I think you missed the control point with the final words, about giving your life to god, what is e ultimate control if not giving your life to something or someone else
@rentarockidz905618 сағат бұрын
Watched the film 2 days ago and I've been watching several reviews of the film and yours is the first one that mention all the "moral" you could say, messages that I noticed the story was sending trough its script and the images. Great review.
@hectorr629919 сағат бұрын
Religion is poison.
@donnydread763119 сағат бұрын
🙏🏻
@justletmepostthis27620 сағат бұрын
@18:42 Jake Gyllenhaal here looks a bit like Jason Biggs. lol.
@Seriously_OMygad20 сағат бұрын
Donnie is dead and in limbo since he has no religious affiliation, he has to make the decision to move on from limbo to the next level.
@JaBreaJaBbers22 сағат бұрын
Amazing
@HomespunWisdom22 сағат бұрын
Interesting video. For my part, the film looks like an exploration of one who has experienced grieving/loss, including the search for meaning when faced with trauma, and the complexity of 'survivor's guilt'. As a depiction of the an emotional responses to loss, the film depicts common expressions/reactions/thoughts such as wishing that one could turn back time, or to express a scenario whereby someone else is spared while the grieving would not only take someone else's place and be 'the saviour' (in this case) not of the universe or the world, but his girlfriend, 'making everything right in his own world'. The overarching idea of seeking an explanation, and some form of rational, comforting reassurance, while also (as the 'sacrifice') being freed from the grief that is present seems pervasive.
@caleb1rsheltonКүн бұрын
The most beautiful phrase in the English lexicon is We skibidi sigma with the unspoken Ohio rizz living rent free in your brain forever.
@michaelmacdiarmid812Күн бұрын
An incisive, well-cultured analysis. It is the first video of yours I've come across and I already feel prompted to subscribe-looking forward to watching more of your content.
@IndicteronomyКүн бұрын
thanks, i really liked this movie, never really understood it before though
@kevindangelo1091Күн бұрын
Sweet now wtf was dd2 about lol
@elevenseven-yq4vuКүн бұрын
From "The Witch" via "The Lighthouse" to and throughout "The Northman", Robert Eggers never failed to impress me with his unique blends of historical drama, psychological thriller, and mythological horror. After watching Eggers' take on "Nosferatu" three nights ago, I can now safely say that it is a welcome addition to Murnau's silent moving picture and Herzog's colourful talkie. Eggers went for a mix of colour film and monochrome shading in postproduction, and he encouraged a lot of shadow play in the cinematography. This goes well with his psychological symbolism regarding Ellen, and Count Orlok's inexplicable pull over her and the other protagonists. Visual ambiguity and unreliability in the cut/editing when it comes to scenes that depict the count's uncanny powers go very well with this approach and create an eerie, dreamlike to nightmarish atmosphere. The character of Ellen comes much more to the forefront in this story: her secret desires and feelings of guilt, her flights of fancy, her melancholy and her obsessions, the struggle between love and lust, her internal conflicts between sociatal obligation and decency paired with wifely longings of love and understanding, versus her desire for a realm of her own and very private sexual fantasies, a struggle between worldly and emotional dependency and a fantastical lust for power. In the end, it is her sacrifice that bridges the gap, gives Ellen agency and redeems her from an almost constant feeling of repression and guilt. Once again, Eggers comes around with a vast amount of historical accuracy, considering this is first and foremost a tale of fantasy and horror, of the occult and the surreal. Once again, Eggers' sensibilities (of horror, but also of the story's core) lie in general matters of the soul, its agonies and ambiguities, dark crevices and inconsistencies, paradoxes and struggles for meaning, rather than with the concrete, with the flesh and meat of physical torments in the exterior world (which, here, serves merely as a backdrop and a reminder of pre-modern mindsets and conceptions of the world alien to our current zeitgeist, an alternate reality, which nevertheless carries a kernel of diachronic truth regarding the human condition). Once again, Eggers provides us with a story which is grounded in mysteries, in mysticism and mythology as symbolic for human psychology and at the same time an expression of human identity and self-concepts, a powerful driving force of agency, an expression of our (collective and individual) subconscious as the prime mover of the more rational faculties of ours. Once again, Eggers is less invested in suspense created by contraptions of the plot than in the tension that emerges from states of ambiguity, doubt, uncertainty (both, of sensory perception and of the self), the terrors derived from obsession and paranoia, a tension inherent to the disconcerting puzzlement of apory and the uncanny vagueness of whatever disturbs us in a rationally unaccessible manner, the fears creeping up when we are on the verge of existential crises, of obsessive or psychotic madness, and most of all: The agonizing affliction of losing our sense of belonging, the smothering angst of losing our very dearest, and of losing our soul. Eggers' take on the story of Nosferatu, once again, is also a film about conflicting world views, about the contemporarity of the uncontemporary, about the rebel stance of romanticism in a world increasingly determined by the discipline of enlightenment and of contractual moralities, and also by the looming banishment of intuitive divination, of mysticism and mythology, of religious pretension and superstition - sentiments that are now almost considered a disease of the mind or a societal plague to be extinguished. Although this take on "Nosferatu" is for the most part very close to Murnau's original movie, and maybe even more so to Stoker's novel "Dracula" on which the former was based, Eggers did succeed in drawing it into his own sphere of genre-crossing and genre-bending, illuminating new facets of an old dark tale.
