Can't say I want to take that ride again.

Ready if things head down that path again nevertheless. 

That sensation you're feeling, is collective adrenaline, if you're used to thinking individualistically, you may have never really felt it before. 

I grew to learn and love it while living in Québec where things are much more collective, and it feels wonderful to play a small role as part of a larger community. 

It's cool when you're part of a group that's over 40 million strong though, eh!

I was so impressed with so many people.

Although the next time that happens I hope Canada and Québec are winning Olympic Hockey Gold! 🏒

Microcosmos

If seeking to find a source of enticing limitless variability, look no further than the world of insects, where diminutive dynamism thrives indelicately. 

Lithely chronicled in Microcosmos as patiently directed by Claude Nuridsany and Marie Pérennou, within vibrant versatile insect life peculiarly transmits intense reverberations. 

The scenes they capture motivate wonder to efficiently charm warm and pleasant enchantments, as imaginative random uncanny creatures magically enhance sundry fertile environments.

They present ants and moths and snails and bees and butterflies plus dragonflies to name a few, as they go about their embowering business within sprightly forests, ponds, and meadows.

The shots they take of a random meadow or pond or even the integral backwoods, peacefully remind observant viewers of the incredible life residing yonder.

It's not the easiest thing to do to film or photograph chill insect encounters, to find moments which showcase romance or strife or industry can take a long time.

So worth it when it finally comes to evocatively and picturesquely pass, so many mind-blowing moments in Microcosmos it's a feverish feast for the cerebral senses. 

The unobtrusive close-ups delicately offering detailed macroscopic visuals, that focus on the limbs and bodies and colours which nature has crafted with so much precision.

It's often the colours I find most intriguing the illuminative spectrum artistically manifested, intense greens reds oranges and blues collectively conjuring luminescent spontaneity. 

So many of them have wings as well their bodies are so compact and they can fly, I must admit that if they can sense us they likely pity our lack of flight.

Lol, there's no doubt many of them can sense us dragonflies even protect us when mosquitoes swarm, and bees severely criticize if we seek their honey, and flies indubitably make their presence known!

I've mentioned that it's like an art museum the sundry ludic bug shapes and sizes (and nature generally), as I'm sure many others have as well, the striking majesty of creation/evolution.

The world of insects really is much more diverse than that of rodents or reptiles or birds, there are so many shockingly unique characteristics that fluidly regale multivariable lifeforms. 

I liked the lack of narration and the light-hearted chill and comic soundtrack.

I wonder how many naturalists Microcosmos inspired.

As winter sets in, bring on the documentaries (plus Love Nature)! 

Neptune Frost

Immersive soundscape luscious lounging technoconscious enviroactivism, resolute awareness communally composed distinct improvised incisive revelation. 

I was watching Superman (1978) the other day and taking note of Kryptonian crystal, how they used crystalline technologies to perform so many hydroelectric functions. 

I'm not sure why, but seeing the crystals made me think of the rays of the sun, and how they're transmitted across our solar system with luminescent solar levity.

I had been thinking about the Venus flytrap and how it evolved to mimic its surroundings, and was wondering how that could ever be possible without external spiritual light.

Or thought.

Isn't it like plants that have evolved to mimic their surroundings, or animals who have developed specific evolutionary adaptations to aid their survival, consciously thought such adaptations would be beneficial, and psychologically sought them for millennia?

Barring the appearance of a game changing divinity, who simply utilized his or her miraculous omniscience to suddenly spark change around the world, perhaps God rather lives in the sun and orchestrates evolution based upon its quality of light.

Perhaps there's much more to the light we generally halfheartedly consider, and a being capable of manipulating its energy creatively does so to simultaneously spearhead manifold change?

Thus, the porcupine seeks a potent defence to prevent the other forest and jungle and savannah animals from attacking it, and silently prays for quills for millennia, the deity constantly bombarded with myriad thoughts which he or she slowly sifts through till the end of time.

The God then responsible for generating life on Earth through the development of his or her munificent sun, then adjusts the quality of light his or her star shares, which facilitates evolutionary change (and quills for porcupines). 

Without thought, without the desire to slowly suddenly adapt to natural surroundings, how does "inanimate" life suddenly adapt to its surroundings?

Doesn't it make more sense that life in general spiritually communicates, and transmits thought at imperceptible levels which we have yet to comprehensively detect (like how different animals can see, hear, or smell things we can't)?

Perhaps life is a computer program but isn't that a dangerous idea, that encourages the mechanical misperception of fluent goodwill and prosperous life?

