Only Lovers Left Alive is the new film by Jim Jarmusch, director of films such as Broken Flowers and Ghost Dog: The Way of the Samurai. It tells the tale of two vampires, played by Tom Hiddleston & Tilda Swinton, who have been madly in love with each other for over 100 years. These are not your grandfather’s vampires that wear capes and live in victorian castles, instead they are modern intellectuals that live in Detroit and have a greater interest in music, art, & literature than blood. Various complications eventually ensue for the couple and things do not stay so laid back for them.
Only Lovers Left Alive is perhaps the most stylish film since Drive and has been getting stellar reviews. It was even nominated for the Palme d’Or at the 2013 Cannes Film Festival and won the special jury prize at the Sitges Film Festival.
You can see Only Lovers Left Alive in select theaters in LA & NY now. It will expand to more cities in the coming weeks.
If you are interested in learning more about the film, check out this interview with the film’s director here:
NoMe Edonna is a self-taught artist from California, working mostly in painting and drawing. It doesn’t take long to notice the heavy influences from Surrealism & Dadaism, due to the way he stretches and abstracts recognizable items and other forms (I mean, who doesn’t dig a robotic giraffe?!). The overload of distorted items floating in what sometimes feels like a gravity-less space, can take a bit of time for you to fully recognize every piece in this puzzle. However, after checking the work out you’ll start to notice recurring themes of environmental concerns and an interesting approach on social/political issues, not to mention a touch of technological advancement. NoMe does a pretty amazing job with intersecting everyday recognizable creatures or items with that of future technologies, in a way that comments on humanities effect of natural & environmental systems. From jump street, the work takes you into a glimpse of a dark technologically advanced world where nature and technology seem to have fused together and created something both recognizable & eerily strange. It’ll be interesting to see where NoMe continues to take the viewer as he explores newer ways of expressing the future world that one day may surround us.
Check some more of his work below and follow him at these websites
Manakamana is a film directed by Stephanie Spray and Pacho Velez. The film takes place high above a jungle in Nepal and follows various pilgrims making an ancient journey by cable car to worship at the ancient Manakamana temple. The film never leaves the cable car and consists entirely of single shots that last the duration of a roll of film.
Manakamanahas been getting rave reviews and will be released in a limited run on April 18.
If you are interested in learning more about the film, check out this interview with the film’s directors here:
Former President of the United States George W. Bush has traded in politics for painting. While one would assume that he would have little talent, in my honest opinion he has actually already proven himself as a much better artist than president. Due to how conservative he was as a president, it is incredibly surprising how figurative and distorted his paintings tend to be. While his earlier works consisted mostly of self portraits and paintings of dogs, Bush has recently ventured into doing a series of paintings on various political leaders that have ranged from Vladimir Putin to the Dalai Lama. These paintings shed the persona these politicians have constructed for themselves, and thereby show us how in actuality they are just as imperfect and confused as the rest of us. While I don’t expect you to change your mind about Bush’s presidency, try looking at his paintings with an open mind. Who knows, you might even like something.
The representation of the black body within art’s history, is a heavily contested and frequently visited subject in today’s art scene. Heavy hitters like Kehinde Wiley, Kara Walker, and even the late, great Jean-Michel Basquiat, all made work that responds to the ways in which the black figure was either absent or represented in historical paintings. However, Jackson takes a different generational approach to dealing with this frequently visited subject, some of which much more dirty and tormented than others. Rather than pointing out the fact that a person of a particular race is the focal point of a painting and what that suddenly now means, Jackson questions the term of “black art” and why some viewers have the inability to see the black body solely as a figure in space, and not just as a singular embodiment for the African-American community. There’s a definite mood and energy with the way Jackson attacks these figures… A back in forth like Gatti vs Ward, not letting any particular feature get the upper hand before clawing back into it and removing whatever progress was just there. Looking at the final product, you see a history of how we arrived at the final destination point, some more spacial and colorful than others, almost portraying to the viewer the fact that no matter how hard Jackson tries to meet his ultimate goal of creating a "new normal", there will always be factors that hold him back from doing so.
Check out more of Alex Jackson’s deep & powerful work below and follow him here: