intertribal: (peace)
la colonia

  • Chantecaille Kalimantan fragrance is inspired by the intoxicating and lush forests of Borneo, available on the market from September 2010. Intense, sexy and exotic, it features the notes of labdanum, incense and patchouli, merged with benzoin, vanilla and cedar, to illustrate the fragrant wild flora of the island of Borneo.

  • Patchouly Indonesiano is a deep, dark and exotic fragrance. Its entire composition consists of Indonesian patchouli (in the top notes, the heart and the perfume base).

  • Rituel de Java by Cinq Mondes is a Woody Spicy fragrance for men. Rituel de Java was launched in 2008. Top note is eucalyptus; middle notes are cinnamon and woodsy notes; base notes are patchouli and virginia cedar.

  • Borneo 1834 by Serge Lutens is a Oriental Woody fragrance for women and men. Borneo 1834 was launched in 2005. The fragrance features patchouli, white flowers, cardamom, galbanum, french labdanum and cacao.

  • Colonial Club by Jeanne Arthes is a Woody Floral Musk fragrance for men. Top notes are mint and lemon; middle notes are jasmine and fruity notes; base notes are patchouli, musk and cedar.

  • Poivre Colonial is a new fragrance from the Eaux de Toilette collection from Phaedon. The scent has been described as both "prickly and smooth” woody – spicy one. It opens with an explosion of grapefruit, nutmeg and pepper. The heart includes cedar and vetiver, mixed with warm cacao bean. The base is dominated by notes of oak moss and patchouli with blonde woods.

  • The Italian brand of I Coloniali presents their collection Seductive Elixir of 8 fragrant waters in 2012. The collection is inspired by distant countries and offers intense, long-lasting fragrances with various fragrant compositions.

  • Acqua di Genova, Colonia Classica by Acqua di Genova is a Citrus Aromatic fragrance for women and men. Acqua di Genova, Colonia Classica was launched in 1853. Top notes are bergamot, amalfi lemon, orange, rosemary, neroli and lavender; middle notes are jasmine, rose and orange blossom; base notes are patchouli, sandalwood, amber and musk.

  • Agua de Colonia Concentrada Barberia by Alvarez Gomez is a Citrus Aromatic fragrance for women and men. This is a new fragrance. Top notes are lemon, bitter orange, bergamot and ginger; middle notes are rhubarb, labdanum and coriander; base notes are cedar, sandalwood and white musk.

  • Colonia del Sacramento fragrance by Fueguia 1833 belongs to the Destinos collection. “A mix of European detachment with River Plate indolence, this blend combines a restless fragrance of bergamot, orange blossom and lemon.”

intertribal: (girl you talk too much / shut up)
Yes, it's two horror movie reviews!  Not very extensive ones, I'm afraid, but still!

Don't you just hate those movies where dumb Americans go off to some far-off foreign locale and end up getting sacrificed by some deceitful Paganistic locals to some dark and primitive nether-god?  So do I!  And so does The Shrine.  I thought The Shrine was going to be one of those movies until about the 2/3 point, and I kept watching anyway because the acting is decent for a shallow little horror movie and I was curious, despite my distaste for the set-up, about the eventual reveal.  But surprise!  Things are not what you would expect them to be. 

Now none of this is going to change your life.  It's not Candyman or Japanese or anything.  It would be a great entry in the After Dark Horror Fest or a great episode of Masters of Horror or Fear Itself, if those shows were still alive.  A neat little short story.  A worthy contribution to horror as fun schlock.

Absentia is a strange beast, completely lacking in horror movie context and almost directionless.  The characters and setting are great, and refreshing for horror - two young adult sisters (one a former drug addict and one pregnant) just muddling through life in working class California.  Nothing glamorous.  The pregnant one has a husband who's been missing for seven years, and is declaring him dead in absentia.  She's also having horrible "lucid dreams" about him.  The former drug addict has now found Jesus.  You think it's setting up to be a demonic possession type thing.  It's not.  Really, really not.

This one feels much less put together than The Shrine.  It is flawed.  And considering what it turns out to be about - the tone is bizarre, subdued and unsettling and sad, something more befitting a ghost story perhaps.  But I feel like Absentia is both going for and accomplishes more, emotionally/intellectually, than The Shrine.  Probably because I am a sucker for horror movies that try to be artsy and sensitive.  But there really is something here, particularly about the rationalizations we tell ourselves about people that go missing. 

