Halfway through my trip and my Grab driver just casually blasted his audio speaker like this its as if he want to piss me off so bad 😭😭😭
In my dessert cafe era because honestly if coffee is a person, I can’t look at anything beyond Purnama anymore I am marrying it, it’s the one.
Got plenty of time to kill (my next showing is not until 20.35) and while this is not a dessert cafe, but found what turned out to be the best dessert I had in a long time (also indoor smoking fuckyeah)
Also kinda explained why Mouse worked so much to me.
Ain’t no way they finally told the lore behind one of my favorite scene(s)
(And no wonder, turned out they’re real couple. Had a hunch about it and now I can sleep peacefully knowing this)
Baru nonton dikit (akan kubalas di BWC) tapi ranking sejauh ini:
1. Mouse
2. The Samurai and the Prisoners
3. Fjord
4. Kill Me
5. The Beloved
6. Karma
7. Inherit
Lebih kaget lagi karena ternyata temanya mirip (banget) sama buku terakhir yang selesai dibaca, yaitu Old Soul-ny Susan Barker. Bener-bener baru kelar bulan lalu. Funny coincidence, I guess.
‘That’ twist in Inherit got the audience cheering like it’s Messi scoring a match-winning goal you guys are wild 😭😭😭
Kasian yang nerjemahin sub indo Mouse bingung pas dialog “denial is not just a river in Egypt” 😂
(Harus berguru sama yang nerjemahin The Naked Gun)
And this year’s Sorry, Baby Award; of movie that you wanna hug and tell “it’s gonna be okay” towards, goes to
We need to talk about American film critic’s allergies to maximalist films nowadays (Babylon, Digger, and now this)
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…






























