If you spend a lot of time gaming, certain gear out there can go a long way to enhancing the experience, making you more comfortable, and helping you achieve your peak performance. Whatever games you like to play, here are some items and accessories you should seriously consider adding to your setup.
A Backup Power Source
Don’t lose your save! With backup power sources such as portable power stations, you can keep playing as if nothing happened in the event of a power interruption. There’s nothing like a power outage during a final boss and needing to redo hours of gameplay just to get back to where you left off when the lights come back on. With a backup power source, you can ensure that you have enough time to, at the very least, save your game. You can even keep playing without missing a beat.
A Quality Gaming Chair
Ensure you have a chair that provides the proper support and keeps you comfortable during long hours in front of your screen. You don’t want to get body aches and pains from spending too much time in an uncomfortable chair. With the right ergonomic chair, you can remain comfortable and help prevent any dreaded back pain long after saving your game and walking away.
An Ergonomic Gaming Mouse
Especially if the games you tend to play use a mouse, you could benefit from having one designed to keep your arms, wrists, elbows, and hands in a comfortable, natural position. The right computer mouse can help prevent pain associated with an uncomfortable mouse, especially if you’ll be playing for hours at a time.
Customizable Lights
Set the right tone for your gaming session with smart, customizable lights. There are options on the market that allow you to control the color and brightness. You can dim the lights when night falls or set it to a specific color if you want to achieve a certain mood in the room to match your game.
A Good Headset
Don’t want to miss a thing in the games you’re playing? Invest in a high-quality headset that you can rely on, whether you want to hear every aspect of the game you’re playing or you’ll be use it to communicate with other players in online play. Many options on the market are available, so you should be able to find something that fits all your needs. Ensure it’s comfortable for long play sessions!
Wireless/Bluetooth Controller
The days of needing to fiddle with wired controllers are a thing of the past. Depending on what you play, find a high-quality compatible wireless controller that you can use for play. Like your headset, make sure it’s comfortable to wear for extended periods!
In Summary
Did you know that video games offer extensive benefits, including promoting social interaction with online gaming and problem-solving skills? Of course, you want to enjoy real-world life too, but while you’re getting your gaming time in, ensure you’re as comfortable as possible with some of the gear we’ve detailed above.
Taylor Swift has shared a music video for her new version of ‘Karma’ featuring Ice Spice. Swift premiered the video, which she directed herself, at the first New Jersey stop of her Eras Tour on May 26. The Bronx rapper then joined Swift onstage to perform the track at the MetLife Stadium. Check it out below.
The ‘Karma’ remix appears on the latest deluxe edition of Midnights, titled Midnights (The Til Dawn Edition), which also includes an extended version of ‘Snow on the Beach’ with additional vocals from Lana Del Rey, as well as the Target CD bonus track ‘Hits Different’.
Xiaohan Lu, an accomplished photographer, has recently unveiled her latest masterpiece, “Premiere Mediocre.” This captivating collection draws inspiration from her extensive experience collaborating with numerous models and influencers. Lu’s profound realization struck a chord: the stark contrast between individuals’ glamorous social media personas and their actual everyday selves. Eager to capture this stark reality, she skillfully employs her lens to reflect and portray this phenomenon.
“Premiere Mediocre” emerged as a phrase I encountered in a book, describing the marketing tactic that fabricates the impression of opulence in consumers’ lives”, elucidated Lu. With a distinct approach, she employed the language of fashion photography to delve into the realm of how young individuals indulge in luxury products, specifically how these possessions are utilized to curate their online personas.
In her artistic vision, Lu devised a poignant scenario where the girl positioned against the blue backdrop instinctively glances to her left, mirroring the real-life inclination of individuals striving to observe themselves through the lens of social media. Lu highlighted that the attainment of the coveted “premiere” status often relies on meticulous makeup and extravagant attire. However, she encountered a perplexing challenge in visualizing the concept of “mediocre” – finding an embodiment of moderate or average quality proved to be an arduous task.
Instead of incorporating mundane elements into her compositions, Lu opted for utilizing food as props during her shoots. Her rationale behind this choice stemmed from the belief that daily food items, like sandwiches or sausages, hold an essential role in most people’s lives. Through their inclusion, Lu sought to vividly depict the concept of “mediocre” as something neither inherently good nor bad—a fitting representation of the ordinary aspects of life. The models adorned themselves with either luxurious designer bags or casual shopping bags, yet paradoxically, they found themselves indulging in food at highly conspicuous locations within their poses.
In addition to the use of sausages, Lu creatively incorporated other commonly encountered objects like shrimp shells, lollipops, and popcorn. These artistic choices facilitated a striking collision between the realms of “premiere” and “mediocre”, amplifying the visual impact of her work.
In order to achieve a visually striking effect, Lu captured the models against vibrant backgrounds infused with vivid pinks, purples, greens, and blues. “The three selected models were all influential figures on RED, and coincidentally, they were also my real-life friends. When choosing the background colors, I took into consideration their content styles and personal preferences, aligning the tones with their individual aesthetics.” She states.
With a background in fine arts, fashion designer Ruochun Ding has been dedicated to building up an effortlessly chic style. She strives to find a middle ground that is both practical and stylish, avoiding designs that are overly minimalist or highly avant-garde. As a result, Ding naturally attracts customers to her brand without excessive effort on either side.
