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THE DISSIDENTS
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THE DISSIDENTS

THE DISSIDENTS

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Soderbergh's Presence and the Subjectivity of the Camera

Soderbergh's Presence and the Subjectivity of the Camera The first shot sets up a place and a time. From one empty bedroom to another, a handheld camera walks across a vacant house. Soon we will find out that this figure is a "presence", and much later, we will know that it is someone who was dead and has returned to the past. This presence, reliving the final days of his life, will ultimately set him on this path of impeding death whilST saving another life. But even before we understood that,

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Soderbergh's Presence and the Subjectivity of the Camera
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THE DISSIDENTS

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Responsibility and Judgement in the Political Expression of Cinema

Responsibility and Judgement in the Political Expression of Cinema Since Godard founded the Dziga Vertov Group and coined the maxim, “the problem is not to make political films, but to make films politically,” world cinema has been evolving for over five decades. Over this half-century, the world has witnessed dramatic political upheavals, and people have yet to escape the localized invasions of terrorism and authoritarian rule. Naturally, filmmakers from diverse backgrounds around the world hav

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Responsibility and Judgement in the Political Expression of Cinema
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THE DISSIDENTS

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“When Films Imitate Games”

“When Films Imitate Games” At first glance, Flow appears to depict an infinite world: the humans have gone extinct, leaving behind the world which they once designed. From that mist, a pet black cat begins to drift. It meets various other animals, and this group of friends are thus trapped between infinity and the origin. The animals in the film are very realistic; they match your impressions fully. Filmmakers, from their behind-the-scenes-invisibility, holds a totally unobstructed perspective,

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“When Films Imitate Games”
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THE DISSIDENTS

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The Silent Catalyst: Mamiya in Cure

The Silent Catalyst: Mamiya in Cure Cure (1997) is one of those rare films that defy conventional categorization; it's not just a horror movie but a haunting exploration of the human psyche that forces the viewer to confront the fragility of free will and the darkness lurking within the soul. Directed by Kiyoshi Kurosawa, the film has left an indelible mark on my cinematic memory—not merely for its disturbing narrative and enigmatic style but for the singular portrayal of Mamiya, the on-screen k

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The Silent Catalyst: Mamiya in Cure
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THE DISSIDENTS

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Be My Valentine, Party Girl

Be My Valentine, Party Girl I first glimpsed her in an episode of Girls (Lena Dunham, 2012), when Hannah Horvath returns to her childhood bedroom. As Hannah lies on her bed, the camera catches a poster on the slanted ceiling above — a single image overlooking years of teenage dreams and uncertainties. Through Hannah’s perspective, I could just make out two words: “Parker Posey.” I hit pause, drawn to this talisman of a different kind of New York story. That moment launched me on a quest that fel

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Be My Valentine, Party Girl
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THE DISSIDENTS

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Bringing Up Baby :Anxiety and the Value of Materiality

Bringing Up Baby :Anxiety and the Value of Materiality In an interview, Akerman shared a story from her childhood during the postwar period, a time when her family was penniless. She said, "When I did something, I had to abandon it, let it dissipate into the air..." Once, she spent all her money on a branded polo shirt, but she felt awful about it and ended up tearing the shirt to shreds. Later, as the economy recovered and her younger sister was born, life improved. She began buying whatever sh

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Bringing Up Baby :Anxiety and the Value of Materiality
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THE DISSIDENTS

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The Crippled "Afterimage"

The Crippled "Afterimage" I hope that when I die, it will be quiet. I hope my death will resemble a falling leaf, drifting unnoticed into the soil, and then, imperceptibly, being consumed by the world. What people notice might only be the east wind. My death is merely a fleeting scene passing by, but the east wind truly embraces you. You don’t need to look; just leave an inch of space for me in your chest. While filming SUPER HAPPY FOREVER, Kohei Igarashi also shot a short film, Two of Us, in a

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The Crippled "Afterimage"
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THE DISSIDENTS

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Burnt Money: Forbidden Love, Sacred Outlaws

Burnt Money: Forbidden Love, Sacred Outlaws The History and Myths On 28 September 1965, in the Buenos Aires suburb of San Fernando, a truck transporting wages was attacked by a group of criminals, including Marcelo Brignone, known as "El Nene," and Héctor Jacinto Dorda, nicknamed "Ángel.” The chaotic gunfight rapidly escalated, transforming their covert operation into a desperate escape. Fleeing in haste, they sought refuge in an apartment in the Liberaij building in Montevideo, Uruguay. On Nove

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Burnt Money: Forbidden Love, Sacred Outlaws
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THE DISSIDENTS

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My Secret Christmas Movie: Finding Winter Warmth in Agnès Varda’s Kung-fu Master!

My Secret Christmas Movie: Finding Winter Warmth in Agnès Varda’s Kung-fu Master! December has always been the cruelest month for me. As darkness descends earlier each day and the year draws to a close, I find myself returning again and again to Agnès Varda’s 1987 film Kung-fu Master!. There are no twinkling lights or holiday celebrations in this story of Mary-Jane, a middle-aged single mother played by Jane Birkin, and Julien, a 14-year-old boy lost in the world of arcade games. Yet something a

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My Secret Christmas Movie: Finding Winter Warmth in Agnès Varda’s Kung-fu Master!
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THE DISSIDENTS

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Megalopolis: All Things Illuminate

Megalopolis: All Things Illuminate Coppola, much like Caesar in his films, invented a material, a mechanism and apparatus for inversion. He rotated the entire room of history. The ceiling, like a magnet, absorbed the chariots racing from ancient Rome, the trembling coliseums, the grand theaters, those names imbued with the Latin spirit, and even phrases that symbolized Shakespeare. The soil and matter from various eras are chaotically nailed here, where people step, move by car or on foot. Also

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Megalopolis: All Things Illuminate
THE DISSIDENTS

THE DISSIDENTS

verification Participant "Fresh Film Focus"Participant "Your Favorite On-Screen Killer"Participant "The Character I Want to Date"

Joker: Folie à Deux: Double Fantasy and the Faceless Mask

Joker: Folie à Deux: Double Fantasy and the Faceless Mask In Joker (2019), Arthur (his name hardly matters) retained his agency as a character. He would apply makeup and perform, work as a clown, ride the bus home, watch talk shows with his mother, and chat with people in elevators. Through these slice-of-life moments, we glimpsed the city’s inhabitants, even if they were often thoughtlessly conceived. Throughout these fragments, Arthur underwent an unsettling split. At times, these seemed like

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Joker: Folie à Deux: Double Fantasy and the Faceless Mask
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About me

We are a collective of cinephiles dedicated to articulate our perspectives on cinema through writing and other means. We believe that the assessments of films should be determined by individuals instead of academic institutions. We prioritize powerful statements over impartial viewpoints, and the responsibility to criticize over the right to praise. We do not acknowledge the hierarchy between appreciators and creators or between enthusiasts and insiders. We must define and defend our own cinema.