Filmosophy

Filmosophy We believe in the power of productive encounters with film that can generate completely new modes of

‘No organ is constant as regards either function or position, ... s*x organs sprout anywhere,... rectums open, defecate ...
05/07/2022

‘No organ is constant as regards either function or position, ... s*x organs sprout anywhere,... rectums open, defecate and close, ... the entire organism changes color and consistency in split-second adjustments.’

William Burroughs in The Naked Lunch

The above quote from William Burroughs adequately illustrates the process twelve year old Tinja, the protagonist of Hatching, undergoes through the course of the film. As a gymnast preparing for her first competition we observe her body stretching in ways that seem to defy human capabilities. This is evident in the opening scene of the film where we watch Tinja’s body slowly rising in close-up: the bones on her spine almost monstrously pronounced, with her face off screen she is reminiscent of a Lovecraftian creature, not the sweet, servile girl her mother desires. The quote above seems fitting as a visceral metaphor for the horror of teenage girls’ transition into womanhood as her body morphs into something different with voracious speed, lashed by heteronormative priapic dogmas from every direction.

Read the full review on our website!
https://www.filmosophy.co.uk/hatching-review.html

Scott Derrickson and C.Robert Cargill return with The Black Phone, a dark chiller that surpasses its predecessor, Sinist...
03/07/2022

Scott Derrickson and C.Robert Cargill return with The Black Phone, a dark chiller that surpasses its predecessor, Sinister (2012), in almost every aspect. As in Sinister, Ethan Hawke is cast as one of the central characters, but this time as masked child kidnapper The Grabber. Another similarity to 2012 horror (could we speculate that the films take place in the same universe?) is their mutual narrative focus on missing children, allowing Derrickson to experiment with the intersection between a child’s assumed innocence and the deathly instincts that they may express. And overwhelming sensnation that If we only let it, the image will kidnap us into the murder scenes, forcing us to endlessly observe whole families die long, panful deaths.

Read the full review on our website!
https://www.filmosophy.co.uk/the-black-phone-review.html

An article investigating q***rness in three short Taiwanese films: Echo Each Other/呼叫冥王星 ( Pin-ru Chen, Taiwan, 2016) Bo...
19/06/2022

An article investigating q***rness in three short Taiwanese films: Echo Each Other/呼叫冥王星 ( Pin-ru Chen, Taiwan, 2016) Body at Large/晃遊身體 (Ying Cheng-ju, Taiwan, 2012) and Adorable(Cheng-Hsu Chung, Taiwan/UK, 2018). We focus on the way these films explore the potential of digital technologies to affectively q***r temporality and space, touching our bodies and becoming a part of our nervous systems allowing for a simultaneous q***ring of our perception.

https://www.filmosophy.co.uk/q***r-temporality-taiwan.html

While we love and mostly prefer films of a different nature, sometimes you’ve just got to go and watch plane make fast a...
18/06/2022

While we love and mostly prefer films of a different nature, sometimes you’ve just got to go and watch plane make fast and go boom, and ogle at glistening, sweaty, moustachioed men. And sometimes you’ve got to reflect on that. Have a look at our thoughts on Top Gun 2: Sweats Out.

https://www.filmosophy.co.uk/top-gun-maverick-review.html

This article is a search for these feminine affects in two recent audio-visual works that portray the Ogu and its courag...
17/06/2022

This article is a search for these feminine affects in two recent audio-visual works that portray the Ogu and its courageous female warriors: Onyeka Igwe’s three-part project No Dance, No Palaver and the Nollywood production 1929 (2019, Moses Eskor). Igwe, in a series of three short compilation films – Her Name in My Mouth (2017), Sitting on a Man (2018), and Specialised Technique (2018) – utilises colonial footage to excavate female bodies subsumed by history as written by colonisers. On the other hand, 1929 conjures the Ogu through historical drama anchored in Nollywood aesthetics. By conducting a close textual analysis of the films, combined with a film-philosophical and feminist media archaeological approach, we will delve into techniques they use to materialise this history of female uprising, buried under subjugating colonial narratives and discourses.

https://www.filmosophy.co.uk/igbo-womens-war.html

Reminiscing Lars von trier’s famous remark that “a film should be like a rock in the shoe”, Playground is definitely one...
17/06/2022

Reminiscing Lars von trier’s famous remark that “a film should be like a rock in the shoe”, Playground is definitely one of these cinematic gems that will stay with us for a long time after the screening. It is an immersive portrayal of the brutal reality of childhood, entirely bereft of the nostalgic sweetness but enticing us, the adults, to instantiate societal changes that will transform school playgrounds into places where no child has to become an abuser to avoid being abused.

https://www.filmosophy.co.uk/playground-2021-review.html

Filmosophy is back! We have had a hiatus, a break, time away. But recently we have found ourselves with more time and mo...
16/06/2022

Filmosophy is back! We have had a hiatus, a break, time away. But recently we have found ourselves with more time and more things to say and so over the next wee while we’ll share those things, and hope you’ll like them. For now, here’s a little quote serving as our current manifesto, taken from a book that shares its name with us. We will speak to you again soon x

Have you ever watched a film and after the screening felt that something has changed? Something inside your body, but so...
16/06/2022

Have you ever watched a film and after the screening felt that something has changed? Something inside your body, but something so elusive that you can’t pinpoint it? You go on with your day but you look at things and people differently? This is film spreading through your body, affecting your perception, transforming you – this is a film making you THINK. We believe in the power of images to have ACTUAL, MATERIAL effects on us. This is what we call film-philosophy - or filmosophy - and this is what we attempt through our criticism. We believe in the power of productive encounters with film that can generate completely new modes of thinking.

What films have made you think?

(Deleuze, Gilles. [1985] 1989. Cinema 2: The Time-Image. Minneapolis: University of Minneapolis Press. p. 287).

Image sourced from Ingmar Bergman's "The Seventh Seal" (1957).

An affective leap into the deep waters of Antoneta Kusijanovic's 2021 film Murina. In this article, we explore the affec...
16/06/2022

An affective leap into the deep waters of Antoneta Kusijanovic's 2021 film Murina. In this article, we explore the affects and effects of water on the body, and its implications for our experiences of desire and finding freedom from oppressive societal structures.

https://www.filmosophy.co.uk/liquid-world-desire-beyond-human.html

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Who Are We?

Our names are Jack and Paulina. We live in Scotland. ​We met through a love of the movies, and decided that we needed to share that with other people, and encourage more people to love movies too. Filmosophy is designed to do just that. To cultivate a love of cinema and engage with everyone we can, we knew we needed a platform other than our own Facebook profiles to do so. We knew we needed a dedicated site that could organically grow, change, and evolve with time. Filmosophy, therefore, is part blog, part academic resource, part fansite, part review hub, part community project, and all passion. Our writing about cinema is a reflection of this; each and every piece we post is for others to enjoy and hopefully to engage with. Discussion and differences of opinion are essential to life, and to appreciation of art. As such, our readers are the heart of this project, and always will be.