There's so much lynch and stuff in that ye the ministerre watching themselves, like thi is just lynch in a different language, just trying to sneak. And i think part of that is him making fun of himself and his art, cause it does kind of seem like, almost like a german expressionist, like sprockets kind of thing beginning. But what's so kind of awesome about it is it's in it in the in the guise of an unwonted child, you know, like a child that nobody wanted to exist. The one person he's reaching out for, i am someone that just sees, wishes he didn't exist. So, you know
David and Tamler dive into Ingmar Bergman’s 1966 masterpiece Persona, a film about two (?) women, Elisabet, a famous stage actress who has stopped speaking, and Alma the chatty young nurse assigned to care for her at an island cottage. What happens when the roles we play as parents, spouses, friends, and colleagues start to feel like dishonest performances, an endless series of desperate lies? Can we escape to an inner sanctum of truth and authenticity? Or is that putting on another mask, playing yet another part, telling a different set of lies? We offer some tentative interpretations of this rich and baffling film. Get that boy a normal sized sheet!
Plus we share some thoughts about the Chappelle special…
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