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Jamie Davis9 said:Those Spaniards are pretty clever, aren't they? 🎉

Actually, they're Mexican. )) I just heard the language and didn't bother looking up the band's name.

Keeping with our ongoing Album of the Week vibes... I just have to 🙂 🙂
The Immortal Souls - Crowned

Diamond

Brad Pitt is a damn good-looking guy ☕

Jamie Davis9 said:Exactly. Now that my friends who are scattered all over the country are finally heading back home, we can actually hang out. Plus, my mom will probably whip up something decent to eat. :D

Man, sounds like a hell of a vacation. 🙂
If they happen to stumble into a groove somewhere—maybe play a few wrong notes by accident—that’ll be the whole thing.

Jamie Davis9 said:Mexicans, apparently. )) I just caught the language and didn't really pay attention to the band's name.

Instead of hitting the coast this summer, I grabbed my bike and headed out on an eight-day trek through the Midwest. This song just happened to be blasting from my portable speaker. 😁
Spent two days in a small town along the Mississippi. Caught one of the most beautiful sunrises I've ever seen right over the river. Turns out, there's a group of Mexican workers nearby—completely innocent bystanders—who are now my first mental association whenever I think of the Mississippi. 😁
It was fine. It was alright. 🙂

Back in high school, I actually had those American Outlaws posters on my wall. A friend gave them to me at this local dive bar where we used to hang out all the time back then.

(Ghost) Riders in the Sky (American Outlaws: Live at Madison Square Garden, 1990)

Guess what just popped into my head?
The assassination of Jesse James.
My obsession with the American Outlaws started all the way back in high school. 😁

Steven Newman50 said:Keeping with the spirit of this week's album selection... I have to. 🙂 🙂
The Immortal Souls - Crowned

Darkness. We really ought to pay more attention to this guy...

Jason Mendoza said:Diamond

Brad Pitt is a good-looking guy. ☕

Sonic Youth 😁

Sonic Youth - Massage the History

And as for who gets to close out a massive chapter? It was them, and they did it with absolute style...

i want you to suck my neck

Stuck Mojo-Not Promised Tomorrow

Richard Fox63 said:Total darkness! We really need to pay more attention to this guy...

I definitely recommend 👍

NP: Kate Bush - Running Up That Hill

The Stranglers - Skin Deep

Richard Fox63 said:This is great stuff. I suspect Chloe Wilson46 might appreciate this too. 🙂

It’s wonderful—you still remember my taste perfectly. 🙂

Slash, pure teenage love. 😍

Today is definitely a day for Jimmy Dawkins (and that whole vibe).

I’m picturing myself sitting on a porch (which I don't have), staring blankly at a rocking chair (don't have that either), just lighting up a pipe I spent all morning cleaning out with some bourbon-scented alcohol mix... whiskey aroma, obviously 😬

If you’ve got this last bit, plus maybe a few extras,
the mental vision almost feels tangible... 🙂

My playlist today is just some stuff the algorithm spat out,
probably because of the lead actress's vocals from some movie I just binged on Netflix...
or maybe it's just existential dread:

de mon âme à ton âme
+

Lisa Davis46 said:If you’ve got this last bit, maybe even with a few little extras thrown in...
Sometimes, a mental vision gets so vivid, it almost feels like you could reach out and touch it... 🙂

You’re definitely picking up on what I’m saying... I didn't exactly make it clear that I don't have it... 😉 I’m just saying... this is absolutely perfect for that slow, lazy Sunday vibe... just chilling out and taking it easy... 😎

So, my algorithm actually came through with some absolute gems on my playlist today... just some really beautiful stuff it served up out of nowhere!
Probably just because of the lead actress's vocals in that movie I just binged on Netflix...
Either we're all just dealing with deep-seated trauma, or we're out here questioning our entire existence... maybe both? Honestly, it's a lot to process...