According to Ding, each piece she creates features subtle and unique details, allowing them to be versatile for everyday wear without appearing excessive or unnecessary. Building a connection with her target audience is Ding’s goal, aiming to establish a relatability with her design concepts.
“I like the use of classically minimal colors such as black, white and gray. Meanwhile, I would like to make a difference by creating simplified details in my design,” Ding added, “Just like what I did with my latest collection EPITO.ME, where I integrated a sense of looseness into elongated silhouettes with a touch of tailoring details.”
Ding put her favorite elements, pleats and tailoring into the concept of EPITO.ME because she believes that the collision and contradiction of the opposites can deliver an unexpectedly fabulous outcome. Additionally, subtle changes in tailoring is the best way to avoid excessive effort that may undermine the minimalist sentiment.
The collection is inspired by body aesthetics, which is something that Ding constantly finds inspiring and is attracted to. She reckons that each fraction of a human body is beautiful and focuses on the overall harmonious phenomenon between the model and the clothes.
Ding’s priority is to generate a style that fits into the wardrobe of everyone for any occasion. She hopes her design can give a unique identity to her customers, lighting up every day of life. But in order to do that, Ding understands that her design has to resonate with her target audience.
“The fashion industry is always changing and competitive. It is rather hard for new designers to build up a good brand image within this industry without the accumulation of experience and resources. I have to keep putting effort into what I’m doing right now but I also know that I can’t please everyone,” Ding said.
Ding believes that an assertive mentality is a necessity to survive in any industry since people are always under attack regardless of what they do. Of all the ways to deal with the negative voices, Ding has learned to simply focus on herself to be the best solution just like the concept of EPITO.ME——effortlessly chic.
Swedish synth-pop band the Mary Onettes have unveiled two new tracks, ‘Forever Before Love’ and ‘Future Grief’. The latter features a guest appearance from Adnes Aldén, a close friend of brothers Philip and Henri Ekström. Take a listen below.
“‘Forever Before Love’ is about finding the way back to yourself after a very long relationship,” Philip Ekström explained in a statement. “The process of trying to connect with the person you were before that.”
“This track has been around for quite some time,” he added of ‘Future Grief’. “We recorded the vocals with Agnes in 2016 and we have been waiting eagerly to share this one. Agnes wrote the lyrics for the verse and I wrote the words for the choruses, which gives the story a nice two angel perspective.”
Earlier this year, the Mary Onettes returned with another double single featuring ‘Easy Hands’ and ‘Pearl Machine’.
Lucinda Williams has released ‘Where the Song Will Find Me’, the second single from her upcoming album Stories from a Rock N Roll Heart. It follows ‘Rock N Roll Heart’, which featured Bruce Springsteen and Patti Scialfa. Check it out below.
Stories From A Rock N Roll Heart is set for release on June 30 via Highway 20 Records/Thirty Tigers. It includes guest backing vocals from Jeremy Ivey, Jesse Malin, Buddy Miller, Angel Olsen, Margo Price, and more.
Water From Your Eyes is the Brooklyn-based duo of Nate Amos and Rachel Brown, who have been making music together since they met in Chicago in 2016. They both have their own individual projects – Amos makes music as This Is Lorelai, Brown as thanks for coming — but their disparate and singularly offbeat sensibilities collide in fascinating ways in their collaborative work, which also tends to reflect the evolution of their personal relationship. They were dating when they made their self-titled debut EP in a week, broke up following a move to New York City, then started working on 2021’s Structure, their fifth record, which brought their knack for hooks, mangled experiments, abstract lyricism, and playful sincerity together and closer to the fore. It’s a balance they continue to toy with and perfect on Everyone’s Crushed, their first LP since signing to Matador, which is out today. “I’m ready to throw you up,” Brown sings on ’14’, which you might hear as off, because that’s exactly what the album keeps doing – the songs twist and tease and tie themselves into a knot until you almost can’t stomach it, but it’s the same chaos that feeds you, so you can’t help but come back. Throw you off as they might, there’s real tenderness and beauty there, and it’s all as thrilling as it is violently, inescapably funny.
We caught up with Water From Your Eyes for the latest edition of our Artist Spotlight series to talk about their collaborative relationship, the making of Everyone’s Crushed, the role of humour in their music, and more.
Rachel, you said in an interview a couple of years back that your last album, Structure, was the two of you being personal together. By comparison, you’ve described Everyone’s Crushed as your most collaborative record to date. What’s the difference between those things in your mind?
Rachel Brown: I feel like Structure was the first time we wrote an album together without any gimmicks. We used to write lyrics together based on, like, the viewpoints of animals or side characters in movies. Structure was the first time where we were writing music that wasn’t from anybody else’s viewpoint and had emotional ties to our own lives. I think in Somebody Else’s Song, the album before that, it was a little bit like that, but that was the least collaborative album, I would say, because it was made at the end – not at the end of our relationship, but while we were dating and living together and being in the band, and it was like pulling teeth, to make that album. Structure was the first time that we’d moved out of the apartment we were living in, so I had to go to Nate’s house when we were working on it, and that was nice. But even on Structure, there’s a couple of songs that Nate wrote entirely by himself, and also, four of the songs are just the same lyrics. This was just more songs that we worked on. It’s not that this was not personal, but it was also more collaborative. The process is like, Nate mixes the music and then we write music together. And this was the first album in like two albums that Nate didn’t write any of the lyrics entirely by himself, right?