@zenopsy0149Күн бұрын
Roberta is a survivor of her own tangent universe. That's why she left the church.
@juhovalio5906Күн бұрын
Might be far fetched, but I didn't see the new adaptation of Orlok as evil. He even said it himself: "I am an appetite. NOTHING MORE" I saw Orlok as a character whose only purpose was to suck the blood of Ellen. It was everything he wanted. Everything he needed. He was appetite. Lust. Every imagination of the character of a vampyre is somehow bland, because they're 'only' evil. They spread chaos, death and terror, and blood is just their nutrition. You don't need to search any further because they're just bad from their nature. 2024 Orlok is not like that. He is driven by lust, but is ready and willing to do awful things to fulfill his lust. It's an interesting concept in a time where immediate reward and hedonism thrive. Orlok represents lust. Need. A willingness to hurt and cause suffering to fullfill a lust. Why is Orlok like that? He isn't so far away from Ellen as a character. Remember: When young, Ellen made a deal with a devil, where she bound herself to him, for her own pleasure. She was alone and needed fulfillment. She made a sacrifice. She gave herself to Orlok for her own good, and when in marriage the pact was broken, Orlok needed a revenge. What if Orlok once was an alone count. Living in his castle in the need of love, making a deal with the devil. Gaining the ability to posess for his own pleasure, but losing the ability to die. Only to turn into "appetite: nothing more". A beast, who gains his lifeforce from his victims. Whose only purpose it is to fulfill his endless need of blood. Orlok sort of had the spiritual connection to Ellen (the pact.) while in his castle, but was unable to physically leave because he was contained by the pagan magic and the christian magic of the nuns and gypsies. Herr. Hutter was a way for Orlok to get out. He didn't suck the blood of Herr. Hutter. He sucked the blood of Ellen thru her fiance, and gained enough strenght to break free and fulfill the deal made by Ellen years before. This explains why it needed to be Hutter to go and make the property deal. He wasn't interested on a house. He needed Ellens blood for strenght after sleeping for centuries, and being awakened by Ellen in marriage.
@pinheadnick8540Күн бұрын
i got pretty much everything except the last bit. why would evil come from within and beyond, but good only from beyond? how does the movie suggest that?
@brittwebb5602Күн бұрын
LOTS of nudity in that film. Definitely not for kids.
@ChristopherDwigginsКүн бұрын
We need to synthesize somehow.
@dwjoseph59Күн бұрын
Abigail: the cutest & meanest little vampire ever!! I loved her doing her ballet moves befire attacking & killing!! A GREAT NOVIE, DEFINITELY A NEVER FAVORITE OF MINE!!
@Ronnie-ku8bkКүн бұрын
Wow you talk a load of nonsense
@jimmybrewer70412 күн бұрын
Can you spoil something that is a dumpster fire? This is a movie nobody wanted or needed. I guess every good actor has to be in a trash movie occasionally. It's just sad that so many good actors were in this bad movie.
@Raemphis2 күн бұрын
Hey, Great ASMR Video. MORE!
@PaolDrummar2 күн бұрын
Donnie is Jesus. God gives him a choice: sacrifice yourself when the engine hits you. Or follow a different path whereby you fall in love with Gretchen, which ultimately ends in tragedy. Donnie shown both scenarios by God - his Father - chooses to sacrifice himself. Jim Cunningham is the false prophet ultimately destroyed. ( Probably.)
@hotmixAC2 күн бұрын
I always wondered if Donnie was stuck in a loop. Always waking back up in the mountain after sleepwalking to start back on that point. I’d like to believe that’s his “ground hog day” reset point. Resets til he got it right.
@ymebo2 күн бұрын
I always presumed that Frank was a rabbit because of the move Harvey TBH.
@jamad-y7m2 күн бұрын
You're probably reaching with the squares and circles stuff. There's no way they thought about that
@neiltattersall20782 күн бұрын
I think that whilst Donnie sacrifice isn’t needed to save reality it is something he chooses. He wakes up knowing that he is going to die, he knows the engine will hit soon and has the chance to escape it but he chooses not to. He is depressed because he doesn’t understand the meaning of life or what his purpose is but now he has had a glimpse of it and the joke is that now he knows what his purpose is he has fulfilled it and so he will have to go on without one. Rather than that he chooses death. That’s why he is laughing.
@StudioHoekhuis2 күн бұрын
Donnie Darko is an absolute masterpiece and the best use of a soundtrack in a movie ever, the highschool scene with Tears for Fears's 'Head over heels'.
@kalvindotcom2 күн бұрын
Hey🎉
@ThorogoodFilmsКүн бұрын
Hey!
