Triangle

The once-in-a-lifetime experience of planning, implementing, and then recovering from a wedding (along with miscellaneous computer problems) has managed to curtail most of my film viewing and writing over the summer (yes, honeymoon was totally worth it). But that all changes with this newest post over at the Tisch Film Review. This Hark/Lam/To pseudo-omnibus cum large-scale-exquisite corpse leaves much to be desired as a proper narrative (its structuring gimmick is more compelling than anything that the characters actually engage in on screen), but it does offer a unique movie going experience - three distinct visual styles buttressed up against each other, allowing very specific ruminations on some fascinating aesthetic variations. It doesn't hurt that the film goes out on a high point, courtesy of one of our greatest living filmmakers. Scoot on over and check it out, and as always please feel free to argue.

Marriage:

"If there's one thing I think I'm sure of, it's the fact that I must marry... I'm pretty sure about this, I think. Yes, it is time I settled down, grew up. There's no choice really: not settling down and not growing up are killing me. I've got to quit it, being young, before it's too late. I must marry... and settle down and raise a family. I must be safe. Christ, safe sounds frightening. Settling down - that seems a bit adventurous, a bit precipitate, to me. Having kids! That's what takes real balls. To become a husband and a father: no you can't get much butcher than that. Yet nearly everyone shapes up to it in the end. I bet you have or will soon. I want it too, I think, in a way.
Of course, something is missing. Ah, you noticed. You are not blind. But it is missing in me, in her, it is missing, it will never be there. We are very well suited. We get along like nobody's business. I must marry. If I don't, I'll just die..."

Martin Amis, "Money"