Nate Amos: Yeah. The lyrics on the opener, ‘Structure’, is entirely Rachel. But apart from that, every song on this album, the lyrics are a collaboration. Rachel takes the lead lyrically, usually – in the past sometimes, but especially on this album, the process is, once the track is made, I’ll have some sort of kernel of an idea, a particular lyric, like one phrase. And then I pass it off to Rachel, and Rachel takes it and runs with it, and I function more as an editor or reflective surface from that point moving forward. So I think the lyrics on this album are largely Rachel, but I kind of build a little playground for Rachel to run around it. [laughs] My contributions are more like prompts than the bulk of it.
Did working in this looser, more direct manner feel like a natural evolution of what was already happening with Structure, or was it more of an intentional shift?
NA: I think it was intentional. A lot of different things to the way this album was put together point towards it being more exposed. I think in the past, a lot of the lyrics that would happen when were in the room together were kind of more obtuse or vague – not that there aren’t vague lyrics on this album. But also, on the old albums, a lot of the vocals were double or triple-tracked, and everything about the songs was kind of hidden; it was hard to hear any individual ideas or thoughts. Whereas on this album, the idea was to leave everything very exposed. The vocals are almost entirely single-tracked, relatively unprocessed. I think a lot of that is us feeling more comfortable letting it be what it’s gonna be.
RB: I also do think it was organic, though, our relationship on a personal level working on the music. I feel like a lot of the albums kind of reflect where our relationship stood. The first couple of albums, it was really goofy and silly, and it sounded like we were dating, and also quite young. And then there are a couple albums – even the amount of time between the albums became a lot more – where our relationship was getting more complicated because there were so many different dynamics that we were dealing with, and some of them weren’t working. And then Structure being the first album that we got out of those dynamics and really building the ones that were working – our friendship and being in this band together. I guess this was the culmination of us really having become our own –not that we weren’t our own people, but I don’t know, I was pretty young. Structure, we made that when I was 22, and this was 24, 25, which I know isn’t a big difference in terms of years.
NA: I think that’s a big difference.
RB: I think it’s a really big difference in terms of life. But Nate’s always been my best friend, and it’s nice that we are so solid in that now. I feel like the project is evolving as much as we’re evolving as people. I also feel like we learned to have fun. We did a cover album in between Structure and this, which, I feel like we were learning to have fun together without being, like, really silly.
I think an interesting example of the way your voices creatively come together on the album is ‘Remember Not My Name’. The instrumental seems to respond to Rachel’s words by being both dissonant and tender, and it’s like the music and the lyrics are both mirrored and layered against each other. How conscious were you of that dynamic?
NA: I don’t really remember how that song got made. I just remember the music got made, and the only thing I had was the phrase “remember not my name” and part of the vocal ideas. I was just thinking about, like, Bridgerton – it’s just a super dramatic phrase that you would say as you’re saying goodbye to someone or something. To me, that’s the funniest song on the album.
Because of that sense of melodrama?
NA: It’s really corny – that phrase is a really corny starting point, and I feel like the music is very melodramatic and odd. The middle section, with Rachel narrating the poem on top of the little classical guitar solo, is really over-the-top. And then there’s these goofy musical things that happen. There’s the whole tempo change thing, but some of the things don’t change tempo, so the cowbell stays at the original tempo, which is this horribly grating thing on top of what would otherwise be groove. The whole song’s falling apart, in a way. Maybe it’s knowing these little things about it – to me, it’s this consciously over-the-top drama song.
RB: I feel like it’s sickeningly – it’s sweet, but it’s not sweet, ‘cause it’s like a breakup? I don’t even know what kind of song it is. But it’s funny because I feel like I was also watching Bridgerton, but I don’t think we talked about that until a couple months ago, when I was like, “Man, this is some Shakespeare fucking shit.” I had a big crush at the time, but it was so not based on reality, so I feel like when I hear that song I’m like, “What the fuck was I on?” It’s definitely the outlier on the album, which I guess is to say because –
It’s an album of outliers.
NA: Yeah.
RB: [laughs] I really don’t know what I was going on about.
You’ve talked about how the album moves in this space between humour and darkness, which isn’t necessarily something new in your music. But what seems to have changed is that there’s a different kind of purpose behind each of these elements. Even on ‘Remember Not My Name’, the humour isn’t clouding the vulnerability, but almost allows you to lean into the emotion in a different way.
NA: I think it’s not so much humour, but poking fun at more serious emotions. Recognizing that emotions are just that – emotions.
RB: I mean, I think there have been times where we’ve leaned into the dark sense of humour. There’s this one album, Feels a Lot Like, which is about Jazz Kennedy, a dog in a dog’s world. He’s grieving the death of his father by walking around, what is it, Mount Fuji?
NA: Yeah, it’s about this dog mourning his father from four different locations on the painting that we chose to be the EP cover. I think that’s like the highest we ever were when conceptualizing an album. [laughs] Which is funny, because it ends up just being an EP about grief, but in our head, it was this cartoon with this dog driving around on a boat, like, thinking about life.
RB: Obviously, we’re not doing that anymore, but that’s where we started –
NA: You never really shake origins like that.
