It's cool because rewatching Mulholland Drive, it didn't get that much of a bump? But with Blue Velvet it's like the movie got +10 to all stats, it's impossible not to project everything to come onto it.

Which stings because I'd watched Phil Solomon's experimental GTA shorts earlier this week (which is why I wound up watching this too) and you can do such evocative stuff with even rudimentary video game tools and I'd love to see more filmmakers working in that space on a serious level.

PHYSINT will probably come out around the time he'll be hitting 70 and if that becomes a franchise? Who knows what's going to happen, especially with the game industry in the state that it is, but I wouldn't be surprised if he'll end up emulating Jim Cameron more than anyone else.

Anno's optimism vs Lynch's pessimism ends up coloring the whole reboot experience in very different ways. Similarly, I went off on Revolutionary Girl Utena parallels after finishing S3 myself, there is so much in common and it's really something how they can plant themselves in your brain like that.

Totally, Cooper literally Can Not Redo lol. Taking control of Laura's narrative becomes his undoing where Shinji can reshape his own world. In general there are so many parallels between both revivals and what Anno and Lynch wrestle with through their projects, but especially at the end point

Looking forward to see where it goes, not too deep into it yet obviously, but I'm having fun and the foundation is strong

This show was pretty sane for 10 whole episodes! Then this dude enters the writers' room and it immediately goes off the rails lol

I'm partway through Jetman and Fourze, started Kabuto and Build, still haven't technically finished Hibiki, I'm bad at tv

but you can easily read into the subtext everywhere, even in very broad populist comedies. On the more overt side, in the 80's you have Chytilová's Panelstory, which is basically manic "docu" PlayTime about the failure of public housing projects, or Olmer's Currency and Peace about the black market.

Plenty of that kind of stuff in the Czechoslovak New Wave in particular - Menzel's Larks on a String or Forman's Firemen's Ball are probably the easiest and most notable examples from the era. After '68, during the Normalization, filmmakers had to sneak more pointed critique under the radar,

Also this was funny, thank you Letterboxd

(I haven't played Ghost Babel myself, so I can't comment on it)