Anton Bolduc
Bio
Don't regret it, and don't regret it. The emotion of regret is even more terrible than what you did wrong, because it will destroy your self-confidence, self-esteem, and it is likely to make you do more wrong things.
Stories (3/0)
"Love, Death & Robots" second series "The Drowned Giant": Who is stranded on the beach?
On May 14th, the second series of (Love, Death & Robots) produced by Netflix was launched. The series caused a sensation when the first series came out in the past. The short length and distinctive visual style are about technological utopia, sex and variety. A short story with a heterogeneous temperament. Looking at the two series released so far, I actually don’t think it deals with too much about technological governance, dystopian thinking, and philosophical themes that have always existed in (good) sci-fi works (maybe the only close one is the first series ( Zima Blue), mostly just some kind of thriller stories set in the future technology. However, in the second series, (The Drowned Giant) stands out, with a narrative approach that is almost like essay film, plus just right The fantasy setting of the novel reveals the problems of a special dialogue between postmodernism and existentialism.
By Anton Bolduc3 years ago in Beat
"The VVitch": the fall of faith, the abuse of faith
The new director (Robert Eggers), who has repeatedly collaborated with A24, uses thrillers as the motif. Both feature feature films in this genre are based on the subtopics of history, religion, and mythology. The first work in 2015 (The VVitch) is different from many horror genres with religious settings. The latter usually intends to use religion to charm the plot to produce the horror of unknowable/controlling power; the former is based on historical and folklore research. England) District (Puritan) and Salem Witch Trials (Salem Witch Trials, 1692-1693) as a background, trying to elicit dialectics of religious philosophy and historical reflection.
By Anton Bolduc3 years ago in Geeks
The whispers of the inner and outer worlds: the dialogue between the field and the theater audience in "The Human Voice"
Before Pedro Almodóvar filmed (The Human Voice, 2020), there were many stage versions adapted from the original work-(Jean Cocteau)'s one-act play "The Human Voice" of the same name. On the other hand, Almodovar tried to use short films as the medium to break away from the way of watching stage plays, trying to use movie vocabulary to describe the new "The Human Voice". This adaptation from the film media on the one hand brings a special way of viewing the work; on the other hand, it puts the encounter of the protagonist in the film into a more complex, or highly intertextual context with the field, space, and even the audience. middle.
By Anton Bolduc3 years ago in Geeks