From my soul to yours...
+

I see you're feeling pretty inspired! I haven't actually sat down to watch it yet, but it's definitely on my list... 😉

Just so you know, I went looking for that post over in that thread about booze and music, and now this 🙂
is stuck in my head...

Lisa Davis46 said:My algorithm actually served up some really beautiful tracks today—it was such a nice little surprise!
Probably just because of the lead actress's vocals in that movie I caught earlier...
Either we're dealing with deep-seated trauma—or just the sheer weight of existing—honestly.

From my soul to yours—just a little thought I had today!
+

I am such a huge fan of Adele... honestly, I just can't get enough! 😍 This scene is honestly incredible—just genius to me—especially that part with the reading of Orpheus and Eurydice. One... Any recommendations? — I'm looking for something good! Looking for a little summer refreshment? This is such a cute coming-of-age flick—full of gorgeous pool scenes—and while it isn't exactly a cinematic masterpiece, it’s honestly a great watch. I loved her no matter what she was in—even back when I was twelve years old watching The Devils (though man, that one was a tough watch!).

That song is actually pretty great too—definitely a vibe!
I'm still hanging out by the coast—just soaking up some sun! I feel like I could just roll right through life like a ball today—just bouncing along! 😎
I've lost count of how many times I've played this while watching the sunrise—or the sunset, really... just one of those perfect soundtracks for the quiet moments.

I just found myself thinking about that "lonely soul" line—you know, if you’ve ever watched Twin Peaks... Honestly, never forget Harold; what a tragic figure. 🙂

It’s got a decent spot, very much in the style of Mandic, though it avoids being provocative. Huge quote from the film: "We didn't choose German; German chose us." Clever. If only Adele could actually speak German—her father's language—like she's supposed to... But whatever...

Still, the ...jeune fille... part features the best this scene. An absolutely brilliant performance of monumental Vivaldi; seeing just Haenel's face in the dark works so well together it'll give you chills. It’s a shame that nearly half the movie feels like a series of head-clobbering theses—partly PC, partly non-PC—that don't belong in the 18th century. Honestly, they don't belong in the 21st century either. Even so, the camerawork and atmosphere are extraordinary, almost Herzog-esque. And then there's that German again... hmm...

Arthur Brown6 said:And there's also a cool music video, very Mandic-esque, but without being provocative. Like a slogan: "we didn't choose German, German chose us." Clever. If only Adele could actually speak German properly—it's her father's language, after all... But whatever...

Still, in ...jeune fille..., that's the best part of the movie. (...) Honestly, though, the camera work and atmosphere are incredible, almost Herzog-like. And then there's that German thing again... hmm...

I agree. As for Herzog, I don't know enough German to really weigh in on that part. I think the weight of that scene you mentioned comes from those intense harpsichord scenes. 🙏That moment where Marianne tries to capture the life and energy of the third movement of Vivaldi's Summer—the storm clouds breaking! It’s fantastic, masterfully done... both cinematically and musically.

Regarding the transitions, I loved those beautiful sequences with the still lifes on the table ( + + ) and the handheld camera work in the field ( + + ) when they’re searching for medicinal herbs... Visually, the film is stunning, but maybe that isn't even its biggest strength. To me, the real value is in how the tension builds through the art and paintings. It’s brilliantly conceived and written because every portrait tells a story from a different angle, depending on how deeply the artist knows the subject, Heloise (aka Adele), from their own perspective.

The music video is good too.

Ashley Grant66 said:God, I love Adele... One recommendation for a summer vibe: it's a cute coming-of-age film with so many gorgeous pool shots. It’s not a masterpiece, but it's a solid watch. Everywhere I've seen her, she's been great, even back when she was 12 in her first movie, The Devils (but man, that one is tough).

The song is great too!*

*Sad I just remembered 'j'ai un âme solitaire' if you've seen Twin Peaks... Never forget Harold, what a tragic figure.

I've seen it, but thanks. It's been a while and I could probably go for a rewatch these days. I thought it was a lovely film back then, and she...
is still really young there (and involved with the director, if I remember right). I haven't seen the other early one, let me check.