Neptune Frost is brilliant and it encourages growth and change. The kind of growth and change that shouldn't take millennia. Through the historical ebb and flow.

Many of its ideas were indeed mainstream in my youth. 

It's never too late to bring them back.

They sought peace and general prosperity.

The Nut Job 2: Nutty by Nature

Gluttony and greed contend with sustainability and prudence as a group of mischievous animals from a local park run afoul of a corrupt disingenuous mayor, in The Nut Job 2: Nutty by Nature.

As overflowing with contempt for anything that doesn't immediately enrich his vast fortunes, as he is unable to prevent himself from gorging upon snacks encumbered by a cardiac degree of immobilizing trans fat, Mayor Muldoon (Bobby Moynihan) decides to turn public land into an amusement park without seeking the guidance of council beforehand.

It is cheaply constructed for the bare minimum with concern for neither structural integrity nor public safety, a ghastly house of carnivalesque cards ready to crumble at any given moment.

The animals protest.

The public land is their home, the ground upon and within which they rear and nurture their young, without it they'll have to move to the surrounding unforgiving concrete wastelands, wherein which they'll likely be divided, and forced to live unscrupulously alone.

They are also guilty of flagrant distraction.

Spoiled after having fortunately gathered extreme wealth, they squandered their resources with reckless unconcern, consumed by ravenous appetites, their carefree excess foolishly cost them their homegrown instincts.

But one squirrel kept her head, Andie (Katherine Heigl), thorny love interest of leader, Surly (Will Arnett).

Together they begin to rebuild, encouraging each individual member to share their ideas, demonstrate their competencies, synergize their strategies, and mobilize their momentum.

With the sole goal in mind, of taking Muldoon the fuck down.

It's an energetic children's film that environmentally examines contemporary obsessions with grotesque profits by juxtaposing plutocrats with the penniless, the nimble, with the immutable.

The Mayor consults no one, cares nothing for his clients, it's pure unregulated capitalism, sacrificing sanctuary for psychotropics, and solace for crime and hunger.

Communal ghettoization.

Globalization is metaphorically presented as different animal groups share their mutually hopeless predicaments.

One hell of a squirrel.

One hell of a mouse.

An incredible synthesis.

Problems in one region of the globe/town, problems in another.

Symbiotic stitches, cooperative communications.

Pursuant, indicative.

Of global citizenry.

Samsara

Ron Fricke's Samsara takes upon itself the modest task of pictorially presenting an interdimensional panoramic account of a synthesized set of (free)ranging semantic variables, a fluid rhetorically viable atemporal mosaic whose effervescent movements are acoustically interwoven according (perhaps) to the harmonics of three itinerant factotums, who practically reverberate throughout the humanistic theoretical continuum, giving birth to hope, sculpting immobility, and choreographing the infinite.

The paradox discovered by Captain Jean-Luc Picard in Star Trek: The Next Generation's All Good Things . . . offers a tool through which to begin cultivating interpretive comprehensions, although in Samsara said paradox seems to be critically oscillating in a cyclical undulation, in order to craft, what Fredric Jameson might describe as, an ontology of the present.

The only other film I've seen recently whose form, in varying degrees, produces similar affects, is Alejandro Jodorowsky's The Holy Mountain, and the two films arguably create a matrix through which to compare the means by which two distinct historical periods use/d their cultural clay to mold multidimensional discursive globalized narratives.

I don't recommend watching The Holy Mountain unless you're into alternative cinema.

But to return to Samsara, I would contend that it suggests that the wisest thought-systems/ethical outlooks simultaneously celebrate the production of structured delicate intricate symmetrical collective masterpieces and their peaceful destruction (the Mandala), thereby humbly attempting to temporalize the eternal.

At other points, it presents incredible naturalistic syntheses of truth and illusion, concretely stylizes exhilaration, offers an absurd example of unfettered patriarchal ambition, interdisciplinarily collocates ancient forms with contemporary contents, patiently juxtaposes opulent and impoverished extremes, counterbalances manifold individuals with sundry groups, alternates the crushing affects of monosyllabic monstrosities with those of incarcerated liberation, conducts the best variation of a lament for the loss of an integrated prolonged cultural artistic fusion I've ever seen, and brilliantly equates both the means of mass production and its 'unforeseen' and mind boggling consequences/circumstances.

Without saying a word.

The apotheosis of philosophical realism metaphorically materialized? An emission/admission of im/mortality? Ostentation saturated with social justice?  Pinpointed timeless reciprocal constructivism?

It takes the cinematography from The Tree of Life to a whole new level (cinematography by Ron Fricke, shot on 70mm film).

Best film I've seen in a long time.