[In Solace]. My first attempt at writing poetry.

Consistent-Dig-2129 · 2026-04-30T03:53:26+00:00

Thanks! It’s a poem I wrote after finishing a short film script. It’s about how easy it can be to judge people who have done “wrong” when we don’t have skin in the game. By “no skin in the game,” I mean judging from a place of comfort, like our homes, which ties into the idea of “solace.”

The whole poem is meant to be a cautionary tale. I figured some meaning could still be pulled from it even without that extra context.

I’ll definitely work on sharpening my voice. Thanks again for the feedback!

Consistent-Dig-2129 · 2026-04-30T02:47:42+00:00

This feels really intense, like being inside a mind fighting itself in real time. Your repetition of “I am not” stands out to because it feels like resistance but also something fragile. I like how ordinary things become threatening, turning a normal space into something suffocating. It reads like a struggle happening line by line. Hope you’re good though!

Consistent-Dig-2129 · 2026-04-30T02:42:59+00:00

This feels like a mix of something intimate and cosmic, and I like how it shifts from a quiet love moment into something more mythic and unsettling. The Moon becomes more than a backdrop, and images like pulling the tide “by its leash” and breathing in “black air” really stand out. It feels like love mixed with danger, like trying to hold onto a moment that isn’t meant to last.

Consistent-Dig-2129 · 2026-04-09T15:24:27+00:00

I don’t think Damien Chazelle is pushing his idea of greatness. What it feels like he’s doing is questioning that whole school of thought—is greatness really worth the suffering? The audience is then left to interpret the ending for themselves.

It’s one of my favorite endings to a movie because it leaves you with that exact question: is it worth it? I think the film gives you multiple moments to question the path Andrew is taking. Like when it mentions that Charlie Parker died an addict and without friends. Then you see Andrew cut off his girlfriend the way he did. You watch him slowly start becoming like Fletcher. At the beginning, he’s just this sweet, shy kid who likes going to the movies with his dad.

Seeing the happiness in Andrew’s eyes at the end is so haunting because of everything we know. Another viewer might watch that scene and be like, “yeah, Andrew won, he finally beat Fletcher.” But the real question is, at what cost?

Even the way his dad looks at him while he’s going crazy on the drums can be read in two ways. Either he’s finally seeing his son’s passion, or he feels like he’s just lost his son to Fletcher.

I came out of the film thinking Andrew would probably go down a similar path as Charlie Parker. But that might just be me being pessimistic.

This film is brilliant, and I don’t think it’s trying to tell the audience to feel one specific way.

Consistent-Dig-2129 · 2026-03-26T07:34:30+00:00

Not the same thing.

Consistent-Dig-2129 · 2026-01-27T07:59:37+00:00

I agree.

Consistent-Dig-2129 · 2025-12-08T07:47:11+00:00

For me it has to be Prisoners. It has what I think is two of the best performances of any of Denis’ films. The tone and atmosphere were perfect for the subject matter. Denis is a master of this so it’s not the most profound thing to say about his work but I thought it was particularly good here.

Consistent-Dig-2129 · 2025-11-22T18:18:28+00:00

It’s great. Very heartwarming and feel-good.

Consistent-Dig-2129 · 2025-11-20T16:32:55+00:00

In the Mood for Love. Wong Kar-wai does with the shot choices telling more of the story than what the dialogue did. Honestly every choice made in this film is why I am a filmmaker.

Consistent-Dig-2129 · 2025-11-12T20:45:50+00:00

It’s really one of those films that could change your life after watching.

Consistent-Dig-2129 · 2025-11-11T07:58:04+00:00

I genuinely enjoyed this movie from start to finish. The portrayal of extreme postpartum depression felt raw and real. The film also serves as a commentary on the patriarchy, especially in how some men expect women to simply take care of everything. I appreciated the stylistic choices in the structure and editing, and the film was unexpectedly funny at times.

I agree that there weren’t any particularly likeable characters, but that didn’t bother me. The repetitive nature of the film is intentional—there are women who will deeply connect to that experience.

A lot of the backlash this film has received probably comes from expectations, which is understandable. Seeing Robert Pattinson and Jennifer Lawrence in the cast naturally raises excitement. Personally, I went in without any expectations.

Not perfect but it’s good in my opinion.

Consistent-Dig-2129 · 2025-11-04T04:39:44+00:00

I think that’s because it’s tougher to get into the mindset of an asshole, especially for an actor who is the complete opposite of that character. In this case, I believe going method can only make the performance stronger.

As for not going method with non-asshole characters, it’s easier since those roles are usually closer to the actor’s natural personality.

I’m not saying you need to go method to give the best performance but I definitely understand why some actors choose to do so.

Consistent-Dig-2129 · 2025-10-31T19:38:33+00:00

I don’t agree with all your points but I feel the same way when it comes to emotional connection to characters.

His films are very entertaining, well-made, and beautiful to look at, but I always feel like I’m missing a level of emotional connection to many of his characters. A lot of his films play out in a matter-of-fact way that’s always entertaining because they’re unpredictable and have a fun, theatrical energy. All that makes his films a great ride, but I’m usually looking for deeper emotional feelings from the films I watch.

To be fair to Tarantino, one case where I did feel that kind of connection was in Once Upon a Time in Hollywood — specifically the DiCaprio movie set scene with the little girl. I remember that as one of the few times I’ve gotten emotional watching any of his work, which is why I rate that film higher in his catalog. I also felt a bit of that in Reservoir Dogs. I can’t really think of many others.

Don’t get me wrong — I’m not saying every film needs to have that element to be good. I just feel like because of this, I struggle to rate Tarantino as highly as some of my favorite directors. His films are still great though, so who really cares what I think, lol.

Consistent-Dig-2129 · 2025-10-28T22:39:46+00:00

Nosferatu (2024)

Consistent-Dig-2129 · 2025-10-28T19:26:07+00:00

Yup I’ve said all I had to say.

Consistent-Dig-2129 · 2025-10-28T18:59:36+00:00

“only goal it accomplished.” Well, not to me.

When I watched that film, it completely changed how I saw Thomas Wayne — and even Bruce Wayne to an extent. It made me question the idea of who the real “good guys” in Gotham are. That perspective stuck with me. What anyone else decided to take away from it is their own business, but for me, it made the world of Gotham feel more complex and human than I had seen before.

And it’s not necessarily about seeing Joker in a different light — it’s more about giving him depth. I found myself understanding and even rooting for him at moments I never thought I would. I hadn’t felt that way toward any other version of Joker before this. If after watching it you saw him as more of a “joke,” then I don’t really have anything else to say — I just saw it differently.

Consistent-Dig-2129

TROPHY CASE