It’s actually kind of interesting how much I read about sweat being a trigger, yet for me, it never really seems to happen during the summer when you’re sweating the most...
Back when I was in high school and things were at their worst, I used to make a point of going out to concerts just to see if anything would happen—you know, jumping around and getting all sweaty—but it never once triggered anything. I remember thinking to myself, "Well, damn, I'm sweating and jumping my head off, and still no seizure."
So, I honestly don't know what the definitive trigger is, but I do know that whenever one starts to come on, I get this sensation like I'm "boiling" from the inside... I guess that's just the easiest way I can describe it.
Like I mentioned in my first post, I haven't had any seizures lately; fortunately, they just seemed to stop on their own. Still, I imagine medical science has probably come up with some effective medications now, so if someone is in a truly critical situation, they could always go see a specialist.
I suppose I should probably weigh in with my own experience regarding this whole thing too..
So, I dealt with something very similar to what everyone else has been describing here.. It would always flare up during those colder months—never once happened in the summer—and it usually showed up as this intense itching accompanied by bumps all over my body, mostly concentrated on my stomach, back, and neck.. To be more precise, it seemed to trigger whenever my body would start to "overheat," if that makes sense.. Basically, any heavy physical exertion acted like a switch, whether I was hiking up a steep hill after school or chopping wood (though back then, I think my old man just thought I was being lazy)..
It used to bother me quite a bit back in high school, though thankfully it didn't last forever.. I never actually went to see a doctor about it, nor did I ever take any medication for it... Eventually, it felt like the episodes started becoming less severe, and once that initial "burning" sensation passed, everything would settle down.. I imagine there might have been a psychological component to it as well... Even now, about 15 years later, it can still catch me off guard occasionally, but it's just a mild stinging sensation in one or two spots before it fades away.. It often happens during the winter months, maybe during sex (hehe) or even just in the bathroom while I'm bathing the kids and the space heater is blowing directly onto my back..
So, I was trying to log in to my work email from home—you know, the one tied to that specific IP address, 185.58.**.**, but it just wouldn't let me in. It keeps telling me the password is wrong, even though I’m pretty much certain it’s correct since it worked perfectly fine when I last signed in a couple of days ago. But, I guess I can move past that for a second.
The thing is, now I’m trying to access my router settings and I’m running into the exact same issue; it keeps rejecting my login credentials as if they're incorrect. I honestly have no idea what’s going on, and I'm starting to wonder if maybe someone has hacked into my setup or something? It's kind of weird because logging into Gmail, Reddit, or any other standard sites works totally fine, but these two specific things tied to that IP address just won't budge.
My internet connection seems to have slowed down a bit too, though I suppose I'm not entirely sure if that's actually related, but things just feel a little off lately.
Conan the Barbarian is a great one, honestly one of those rare gems from my childhood that I still hold dear today... though I have to admit, Basil Poledouris's score makes up about 80% of the whole experience, so it's really just pure magic...
I guess I was just sitting here thinking about how much my taste in cinema has shifted over the years, maybe because I've grown a bit more patient with slower pacing, or perhaps I just crave that specific kind of emotional resonance you only get from certain masters of the craft. It’s funny how you can spend your youth chasing high-octane thrills, only to find yourself later on deeply moved by a quiet, lingering shot in an American indie drama or a slow-burn masterpiece that doesn't feel the need to shout to be heard. I find myself drifting back to those films that linger in the mind like a half-remembered dream, much like how a certain Lynch film might haunt your thoughts for weeks after the credits roll. There's something almost spiritual about that level of storytelling, isn't there? I suppose I'm just in one of those reflective moods today. Marzieh Makhmalbaf He makes films that are definitely worth mentioning, mostly focusing his lens on critiques regarding extreme approaches to faith. First. I guess the film offers a pretty compelling look at how women navigate life within Islamic society—it’s almost like they’re living under these heavy, invisible chains, while... I guess I might have been a little too brief there, maybe even a bit abrupt, which probably wasn't my intention at all. I suppose I should have elaborated more on what I was thinking, but sometimes it's hard to find the right way to start a conversation without feeling like you're rushing things. I'll try to be more thorough next time, if that's alright. It feels like there’s much more social commentary involved this time, focusing on those two orphaned kids—just to stir up a bit of empathy, I suppose. But then again, if my memory serves me right, he still weaves in that critique of religion, since one of the main reasons they ended up in such a messed up situation was tied back to religious issues. I haven't actually sat down to watch his latest work yet, though.
