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MoLoYM Mask of Love on Yukio Mishima by Malga Kubiak The Ego Trip Label 2009 on Vimeo by The Ego Trip Label




MoLoYM Mask of Love on Yukio Mishima by Malga Kubiak The Ego Trip Label 2009 on Vimeo by The Ego Trip Label





MoLoYM Mask of Love on Yukio Mishima by Malga Kubiak The Ego Trip Label 2009
Mask of Love on Yukio Mishima a Malga Kubiak Kabuki trash total ego trip prod 2009 regi and script malga kubiak
episode 1,2,3,4
Cast: michal piotrowski, erik antalet, lo kivikas, nina nina, and others ewa nienartowicz, veronika borowiecka, krystyna fradczyk, jair rohm parker wells, katarzyna stachniuk, viveka thalin, camera mieszko tyszkiewicz, mats lundell, marek borowiecki, malga kubiak


On November 25, 1970, Yukio Mishima committed seppuku (ritual suicide) - forty-five years old at the peak of his life. His novels are compressed visions that superimpose the image of cosmic nihilism, a theatrical fantasy conceived by a poet.

Den 25 November 1970 begick Yiokio Mishima rituellt sjalvmord. Da var han pa hojden av sin litterara karriar. Hans noveller ar fortatade metaforer av kosmisk nihilism.Teatral fantasi skapad av en Poet.

Malgorzata Kubiak is one of the most honest and direct artists that have emerged in Europe in the later part of the 20th century. Her films, texts and pictures unveils a blueprint of human conditions: love, lust, despair and horror.
CM von Hausswolff, 2004

”Malga Kubiak har definitivt en outsiderposition i den svenska konstvarlden. Det ar ytterst sallan man ser hennes namn namedroppas pa kultursidorna. Ar Malga mahanda en hembygdskonstnar av ringa betydelse for den rikstackande kulturdebatten? Nej, Malga ar snarare en personifiering av den morkaste undergroundkulturen. Sex, ett valdsamt utspel, brutal elektroakustisk musik och fragmentariska bildmontage och en stark koppling till den amerikanska postpunkkulturen karaktariserar hennes filmskapande.” Fredrik Gustavsson

REVIEW OF MASK OF LOVE ON YUKIO MISHIMA
english, swedish polish

Mask of Love on Yukio Mishima by Malga Kubiak/review
Malga, the Neo Neo Beat Dame comes back with a new picture, Mask of Love on Yukio Mishima. She is closer to death than ever, digging Mishima, going as deep as you can go into the words. It's not simply an adaptation, it seems more like text is being used to render the reality, to get rid of the fiction- not only from Mishima's writings and life but also Malga's world. Japanese imagery is a cocoon for semi- documentary, dark fairy-tale-like voyeuristic shots and all that in raw trash punk aesthetics. She makes Mishima's fantasies as true as her intimate confessions on love and suicide. Despite the title there is not much love, and if there is- it's all contaminated with death.
Shooting Japanese movie in Sweden with mostly Polish and Swedish cast is as hard as it sounds, but Malga has her own ways. Her method of working with actors is somewhere between Warhol's and Brecht's. She wants them to become played persona, but they end up quoting themselves by playing characters. She is in control, but makes actors reveals their personalities. She combines actual movie with the making-of footage which lets us see actors off- duty and reacting personally on on-screen situations. They mostly read their lines instead of just memorizing, they improvise, and they are all different. Nina Nina is a star, narrating actions of her character instead of just acting. Lo Kivikas is fearless, she is rage and there's nothing she wouldn't do. Detached and mysterious Erik Antalet came to the set from Mishima's dream and Michal Piotrowski as Honda & Mangiko became as planed alter ego and mask on Yukio Mishima.
The art of Malga is not film making, it's creating the reality and documenting it, in all possible ways.
AUTO MATT
NOVEMBER 10th 2009

Mask of LOVE on Yukio Mishima by Malga Kubiak – a review.
Malga, en Neo Neo Beat Dam har en ny film ute: Mask of Love on Yukio Mishima. I den narmar hon sig doden mer an nagonsin. Djupt ner graver hon in sig i Mishima och hans ord. Det galler inte en enkel tolkning, det verkar mer som om texten anvands for att fanga verkligten. For att bli av med fiktionen overhuvudtaget, inte bara i Mishimas texter men ocksa i Malgas varld. Hon har ocksa anvant sig av det japanska bildspraket som en kokong for de halvdokumentara, morka, sagolika och voyeuristiska tagningarna. Allt det har plus en ra trashpunkig estetik helt typisk och trots det helt ny for en Malgafilm. I hennes film/varld ar Mishimas fantasier sanna likt hennes egna intima bekannelser om sjalvmord och karlek.Trots titeln finns det inte mycket karlek i filmen, och om den finns alls, har doden redan hunnit ikapp och forgiftat den. Att filma en japansk film i Sverige med mest svenska och polska skadespelare ar lika svart som det later. Men Malga har sitt eget satt att arbeta pa. Hennes metod ligger nagonstans mellan Warhol och Brecht. Hon vill att skadespelarna ska bli de spelade gestalterna, men till slut citerar de sig sjalva i sitt skadespel. Trots att hon har kontroll later hon skadespelarna att visa sina egna personligheter. Filmen ar en blandning av den egentliga filmen med dokumentara scener av arbetet med inspelningen da man far se skadisarna bakom kulisse











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The AWRE (Atomic Weapons Research Establishment) police tower on Orford Ness. This is on the seaward side of the Ness, and presumably the police would watch for people trying to land on the Ness from the sea.

Zero Image 6x9 MF loaded with Fuji Reala 100.









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