In the world of Yorgos Lanthimos’ The Lobster you’re turned into an animal of your choice if you don’t find a mate. Most people choose dogs or at least mammals, but David’s (Colin Farrell) choice is more coldblooded and alien to humans: a lobster. His reasons are fairly logical from an organism’s point of view. The lobster has exceptional reproductive and longevity traits, but the blue-blooded part is a symbolic nod to human social status.
Harvey, a 1950 film based on a play by Mary Chase that beat out The Glass Menagerie for a Pulitzer Prize, has a lot to say about how we live our lives. Some of the wisdom in Harvey does ring true, but much of it is bathed in a gauzy romanticism.
The heart of the film adaptation of the sprawling and engrossing nonfiction work Bridge of Spies is about the secrets of the human heart in the face of the constant deceptions, and false perceptions of human social interaction. The book delves deep into history and the personal lives of the spies that are swapped, while the movie (adapted by Matt Charman, Ethan Coen, and Joel Coen) focuses on the problems and character of James B. Donovan, a lawyer who found himself at the heart some of the 20th century’s most pivotal historical issues.
Social anxiety is fueled by ego, it’s fueled by that terrifying sense of ourselves as the center of everything. It’s huge burden to be the core of the world. It’s no wonder we freeze with terror at the thought of doing anything at all, of standing out, of creating ripples that might be felt. The thought that there are other worlds out there just as fragile and large as ours can make the terror and dread even worse. What if… Read more »
About 14 years ago an ill-formed version myself, an emotional wreck of pure overwhelming potential, came to Mercer University to find how who I wanted to be and how to go about being that person. I was going to think my way clean, think my way into some workable shape.
Sadness is such a difficult part of ourselves. Life, it often seems, would be better without it. But that’s not exactly true. I kind of like my sadness, as long as it’s balanced. When things go wrong, I’d rather just be quiet with it than to feel nothing at all. It can feel good to hurt, or to at least bring the hurt up to the surface enough to get it out through tears, words or hugs. Life itself is incredibly tough, and that’s why we need sadness to get us through. If we ignore it too much, the world takes on a dishonest veneer, and we feel a bit dishonest ourselves. We need to just talk, listen and rest sometimes. Sometimes we just need to say, simple as it is, “Yeah, it’s sad.” Pete Docter’s Pixar animated film Inside Out examines this importance of sadness in a way that’s never been done before on screen, maybe never been done before at all.
It’s like an existential fairytale where Bill Murray is both the princess and the villain.