Larry Sanders23 said:I’m starting this thread because I just finished a trio of films by one of the world's heavyweights, the director and screenwriter Asghar Farhadi, and honestly? I'm floored. We're talking about Shah-re-ziba , About Elly , and Take Shelter . Well, actually, the latter two have picked up quite the haul of awards—Golden Bear wins and even an Oscar. I have to admit, I was pretty skeptical about Iranian cinema initially. I sort of expected that whole "critics' darling" vibe where everything is weighed down by heavy, grueling themes involving war or forced political correctness. But man, was I wrong. Sure, the themes can be heavy, but they feel incredibly real. There's none of that pretentious posturing or heavy-handed messaging. Farhadi just makes these incredible movies about regular people whose lives get flipped upside down by a tiny mishap, a string of bad luck, or just a single moment of distraction. He is a master of the plot twist. Plus, you pick up so much about the culture, the lifestyle, and how the legal system works over there. It's basically education and entertainment wrapped into one. What really fascinates me is his ability to craft three-dimensional characters; there aren't really any "heroes" or "villains"—you find yourself empathizing with everyone. If I had one gripe, though, it’s the endings. Or rather, the lack of a traditional resolution in Farhadi's films. They just... end. Still, I'm mostly pleasantly surprised. I haven't explored much other Iranian cinema yet, so if anyone has some solid recommendations, please drop them in this thread. 😁
And you know, that was actually the part that felt most unbelievable to me in Take Shelter. That kind of shouting match in front of a judge, almost as if you were watching two random people arguing on a street corner without any sense of decorum or social norms. If that’s truly how their judicial system operates, I guess I can't help but feel a bit skeptical. Aside from that, they seem to produce some pretty solid films from what I've seen—though I haven't watched a whole lot—but honestly, that highly acclaimed Take Shelter didn't really grab my interest in any special way.
goldenhound32 said:I seem to remember actually tearing up during that scene in Sátántangó where the woman starts singing; I thought that specific sequence was just pure genius, though I have to admit the rest of it wasn't really my cup of tea🙂
That's true, it feels somewhat similar to that moment when Shimura breaks into song in Ikiru...🙏
I suppose Karhozat might feel a bit sluggish in certain stretches... but honestly, I think that’s just how perfectly it captures the protagonist's existence... long, tedious, repetitive, rainy, muddy, and ultimately futile...
as for Sátántangó, I think I'll probably need to wait until my vacation to dive into it...
I’ve only ever sat through Sátántangó by Tarr, and honestly, I think the film is nothing short of a masterpiece... does anyone know which of his other works reach that same level?
It’s also pretty incredible how Antonioni had such an eye for casting lead actresses; he always seemed to find women who delivered truly unforgettable performances... I mean, besides Monica Vitti, who was essentially his muse and partner in real life—her presence and talent really defined the core of his filmography. It’s almost impossible not to remember the stunning Jeanne Moreau in La Notte, where she actually manages to steal the spotlight from Monica, or Alid Valla in the scream, not to mention Lucia Bos and Maria Schneider... He just had this way of drawing out their sex appeal perfectly; they completely commanded every frame. And the sheer passion and tension, that sense of anticipation he could build... it was something else. Those glances between Moreau and Mastroianni during that party scene, or that moment in the room between Valla and Delon... it was just top-tier stuff. It’s hard to put into words, really; you kind of have to experience it for yourself to get it...
He’s easily my favorite director. Honestly, I wasn't exactly blown away by L'avventura myself; I just found it a bit too long, and toward the end, it starts to feel somewhat taxing. That said, he manages to craft these absolutely brilliant scenes—especially the final one—that stay with you, which seems to be true for pretty much all of his films; they're just incredibly striking and memorable. I guess my initial lack of enthusiasm for that particular movie almost made me give up on his entire filmography altogether, whew, but man, what a body of work. It spans from those slightly "more traditional" films with standard narrative structures back in the fifties, moving through his much more cerebral and profound pieces during the sixties and seventies.
I haven't really gotten around to those few projects he did again with Monica Vitti after returning to Italy in the eighties. They don't quite pull me in, I suppose; I have this feeling that whatever he needed to express, he already delivered a decade earlier, and he certainly gave us plenty back then.
It's so hard to pick just one favorite, but if I were forced to narrow it down to a top four, they would probably be: La Notte, L'Eclisse, Le Amiche and Signora senza camelie
Joshua Jackson4 said:I think I forgot to mention an incredible indie film, Dead Man's Shoes http://www.imdb.com/title/tt0419677/ which I’d say is definitely one of the better ones out there. It had a pretty small budget, I suppose, but the acting, that sharp twist, and the overall plot really make it stand out.
I completely agree... if we're looking at British cinema, I might also suggest Boy or even Once; they both feel so wonderfully simple and sincere...
It’s actually kind of tough to recall every single movie and director off the top of my head, so I guess I’m just scrolling through my IMDb voting history for a bit to jog my memory...
