Soul Mates

"I don’t know how you are so familiar to me—or why it feels less like I am getting to know you and more as though I am remembering who you are. How every smile, every whisper brings me closer to the impossible conclusion that I have known you before, I have loved you before—in another time, a different place, some other existence.” - 

Lang Leav

Victor Sparre - The Blue City

One day we will embrace under the stars. 

Fingías

I still remember listening to this song in a car with you......you said the lyrics were sad.

slow fade into a dream

Here is a very simple, small playlist full of wistfulness and yearning. 

REVIEW: "I Belong in Your Arms" by Charlift

There's a whole lotta different love songs out there, cataloging the different stages of love and the feelings that accompany them.

"I Belong in Your Arms" by Charlift definitely encapsulates those early stages when you realize (or maybe not) that you're falling in love.

It's buoyant, floating in midair, with moments of brightness, but it's also a little out of control. That frenetic energy mirrors perfectly that feeling of helplessly falling for someone. 

The random lyrics and imagery invoke that feeling of being so infatuated, that your brain malfunctions, that you become tonguetied, because you're too dazzled. The only thing you can think, say, and want concretely is, "I belong in your arms."

I used to write about music when I was younger - like around 10 years ago. Something about those teenage years makes you do that I guess.

And then in my early 20s, I was posting legit sad girl music with fucking SOUNDCLOUD links, like, what the hell past me? Did you not have Spotify?

Well, I have Spotify now. And I think I want to start writing about music again because I don't know.

I have been numb for a long time. And I'm starting to feel again.

REVIEW: Hereditary (2018)

 Wrote this in 2018 lol

Hereditary is a masterfully crated, yet deeply unsettling directorial debut from Ari Aster.

The film presents itself as a taught, psychological family drama in the beginning – we open to the funeral of a family’s matriarch. Yet, the family does not mourn their grandmother, nor do they celebrate her life. Her daughter delivers a brief, cold, and distant eulogy and that is the most grief anyone in the family shows. There are no tears. Her granddaughter nonchalantly munches on a candy bar at the funeral. The grandson when asked by his father if he misses his grandmother, smiles smugly. The family expresses their grandmother’s death with as much emotion as a person would if they had suddenly realized they left their keys at home or if they had to take another route home from work due to traffic.

It becomes apparent that the grandmother’s death is but a minor inconvenience. It also becomes apparent that something isn’t quite right with the family, yet no major reasons can be pinpointed. There is a sense of uneasiness elicited in the viewer and that feeling only grows throughout the film.

Two prominent psychological themes are woven throughout the film. The first being the deterioration of the familial structure due to the inability to cope with loss and grief. The second being the deterioration of one’s self due to mental illness. Both themes are brilliantly played off each other, creating a feeling of suffocation and dread as you watch the characters completely collapse in on themselves.

Yet there is a darker undercurrent to the film. It plays with our fear of the unknown. With our fear of the shadows and specters and figures which may lay within them. With the Eldritch horrors awaiting us in the night.

This film was amazing. But it was completely unenjoyable to watch. It was too real, too visceral, and completely oppressive in the atmosphere. I can’t recommend this film to anyone unless you want to take a long, hard look into the void and if you decide to do so, the void will look back.