RB: Maybe the one through line of the project has been writing songs that are true to some emotions – whether it be ours or an imaginary dog’s or other imaginary characters, and at this point it’s more oftentimes our emotions. But I feel like neither one of us, not that we don’t take our emotions seriously – I think, actually, perhaps we both take some of our emotions a little too seriously. We both, at least in the past, have been quite tumultuous in how we handle our emotions, but we both have the sense that we can laugh it off after the fact, regardless of what emotion it was. There’s this sense that things are serious, but that doesn’t mean they’re not funny.
At least my family, they’ve got a dark sense of humour, so I feel like we just learned to laugh at things, that you can be emotionally distraught and also know that life is just such a funny time. Like, at my grandma’s funeral, I was so sad, and then the priest started talking about how he was so glad that communism stopped existing in the Czech Republic. And I was like, “Man, what’s this guy talking about?” I started laughing, and then my dad was elbowing me. I was like, I’m sorry, but my grandma would be rolling – well, she is in the grave ‘cause she died [Nate laughs] – but like, she would be livid if she was alive right now. Not that she’s a communist, but she’d be like, “Man this is my funeral! This is about me!” Even when you’re crying, things can be really funny.
This is a weird transition from you mentioning communism, but the way the album is framed with the songs that bookend it, you’re also being actively self-aware about the role capitalism plays in your existence as a band.
NA: I think that’s kind of inevitable the way that we’ve approached music, but this album acknowledges it in a more direct way. The album essentially ends with an advertisement for itself. There’s the cracked intro song, but then it’s like, “Look, this is the closest-to-pop song that we can make,” and then it drifts into weirdness, and then lands in ’14’, which is the opposite of a pop song, but then it snaps back to ‘Buy My Product’, which is like, “Hey, remember, this is an album, and we’re broke. You should give us money.” I guess that’s never been stated so blatantly with one of our albums before. [laughs]
RB: That’s the thing about being alive – you can have all these personal problems that may seem unrelated to the institutions at large, but at the end of the day, even your most personal relationships, your idea of what they should be, are inspired by capitalism. This album is a lot about, living in America, there’s this sense of the American dream – that to make it in America you have to get a job, and buy a house for your wife, and have little kids that win prom queen and king and whatnot, and then they get jobs. That’s literally what we’re told is the epitome of success or what a happy life looks like, what happiness looks like; happiness is when you can buy things, or when you can show off your new things to your neighbours and make them jealous of what you own. Obviously not all relationships, but I think there’s a fundamental aspect of love in America that’s tied to, like, “This person’s mine,” this idea of possession and belonging. You can’t get out of it – I don’t know if you can anywhere, but definitely not here. This album was also made in 2020, 2021, and once the pandemic happened, unless you had your eyes closed, it was pretty obvious that everything is made for us to fail.
Can you share one thing that inspires you about each other?
NA: Rachel works hard as shit. I find that very inspiring.
RB: I was gonna say that about… [all laugh] Nick has this way of tapping into creativity that I’ve never heard of – I don’t know if anybody has, to be honest. He’s like an explorer, but instead of land it’s ideas and music and sounds. How can that not be inspiring? He’s making noises that I never could imagine. And he does, he works so hard. He makes music every day, it’s so crazy. I’ve been doing nothing for like a whole week now, literally playing a game on my phone where I take care of my imaginary town while I’m sure Nate’s made like 15 songs.
NA: I’m trying.
RB: Nate has an uncanny ability to make music that’s so beyond my understanding of art. I feel like I don’t meet a lot of people who say that they’re artists, but Nate – actually, I don’t think he’s ever said he’s an artist, and yet he’s making art like nobody’s business.
NA: Well, shucks. I think part of the reason the project works on a creative level is that I tend to get lost in space with a lot of stuff and I have a hard time bringing it down to earth, and Rachel has a way of grounding it, taking these more obtuse ideas and framing them in the context of things that are actually going on. I think it’s Rachel’s contributions that actually turn the music into something that’s relatable in a way that applies to everyone. We have complementary skillsets that are allowing us to do things and go on all sorts of adventures that wouldn’t really be able to do without the other. If it wasn’t for Rachel, I would probably just be sitting in my room making music for nobody forever. [laughs] You know when superhero teams do the first pound and then it’s like a laser that shoots up in the sky? That’s kind of what it feels like.
Is there anything that we didn’t talk about that you’d like to share?
NA: I was watching a YouTube videothat claimed no current band cites the Red Hot Chili Peppers as an influence, even though they’re the undeniable kings of alt-rock. So I’m gonna throw – I think the Red Hot Chili Peppers influence us.
RB: We love the Red Hot Chili Peppers. You know why people don’t cite them? ‘Cause they’re cowards. Also, I feel like people know that you just can’t make music like that.
They like to cite members of the Red Hot Chili Peppers, but not the whole band.
NA: I think specifically the creative relationship between Frusciante and Kiedis is something that resonates with us.
