Hayat Hyatt
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Stuff from the mind of writer, filmmaker, video artist and grad student Hayat Hyatt
Stories (17)
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imaginary compulsive. AI-Generated.
I your glass Will mod- estly Dis- cover to your self That of your self You know not of Come home to me Let me be your right hand Let’s lay and rest there I your glass Will mod- estly Dis- cover to your self That of your self You know not of There Fore Good Brut- us Since you can not see yourself so well as by reflec- tion I your glass Will mod- estly Dis- cover to your self That of your self You know not of How Many Years And how many wars and tears To- geth er we can get through this And build anew here I your glass Will mod- estly Dis- cover to your self That of your self You know not of I got you ((yeah)) I got you ((yeah)) I got you ((yeah)) And now you know I loved you I your glass Will mod- estly Dis- cover to your self That of your self You know not of I think about it all the time Some how I became your villain If you cry about it long e- nough You for get the tears are streaming I think about it all the time Some how I became your villain If you run up a hill Some times you fall with the boulder rolling I think about it all the time Some how I became your villain If you cry about it long e- nough You forget the tears are streaming I think about it all the time Some how I became your villain If I gather all the memories And still can’t find the one where things started changing I think about it all the time Some how I became your villain Will you talk when it’s quiet Or will the boulder keep rolling
By Hayat Hyatt9 months ago in Beat
One Sings The Other Doesn't
In response to the recent actions surrounding abortion rights and Roe Vs Wade, I wanted to revisit Agnes Varda’s epic One Sings, the Other Doesn’t. It’s epic in that the melodrama travails across Europe and fourteen years to detail the friendship of two women, Pauline and Suzanne. Like all of Varda’s work, One Sings infuses a kitsch sensibility to a film that otherwise plays like a straightforward exercise in genre. It also ignores conventional filmic tropes and plays as Varda’s feminist answer to the ‘buddy film.’
By Hayat Hyatt3 years ago in Journal
#TBT La Cienaga and The Wonders
Lucrecia Martell’s La Ciénaga and Alice Rohrwacher The Wonders are both female-led vehicles that deconstruct notions of the modern family. The two films are also personal reflections of their directors, with Ciénaga based in the suburbs where Martel was raised and Wonders also using Rochwacher’s place of birth as reference. From the perspective of their protagonists, beyond-their-years emotionally intelligent teenage girls, the features combine elements of satire and realism to convey intergenerational difference; also relying on feminist phenomenology to unpack the patriarchal order consistent with traditional family structures.
By Hayat Hyatt5 years ago in Geeks
#tbt La Cienaga // Lucretia Martel
La Ciénaga (2001), directed by Argentinean auteur Lucretia Martel, embodies the sardonic sensibilities of New Argentine Cinema. Perhaps the best example of this in the film is Martel’s infatuation with the corporal. The film opens with unflattering close-ups of cellulite and aging bodies near an outdoor pool – bodies that are otherwise, humorously, positioned for print magazine advertising. Shortly thereafter, the film’s most probable heroine, Mecha, drunkenly injures herself in a moment that parallels a later scene where a cow slowly descends into quicksand. In these scenes the primary subject on screen reflects the country’s aging bourgeoisie, which Martel records both intimately and with a mocking distance. Like other films of New Argentine Cinema, Martel’s work takes a structural departure from traditional narrative cinema, and with La Ciénaga the filmmaker uses it to paint a scathing portrait of the Argentinean bourgeoisie.
By Hayat Hyatt5 years ago in Geeks