Both on Netflix Watch Instantly. 
intertribal: (when I get what I want)

Sarah Kane, English playwright.  Her first play, Blasted (found through reading this post on Narrative, Politics, and Sexual Violence by Matthew Cheney), was famously called a "disgusting feast of filth" by the never-filthy Daily Mail.  She said, "The logical conclusion of the attitude that produces an isolated rape in England is the rape camps in Bosnia and the logical conclusion to the way society expects men to behave is war."  She killed herself in 1999, at the age of 28.  After this (and seemingly because of some sense of guilt), her critics reached "a sudden posthumous consensus - the work wasn't hateful, nor was it about hate; it was about love."  Bold in copied text below is mine.
But why have so few Americans been given a chance to judge the play for themselves? (It has had only a few sanctioned productions in this country.) Partly it’s because Simon Kane, Ms. Kane’s brother and the executor of her estate, has denied several production requests.  “Mostly they’re ridiculous,” he said. “There was a company that applied for the rights to ‘Blasted’ and said, ‘We’re the people to do “Blasted” because we’ve done a stage adaptation of “Texas Chainsaw Massacre.” ’ ”  But gore isn’t the point. “The purpose of the violence in Sarah’s plays is diametrically opposed to the purpose of violence in most other people’s plays,” Mr. Kane said. “The purpose of the violence in Sarah’s plays is to resensitize people to what violence is.” (via

Harold Pinter was at the Royal Court the night after the first reviews came out. He says that he had never heard a voice like Kane's, that she hardly knew where it was coming from herself. "It was a very startling and tender voice, but she was appalled by the world in which she lived and the world within herself." [...]  "What frightened me was the depth of her horror and anguish. Everyone's aware, to varying degrees, of the cruelty of mankind, but we manage to compromise with it, put it on the shelf and not think about it for a good part of the day. But I don't think she could do that. I think she had a vision of the world that was extremely accurate, and therefore horrific. Because the world is a fucking awful place. It's a very beautiful place, but this species mankind is an absolute bloody disaster. The elements of sadism are astonishing. She wasn't simply observing mankind; she was part of it. It seems to me she was talking about the violence within herself, the hatred within herself, and the depths of misery that she also suffered."

As with Blasted, the critics suggested the violence in Cleansed was gratuitous and exaggerated. In fact, every violent incident in her plays was closely fashioned on real incidents. (The sucking out of an eye in Blasted, for example, comes from Bill Buford's account of football thugs' retribution against a policeman who had infiltrated their gang; the pole inserted up the arse and released through the shoulder was a Serb method of crucifixion; while the prisoner in Cleansed who learns how to count, discovers how much time he has left to serve and then hangs himself, is based on a man who was jailed on Robben Island with Nelson Mandela.) (via)
As thematic accompaniment, my current favorite Rammstein song, "Amour."
intertribal: (stu and tatum; scream)
I'm watching Tooth And Nail, which is one of those After Dark Horrorfest attempting-to-be-indie horror movies.  It's a post-apocalyptic cannibals vs. non-cannibals movie, and it isn't very good or original, except for this: I am totally rooting for the cannibals. 

Q.  Do I fail by default?
intertribal: (she dyes it black)
THE GHOST WRITER.  I held off on seeing or reading about this one because of the whole Roman Polanski thing.  And while Polanski is still definitely a douche, he can sure make a good movie.  This one doesn't even have any underaged girls (the only female characters are like 40+, so maybe he's trying to be extra careful?).  It's about a nameless ghost writer (Ewan McGregor, who at long last has become attractive) who goes to work writing the memoirs of a former British prime minister on vacation in some horrible rainy island off the coast of Massachusetts.  Unfortunately, he's come at a bad time - charges of war crimes have been filed against the former P.M.  Oh, and the former ghost writer "committed suicide" on the ferry and was washed up on the island.  Oh, and something's rotten in Cambridge.  Oh, and he has to finish the book in FOUR WEEKS [did you hear that people?  FOUR WEEKS].  The Ghost Writer is one of those traditional movie maker's movies.  It's apolitical (a good thing), has no moral, doesn't rely on special effects or action sequences or T&A or emotional manipulation: it's just a well-executed story about contemporary court intrigue.  A couple scenes made me go, "Oh my GOD," because it's such a subtle movie, and when the punches fall, they fall hard.