RB: Yeah, I’m obviously the Anthony Kiedis in this situation. I mean, I don’t love him, he’s done a lot of probably really awful things in his life, but there’s this video of him where he plays guitar… [laughs]
RB: Yeah. I love his vocal delivery, but I also loved that band when I was like 10, so I feel like I have a lot of sentimentality that’s attached to it. But they have some undeniably good songs. My favourite one to bring up is ‘Soul to Squeeze’. Even if you don’t like alternative rock or the Red Hot Chili Peppers, that’s a perfect song. But yeah, he just kind of shows up like, “I have words,” and John’s like, “Okay.”
“I forget them sometimes, but it’s okay.”
Yeah. He has this video where has a guitar and you think he’s about to play it but he just starts singing so out of key. [laughs] It’s so funny. I’m like, “Yeah, that’s me.”
This interview has been edited and condensed for clarity and length.
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Review of KingEssays Pricing Plans and Discounts Available*
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Undergraduate 1–2 years
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*Subject to change
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Discussion on Customer Service Experience with KingEssays
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Professionalism – KingEssays’ customer service representatives are trained to maintain a high level of professionalism when dealing with clients, ensuring a positive experience throughout the interaction.
Personalized Assistance – The customer support team at KingEssays strives to provide tailored solutions to client’s specific needs, ensuring that each individual receives the most appropriate help and guidance.
Analysis of Customer Reviews on KingEssays to Determine Quality of Work
An analysis of customer reviews on KingEssays can provide valuable insights into the quality of work and overall customer satisfaction. While individual experiences may vary, examining common themes and feedback patterns can help determine the strengths and weaknesses of the writing service.
So here are the main points we got after analysis of customers’ reviews:
High-Quality Writing – Many customers praise KingEssays for delivering well-written and well-researched content that meets their specific requirements. This indicates that the writers are skilled and experienced in various academic disciplines.
Timely Delivery – Clients often appreciate KingEssays’ ability to deliver completed projects within the specified deadlines, even in cases of urgent orders. This demonstrates the company’s commitment to time management and punctuality.
Responsive Customer Support – Customers frequently commend KingEssays’ customer service team for being attentive, professional, and helpful in addressing their concerns and inquiries. This highlights the company’s focus on providing a positive customer experience.
Revisions and Customization – Clients often mention their satisfaction with the revision process, as well as the ability to communicate directly with the assigned writer to ensure that the final product meets their expectations.
Confidentiality and Security – Customers appreciate KingEssays’ emphasis on protecting their personal information and maintaining a secure, confidential ordering process.
Summing Up
KingEssays offers academic and professional writing solutions to students and professionals
They provide customized services and have experienced writers that can handle various projects
The website offers essay writing, research paper, dissertation, coursework assistance, editing, proofreading, admission essays, personal statements, and business writing services
The ordering process is user-friendly, and clients can communicate with their writers during the writing process
KingEssays offers competitive pricing and discounts for first-time and returning customers
Customers praise KingEssays for their high-quality writing, timely delivery, responsive customer support, the revision process, and emphasis on confidentiality and security.
I’m drawn towards films that depict the humanity (simulated or otherwise) amongst the most morally depraved. Historically, even the most vile and selfish specimens of this species are cloaked in some shred of contradiction, whether sincere or constructed as deflection. My interest isn’t a question of empathy. Rather, it’s about emotional accuracy. No film has a didactic imperative, but actually recognizing “evil” means reckoning with how it postures itself as the opposite: as something tame, respectable, or even pretty. This is the core of English filmmaker Jonathan Glazer’s latest film The Zone of Interest, an experimental representation of Auschwitz commandant Rudolf Höss and his family’s placid domestic life, a single barrier separating their estate and Höss’ deathcamp. Composed mostly of static long shots and little narrative, the film reveals a compartmentalized existence, where delicate images conceal the absolute barbarity just beyond their homelife.
As a quintessence of unfathomable amorality, The Holocaust has received countless artistic treatments to the point where most are banal retreads. Perhaps the most famous visual representation is Schindler’s List. Spielberg’s film prioritizes moral legibility; Amon Göth’s wickedness and Oskar Schindler’s purity are painted with absolute clarity. Things like good, evil, and atrocity are all depictable within Spielberg’s composition and contained within the edges of the frame. He is foremost a melodramist. Zone is the anti-Schindler’s List and Glazer the anti-Spielberg. Zone falls in lineage with Claude Lanzmann, the Jewish filmmaker and writer who posited mass genocide, performed as pragmatically as the Nazis did, cannot (and should not) be visualized in archives nor recreation. Glazer makes no efforts to represent the unrepresentable. He’s less interested in making a statement about the inconceivable violence of Nazism and, instead, about how images can fashion genocides as innocuous. This is, of course, a crucial part of depicting Nazism, since its violence was so consciously tied with aesthetic self-presentation.
Zone is about aesthetics and how controlled images mask violence. Strolls through a lush garden are soundtracked by faint, droning rumbles of the Nazi death machine. Compositionally peaceful moments are pierced by a harrowing cry in the distance. Despite the schematic filmmaking, Zone doesn’t perpetuate Nazi aesthetic ideals. Something always lurks in the distance, off-setting everything. Glazer upsets the formal uniformity with nightvision scenes, a fade into an all-consuming red, and Mica Levi’s howling overture and coda accompaniment, conducted over a black screen. These moments destabilize the Höss’s family’s imagined reality, incorporating a violence which can no longer be hidden. Zone isn’t split between idyllic images and abject sounds. Sound and image fuse; neither exists in a vacuum. It’s about the façade of images and our obligation to question them, to see beyond tranquil country homes, opulent architecture, and children running carefree in the yard.
