Category Archives: Powerful Film-making


I’m in a dream. I did not  know when it began…or whose dream it was. I know only that I slept for a long time and one day I woke. Your voice is the first thing  I remember and now I finally understand what you were trying to tell me, the thing you wanted since that very first day…

———-Brilliant subtle-suthern accent.


The center of the maze.

Fragment: Dolores shaving her antagonist, fighting not to damage him.

So, putting things in perspective. There are more than one time lines. I confess I needed a little help to get around such fine detail.

The maze is not meant for humans. But what if it’s the other way around? The hosts exhibit a weird naiveté. They also damage each other, at the same time they are the target. The release and medium for visitors to take it out on them, in some very cruel ways.

Remember. ———Remember what?

There is definitely a lot going on. This kind of story requires more than one watch.

I find it amazing the relationship between Dolores and Bernard. The center of the maze, a kids game. a mind game. Are the hosts being driven mad? Most definitely it’s the owners of the park doing all the cunning, because we can’t forget that they’re actually below the ground controlling everything.—–Maeve’s psychosis seeing the hazmat-suit workers is very unsettling.

Is it a psychological test to the main attraction? a women for all to enjoy? and/or exploring some dark aspect in themselves. They debate their humanity while they make everything in their power to make them as human as possible.

Other aspects: The revelries. The three levels.

The theory of consciousness. ——I thought that it was a pyramid you needed to climb, so I gave you my voice to guide you along the way. Memory, Improvisation. Each step harder to reach than the last…and you never got there.——

Let’s mention this. This deserves its rightful spot at the podium of great design. Mesmerizing!

What do we know about an extremely dense story. Many loose ends, if you can call them that, perhaps tons of interesting details is better-. Every character is it’s own world and I want to know what happens to each and every one of them starting by Dolores.-What a brilliant actress amongst so many other brilliant ones.

That scene where Dolores faces the child at the fountain. It reveals the dilemma of her storyline. Is she dreaming, What is real, what isn’t. What she’s deciphering about herself although there’s programming that scrambles her understanding about her life. And it all begins with that picture that the father sees.
If the theory is right and there are definitely multiple timelines. Then how many time has Dolores gone through the same realization. That piece where she sees herself among the crowd tells a story, in those few seconds. The constant reminder that she’s in between present and past memories. That powerful interpretation of a lover that’s in front of her and she doesn’t know if it’s truly real. the despair in her face is the work of a great artist. —I live for stories like this.
Ford’s partner seeding himself into the consciousness of the park. But, is he altering the hosts consciousness from afar -If that’s a thing. What truly happened to this character is truly a mystery. Him as the designer of the first prototypes. the child and the reason that cause him to harm the dog, and of course Ford’s response.

Elsie. What happened to her? and Stubbs? What does he know for sure? did he notice the major change in Bernard?

Maeve: She almost got out of the park. But she decided to stay …apparently because of the daughter but she’s conscious of the bond being part of her programming. That’s on the emotional side of a creature that has been designed to convey human feeling but that’s not really human. Is that the mystery? or are they in a haze…are the owners really the oppresors or are they just mad…dealing with each other’s worlds? The revelries startled them all up.
The major cliffhanger for me is Maeve’s certainty of becoming independent and being able to awaken herself up and enhance all her features.- At the end we see that possibility dead in the midst of a new puppetmaster behind the scenes. –Wonder who that is.
She comes back and we know she still has two-host friends on board. Felix Lutz,  what’s the story behind him?

Ford: Brilliant Antagonist. If he’s really dead- and I mean. very dead. How do you top that quite inquisitive and very dark character. Is he doing everything to stop his destitution? So…Did Dolores acted on her own or was this his way of exiting himself out of the park, a kind of suicide?—Is this being tired of life and of his “dear” creation.– How bad is he really? He got rid Theresa Cullen. Is this how Ford gets rid of his betrayers? Besides that, there’s a string of supporting characters that are equally interesting is just that they haven’t spoken much…yet.

Clementine mistreated by a host that has been designed especially for this kind of trials. Finding out that the host indeed has learned to defend, that the memory wipe isn’t working anymore, and that an spontaneous tear comes up. And most of all the vicious payback she gives to her attacker. That’s some impressive scene and plot.
They discuss how troublesome this program has become but, aren’t the hosts trying to escape or gain their independence?…and also the learned tactics. The stored traumas. She’s going against her programming and it’s pretty clear that Maeve is being reprogrammed unbeknownst to herself.—What is going on? Will they destroy the park or keep it to themselves?

It’s extremely interesting how the hosts feel threatened (with good reason) just as much as the owners of the park. However artificial these hosts might be. Isn’t it a good metaphor for humans as well?——-That they’re for the taken. for release, for twistedness of the ones paying good money to enjoy the experience. Of course not all the visitors are inclined to the dark but here’s where the essence lies.