Man, Harold... such a character... and that whole diary bit from 'Fire Walk with Me'!

Man... When you talk about "soul," I can't help but think back to my old vinyl copy of "Anam" by Clannad. It’s such an easy listen—it just gently pulls you through the past, present, and future of the Emerald Isle. It manages to sound both timeless and distinctly 1990, right when it dropped. That kind of layered subtlety? It’s exactly what’s missing from Sciamma's work. The album title translates to "soul" or "spirit," and the opening track—this beautiful piece right here—means "king of the universe."

Rí Na Cruinne

I honestly didn't even realize Adele was singing that part in German...

Arthur Brown6 said:It's a bummer because almost half the movie feels like it's just hitting you over the head with these "politically correct" points—some a bit more PC, some less—that don't really fit the 18th century at all. And honestly, they don't fit the 21st century either.

I know we're drifting off-topic, but since you brought it up... could you list which points specifically rubbed you the wrong way?
Whenever people talk about this movie, they always seem to bring up that whole political correctness complaint, but I just can't watch the film through that lens. It actually gets on my nerves when someone uses that phrase without being able to explain what they actually mean—you know, when people just say it because it's the easiest way out. 😁
Personally, I wasn't a fan of how "modern" their bedroom scenes looked—they acted more like two trendy hipsters in a Brooklyn apartment.

@Lisa Davis46/">@@Lisa Davis46 - Yeah, I think she got mixed up with Sciamma back then. And regarding Les diables, she ended up suing the director for abuse later on...

NP. Black rice — such a timeless song, album, and cover art. It’ll never get old. 😍

Honestly, I don't think her English is that great either, if you've actually watched any of her interviews...
I've spun the album a few times today and there's quite a bit of German (both singing and spoken),
but I'm not entirely sure if Adele is the one saying it:

niemand

In that previous track, I think it's just French.
The lyrics are listed in the description of the video that Arthur Brown6 posted...

edit: I got everything wrong, turns out the German part is hers too.

Ashley Grant66 said:I wasn't a fan of how 'modern' their making out in bed looked; they seemed like two contemporary hipsters in a Brooklyn apartment.

To be honest, even yesterday this didn't feel problematic to me. Or maybe I just experienced too many high-quality, moving parts to be able to look at everything objectively today. For instance, I remember how annoyed I was immediately after leaving the theater when we're talking about that movie about Adele.
To me, that felt like a middle-aged man's movie—a story about love between two women, filmed almost like pornography... specifically for a male audience.

In Jeune Fille en Feu, I don't notice that lack of subtlety we're discussing; I really feel like that film was made by a woman.

Just this.

Generally speaking, based on what I know of art history—reading between the lines—female artists in America about 150 years before the end of the 18th century were emancipated in a way we’d likely call "modern" today. It’s just that art historians conveniently failed to record it for opportunistic reasons. I don't think everyday life, in any vertical sense, was separated from the art world by some massive, impenetrable wall either. I don't get the impression that an ordinary maid would have to undergo the exact fate we see in this movie. Sophie feels like a sponge-like character designed to make us feel better about everything today. The most significant revolution in the West over the last 250 years didn't emerge from a vacuum, and it certainly wasn't just a reflection of the top tier of the social pyramid. It’s just that the characters don't reflect that enough. Sciamma is projecting her 2010s self through characters from the 1780s. But she didn't invent that approach; it's conditioned, learned. It's a typical stance of artists who aren't allowed to go far enough because it hurts. Take, for example, Jarmanov Caravaggio, which might be his worst film. You can maybe forgive him only because he made it at the height of the AIDS crisis. Here, it feels like I'm watching transformed diary entries from Sciamma’s adolescence, which would have been the 1990s. The world has changed since then. I would have preferred if the film were truly about art—about inspiration and crisis—but that ends up feeling almost secondary. And that fire motif is pointless on first glance; instead of the internal fire of creation being more convincingly expressed. For instance, there isn't enough music in the film. That's why the ending is actually good, even if that vocal theme isn't bad either. Toward the end, I wondered what a brilliant but incredibly foul-mouthed Diamanda Galás would say about all this. Her views on the depiction of homosexuality in art, drawn from her interviews, are simultaneously hilarious vulgarity and absolute truth. Not to mention how brutal yet virtuoso her artistic works are, in several respects. This is exquisite to me, and true subtlety lies in balancing on the edge. Still, not bad, in an aesthetic sense.

