Malik reaches his breaking point as Marshal messes with his head and he realizes what exactly has been happening to him. However, the ending was well worth the wait. If I am being honest, it was a little too much at times and it was difficult to understand the weight of what was happening in the midst of the chaos. Aaron and Malik’s relationship is also strained as their neighbors mess with their heads.Īt this point in the film I was overwhelmed with the abundance of information being thrown at the audience. In the meantime, Aaron’s daughter Kayla gets to know their neighbor’s son and they develop a relationship. His stress becomes greater when he learns about the murders of another same-sex couple who lived there prior to them and as he interacts more with those around him. Every neighbor becomes a suspect to Malik and he grows uncomfortable with the cult-like activities that occur across the street in Marshal and Tiffany’s home. After someone breaks into their home and draws a homophobic slur on the wall, Malik begins to “spiral”. After they start settling into their new home, they meet their neighbor Tiffany who automatically assumes that Malik is Aaron’s gardener which sets the tone for the rest of the film’s events.ĭay by day, Malik grows more uncomfortable with their new town. Malik’s former boyfriend was a victim of a hate crime in the past and this incident takes a toll on Malik throughout the entire film. From the very beginning we get a glimpse of something sinister. In the film, Malik and Aaron move to a smaller town in order to live a quieter life and to start fresh with Aaron’s daughter, who is not happy about moving and the fact that her mom left. That being said, the fact that a couple of the main characters were gay was essential to the plot line. It was refreshing to see diverse characters that were integral to the story. Starting off, I enjoyed the LGBTQ+ representation in this movie. Spiral, directed by Kurtis David Harder and written by John Poliquin and Colin Minihan, is a wild ride through a tragic backstory, a “quaint” suburban town, and people with lots of secrets. This year’s Spiral Film and Philosophy conference wants to examine how cinema has been and may very well still be teetering on the threshold of that which is yet without a recognizable form - the unsayable, but also the untamed: what exists beyond regimes of traditional representation - and the reproduction of recognizable forms of life.A gay couple and their daughter move to a small town where everyone isn’t exactly who they seem to be. Life forms, far from being fixed, increasingly appear to be in flux, transitioning from one state to another, through genetic cloning and digital simulation. From this perspective, life itself seems currently suspended in the tension between what Georges Bataille once called the “formless” and the desire (if not the need) to give a sensible and intelligible form to our lives. Ongoing mutations in the ways in which we experience a world itself perpetually changing demand that we constantly come up with new forms of expression. The relentless recreation of the world has for long been the concern of artistic expression, from animation in the paleolithic age, to attempts by early cinema at decomposing life’s movement, to the most recent feats by ground breaking digital technologies redefining the realm of vision. It is no coincidence that the recent mutations reshaping both how movies are being made and experienced are taking place right at the moment when a geological age radically transformed by human activities for thousands of years is finally being granted its own name: the anthropocene. The engine for cinema’s genesis, it appears, is closely intertwined with the challenge of giving form to animated life. In 2013, National Geographic published a short video of a sprinting cheetah recorded with a Phantom camera filming at 1200 frames per second. Thousands of years later, Étienne-Jules Marey’s chronophotography attempted to capture animated life by decomposing its movement in discrete images. Recently, it was suggested that far from being naïve mistakes, these additional limbs were meant to represent life forms in movement. On the walls of the Chauvet cave in France, drawings of animals dating back to 30,000 years are represented with additional sets of legs. 4th Spiral Film and Philosophy Conference It’s Alive! Film / Form / Life
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