The credits start rolling while Kim Taylor is still singing, holding a guitar in her arms, and expressing all her melancholy through a song that hasn’t left me since I first heard it: Days Like This. You look up at the sky above you/ Days like this/ You think about the ones that love you/All I wanna do is live my life honestly/ I just want to wake up and see your face next to me/ Every regret I have I will go set free / It will be good for me. I sighed, a little tear rolled down my face and later I came back for a second screening just to see and hear that song again.
Tag: American independent
Long before the hipster there was the nerd who now, thanks to hipster culture and its appropriation of nerd codes and styles, seems to have become an extinct species. There was a time when “uncool” people wore horn-rimmed glasses and weird hairstyles unironically. The preferred domain of these nerd types was the world of computers and their codes consisted of zeros and ones. Nerds were outsiders and loners and it was easy to make fun of the fact that they were living in a parallel universe. Mumblecore director Andrew Bujalski now remembers the peak of 1980s nerd computer culture in his new film and has produced a little masterpiece of modern retro-history and ironic social observations.
I have to be honest with you: before watching Behind the Candelabra, I didn’t have any idea who Liberace was. Call me ignorant, call me not gay enough, or call me too young. Calling myself too young at the age of 30, on the other hand, is so gay that I will have to go with ignorant after all. Yesterday a film came out in Berlin that might feel inappropriate for this column and you might ask yourself why I want to talk about it. It got tons of good press already, it has Michael Douglas and Matt Damon in it, and it so glamorous that it stands out from the selection of small films that I usually discuss. But apart from being a glamorous, fabulous and insightful travel into the times of “Walter” Liberace, Behind the Candelabra is an astonishing testament of a film that was made for television and its queer discourse.
Once upon a time there was a violent girl named Annie. She had long blond hair and her freckled face rarely smiled. Annie liked to play soccer as much as she liked to wear oversized men’s shirts. Her kingdom was the outskirts of a small town in Texas and her favourite pastime was destroying things. When Annie entered a grocery store, she would steal something; when she once stole a beautiful rainbow-coloured lollipop, she quickly bit it into pieces. One day, as Annie went on a stroll through the woods behind her house, she heard a voice from a hole in the ground and it seemed that her life was changed forever.
It’s just awesome…and cute. What is, you ask? Pretty much everything in the world of the teenagers that are so bored with their lives in Calabasas, California, that they decide to break into the houses of celebrities like Lindsay Lohan, Megan Fox, and Paris Hilton, steal some stuff, and then buy more stuff paid for by the stuff they stole.