I have my hesitations about the film’s overall effectiveness. A final-act geographical relocation and narrative beat betrays the movie’s austerity. I couldn’t help wonder if Glazer’s artistry might be better suited as an installation piece. There’s also one question I can’t shake. This isn’t a film about Höss or his family, it stays external to their subjectivities. Even dialogue is incidental, mixed-down and overpowered by ambient sound. But it’s also not a film about the nameless and faceless victims of judeocide: anonymous and invisible lives pushed outside the movie’s parameters, excluding the occasional marker of death Höss cannot wall-up or sweep under the rug. And so: if the film is more interested in the broad overarching relationship between fascism and aesthetics, why ground it in the context of a specific genocide? While Glazer’s better suited to the high-concept surrealism of movies like Under the Skin, Zone is full of powerful provocations. Regardless of whether the film entirely “works,” it sparks invaluable reflections on the limits of aesthetics. [3.5/5]
Killers of the Flower Moon by Martin Scorsese
On the heels of a late-period hot streak, Martin Scorsese returns with a colossal western-epic. A true story, the film depicts a 1920s genocidal scheme wherein wealth-hungry white settlers massacred oil-rich members of the Osage tribe. Based on the non-fiction bestseller of the same name, Scorsese restructures David Grann’s source material, de-emphasizing the FBI perspective and erasing any glimmer of a white savior narrative. Instead, he focuses on the perpetrators: byproducts of white supremacist capitalism. Scorsese’s crime films often center otherwise unremarkable figures woven into a mass criminal enterprise. Like Frank Sheeran before him, Ernest Burkhart (played by Leonardo DiCaprio) is a subservient dunce. Lumbering and witless, he’s a spineless sack without principles: maybe the most reprehensible of Scorsese’s many villainous protagonists.
Yet DiCaprio’s performance, soaked in hokey twang, is a miscalculation. He pouts and scrunches his way across the movie, evolving from bumbling awkwardness into comic theatrics. It’s a hammy portrayal, especially opposite Lily Gladston’s restraint. The emotional crux of the movie is their romance: a relationship which feels artificial since their performances belong in different films. DiCaprio’s moments of doubt—a conflicted conscience interrupting his genocidal scheme—hardly resonate when his characterization is otherwise divorced from any spectrum of authentic emotion. It’s the work of an actor keen to upstage his scenemates, always trying to redirect the spotlight onto himself, fearful he’s robbed of magnetism if he goes quiet for a moment. The movie’s emotional climax is a long-take close-up of his visage, fumbling a sequence of facial acrobatics, clearly envisioning it as his Oscar clip at the same time. Whereas DiCaprio’s clowning suits other films (e.g. the vulgar satire of Wolf of Wall Street), it’s misguided here.
A bad DiCaprio performance isn’t enough to stop Scorsese though. Some of Flower Moon’s compositions are breathtaking: a line of men running around a ring of fire obscured through a fogged glass window, a darkly lit tableau of masterfully-blocked criminal conspirators, a spiritual deathbed vision, etc. Scorsese’s filmmaking remains energetic for its three-and-a-half-hour runtime. Yet the storytelling is jarringly familiar. Scorsese applies his signature Goodfellas structure: constant montage, rapid-pacing, tongue-in-cheek cutaways. It’s a mode he’s mastered, but here the form feels dislocated from its content. The tragedy and genocide are sometimes sidelined by the film’s style, drawn foremost to propulsive pacing. Whereas The Irishman makes a final act turn into slow elegy, Flower Moon raises the silly question: can a movie be too entertaining and well-paced for its own good? At its worst, Flower Moon is a retread for the veteran filmmaker. Whereas Scorsese’s last couple films were vivid and disarmingly personal, this sometimes feels more self-imitational than self-confrontational. [3/5]
May December by Todd Haynes
Much of Todd Haynes’ career follows the footsteps of the melodrama masters: Douglas Sirk and Rainer Werner Fassbinder. Whereas Haynes’ films oscillate between campy excess (e.g. Poison) and aching tenderness (e.g. Carol), he’s struggled to reach Sirk or Fassbinder’s marriage of irony and sensitivity (prime exception: his Karen Carpenter barbie-doll biopic Superstar). That changes with May December. Haynes’ latest is a cocktail of grotesque diva-psychosis, uproarious irony, pathos, and, amidst the feverish perversity, genuine compassion. It’s a virtuoso juggling act orchestrated by a filmmaker in peak form.
Inspired by the case of Mary Kay Letourneau, the movie follows a middle-aged suburbanite (Julianne Moore in a late-period Bette Davis-style performance) and her two-decades-younger, Korean-American husband. Their relationship, which began when he was thirteen, is founded on statutory rape and grooming: something 90s tabloids sensationalized. Now, with two high school children on the verge of graduation, the predatory origin of their marriage remains an unspoken subject in their white-picket fantasy. However, a method actress (Natalie Portman) enters their domestic circle, researching for a role she’s playing in a cinematic adaptation of their life story. Sprouting from tension between the two women’s exploitative egos, the film unravels as Portman’s character snakes her way through the family’s repression, revealing a festering wound at the core of an American family. With glossy digital images and off-kilter framing, May December plays like a divinely executed Lifetime movie (that’s praise).
