Why Tarantino (for us)
Tarantino doesn't just film stories: he edits memories. His shots are jukeboxes of cinema, TV, and pulp culture. When we work with him, the goal isn't to replicate a scene, but to crystallize his method: cutting, moving, quoting, smiling while it hurts.
The object as direction
Choosing a single detail, the ear, was a directorial decision, not a reporting one. By reducing the film's action to a bare minimum, we leave room for the off-screen: everything you don't see, you imagine. The white surrounding is our silence, like a musical pause before the riff. The red-stained typography is the editing: a chromatic jump cut that holds together laughter and disgust.
Music, rhythm, irony
In Tarantino, violence dances with music. The film plays on the same paradox: the red stream descends in time, almost as if it were a drum beat. We're interested in that ambiguous boundary where the audience asks themselves, "Can I laugh?"—the same question Tarantino poses to us.
Ethics of framing
There's no complacency: there's critical distance. Bringing detail out of the frame is a way to expose artifice. It's like saying, "What you're watching is cinema," and cinema, at times, is a trick that reveals truth.
Who is it for?
For those who collect directors before films. For those who love dark humor, reference culture, and memorable poster images.
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