NOROI: THE CURSE.  This strange little J-horror is available on YouTube, and is quite the indie darling.  It is indeed a refreshing change from the standard J-horror, much like Marebito.  It's a mockumentary purporting to be the last video tell-all of an investigative journalist who's trying to get to the bottom of mysterious deaths and other phenomena, like crying babies that aren't there and dead pigeons.  He discovers that the root of all the problems is a demon that went haywire after the rural village that always performed its pacifying ritual was scheduled to be submerged for a dam project.  I didn't find it very scary, but other people have.  I thought that as a scary movie it was not as effective as The Blair Witch Project, Paranormal Activity, or even Quarantine (all mockumentaries), because it kept breaking the oppressive tension that horror mockumentaries are famous for by pushing the audience away, diverting from the action to look at news articles or variety shows.  A curious choice if you're going the mockumentary route.  The anthropology-infused story itself, however, is very solid, disturbing, and interesting, and I suspect if it had been shot straight through as a dramatic script, I would have been a lot more freaked out.

SOME SONGS.
  • "Don't Fight It" by The Panics.  The song is actually longer than that video, but I love Battlestar Galactica and Sharon is my favorite character.  Plus the band's music video is pretty pathetic.  The end.
  • "Rhinoceros" by The Smashing Pumpkins.  An unusually subtle song, for them, which is probably why it took me a while to sit down and listen to.  Great crescendo.
  • "If I Had A Heart" by Fever Ray (aka the girl from The Knife).  Yeah... FUCKING WHOA.  Maybe I'm just late to the party, but holy shit.  That's my reaction to this one.
intertribal: (subzero)
WRONG TURN 2: DEAD END



A Uwe-Boll-directed sequel to a The Hills Have Eyes ripoff, so I came in with low expectations and was pleasantly surprised.  The Too Dumb To Live young adults are competing in an "apocalyptic survival" reality show that for some reason takes place in the West Virginia boondocks.   All the deranged cannibals have the same pathetic mutant-jello-mold face and do cliched deranged cannibal things, but they also say grace before meals.  The two survivors, angry blonde girl and black guy, are actually fairly likable, and A. J. "The Racist Rapist" Weston from Sons of Anarchy plays a hoo-rah military guy who dies Boromir-style.  Recommended (If You're Into Deranged Cannibal Stuff Like Me).

JOY RIDE 2: DEAD AHEAD

A psycho trucker menaces four traveling youngsters.  He kidnaps the tough guy of their ranks and then makes demands of the others: plz to be cutting off one girl's finger, making the other girl get naked, getting the Hot Topic guy to dress up in drag and ask for crystal meth.  The acting and dialogue are passable, which is almost too bad since the characters aren't engaging and the plot doesn't hold attention.  It's not even scream scream scream, just blah blah blah, the trucker is God on meth and where the fuck are the police.  I got bored with this one.  Not Recommended.

100 FEET

The heroine has just been released from prison, where she was serving time for killing her abusive husband in self-defense.  She has to wear an ankle collar because she's under house arrest.  Too bad her husband's ghost is still hanging out, throwing plates at her.  A bland and dreary movie despite the inventive premise of the ankle collar as obstacle-to-escape.  The only un-bland part comes when the ghost kills the heroine's new boytoy in the most grotesque and poorly special-effected death scene ever, and even then you're puking more in disdain than wonder.  Not Recommended.

* Of course, I mean SyFy.
intertribal: (life's a witch)
So I'm looking up cannibalism, as usual, and stumbled upon this gem from wikipedia:

When the whaleship Essex was rammed and sunk by a whale in 1820, the captain opted to sail 3000 miles upwind to Chile rather than 1400 miles downwind to the Marquesas because he had heard the Marquesans were cannibals. Ironically many of the survivors of the shipwreck resorted to cannibalism in order to survive.

The Hits Keep Coming: The abnormally large whale that attacked the Essex "did so while the men were pursuing and killing other members of the whale's pod."

Return of The Hits: Instead of the Marquesas, the captain wanted to try to sail to the Society Islands, "which were further away but were presumed to be safer."

Sometimes The Hits Come Back... Again: The captain survived (by eating his seventeen-year-old cousin, "whom he had sworn to protect"), returned to Nantucket, and was given command of another whaleship, which ran into rocks near Hawaii and sank (again, he survived).  "This ended Pollard's whaling career."
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