/hobby/ - Hobby

This movie is about vapidness to an extreme and pathetic degree, it's really good but I'm not sure I liked it for the same reasons the dudes in Cannes did.
It's about old/young dysphoria where if you are young and good looking everything works for you, because everybody the younger version of the protagonist interacts with is a stupid gooner or the capitalist ready to make money on gooning, and everybody the older protagonist interacts with is dismissive of that old hag (who still look incredibly good until her life force or whatever is taken). Both at their prime are still less beautiful than my wife btw.
In the end the younger one kills the older one, she thinks she can live her free life, but she sacrificed her future in a "it's dialectic you see" move, because they are all paranoid and refuse to communicate, they prefer to suffer and fuck around between each other rather than with the bizarre organization that gave them that power which is very american.
I loved the gore in general but I'm bad at metaphors and knowledge of hollywood and such so I'm sure I missed all of the stuff that made that the best screenplay of whatever, I would say Infinity Pool was slightly better than this which, in the words of Peter Griffin, insists upon itself.

Stephen King when somebody adapts one of his shitty books into objectively a masterpiece but they didn't faithfully adapt the 700 pages dedicated to the backstory of the ghost who says "boo!" in one scene which revealed they died from being nagged to death by their bitch whore wife

"(…)
I arrived​ in Cannes with a terrible line from Sélection officielle ringing in my head: ‘To paraphrase Woody Allen,’ Frémaux writes, ‘Cannes is like sex: even when it’s not good, it’s good.’ No one is immune to a degree of corniness when it comes to Cannes. David Lynch’s Cannes Diary, a ten-part series of short missives documenting his experience as jury president in 2002, is primarily a vehicle for him to indulge his love of café au lait, pain au chocolat, baguette avec fromage and vin rouge. He praises the French as ‘the greatest lovers of art and protectors of art in the world’ and looks on everything with childish wonder. That wonder extends to the theatres, where audiences clap and cheer at the tacky festival animation, in which the red staircase floats up into the sky. In Lynch’s words: ‘Everybody knows about carpet. And everybody knows the colour red. So you put those two things together and you get red carpet. But there’s nothing like the red carpet at Cannes.’

Was this Cannes as good as bad sex? Bad sex is usually short. At Cannes, screenings run from 8.30 a.m. to past midnight. If you are a programmer or distributor, it’s typical to watch as many as six films a day. Members of the press rush off to file their reviews or record their podcast ‘takes’. Tickets are released at 7 a.m., four days before each screening, and disappear in seconds. It’s common for screenings to be illuminated by dots of light, as people try to book one film while watching another.
(…)”

https://www.lrb.co.uk/the-paper/v47/n12/daniella-shreir/diary

social fascists at the NYT:
https://www.nytimes.com/interactive/2025/movies/best-movies-21st-century.html
<Jonathan Glazer’s Holocaust narrative defies convention. Using the bones of Martin Amis’s novel of the same name, Glazer focuses on the day-to-day life of the commandant of Auschwitz, Rudolf Höss (Christian Friedel), and his wife, Hedwig (Sandra Hüller), who reside next door. They garden to the soundtrack of mass murder as the ash of human bodies falls from the sky. It’s a disorienting watch that shows just how easy it is to live with monstrosity, every so often jolting you out of your skin with Mica Levi’s unnerving score.
These soulless PMC Zionist writers are those very same petite bourgeois nazi degenerates

social fascists at Rolling Stone:
https://www.rollingstone.com/tv-movies/tv-movie-lists/best-movies-of-the-21st-century-1235200512/
>Jonathan Glazer‘s take on Martin Amis’s 2014 novel is a portrait of hell from the periphery. An S.S. officer (Christian Friedel) and his family live in the housing area surrounding Auschwitz; they throw pool parties and take afternoon tea with friends while chimneys belch black smoke in the distance. Glazer strips away the imagery we now associate with Holocaust dramas and puts his high-formalism style to perfect use, presenting an absolutely chilling look at how normalization works — at some point, you simply stop hearing the barking dogs, gunshots, and human suffering happening right outside your own backyard. This is what the banality around the banality of evil looks like. And Sandra Hüller, playing the officer’s raging wife, once again convinces you that she’s one of the most fearless international actors working today.
fearless international liberal Zionist puppet, maybe