If this story sounds harrowing, it is. Immense credit to both Moore and Portman who deliver shamelessly unflattering portrayals of two shark-toothed egos and the collateral damage they wreak. May December fosters a looming sadness as Moore’s husband wrestles with a life lived in subservience to his groomer wife. He’s forced to confront that he’s spent two decades as a glorified fetish object. At one point, he smokes weed with his teenage son: a first try for the thirty-six-year-old man. The scene is quietly tragic. Forced into premature fatherhood by a much older wife, he was robbed of adolescent self-discovery. These moments of gravitas go hand-in-hand with Haynes’ biting irony. The film announces its camp sensibilities in the opening scene, which ends with a sinister piano sting and tight zoom into Moore’s face as she agonizingly declares “I don’t think we’ll have enough hot dogs!” For Haynes, humour isn’t a reduction of anyone’s pain. Rather, it’s the only means of understanding a world this foul. [4/5]
Anatomy of a Fall by Justine Triet
A middle-aged husband falls to his death from the attic window of an isolated mountain home, sparking the central intrigue of Justine Triet’s fourth feature Anatomy of a Fall. Sandra Hüller stars as the widow and prime suspect for the potential homicide. Her entire being is challenged and cross-examined in gruelling legal proceedings, bombarded and dehumanized. The trial extends beyond the purview of her husband’s death, into an invasive weighing of her moral character. Triet studies the minutiae of the French legal system, its prejudices, and its inadequacy in uncovering an objective truth. Ultimately, Anatomy is less preoccupied with answers (it brings few) and, instead, treats truth as a relative term, subject to our own free will. By the end, the film’s lengthy procedural style runs a tad dry. But moments of impressionistic style and Hüller’s morally ambiguous performance pull it to the finish line. Despite its bleak tone, there’s also an unexpectedly hilarious 50 Cent gag thrown in for good measure. [3/5]
Firebrand by Karim Aïnouz
With Mariner of the Mountains, Brazilian filmmaker Karim Aïnouz composed a complex hybrid work: a travelogue, essay film, reflexive documentary, dream journal, and memoir conjoined into one. The movie was graceful and introspective, exploring lost generational roots and dreams of postcolonial futures. On the other hand, Firebrand, his first English-language movie, has the eloquence of a rotting corpse. A work of historical speculation, the film follows Catherine Parr, the sixth wife of notorious uxoricide enthusiast King Henry VIII, as she tiptoes around her monstrous husband, sneakily combatting the repression and religious tyranny of his reign.
Not only does Firebrand lack the presence of Aïnouz’s creativity and precision. It also seems to the lack the presence of any filmmaker steering ship. Though Aïnouz’s name appears in the credits, the movie feels spearheaded by a second-unit director. Every shot looks like coverage nabbed in a frantic scurry: anonymous, flat compositions with no spatial awareness clumsily cut together by a presumably blindfolded editor. It aspires only to competence and falls short of even that. Performances are similarly lifeless. Alicia Vikander stars as Catherine, less a character and more a statue sanded-down of any nuance into a voicebox for liberal feminist rhetoric. Jude Law’s King Henry caricature is a ballooned monstrosity of an ogre, tottering about royal chambers with sadistic intent. He is the least creative imagining of evil, groping and gargling his away across the runtime. The film’s only respite from humdrum catatonia is the occasional splash of body horror: scenes interrupted by sudden purulent eruptions of Henry’s infected (and rapidly spreading) leg wound. Yet sure enough, Firebrand quickly cuts away from its refreshingly grotesque images, lacking the good sense to revel in bad taste. In a festival year replete with three-hour-or-longer movies, no runtime felt more torturous than Firebrand’s two hours. [1/5]
Close Your Eyes by Victor Erice
Victor Erice’s Close Your Eyes is the latest of late-style, the oldest of old man movies. The legendary Spanish filmmaker spins his first feature in thirty years: an intimate epic about a retired filmmaker haunted by the memory of his best friend and ex-leading man who, twenty years prior, vanished into thin air. Once a storyteller of children’s’ subjectives, Erice’s filmmaking now grapples with old age and mortality. He excises the magic realism of his earlier narrative works and strips down to an economy of mostly shot-reverse-shot close-ups. It’s a welcome restraint, exquisitely lit and patiently still. The movie’s first half is a painful personal archeology, rummaging through lost artefacts, paying visit to ghosts of the past. Every character interaction exhumes a deep memory twinged with sorrow. Everyone speaks in subdued hushes, withered by time. The second half is gooier and less piercing. Erice shakes the film’s ambient melancholy for a more concrete emotional palette and central conflict. The last moments are shamelessly sentimental, sculpted from a whole lifespan of nostalgia.
