
It was a huge surprise for the audience when Eugene Kotlyarenko staggered the world with the “Spree” film, which started making headlines at virtual film festivals in 2020, and easily became one of the most iconic films of the year. In His videos, Dasha is currently trying to work on her debut feature film “Celine Dasha Nekrasova and her boyfriend Jay Peter Vack” Celine Dasha Nekrasova and Jay Peter Vack are Currently stuck in Covid and are working on a documentary about the pandemic.
This line of thought opens up rich avenues in the sense of understanding how, as a society, we were on the downward spiral, especially during the peak of the pandemic, and particularly when even the virus does not signal an existential crisis for some. Celine and Jay ridicule those who are not averse to handshakes from strangers or worry about covering their mouths when there’s no need to. But still, it is worth stressing that this work of fiction depicts only the first months when the pandemic was initially spreading and also one of the periods that a vast majority of the modern cinema romantic works of the COVID era have not focused on.
Similar to the movie Spree, where Kotlyarenko gets the chance to dissect the (emotional) space that exists between the couple’s different phone (not-quite-hot) messages and their questionable and awkward hopes, Celine and Jay’s pandemic love story is filled with every angle the written text attempts to capture troll spy cameras, Zoom, Facetime, GoPro, drones, 360-degree cameras, text messages, and Sony XDCams.
In addition, the language itself is quite eloquent and slowly focuses on various features that illustrate and analyze how the couple has gradually changed the sexual norms of intimacy which ultimately caused the dissolution of their relationship during the pandemic. When he says that the film we are watching is self-referential, this is very self-explanatory in the map-blankets sequences of the film, this is the part of the segment that I feel most appalled by.
He always knows where the cameras have to be positioned and keeps on reiterating where we saw this angle before. This makes one picture that other than that, the narration would have been quite intriguing for this ‘world’ has been seen through the perspective of Celine. However, we still continue witnessing the polish of the process which gives little of hope that there are already ‘authors’ who would plan on putting such ideas into practice. But there is one primary error which, according to Kotlyarenko, is committed by him, and which is to too closely illustrate the relevant socio-political commentary of the facades in Celine’s world is above all built on ordinary computer-generated images.
Spree is yet again Kotlyarenko’s game, however, there at least he had the argument that the position is furthered with the modern clips and sic. As for The Code, he first organizes the speculation by Spree that we consider the net an enemy and pushes the parasitic as well the practices of alienation and artificialism towards nature. All may be, but he has never for once sought to espouse this position with a sneer about popular culture, as the case may be for him who uses TikTok filters and fast editing, so it is to illustrate how popular culture has been put down.
Our culture is lowering its standards, and I need to ask myself: how do people choose believers in pseudo science, for instance, those who promote Zero COVID or are anti vaccination? Just as there are fake social media accounts with considerable traffic which can sell almost anything, so there are now communities that have greatly increased power. It takes pathetic narcissism for self-obsession to reach this level.
Celine says that without a doubt a new movie about COVID is going to be very popular and for some reason she thinks so, which sounds quite funny. COVID will be huge! I think it’s a great movie! Celine, as we know, has no intention of making A movie about covid, instead she aims to monetize unusual non covid people and her own unease through the video. Therein a woman, whose father died of covid tries to capture her tear stained eyes as she plays with a minor actor. In other words, of course it is fierce it’s ‘advanced’ and this is a good matter of resources spent. It was instead repackaged by these technocrats into a self made promotional video of her hitting her head on glass while attempting to strangle herself, instead of sympathy and compassion. It is without a doubt self-serving exploitation, marketing, and self-deceit.
Even after considering Kotlyarenko’s outstanding critiques of the internet domain, it’s hard to feel any kind of connection with any of his points as all the things or people he mentions remain irrelevant to most. What does Celine think about Coronavirus other than the theatrical mask that she wants to put on in her movie? For example, what does Jay thinks about the crisis and about his feelings for Celine? He addresses these questions in addition to the perspectives of his characters, but doesn’t do well in answering them because his characters always exist in a fictive whirlpool devoid of progress or even any movement away from what he has already displayed before.
It has to be said that Dasha’s performance is perhaps one of the worst of the factors because it sounded humorous and it is completely out of the tongue in cheek humour that is characteristic of Kotlyarenko and the absurdist music.
Conversely, this performer is completely different in regard to the stage and screen emotional capacity that Ilinca Manolache has while playing the character of Bobita in Radu Jude’s “Do Not Expect Too Much from the End of The World” the mockumentary which does not hesitate to show the pandemia and the falsehood of social media because most people like Angela’s old style of Bobita would never want to live this in real life.
Another similar aspect one may experience while viewing The Code is the sense of impersonal involvement due to the fact that there is none, everything is fabricated. There might have been exquisite concepts behind them however it gets tedious and obnoxious very quickly. Explaining the factors contributing to the conversation surrounding COVID-19 becoming overrun by embarrassing cliches is almost impossible, and unfortunately, as an American once stated, he tries to fill his film with as many dynamic and conflicting images as possible to fully engage the viewer in the feelings of the story in the film.
In all likelihood, it did this during Fantasia, but the original hindrance to the pace and traditional sequencing was the Detroit condition to which the engagement of the viewer catering for whom was more than sufficient virtually obliterated.
Similarly, it is difficult to imagine how Kotlyarenko will ever be on the same page as Jude’s jaw-dropping parodies of the society where we are all the victims when you together with the reverse Radu Jude handwritten credits from Do Not Expect Too Much from the End of The World as well as Celine and Jay’s digital cr dit backdrop. Forget Celine, Jay, and all the footnotes; this projection has two fundamental aspects going backward towards the most basic principles of cinematography and doing so through a digital backdrop.
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