{film} – Page 6 – { feuilleton }

Weekend links 809

Atlantis by Sarah Hubacher.

• Regular readers will know Leigh Wright from his Wyrd Daze creations which I’ve linked here many times in the past. (The same goes for his frequent Mixcloud compilations.) Leigh’s wife died recently which means he now has to return to the UK from Canada where he doesn’t have permanent resident status. His request for help is here.

• Melinda Gebbie’s Greatest Fits: “Ranging from painting, illustration, Comix, portraiture, eroticism and so much more, this fully illustrated and beautifully presented book is a glimpse into the unique mind of a woman forged in the fire of counterculture.”

• At The Daily Heller: Adrian Wilson’s collection of elaborate vintage fabric stamps is explored in a two-part feature here and here.

• Mixes of the week: DreamScenes – December 2025 at Ambientblog, and ASIP – Reflection on 2025 at A Strangely Isolated Place.

• Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2025. Thanks again for the link here!

• At Colossal: “Field Kallop meditates on universal patterns through bold chromatic compositions.”

• “Scientists discover massive underwater ruins that may be a lost city of legend.”

• New music: The King In Yellow by Blarke Bayer.

• RIP Rob Reiner.

• Atlantis (1955) by Les Baxter | The Atlantis Healing Harp (1982) by Upper Astral | A Man For Atlantis (2000) by Broadcast

Weekend links 808

Comets from Meyers Konversationslexikon (1885–90).

• At The Daily Heller: Steven Heller reviews A Life in Ink, a new monograph about the art of Ralph Steadman. Heller is full of praise for Steadman, and discusses commissioning his work for The New York Times. But in his bewilderment at Steadman’s lack of a knighthood he seems unaware of the degree to which state honours are frequently refused by Britons, especially those who position themselves in opposition to the established order. Americans are obsessed with awards and “halls of fame”, and appear to regard Britain’s state honours as something like the Oscars with a royal seal, rather than what JG Ballard once described as “a Ruritanian charade that helps to prop up the top-heavy monarchy.” If Steadman has deliberately shunned the honours list he’d be joining a venerable company.

• “In mid-19th century Italy, two eccentric aristocrats set forth on parallel projects: constructing ostentatious castles in a Moorish Revival style. Iván Moure Pazos tours the psychedelic chambers of Rochetta Mattei, optimised for electrohomeopathic healing, and Castello di Sammezzano, an immersive, orientalist fever dream.”

• New music: Ithaqua by Cryo Chamber Collaboration is this year’s installment in the Lovecraft-themed album series (previously) from Cryo Chamber. Also this week: Analog 2025 by Various Artists; and Flux (music for a performance by still still / Marta & Kim) by Rutger Zuydervelt and Lucija Gregov.

For all their bravura and maximalism, Powell and Pressburger understood the power of leaving things out, building into their films chasms that the mind must leap, gaps that the imagination must fill. Like Joan Webster, we discover that we don’t want things to be made too easy. We want to catch our own fish rather than have them delivered, to swim in the ocean rather than in a pool.

Imogen Sara Smith on I Know Where I’m Going, one of the films from Michael Powell and Emeric Pressburger’s golden decade, the 1940s

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: In the Days of the Comet by HG Wells.

• At the BFI: David Parkinson selects 10 great Sherlock Holmes films and TV adaptations.

• Winning entries for the Capture The Atlas Northern Lights Photographer of the Year.

• Books and original drawings by Austin Osman Spare on sale at Gerrish Fine Art.

• At Unquiet Things: The art of Chie Yoshii.

• Kohoutek-Kometenmelodie (1973) by Kraftwerk | Cometary Wailing (1981) by Bernard Xolotl | Kometenmelodie Part 1 (1994) by 300,000 VK

Weekend links 807

Poster art by Nicholas Kouninos for Procol Harum / Pink Floyd / HP Lovecraft at the Fillmore, San Francisco, 1967.

• Take a break from so-called reality with Gruesome Shrewd, more queasy psychedelia by Moon Wiring Club. MWC’s Ian Hodgson described his intentions to Simon Reynolds in a Reynolds roundup which notes the 20th anniversary of the Ghost Box project. The label is apparently on hold for the moment but I have to admit that my interest waned some time after the 10th anniversary, when it became increasingly apparent that the ghost had fled the box. Reynolds ends his piece with a list of favourite GB recordings which I mostly agree with, although I’d shuffle the order and swap some entries with Pye Corner Audio.

• “‘You know that feeling you get when you’ve just gotten back from the dry cleaners a pair of slacks, Dacron slacks, and you reach your hand in a pocket and you feel those fuzzy sandwiches with your fingers? Well, that’s the feeling I’m looking for.’ I just nodded and replied, ‘OK, Dave, I know exactly what you mean.’” Barry Gifford remembers David Lynch.