P.S. I know, there's a slight contradiction in some terms, but I'm not a literary type, so there you go.

I think this is really beautiful and actually makes sense. I'm honestly glad Ashley Grant66 managed to pull that out of you. 🙂

It’s still pretty fresh in my mind, and I didn't really watch the movie through the lens of historical accuracy or anything. But regarding the whole abortion theme, I’ve read some stuff about Sophie. Some articles argue that back then, a handmaid in that position would have been forced to carry the baby—basically, it would've been just as expected of her as an arranged marriage was for Heloise. On the other hand, I found it interesting how Marianne couldn't bring herself to watch the actual procedure, but ended up recreating it later by painting it. I guess nobody actually knows, or could ever truly know, their real numbers throughout history.

Arthur Brown6 said:I guess I would’ve preferred if the movie actually focused on the art itself—you know, the inspiration and the creative crisis. Instead, all that stuff feels like it's just a secondary theme. Maybe it just missed the mark.
(...)
I guess there just isn't enough music in this movie. That’s why I think the ending works so well, even if that vocal theme isn't half bad. Toward the end, I kept thinking about how much better this would be if a brilliant but totally unapologetic Diamanda Galás handled the score. Based on her interviews, her takes on how homosexuality is portrayed in art are hilarious because they're so vulgar, yet they're also completely spot on. Not to mention, her work is just brutal—but incredibly virtuosic, in its own way.

I mentioned before that the most valuable part of this movie is really the artistic process itself—specifically how a portrait comes to life and how much perspective matters when you're dealing with objectification versus subjectivity. I mean, that first portrait was a total disaster for both people involved. But that second one? That felt like a genuine win through actual collaboration. As the relationship between those two portraits evolves, so does their connection. I guess the whole backbone of the film is just that process. Portrait 1 + Portrait 2

I guess this would’ve been a pretty wild experiment if they’d brought in Diamanda Galás. It’s a completely different direction, though I don't know if those two vibes could even work together. As for the lack of music, I honestly didn't even notice it was missing. Maybe that was the whole point—to make that musical sequence at the beginning hit harder and really drive home its importance by the end of the film.

This kind of thing reminds me of that one Haneke idea—you know, about how filmmakers sometimes just throw music into a scene to paper over script issues or fill in plot holes. I can't quite put my finger on where he said it, though. Maybe I'm misremembering. This is it. i This is it.There’s practically zero music in his movies. On the other hand, I really feel that lack of sound and all that silence—it feels like it’s actually part of the message. Especially in something like The Piano Teacher, where every single composition is carefully measured, but it also serves as a core part of the plot.

I’m thinking back to a specific scene in *The Piano Teacher*. It’s got this incredibly dense soundtrack—lots of Baroque, Classical, and 20th-century pieces—but you don't get that comforting, melodic resolution most people look for in a score like that. The part I’m talking about is when the lead character catches two of her teenage students looking through porn mags. When they just sit there and won't say a word, she snaps that “the silence is deafening.” I guess she’s pointing out how Haneke uses silence, or just total quiet, as this heavy, intentional tool to make everything feel more intense.

Arthur Brown6 said:I think this is gorgeous. That real subtlety comes from walking that fine line. Still, it’s not bad, aesthetically speaking.

If I can ask, do you have an example of what you mean by subtle or edgy in that way? (Maybe a few Claire Denis films came to mind, but my definition of subtlety is probably different...)