DID YOU READ

Down Into the Roots of Cultural Vegetables

Down Into the Roots of Cultural Vegetables (photo)

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I finally got a chance to read Dan Kois’ controversial New York Times Magazine article “Eating Your Cultural Vegetables,” which has garnered all sorts of interesting-slash-outraged responses and reactions from all around the web. And, hey, I’m on the web! I have responses and reactions to things too! So now it’s my turn.

You should read Kois’ entire piece, but here is an excerpt that gets right to the meat — or rather the vegetables — of his argument:

“As I get older, I find I’m suffering from a kind of culture fatigue and have less interest in eating my cultural vegetables, no matter how good they may be for me… Yes, there are films, like the 2000 Taiwanese drama ‘Yi Yi,’ that enrapture me with deliberate pacing, spare screenplays and static shooting styles… but while I’m grateful to have watched ‘Solaris’ and ‘Blue’ and ‘Meek’s Cutoff’ and ‘The Son’ and ‘Atanarjuat (The Fast Runner)’ and ‘Three Times’ and on and on, my taste stubbornly remains my taste.

Kois makes a lot of “Meek’s Cutoff,” his most current example of what he alternately describes as cultural vegetables and “aspirational viewing,” i.e. languidly paced art films, which he describes as a “quiet, arduous” viewing experience that he found difficult to sit through. Kois says he’s drawn to films like “Meek’s Cutoff” because they’re enjoyed by people whose opinions he respects and whose company he enjoys but, as he puts it, “I usually doze lightly through them; and I often feel moved, if sleepy, afterward. But am I actually moved? Or am I responding to the rhythms of emotionally affecting cinema? Am I laughing because I get the jokes or because I know what jokes sound like?”

As a general rule, my favorite critical essays are the most honest ones; if there are flaws in Kois’ piece, they don’t include a lack of honesty. Essentially Kois is outing himself in the most public forum possible so that he can’t pretend to love these sorts of movies anymore. From here on out he’s got no choice to lay his cards out on the table, and that is kind of brave.

I do agree with Kois that there are folks out there who hop on the bandwagon for quote-unquote art films because they have a great reputation and they want to appear cultured to their friends and loved ones. People often don’t want to admit what they really think about an “important” movie — that it’s boring or pretentious or dated — because they don’t want to look like philistines. And readers should be skeptical of any critic who believes they hold the one true and correct view about a film. Personal taste matters, and the best critics filter cinema through personal taste to give us their unique perspective on culture.

Still, I wish Kois wasn’t painting with so broad a brush when he talked about these movies. Not all quiet viewing experiences are created equal. I’ve seen movies that I had trouble finishing. But maybe the problem wasn’t that they were slow; maybe the problem was that they were just plain bad.

Look, there are days when I’d rather watch “America’s Next Top Model” than a film by Chantal Akerman (those days, by the way, are called Wednesdays). But plenty of movies that look like “cultural vegetables” are so much richer than they might initially appear to be. Two films on my top ten list from last year, “Sweetgrass” and “Alamar,” might look like cultural vegetables; they’re both micro-indies, one a doc the other a quasi-fictional narrative, with very little in the way of action. The most memorable moment in each film involves a real but genuine interaction between human and wild animal. But those moments are more transcendant and memorable than anything in “America’s Next Top Model” (except the one episode where Tyra told all the finalists they’d been kicked off the show just so she could watch them cry. Epic!).

To me, the success or failure of one of Kois’ cultural vegetables always comes down to a matter of form following function. Anyone can make a slow, contemplative art film, but if you’re not contemplating anything in particular, you’re wasting everyone’s time. “Alamar” needs to be a deliberate film because it is about savoring this deliberate way of life that the main character wants to pass down to his son, who he may never see again. I haven’t seen “Meek’s Cutoff” yet — unfortunately, since I’m a big fan of its director, Kelly Reichardt — but I would suggest that Kois discovered the function of its form when he wrote that by the end he “could sympathize with the settlers’ exhaustion” because he felt “as if I’d been through a similarly grueling experience.” Again, I haven’t seen the film, but couldn’t that have been the whole point?

What I want out of a critic is not someone who will blindly praise a film simply because Hou Hsiao-Hsien or Apichatpong Weerasethakul’s name is on it, but rather a writer who understands their work and is interested in engaging with it. On the flip side, I’m not interested in someone who blindly dismisses Hollywood blockbusters, either. The best critics are worth reading whether they’re writing about something that cost $100 million or $100. Critics shouldn’t aspire to importance or respectability. They should just try to show us things about the movies we don’t see in them on our own.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.