Like almost all Erice films, Close Your Eyes is a movie about movies. Yet here, the self-reflexivity is cruder and burdened by blunt “the miracle of cinema”-type musings. The most egregious moment occurs mid-transit when the protagonist skims a flipbook version of Lumière’s Arrival of a Train: a cliché icon deployed unimaginatively. These moments are minor but stem from a larger issue. In Erice’s past films (i.e., Spirit of the Beehive, El Sud, La Morte Rouge), the dynamic of cinema-history-memory is a gateway into a socio-historic consciousness. In those works, cinema becomes deflection, imbued with Franco-era traumas that cannot be spoken out loud. In Close Your Eyes, cinema’s function is much less rich. It’s represented as a force supplementary to the human being, something that remembers what we can’t and fills the gaps of our own consciousness: an imperfect archive adopted as appendage. This understanding of the medium is moving, but it’s hardly unique from other films, such as Giuseppe Tornatore’s saccharine nostalgia-fest Cinema Paradiso. Still, Erice’s love (for his characters, his medium, his world) is infectious and feels earned because it’s accompanied by such palpable heartache. [4/5]
Man in Black by Wang Bing
Man in Black, Wang Bing’s second film at Cannes this year, is almost antithetical to his other: Youth. While Youth is a comprehensive, fly-on-the-wall plunge into its subjects’ world, Man in Black is a concise portrait piece, hinging on testimony and performance. The subject: Wang Xilin, the eighty-six-year-old composer and survivor of torture and imprisonment during the Chinese Cultural Revolution. For the movie’s duration, he’s completely naked: a statement of the vulnerability he brings to the film. Shot in Paris’ Théâtre des Bouffes, Man in Black’s first half consists of Wang Xilin walking, stretching, performing abstract movement pieces, hollering, or playing piano. These are sporadically paired with the thunderous accompaniment of his own symphonies. In the second half, he sits down and regales his life story. His voice is a soft murmur, almost drowned-out by the soundtrack. Combining his art with his biography, Man in Black strives to capture the essence of Wang Xilin. While admittedly a minor work next to the scope and immersion of Youth, the movie is a keen pairing of a filmmaker and subject, each devoted to openness and sincerity. [3/5]
When buying a car with hard-earned money, its owner, as a rule, treats it very carefully. On average, foreign-made cars serve motorists for about 8 years (for a given time), and domestic ones, respectively, for 15 years. But this is far from the limit, and this applies to a particularly caring car owner. Well, for negligent users, such a period of car service can end after some 3-4 years. You should not forget that the reliability and duration of operation of cars of different makes and models differ from each other. All of them need different frequencies of repairs in the form of repairs, for example, car electrical repair, car body repair, car scanning, and diagnostics. However, the same correct and timely care of vehicles, for example, the use of 3M car paint protection film guarantees its owner an unconditional extension and increase in such a service life.
If you like taking care of cars, then we advise you to consider this activity as an opportunity to open your own business.
Car enthusiast tips
Specialists and ordinary car owners with extensive life experience in maintenance and preventive maintenance, in order to extend the life of the car, advise the follow some tips:
Carefully study the device of the car.
Constantly monitor the cleanliness of the car interior.
Regularly change the oil in it.
Timely check the condition of the working fluids in the machine.
Take care of the car body.
Timely eliminate even the slightest malfunctions that have arisen in it.
Monitor the condition of the tires and take proper care of them.
Choose the correct driving mode for the car.
Carry out maintenance only at specialized service stations.
Carry out maintenance of your car regularly and in a timely manner.
Studying the device of the car
For experienced drivers, this advice will seem a bit ridiculous, but, nevertheless, friends should not forget that technological progress does not stand still and with it, more and more new technologies appear in the world. Many car components are being improved and therefore it is necessary for all drivers, without exception, to know about this – that is, both beginners and professionals.
The interior of the car must always be dry and clean
By the way, the interior of the car looks, one can judge the owner himself, as well as his attitude towards his “iron friend”. Sitting in an unkempt dirty car interior, you will surely hear and feel extraneous noise or rumble, or various types of rattling in it, although this car may not be that old. In a humid car interior, many electronic devices can break down and fail, and naturally, extraneous unpleasant odors can appear. Experts advise drivers to change the air filters in the car every 20 thousand kilometers. Regular car valeting not only mantains the aesthetics but also insures a clean and well-kept interior, reducing the likelihood of these issues and preserving the overall
Change of oil
Try to use exactly the brands of oils that the manufacturer of this vehicle offers. Using cheaper substitutes, will cause irreparable damage to the motor and thereby reduce its working activity. Engine oil for full and long-term operation of the engine must be changed regularly. By regularly changing the engine oil in the engine, you thereby ensure the long and trouble-free operation of this engine and at the same time keep its internal parts clean.
Working fluids and consumables
Several types of working fluids take part in the operation of the car, which requires special attention, that is, brake fluid and fluid in the cooling system, fluid in the automatic transmission and power steering, as well as fluid in the transfer case. Studying the instruction manual, you need to pay attention to the timing of changing or topping up these fluids. By complying with the manufacturer’s requirements, you thus prolong the life of your machine.
Car body and maintenance
So that the body of your car does not turn into a rusty holey sieve in just a few years of operation, it is also necessary to take care of it no less carefully than the engine or other mechanisms of the car. It is necessary to process the very bottom of the machine and other parts very well, this must be done with anti-corrosion compounds, and you can even do it yourself using a conventional paintbrush.
Experts also advise drivers not to keep cars in heated garages in winter, this only starts to develop corrosion faster.
Try to make the engine idle as little as possible, and do not use any kind of various additives unknown to you and other newfangled “gadgets”, they will only shorten the life of your car.
Try not to overload the car beyond the norm, always treat your “friend” and assistant with care. Good luck and success to all!
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