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RESPIRABLE CRYSTALLINE SILICA

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Sevastyan Antonov
Sevastyan Antonov

Under The Silver Lake


Eventually, Sam finds his way to an off-the-grid location where a man and three women live in a small hut. As Sam holds them at gunpoint, the man reveals the truth: throughout history, wealthy men such as himself chose to seal themselves in underground "tombs," much like Egyptian Pharaohs, in order for their souls to "ascend," accompanied by three wives, to an unexplained and unearthly domain. Sarah and her roommates were Sevence's wives, and their deaths were faked. Their tomb has already been sealed, but they can still be contacted via videotelephony. Sam speaks with Sarah, who confirms that she entered the tomb willingly. At peace with her fate, she and Sam share a brief farewell, and Sam drinks the tea that the wealthy man offers him. The tea is drugged and Sam is taken prisoner by The Homeless King, who he was recently acquainted with on his journey. After learning that the wealthy man and his three brides have now also been taken to their individual tomb, Sam eventually convinces The Homeless King to let him go.




Under the Silver Lake



One of the best films of the year. It's bold, fun, funny and truly beautiful. The framing, lighting and production design are so wonderful that it kills me that they didn't shoot film. (Hopefully Mitchell does on his next.) And it deserved a much better and wider release although I understand the length would hurt with mainstream audiences.


- The 'Pirate' character seems to be a puzzle in and of himself. An enigma with no reason to solve or understand. He's also fucking hilarious. The way he picks up Sarah's package - popping out from behind a tree, grabbing it, and immediately booking it the other direction - is hysterical.


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Sam (Andrew Garfield, superb) is a perpetually stoned slacker-type in L.A.'s Silver Lake neighborhood. When one of his neighbors disappears, he becomes obsessed with finding out what happened to her, which leads him down a bizarre path that involves Nintendo Power magazines, L.A.'s truly underground (like, actually underground) secret worlds, the hidden messages in pop music and possibly the meaning of existence itself.


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Michael De Luca (The Social Network) will produce under his Michael De Luca Productions banner, with Chris Bender, Jack Weiner and Adele Romanski also attached as producers. Lucy Kitada will oversee the film for Michael De Luca Productions.


Parents need to know that Under the Silver Lake is a long, bizarre L.A.-based film noir from the director of It Follows. Violence isn't constant but is extreme when it happens: A man's face is bashed in (lots of blood and gore), a woman is shot under water (blood streams), characters use guns, a man beats up little kids for vandalizing cars, dead animals are seen, and more. Sexual content is also graphic. Several topless women are shown, there's a very brief full-frontal shot, and characters have sex in a pretty explicit scene. The main character (Andrew Garfield) sleeps with more than one partner and masturbates in one scene. Language includes multiple uses of "f--k" and more. Characters often drink and smoke casually, and there's potential drug use.


Once on the subscription page, type in your email and/or cell phone number, scroll down to find "Silver Lake trail project" under the News Flash category and select the icons for how you would like to receive notifications, and follow the instructions to confirm your subscription.


The purpose of the Silver Lake trail project is to improve recreational opportunities and pathways around Silver Lake so people of all abilities can safely enjoy it by creating an accessible, connected recreational route all around the lake. This project will provide a continuous hard-surfaced, multi-use trail around Silver Lake that provides accessibility to all Everett community members.


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The underthesilverlake subreddit has helped a lot of us to put together further information about the clues and codes within the film, culminating in this biggest discovery post that connects everything together.


Tim Jackson was an assistant professor of Digital Film and Video for 20 years. His music career in Boston began in the 1970s and includes some 20 groups, recordings, national and international tours, and contributions to film soundtracks. He studied theater and English as an undergraduate, and has also has worked helter skelter as an actor and member of SAG and AFTRA since the 1980s. He has directed three feature documentaries: Chaos and Order: Making American Theater about the American Repertory Theater; Radical Jesters, which profiles the practices of 11 interventionist artists and agit-prop performance groups; When Things Go Wrong: The Robin Lane Story, and the short film The American Gurner. He is a member of the Boston Society of Film Critics. You can read more of his work on his blog.


A breakdown of the various codes and cyphers, including the Copial Cypher (as referenced in a TV-news chyron tucked in the corner of the screen, and found in graffiti), Morse code (as written on the coffee shop menu at the beginning of the film, also deep in the background), the geocoding system What3words (which is a key part of a location late in the film), the Hobo code (which is at least cited outright), and the Zodiac code (as seen under the Betty, Marilyn, and Lauren dolls).


Conspiracy theories are not exclusively or historically right-wing, of course, and they tend to coalesce around one common theme: That the world is controlled by corrupt elites, who oppress non-elites from the shadows, speaking in codes only they understand. There are boring, straightforward explanations for why the powerful remain in power and outsiders remain on the outside, of course, but it can be tantalizing to imagine more sinister forces at work and go looking for the skeleton key that will unlock some vast chamber of secrets. It turns us into amateur sleuths\u2014which is vastly more appealing than marinating in our own feebleness.


Tugging that loose string starts the unraveling. The stranger and her friends\u2014who, in a particularly hilarious sequence, he tracks on a paddleboat rental\u2014eventually take off in a white VW Rabbit convertible, a funny choice for a car until you realize the sly nod to Alice in Wonderland. Sam\u2019s trip down the VW Rabbit-hole leads him to many signs and wonders: A goth-pop band called Jesus and the Brides of Dracula that may tuck secret meanings into their lyrics, a sex-work ring organized around Hollywood never-will-bes, a \u2018zine writer who fathoms the truth behind a string of area disappearances and murders, a perhaps-not-mythical naked seductress who wears an owl mask and carries a stabbing knife, a series of secret parties and underground bunkers for the hip and wealthy, and codes that might be cracked by a cereal-box map and the first issue of Nintendo Power magazine. Oh, and there\u2019s also an alleged dog killer at large.


Sam is crushed by such discoveries, which leave him feeling that much more alienated from the world around him, though it\u2019s worth noting that Under the Silver Lake, in the proud tradition of L.A. noirs, appreciates the eccentricities of place as much as it condemns it. It seems very much like the work of a Michigan transplant, trying to comprehend the undercurrents of this foreign city where success breaks the E-Meter and anything less can\u2019t pay the rent. The film wasn\u2019t made for the red carpet at Cannes or anywhere else. It was destined to stand bitterly outside the velvet rope forever, guessing at the codeword that will get it inside.


However, perhaps because of the ubiquity of these films and the manner in which they have been reiterated and reconstituted across popular culture, Under the Silver Lake more overtly evokes more modern pastiches of the genre like The Big Lebowski or Inherent Vice. What these later films understand is the context of so many of these seventies dramas, the hangover following the enthusiasm and potential of the sixties, the realisation that youthful enthusiasm will often (and perhaps inevitably) be swallowed by the establishment where it is allowed to fester and rot. Under the Silver Lake is just more overt in acknowledging this anxiety, more direct in articulating this dark thought simmering in the back of the collective consciousness.


Under the Silver Lake is an indulgent mess of a film, its moments of self-awareness constantly undercut and undermined by desperate grasps at earnest profundity. There are moments when Under the Silver Lake works remarkably well, but they are nowhere near as often as the film would like to think. 041b061a72


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