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heather jane kwiatkowski

@happytoheather

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spring into summer

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comp of old photos I've wanted to post for a while, and grimace

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(Pt 1/2) wanted to make an appreciation post for all of these amazing people I have in my life. Even if you aren’t in these photos or tagged (sorry 🙇‍♂️🙇‍♂️), all my friends mean a lot to me. So thanks for making 2023 a blast, 2024 will be even bigger and better ❤️

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birthday film!

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the end of summer 🌅

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in my queer friend group masc era

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🎥 BONE TOMAHAWK • 2015 • Directed by S. Craig Zahler • Canada • Drama/Horror/Adventure
🍅RT: 87% 🔶MetaCritic: 71
IN A SENTENCE: Zahler’s genre-blurring debut is a roaring, refined, majestic beast of a movie.
REVIEW: Isn’t it a wonderful feeling when a film presents itself to your carefully attenuated expectations and blows through you like a vigorous, cleansing wind, leaving in its wake the feeling of good sex and a renewed belief in the medium? I argue that it is indeed wonderful and that Craig Zahler’s BONE TOMAHAWK is precisely that kind of film. Nothing could have prepared me for this level of involved enjoyment, and I’m frankly glad nothing tried.
Where to start? How about with the way this stunner melds and bends genres so effortlessly, due in no small part to its lyrical and ingenious writing? Is it a western, a light comedy, a quest film, a horror movie even? It’s every one of these and more, and it transverses these elements like a Jesus lizard! Zahler’s direction (both of his actors and the body of the film) is perfectly balanced. He pulls from each only exactly what he needs. Nowhere is this more apparent than in his handling of extreme violence concerning the troglodyte savages who threaten his central players. In what could have easily been overdone to the point of corniness, Zahler’s restraint is exceptional. And it pays quick rewards in terms of a sequence ripe for potential overwrought playing out instead like something almost grand, decidedly heart-tugging, and humanely philosophical.
Kurt Russell, Patrick Wilson, Matthew Fox, and Richard Jenkins are incredible in their westernized, quasi-Shakespearean rolls. Russell especially finds his character, a small-town sherif who ends up being the sorrow-mitigating moral center of BONE TOMAHAWK’s universe. The next time you want to see a film about cannibalism that has some real bones, may I suggest Mr. Zahler’s outstanding debut? While it still seems the film is unfortunately underseen, I suspect that it will make a slow rise to cultish status, and this will ensure it is enjoyed by the discerning and the curious for generations to come.

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❇️ Music videos today suffer, in much the same way many films do, from the contemporary disease of techno-paralysis. This is a condition where the very ease and abundance of the technology applied to these matters renders them all a bit flat, missing the fizz of human imperfectability and impassioned innovation. And so I am thrilled to receive this challenge via the deep south’s only anti-ingénue worth mentioning, @lovelyloser_1 . May I be reborn into an analog dream!
What music videos set your groove ablaze? If you feel like leaving your own picks in comments, please do, and if you have a list or plan on making one, please point me to it!
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1. Shock The Monkey (Peter Gabriel, 1982)
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2. Total Eclipse Of The Heart (Bonnie Tyler, 1983)
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3. Cloudbusting (Kate Bush, 1985)
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4. Silent All These Years (Tori Amos, 1992)
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5. It’s Oh So Quiet (Bjork, 1995)
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6. Born This Way (Lady Gaga, 2011)
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🔲 #beloved #musicvideos #video #challenge #bobksmoviemania #reviews #moviereviews #movies #film #cinema #cinephile #cinephilecommunity #filmcommunity #filmbuff #filmcritic #culture #culturalcritic #whattowatch

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🎥 LAURENCE ANYWAYS • 2012 • Directed by Xavier Dolan • Canada • Drama/Romance • In French w/ English Subtitles
🍅RT: 83% 🔶MetaCritic: 71
IN A SENTENCE: At once joyful and baroque, childish and madly gushing, no one can deny its beauty nor its excesses.
REVIEW: Built around the kind of love story that constantly courts madness and dramatically encapsulates that feeling of destined, untamed connection, I am unable to say whether LAURENCE ANYWAYS gains its manic nostalgia from this exquisite hallmark of youth alone or also from its insistence on being a period piece that nails 1989-2001. Whatever my thoughts, one thing’s for sure: LAURENCE ANYWAYS is a big, balls-out kind of movie that has very little interest in my uptight questions. It’s a brazen, hot bully of a film that is wondrously acted, largely written, passionately directed, and perfectly at home walking a line between the elegant and the garish. At times I was reminded of that wily Spaniard, Almodovar, and his soap-operatic antics. At other times, the obsessive art direction suggested that Nicholas Winding Refn’s identical (but gay) nonexistent brother was at the helm. That LAURENCE ANYWAYS takes transsexualism as its primary plot point feels almost incidental.
While I loudly sing praise, I would be remiss in my duties not to mention drawbacks, every one of which stems from the simple fact that the filmmaker is only 28 years old. There is no doubt that Xavier Dolan is the kind of talent that appears only once in a certain time and place, but the fevered passion with which he creates actually blurs the wider vision of LAURENCE ANYWAYS. It’s an unnecessarily long film that sent me clock-checking in its final quarter, and made me wonder aloud why certain narrative threads needed repeating and why one of them existed at all. In addition, I highly suspect that some of the bulk served merely the purpose of dazzling me with yet another gorgeous piece of art direction. The cumulative effect of this overstuffing was to make the grandeur of its central love story feel weaker. When one goes over anything too long, the cracks start to appear, and these appear sooner in less disciplined conditions.

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