A #UCFF response to A Girl Walks Home Alone at Night (2014)

This is a response to A Girl Walks Home Alone at Night (2014)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

27 May

This is a response to A Girl Walks Home Alone at Night (2014),
as seen at Saffron Screen on Monday 27 May 2019 at 8.00 p.m.

#UCFF made a date with @Saffronscreen ['The Screen'] and A Girl Walks Home Alone at Night (2014) - finally, for the latter !

Misguidedly 'sold' by @IMDb as 'Drama, Horror', it's but horror of the existential kind, which Cocteau gave us in Orphée (1950) :https://t.co/LrF2grA41n

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) May 27, 2019

Yet, as it builds (even if one cannot believe that it could, for logistic and other reasons, have been fully story-boarded in pre-production), the existential dimension shines out (e.g. is The Girl actually Death, as in Cocteau's film ?), and James Dean, etc., tributes fade out

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) May 27, 2019

The Angst is, e.g., that of H. P. Lovecraft, @russellhobanorg in his novels Fremder or The Medusa Frequency, or [an acknowledged influence on Russ] that of The Fair Beckoning One by Oliver Onions ; the ennui of early and later Jim Jarmusch, the Westerns that it references, etc. https://t.co/0agLxf3l8a

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) May 29, 2019

* Artefacts of its making ?

[It is, perhaps, a wonder that it was filmed ,or able to be completed at all... ?]

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) May 29, 2019

[...]

Now, once more, at the place that #UCFF finds itself of late referring to as The Screen :@SaffronScreen

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) May 27, 2019

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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Two Tweets in initial astonishment at the vividity and richness of image and meaning in Orphée (1950)

Astonishment at the vividity and richness of image and meaning in Orphée (1950)

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
(Click here to go directly to the Festival web-site)

18 February

Astonishment at the vividity and richness of image and meaning in Orphée (1950)

The latter and her stunning performance - as well as the female fetishwear* - hitting all the right Servalan-type chords !

* Quite aside from which, the cleverness of the conception / script, the shots, the locations, the immersion in these worlds, the effects, the ambience...)

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 19, 2019

Jacqueline Pearce RIP (Servalan)

Épilogue :

Freudian slip ?

'To do or die for' ? ;)

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 19, 2019

To an extent also true of their Bound (1996), one can see how Lilly and Lana meld with the world(s) of Orphée (1950) in The Matrix (1999) : a proto-Trinity, mirrors aplenty, Neo as dreamer, appearance and substance....

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 19, 2019

End-notes :

* Seen at Saffron Screen (the community cinema on the premises of Saffron Walden County High School, Saffron Walden, Essex).


If you want to Tweet, Tweet away here

Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)