@missblackwood2 күн бұрын
Great breakdown, wonderful voice 💯
@gallil38182 күн бұрын
4:20 I loved the observation that Knock acts as a depraved John the Baptist, in keeping with the theme , Thomas acts like a naive Judas, giving over someone he loves for a bag of coins
@razer00720732 күн бұрын
We are born into a losing struggle
@omarchodhry81393 күн бұрын
Thomas LOVE your vidoes Thank you.
@ThorogoodFilmsКүн бұрын
Ah thanks so much!
@RowdyRobertsonMusic3 күн бұрын
This is my favorite movie but it still leaves many gaps which keeps me watching it. Nice video
@mc19933 күн бұрын
Agree completely with your analysis. Yet, Eggers films tend to drag and he really loves to linger far too long on non-descript shots that do not elevate the story. Along the lines of a M Night Shyamalan film. Which contrasts some of the editing that makes the timeline feel rushed or choppy in other places.
@paulkaufman27543 күн бұрын
An interesting overview of this film. I don't buy all that Christian theology stuff, though. I watched the film without seeing that connection at all.
@parrisxsummers3 күн бұрын
I believe a lot the negative reaction was from people who identified with the joker in the first movie. They didn’t like being told that theyre wearing a mask and that all the bad things they’ve done is all their fault. They’re Lee. They reacted to this movie of jokers mask falling, the same way Lee reacted.
@sushisin6793 күн бұрын
Did anyone like the symbolism of how both doors lead to the same basement? Whether you believe or don't believe, we're all trapped in the dark of not knowing
@CMC0073 күн бұрын
I love these kind of insights. I was on the edge of my seat during the sleep paralysis scenes, I understand that too well!
@i_dream_of_memes3 күн бұрын
What an incredible video. Instant sub
@kiefmanning73943 күн бұрын
Dude. You look like the guy who should explain Donnie Darko. You also look like you have the physique of a swizzle stick
@ThorogoodFilmsКүн бұрын
😂
@kiefmanning7394Күн бұрын
@ glad you ain’t mad
@ttv_frost21533 күн бұрын
What type of creature are they
@MFLimited3 күн бұрын
Excellent work, as always. Thank you for your insight on this movie.
@illidankratos3 күн бұрын
Good video, I think he is actually immortal, sure he can be killed but the instructions in the book that Dafoe's character found clearly illustrates his dead, like something that has already happened, I think in the movie's lore he is a like a vermin that will forever hunt the psychic virgin women of Europe, only to be stopped and killed, for eternity. Like that is his course to never die and try to find love. And if I'm not mistaken in the original movie is stated he will resurrect from the ashes of his body.
@metalstorm75064 күн бұрын
This was mind blowing thank you so so much for this analysis!! I am amazed, in awe and in love with the movie even more. I don’t know what to say, keep up with your work and God bless you ! A funny thing occurred to me. Eggers and the camera man used a filter on their equipment that doesn’t show the red color, for the nocturnal scenes… in a symbolic way, they’ve sucked the blood - the life force out of the movie. Symbolically they’ve done a vampiric job on the optical level and thus achieved the effect the movie to appear even more morbid, cold and undead, and I must say that it did work wonders because the fright factor is elevated on multiple levels - literal and metaphorical
@tronjavolta4 күн бұрын
5:38 i really dislike this version because of the notes! it was cooler trying to figure it out for me when i first saw it. the mystery made it special.
@cmguerrero20084 күн бұрын
The sex scene was totally unnecessary and grotesque. Not to mention it doesn’t make any sense a walking corpse would feel any sexual urges. Blood thirst is supposed to be what drives nosferatu to do evil. Nothing more.
@uranuslightwood20394 күн бұрын
Damn finally a good movie analysis👏 I love that movie! Also don't apologize for wishpering it was really relaxing and matched the tone of the film lol
@alexmajors79154 күн бұрын
This movie speaks to my soul like nothing else I've experienced. I've traditionally stayed away from the director's cut and other attempts to explain the heart of the mystery. But for whatever reason I was moved to watch this and give it a chance. I'm very pleased that I did, and that it will be the only time I explore the deeper meanings of the film outside my own mind and deep discussions with other seekers. There's an air of profound melancholy that hangs over Donnie Darko, and even just seeing the name provokes a taste of it no matter how faint and fleeting. Thank you for this well thought out analysis, the execution and production were excellent. There are only a few other productions that I would be interested in seeing you break down in such a manner, the German Netflix show Dark is one of them. And the entirety of the Twin Peaks video franchise (series 1&2, the movie Fire Walk With Me, and the 2016 reboot The Return (season 3). These would be a massive undertaking, but I feel that you are up to the challenge. I hope you see this and can leave a short reply as to what you think about these suggestions. Thank you again.
@purgatoriprytania53824 күн бұрын
Christianity is not unique in the regard that you claim it is. I would urge you check out the work of Frithjof Schuon, Rene Guenon, and, perhaps most especially, James Cutsinger.