You don’t believe me do you?

A young woman is followed by an unknown supernatural force after a sexual encounter.

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It Follows (2014)

Michigan college student Jaime “Jay” Height sees a film with her new boyfriend, Hugh. In the theater, Hugh points out a girl whom Jay says she cannot see. Afraid, he asks that they leave. On another date, Hugh and Jay have sex in his car and he incapacitates her with chloroform. She wakes up tied to a wheelchair. Hugh explains that she will be pursued by an entity that only she can see, which can take the appearance of any person. Although it only moves at a walking pace, it will always know where she is and will be constantly approaching, and if it catches Jay, it will kill her and pursue the previous person to have passed it on: Hugh. After they see a naked woman walking toward them, Hugh drives Jay home and flees.

The next day, the police cannot find the woman or Hugh, who was living under a false identity. At school, Jay sees an old woman in a hospital gown walking towards her, invisible to others. Jay’s younger sister Kelly and her friends Paul and Yara agree to help and spend the night in the same house. Paul investigates a smashed kitchen window but sees no one; Jay sees a bloodied half-naked woman walking toward her. Jay runs upstairs to the others, who cannot see the entity. When a tall man with gouged-out eyes enters the bedroom, Jay flees the house.

With the help of their neighbor, Greg, the group discovers Hugh’s real name, Jeff Redmond, and trace him to his address. Jeff explains that the entity began pursuing him after a one-night stand, and that Jay can pass it to someone else in the same way. The group drives to Greg’s lake house, where Jay learns to fire a gun. The entity, taking multiple guises, attacks Jay on the lakefront. She shoots it but it recovers. Jay flees in Greg’s car but crashes into a cornfield, and wakes up in a hospital with a broken arm.

Greg sleeps with Jay, as he does not believe the entity exists. Days later, Jay sees the entity in the form of Greg. It then smashes the window to his house and enters. She tries to warn the real Greg on the telephone but he does not answer. She runs into the house and finds the entity in the form of Greg’s half-naked mother knocking on his door; it jumps on Greg and kills him. Jay flees by car and spends the night outdoors. On a beach, Jay sees three young men on a boat. She undresses and walks into the water. Back home, Jay refuses Paul’s offer of sex.

The group plans to kill the entity by luring it into a university swimming pool and plunging electrical devices into the water. Jay, waiting in the pool, spots the entity and realizes it has taken the appearance of her father as it throws the devices at her. Firing at an invisible target, Paul accidentally wounds Yara, but shoots the entity in the head, causing it to fall into the pool. As it pulls Jay’s foot underwater, Paul shoots it again and Jay escapes. Paul asks Jay if the entity is dead. Jay approaches the pool, which slowly fills with blood.

Jay and Paul have sex. Afterwards, Paul drives past prostitutes in a seedy part of town. Later, Jay and Paul walk down the street holding hands while someone walks behind them.

” Alright, Alright, Alright “

Linklater’s 1993 teen biopic Dazed & Confused flits plotlessly across a plethora of teenagers on the last day of school.

Dazed-and-Confused

In a similar vein to his first feature Slacker, Linklater’s 1993 teenage biopic Dazed & Confused flits plotlessly across a plethora of teenagers on the last day of school, watching their behaviour and listening to their conversations. Carelessly drifting through one afternoon and night; the film has an aimlessness about itself that is echoed in the behaviour of its teenage protagonists. A bushy-haired Ben Affleck stars as an obnoxious bully, and Matthew McConaughey features as a slimy southerner, but the real star here is Wiley Wiggins, playing a freshman who – after the standard paddling initiation procedure – is taken under the wings of the graduates, looking up to them with bright and hopeful eyes throughout.

A sincere snapshot of young life in seventies America, Dazed & Confused is both refreshing and liberating in its refusal to simply exploit teenagers as props for cringe-worthy sex-disasters like many other films about adolescents so often do. The film portrays an accurately wide variety of teen personalities – some dumb, some intelligent, some angry, some laidback – but has time for them all. Declining to poke fun at puberty, yet refusing to become bogged down in nostalgia either, Dazed & Confused simply exists as an intimate observation of a memorable mark on the timeline of a teen – the end of the academic year.

For some it’s the last day of high school forever, for others it is just beginning. But Linklater’s film doesn’t yearn for or regret these years, it simply relives them as they were; days of existing between childhood and adulthood; unsure of the future, unsure of themselves, unsure of how to behave – simply dazed and confused.

It’s the last day of school at a high school in a small town in Texas in 1976. The upperclassmen are hazing the incoming freshmen, and everyone is trying to get stoned, drunk, or laid, even the football players that signed a pledge not to

 

 

 

Every action is a positive action, even if it has a negative result.

A brief yet,vivid take on Richard Linklater’s movie, Slacker (1991). Slacker’s exclusive quality is its refusal to commit to character-building rules.

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The rumblings amongst the independent film scene during 1991 caused by one of Linklater’s first cinematic efforts named Slacker can be seen in hindsight as a significant sign of things to come. The unorthodox style and attitude of Slacker immediately turned heads in the underground filmmaking community upon its release, and can be seen as the benchmark film to which the form of many of Linklater’s follow-up efforts can be traced. The swirl of intrigue caused by Slacker stemmed from the way in which Linklater directed, wrote and starred in a film that appeared to break textbook rules; defying Film 101 in its refusal to remain with a certain set of characters; instead casually ambling on to take in different people in different places.

Slacker’s exclusive quality is its refusal to commit to character-building rules; not neglecting any of the cast, but simply observing them for a certain amount of time before shifting elsewhere. A whole host of colourful characters are watched, including an anarchist, a conspiracy theorist, a taxi passenger (Linklater himself) and a hippy; all discussing a variety of subjects such as social issues, politics, and life itself. Linklater took the casual, meandering, eavesdropping style of Slacker and incorporated it into the likes of Dazed & Confused and Waking Life later in his career, and its elongated dialogue came to be recognised as his own personal cinematic stamp.

Indeed, whilst Slacker stands alone as a curiously compelling filmic experiment; for those looking into Linklater as a filmmaker it is essential viewing. Not only does it establish the director’s filmic roots, but it is also demonstrative of his skill and style even in his relative inexperience. The film has gone on to influence the likes of other filmmakers (Kevin Smith has often made reference to its inspiration), and can be considered a valuable nugget of independent filmmaking.