Bernard finds the truth about himself and he cannot cope. He cannot see what his mind cannot process. Isn’t it a very human quality?-…Denial. But the brilliant part is that his memories, everything are a design feature to make them more human-like, while he lives the conundrum of figuring out his own artificial-ness(?)—quite a dilemma.—I empathize.

Another major scene is black hat’s friend. He grabs dolores, opens her shirt by force, opens her insides and says.: see…she’s not even real, while we see Dolores’ pain .—-that’s quite dark for someone that’s looking to just have fun.- and Impressive acting. It grabed me by the heart.

It’s explained that the pain however deep makes them real. I can’t not tell you how brilliant this is. I know this is a repetitive word by now. But for me it’s not merely entertainment is food for thought and a magnificent story to be entranced by. It has it’s own slot, it’s uniqueness and it’s necessary to watch it more than once. -That much is true.

Psychological thriller at it’s best. —Do you agree?

And what about the Soundtrack! Oh my goodness.


Exit music (Instrumental) in Westworld. ——-(Falls flat on its ass)


“Violent delights have violent ends”


The Necessary Death of Charlie Countryman


This movie is definitely enchanting. It puts to test the perception we have on certain artists such as Evan Rachel Wood, the producer, the script-vetter. Even the director.

It’s clear that not many want to take that kind of credit, it’s understandable. But we as cinephiles, love to see someone talented deliver art. Which is at then end, for a great cause, ease the confusion and entertain us with powerful feeling. —What is life without art?

First View: That feeling of Charlie Countryman running in utter joy, stricken by fantasy…or perhaps those kind of feelings that are too good to be true with a significant portion of innocence or just the need to shed the grief. Can’t get the exact word.

What do you see in those eyes? in that look?

Second View:  Evan Rachel’s character. Confronted by love, by the unbelievable. Saying the most powerful words. “get out of my life, I don’t want you, I don’t deserve you” a multitude of things when her counterpart in film is absolutely beaten and quite frankly half dead and half alive.

Third View: The ghost of Charlie’s Mother. Telling the darkest joke. Sending him off to fall in love and to fucking die. —-Is that it? —-“Classic me”—-“…Classic you”. The confusion of loving and feeling the betrayal. —Is that really it?

Fourth View: Evan Rachel’s character facing her abuser partner whilst strung along by this tormented guy looking for something more. That type of intensity most often signals a collision. —Very interesting exchange…to say the least.

Just take a moment to watch this excerpt. Let’s recognize the timing of Evan Rachel’s reactions. Everything from reacting to Charlie delivering the deadly punch when facing a one-dimensional bully-(which always makes up for a good antagonist) head on.

The trapped words. There’s no need for words. What goes on in the mind of an actor to convey what is beyond words. —-Believe me, I watch and I learn.

The preparation to play that instrument. —What else is there to say?

A multitude of piercing looks filled up with all kinds of feelings.

A great piece…and there’s so much more to say about it. We’re all inspired by you.




Let’s start off by this quote. I agree 100%.

We all know that movies are for inspiring and seeding people’s minds. But to understand is the point. I always seek to understand and when I see a story like this I’m moved to the bones. No matter how fictional it might be it still talks about a deep pain. Of a mother losing her child. —-Who can’t empathize with this kind of pain?

There are multiples scenes in which I’m interested in. Wilde’s character wandering around Time Square. Lost. Terrified. Not knowing. -That’s tough to say the least.

Second view. Getting out of the car and completely breaking down in the middle of the road because of that same pain. That lingering fatigue, until it becomes a cry. That type of feeling is a heart-stopper in the deepest way.

Third view. Wilde’s character teaching her students, depressed. Fed up. Having to take care of children when her boy is lost. -Definitely a repetitive-sordid image in this world.

Powerful film-making – Awesome name for a category.

Fourth View : Wilson’s character. The image of a grieving father that can’t no longer connect. This type of feelings coming from a male point of view are so much harder to pinpoint. But those with empathy understand, so …”las palabras están de más”

Fifth View: A woman suffering. Seeking comfort in strangers. Trying to express through sex, that other pain plus what she can’t let out somehow. How does one person judge this kind of events? Feelings are irrational, they are there, and that’s it. Is it …that it’s easier to be real with strangers that with your closed ones?

—-Many questions can be asked.

Sixth View: What happened to the child? what about his suffering?

Seventh View: Giovanni Ribisi’s Character. What is pain for him?

All of this people are suffering the unimaginable.

I’m moved by the fact that artists such as actors can deliver this kind of feeling and still be able to go on with their lives. It’s a good idea to “seek to understand rather than judge”. This type of movies might be what people call a “one time watch”…perhaps because we don’t want to be forever lingering in this images, but they still speak the truth. Of an artist. Olivia Wilde and her castmates. A production staff, the vision of a director. And a hard truth about life. Kids are stolen. Forever lost.

Are you one of them?

Consider watching this work. Meadowland – Director : Reed Morano. Produced by Olivia Wilde -k.