• Aschenbach’s Last Journey: Lesley Chamberlain, the most recent translator of Thomas Mann’s Death in Venice, approaches the text by following the progress of its doomed protagonist from Brioni to the Venetian Lido. Related: Polly Barton describes to Katy Whimhurst some of the difficulties involved in translating Japanese fiction to English.

• From The Shout to Bait: Darran Anderson on the uses of sound in cinema. Rupert Hines’ soundtrack to The Shout has just been released by Buried Treasure.

• Video footage of modular synthesists Arc (Ian Boddy & Mark Shreeve) performing Arcturus live in 2004: part one | part two.

• At Aeon: “Black holes may be hiding something that changes everything,” says Gideon Koekoek.

• At the BFI: Michael Brooke selects 10 great Hungarian films.

• Steven Heller’s font of the year is Fillmore.

• Shout The Storm (1984) by :Zoviet:France: | Shout At The Devil (2002) by Jah Wobble & Temple Of Sound | Shout (2005) by Tod Dockstader

Weekend links 806

Cover art by George Wilson for The Twilight Zone #45, September 1972. Via.

• At Public Domain Review: Thea Applebaum Licht on the history of art within art, or cabinets of curiosity and paintings within paintings.

• The final 2025 catalogue of lots for the After Dark: Gay Art and Culture online auction. Homoerotic art, photos, historic porn. etc.

• At Smithsonian Mag: See the “Mona Lisa of Illuminated Manuscripts,” a 600-Year-Old Bible covered in intricate illustrations.

It’s amazing, the number of people out there who love everything about queer life except for queer sex, who would prefer that sex and sexual orientation live in entirely different zip codes, that they exist as non-overlapping magisteria; it’s so much safer that way. Who wants gay sex polluting their enjoyment of the abstraction that is Being Gay?

That is what gay love is, now, in the collective imagination of American commerce: a set of identity relations projected onto bored and indifferent celebrities who will half-heartedly play along with the idea because doing so moves units and, anyway, what does it cost them? The more that sexual orientation slouches to the point of pure abstraction, the less effort it takes. Anyone and anything can be gay, now, because gay is just a set of pompous liberal cultural signifiers that have no earthly material relation to homosexuals.

“I miss when homoeroticism was erotic,” says Freddie deBoer. I’ve made similar complaints myself over the years. For some genuinely erotic homoeroticism, see the latest auction link above.

• At Ultrawolveunderthefullmoon: Illustrations for Edmund Weiss’s Bilderatlas der Sternenwelt.

• DJ Food’s latest harvestings of psychedelic ephemera may be seen here.

• At Dennis Cooper’s: Bruce Connor’s Day.

• The Strange World of…David Lynch.

• RIP Udo Kier and Tom Stoppard.

• Atlanta Surrealist Group

• Menergy (1981) by Patrick Cowley | Eros Arriving (1982) by Bill Nelson | Erotic City (“Make Love Not War Erotic City Come Alive”) (1984) by Prince & The Revolution

Weekend links 805

A poster by Peter Strausfeld for a 1966 screening of Alphaville and La Jetée.

• At Bandcamp Daily: “Caroline True obsesses over compilations so you don’t have to,” says Erick Bradshaw. I recommend CTR’s compilations.

• At The Wire: Read an extract from Music Stones: The Rediscovery Of Ringing Rock by Mike Adcock.

• At Colossal: Pastoral landscapes brim with patterns in luminous paintings by David Brian Smith.

One of the markers that sets Mamoru Oshii apart from his peers is his willingness to allow place to speak for itself. From the seasonality captured in his works, like the first two Patlabor films, to the otherworldly environments of Ghost In The Shell 2: Innocence (all projects in which Ogura was also involved heavily) and even the fantasy scapes of his Angel’s Egg, Oshii’s attention to place, and allowing it to be a player in the story, gives as much voice to world building, as he does to characterisation. This attentiveness and patience for place, allows us to settle deeply inside a worldview that is often simultaneously familiar but unerringly alien.

Lawrence English talks to art director Hiromasa Ogura and composer Kenji Kawai about their work on Oshii’s Ghost in the Shell

• At the BFI: Leigh Singer suggests where to begin with the films of Lucile Hadžihalilović.

• Necromodernist Architectures in Contemporary Writing: an essay by David Vichnar.

• New music: Hydrology by Loula York; Love Letters Via Echelon by Nerthus.

• There’s more Intermittent Eyeball Fodder at Unquiet Things.

• The Strange World of…Early Cabaret Voltaire.

• Winners of the Drone Photo Awards 2025.

• Lautréamont’s Apocrypha

• Drone Um Futurisma (1992) by Cusp | ABoneCroneDrone 1 (1996) by Sheila Chandra | Suspicious Drone (2009) by Demdike Stare