If I were to look at individual directors and how I’ve personally rated their work, then I’d say my absolute number one is definitely Inarritu, mostly because since he made Babel, he hasn't really put out a bad film—though I suppose his most recent one, Biutiful, wasn't quite my favorite, whereas Babel was probably his strongest...that scene with the deaf girl in the disco, for instance, stays with me as if I had watched it just yesterday...
As for Korean cinema, it would have to be Ki Duk-kim; I’ve seen four of his films from the 2000s and there truly isn't a bad one among them...everything seems to fall somewhere between above average and just plain excellent...
Then there’s good old Scorsese, who maybe wasn't even at his absolute peak during certain eras, but he always manages to deliver a solid film at the very least...personally, I thought The Departed and Shutter Island were both fantastic...
The Romanian filmmakers were certainly good too, though alongside Lazearescu, I think Mungiu was the standout for me, along with Dupa Craciun, who doesn't get mentioned nearly enough...
I also personally really enjoyed Moccia's collaboration with Will Smith in those two American films, as well as some of his Italian movies that I happened to catch...
Eastwood had three films that I thought were just super, like Gran Torino, Unforgiven, and Changeling...
Payne really knocked it out of the park with his three films, while Aronofsky will always be remembered by me for Black Swan; Lynch filmed the most confusing thing ever with Inland Empire and then that masterpiece Mulholland Dr., and we can't forget Ritchie's Snatch, which is just one of those movies you can always rewatch...
Ugh, I don't really feel like thinking about this anymore...
But I suppose I might try to put together a completely different kind of list now, maybe focusing on some mediocre films by directors who aren't even that well known...
Without a doubt, my absolute favorite genre has to be Drama... though I also find myself really drawn to Thrillers, Crime stories, Romance, and a solid Comedy or perhaps a good Horror film...
On the other hand, I generally don't care for or watch Westerns, Sci-Fi, sports movies (with the exception of Raging Bull🙂), teen comedies, Action, or anything involving superheroes...
driftingmarlin4 said:Well, there's no point in crying about it now. 🤣 I actually had a girl sitting next to me in the theater who was weeping by the end. 😁
I suppose it feels like there isn't much focus on Daria, mostly because the whole story seems to be filtered through lein's perspective—you know, how she perceives everything happening around her. 🤷 The biggest plot hole, in my opinion, is that missing scene where someone actually asks for permission; Stephen just suddenly mentions to Ivy that Thaddeus asked for lein's hand in marriage. 😕
I mean, I agree that it's seen through her eyes, but I feel like they really should have shown certain moments to help drive the plot forward and make it feel a bit more connected... amidst all the chaos and tragedy unfolding, we don't see a single coherent conversation between her parents regarding the situation... plus, she wasn't exactly young enough to be oblivious to how serious everything was... and that part where she storms into the rehearsal, the security guard ignores her, and she tells him, "I need to see the director immediately," honestly just cracked me up; it definitely wasn't some deep, heavy drama moment...🙂...
Rachel Young3 said:Leah Deutsch? You mean that little girl who died on the way to the concentration camp?
I don't think I could ever bring myself to watch movies like that.
Don't worry too much, you probably won't end up crying, and honestly, I'm not sure if you'll even feel sad... it just depends on how much the movie actually manages to pull at your heartstrings.
The biggest issue here has to be the script; the storytelling feels incredibly rushed, and more importantly, those crucial moments just aren't given enough room to breathe. I don't think it’s because the movie was too action-packed to fit everything in, either—it feels more like the director spent way too much energy on trivial details, which eventually leads the whole thing into this sort of monotonous, irritating territory. Honestly, I’m not even sure why the movie is titled the way it is, especially since that second girl barely gets five minutes of screen time... there are so many characters passing through the story, but they just drift by without any real effort to make us care about them, so when they get deported at the end, you're kind of left wondering, "Wait, who even are you?" I suppose there are other flaws too, though I’ve already started to forget some of them.
On the other hand, the cinematography is great; the period setting is captured so beautifully and feels really immersive, so the movie definitely looks good visually... I’d probably give it a 5/10.
It starts off on a high note and then just kind of slides downhill from there, though I have to say, it’s still pretty entertaining... personally, my average score is probably right in the middle, or maybe even a bit lower than that...
frozenrider7 said:I could use a little help here. I just started reading the secret history by Donna Tartt. After getting through the prologue, I’m left with this nagging feeling that I’ve actually seen a movie based on this book. I’m positive I’ve watched it—maybe on a DVD or just catching it on TV—because the opening is identical to how the book starts. The weird part is, I can’t find any record of a film adaptation ever being made.
Does anyone know anything about this?
Are you sure you aren't mixing it up with this one?