiful! I hadn’t seen it before now. The metaphysical story that remained unexplained, the sense of a connection between lives, the music, use of color, cinematography were all incredible. And Irène Jacob

I watched Veronique last night. Beautiful film.

Things that stand out today:
- there are a LOT of hands around throats, mainly Jacobs' (puppet, or otherwise).
- her falls are oddly affecting.
- the flasher bloke with his massive cockenballs, what was that all about?
- the ending is sympathetic magic? She touches the tree, and her dad, working on wood with his lathe, feels some strong connection?
- the miming was kinda bad; made me think of Lynch, mainly Llorando
- how literary it was. I feel like I've read a bunch of novels like this.
- irene jacobs
- her taste in men, christ
- the lawyer! (Lynch again?)

Anyway, I'm already happy to believe I dreamed some of these, given the nature of the film.