The exhibition also makes you dance, thanks to the creator’s musical obsessions, which are put on display on two films: Hairspray (1988), in which Debbie Harry from Blondie appears, and Cry-Baby (1990), where the filmmaker gave a television star named Johnny Depp one of his first leading roles. We make them feel smart even when they are not, and get them to laugh, and then we can get them to listen,” Waters said last Thursday in a conversation with the curators. This exhibition proves that there is “a sense of humor that knows that we never make our enemies feel stupid. Its trailer - also part of the exhibition - did not include a single scene only comments from viewers who had just seen it, such as: “The most disgusting thing I’ve ever seen in my whole life,” “Marvelous,” “Better than Cries and Whispers. Thanks to the high demand of the thrill-seeking public, that movie was shown for a year. This stunt caused many to flock to the Elgin - the only theater showing it in New York at midnight - looking to put their stomachs to the test. With the premiere of Pink Flamingos, Waters asked that paper bags be distributed among the audience, in case someone had to vomit. ![]() This introduction is a nod from the curators, Jenny He and Dara Jaffe, to the early days of his career, which started in 1964 with his first steps as a great provocateur, showing his early short films in a local Episcopal church.īefore the streaming explosion, Hollywood was obsessed with those creators whose vision was powerful enough to bring audiences to movie theaters, and Pope of Trash shows that any trick goes. This mural includes Cinderella, the first film Waters saw in the cinema and which had a great influence on him. ![]() On the black walls of the gallery, a series of stained-glass windows show images of the muses that have inspired the filmmaker’s work, characters who seek fame even if it comes in the newspaper’s crime section. Charles White (Charles White, JWPictures/©Acad)Ī room that recreates a church serves as an entrance to the world of Waters, born in Baltimore in 1946. The costumes from ‘A Dirty Shame,’ John Waters’ most recent film, are part of the exhibition. ![]() Now it is the turn of the director (and sometimes writer) that has outraged people in the thousands. The museum opened almost two years ago with a major exhibition of Hayao Miyazaki, the Japanese animation genius, which was followed by one about the film noir made between 18. The exhibition opened last Sunday and will continue until August 4, 2024, the latest bet of an institution that is still seeking to make a name for itself within the local cultural ecosystem. The galleries of the Academy Museum of Motion Pictures, in Los Angeles, filled with laughter shortly after Pope of Trash officially opened its doors to the public. This week, at the opening of the largest retrospective of his work, Waters greeted the press with the words: “Welcome to the trashcan of my memories.” This first script for a cult film is a perfect reflection of its author, John Waters, one of cinema’s greatest provocateurs, a sharp dressed gentleman with a neatly trimmed mustache. The handwritten letters are perfectly laid between the lines of the notebook, respecting the margins and with hardly any crossings-out. The story of drag queen Divine (Harris Glen Milstead), who claims to be the most unpleasant person in the world, is told in blue ink with impeccable calligraphy. All hail the single fiercest, most meritorious, best look in the herstory of Drag Race.Pink Flamingos, one of the most tasteless films in American cinema, was born in a clean, neat notebook. Violet Chachki goes down in the queer gospels with this one, and her assumption into fashion heaven is all but guaranteed. Season eight was an exceptional one in terms of runway presence - catwalk titans Naomi Smalls and Kim Chi stood just feet away from Violet, awaiting their fates - but there’s no disputing this being the moment of the season. Probably the fiercest touch of this whole ensemble is the makeup job on Violet’s head: The crown appears to be literally fused to her flesh and bone, because even though she’s here to honor the succession to the throne, you will literally never take the crown from her. We’ve been wading in hyperbole this whole time, but the gown is literally fit for a queen, and we’re not joking, bitch. The moment Violet unhooded herself, everyone understood it to be a miraculous event. ![]() Bye! Thanks for coming! Everyone can go home now! Never on RuPaul’s Drag Race has there been a look that stunned and amazed quite like this one on sheer presentation alone.
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