Drawing Restraint 9 Soundtrack
Dipset: The Movement Moves On
In a recent New Yorker, sculptor / director / actor / pervert Matthew Barney was referred to as a "star for attaining stardom," putting him on the same cultural plane as Paris Hilton, Andy Pemberton and Pete Rose. He recently premiered his new "film," Drawing Restraint 9, in the States. It's terrible. Even on the "purely aesthetic" level Bar-heads love to babble on about, it’s a stupefying failure. Now, Cam'ron Giles is not a "star star" (though a few unwarranted shots at, say, Liz Taylor's corpse and Tupac's mom may turn him into one), but he also unveiled a new film that he directed and starred in recently called Killa Season. It too fails.
I'd be surprised if Matt or Cam know each other (I'll leave the potential exchange up to Curio or HC), but they've both painted themselves into intractably dubious corners; pushing their particular pet themes into oblivion, there's no more coke for Cam to push or vaseline for Matt to slice. The two films show their respective egomaniacal auteur playing the fool, dunced, parodying recurring dreams that they now actually think are real. Oddly, there are several bullet-worthy similarities between both two and a half hour opuses that indicate a celestial bonding between their quite different--yet spectacularly the same--startime savants.
+ Cutting. Restraint's infamous climax scene where Bjork and Matt cut each other's bottom halves in some kind of whale sheathing ritual is a symbolic knucklehead: Now they are untethered beings that shall roam the sea freely, huzzah! It's also graphic, but not quite as graphic as the scene in Killa Season where two Sopranos extra wannabes cut-up
+ Shitting. Some may cringe at the notion of drug mules excreting heroin in plain view. In Killa Season,
+ Anti-Americanism. In a significant Killa Season scene that is being quoted by dread-heads and six-year-olds around the world right now,